Markmorrissey&Associates

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MARKMORRISSEY&ASSOCIATES MICHAEL CATON AWARDS 2004 Winner SMH Star of the Year Award for Strange Bedfellows 1997 Nominated Best Actor in a Leading Role For “The Castle”-Australian Film Institute 1998 Nominated Best Actor For “The Castle”-The Film Critics Circle of Australia 1976-80 Logie Award for Best Supporting Actor for “The Sullivans” TELEVISION 2005 DANCING WITH THE STARS Freehand/CH 7 2001-05 HOT PROPERTY Beyond/CH 7 2002 BAD COP BAD COP Southern Star 2002 HOT JOBS CH 7 2001 DOSSA AND JOE Granada Productions 2000 CHRISTMAS SPECIAL CH 7 2000-04 HOT AUCTIONS CH 7 2000 WINTER / SPRING SPECIALS CH 7 2000 FROM HELL CH 7 2000 THE WORLD AROUND US Mixed Company /CH 7 1999 ALL STAR SQUARES Channel 7 Melb. 1998 STINGERS Simpson Le Mesurier 1998 HOT PROPERTY Beyond/CH 7 (10 Eps.) 1998 13 GANTRY ROW Robert Bruning Productions 1998 ALL SAINTS ATN CH 7 1997 WILDSIDE Gannon Jenkins /ABC TV 1997 ALL SAINTS ATN CH 7 1996 BLUE HEELERS West Street Productions 1996 HOME & AWAY Amalgamated TV Services 1996 GP Village Roadshow 1993-94 PARADISE BEACH Paradise Beach Productions 1993 A COUNTRY PRACTICE J.N.P. Films 1991-92 CHANCES Beyond Productions 1990 COME IN SPINNER ABC TV/Mini Series 1990 SHADOWS OF THE HEART SAFC/Mini Series 1989 PAPERMAN R.C.C. 1988 HOME AND AWAY Amalgamated TV Services 1987 SEEN BUT NOT HEARD Aust. Children Foundation 1987 FLYING DOCTORS Crawford Productions 1987 THE LES DARCY STORY R.C.C. 1986 GREAT EXPECTATIONS ABC TV 1986 JOE WILSON Bilgola Beach Productions 1986 WAITING ABC TV 1985 FIVE MILE CREEK Valstar Productions 1983 A COUNTRY PRACTICE JNP FILMS 1982 A COUNTRY PRACTICE JNP FILMS 1982 THE WEEKLY’S WAR Film Australia 1981 HOLIDAY Crawford Productions 1981 COP SHOP Crawford Productions 1976-80 THE SULLIVANS Crawford Productions 1976 HOMICIDE Crawford Productions 1976 BEN HALL ABC TV MARKMORRISSEY&ASSOCIATES 45 Oxford Street Bondi Junction NSW 2022 p.+612 9369 3700 f. +612 9369 3911 w. www.markmorrissey.com.au MARKMORRISSEY&ASSOCIATES FILM 2003 STRANGE BEDFELLOWS David Redman Dir: Dean Murphy 2000 THE ANIMAL Elle Pictures L A Dir. / Writer - Rob Schneider. 1998 WALLINGAT SUMMER Gillham Road Productions 1997 NEVER TELL ME NEVER Palm Beach Pictures 1997 THE INTERVIEW Interview Films Pty Ltd 1996 THE CASTLE Frontline Productions 1990 WINDS OF CHANGE Film Australia 1987 THE 13TH FLOOR David Hannay Prod. 1987 MONKEYGRIP Al Finney Prod. 1987 HOODWINKED Claude Watham THEATRE 2006 PRISCILLA QUEEN OF THE DESERT –THE MUSICAL Simon Phillips 1995 THREEPENNY OPERA QTC 1990 LARCENY MAKE NO NOISE Harvest Theatre Co. 1988 MOVE OVER MRS. MARKHAM Phillip/Glen St. 1987 BETWEEN THE LINES G’Day Theatre 1982 THE STRIPPER STC Kinsellas 1981 SEXUAL PERVERSITY IN CHICAGO Nimrod Theatre 1975 FLOATING WORLD Nimrod Theatre 1974 TOOTH OF CRIME Nimrod Theatre 1974 GIRLS NIGHT OUT John McKellar Prod. 1973 COWARDLY CUSTARD Saint Martins Theatre 1973 GENTLEMEN OF VERONA Aztec Productions 1972 JESUS CHRIST SUPERSTAR Harry M. Miller 1971 HAIR Harry M. Miller 1970 SALAD DAYS Q Theatre 1969 THE CANTERBURY TALES Artec Theatre 1968 CHARLEY’S AUNT Mark Twain Theatre VOICE OVERS Available through EM Voices. www.emvoices.com.au MARKMORRISSEY&ASSOCIATES 45 Oxford Street Bondi Junction NSW 2022 p.+612 9369 3700 f. +612 9369 3911 w. www.markmorrissey.com.au.

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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
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1 Forever Alone in a Crowd, Arthur Fleck Seeks Connection. Yet, As He
Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him. Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study.
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Wide Open Road
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© 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia
© 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia SUNDAYS AT 8.30PM FROM JUNE 3, OR BINGE FULL SEASON ON IVIEW Hotly anticipated six-part drama Mystery Road will debut on ABC & ABC iview on Sunday, 3 June at 830pm. Because just one episode will leave audiences wanting for more, the ABC is kicking off its premiere with a special back-to-back screening of both episodes one and two, with the entire series available to binge on iview following the broadcast. Contact: Safia van der Zwan, ABC Publicist, 0283333846 & [email protected] ABOUT THE PRODUCTION Filmed in the East Kimberley region of Western Australia, Aaron Pedersen and Judy Davis star in Mystery Road – The Series a six part spin-off from Ivan Sen’s internationally acclaimed and award winning feature films Mystery Road and Goldstone. Joining Pedersen and Davis is a stellar ensemble casting including Deborah Mailman, Wayne Blair, Anthony Hayes, Ernie Dingo, John Waters, Madeleine Madden, Kris McQuade, Meyne Wyatt, Tasia Zalar and Ningali Lawford-Wolf. Directed by Rachel Perkins, produced by David Jowsey & Greer Simpkin, Mystery Road was script produced by Michaeley O’Brien, and written by Michaeley O’Brien, Steven McGregor, Kodie Bedford & Tim Lee, with Ivan Sen & the ABC’s Sally Riley as Executive Producers. Bunya Productions’ Greer Simpkin said: “It was a great honour to work with our exceptional cast and accomplished director Rachel Perkins on the Mystery Road series. Our hope is that the series will not only be an entertaining and compelling mystery, but will also say something about the Australian identity.” ABC TV Head of Scripted Sally Riley said: “The ABC is thrilled to have the immense talents of the extraordinary Judy Davis and Aaron Pedersen in this brand new series of the iconic Australian film Mystery Road.
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Australian Comedy
As fi lmgoers, do you When, I wondered, was the last Australian fi lm enough premise and a suffi ciently confi dent sometimes wonder if comedy that seemed genuinely funny, as if sense of the comic spirit to sustain audience inspired by a viable narrative agenda and with involvement in a feature-length comedy? the phrase ‘Australian a screenplay that could articulate this—and comedy’ is an oxymoron? keep up the work until the very end? It’s near- Writing about ‘Comedy’ in The Oxford Certainly, as I watched ly twenty years since Crocodile Dundee (Peter Companion to Australian Film (1999), Felicity Faiman,1986) became the highest-grossing Collins claimed that, after the international in a concentrated burst Australian fi lm ever, milking every stereotype successes of the early 1990s (Ballroom, Mu- over a couple of weeks a of the superiority of bush innocence over riel, The Adventures of Priscilla, Queen of the half-dozen fi lms from the urban sophistication for all it was worth. Then Desert [Stephan Elliot, 1994]) ‘Australian cine- there were admittedly very funny sequences ma has become synonymous with comedy’.1 last fi ve years, it did quite in, and aspects of, Strictly Ballroom (Baz She was able then to argue a case for such often seem to me that Luhrmann,1992) and Muriel’s Wedding (P.J. a view that would be hard to mount now. the phrase was yoking Hogan, 1994), but their real distinction lay Some of the same thematic preoccupations together two concepts elsewhere. Was The Castle (Rob Sicth, 1997) underlie the fi lms I am concerned with here: the last Australian fi lm that had a strong there are still ‘little guys’ taking on corpora- with little common ground.
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David Stratton's STORIES of AUSTRALIAN CINEMA
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Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience.
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Cottesloe Film Festival Cottesloe Civic Centre
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Production Notes
During his lifetime, J. Edgar Hoover would rise to be the most powerful man in America. As head of the Federal Bureau of Investigation for nearly 50 years, he would stop at nothing to protect his country. Through eight presidents and three wars, Hoover waged battle against threats both real and perceived, often bending the rules to keep his countrymen safe. His methods were at once ruthless and heroic, with the admiration of the world his most coveted, if ever elusive, prize. Hoover was a man who placed great value on secrets—particularly those of others—and was not afraid to use that information to exert authority over the leading figures in the nation. Understanding that knowledge is power and fear poses opportunity, he used both to gain unprecedented influence and to build a reputation that was both formidable and untouchable. He was as guarded in his private life as he was in his public one, allowing only a small and protective inner circle into his confidence. His closest colleague, Clyde Tolson, was also his constant companion. His secretary, Helen Gandy, who was perhaps most privy to Hoover’s designs, remained loyal to the end…and beyond. Only Hoover’s mother, who served as his inspiration and his conscience, would leave him, her passing truly crushing to the son who forever sought her love and approval. As seen through the eyes of Hoover himself, “J. Edgar” explores the personal and public life and relationships of a man who could distort the truth as easily as he upheld it during a life devoted to his own idea of justice, often swayed by the darker side of power.
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Last Cab to Darwin
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David Stratton: a Cinematic Life
Presents DAVID STRATTON: A CINEMATIC LIFE Directed by SALLY AITKEN / In cinemas MARCH 9, 2017 Featuring DAVID STRATTON, GILLIAN ARMSTRONG, ERIC BANA, BRYAN BROWN, RUSSELL CROWE, NICOLE KIDMAN, GEORGE MILLER, SAM NEILL, GEOFFREY RUSH, FRED SCHEPISI, WARWICK THORNTON, JACKI WEAVER and HUGO WEAVING PUBLICITY REQUESTS: Transmission Films / Amy Burgess / +61 2 8333 9000 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/david-stratton-a-cinematic-life Distributed in Australia by TransMission Films Screen Australia The Australian Broadcasting Corporation and Screen NSW in association with the Adelaide Film Festival present A Stranger Than Fiction Production David Stratton’s A CINEMATIC LIFE How a love affair with Australian cinema led one man to understand himself and his adopted country Writer/director: Sally Aitken Producer: Jo-anne McGowan Executive producer: Jennifer Peedom In Australian cinemas from March 9, 2017 Q&A screenings with David around the country from late February Distributor: Transmission Films Production company: Stranger Than Fiction Films Technical and other information Format Feature-length documentary Length 1:37:44 Aspect ratio 2:39:1 Sound 5.1 Filmed at: • Coffs Harbour/Sawtell, Bankstown, Camden, Sydney, the Blue Mountains and Broken Hill in New South Wales • Melbourne and Mount Macedon (Hanging Rock) in Victoria • Brisbane and the Gold Coast in Queensland • Canberra in the Australian Capital Territory • Alice Springs and Uluru in the Northern Territory • Los Angeles and Providence in the US • London and Devizes in the UK With thanks to the extraordinary filmmakers and actors who created the films that have enriched Australia.
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Representations of Troubled and Troubling Masculinities in Some Australian Films, 1991-2001
‘Gods in our own World’: Representations of Troubled and Troubling Masculinities in Some Australian Films, 1991-2001 Shane Crilly Thesis submitted for the degree of Doctor of Philosophy Discipline of English Faculty of Humanities and Social Sciences University of Adelaide April 2004 Table of Contents Abstract iii Declaration iv Acknowledgements v Introduction 1 Chapter 1 A Man’s World: Boys, their Fathers and the Reproduction of the Patriarchy 24 Chapter 2 Mummy’s Boys: Men, their Mothers and Absent Fathers 53 Chapter 3 Bad Boys: Representations of Men’s Violence in The Boys 86 Chapter 4 The Performance of Masculinity: Larrikinism and Australian Masculinities 119 Chapter 5 Love, Sex, Marriage, and Sentimental Blokes 155 Conclusion 197 Filmography 209 Bibliography 211 Abstract The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet ‘feminised,’ identity is fraught with anxiety but sustained by the ‘dominant fiction’ that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience.
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