sign in sign up
<<
Home , All the Rivers Run, Alvin Purple, Barry Crocker, Belinda Giblin, Bruce Beresford, David Eggby

MADMAN CINEMA PRESENTS… Long Synopsis Short Synopsis NOT QUITE HOLLYWOOD : Before the censor’s axe… The Wild, Untold Story of “” Before the critics’ attacks… Before the Brazilian wax… Free-wheelin’ sex romps! Blood- soaked terror tales! High-octane action NOT QUITE HOLLYWOOD is the wild, extravaganzas! They’re the main ingredients wonderful, untold story of “OZPLOITATION” of NOT QUITE HOLLYWOOD, the first detailed films. It irreverently documents an era The wild, untold story of OZPLOITATION! examination and celebration of Australian when Australian cinema got its gear cinema of the 70s and 80s. off and showed the world a full-frontal explosion of sex, violence, horror and In 1971, with the introduction of the foot-to-the-floor, full bore action! TABLE OF CONTENTS R-certificate, ’s censorship regime went from repressive to progressive virtually overnight. This cultural explosion gave birth to arthouse classics, such as PICNIC AT Short and Long Synopses 3 HANGING ROCK and MY BRILLIANT CAREER, but also spawned a group of demon-children: Director’s Statement 4 maverick filmmakers who braved assault from all quarters to bring films like , THE MAN FROM , PATRICK, Biography Mark Hartley – Writer / Director / Editor 6 TURKEY SHOOT and to the big screen. Biographies of Key Creatives 7 As explicit, violent and energetic as their cousins, Aussie Select Interviewee Biographies 8 genre movies presented a unique take on established conventions. Background Notes 12 In England, Italy and the and Drive-ins Did You Know? 14 of America, audiences applauded our homegrown Credits 15 marauding revheads with brutish cars, our spunky well-stacked heroines and Publicists 23 our - unparalleled in their quality and extreme danger!

Full of outrageous anecdotes, a large cast of local and International names and a genuine, infectious love of Australian movies, NOT QUITE HOLLYWOOD is a fast-moving journey through an unjustly forgotten cinematic era that was unashamedly packed full of boobs, pubes, tubes... and even a little kung fu.

2 3 www.notquitehollywood.com.au It’s a story that begins in 1971 with the Over the past few years I have been colourful local and international poster art – introduction of the R-certificate classification. researching/directing and and this is all accompanied by a soundtrack This rating ended an era of savage censorship feature-length documentaries for the local of seminal radio hits from the period. It is and allowed Australian cinema to break the and international DVD release of many my hope that these are all the ingredients shackles of a staid, highly conservative Australian films. I have been fortunate to needed to serve up a thrilling theatrical society and start producing films such have forged strong relationships with the experience! as STORK (1971), THE ADVENTURES OF cast and crews of many key films featured BARRY McKENZIE (1972) and ALVIN PURPLE in this documentary. It is the brutally frank So, please leave your political correctness (1973). These films achieved unprecedented recollections of these people that are the in the foyer, crack a tube and settle in for commercial success and demonstrated that most important element of NOT QUITE a fast-moving journey back to an unjustly local audiences were willing to pay to see HOLLYWOOD. forgotten cinematic era when our big-screen local product. heroes were possessed with white-line fever, These are the real stories from the people our heroines were well-stacked and sexually What followed, hand-in-hand alongside the who were there in the cinematic trenches liberated and our truly death-defying revered SUNDAY TOO FAR AWAY (1975), – including the wild, trailblazing mavericks work just had to be seen to be believed! THE GETTING OF WISDOM (1977) and who found private finance, snubbed their MY BRILLIANT CAREER (1979), was the nose at authority, made their own rules Enjoy. production of an abundance of sex romps, and in the process introduced the car terror tales and action extravaganzas. chase,karate kick, BMX bike and water bed to Australian cinema. For every CADDIE there was a FELICITY. Mark Hartley For every PICNIC AT HANGING ROCK there These candid interviews have been Writer/Director was a . interwoven with remastered film scenes, For every JIMMY BLACKSMITH there was an promotional trailers and never-before-seen ALVIN PURPLE behind-the-scenes footage from over 80 Director’s Statement These films found enthusiastic audiences not Aussie genre pictures. Energetic montages just locally but all around the globe. have been created from rare film stills and As a member of the X- generation growing up in the outer suburbs of , I Back home we didn’t realize it, but THE never got to experience 70s Australian MAN FROM HONG KONG (1975) was setting genre cinema in the theatres or drive-ins. box office records in London and quickly I discovered it late at night on TV. becoming the all time box office champ in Pakistan - and PATRICK (1978) was soon After-dark TV screenings of films such as to become the highest grossing film ever (1975), released in Italy! PATRICK (1978) and SNAPSHOT (1979) thrilled excited and downright scared me. The story of these “Ozploitation” films is They were filled with familiar Aussie faces brimming with outrageous anecdotes and – but spectacular content... a fist fight and you-have-to-see-it-to-believe-it footage, but chase around Ayer’s Rock… it is also full of many cultural themes and a comatose killer with telekinetic powers… issues that are equally enthralling. a murderous Mr. Whippy van… • The High-Art versus Low-Brow 70s culture To a kid who loved movies it was the wars and our image abroad. perfect blend – films with action, suspense and horror that were full of iconographic • Nudity in 70s Australian cinema – was homegrown brands, landmarks and accents. it a case of sexual liberation or simply Interestingly, when I tried to read about these titillation? films in borrowed library books on Australian Cinema I discovered most ofthe time they • Our pioneering stunt and special effects weren’t even listed - let alone discussed work – unparalleled in quality and or critiqued. extreme danger.

My documentary feature, NOT QUITE • Australia’s embrace of car culture and HOLLYWOOD, finally tells the tale of these drive-in culture - our white-line obsession. often overlooked and neglected films and their maverick filmmakers. • The making of local genre movies – often dismissed in Australia, but finding strong and responsive audiences overseas.

4 5 www.notquitehollywood.com.au Key Creative In 1996, Mark joined Famous by Craig Griffin (Producer) Sara Edwards (Co-editor) Tuesday, a production company It could be said that Craig started preparing Sara began her editing career at advertising Biographies specializing in TV commercials for his Producer’s job on Not Quite Hollywood agency DDB and then worked at production and started writing and developing in 1984, because that is when he got his first company Famous by Tuesday - where she Mark Hartley projects, including job in the film industry - working as a runner cemented a long-standing relationship with (Writer/Director/ Co-editor THE DRIVE-IN KIDS and THE KING on John Lamond’s incomparable ‘’. Mark Hartley. Together they have worked OF POP. He followed that up with the only weepie on numerous TVCs and music videos After graduating from the Brian Trenchard-Smith ever directed - “Jenny including the Aria award winning Madison Swinburne School of Film & Since 2003, Mark has worked Kissed Me’. More recently Craig engineered Avenue clips. In 2002 Sara began a freelance Television in 1990, Mark worked as a freelance director for DVD the face off between ‘ozploitation’ experts career and has since edited many special in a variety of low paying / high Distributor Umbrella Entertainment Mark Hartley and and the features for Umbrella Entertainment releases learning positions in the film specifically on classic Australian rest is history really… including “Careful He Might Hear You” and industry including working as an cinema. Mark has worked closely Lonely Hearts”. assistant editor to Jill Bilcock on with producers and directors Michael Lynch (Producer) STRICTLY BALLROOM (for tram including , Bruce Michael is a 20 year veteran of (Composer) fare!) and cutting music videos, Beresford and to “entertainment industry” with a career Stephen has had a lengthy and successful TVCs and film trailers at Mike create special features packages ranging across music, TV, theatre and now, career as a singer and novelist. Reed’s Post Production. for over 60 Australian film releases, for the first time, film. Michael has worked He formed the legendary pop rock band including PICNIC AT HANGING with Mark Hartley previously from Mark’s time in 1976 and scored a top 40 During this period he also began ROCK, DON’S PARTY and CAREFUL as an award winning director. US hit with “Who Listens to the Radio?”. directing music videos through HE MIGHT HEAR YOU. Michael is clearly in the feature documentary Since embarking on a solo career in 1983 City Films, a production company business for the “big bucks”. he has released 15 acclaimed . headed up by producer Craig He has also been responsible He was voted Best Male Singer in 1988 by Griffin and director Paul Goldman for a large list of “Ozploitation” Karl von Moller (Cinematographer) Rolling Stone Australia and won an ARIA (AUSTRALIAN RULES, titles finding their way onto DVD, Since graduating from the Swinburne Film Award for Best Adult Contemporary ). including “The Adventures of & Television School, Karl has worked as a in 1990. His memoir, ‘Mister Transistor’ Barry McKenzie”, “Long Weekend”, Cinematographer in advertising, music is to be published by Hardie Grant At last count, Mark had directed “”, “Razorback”, “Stone” video and feature film production. in March 2009. over 150 film clips for artists and “Turkey Shoot”. Through this He recently shot the Australian leg of the including , You Am work, Mark developed relationships Roger Donaldson directed film, “The Bank I, The Cruel Sea, The Living End with many of the cast and crew who Job” and the “Storm Warning” and Sophie Monk. His work has have been crucial to the making of for Director Jamie Blanks. He re-teamed won a swag of awards including NOT QUITE HOLLYWOOD. with Blanks to lense the remake of “Long two ARIAS (as well as seven Weekend”, due for release in late 2008. nominations), a TUI New Mark has officially been researching Zealand Music Award and NOT QUITE HOLLYWOOD for the Jamie Blanks (Co-editor) an International MTV last ten years, but has basically Jamie started making slasher films Award nomination. spent a lifetime watching, studying, in his early teens, chopping up researching and enjoying Aussie friends and relatives. In his 20’s genre films. he graduated to killing off some of Hollywood’s rising stars in the NOT QUITE HOLLYWOOD is horror flicks URBAN LEGEND and Mark’s first theatrical feature film. VALENTINE. Recently Jamie has directed, edited and scored two “Ozploitation” movies penned by Everett DeRoche - the gore- drenched STORM WARNING and a remake of the 1978 Colin Eggleston classic, LONG WEEKEND.

7

6 www.notquitehollywood.com.au Select Interviewee Everett de Roche Deborah Gray Stacy Keach (Writer) (Actress) (Actor) Biographies: Everett set off for Melbourne Playboy playmate and disco star After appearing in such seminal from the US in his early 20s turned best-selling white witch films as THE HEART IS A LONELY to surf - and he never left. He author, Deborah appeared in HUNTER, BREWSTER McCLOUD talked his way into a writer’s NO. 96 (as a woman with a and FAT CITY, Stacy appeared (Producer/Broadcaster) job on the seminal Aussie cop show Homicide phobia about wearing clothes, no less) and alongside and a dingo in As a film producer, Phillip was and eventually became our foremost genre John Lamond’s cheeky romp, PACIFIC BANANA. ROADGAMES. He has recently had a high-profile responsible for splashing the screenwriter. He knocked out SNAPSHOT in 4 career resurgence thanks to his role as Warden technicolor yawn across the big days and thankfully spent more time penning Henry Pope in PRISON BREAK. the genre classics LONG WEEKEND, PATRICK screen with THE ADVENTURES Gregory Harrison and ROADGAMES. OF BARRY McKENZIE. He passionately lobbied (Actor) for freedom from censorship - and then called Following his small screen for the banning of MAD MAX. His least favourite success on TRAPPER JOHN M.D, (Director) film is TURKEY SHOOT. Richard Franklin Gregory came to Australian Ted arrived in Australia for (Producer/Director) to star in the giant pig movie, the first time to direct WAKE A student and protege of Alfred RAZORBACK. His film career is still yet IN FRIGHT - and immediately Hitchcock, Richard directed to recover. found a parallel between the (Cinematographer) the soft-core flop, THE TRUE soul-crushing emptiness of frozen north of The same year that Russell STORY OF ESKIMO NELL, his homeland Canada and the vast Australian before realizing his career lay in imitating desert landscape. The only outback trouble lensed PICNIC AT HANGING his mentor. He made the critically acclaimed he encountered was from the local male cast ROCK he also shot THE MAN (Actor) local Hitchcockian thrillers PATRICK and who thought acting was a particularly unmanly FROM HONG KONG a career high After single handedly ROADGAMES before heading to the US to helm profession. He went on to direct projects as possibly only eclipsed by winning an Oscar in demolishing the Hollywood II, CLOAK & DAGGER and FX2. Sadly, diverse as and WEEKEND AT 2004 for MASTER & COMMANDER: THE FAR studio system with , Richard passed away only 3 weeks after being BERNIES. SIDE OF THE WORLD. Dennis became a burnt-out interviewed for NOT QUITE HOLLYWOOD. Hollywood outlaw – perfect casting for the role of the rum-swilling psychopathic bushranger, Jamie Lee Curtis . Over 30 years later, he John D. Lamond (Actress) Rebecca Gilling (Actress) is still not legally allowed to drive – or be a (Producer/Director) After establishing herself as Starting her acting career as a passenger – in a car in . Dubbed by The Melbourne cinema’s reining scream queen frequently undressed fixture in Herald Sun as “Australia’s with roles in HALLOWEEN, seminal Ozploitation fare (No. diminutive Master sexploiter 96 – THE MOVIE, STONE and by appointment to the raincoat TERROR TRAIN and PROM NIGHT, THE MAN FROM HONG KONG), brigade”, John established himself as our Jamie Lee journeyed down-under to appear (Actor/Writer) Rebecca skyrocketed to Aussie TV icon status premiere sexy with a trio of saucy hits alongside Stacy Keach in the outback , Australia’s best-loved satirist after appearing as “the Skinny Milk girl” in a (AUSTRALIA AFTER DARK, THE ABC OF LOVE & ROADGAMES (where she found herself stuffed got to indulge in one his popular TV commercial and being disfigured SEX – AUSTRALIA STYLE and FELICITY) before in a sleeping bag off-screen for much of the favourite pastimes whilst by a rogue crocodile in the mini series RETURN trying his hand at horror (NIGHTMARES), film’s duration!). Since then she has appeared making THE ADVENTURES OF TO EDEN. old-fashioned romance (BREAKFAST IN PARIS) in such money-making blockbusters as BARRY McKENZIE – mixing fake chunder. The and the ubiquitous Indiana Jones rip-off TRADING PLACES, A FISH CALLED WANDA film introduced projectile vomiting to the (SKY PIRATES). and TRUE LIES. cinema screen, pre-dating THE EXORCIST by Antony I. Ginnane a good year. Barry has subsequently appeared (Producer) in such films as SGT PEPPER’S LONELY HEARTS Cassandra Delaney The self-proclaimed “Roger CLUB BAND, HOWLING III – THE MARSUPIALS (Actress) Corman of Australia”, Tony and SPICE WORLD: THE MOVIE – all of which (Actor) Cassandra starred alongside produced the soft-core box Australia has been very happy to forgive Bursting onto the big screen Carl Weathers in Australia’s office smash, before him for. with a memorable bare-knuckle misfire, unleashing on the drive-in screen a slew of beach fight at the start of HURRICANE SMITH, and local genre pics including PATRICK, SNAPSHOT, ON HER MAJESTY’S SECRET bravely slogged her way through all manners THIRST, HARLEQUIN and THE SURVIVOR. “I never thought that SERVICE, George created cinema history as of hardships in FAIR GAME (in which she is Australia’s James Bond! After refusing to sign a stripped nude and tied Australia was a place lengthy Bond contract and being subsequently to a bush-bashing monster truck) before that needed culture blacklisted in Hollywood, he returned home to marrying and divorcing country music icon, of any description…” appear as the villainous kung fu kicking drug John Denver. lord in THE MAN FROM HONG KONG. BARRY HUMPHRIES

8 9 www.notquitehollywood.com.au Dr. George Miller Grant Page “Nobody shoots a car Roger Ward (Director) (Stuntman) (Actor) A long time before he won an Australia’s most famous the way Aussies do. Roger made a career playing big, Oscar for , George stuntman and Stud Cola They manage to shoot bad and bald in films such as was a young Doctor turned spokesman, Grant nonchalantly STONE, THE MAN amateur filmmaker blocking off braved car knockdowns while cars with this fetishistic FROM HONG KONG and MAD roads, battling weary crews and creating cinema set on fire in many high-octane extravaganzas lens that just makes you MAX. If an award was handed out for “the history as he staged car chases in the outer including THE MAN FROM HONG KONG, most vicious camp commandant in a futuristic suburbs of Melbourne for a low-budget drive-in DEATHCHEATERS, STUNT ROCK want to jerk off!” Australian b-movie” Roger would be proudly film called MAD MAX. and MAD MAX. QUENTIN TARANTINO accepting it for his role in TURKEY SHOOT.

Quentin Tarantino Vincent Monton Steve Railsback Brian Trenchard-Smith (Fan) (Cinematographer) (Actor) (Producer/Director) A self-confessed Ozploitation Vince shot FANTASM, LONG A serious method actor trained Since his karate chopping nut, Quentin wore his heart on WEEKEND, SNAPSHOT, THIRST, by , Steve found TV directorial debut, THE MAN FROM his sleeve and paid homage to RACE FOR THE YANKEE ZEPHYR, fame playing Charles Manson in HONG KONG, Brian has applied PATRICK in KILL BILL VOL 1 ROADGAMES and directed Linda Blair in FATAL HELTER SKELTER and was on the his high-camp sensibility to and FAIR GAME in DEATH PROOF. BOND... and lived to tell the tale. verge of becoming a big screen Hollywood star over 30 feature films working in niche after an acclaimed performance in THE STUNT unexplored by most mainstream directors – the MAN… then he signed on to appear in atomic-dog genre, the killer- genre, TURKEY SHOOT. Jeremy Thomas the Christian-propaganda-apocalypse genre, (Producer) to name but a few. His latest 10-day wonder is (Director) Jeremy started his distinguished AZTEC REX – a genre cocktail fusing Apocalypto An acclaimed artist, historian, career bailing Dennis Hopper with Jurassic Park! raconteur and b-movie auteur, Cheryl Rixon out of jail the day after Hopper Philippe has directed over 20 (Actress) arrived in to star in MAD features including HOWLING III – A finalist in the Annual Miss West DOG MORGAN. He subsequently went on to THE MARSUPIALS, PTERODACTYL WOMAN FROM Coast bikini beauty pageant in produce MERRY CHRISTMAS MR LAWRENCE, BEVERLY HILLS and the ultimate alien-probe-up- Perth, Cheryl was cast in the (Director) NAKED LUNCH, SEXY BEAST and the 1988 the-rear-passage movie, COMMUNION. nudie detective spoof, PLUGG After cutting his feature film Oscar Winner for Best Picture, THE LAST – a film in which no money was wasted on teeth on Tony Ginnane quickies EMPEROR. costumes. She subsequently moved to the US (SNAPSHOT and HARLEQUIN), and became a genuine bonafide disco queen Simon graduated to helming the and Penthouse pet of the Year in 1980. acclaimed US mini series LONESOME DOVE and (Actress) various Hollywood assignments including FREE A decade and a half before (Actor) WILLY and OPERATION DUMBO DROP. penning BABE: PIG IN THE CITY Beginning with a walk on role and HAPPY FEET, Judy was being John Seale in SKIPPY and a stand out raped by Argue and torn (Cinematographer) performance in , apart by a giant pig in RAZORBACK (and who After camera operating on Jack’s rugged good looks and says there are no good roles for women in ALVIN PURPLE and getting his (Actress) confident Aussie swagger made him Australia’s Australian movies?!) first cinematography credits 13 years after achieving fame preeminent male star of the shooting DEATHCHEATERS and appearing in TOM JONES, big and small screens. His sex appeal BMX BANDITS, John eventually won an Oscar Oscar nominated Susannah was well and truly confirmed when he was for THE ENGLISH PATIENT. found herself acting alongside a Russell Mulcahy chosen as Cleo magazine’s first nude male booze-sodden in an antipodean (Director) centrefold in 1972! variation of the colonial sex romp, ELIZA Considered the maestro of FRASER. Her long list of credits includes THE the pop clip, Russell tried Lynda Stoner BATTLE OF BRITAIN, THEY SHOOT HORSES his hand at a feature film (Actress) DON’T THEY and SUPERMAN I, II & IV. with RAZORBACK, and in the Appearing in THE YOUNG (Actress) process created the ultimate 90-minute giant, DOCTORS and , Before Australia fell in love with rampaging feral pig music video! Subsequent Lynda became one of the most Sigrid steering a paddle ship big screen adventures include glamorous, popular and buxom down the Murray and RESIDENT EVIL: EXTINCTION. Aussie Television stars of the 70s and early in ALL THE RIVERS RUN or 80s. Her big screen career began and ended romancing Tom Burlinson in THE MAN FROM with TURKEY SHOOT. SNOWY RIVER, she was screaming for her life and dodging a psychopathic pervert set on fire in SNAPSHOT.

“100 million dollar film but $10 pig!”RUSSELL MULCAHY on “RAZORBACK”

10 11 www.notquitehollywood.com.au Background Notes They battled through claims from the But the influence of these films is starting emerging feminist movement that their films to be seen amongst a new generation of In 2003, the A-list of the local film industry Playwright and featured the worst instances of Australian young Australian filmmakers. attended the Australian premiere of Quentin satirist Barry Humphries recognized that sexism and misogyny. Tarantino’s KILL BILL - VOLUME ONE. exaggerated humor verging on parody Director Jamie Blanks, a big fan of When introducing the film Tarantino shocked worked with Australian audiences at that They took a stand against Actors Equity who Australian genre directors Richard Franklin the audience by dedicating it to his favorite time – and the films STORK (1971) and THE introduced new tougher guidelines limiting (ROADGAMES) and Brian Trenchard- Antipodean Filmmaker, Brian Trenchard- ADVENTURES OF BARRY McKENZIE the number of foreign actors that could be Smith (TURKEY SHOOT), has followed Smith - Australia’s leading exponent of (1972) were born. These films were a imported for an Australian film. his two big budget Hollywood horror films, action/exploitation films in the 70s and 80s. sensational success with Australian audiences URBAN LEGEND (1998) and VALENTINE – providing a voice for the long silent They soldiered on when critics and politicians (2001) with a couple of local genre films Newspaper articles reported, in disbelief, proletariat. Most importantly, these films alike demanded a less vulgar, more culturally scripted by Everett DeRoche (PATRICK, Tarantino’s keen interest and love of proved to cynical distributors that elevated filmmaking in an attempt to RAZORBACK) - STORM WARNING Australian genre cinema. It appeared the all-Australian productions could attract represent Australia abroad as refined, and a remake of Colin Eggleston’s LONG journalists, and indeed the Australian film- the public. genteel and sentimental. WEEKEND. going public, had forgotten that, as well as They offered an alternative to the wave of the revered historical films of the 70s and Alongside STORK’s director, , Leigh Whannell, another self-confessed nostalgic films produced during Australian 80s, the local industry had also produced a a select group of fearless filmmaking “Ozploitation” fanatic, has written, produced cinema’s elegiac period of the late 70s - and steady stream of sex romps, terror tales and mavericks emerged - including cheeky, and starred in the US box office smashes ultimately, they produced Aussie genre films action extravaganzas. diminutive sex-specialist John D. Lamond, SAW (2004) and SAW 2 (2005). foot-to-the-floor action helmer, Brian that were playing in hundreds of American The early 70s were a time of change in Trenchard-Smith, and high-concept genre theatres and breaking box office records in Greg McLean’s low budget horror film, Australia. After decades of repressive producer Antony I. Ginnane, who had little the most unlikely countries. WOLF CREEK (2005), was the highest censorship laws and highly conservative grossing Australian film of 2005, with time for loose talk of art or culture and much As the 70s progressed, the “bedroom action” governments, a wave of liberalism swept the reviews linking it back to 70s Australian time for marketing and packaging deals. soon gave way to “white-line action”. country. The R-certificate was introduced genre films such as MAD MAX (1979) and Films such as STONE (1974) and THE in late 1971 to reflect changing community This wild bunch of colourful cinematic ROADGAMES (1981). MAN FROM HONG KONG (1975) laid standards – and almost overnight Australia renegades quickly took advantage of the foundation for the groundbreaking Internationally, genre specialist Quentin had one of the most progressive censorship Australia’s newfound big-screen liberation MAD MAX movies – climaxing with that Tarantino has even paid homage to PATRICK regimes in the world. and produced a string of films that packed Australian cinemas with patrons craving to one magic moment in time when, to quote (1978) in KILL BILL (having the comatose At the same time, Australia was re- see boobs, pubes, tubes and kung fu - with a Tarantino, “Aussie films were so bang-on bride replicate Patrick’s trademark spitting) discovering itself on the cinema screen. unique Australian spin. that the Italians did rip-offs of them. First the and FAIR GAME (1985) in DEATH PROOF For several decades the country had been unofficial PATRICK sequel and then for most (Stuntwoman Zoe Bell is strapped to the front overwhelmingly on the receiving end Along the way these filmmakers braved a of the 80s Italy’s rip-off machine specialized of a speeding vehicle). of British and American cinema – and barrage of assault from critics with “high in MAD MAX rip-offs. That was the coin of “NOT QUITE HOLLYWOOD” is the first Australian audiences had rarely seen their art” notions who found it distasteful that this the realm!” detailed examination and celebration of own landscapes or heard their own accent in appalling culture was being foisted on poor, Recently, there has been a fevered Australian genre cinema. It looks at how the local picture theatre. Now, the creative unsuspecting suburbanites. examination and re-evaluation of genre genre cinema got started in Australia; its floodgates opened and a film industry They faced accusations from moral cinema from England (Hammer Horror), triumphs, near misses and tragedies - and it re-emerged after being virtually crusaders, The Festival of Light, who Italy (the Spaghetti westerns finally shines a spotlight on the undervalued dormant for thirty years. proclaimed many of their early films and horror movies), America who brought it to life in such an “Government sponsored pornography”. ( cinema) and Canada (the early explosive way! Cronenberg movies), but Australian genre cinema has been overlooked, even locally – still eclipsed by the focus on our “historical” cinematic output.

12 www.notquitehollywood.com.au 13 Did You Know ? Credits

• ALVIN PURPLE recouped its $200,000 $300,000 on US sales plus profit share, the Writer and Director Mark Hartley budget in its first few days of release in 1973 largest overseas advance to that time. Producers Michael Lynch and Craig Griffin Executive Producers and by 1976 had grossed over $4.7 million Bruno Charlesworth, Jonathan Shteinman, • PATRICK was the highest priced Australian at the local box office - equating to over $35 Paul Wiegard and Nick Batzias film ever sold to Canada and SouthEast Line Producer Roslyn Walker million today. In New Zealand it earned more Asia. At Cannes in 1978 it notched up world Cinematographer Karl von Moller money in its first two weeks than any other sales of more than $500,000 - more than Editors Jamie Blanks, Sara Edwards and film ever theatrically released there. the other competing Australian films, THE Mark Hartley Composers Stephen Cummings and Billy Miller • By the time ALVIN RIDES AGAIN CHANT OF JIMMY BLACKSMITH and premiered in December 1974, an estimated . Production Co-ordinator Eleni Arbus 10% of the Australian population had paid to 1st Asst Cameraman Angelo Sartore • In the first week of its U.S. release see ALVIN PURPLE. Sound Recordist Jock Healy PATRICK topped the $1 million mark on the Make Up Artist Heather Ross • In 1975, THE MAN FROM HONG KONG Variety box office chart, rocketing to 10th Gaffers Chris Shanahan broke box office records in London, taking place among the top 50 major releases. Grahame Dickson the highest opening week since MIDNIGHT Finbarr Collins • In 1978, PATRICK became the highest COWBOY six years earlier. Researchers Justin King grossing film ever released in Italy and Simon Wells • In Pakistan THE MAN FROM HONG spawned an unauthorized spaghetti-sequel, Production Assistants Marilen Tabacco KONG became the all time box office PATRICK VIVE ANCORA a.k.a. PATRICK Luci Schroder champ for four years. It ran for six months, IS STILL ALIVE (1979). Merran Williams out-grossing previous record holders, THE Rob Gale • In May 1979, the Australian Crime Additional Cinematography GUNS OF NAVARONE , CLEOPATRA and Germain McMicking Prevention Council President, Mr. P. Johnson, Vincent Monton WHERE EAGLES DARE. declared that MAD MAX should be banned Angelo Sartore • Screening alongside PICNIC AT because of its excessive violence. James Kniest Additional Camera Assistants HANGING ROCK and CADDIE, MAD Jeremy Rouse “It contains scenes of pack rape, barbecuing Kevin Campbell DOG MORGAN became one of the most traffic policemen and running down Additional Sound Recordists Ben Banks successful Australian films ever shown at children, which only a very small minority David Glasser Cannes. It was purchased by for Additional Interview Liaison of Australians could consider worthwhile Lily Dawson release in North America Additional Make-up entertainment.” Johnson said MAD MAX Jessica Clark with an advance of was the sort of film the Commonwealth UK UNIT: Censorship Board should make an example Production Manager Geraldine Hawkins of so that other Australian producers would Gaffer Dave Hutton not portray the same scenes. Best Boy Simon Hutton Runner Nick Osborne • New Zealand censors banned MAD US UNIT: MAX informing the distributor that Production Manager NY Matthew Snyder the film contained “too much anti- Production Manager LA Rebecca Morley social behaviour”. Gaffers Soran Zdjna • FELICITY and MAD MAX James Kniest Production Assistant Andy Villalobos were the only two Australian Location Scout Jack Constintine “There were very moneymakers in 1979 - and the Consulting Editors Stephen Evans few actresses of my only two Australian releases that year Mark Atkin generation who weren’t without major investment and/or loans On-line editor Sonia Cook tits and ass on an from federal and/or state government sources. Music editor Mark Hartley Post Supervisor Sara Edwards Alvin Purple film.” CANDY RAYMOND

14 15 www.notquitehollywood.com.au Interviewees: IT Consultant Computers Now “He snorted a lot of Phillip Adams Glory Annen Tony Corr cocaine, he started Victoria Annoux Ian Barry Archival HD Telecine Digital Pictures Briony Behets Steve Bisley drinking when he Colourist Stanley Lopuszsanski Jamie Blanks woke up in the Digital Film Post Production Digital Pictures Russell Boyd Richard Brennan morning – which Head of Post Production Pamela Hammond Tom Burstall Rob Copping DI Colourist Stanley Lopuszsanski was very early. DI Post Producer Rachel Knowles Lynette Curran He was 39 when Post Production Co-ordinator Haley Gillies Jamie Lee Curtis Cassandra Delaney we were making Mastering George Awburn Everett de Roche Ross Dimsey DigitalFilm Supervisor Tony Poriazis the film, I really Sound Post Production Soundfirm Australia Alan Finney Richard Franklin believed he would Sound Mixer Rob Mackenzie Rebecca Gilling never hit 40!” Sound Editor Peter Mills Antony I. Ginnane Deborah Gray Facilities Manager Helen Field RICHARD BRENNAN David Hannay Gregory Harrison Additional Sound Editing Jamie Blanks on DENNIS HOPPER Film Post Production Cinevex Rod Hay Sandy Harbutt Ian Anderson Rod Hardy Carla Hoogeveen Graphic Design, Marcus Cobbledick Dennis Hopper “They pronounced & Supervision John Michael Howson Barry Humphries me dead. They said Animators Roger Blayden John Jarrett Barry Jones Damien Dunne Stacy Keach Ted Kotcheff ‘you’re dead – with Matt Griffiths John D. Lamond Nina Landis the alcohol content Eric Ocson George Lazenby Bill Margold that you have in Michael Tan Ross Matthews Don McAlpine 3D Animation Rob Nunn you’re body, you’re Artwork/footage preparation Emma Bemrose Bob McCarron Hal McElroy dead!’ So, that was Luke Brewer Greg McLean Gus Mercurio good news!” Kevin Desa Dr. George Miller Vincent Monton Chamath Dharmasiriwardena Philippe Mora Judy Morris DENNIS HOPPER Cam Smith Russell Mulcahy Rod Mullinar Grant Page Susan Penhaligon Music Clearances Michael Lynch Legals Marshalls and Dent| Steve Railsback Candy Raymond Bryce Menzies Cheryl Rixon Joanne Samuel Kris Darmody Fred Schepisi John Seale Completion Guarantor Film Finances Ken Shorter Lynda Stoner Jenny Woods Quentin Tarantino Jeremy Thomas Accountant Moneypenny Sigrid Thornton Brian Trenchard Smith Jill Hewitt Jack Thompson Roger Ward Kat Slowik James Wan Gary Wapshott Insurance Holland Insurance Leigh Whannell Elaine McNulty Tony Williams David Williamson Collections Agency Fintage House Simon Wincer Arna Maria Winchester Camera Equipment Panavision Uri Windt Norman Yemm Lemac Susannah York

Bruce Beresford, and interview footage Courtesy of Umbrella Entertainment.

Tim Burstall interview footage Courtesy of David Bilcock and Rob Copping.

16 17 www.notquitehollywood.com.au FANTASM COMES AGAIN KILL BILL - VOLUME ONE THE ABC OF LOVE & SEX – © 1977 First Film Finance Pty. Ltd. Courtesy of Miramax Film Corp. AUSTRALIA STYLE Courtesy of Antony I. Ginnane. All rights reserved AUSTRALIA AFTER DARK BREAKFAST IN PARIS DEAD KIDS LONG WEEKEND (1978) FELICITY © 1981 Gupta Film Services Pty Ltd. Courtesy of Richard Brennan PACIFIC BANANA and Flavius Films Ltd. Courtesy of John Lamond Motion Picture Courtesy of Antony I. Ginnane SNAPSHOT Enterprises © 1978 F. G. Film Productions Pty. Ltd. ALISON’S BIRTHDAY Courtesy of Antony I. Ginnane. INN OF THE DAMNED Courtesy of David Hannay NIGHT OF FEAR THIRST PLUGG A DANGEROUS SUMMER © 1978 F. G. Film Productions Pty. Ltd. Courtesy of Terryrod Productions MELVIN – SON OF ALVIN Courtesy ofAntony I. Ginnane. RAZORBACK SCOBIE MALONE Courtesy of McElroy and McElroy HARLEQUIN Courtesy of Kingcroft Australia Productions © 1980 Farflight Investments Pty. Ltd. Film Clips: Courtesy of Antony I. Ginnane. ROADGAMES BROTHERS CADDIE THE TRUE STORY OF ESKIMO NELL LADY STAY DEAD WAKE IN FRIGHT Courtesy of Quest Films Courtesy of Terry “It became gonzo filmmaking, Courtesy of Tony Buckley Bourke Jnr because there was nothing CROSSTALK in the law that allowed HOODWINK PATRICK THE NAKED BUNYIP you to block off this road, Courtesy of Southern Cross Films Pty Ltd RUN CHRISSIE RUN © 1978 Australian Courtesy of Southern Star International Film drive a car over the speed ALVIN PURPLE Corporation Pty. limit, roll it and crash it ALVIN RIDES AGAIN CENTRESPREAD Ltd. Courtesy of into another car!” ELIZA FRASER Courtesy of Wayne Groom Antony I. Ginnane. DR. GEORGE MILLER ENDPLAY on “MAD MAX” HIGH ROLLING DON’S PARTY THE LOVE EPIDEMIC THE GETTING OF WISDOM PETERSEN Courtesy of Phillip Adams STORK Courtesy of Hexagon Productions PICNIC AT HANGING ROCK THE ADVENTURES Courtesy of Peter Weir OF BARRY McKENZIE Courtesy of Longford Productions THE MANGO TREE Print courtesy of the National Film and Courtesy of Sound Archive of Australia - A Kodak/Atlab Project Print THE CHANT OF JIMMY BLACKSMITH Courtesy of Fred Schepisi BARRY McKENZIE HOLDS HIS OWN Courtesy of Fremantle Media FANTASM © 1976 TLN Film Productions Pty. Ltd. NUMBER 96 – The Movie Courtesy of Antony I. Ginnane Courtesy of Cash Harmon Productions

18 www.notquitehollywood.com.au 19 TURKEY SHOOT THE SURVIVOR MAD DOG MORGAN © 1981 Second FGH Film Consortium Pty. Ltd. © 1980 Riaci Investments Pty. Ltd. Courtesy of Philippe Mora and John Webb Courtesy of Antony I. Ginnane. Courtesy Antony I. Ginnane. CHAIN REACTION BMX BANDITS DARK AGE TO SHOOT A MAD DOG Courtesy of Tom Broadbridge © 1986 International Film Management Courtesy of Palm Beach Pictures Limited Courtesy Antony I. Ginnane. FAIR GAME DANGERFREAKS Courtesy of Ron Saunders HOWLING 3 – THE MARSUPIALS DEATHCHEATERS KUNG FU KILLERS Courtesy of Philippe Mora SKY PIRATES THE MAN FROM HONG KONG Courtesy of John Lamond and Michael Hirsh NEXT OF KIN THE STUNT MEN STUNT ROCK Courtesy of Robert Le Tet THE RETURN OF CAPTAIN INVINCIBLE Courtesy of Brian Trenchard-Smith Courtesy of Andrew Gaty and Tom Cooper GROUND ZERO RUNNING FROM THE GUNS SAW DEAD-END DRIVE-IN Courtesy of Geoff Burrowes Courtesy of Lionsgate Films Inc. Courtesy of Andrew Williams HOSTAGE RUNNING ON EMPTY BLOOD MOON Courtesy of Frank Shields Courtesy of Joe Constantini MAD MAX ROGUE STONE MIDNITE SPARES WOLF CREEK Courtesy of Hedon Productions Courtesy of Tom Burstall and Filmco Courtesy of Village Roadshow Pictures Productions LONG WEEKEND (2008) RACE FOR THE YANKEE ZEPHYR STORM WARNING © 1981 Gupta Film Services Pte. Ltd. Courtesy of Arclight Pellinto Investments NV, Drake Films Limited Courtesy of Antony I. Ginnane. UNDEAD JackSTILLS Thompson AND ADDITIONAL Roger Ward Courtesy of Peter and Michael Spierig ARCHIVE MATERIALS COURTESY OF: James Wan Gary WapshottABC, AFI Research and Information - Alex BLACK WATER Gionfriddo and Deb Verhoeven, Penny Becchio, Courtesy of Michael Robertson John Waters Leigh WhannellMal Bryning, ACMI - Sarah Kidd and Lynda Bernard, Terry Bourke Jr, Richard Brennan, Tom TonyBurstall, Williams Rob Copping, Jamie Lee Curtis,David David The producers express their gratitude to the WilliamsonEggby, Film Australia, Angus Forbes, Richard National Film and Sound Archive of Australia Franklin, Manuela Furci, Michael Glasheen, for supplying a majority of the film material Simon Wincer Arna Maria Antony I. Ginnane, Deborah Gray, Jennifer featured in this documentary. Winchester Hadden, Carla Hoogeveen, The Estate of Ivan This film was made possible through the NFSA’s UriHutchinson, Windt David Kilderry, Anne LouiseNorman expertise in audiovisual preservation. YemmLambert, Jeanie Lamond, John D. Lamond, , Chris Lofven, Madman Cinema, Thanks especially to Zsuzsi Szucs, Susannah York Philippe Mora, Pacific Publications - Helena Rita Parkinson, Sonya Thoms, Judy Schou, Debevec, Grant Page, David Parker, Cheryl Jillian Mckenzie, Robert Waterfall, Julie Rixon, SAFC, Brian Trenchard-Smith, Lynda Heffernan, Siobhan Dee, David McGrouther. , Wendy Hughes and Rod Taylor interviewStoner, Chic footage Stringer, Margret Stringer, “THE MAN FROM HONG KONG was probably Jeremy Thomas, Umbrella Entertainment, Courtesy of Umbrella Entertainment. the limo bill of the James Bond film!”GEORGE LAZENBY Roger Ward, Jenny Woods, Norman Yemm.

20 www.notquitehollywood.com.au 21 Music: Publicists “We Can’t Be Beaten” “Black Eyed Bruiser” (Anderson/Riley) © J. Albert & Son Pty Ltd (P) (Vandenberg/Young) © J. Albert & Son Pty. Ltd Victoria: Albert Productions (P) Albert Productions Miranda Brown An excerpt taken from Performed by ROSE TATTOO Performed by STEVIE WRIGHT Miranda Brown Publicity Used by permission of Albert Music Used by permission of Albert Music the ‘Fantasm Comes Again’ t: +61 3 9419 0931 Press Kit... “Undecided” “Sky High” m: +61 3 94156787 (Bower/Morrison) (P) Universal/MCA (Scott/Dyer) Published by Universal/MCA e: [email protected] Music Publishing Music Publishing : Performed by MASTERS APPRENTICES Performed by JIGSAW Philippa Harris Licenced courtesy of Universal Music Licensed courtesy of Splash Records Nix Co Publishing Pty Ltd “Take A Long Line” T 02 9380 4933 Courtesy of EMI Music Australia Pty Limited (Brewster/Neeson/Brewster) © J. Albert & Son [email protected] “I’ll Make You Happy” Pty Ltd (P) Albert Productions Queensland: (Vandenberg/Young) © J. Albert & Son Pty. Ltd Performed by THE ANGELS Georgina Stegman (P) Albert Productions Used by permission of Albert Music Think Tank Communications Performed by THE EASYBEATS “This Time” t: 07 3511 1356 Used by permission of Albert Music (Hewson/Hunter/Hunter/Storey/Taylor) © EMI m: 0415 622 213 “Living In The 70s” Songs Australia PL, for the World 1976 e: [email protected] (Macainsh) © (P) 1990 Performed by DRAGON South Australia: Performed by SKYHOOKS Licensed courtesy of EMI Music Publishing Steven Watt Licensed courtesy of Mana Music Australia Pty Picture This! Marketing Ltd On behalf of Warner Music Australia Pty Ltd t: 08 8248 6638 Filmed at Ren-Mar Studios, Hollywood, “Bad Boy For Love” m: 0419 835 955 Twickenham Film Studios, Middlesex (Rilen) © J. Albert & Son Pty. Ltd (P) Albert e: [email protected] and on location in Australia, The United Productions Kingdom and The . Australia: Performed by ROSE TATOO Kristy Hall Used by permission of Albert Music Makeup supplied by M.A.C. Freckle Marketing m: 0423 046 660 “” Produced with the financial assistance of e: [email protected] (Brewster/Neeson/Brewster) The Melbourne International Film Festival © J. Albert & Son Pty Ltd (P) Albert (MIFF) Premiere Fund MATERIALS Productions Performed by THE ANGELS Executive Producer: Mark Woods All materials including Used by permission of Albert Music An initiative of the State Government key art and production of Victoria, Australia stills can be found on our press site: www.madman.com.au/pressarea Produced in Association with SBS Independent Commissioning Editors: Trevor Graham, Ned Further enquiries: Landers, Denise Eriksen Michael Cicirko Theatrical Admin & PR Coordinator Developed and Produced with the Madman Cinema assistance of Film Victoria t: 03 9417 0977 Principal Investor FFC m: 0402 239 852 Dolby in selected theatres e: [email protected] International Sales: HDNet © 2008 City Films Worldwide Pty Ltd, FFC and Film Victoria Dedicated to our friend, RICHARD FRANKLIN 1948 – 2007

22 www.notquitehollywood.com.au 23