2019/20 Annual Report
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Production Notes Greg Haddrick, Greg Mclean Nick Forward, Rob Gibson, Jo Rooney, Andy Ryan EXECUTIVE PRODUCERS
A Stan Original Series presents A Screentime, a Banijay Group company, production, in association with Emu Creek Pictures financed with the assistance of Screen Australia and the South Australian Film Corporation Based on the feature films WOLF CREEK written, directed and produced by Greg McLean Adapted for television by Peter Gawler, Greg McLean & Felicity Packard Production Notes Greg Haddrick, Greg McLean Nick Forward, Rob Gibson, Jo Rooney, Andy Ryan EXECUTIVE PRODUCERS Peter Gawler & Elisa Argenzio PRODUCERS Peter Gawler & Felicity Packard SERIES WRITERS Tony Tilse & Greg McLean SERIES DIRECTORS As at 2.3.16 As at 2.3.16 TABLE OF CONTENTS Key Cast Page 3 Production Information Page 4 About Stan. and About Screentime Page 5 Series Synopsis Page 6 Episode Synopses Pages 7 to 12 Select Cast Biographies & Character Descriptors Pages 15 to 33 Key Crew Biographies Pages 36 to 44 Select Production Interviews Pages 46 to 62 2 KEY CAST JOHN JARRATT Mick Taylor LUCY FRY Eve Thorogood DUSTIN CLARE Detective Sergeant Sullivan Hill and in Alphabetical Order EDDIE BAROO Ginger Jurkewitz CAMERON CAULFIELD Ross Thorogood RICHARD CAWTHORNE Kane Jurkewitz JACK CHARLES Uncle Paddy LIANA CORNELL Ann-Marie RHONDDA FINDELTON Deborah ALICIA GARDINER Senior Constable Janine Howard RACHEL HOUSE Ruth FLETCHER HUMPHRYS Jesus (Ben Mitchell) MATT LEVETT Kevin DEBORAH MAILMAN Bernadette JAKE RYAN Johnny the Convict MAYA STANGE Ingrid Thorogood GARY SWEET Jason MIRANDA TAPSELL Constable Fatima Johnson ROBERT TAYLOR Roland Thorogood JESSICA TOVEY Kirsty Hill 3 PRODUCTION INFORMATION Title: WOLF CREEK Format: 6 X 1 Hour Drama Series Logline: Mick Taylor returns to wreak havoc in WOLF CREEK. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
HOMELAND STORY Saving Country
ROGUE PRODUCTIONS & DONYDJI HOMELAND presents HOMELAND STORY Saving Country PRESS KIT Running Time: 86 mins ROGUE PRODUCTIONS PTY LTD - Contact David Rapsey - [email protected] Ph: +61 3 9386 2508 Mob: +61 423 487 628 Glenda Hambly - [email protected] Ph: +61 3 93867 2508 Mob: +61 457 078 513461 RONIN FILMS - Sales enquiries PO box 680, Mitchell ACT 2911, Australia Ph: 02 6248 0851 Fax: 02 6249 1640 [email protected] Rogue Productions Pty Ltd 104 Melville Rd, West Brunswick Victoria 3055 Ph: +61 3 9386 2508 Mob: +61 423 487 628 TABLE OF CONTENTS Synopses .............................................................................................. 3 Donydji Homeland History ................................................................. 4-6 About the Production ......................................................................... 7-8 Director’s Statement ............................................................................. 9 Comments: Damien Guyula, Yolngu Producer… ................................ 10 Comments: Robert McGuirk, Rotary Club. ..................................... 11-12 Comments: Dr Neville White, Anthropologist ................................. 13-14 Principal Cast ................................................................................. 15-18 Homeland Story Crew ......................................................................... 19 About the Filmmakers ..................................................................... 20-22 2 SYNOPSES ONE LINE SYNOPSIS An intimate portrait, fifty -
ASTROMAN by ALBERT BELZ Welcome
ASTROMAN BY ALBERT BELZ Welcome Over the course of this year our productions have taken you to London, New York, Norway, Malaysia and rural Western Australia. In Astroman we take you much closer to home – to suburban Geelong where it’s 1984. ASTROMAN In this touching and humorous love letter to the 80s, playwright Albert Belz wraps us in the highs and lows of growing up, the exhilaration of learning, and what it means to be truly courageous. BY ALBERT BELZ Directed by Sarah Goodes and Associate Director Tony Briggs, and performed by a cast of wonderful actors, some of them new to MTC, Astroman hits the bullseye of multigenerational appeal. If ever there was a show to introduce family and friends to theatre, and the joy of local stories on stage – this is it. At MTC we present the very best new works like Astroman alongside classics and international hits, from home and abroad, every year. As our audiences continue to grow – this year we reached a record number of subscribers – tickets are in high demand and many of our performances sell out. Subscriptions for our 2019 Season are now on sale and offer the best way to secure your seats and ensure you never miss out on that must-see show. To see what’s on stage next year and book your package visit mtc.com.au/2019. Thanks for joining us at the theatre. Enjoy Astroman. Brett Sheehy ao Virginia Lovett Artistic Director & CEO Executive Director & Co-CEO Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the First Peoples of Country on which Southbank Theatre and MTC HQ stand, and we pay our respects to all of Melbourne’s First Peoples, to their ancestors and Elders, and to our shared future. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
2019 AACTA AWARDS PRESENTED by FOXTEL All Nominees – by Category FEATURE FILM
2019 AACTA AWARDS PRESENTED BY FOXTEL All Nominees – by Category FEATURE FILM AACTA AWARD FOR BEST FILM PRESENTED BY FOXTEL HOTEL MUMBAI Basil Iwanyk, Gary Hamilton, Julie Ryan, Jomon Thomas – Hotel Mumbai Double Guess Productions JUDY & PUNCH Michele Bennett, Nash Edgerton, Danny Gabai – Vice Media LLC, Blue-Tongue Films, Pariah Productions THE KING Brad Pitt, Dede Gardner, Jeremy Kleiner, Liz Watts, David Michôd, Joel Edgerton – Plan B Entertainment, Porchlight Films, A Yoki Inc, Blue-Tongue Films THE NIGHTINGALE Kristina Ceyton, Bruna Papandrea, Steve Hutensky, Jennifer Kent – Causeway Films, Made Up Stories RIDE LIKE A GIRL Richard Keddie, Rachel Griffiths, Susie Montague – The Film Company, Magdalene Media TOP END WEDDING Rosemary Blight, Kylie du Fresne, Kate Croser – Goalpost Pictures AACTA AWARD FOR BEST INDIE FILM PRESENTED BY EVENT CINEMAS ACUTE MISFORTUNE Thomas M. Wright, Virginia Kay, Jamie Houge, Liz Kearney – Arenamedia, Plot Media, Blackheath Films BOOK WEEK Heath Davis, Joanne Weatherstone – Crash House Productions BUOYANCY Rodd Rathjen, Samantha Jennings, Kristina Ceyton, Rita Walsh – Causeway Films EMU RUNNER Imogen Thomas, Victor Evatt, Antonia Barnard, John Fink – Emu Runner Film SEQUIN IN A BLUE ROOM Samuel Van Grinsven, Sophie Hattch, Linus Gibson AACTA AWARD FOR BEST DIRECTION HOTEL MUMBAI Anthony Maras – Hotel Mumbai Double Guess Productions JUDY & PUNCH Mirrah Foulkes – Vice Media LLC, Blue-Tongue Films, Pariah Productions THE KING David Michôd – Plan B Entertainment, Porchlight Films, A Yoki Inc, -
Ethnographic Film-Making in Australia: the First Seventy Years
ETHNOGRAPHIC FILM-MAKING IN AUSTRALIA THE FIRST SEVENTY YEARS (1898-1968) Ian Dunlop Ethnographic film-making is almost as old as cinema itself.1 In 187 7 Edison, in America, perfected his phonograph, the world’s first machine for recording sound — on fragile wax cylinders. He then started experimenting with ways of producing moving pictures. Others in England and France were also experimenting at the same time. Amongst these were the Lumiere brothers of Paris. In 1895 they perfected a projection machine and gave the world’s first public screening. The cinema was born. The same year Felix-Louis Renault filmed a Wolof woman from west Africa making pots at the Exposition Ethnographique de l’Afrique Occidentale in Paris.2 Three years later ethnographic film was being shot in the Torres Strait Islands just north of mainland Australia. This was in 1898 when Alfred Cort Haddon, an English zoologist and anthro pologist, mounted his Cambridge Anthropological Expedition to the Torres Strait. His recording equipment included a wax cylinder sound recorder and a Lumiere camera. The technical genius of the expedition, and the man who apparently used the camera, was Anthony Wilkin.3 It is not known how much film he shot; unfortunately only about four minutes of it still exists. It is the first known ethnographic film to be shot in the field anywhere in the world. It is of course black and white, shot on one of the world’s first cameras, with a handle you had to turn to make the film go rather shakily around. The fragment we have shows several rather posed shots of men dancing and another of men attempting to make fire by friction. -
Nathan James CV 2021 05 STUNTS
ASSISTANT STUNT COORDINATOR / STUNT ACTOR / STUNT RIGGER / SAFETY SUPERVISOR NATHAN JAMES QUALIFICATIONS / • MEAA Assistant Stunt Coordinator • MEAA Stunt Actor • MEAA Safety Supervisor (MEAA Member #3638599. Member since 2001) • Certificate IV – Occupational Health and Safety (CERT# HBA 10000, Certificate Date: 15 May 2012) LICENCES / TICKETS • Worksafe. Intermediate Rigger • Worksafe. Elevated Work Platform • Worksafe. Forklift VEHICLES • Car Licence (Victorian – Open) • Motorbike Licence (Victorian – Open) FIRST AID • Senior Level 2 First Aid Certificate (Current) WATER • Boat & PWC Licence (Victorian) • Open Water Scuba Diver (SSI – Australia) • Bronze Medallion (Surf and Pool) STATISTICS (Overview) Further details available upon request. Height: 188cm (6”2’) Chest: 112cm (44”) Waist: 102cm (40”) Shoe: 12 (US) CREDITS / STUNTS Year Title Type Role Stunt Coordinator 2021 The Fires Television Assistant Stunt Coordinator Russell Frost 2021 The Fires Television Stunt Double: Sullivan Stapleton Russell Frost 2021 Expose Feature Assistant Stunt Coordinator Reg Roordink 2021 The Soft Skinned Short Film Assistant Stunt Coordinator Reg Roordink 2021 Surviving Summer Television Assistant Stunt Coordinator Russell Frost 2020 New Gold Mountain Television Assistant Stunt Coordinator Russell Frost 2020 Bad Child (Tones & I) Music Video Assistant Stunt Coordinator Reg Roordink 2020 No Need To Teach An Eagle To Fly Short Film Assistant Stunt Coordinator Reg Roordink 2019 Halifax: Retribution Television Stunt Performer / Driver Zev Eleftheriou 2019 -
Legend Magazine (June
LEGEND MAGAZINE (JUNE - 2019) June Current Affairs and Quiz, English, Banking Awareness, Simplification Exclusively prepared for RACE students Issue: 19 | Page : 48 | Topic : Legend of June | Price: Not for Sale JUNE MONTH CA • The Indian government has Govt. Plans To Raise USD 84 Billion From demanded Whatsapp, the Facebook-owned Airwaves Auction In 2019: NATIONAL messaging application, to digitally fingerprint Govt. Set To Roll Out IMEI Database To Help • Prime Minister Narendra Modi-led NDA messages that are sent on its platform without People Track Stolen Mobile Phones: Government hopes to increase around $83.8 breaking the encryption. billion (Rs 5.83 trillion rupees) from its latest • The Telecom Ministry is set to roll out • AudienceNet, an UK-based social and round of airwaves auction in 2019. a Central Equipment Identity consumer research agency, reported that the Register (CEIR), a database of International • The Central government is planning to majority of the respondents in India selected Mobile Equipment Identity (IMEI) to help sell 8,600 megahertz of telecom airwaves WhatsApp as the preferred choice of social media people track their stolen mobile phones. across multiple frequency bands. Rs 65,789 crore network and a messaging platform. was raised in the airwaves auction held by the • People can inform the Department of Telecom • It also highlighted that about 78% of the government in 2016-17. (DoT) on losing their phones, which will, in turn, respondents trust WhatsApp to keep their blacklist their IMEI numbers. DoT had declared its • Recently, Telecom Minister Ravi Shankar personal details private and secure. plan to implement this project in July 2017 and a Prasad announced the debut auction of fifth- pilot was conducted in Maharashtra. -
M Ed Ia R Elea Se M Ed Ia R Elea Se
Filmmakers announced for Cook 2020: Our Right of Reply Tuesday 14 May 2019: Screen Australia and the New Zealand Film Commission (NZFC) are pleased to announce the eight Indigenous teams from Australia and New Zealand who will work on a joint anthology feature, Cook 2020: Our Right of Reply, entitled Ngā Pouwhenua in New Zealand. The teams will each create a short chapter for the feature film, which will provide an Indigenous perspective on the 250th anniversary of James Cook’s maiden voyage to the Pacific. Mitchell Stanley (Servant or Slave) from Australia, and Bailey Mackey (All or Nothing; New Zealand All Blacks, associate producer on Hunt for the Wilderpeople) and Mia Henry-Teirney (Baby Mama’s Club) from New Zealand have been chosen as co-producers and will collaborate with the teams to develop their concepts and the overarching narrative. The teams and producers are attending a residential lab at Shark Island Institute in Kangaroo Valley to develop the film. Screen Australia’s Head of Indigenous Penny Smallacombe said: “This is a rare opportunity for creative collaboration between Indigenous cultures, from Australia, New Zealand and the Pacific. I’m inspired by the experience and talent of the filmmakers selected to helm this project. These teams have presented exceptional concepts, with stories exploring the past, present and future, with humour and horror, sadness and joy, in response to who we are and how we continue to survive the colonial experience.” MEDIA RELEASE “I’m excited by their unique storytelling styles and individual voices, and how they will complement each other to create a powerful anthology. -
Missionaries, Mercenaries, Misfits…
Missionaries, Mercenaries, Misfits… COMEDY 6 x 30’ HD COMEDY HD 6 x 30’ At the ass-end of the world, in the middle of nowhere, is Alice Springs. It’s a sacred place for Aboriginal people and a magnet for three kinds of whitefellas: Missionaries, Mercenaries and Misfits. It’s also the home of 8MMM Aboriginal Radio, where the mob meets the 3Ms. 8MMM is the proud voice of blackfellas in this part of the world. Trouble is, like most Indigenous organisations, it’s run by whitefellas. For the Missionaries, Mercenaries and Misfits of Alice Springs, ‘saving’ Aboriginal people from themselves is hard work. For Aboriginal people, being ‘saved’ all the time is exhausting. As the motley crew at 8MMM broadcasts the day-to-day goings on of Alice Springs, they find ignorance and interference at every turn - and that’s before they’ve left the building. 8MMM ABORIGINAL RADIO is truthful and bold - a comedy about tolerance, self-determination and cultural misunderstanding and why, when all else fails - which it usually does - it’s good to laugh. Australia’s first Indigenous narrative comedy, 8MMM ABORIGINAL RADIO is an original series from Alice Springs-based production company Brindle Films (Big Name No Blanket, Blown Away and producer of Double Trouble) and Princess Pictures (Summer Heights High, Angry Boys, John Safran’s Race Relations, It’s a Date). The series is written and directed by Indigenous talent, shot on location in Central Australia and features an exciting ensemble cast and local performers. WRITERS: Trisha Morton-Thomas, Danielle MacLean, Sonja Dare DIRECTORS: Dena Curtis, Adrian Russell Wills PRODUCERS: Rachel Clements, Trisha Morton-Thomas, Anna Cadden EXECUTIVE PRODUCERS: Andrea Denholm, Laura Waters PRODUCTION COMPANIES: Brindle Films, Princess Pictures.