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Thursday
Mar312016

STARDUST MEMORIES: THE PETER FLYNN INTERVIEW

The digital revolution represents the biggest shift in the exhibition sector since the ‘multiplex boom' of the 1980s. Old-school projection booths, once the beating heart of the cinema-going experience, have all but vanished, replaced by sterile environments housing touch-screen monitors filled ‘encrypted files’. Dying of the Light is a stirring, melancholy account of American film exhibition up to this moment in time; a point in film history that threatens to reduce to museum pieces 1000s of spools of classic film storytelling and the grand machines that lit them up. In his moving, insightful film, director Peter Flynn, Senior Scholar-in-Residence at Boston’s Emerson College, profiles the projectionists who have forged generations of film-going memories and who are now faced with a ‘change or perish’ life choice. He spoke with SCREEN-SPACE about his loving tribute to the art and romance of movies…

SCREEN-SPACE: Where did your passion for the moving image and how it is presented and preserved originate?

FLYNN: I’ve always loved film.  My earliest memories are of the large-screen cinemas of Dublin City, where I grew up in the 70s and 80s—the Ambassador, the Savoy, and the Adelphi.  Back then it was not uncommon to spend two hours waiting outside in the rain for the doors to open and for the show to start. But it was worth it.  To enter those old theaters, with their ornate surroundings and lush carpeting, their balconies and curtained screens, was to enter another world.  Going to the cinema was something special back then, and it remained so throughout my childhood. The Dying of the Light digs deep into those memories, I suppose.  Try as I might to be balanced in the film, its by no means objective.

SCREEN-SPACE: As a lover of film culture and academic dedicated to film history, how did the research period and the trips to hollow, dilapidated halls in small towns impact you?

FLYNN (pictured, right): The image of the ruined abandoned movie theatre/projection booth became a sort of visual metaphor in the film, I suppose; a way to underscore the loss and ruination of the practice of film-handing and projection.  It was also the right place to start—with this palpable sense of loss, of better days gone by. The idea of the projection booth as an archeological site fascinated me from the start.  So many had the feeling of being tomb-like—relics of an older order, filled with the possessions of the dearly departed.  It was not uncommon as late as three or four years ago to enter a projection booth and find traces of the very early stages of film’s history. Fire shutters dating back to the nitrate days which lasted up until the 1950s; old 1,000 foot reels, which would have held silent films of the 1920s; notes written on the walls from one projectionist to another; old magazines tucked away in corners. Projectionists spent so much of their lives in those little rooms.  How could they retire without leaving something of themselves behind? So the film was inherently sad, or inherently reverential in a way.  But I’m also Irish and I entered into this with the idea that the film would be a wake—mixing the sad and the solemn with a spirit of tribute and celebration, with humor and energy.  I hope balance comes across.

SCREEN-SPACE: The film walks a fine line between eulogising a dying/dead aspect of the industry and celebrating its impact. Was it a struggle not to succumb to the sombre, sad loss of film projection?

FLYNN: Yes, it’s a very fine line.  And I did struggle at times to temper my own nostalgia for, or romanticization of “the good old days.”  But as a documentary maker you have to listen to your interviewees.  And not all waxed lyrical on the old days.  Nor were all critical of the new digital technologies—some “old-timers” embraced the future.  The final lines in the film, spoken by one of the older projectionists (ironically to one of the younger ones), ask that we look ahead to the future, not the past. And I thought that was a very important note to end on—a corrective to the romantic view that so many of us can easily fall into. (Pictured, above; David Kornfeld, projectionist at the Somerville Theatre, Somerville, Massachusetts).

SCREEN-SPACE: How much did your film's tone waver in post-production?

FLYNN: Post-production is where you (hopefully) find the right balance. You go out with your camera, you follow your gut, you engage emotionally and instinctually—in other words “on the fly”—with the world you are capturing and then you come back and you have to edit intellectually.  You have to moderate all the voices you find, give each its proper weight in the film, and hopefully find the right balance in the end. 

SCREEN-SPACE: Did you notice defining personality traits that were common across the projectionists you interviewed? What drove these men and women to commit to a life inside a small, dark room?

FLYNN: There is certainly a love and devotion to cinema uniting these people, but there’s a lot more besides.  There’s a commitment they all share to a quality of performance that is lacking today—to the idea of doing a job to the best of your ability, whether you’re acknowledged for that or not; and also to a notion of showmanship, which is likewise missing today.  The projection booth is a place of arrested development in many ways.  Its easy to hold onto older practices, older standards, when you’re isolated from the rest of the world as you are in the booth. As such, many projectionists may be seen to be out of step with contemporary culture, or normal social conventions—a hazard of spending too much time alone in a darkened room, I suppose—but, without exception, the people I interviewed for this film were wonderful; very warm and welcoming, open and generous.  Many have become good friends. (Pictured, above; projectionist Dave Leamon at the Brattle Theatre, Cambridge, Massachusetts).

SCREEN-SPACE: You address the recent release of The Hateful Eight, noting that it was ultimately a box office disappointment. But the initial 70mm 'roadshow' screenings were sell-outs. Does this indicate that large-scale film projection may still have a place as a 'prestige ticket' event?

FLYNN: The success or failure of The Hateful Eight in relation to the future of 70mm has yet to be determined. It’s a case of “wait and see.” My guess is that 70mm will pop up periodically in specialty theaters (but) not on the grander multiplex scale that the Weinstein Company and Tarantino had hoped for.  For me, the great visual surprise of the holiday season was not The Hateful Eight in 70mm, but Star Wars in 4K Digital 3D.  It was the best digital presentation I have ever seen.  That seems to be the future of large-format, large-screen presentations.  That does not imply that there is no room for 70mm presentations.  In fact, the arrival of digital does not, or rather should not, imply the complete eradication of film presentations.  There’s room for both—maybe less room for film than we’d like, but room for both nonetheless.  Theaters like the Coolidge Corner Theatre in Brookline, Massachusetts, prove conclusively that there’s still a place for analog film in commercial exhibition.  And that more than anything makes me feel there’s a future, albeit a limited one, for 70mm.

Dying of The Light is a First Run Features release currently in US specialty venues; other territories to follow.

 

Monday
Feb292016

PROYAS CASTS DARK SHADE OVER GODS OF EGYPT DETRACTORS

Gods of Egypt director Alex Proyas has taken aim at the current crop of movie reviewers in the wake of his film’s critical mauling, calling them “diseased vultures”.

US critics have been scathing in their coverage of the latest work from the typically ambitious Proyas; at time of press, the US$140million production, shot largely in Australia, is at 17% on the Rotten Tomatoes critical consensus site and was posting opening weekend numbers in the low teens domestically.

Born in Egypt of Greek heritage, the Australian director debuted with the startling sci-fi vision, Spirits of The Air Gremlins of The Clouds (pictured, right) in 1989 and has an acclaimed resume of commercials and music videos to his name. Having relocated to Los Angeles in the early 90s, his feature film trajectory has endured a turbulent path; his 1994 American debut, the ill-fated The Crow, was a profitable hit, which he followed with the underperforming Dark City (now, a cult classic; 1998). He enjoyed blockbuster box office with the Will Smith hit, I Robot (2004), only to feel the sting of expensive failure with the 2009 misfire, Knowing, starring Nicholas Cage.

Proyas’ films have often divided critics, as he points out in the extensive diatribe that he posted on his Facebook page earlier today. Each work is a unique, complex genre vision that rarely fits comfortably within mainstream expectations. Even I, Robot, superficially a studio-backed/star vehicle summer tent-pole, was a morally ambiguous, thought-provoking murder mystery at its core. Critics have struggled to define Proyas’ work, usually praising his technical prowess and visionary scope but remaining bewildered or unengaged by his plotting.

But no work has been so savagely attacked as Gods of Egypt and Proyas clearly felt the need to even the playing-field. In his post, he addresses the accusations of ‘white-washing’ (the casting of Anglo actors in ethnically diverse roles); questions whether or not freedom of thought within the critical community exists anymore; alludes to the nature of social media and the need for acceptance within the ‘likes’-driven landscape. With the kind permission of the director, SCREEN-SPACE reproduces the post verbatim:

“NOTHING CONFIRMS RAMPANT STUPIDITY FASTER...
Than reading reviews of my own movies. I usually try to avoid the experience - but this one takes the cake. Often, to my great amusement, a critic will mention my past films in glowing terms, when at the time those same films were savaged, as if to highlight the critic's flawed belief of my descent into mediocrity. You see, my dear fellow FBookers, I have rarely gotten great reviews… on any of my movies, apart from those by reviewers who think for themselves and make up their own opinions. Sadly those type of reviewers are nearly all dead. Good reviews often come many years after the movie has opened. I guess I have the knack of rubbing reviewers the wrong way - always have. This time of course they have bigger axes to grind - they can rip into my movie while trying to make their mainly pale asses look so politically correct by screaming "white-wash!!!” like the deranged idiots they all are. They fail to understand, or chose to pretend to not understand what this movie is, so as to serve some bizarre consensus of opinion which has nothing to do with the movie at all. That’s ok, this modern age of texting will probably make them go the way of the dinosaur or the newspaper shortly - don't movie-goers text their friends with what they thought of a movie? Seems most critics spend their time trying to work out what most people will want to hear. How do you do that? Why these days it is so easy... just surf the net to read other reviews or what bloggers are saying - no matter how misguided an opinion of a movie might be before it actually comes out. Lock a critic in a room with a movie no one has even seen and they will not know what to make of it. Because contrary to what a critic should probably be they have no personal taste or opinion, because they are basing their views on the status quo. None of them are brave enough to say “well I like it” if it goes against consensus. Therefore they are less than worthless. Now that anyone can post their opinion about anything from a movie to a pair of shoes to a hamburger, what value do they have - nothing. Roger Ebert wasn’t bad. He was a true film lover at least, a failed film-maker, which gave him a great deal of insight. His passion for film was contagious and he shared this with his fans. He loved films and his contribution to cinema as a result was positive. Now we have a pack of diseased vultures pecking at the bones of a dying carcass. Trying to peck to the rhythm of the consensus. I applaud any film-goer who values their own opinion enough to not base it on what the pack-mentality say is good or bad.”

In subsequent correspondence with SCREEN-SPACE, Proyas did acknowledge that his film, "seems to be getting a very good response critically and commercially everywhere outside the US."

It is the latest rebuke from a film community frustrated with the standard of modern film writing; last week, British director Ben Wheatley (pictured, right) aimed his own barbs at the current standard of film criticism. The director, whose films Kill List, Sightseers and A Field in England have enjoyed critical warmth, spoke out after a mixed reaction to his latest thriller, High Rise. “Talking about other people’s stuff is weird,” he told Flick Reel. “Why aren’t you making stuff? And if you aren’t, why should you really have a voice to complain about things until you’ve walked a mile in someone’s shoes?”

(Editor’s Note: SCREEN-SPACE gave a ‘4 star’ rating to Gods of Egypt on it’s official Letterboxd page on February 24. In 2009, this writer gave a mixed review to Knowing when contributing to the SBS Movies site.)

Monday
Dec282015

THE YEAR IN REVIEW, PART 2: AUSTRALIAN CINEMA IN 2015.

During the recent AACTA Awards film sector backslap, the message was loud and clear. “Australian cinema has been reborn!” the presenters continually reassured us, stressing that 2015 was a great year for local content. Homegrown movies earned AU$84million at the domestic box office, 7.7% of total takings; those figures represent the highest gross receipts ever for Oz films in a calendar year and the best market share since 2001. 

But breaking down the statistics reveals some devil in the details. Which Aussie pics wooed local audiences back to the ticket counter? What trends emerged amongst the hits (and misses, of which there were plenty)? And is Australian cinema on the cusp of a new ‘New Wave’, or has the tide already turned? SCREEN-SPACE ponders 'The Year in Australian Film'…

“YA WANNA GET OUTTA HERE, YA TALK TO ME…”
It was a long time coming, and took a very bumpy path to get to its audience, but Dr George Miller’s operatic action extravaganza Mad Max Fury Road was exactly the guzzoline needed to fuel the 2015 box office engine. It wasn’t the singular driving force that blew out the figures, like Moulin Rouge in 2001 or Babe in 1995 or Crocodile Dundee in 1985; in fact, some might counter that our iconic action hero’s return did not carry its weight at the box office, given it was only the 13th biggest hit of the year with takings sputtering out at AU$22million (beaten by the likes of 50 Shades of Grey, Cinderella and Pitch Perfect 2). But it was unarguably ‘event cinema’ of the highest order, the blockbuster ‘Aussie’ film the likes of which rarely emerge from the Antipodes. (Pictured, right; Charlize Theron as Furiosa)

SYDNEY OR THE BUSH?
The anachronistic ‘rural essence’ of this nation’s DNA is still a crucial and compelling component of our storytelling. Jocelyn Moorhouse’s raucous outback oddity The Dressmaker was the second biggest locally made hit, weaving AU$19million; Russell Crowe’s directorial debut, the WW1-set drama The Water Diviner took the bulk of its AU$17million this year after a Boxing Day 2014 debut; and, Jeremy Sims’ red-centre road-trip tearjerker Last Cab to Darwin earned a solid AU$7million and a Best Actor AACTA for local hero Michael Caton. Traditional Australian iconography and a sense of warm larrikinism were central to these works. What didn’t work were the contemporary narratives. Neil Armfield’s critically-lauded Holding the Man (AU$1million) and Dean Francis’ challenging odyssey Drown (figures n/a) failed to break out of their niche demographic. Brendan Cowell’s Sydney Film Festival opener Ruben Guthrie (AU$300k; pictured, top), Peter Andrikidis’ multicultural romance Alex & Eve (AU$390k), comedian Carl Barron’s self-penned vehicle Manny Lewis (AU$390k), Anupam Sharma’s Bollywood-themed rom-com UNindian (AU$100k) and Wayne Hope’s Melbourne-set misfire Now Add Honey (AU$87k) all bombed. On the upside, Damon Gameau’s new-agey diet doco That Sugar Film worked hard for its AU$1million, a respectful return on investment.

“WON’T SOMEBODY THINK OF THE CHILDREN!”
Local producers have occasionally been guilty of neglecting the commercial and cultural potential of all-age films; everyone seems surprised when they hit big. Consider the sector without the likes of Storm Boy (1976), Fatty Finn (1980), The Man From Snowy River (1982), BMX Bandits (1983), Napoleon (1994), Babe (1995), The Wiggles Movie (1997), Hating Alison Ashley (2005), Happy Feet (2006), Red Dog (2011) and The Rocket (2013). Behind the angry road warrior and the snooty seamstress, family films carried the local industry in 2015. Oz production giant Village Roadshow brought all their marketing might to two kid-friendly hits – Stuart McDonald’s country-bumkin puppy-dog tale Oddball (AU$11million; pictured, right) and Robert Connolly’s rousing family drama Paper Planes (AU$10million) defined and maximised their audience with precision. The local arm of Studio Canal invested in Deane Taylor’s contemporary take on Blinky Bill (securing such voice talents as Toni Collette, David Wenham and Barry Humphries) and recouped a healthy AU$2.7million. In 2016, the ‘Aussie teen’ genre will be re-energised by Rosemary Myer’s wonderful Girl Asleep, which warmed hearts at this years’ Adelaide Film Festival.

"WHEN YOU WISH, UPON A STAR"
While the might of the ‘A-list movie star’ continues to wan at the global box office, Australian audiences seem to respond to big name talent in their little Aussie stories. Kate Winslet’s presence in The Dressmaker was a key selling point, earning the film not only acceptance at the local ticket counter but helping to secure the PJ Hogan-produced film a Toronto world premiere. Crowe’s presence both behind and before the camera paid dividends for The Water Diviner, in addition to his uncharacteristic openness with the press and the photogenic charms of Ukrainian co-star Olga Kurylenko. Tom Hardy and Charlize Theron didn’t hurt Mad Max: Fury Road, though the ‘star’ was ultimately the chaotic artistry of Miller’s visuals. The exception that proves this rule is our own Nicole Kidman; her brave lead turn in Kim Farrant’s dusty ‘Twin Peaks’ wannabe Strangerland (to date, a global take is AU$24k) was all but ignored, while her latest US effort, Billy Ray’s Secret in Their Eyes, stumbled to AU$1.5million locally (despite the presence of co-stars Julia Roberts and Chiwetel Ejiofor).

SAME TIME, NEXT YEAR...
None of these films contributed more than loose change to the year’s box-office haul, but each one signals a new breed of commercially-oriented young filmmaker is on the verge of breaking through. Had the scourge of piracy not eaten away at it’s theatrical potential, Kiah Roache-Turner’s Wyrmwood would have certainly expanded upon its meagre AU$133k gross. Everyone of the following should earn its keep, via either the developing self-distribution theatrical model (see Fan-Force or Tugg) or as a 2016 home entertainment hit – Joe Bauer’s hilarious sci-fi/comedy Australiens (pictured, right); Rhiannon Bannenburg’s polished chamber piece, Ambrosia; Sam Curtain’s ruthlessly corpulent Blood Hunt; the unforgettably twisted Cat Sick Blues, from Dave Jackson (you’ve been warned); Deadhouse Film’s anthology A Night of Horror Volume 1; Shane Abbess’ handsomely mounted outer-space thriller, Infini; Jesse O’Brien’s bracing and brilliant sci-fi vision, Arrowhead; and, the off-kilter, heart-warming doco Sam Klemke’s Time Machine, from Matthew Bate.

Read The Year in Review, Part 1: The Ten Best Festival Sessions of 2015 here.
Read The Year in Review, Part 3: Our Ten Favourite Films of 2015 here.
 

(All figures courtesy of Box Office Mojo; conversion rates as of 28/12).

Friday
Nov272015

DOWN UNDER DOLLAR HELPS SECURE SCOTT'S ALIEN EPIC

After a full first day of location scouting, Sir Ridley Scott fronted the Sydney press corps to discuss his blockbuster Prometheus sequel, Alien: Covenant, which begins a 16 week shoot in April, 2016.

“I discovered I get on with Aussies,” joked the legendary British filmmaker, the grand façade of the old Manufacturers Hall hiding the early pre-production activity within. “I’ve worked with one of the toughest ones there is five times, a Mr Crowe, and we are now friends. We weren’t always friends, but now we are friends. I think I’m going to enjoy Sydney.”

Joining the director was The Honourable Julie Bishop, Federal Minister for Foreign Affairs (pictured, right), who acknowledged that incentives were being re-evaluated in order to attract studio productions to Australia. “I know that film industries, both here and abroad, have been lobbying consecutive governments for a very long time to make our tax arrangements more competitive and attractive,” she said. “Other countries had increased their location off-set to around 30%, so we matched that, and immediately drew a response from 20th Century Fox and the Alien production team, as well Disney and Marvel studios for the Thor series.” Flanked by NSW Minister for the Arts Troy Grant and Federal Minister for Industry, Resource and Energy, Anthony Roberts, Ms Bishop revealed that, “within the context of the next budget, any permanent changes to be made to the location off-set [will be considered].”

Alien: Covenant represents estimated revenue for the state of US$61million, with approximately 600 jobs to be generated. Having lost out during the bidding to secure Scott’s last film, The Martian, Ms Bishop stated with some circumspection, “The opportunity to have a film of [this] stature, to be filmed by a director of Sir Ridley’s standing, is one not to be missed.”

A savvy businessman, Sir Ridley Scott recounted a time when his native industry suffered due to a lack of concessions for large-scale productions. “I used to own Shepparton Studios in a pre-tax rebate U.K. film industry. Twenty-two stages over twenty-two acres; it’s where I shot Alien, and I wanted to put back into the industry,” he recalled. “Our biggest problem was that when a big film moved out, we had no return business because we had no rebate. So I sold it. Then, God damn, four years later the rebate happened and today, you can’t get into Shepparton or Pinewood or Leavesden. When you combine the frequency of production with the talent and infrastructure already in place, everything gets better.” (Pictured, left; Scott directing Veronica Cartright and Sigourney Weaver in Alien).

When questions turned to the scale of the production, Scott hinted that his narrative would drill down into the epic history of the alien life cycle. “It’s a very complex story,” he said. “Prometheus 1 was born out of my frustration that of the three sequels that followed my 1979 film, Alien, no one posed the question, ‘Who made the alien and why?’ Alien: Covenant further develops that evolution. When this film finishes, there will be another one then another one, which will drive into the back end of the 1979 film, explaining why the ‘space jockey’ was there and why did he have the alien inside of him.”

Prometheus leading man Michael Fassbender (pictured, right) will arrive in Australia in mid-March to reprise the role of android David. Scott revealed that the actor will play, “a doppelganger, so you’ll have two Michaels,” and that Noomi Rapace, as Shaw, will make a brief re-appearance. Other casting is still in contract phase, but the director confirmed that Australian actors will feature. “I would always look to do that,” he said, “It’s a very natural thing to do.”

The windfall for the local industry will be immense over several years, the level of production on a scale not seen since the heady days when the region hosted The Wachowski’s Matrix trilogy, Bryan Singer’s Superman Lives and Rob Cohen’s Stealth in quick succession. Scott confirmed that, should the shoot proceed with relative ease, all three planned instalments will shoot in Oz. “That’s the whole point,” he said. “We will be employing up to 600 personnel, all Australian, and all representative of a highly-skilled labour force.”

Tuesday
Aug042015

THE OUTBACK AMERICAN SAVING SOVIET SCREEN HISTORY

Over 1000 kilometres west of Sydney, the township of Menindee garners scant attention. The population of around 1000 claim some fame - explorers Burke and Wills camped there during their fateful 1860 expedition; it holds the record for the hottest day in the state’s history, the mercury topping 49.7 °C on January 10, 1939; and, postmaster John Cleary introduced the state’s first motorised mail service there in 1910. But how did this dusty township on the Darling River become home to the Kinopanorama Widescreen Preservation Association (K.W.P.A.), a crucial film preservation initiative overseen by a Texan-born former record industry executive committed to restoring the long dormant Russian format to its past glory…?

Honouring cinematic history has driven John Steven Lasher for most of his professional life. In 1974, his music label Entr’acte produced the legendary composer Bernard Hermann’s soundtrack for Brian De Palma’s Sisters; he has overseen newly recorded re-issues of such classic scores as Citizen Kane, The Magnificent Ambersons and King Kong. But in 1992, Lasher refocussed his love affair with film and took on the daunting task of resurrecting Kinopanorama, a three-lens, three-film widescreen format that emerged from the U.S.S.R. Cinema and Photo Research Institute (N.I.K.F.I.) in the mid 1950s in answer to Hollywood’s own ultra-wide projection brand, Cinerama.

“Kinopanorama's legacy is unique because it was the only three-film system developed by a country other than the United States, which could compete with Cinerama on the world market,” says Lasher. The first Kinopanorama film, Roman Karmen’s rural vista Vast is My Native Land (US title - Great is My Country; pictured, right), premiered in Moscow in February 1958; over the next decade, eight travelogue epics were produced in the format. As Cinerama boomed with the release of Hollywood films such as How The West Was Won (and single-camera conversions such as It’s a Mad, Mad, Mad, Mad World), the Soviet industry remained committed to its own technology; an advanced camera design called the PSO-1960 (pictured, top) allowed for the use of interchangeable lens kits with different focal lengths. Often viewed as cultural by-products of Cold War one-upmanship, both formats proved expensive and fell out of favour by the mid 1960s.

It would not be until 1992 that Lasher, now head of Fifth Continent Movie Classics, would begin the long process of resurrecting Kinopanorama. His first point-of-contact was the Russian Consulate in Sydney, who steered him to veteran cinematographer Yuri Sokol A.C.S., a Russian émigré who had forged a revered Australian resume in collaboration with director Paul Cox (Lonely Hearts, 1982; Man of Flowers, 1983; My First Wife, 1984; Cactus, 1986). “Yuri Sokol was instrumental in negotiating with N.I.K.F.I. for the purchase of the PSO-1960 camera and ancillary equipment,” recalls Lasher, who would subsidise the restoration and transportation of the camera to Australia, accompanied by respected scientific technician, Sergei Rozhkov. “It was possible over time to form a bond with the Russian organisations thanks to Yuri, (who) had retained contacts with other Russian filmmakers and organisations. In this respect, Sergei Rozhkov was most helpful in liaising with the various Russian organisations and colleagues.” (Pictured, below: The Kinopanorama team, 1993)

With further guidance offered by local D.O.P. John R McLean A.C.S. (The Cars That Ate Paris, 1974; Turkey Shoot, 1982), who had crewed on the 1956 Cinerama travelogue South Seas Adventure, Lasher and Rozhkov guided the first Kinopanorama productions in nearly three decades - Chastity Truth and Kinopanorama (1993), a compile of test footage captured on the restored PSO-1960, shot in Moscow by Soviet director Igor Shetsov; and, Bounty (1993), a picturesque examination of Sydney Harbour from the deck of the famous tall-ship. Over this period, Lasher, Rozhkov and Sokol also undertook location shoots in some of regional New South Wales most photogenic locations, including The Blue Mountains and the central western plains surrounding Dubbo, as well as the hallowed sporting venue, The Sydney Cricket Ground (pictured, below).

It was Lasher’s affinity for the landscape of rural Australia that drew him to Broken Hill, the most remote township in New South Wales, where he lived until 2009. “It was not possible to operate a heritage cinema in Broken Hill, where I lived at the time,” recalls Lasher. “The political landscape, particularly after the proposed film studio complex failed to materialise, was not favourable to launch such a venue.” Determined to further his preservation efforts, he shifted base to Menindee and established the K.W.P.A., which secured all rights to the Kinopanorama brand in 2012. “Menindee offered alternate facilities, including an abandoned building next door to the tourist information centre. We have approached the local council about acquiring it. Until this is sorted out we have no set facilities at present.”

Of course, setbacks have never deterred John Steven Lasher from pushing forward with his passion project. In 1999, Lasher helped fund a partial restoration of the first Kinopanorama feature film, Kaljo Kiisk’s Estonian-shot 1962 drama, Opasniye Povoroty (pictured, right: original lobby-card). Despite the project being abandoned due to spiralling costs, the two complete reels have been screened at widescreen celebrations in the U.S. and U.K.  “We are negotiating with Gosfilmofond of Russia for the purchase of a 4K digital master of the restored Opasniye Povoroty for exhibition at film festivals in Australia and New Zealand. From that point onward, I will contact the various festival organisers as to the possibilities of scheduling the film,” says Lasher, who believes the screening of a Kinopanorama feature in all its majesty would be a unique cinematic experience for local audiences. “After all,” he says, “it would be the first time that a three-film panoramic film format had been exhibited in Australia and New Zealand.”

For more information on the Kinopanorama Widescreen Preservation Association, including membership details and the full range of screen services offered, visit the official website or Facebook page.

The KINOPANORAMA ™ name and logos are the exclusive ™ and © of K.W.P.A.; all images are © of K.W.P.A.

Thursday
Mar262015

CHINESE INDUSTRY DOMINATES REGIONAL KUDOCAST

After a New Year period that saw Chinese cinema attendance top US figures for the first time in history, the Chinese film industry can claim to be on quite a roll having last night swept the 2015 Asian Film Awards, taking out ten of the fourteen categories. The lavish ceremony is overseen by an organizing committee comprising officials from the Busan, Hong Kong and Tokyo film festivals and was held in the vast Venetian Casino on the resort island of Macau.

Blind Massage (pictured, above), a Nanjing-set drama that follows the bittersweet lives of blind masseurs, took Best Picture honours ahead of Black Coal Thin Ice (China/Hong Kong), Haider (India), Hill of Freedom (South Korea), Ode to My Father (South Korea) and The Light Shines Only There (Japan). Already an awards season heavyweight boasting honours from the Asia Pacific Screen Awards, Taipei's Golden Horse Film Festival and the Berlin Film Festival, the intimate ensemble piece also snared the Best Cinematography trophy for lensman Zeng Jian.

The film’s director, Le You, was again beaten for Best Director honours by Ann Hui, whose helming of the Xiao Hong biopic, The Golden Era, was favoured at the Golden Horse ceremony in November. Other nominees included Tsukamoto Shinya, (Fires on the Plain, Japan], Berlin honoree Lav Diaz (From What Is Before, The Philippines), Vishal Bhardwaj (Haider) and Hong Sang-soo (Hill of Freedom). The Golden Era’s Wang Zhiwen was named Best Supporting Actor, ahead of Jo Jin-ung (A Hard Day, South Korea), Eric Qin (Blind Massage), Chen Jianbin (Paradise in Service, Taiwan) and Ito Hideaki (Wood Job!, Japan).

Black Coal, Thin Ice took home the Best Actor award, with charismatic star Liao Fan topping a strong category that included Kase Ryo (Hill of Freedom), Lau Ching-wan (Overh3ard, Hong Kong/China), Ethan Ruan (Paradise in Service) and Choi Min-shik (Roaring Currents, South Korea) and Sato Takeru (Rurouni Kenshin: The Legend Ends, Japan). Auteur Diao Yi’nan also earned the Best Screenplay honour for his dark procedural thriller.

Other territories represented on the podium were Japan (Best Supporting Actress Ikewaki Chizuru, pictured right, in The Light Shines Only There); India (composer Mikey McCleary for Margarita, With a Straw); and, South Korea, whose Best Actress winner Bae Du-na for A Girl at My Door led in a packed field that included Gong Li, (Coming Home, China), Vicki Zhao, (Dearest, Hong Kong/China), Kalki Koechlin, (Margarita, With a Straw), Miyazawa Rie (Pale Moon, Japan) and pre-event favourite, Tang Wei (The Golden Era). Jiang Wen’s Gone With the Bullets, a grandly-mounted satire of French colonial excess in 1920s Shanghai, topped the trophy tally with three, all for its below-the-line contributions in the fields of Production Design, Costuming and Visual Effects. Gareth Evans rounded out the tech categories with a Best Editing nod for his Indonesian action epic, The Raid 2: Berandal.

Wednesday
Feb182015

ZOMBIES, PIRATES AND ME: A DIRECTOR'S STATEMENT.

It has been a heady couple of weeks for Australian filmmaker, Kiah Roache-Turner. Having topped the iTunes charts with his zombie epic Wyrmwood, the debutant filmmaker then learnt that his low-budget passion-project was also one of the planets most illegally downloaded films. SCREEN-SPACE wanted to know how the turn of events impacted the Sydney-based director (pictured, below; on-set, with one of his creations) who, with his brother Tristan, poured all their money and countless unpaid hours into the production. So, for the first time, we turned our site over to the victim of a crime. Exclusively for SCREEN-SPACE, Kiah Roache-Turner provides a first-person account of how destructive net-piracy truly is…

“My name is Kiah Roache-Turner, I am a filmmaker who has just released my first feature, 'Wyrmwood: Road of the Dead'.

Wyrmwood is currently one of the most torrented films in the world. This is fantastic and horrible, all at the same time. What a lot of these ‘jolly pirates’ don't understand is that the film was made by a bunch of people on weekends over four years on a 'deferred payment' basis. A lot of these amazingly talented actors and crew, including myself, have not seen a cent from this film yet.

In this instance, profits from the film are vitally important because they go directly to very basic things like rent, bills and food for a lot of hardworking artists and technicians who exist in an industry where it is very difficult to find work (pictured, right; on the set of Wyrmwood).

We expected to be torrented. My issue isn't with torrenters; that is a global policing issue that is out of my hands. My issue is with those who pirate the film, love the film and then just move on to the next thing. All I ask is that you think about (your actions) for just a second. I don't mind the 'try before you buy' theory, but if you try it and you like it please pay for a legal copy because artists have to eat. It's really that simple.

I've been following the online comments and a lot of the reaction boils down to "If those fools were too stupid to organise a cross-platform, same-day global release strategy, then they deserve everything they get!" And yes, comments have been that harsh, even harsher; the Internet can be a pretty brutal playground.

When you sign on with a distributor, you sign on to be guided by their existing distribution model. Remember, these guys and gals are really smart and really know how to release a film. They've been doing it for decades to a wildly successful degree.

You don't sign onto one distributer, which would be fantastic; you sign on to many distributers all over the world, who all have different release strategies and key dates and different agreements when it comes to DVD, Blu-ray & VOD. This is a point that needs to be clarified, as most people don't seem to understand how the film industry works. Quite frankly, nor did I until very recently.

In conjunction with Studio Canal, we tried very hard to get 'same day' for Wyrmwood for iTunes but unfortunately our hands were tied due to the window* required by cinemas. In this instance we were able to get a two month window instead of three, which is fantastic. But Aussies were still pissed off when (US distributor) IFC Midnight released theatrical and VOD same day. As soon as the iTunes copy launched, 'BOOM'; somebody ripped that film off the platform, uploaded it to Pirate Bay and the film became one of the most torrented films in the world overnight.

People have been asking, "Then why go theatrical at all?” Unfortunately, funding bodies require a limited theatrical run for funding consideration. And my brother and I (pictured, left) ran out of money for this baby years ago so without funding - NO WYRMWOOD. Thank God Screen Australia believed in us because without government funding for post-production, this film would not be playing in cinemas at all.

People need to understand that this industry has been around for a long time. It is huge and vast and labyrinthine and doesn't change on a dime. I liken it to the 'Titanic'; we've all spotted the iceberg and the ship is turning, but not nearly fast enough. Every single person in every single organisation, from the government bodies to distributors to cinema chains all know what the problems are and they are working their butts off to make these changes. But it is happening in the way that all huge industries generally make gargantuan changes and that is never 'overnight'.

Right now it's in YOUR hands. Yes, YOU the person with the hand paused over the 'download' button getting ready to download my bad-ass ozploitation zombie film RIGHT now. I can't stop you pushing that button nor do I judge you for pushing that button. Mate, that's your decision, it's none of my business. But if you download Wyrmwood and really bloody like it, please do the right thing and purchase a copy. Support independent filmmakers who sweated blood for four long years to bring you that film.

It's all very well to say, "Well, this is how the world is" or "If the industry won't change fast enough, why should I bother?" But the simple fact of the matter is my cast and crew need to eat. So, please - YOU WATCH, YOU BUY and we can eat. It's really that simple.

Yours truly,

Kiah Roache-Turner.”

Australian readers can pre-order Wyrmwood on DVD here.

Wyrmwood can be purchased via the US iTunes store here.

Local screenings (including profit-share arrangements) can be organised here.

*period between a film’s theatrical release and subsequent ancillary platforms (DVD, VOD, Pay-TV, etc).

Wednesday
Jan212015

IT'LL BE ALL WHITE ON THE NIGHT: OSCAR 2015 SNUBS DIVERSITY

The shutout of Martin Luther King drama Selma (pictured, below) across all key categories bar Best Picture has meant 2015 Academy Award nominations are the first since 1998 not to feature an African American nominee. This year, it will fall to French star Marion Cotillard (a surprise but well-deserved Best Actress nominee for Two Days One Night), Mexico’s Alejandro Gonzalez Inarritu, Norwegian Morten Tyldum and a handful of Brits to bring cultural diversity to the big five categories.

Birdman (The Unexpected Virtue of Ignorance) and The Grand Budapest Hotel lead the race with 9 nominations each. The Academy bumped these two from key categories that analysts thought were certainties – Ralph Fiennes for his lead turn in Wes Anderson’s twee masterpiece and editors Douglas Crise and Stephen Mirrione for Birdman – but 18 nominations across the two is a well-earned windfall for distributor Fox Searchlight. The Murdoch stable’s arthouse wing scored 20 in total, followed by Sony Pictures Classics (18) and Warner Bros (11).

Other titles to score big were The Imitation Game (8), Boyhood (6) and American Sniper (6, including Best Actor for Bradley Cooper; pictured, right). Sony Pictures Classics’ Foxcatcher earned five notices, including Lead and Supporting Actor and Best Director nominations, but was bumped from the Best Picture race by Whiplash (5, including Supporting Actor shoo-in, JK Simmons). Others up for 5 include The Theory of Everything and Interstellar (Christopher Nolan’s love/hate sci-fi spectacle swept the tech categories); categories were filled out by Mr Turner (4, though no Best Actor for Cannes winner Timothy Spall), Into the Woods (3), Unbroken (3, but not for director Angelina Jolie) and two each for Guardians of The Galaxy, Ida, Inherent Vice, Selma and Wild.

Contender for 2014 Most Snubbed honoree are Nightcrawler (starring Jake Gyllenhaal; pictured, right), the dark LA noir thriller earning just one nod, for Dan Gilroy’s script, and Gone Girl, the box office blockbuster which could only snare a single consideration, for Lead Actress Rosamund Pike. In addition to the Selma shut-out, notable omissions include The LEGO Movie, denied a Best Animated Film nod (it scored an Original Song nomination for ‘Everything is Awesome’); Jennifer Aniston for her Lead Actress turn in Cake; Scarlett Johansson, for either Lucy or Under the Skin; American Sniper director Clint Eastwood; Foreign Language Film frontrunner Force Majeure; and, documentaries Life Itself and Jodorowsky’s Dune.

Best Picture
“American Sniper” Clint Eastwood, Robert Lorenz, Andrew Lazar, Bradley Cooper and Peter Morgan, Producers
“Birdman or (The Unexpected Virtue of Ignorance)” Alejandro G. Iñárritu, John Lesher and James W. Skotchdopole, Producers
“Boyhood” Richard Linklater and Cathleen Sutherland, Producers
“The Grand Budapest Hotel” Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson, Producers
“The Imitation Game” Nora Grossman, Ido Ostrowsky and Teddy Schwarzman, Producers
“Selma” Christian Colson, Oprah Winfrey, Dede Gardner and Jeremy Kleiner, Producers
“The Theory of Everything” Tim Bevan, Eric Fellner, Lisa Bruce and Anthony McCarten, Producers
“Whiplash” Jason Blum, Helen Estabrook and David Lancaster, Producers

Actor
Steve Carell in “Foxcatcher”
Bradley Cooper in “American Sniper”
Benedict Cumberbatch in “The Imitation Game”
Michael Keaton in “Birdman or (The Unexpected Virtue of Ignorance)”
Eddie Redmayne in “The Theory of Everything”

Supporting Actor
Robert Duvall in “The Judge”
Ethan Hawke in “Boyhood”
Edward Norton in “Birdman or (The Unexpected Virtue of Ignorance)”
Mark Ruffalo in “Foxcatcher”
J.K. Simmons in “Whiplash”

Actress
Marion Cotillard in “Two Days, One Night”
Felicity Jones in “The Theory of Everything”
Julianne Moore in “Still Alice”
Rosamund Pike in “Gone Girl”
Reese Witherspoon in “Wild”

Supporting Actress
Patricia Arquette in “Boyhood”
Laura Dern in “Wild”
Keira Knightley in “The Imitation Game”
Emma Stone in “Birdman or (The Unexpected Virtue of Ignorance)”
Meryl Streep in “Into the Woods”

Animated Feature
“Big Hero 6” Don Hall, Chris Williams and Roy Conli
“The Boxtrolls” Anthony Stacchi, Graham Annable and Travis Knight
“How to Train Your Dragon 2” Dean DeBlois and Bonnie Arnold
“Song of the Sea” Tomm Moore and Paul Young
“The Tale of the Princess Kaguya” Isao Takahata and Yoshiaki Nishimura

Adapted Screenplay
“American Sniper” Written by Jason Hall
“The Imitation Game” Written by Graham Moore
“Inherent Vice” Written for the screen by Paul Thomas Anderson
“The Theory of Everything” Screenplay by Anthony McCarten
“Whiplash” Written by Damien Chazelle

Original Screenplay
“Birdman or (The Unexpected Virtue of Ignorance)” Written by Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo
“Boyhood” Written by Richard Linklater
“Foxcatcher” Written by E. Max Frye and Dan Futterman
“The Grand Budapest Hotel” Screenplay by Wes Anderson; Story by Wes Anderson & Hugo Guinness
“Nightcrawler” Written by Dan Gilroy

Cinematography
“Birdman or (The Unexpected Virtue of Ignorance)” Emmanuel Lubezki
“The Grand Budapest Hotel” Robert Yeoman
“Ida” Lukasz Zal and Ryszard Lenczewski
“Mr. Turner” Dick Pope
“Unbroken” Roger Deakins

Costume Design
“The Grand Budapest Hotel” Milena Canonero
“Inherent Vice” Mark Bridges
“Into the Woods” Colleen Atwood
“Maleficent” Anna B. Sheppard and Jane Clive
“Mr. Turner” Jacqueline Durran

Director
“Birdman or (The Unexpected Virtue of Ignorance)” Alejandro G. Iñárritu
“Boyhood” Richard Linklater
“Foxcatcher” Bennett Miller
“The Grand Budapest Hotel” Wes Anderson
“The Imitation Game” Morten Tyldum

Documentary Feature
“CitizenFour” Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky
“Finding Vivian Maier” John Maloof and Charlie Siskel
“Last Days in Vietnam” Rory Kennedy and Keven McAlester
“The Salt of the Earth” Wim Wenders, Juliano Ribeiro Salgado and David Rosier
“Virunga” Orlando von Einsiedel and Joanna Natasegara

Documentary Short Subject
“Crisis Hotline: Veterans Press 1” Ellen Goosenberg Kent and Dana Perry
“Joanna” Aneta Kopacz
“Our Curse” Tomasz Sliwinski and Maciej Slesicki
“The Reaper (La Parka)” Gabriel Serra Arguello
“White Earth” J. Christian Jensen

Film Editing
“American Sniper” Joel Cox and Gary D. Roach
“Boyhood” Sandra Adair
“The Grand Budapest Hotel” Barney Pilling
“The Imitation Game” William Goldenberg
“Whiplash” Tom Cross

Foreign Language Film
“Ida” Poland
“Leviathan” Russia
“Tangerines” Estonia
“Timbuktu” Mauritania
“Wild Tales” Argentina

Makeup and Hairstyling
“Foxcatcher” Bill Corso and Dennis Liddiard
“The Grand Budapest Hotel” Frances Hannon and Mark Coulier
“Guardians of the Galaxy” Elizabeth Yianni-Georgiou and David White

Original Score
“The Grand Budapest Hotel” Alexandre Desplat
“The Imitation Game” Alexandre Desplat
“Interstellar” Hans Zimmer
“Mr. Turner” Gary Yershon
“The Theory of Everything” Jóhann Jóhannsson

Original Song
“Everything Is Awesome” from “The Lego Movie”
Music and Lyric by Shawn Patterson
“Glory” from “Selma”
Music and Lyric by John Stephens and Lonnie Lynn
“Grateful” from “Beyond the Lights”
Music and Lyric by Diane Warren
“I’m Not Gonna Miss You” from “Glen Campbell…I’ll Be Me”
Music and Lyric by Glen Campbell and Julian Raymond
“Lost Stars” from “Begin Again”
Music and Lyric by Gregg Alexander and Danielle Brisebois

Production Design
“The Grand Budapest Hotel” Production Design: Adam Stockhausen; Set Decoration: Anna Pinnock
“The Imitation Game” Production Design: Maria Djurkovic; Set Decoration: Tatiana Macdonald
“Interstellar” Production Design: Nathan Crowley; Set Decoration: Gary Fettis
“Into the Woods” Production Design: Dennis Gassner; Set Decoration: Anna Pinnock
“Mr. Turner” Production Design: Suzie Davies; Set Decoration: Charlotte Watts

Animated Short Film
“The Bigger Picture” Daisy Jacobs and Christopher Hees
“The Dam Keeper” Robert Kondo and Dice Tsutsumi
“Feast” Patrick Osborne and Kristina Reed
“Me and My Moulton” Torill Kove
“A Single Life” Joris Oprins

Live Action Short Film
“Aya” Oded Binnun and Mihal Brezis
“Boogaloo and Graham” Michael Lennox and Ronan Blaney
“Butter Lamp (La Lampe Au Beurre De Yak)” Hu Wei and Julien Féret
“Parvaneh” Talkhon Hamzavi and Stefan Eichenberger
“The Phone Call” Mat Kirkby and James Lucas

Sound Editing
“American Sniper” Alan Robert Murray and Bub Asman
“Birdman or (The Unexpected Virtue of Ignorance)” Martín Hernández and Aaron Glascock
“The Hobbit: The Battle of the Five Armies” Brent Burge and Jason Canovas
“Interstellar” Richard King
“Unbroken” Becky Sullivan and Andrew DeCristofaro

Sound Mixing
“American Sniper” John Reitz, Gregg Rudloff and Walt Martin
“Birdman or (The Unexpected Virtue of Ignorance)” Jon Taylor, Frank A. Montaño and Thomas Varga
“Interstellar” Gary A. Rizzo, Gregg Landaker and Mark Weingarten
“Unbroken” Jon Taylor, Frank A. Montaño and David Lee
“Whiplash” Craig Mann, Ben Wilkins and Thomas Curley

Visual Effects
“Captain America: The Winter Soldier” Dan DeLeeuw, Russell Earl, Bryan Grill and Dan Sudick
“Dawn of the Planet of the Apes” Joe Letteri, Dan Lemmon, Daniel Barrett and Erik Winquist
“Guardians of the Galaxy” Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner and Paul Corbould
“Interstellar” Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher
“X-Men: Days of Future Past” Richard Stammers, Lou Pecora, Tim Crosbie and Cameron Waldbauer

Thursday
Sep112014

THE 5 MOST IMPORTANT MOMENTS IN AUSTRALIA'S UNDERGROUND FILM CULTURE

“Is Richard Wolstencroft for real?” pondered a broadsheet journalist as far back as 2004. He is, albeit in the guise of a larger-than-life figure whose ideal reality is often at odds with the accepted norm. First as a film director (Bloodlust, 1992; Pearls Before Swine, 1999; The Beautiful and Damned, 2010) then, for the the last 15 years, as overseer of the Melbourne Underground Film Festival (MUFF), Richard Wolstencroft (pictured, below) has been at the forefront of transgressive cinema culture in Australia, clashing with censorship advocates, funding sector bureaucrats and conservative mouthpieces on a regular basis. On the eve of MUFF 2014, a very busy Wolstencroft kindly accepted an editorial assignment from SCREEN-SPACE, when we asked him, “What have been the five most important developments in Australia’s undergrond film sector?”…

Super 8 Film Stock. "What underground and indie films were often made on in the 70’s and early 80’s. A really amazing, versatile and fun film format that meant you could be a big time filmmaker, even when you were a kid. I started making Super 8 films in 1980 at age 11. It taught the tactile art of cinema and helped you get out there and really learn cinema the only way possible - by simply doing it. The New York Cinema of Transgression was mostly shot on this format. And so too the Australian Cinema of Transgression, made up of young filmmakers like myself, Mark and Colin Savage, Phillip Brophy, Jon Hewitt and many others." Watch The Power of Super 8 from SXSW Festival, 2010.

The Advent of Home Video. "The arrival of home video in the early 80’s was a complete revolution in cinema and changed the way cinema is seen forever. As kids and early teens we rented everything – including porn – from the local video shop owners, who turned their backs when we snuck into the adult section. The arrival of horror, cult films and ‘video nasties’ also changed aesthetic standards and tastes forever. This was a much more burgeoning cinema culture than most of the arthouse and critically lauded nonsense around at that time. Few things were not on video and this (distribution method) marked the birth of the home cinema age, that has now become so vital in the internet age."

The Making of Made-on-Video Feature Films. "I was honored to be a major catalyst and to be involved in two out of three of the first made-on-video feature films ever shot in this country. Marauders (1986) by Mark Savage and Bloodlust (1991) by Jon Hewitt and my good/evil self. We both wished to carry on the great tradition of Ozploitation cinema and so we did!"

WARNING: Some content may offend.

The Arrival of Video Cinema. "When my old pal Jon Hewitt opened Panorama, Australia’s first video cinema, in the early to mid 90’s, he was laughed at and mocked by many of the blinkered morons in the industry. Now almost every cinema in the country has gone the way of Panorama. That is vision for you! We both knew it was the future after Bloodlust - and why not embrace the future early, we thought?" (Ed: In 2012 interview with Crikey.com, critic Jake Wilson recalled, "the strangest cinema I’ve ever been to was the Panorama, Jon Hewitt’s ahead-of-its-time videotheque on Brunswick St, Fitzroy, which used to show Sam Fuller triple bills and documentaries on what was called the “modern primitive” movement back when body piercing was considered edgy. Now it’s a community credit co-operative. Unless I dreamt the whole thing.")

The Founding of Underground Film Festivals. "The world’s first two Underground Film festivals were the New York and Chicago events (pictured, right; Todd Phillips and Andrew Gurland, co-founders of the New York Underground Film Festival) . I was inspired by both to start MUFF, now the third oldest in the World, I believe. Soon after they popped up all over the place, most notably in Sydney, after (SUFF founder) Stefan Popescu was an official MUFF guest with his short film, Roseberry 7470, about 9 years back now."

Wednesday
Jun182014

REFLECTIONS ON REVELATIONS: AN ORAL HISTORY

They are the men whose shared visions create the most eclectic and challenging collection of cinema on the Australian film festival calendar. Chairman Richard Sowada who, fuelled by the spirit of the now defunct Revelations magazine and its founder Peter Collins, launched a series of 16mm film screenings at Perth’s iconic jazz venue, The Greenwich, in 1997; program director Jack Sargeant, author and academic on all matters counter-culture and underground, has acted as in-house agitant and revolutionary spirit since 2008. So who better to answer the question, “What have been the defining moments in the 17 year history of Revelation Perth International Film Festival?”, than the men behind the madness...?

“Each year is new and each choice is filled with experimentation and a roll of the dice.” - Richard Sowada, Founder and Chairman (pictured, right).

The Banning of Sick: The Life and Death of Bob Flanagan, Supermasochist: This appeared in Rev '98. It was passed for screening by the Office of Film and Literature Classification, but the ruling was overturned by the local West Australian office. It made print and TV news around the country and taught us how some arms of government and the media work. A challenging experience, for us and the community. We learnt that as far as politics goes, the issue is never about the issue and that our 'editorial stand' was a strong one, which is something that's never really changed. Aside from that, it was lots of fun. It got unbanned, by the way.

Viola Dana playing The General: In 2009, local outfit Viola Dana played the score to Buster Keaton's silent classic The General. I cried...it was so beautiful and received a standing ovation. The real thing. It was a true moment where the power of cinema crossed generations. It was one of those things you hope has a real impact on people who may not ever expect that kind of tenderness from a silent film.

 

Going on Tour: In the first two years of the event, we went touring to Sydney and Adelaide. While a great thing to do, it made us realise that that the idea behind the event can't be transferred. It reinforced that the event is not about films necessarily but the ideal behind what we were trying to do. To manage something like this, you need to have the right state of mind - and in a very conservative film exhibition environment, very few people have that. So we keep it in WA. 

The First International Guest: In our second year, a young Japanese experimental filmmaker named Hideo Oshima came over. He flew himself over for his first time ever in Australia. He'd never seen a beach and he spent his whole time with his shoes off walking on Cottesloe Beach, feeling the sand between his toes. It had a real impact on him. When he came over, I thought we were on our way and now we have over 60 guests.

Every Year…: Rev is such an enormous challenge. In all ways we do things like no other event. It's more than a festival - it's a Union for artists and audiences. The event is a point of advocacy for both, that challenges the difficulties in having a community voice. (We address) funding, distribution and exhibition difficulties and the mentoring (of) new practitioners in every sector of the industry.


“(All) the filmmakers who enter seek to push the medium and I think that it is indicative of the limitless potentials of cinema to stimulate imagination.” - Jack Sargeant, Program Director (pictured, right).

Joe Davis Dancing in the Bar: Davis is an incredible thinker, philosopher, scientist and prankster, who was over to introduce a screening of the film Heaven and Earth and Joe Davis which documented part of his life. This is a fascinating movie about a genuinely unique figure, and having him in town was great. Joe hit it off with everyone and opened people's eyes to many things. We have been blessed with many enjoyable guests, and to me that is still a really special part of the festival.

Crispin Glover screening What Is It? and It Is Fine! Everything Is Fine: These are powerful, visionary movies and to watch them was an incredible experience. Not only did he screen his films, he also performed both parts of his Big Slide Show (one part each night, prior to the films) which was a magical and unique dramatic narration of his beautiful books. An incredibly dedicated individual, he answered questions from the audience and then met audience members individually to sign books and talk to people. 

 

Lawrence English performing a live soundtrack to Harry Smith's Early Abstractions: This was at my first Revelation, and I had commissioned Lawrence to write a new soundtrack to this series of experimental animated films. Of course, his soundtrack was as beautiful and visionary as you would imagine, and people loved seeing the films and listening to the music.  

Revel8: Our annual screening of super 8 movies. Anyone can enter; there have been submissions from experimental filmmakers, students, friends, artists, and jokers over the years. There's a real pleasure in the possibilities inherent in this event. The films may be experimental, visionary, irreverent, entertaining or infuriating, but they are always unique and made with a kind of wild enthusiastic passion. I'd like to think that the potentialities of Revel 8 movies reflect something of the potentialities of all the films we screen at the festival.  

The Revelation Bar: There's a lot of hanging out at Revelation after movies, and one of the key aspects is that everyone is welcome. The bar becomes the de facto centre of the festival with filmmakers, guests, artists, musicians, audience members and academics just talking and discussing ideas. You can see fruitful exchanges taking place, friendships being forged and a real air of enjoyment, which makes the whole thing very special. (pictured, right; Sowada, left, and Sargeant flank revellers at a recent Revelation social event)

The Revelation Perth International Film Festival will run July 3-13 in several venues in and around Perth, Western Australia. For full program details and tickets, visit the official website here.