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For Release: on Approval Motion Picture Sound Editors to Honor
For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
Danielle Carter
DANIELLE CARTER TRAINING Graduated from the National Institute of Dramatic Art (NIDA) in 1993 Moscow Arts Theatre School 2013 MICHA- The Michael Chekhov International Workshop USA 2015/2016/2017 The Michael Chekhov School USA 2015/2016/2017/2019 THEATRE The Norman Conquests (trilogy) Sarah Ensemble Theatre Company Dir: Mark Kilmurry Table Manners Sarah Ensemble Theatre Company Dir: Mark Kilmurry Living Together Sarah Ensemble Theatre Company Dir: Mark Kilmurry Round and Round the Garden Sarah Ensemble Theatre Company Dir: Mark Kilmurry FURY Alice Red Stitch Dir: Brett Cousins & Ella Caldwell E-Baby Catherine Ensemble Theatre Company Dir: Nadia Tass My Zinc Bed Elsa Quinn Ensemble Theatre Company Dir: Mark Kilmurry Richard III Elizabeth Ensemble Theatre Company Dir: Mark Kilmurry The Gingerbread Lady Toby Landau Ensemble Theatre Company Dir: Sandra Bates My Wonderful Day Paula Hammond Ensemble Theatre Company Dir: Anna Crawford Status Update Coral | Adam La Mama Dir: Sue Jones Absurd Person Singular Eva Jackson Ensemble Theatre Company Dir: Andrew Doyle The Cove - 8 Shorts Works Various Dog Theatre | IF Productions Dir: Matt Scholten A Midsummer Night’s Dream Titania Theatre Works Dir: Glenda Linscott Shadow Passion Catherine Harrow Chapel off Chapel Productions Dir: Anthony Crowley Europe Barbara 2006 VCA Directors Season Dir: Matt Scholten Still Order | Want me La Mama | Malthouse Dir: Bernadette Ryan lisa mann creative management pty ltd telephone: +61 2 9387 8207 | fax: +61 2 9389 0615 p.o. box 3145, Redfern, nsw 2016 australia email: -
Comedy, Tragedy, Life: an Interview with Nadia Tass and David Parker
FINN (KODI SMIT-MCPHEE) AND JACK (TOM RUSSELL) IN MATCHING JACK AN INTERVIEW WITH NADIA TASS AND DAVID PARKER TASS AND PARKER'S LATEST FILM, MATCHING JACK. SKILFULLY MINES three years ago, we were in Film Finance THE HUMAN EXPERIENCE. BRIAN MCFARLANE TALKS TO THE PAIR Corporation being assessed for this film ABOUT THE FILM, AS WELL AS DELVING INTO THE INTRICACIES OF SOME we've just done. Matching Jack. The two OF THE FILMMAKERS' EARLIER WORK. people considering this film at that time did not assess it accurately. One of them said, 'The father needs to be a nicer person.' Now, BRIAN MCFARLANE: You've been making we prefer to be going down the feature film I don't know where that person's judgement films together regularly for twenty-five route, but it's terrific when, say, Disney or was coming from and why he was sitting in years now. How difficult has it been to Warner Bros, come to Nadia saying, 'We'd that chair. His opinion was completely wrong: maintain a career like that in Australia? like you to direct this or that piece.' if we'd followed his suggestion we'd have NADIA TASS: Oh, impossible. It's the tough- NT: It's the material, too. I'd much rather do had no film. The woman assessing it also est thing. That's why we work overseas so a really good high-end television story than wanted the female lead to be a battered wife. much. We've made both features and televi- some crappy feature. -
David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor -
Gillian Armstrong Gillian Armstong Came to Prominence in the 1970S
Gillian Armstrong Gillian Armstong came to prominence in the 1970s as an outstanding young Australian film director, who has gone on to achieve sustained international success. Alongside filmmakers like Bruce Beresford, John Duigan, Phil Noyce, Fred Schepisi and Peter Weir, her early work was supported by a new national film industry, giving expression to an individual creative vision and an Australian content. Gillian Armstrong’s father was an amateur photographer, and as she grew up, she had her own camera and interest in photography. She studied a Diploma of Art (Film and Television) at Swinburne Technical College, graduating in 1971, Originally enrolled in costume design, she started attending the film course and became entranced with the medium and with the work the students were doing ... turning more and more to still photography and then to film’ (Stratton 1980, p.213). It was the first course in film and television in Australia, initially offered by Swinburne Art School within the Department of Graphic Design. Armstrong ‘experienced great stimulus from the art side of the course — for her the philosophy of film as a means of expression and vision came from the first two years of the course in art and graphic design’ (Paterson 1996, p.46). She graduated with the experimental film The Roof Needs Mowing , 1970. Brian Robinson, first head of the Swinburne Film School, was significant in the development and operation of this innovative course, and the creative learning experience of the small student intake. Regarding them as artists being trained in the technical skills of filmmaking, he thought they should all ‘aim at being producers and directors’ (Paterson 1996, p. -
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth. -
Amanda Muggleton
BIOGRAPHY AMANDA MUGGLETON MUSICAL THEATRE HAIRSPRAY Velma HARVEST RAIN Callum Mansfield ANNIE Miss Hannigan PACKEMIN PRODUCTIONS DIR. LUKE JOSLIN BLOOD BROTHERS Mrs Johnstone HARVEST RAIN THEATRE COMPANY TORCH SONG TRILOGY Ma DARLINGHURST THEATRE DIR. STEPHEN COLYER THE THREEPENNY OPERA Mrs Peachum MALTHOUSE/VICTORIAN OPERA PRESENTED BY SYDNEY THEATRE CO DIR. MICHAEL KANTOR FOR ALL IT”S WORTH Maggie/Sarah KOOKABURRA (Workshop) DIR.GALE EDWARDS EUREKA! Mercedes Cortez ECHELON PRODUCTIONS DIR. GALE EDWARDS DARLING, IT’S NOEL Lead DIR.RODNEY FISHER WE WERE DANCING Clara, Lilly, Martha QUEENSLAND THEATRE CO DIR. MICHAEL GOW THE LION, THE WITCH, AND THE White Witch MALCOLM COOKE & ASSOC WARDROBE DIR. NADIA TASS HELLO, DOLLY! Dolly Levi THE PRODUCTION COMPANY DIR. RODNEY FISHER ANNIE Miss Hannigan GORDON FROST/ SEL DIR. MARTIN CHARNIN HMS PINAFORE Buttercup ESSGEE PRODUCTIONS DIR. CRAIG SCHAEFER THE SECRET DIARY OF Mrs Mole MICHAEL EDGLEY ADRIAN MOLE AUSTRALIAN TOUR DIR. TERENCE O’CONNELL THEATRE THE BOOK CLUB Deborah THE KING’S HEAD THEATRE (London season) DIR. NADIA TASS THE BOOK CLUB Deborah ANDREW KAY & ASSOCIATES (Melbourne season) DIR. NADIA TASS THE BOOK CLUB Deborah ENSEMBLE THEATRE (Sydney season) (solo show) DIR. RODNEY FISHER BOSTON MARRIAGE Anna QTC DIR. ANDREA MOOR THE BOOK CLUB Deborah HIT PRODUCTIONS (Australian tour) (solo show) DIR. RODNEY FISHER THE HAM FUNERAL Landlady STATE THEATRE COMPANY OF SA 2 LOVE, LOSS AND WHAT I WORE As cast SYDNEY OPERA HOUSE JUST THE TICKET Susan ENSEMBLE THEATRE (solo show) DIR. SANDRA BATES MADAGASCAR Lillian BLACK SWAN THEATRE COMPANY CALENDAR GIRLS Chris GORDON FROST ORGANISATION ME AND JEZEBEL Solo Show HELEN ELLIS PRODUCTIONS RUBY SUNRISE Lois/Ethel Reed ENSEMBLE THEATRE MAN FROM MUKINUPIN Mercy Montebello COMPANY B/ MTC THE FEMALE OF THE SPECIES Margo Mason THE PLAYHOUSE / STATE THEATRE CO SOUTH AUSTRALIA THE BOOKCLUB Deborah NOOSA LONG WEEKEND FESTIVAL (solo show) DIR. -
Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world. -
Robert 'Moxy' Moxham Standby Props
Robert 'Moxy' Moxham Standby props 1 Inglebar Ave, Allambie Heights, NSW 2100 Ph 61 2 9451 9212 Mobile 0411 347 317 [email protected] resume 1975 to 2021 2021 poker face feature film parent up abc kids tv 2020 – 2021 elvis/kat king feature film 2019 ascendant feature film secrets she keeps tv drama peter rabbit 2 feature film 2018 reckoning tv drama the secret city 2 tv drama 2017 riot abc tv drama series easy beats abc tv drama series bite club tv drama series peter rabbit feature film 2016 2 unit on set art director thor ragnarok feature film production designer, dan henna – art director, Richard hobbs director, ben cooke – producer, tom hammel key standby props alien - covenant feature film production designer, chris seagers – art director, ian gracie director, ridley scott – producer, mark huffam key standby props hackshaw ridge feature film production designer, barry robison – art director, mark robbins director, mel gibson – producer, bill mechanic key standby props pirates of the caribbean “ dead men tell no tales” feature film production designer, nigel phelps – supervising art director, ian gracie directors joachim ronning & espen sandberg – producer, jerry bruckheimer 2014 standby props aftrs drama workshop screen content head of screen design, igor nay key standby props san andreas feature film production designer, barry chosid – art director, charlie revai director, brad peyton – producers, beau flynn & hiram Garcia 2013 key standby props unbroken feature film production designer, john hutman - art director, charlie -
66Th Miff Announces Full Program
66TH MIFF ANNOUNCES FULL PROGRAM GURRUMUL WORLD PREMIERE AT CLOSING NIGHT JANE CAMPION, MELISSA GEORGE AND LUCA GUADAGNINO LEAD GUEST LINE-UP SALLY POTTER AND PIONEERING WOMEN RETROSPECTIVES UNVEILED MELBOURNE, 12 JULY 2017 – Celebrating its 66th year, the Melbourne International FIlm Festival (MIFF) unleashes its full program with a mammoth line-up of more than 358 films representing 68 countries, including 251 features, 88 shorts, 17 Virtual Reality experiences, 12 MIFF Talks events, 31 world premieres and 135 Australian premieres. It all happens over 18 days, spanning 13 venues across Melbourne, from 3 to 20 August 2017. “What a pleasure it is to launch this year’s Melbourne International Film Festival,” said Artistic Director Michelle Carey. “This year’s program offers audiences an amazing opportunity to explore new worlds through film – from our Pioneering Women and Sally Potter retrospectives to the return of our Virtual Reality program as well as a particularly strong line-up of special events, we can’t wait to open the doors to MIFF 2017.” After kicking-off the festival with the Opening Night Gala screening of Greg McLean’s MIFF Premiere Fund-supported JUNGLE, presented by Grey Goose Vodka, the festival will wind up with the world premiere CLOSING NIGHT screening of Paul Williams’ GURRUMUL. A profound exploration of the life and music of revered Australian artist Geoffrey Gurrumul Yunupingu, the film uses the tools of the artist’s music – chord, melody, song – and the sounds of the land to craft an audio-first cinematic experience, offering a rare insight into a reclusive master. After the film, the audience will enjoy MIFF’s famous Closing Night party at the Festival Lounge. -
Porter Susie.Pdf
sue barnett & associates SUSIE PORTER TRAINING National Institute of Dramatic Art, 1995 FILM Mercy Road Abigail Arclight Films Dir: John Curran Transfusion Magistrate Deeper Water Films Dir: Matt Nable Gold Stranger One/ Rogue Star Productions Stranger Two Dir: Anthony Hayes Beverly (Short) Beverly Curious Films Dir: Roma D’Arrietta Ladies in Black Mrs Miles Samson Productions/The Ruskin Co. Dir: Bruce Beresford The Second Nina Sense and Centsability/STAN Dir: Mairi Cameron Sink (Short) Mother Roger Joyce Dir: Cloudy Rhodes Cargo Kay Causeway Films Dir: Ben Howling/Yolande Remke Don’t Tell Sue Scriven Tojohage Productions/ Scott Corfield Productions Dir: Tori Garrett Hounds of Love Maggie Maloney Factor 30 Films Dir: Ben Young A Priest in the Family (Short) Eileen Dir: Peter Humble/Anni Finsterer Is This the Real World Anna LAD Feature Film Pty Ltd Dir: Martin McKenna The Turning: On Her Knees Carol Arena Media Pty Ltd Dir: Ashlee Page Summer Coda Angela Revival Film Company Dir: Richard Gray Lonely Lonely’s Mum AFTRS The Caterpillar Wish Susan Dir: Sandra Scriberras Little Fish Jenny Porchlight Films Dir: Rowan Woods Teesh and Trude Teesh Dir: Melanie Rodrigues Better Than Sex Cynthia Better Than Sex Productions Dir: Jonathan Teplitsky Mullet Tully Porchlight Films Dir: David Caesar Star Wars: Episode II Hermione Bagwa Dir: George Lucas The Monkey’s Mask Jill Fitzpatrick Arena Film Dir: Samantha Lang Bootmen Sara Hilary Linstead and Associates Dir: Dein Perry Two Hands Deirdre Palm Beach Pictures Dir: Gregor Jordan Feeling Sexy Vicki Binnaburra Film Company Dir: Davida Allen Amy Anny Dir: Nadia Tass Welcome to Woop Woop Angie Dir: Stephen Elliott Paradise Road Oggi Dir: Bruce Beresford Idiot Box Betty Dir: David Caesar Mr.