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The movies, mate: Part Three Inside Kennedy Miller

by Barbara Samuels The conclusion 01 an exclusive three-part series, but the accidental death of Byron Ke nnedy in mid-1983 temporarily froze Cinema Canada special report on the production, and then forced a manage­ Sydney - July 11 : " The whole rial shuffle. George Miller now shares setup's a bit like a marriage." Australian film industry today. executive duties with writer producer Sydneysiders know it as "The Cross:' Terry Hayes and financial manager Doug and in strictly technical terms, it doesn't •______-, Mitchell . even exist. The place where Darling­ As muchin tribute to Byron Kennedy hurst, Elizabeth Bay and Potts Point as anything else, the company has con­ come together provides the setting for tinued to function in both the television the city's red light district, but Times and feature domains. And because of Square this most decidedly is not : the Miller's status as the only first wave blend of mild-mannered hookers, inter­ "superstar" who's chosen to stay home esting restaurants and positively posh and keep working, whatever Kennedy hotels lends a friendly "PG" rating to the Miller turns out is subject to a great deal proceedings here. Kings Cross really of scrutiny. The praise has been plenti­ came into its own in the 1960s, when ful. "George Miller," says Australian American GIs on leave from Vietnam Film commissioner David Stratton, "has stopped in for some "R&R." But locals done more for the Australian film and tell me that things have changed since television industry than the Australian then, and concrete proof of that lies a Broadcasting Commission has done in literal few steps from the district's main all its years of existance." "His contribu­ drag. . tion in television," says AFC chairman The Metro Theatre has survived Phillip Adams, "has been magnificent." several incarnations in its lifetime; But the message emanating from the at various moments a cinema, a live somewhat dilapidated Metro is very theatre and a food market, it has clear: this isn't Hollywood, and the recently shed yet another skin. And is cosmetics - either verbal or physical - still doi-ng so, from the looks of the exte­ are not what it's all about. rior: the favade is covered in peeling Those suspicions are reinforced in­ paint that reads "Food Fair - No Pets." side the building, where the faded lobby Only a small hand-lettered sign in the serves as a makeshift reception area, doorway brings the visitor up to date. and the whole place exudes a sense of In purely cosmetic terms, the Metro barely contained chaos. The back of the has probably seen better days. But its lobby is dominated by a garish, oversized current spiritual status would be hard staircase that once led to the mezza­ to beat. This is the headquarters of nine; now it feeds into an oblivion of Kennedy Miller Entertainment, a com­ corridors crammed with lumber and pany formed several years ago by a old furniture, up toward a smaller stair­ young medical doctor and an aspiring case and across to the only area that the movie producer, and presently the new owners have chosen to renovate. framework for what many have termed 1--===-______; But the executive offices still don't look the most exciting production setup in • George Miller has done more for Australian film and TV than anyone or anything like L.A.: no carpets on the walls, no the country. The world knows this bunch inlaid jacuzzis. no hint that revenues as the minds behind Mad Max: I and Il, cer of topflight domestic television purchase the Metro, pursu e their own have gone anvwhere but straight back and that fact alone has been enough to drama. interests, and control the projects from into production. turn movie moguls and cinephiles on That combination is not as strange as beginning to end. First in line w as The The erstwhile doctor is in, and quite their respective ears; what is relative ly it initially seems. When Mad Max: /I (aka Dismissal, a six-hour chronicle of the possibly more exhausted than h e' d be unknown internationally is Kennedy The Road Warrior) sent international Whitlam Labour government and its had he stuck to medicine. The company's Miller's standing as the premier produ- box-office business soaring, the race startling demise. Produced in 1982, new 10-hour miniseries Bodyline - on was on to seduce director George Miller the series was held from broadcast which Miller is executive producer - Cinema Canada contributor Barbara and producer Byron Kennedy into ex­ until after the 1983 elections ; finally \-vill go to air in a few days, and shooting Samuels recently toured Australia at changing their Sydney address for one aired in February last year, it created a on a third series is underway dawn­ the invitation of the Australian Film in Los Angeles. But the Australians res­ stir that has not yet entirely subsided. stairs. Over and around all this h, the Commission. pectfully declined, opting instead to The company had plans for further mania of pre-production on Mad Max:

December 1984 - Cinema Canada/25 • NATIUMAL CIMEMA • Kennedy Miller was directly affected And when Mal( is wrapped and Miller riage lasts a very long time. is free again? I by the change in the 10BA legislation July 12: "George and I are just "It's basically time to take a break," he last year - "It was a little disruptive, making a film together." ,~~ because we were at the very point of says. "We've got quite a few things brew­ . finanCing Bodyline through 10BA" - but ing, but I haven't stopped since Mad Ma,Y ~ he is positive about the long-term II. So I'm trying not to think too far The man who brought the concept of .... ahead." He closes his eyes in mock­ "workshop" to Kennedy Miller is a soft­ effect. "I think it's great. It's tended to . make films harder to get off the ground. meditation, and then grins suddenly. spoken 50-year-old who responded to :. Miller and Hayes' request for a meeting • It' s been said a million times, but there "There is no life after Mad Max II/. " were people making films who were back in 1982 by asking "What on eartH CAdvance Australia skilled at financing, and completely do the Mad Max people want with me 7" unskilled at assessing a project. I think • Several years later, one is hard-pressed that perhaps there's half a dozen people The boss has offered a tour of the to think what they would do without Ill, set to roll a t the beginning of Sep­ in the world who consistantly have a premises, and as we approach the him. George Ogilvie has played a crucial tember. Miller has co-written the script, fee l for what sort of things should be former site of the actual theatre, he role in every production undertaken by and wiII co-direct the picture, a fair made ; there's hardly that many in Aus­ warns me that "there isn't much to see. the company since The Dismissal, and indication of the brashly unorthodox tralia. So this has hopefully stabilized \I\fe're not really a studio - there's no Cowra represents the first project he methodology that his company is now the industry by stopping the 'deal' pic­ soundstage down there." He indicates will not actually take a hand in directing, famous for. Mad Max III will extend to tures." the Cowra set below, now crammed although he completed an intensive feature production a formula that's paid And as the third chapter of the Max with a full-scale replica of a POW bar­ workshop with the cast and creative off brilliantly in television - an "ensem­ saga looms large, Miller senses the ' let's­ racks. "/t's really just an old movie team several weeks ago. At first glance, ble" approach to filmmaking in which a see-what-he-can-do-to-top-the-last-one' theatre. And one of the things we've Ogilvie's is a phenomenal mid-life turn­ group of writer/ directors and actors sentiment that's snaking through the always said is that if the machine starts arou nd; his directorial work 'On The first workshop a project Isometimes industry. He chooses to ignore it. dictating what we do.. if we have to Dismissal marked the first time he had with out a script) and then produce it " I hope this is lucky," he says, "but produce product just to keep it going ... ever stepped behind a camera, and a collectively. This concept originated we've never been motivated to say: 'OK then we'll close it down. The whole few weeks from now, he'll be co-piloting with The Dismissal, when Hayes and - \Vhat can we do to surpass what we setup's a bit like a marriage, I guess. It's Mad Max J1l with Miller. But his own Miller decided to guarantee a high did before 7' It always came from the only worthwhile when you can walk view of the craft and the situation turns standard of performance by hiring thea­ story. It aidn't OCCUl:'to us to do a Mad away from it at any time." that perception around. tre and opera director George Ogilvie - lV1a~ 11 until the story came along. In fact, This provides food for thought as we "Before 1 went into my first television until then a man with no television or quite the opposit e: the more people reach the top of those incredible stairs directing experience," he recalls, "I was film experience and now Miller's co­ said 'do one,' the greater my aversion to again. He gestures around him. "So terrified. I thought the whole idea was director on Max - to take the actors the whole idea. We were thinking of that's basically it. Offices, that shooting very foolhardy on the part of George period of preparation. The Dismissal's another picture altogether when the area, and the screening setup here ." and Terry. And then I met Idirector of " lockup" Inamed after the two week story popped up. And if you've got a I glance around in confusion. He photography) Dean Semler, and I pre-shoot confinement of the actors and strong story, you've got to tell it. I don' t points to a glassed-in projection booth thought: 'I'm not doing this alone - I've writer/ directors in a large house) paved know how Mad Max III will compare behind the main landing, and then down got a partner.' Then I met the rest of the the way for what's come to be known as with the other picture, but I believe it'll at the lobby. "This is where we watch crew, and said 'It's more than a partner­ the "Kennedy Miller Method," and they've be better ; I don't think we'd be doing it rushes," he says. "The screen is set up in ship; it's a company. It's wonderful.' applied it to every project they've tackled if we thought we were just repeating front down there, and we sit on the And during the workshop, I learned since. But Miller is uncomfortable with ourselves. It's going to be a lot better, in stairs." more and more from the other directors labels ; what matters to him is that the fact, a lot more powerful. But it's going The mental image is immediate, ter­ involved IMiller, Phillip Noyce, Carl system works. It also explains what he's to be different." rific. I find myself hoping that this mar- Schultz and John Powers) and found I still doing in Sydney when they're offer­ didn't have to know everything. That ing him the moon and the stars to work being a director is just part of the in L.A. package. No one person makes a film." "I'm staying with Kennedy Miller- for That element of "company" is the the time being because as individuals hallmark of Ogilvie's approach to the - and collectively as a group - we're all workshop, and he's found - much to his learning much more than we would surprise - that the medium of film has anywhere else. We can approach the brought him closer to the possibility of work much more organically. If I was true collaboration than he'd ever expe­ working in the States, I'd tend to be rienced in theatre. doing one thing: directing. Here it all "All my life I'd been searching for an blurs together- the producing, the writ­ ensemble," he says. "The ideal in theatre ing, the directing. And because we're was to have an ensemble group of actors able to use what we do as a kind of who really worked together, with whom laboratory - particularly the te levision­ you could do anything. I never dreamt it's amazing how much we're all learning that it was easier to do that in film, from one another." because one's brought up to believe that He regards the chrononlogy of their film's got to do with stars and all the rest television product as a slow "widening of it. But I found that the possibility of out" to the world: "In television, our' creating an ensemble lay not just with first market is Australia, but we're the performers, but with everyone else broadening that now. The Dismissal working on the project as well. It was was obviously domestic, but Bodyline is exciting; I realized that if you made it closer to Chariots of Fire in its appeal. all interesting enough, every crew It's about cricket Is pecifically an in­ member became a willing participant. famous British! Australian series in the Most of the workshops thus far included 1930s that sparked a new surge of Aus­ writers, directors and actors, but it's tralian nationalism), but it doesn't really opening up. For Cowra, the DOP and have that much cricket in it. It's much various members of the crew turned more about people. The lO-hour series up." starts with the Raj in India at the turn Asked to define the process of work­ of the century and finishes at World War shopping, he is very straightforward. II, so it follo~s a lot of lives through a "You're creating a world together. I very long period. It's not until Episode discovered that a director can actually Eight that we finally get to th e main leave an actor alone with their role - as incident of the title, and it's almost over long as you develop a world in which by then. that actor can live. Then the actor wiII "And Cowra Ithe series now in pro­ do the rest of the work for you. I'm react­ duction) will be even more accessible, ing against that one-to-one thing, where because you' re d ealing with World War in fact the director is often making the II and the atJempte d breakout of Japa­ actor do what he wants him or her to do, nese soldiers from a POW camp in New rather than bringing out what the actor South wales. It's a symmetrical conflict knows is inside. Instead of just admiring be tween Japanese and Australians, and an actor's performance, I want to be the issue is more apparent, more acces­ absorbed into the world they inhabit. sible. So we're moving toward a wider • Kennedy Miller Entertainment headquarters : "Food fair - no pets" Too often, I find I'm just watching per­ audience." formances, and they stand out because

26/ Cinema Canada - December 1984 • NATIONAL CIMEMA • the world in which they live is inade­ land opens up to a perfect anamorphic the colour of light or anything like that is quate." frame. And given that in Mad Ma,1( fl, the conce rned. Which is pretty opposed to Ogilvie recognizes that the "aura" cars and trucks are a ll anamorphic conventional dra m a, where you've got surrounding the Kenne dy Miller ap­ shapes, there wasn't any problem . But all the rules and you try to make things proach is potentially damaging, and you've got no control over light, except logical : there's a window, so the light he's keen to discourage it. up and down exposure and filtering. I can come through there. We ll, who "Workshop can develop into some only filtered a bit on Max ; most of it is gives a monkey whe re the light comes kind of mystique, when in fact it's the absollitely straight. Razorbac k' s got a from ? If it looks be tter coming from a simplest thing in the world. All you' re lot more ... it's a little more stylized than beaker, let's do it. And that's Russell. I trying to do is free yourself. How else Max." learned a lot from him about boldness. C Advance Australia can you get into a situation where we The visuals of Razorback are the pic­ Towards the end of the picture, we can let our ideas flow ? The only way to ture's spine, but Semler is quick to were gelling a lot... Russell wanted do that is to empty yourself, to cut out all accord a great deal of credit for the backlight, so I'd put in arcs for the job, "because Mad Max and Razorback are the bullshit, all the defences ... so that film's look to director Russell Mulcahy. and if we had lasers, we'd use them too. only two pictures. Eighteen months out any idea becomes a good idea." " I learned an awful lot from him on Didn't matter where they came from. He of my five years' freelance work. What The Mad Max collaboration has that picture. I hadn't worked with w as really a delight to work with." about all the other stuff?" spawned some pointed questions in the anyone like that before. The rock clip Semler is a bit confused by the "sty­ And the other "stuff' is quite remark­ press: who's going to do what, for experience he's had has obviously left lized" tag that dogs him internationally able. Starting his career in South Austra­ instance ? And how will Miller's flash­ him with a totally open mind as far as - "I don't quite understand it," he says, lian television, he went from news foot- frame visual technique be affected by ogilvie's approach to performance ? "As far as the nature of the collabora­ Australian tion is concerned," he says, "George and I refuse to define it. We don't want to put More love than money ourselves in pockets. People keep independents saying: 'Yes, but .. .' There's no 'yes, bu!...' The output of Australia'S commercial nity. Serving first and foremost as a is described by its authors as a I feel that the same way Mad Max I and fl film industry in recent years has distribution outlet for its members' "feminist heist film" and uses a thril­ had George Miller's stamp on them, so been more than impressive, consider­ works and, owing to its historical ler format. Perhaps because it runs Mad Max Ifl will have it as well. And ing the country's population and role as community centre, it is now counter to the documentary tradi­ mine too, whatever that m ay be ... I've no financial base. Equally impressive, the largest single distributor of non­ tion, the film was rejected by the idea. I distrust definition intensely. I do and just now attracting attention in commercial films in the country. Sydney Filmmakers Co-op and picked not 'direct' a film - not when I'm stand­ the United Kingdom and North Alternative films may not be big up inSlead by one of the small inde­ ing next to a DOP like Dean Semler. And America, is the product from the money-makers but they are consis­ pendent distribution companies. Its the whole auteur theory is such a load of independent side of the film com- tently in demand. Domestic outlets unusual beginnings led to unusual nonsense because it never existed : the , mun ity. Recent films like On Guard have been non-theatrical and non­ ends : although only 50 minutes in best movies are made by everyone. So and For Love or Money, both of commercial, through schools, univer­ length, it opened first-run in a sm all George and I are just making a film which come out of the independent­ sities, community groups and the Co­ commercial cinema in Sydney and together." feminist sector, "Yill be appearing or op's own outreach program. During was later picked up by Women.Make And his sentiments about Ke nnedy have already appeared in Canadian the educ;ttional boom in the '70s, Movies in the U.S. Miller are equally clear. festivals this year. saJes to colleges and universities Its unprecedented s uccess gave a "It's a unique organization in this The way independent filmmakers made for financial expansion of the leg up to For Love Or Money, then country, because they're obsessed with see it, there is a radical split between Co-op and the independent sector still in prepar ation, as McMurchy has the idea of quality, and they'll do any­ the commercial side, or what they generally. However, both private and it, " On Guard raised the profi1e of . thing to achieve it. The thing about them caU the " industry," and the indepen­ public television have remained in­ feminist film production in AUstra­ is their vulnerability. All these theories dent side, unaligned filmmakers different, and although rentals are lia." The original plans put For LOve can be torn apart in moments; the who prqduce low-budget subjects on still going strong, recent cuts in fund­ Or Money at 50 minutes' running workshop, for example. Somebody social and political subjects. Most of ing for education have resulted in a time - the film documents the labour comes in, spends 10 seconds knocking the women filmmakers have allied reduction in sales to that sector. history of women in Australia using it, and you'd have 50 people cringing in a themselves with the latter. Lately the Co-op has had to face the contemporary archival materials, corner. But that"s how it should be. Australian independent filmmak­ prospect of cutting its staff and simul­ film clips, stills and quotes- but the You've got to have that vulnerability, ing is, in fact, older than its commer­ taneously finding new avenues; in film grew to feature length when it that willingness to try things. I suppose cial counterpart and has already collaboration with the AFC officers attracted funding from the AFC PrO­ that people who don't work here think seen a lot of changes. In the late '60S, in Los Angeles and London, it has ject Development Fund, usually the it's some kind of club. But a lot of people some five years before the founding also moved into overseas sales. preserve of the commercial industry. have passed through this building in the of the Australia Film and TV School Though the AFC is in theor y com­ Its producers also received $50,000 last two-and-a-half years, and most of and the creation of the Australian mitted to the production of low­ from the Marketing Branch for world­ them have found something interesting Film Development Corporation, a budget independent films, since its wide promotion. going on; they've given of themselves, handful of experimental film artists direction has been turned over to For Love Or Money's pUblicity and they've taken things away. It's that banded togelherto form Ubu Films, a big-money managers from the private campaign also represents a depar­ feeling established by George, Terry and screening and distribution outlet for seClor, independent filmmakers find ture. Its producers w ere courted for Byron, like those conversations we used their own work. With the intent of themselves increasi!lgly marginal­ the domestic rights by both the Co-op to have : a group of people in this taking a stand against foreign domi­ ized. According to Megan McMurchy, and an independent distributor with business, and what you sit around and nation and government control over co-pr oducer .and co-director of For a sideline i n publicity. Instead of talk about is the meaning of life. It's content and subject matter, they Love Or Money,. the fight to maintain going with one or the other, they fairly original." dedicated their organization to free a consistent level of funding has struck a compromise that gave the expression in the cinema and devel­ become an annual battle . "Everyyear indy distributor a contract to d o opmen-t of an indigenous film cul­ the AFC directors have to be reminded commercial pub~i c i ty . The specially­ • ture. The productat that time was for of the importance of independent, designed campaign resulted in a first­ When you think of Mad Max fl, it's those the most part short experimental non·com mercial productions," she ru n ope ning in non-mainstream mind-blowing vistas that haunt you, the films and a few ethnographic docu­ said recemly in Montreal for the houses across the country_ way the desert light plays across the mentaries. In 1971 Ubu Films acquired Festival du nouveau cinema. The success story of On Gua rd and frame. So it's inspiring to learn that a constitution and a new name - the McMurchy is herself in the van­ For Love Or M oney provid es an in­ when Chapter III is ready to roll, Dean Sydney Filmmakers Co-op - and it guard of what promises to be a new teresting parallel to the career of Semler will be back behind the camera. geared its energies 10 exhibition and phase for Australian in d ep endents. Australia's in dustry films in recent He's the undisputed portrait painter distribution of the films produced by In the past two years, the women in­ years, d emonstrating that "a lter­ of the Australian outback ; in both Max its members. In the early '70S the in­ dependents have altered the tradi­ native" d oes not h ave to m ean "Iow­ and Razorback, it emerges as a palpable dependents abandoned formal tional pattern and set a pr ecedent for interest." The tw o films have gone on screen presence. But Semler won't trip abstraction and started to work on non-industry production. The classiC to attract the attention of d istributors you up with mystic ruminations on the political themes, addressing issues way to proceed has been to make in the United Kingdom and North art of the landscape photographer: such as nuclear disarmament, Abori­ short documentary subjects on mon­ America and have already been "Only problem in shooting that kind ginal culture, the status of women ey from AFC Creative Development show n through festival and non­ of expanse with anamorphic lenses is and youth unemployment. Women or the Women's Film Fund and then theatrical outlets in both regions, keeping the catering truck out of the filmmakers form an important com­ to distribute them through the Co-op with a grow ing reputation among shot," he says. "You can't really control ponent and at one time the Co-op ~o non-theatrical domestiC outlets. women's groups. Incidentally, both the light at all. You're dealing with lots itself Was predominantly feminist in But the makers of On Guard and For films are slated to show at Through of it, and endless horizon lines ... that political outlook. Love Or Money have broken with Her Eyes, a women's festival to be area up around Broken Hill is perfect T.oday Ccrop membership incJudes that pattern and. threaten to close the held in late November at Toronto's anamorphic landscape. I've shot televi­ workers from aU aspects of film pro­ commercial gap. Harbourfron t. sion commercials here, and it was as dUction and it has be(}ome the nerve On Guard makes a notable incul'" though you had one eye gouged out. The eentN of the independent coromu- sion into the world of film fiction; it Sue Stewart • • MATIONAL CIMEMA • together from conception to completion, and the result is a combined effort. Generally in film, you're working out on a limb; h ere you've got the strength of people around you. There's no room for egos; people who worked with us and tried to extend their egos fell by the wayside. By involving everyone in the project you only gain, and you finish with a more co.nsistant performance CAdvance Australia from the actors. There's still lots of room for individuality, but everyone knows they're all talking about the same thing." age to documentaries. During h is nine Schultz is enthusiastic about the new years at Film Australia, he went on to series. "I'm very happy w ith what I've run the production gamut: features, seen of it. The initial subject didn' t telefilms, documentaries, cinema shorts interest me in the least ; to me, cricket is and ethnographic films, "which I think I a little insect that makes a lot of noise. So loved the best. It's beautiful just doing it wasn' t love of the sport that caught me raw film like that with a small crew. And up. It's a human story, dealing with the you don't do that kind of work anywhere political stance of Australia and Eng­ else but at Film Australia." He also shot land, a very human drama." the exquisite documentary Stepping In this country of cricket maniacs, Out, and acted as director/cameraman Schultz's disdain for the national pastime on a lyrical little film called Saturday. is a dead giveaway. Born in Hungary, he His other feature credits include Under emigrated to Australia after the 1956 Cover and Kitty and the Bagman. In his revolution, and arrived with dreams of • Co-director Chris Noonan discussing a vital scene during filming of Cowra series own words, he has "pretty much done studying electronic engineering. Quite the whole circle," but in a rather non­ by accident, he fell into television pro­ beautiful screen presence. Schultz says "You have to explore those subjects traditional fashion. duction, and soon garnered a solid that the child is, in fact. as remarkable as before you go on to anything else, even if "I envy the guys who trained under reputation at the Australian Broadcast­ he seems. they're not readily marketable inter­ lighting cameramen, whether good or ing Commission as a dramatic director. "He's frighteningly intelligent. So you nationally. If you're an Australian and bad ; they learned aJl the basic tricks. His two first theatrical features (Blue Fin tend to speak to him as though he was a live with the country's relatively short Ways to do things, how to cut light. I and Goodbye Paradise! went largely professor of languages, or something. history, you have. to examine it before never did that. There are several 'non­ unnoticed outside Australia ; his third You find yourself using words you don't you go on. There's been this desperate trained' cameramen like me in Austra­ most assuredly has not. know the meaning of. He made you need in Australian filmmakers to find lia, and I guess the difference shows "A friend of mine was writing the forget he was just seven. Intellectually, the true Australian character. Not to say when you go into a new situation - there screenplay for Careful, He Might Hear he was very sharp, very observant, but you will, but the need to explore the pos­ are no rules. You do what you like, and You, and I found out that Jill Robb had he had the physical limitations of a sibilities is strong and real, and it's got to there's probably a lack of fear because the rights. She asked me to direct it, I child: a short attention span, and a ten­ be filled." you don't know the rules. You learn as made certain suggestions, and the pic­ dency to get emotionally distraught ifhe you go along: how to get rid of a boom ture came to me about nine months thought things weren't going absolutely shadow, how to make someone look 20 before it actually got made." right. He's a perfectionist." • years younger. The last picture I did - Schultz knows he's been tagged as a July 14: iiI really don't mind The Coca Cola Kid - well, I was learning The visual sweep and tone of the "European filmmaker," and he shrugs it where I work." every day on that. Stocks are changing, movie is absolutely overwhelming, and off. ''I'm not aligned to Europe in any lenses and lights are changing all the Schultz acknowledges that this approach way other than the fact of my having The lobby at Kennedy Miller is some­ time. You've got to stay flexible." to the imagery was very much part of been born there. That background's what transformed this day ; the Cowra Semler's work has made waves in the game plan. "We decided that the made me richer. But I'm an Australian shoot is in full swing, and in these Hollyvvood, and some offers have come film had to be made from the child's filmmaker; all my working life's been definitely non-soundproofed surround­ his way - all to be turned back by the perspective: everything over-empha­ spent in this country, and I consider ings, a warning bell rings intermittantly American union. Having made the trip sized. Sharper, clearer ... to bring out myself very much a part of its society. to demand absolute silence during over to take a look, he's not entirely sure that feeling you have when you're a kid, What my past may have given me is a takes. The area is crammed with Japan­ that's a bad thing. that a summer afternoon lasts forever. slighty sharper view of this place than ese extras in POW uniforms, and they "It's got to be different from working We wanted to have that literal sense of someone who's always lived here might sip coffee wordlessly until another ring in Australia," he says. "There's a fair the world being beautiful and threaten­ have, and that's fine. But I'm not strug­ of the bell frees up abbreviated conver­ amount of tension over there that ing at the same time, to emphasize the gling to hold on to more of my 'European­ sations. The Cowra production offices doesn't exist here, and I think there'd be physical relation of things. That was ness' than what's already there." lie at the back end of the Metro, and it's a a lot more pressure on the DOP: a lot part of the reason we decided to go He fully understands the need of Aus­ navigational nightmare through a com­ more asked, a lot more responsibility. anamorphic." tralian filmmakers to plumb indigenous bination of bodies and lumber to find I'd never say no if the work was offered Careful, He Might Hear You is pivoted subject matter like The Dismissal and them. But the sound finally pinpoints and it was interesting, and there was a on the performance of seven-year-old Bodyline; what's more, he thinks it's the location: the blend of Japanese and way to work it out. But I spoke to some Nicholas Gledhill, who radiates an eerily healthy. English reaches my ears before I round producers, and they said 'Yup, well over the bend to Phil Noyce's office. here we place the DP right at the top, He is one of two writer/directors on and the director and producer come the series: the 10 hours have been underneath.' I thought: 'Shit, what do evenly divided between Noyce and they want in return for that ?' " Chris Noonan. Of the two men, Noyce is He won't have to sweat the question probably the better-known. An impor­ out for a while; Max rolls Sept. 10 and tant figure in-the Australian first wave, goes right through until Christmas. his feature Newsfront is widely regarded as one of the definitive Australian films • of the 1970s. He is also a graduate of that stellar first year at the Australian Film July 13: "Everyone knows & Television School (AFTS!, and his fea­ they're talking about ture credits (Backroads, Newsfront and the same thing." Heatwave! testify to his extraordinary range. The fact that the funding for "Kennedy Miller," says Carl Schultz, " is Umbrella Woman (a feature he was the hottest show in town." supposed to shoot last year starring We are several districts removed Judy Davis! fell through is strong proof from the Cross, at a place called Film that filmic track records didn't account Business where Schultz is preparing a for much here in 1983. commercial. But his thoughts wander But the feature wol'ld's loss was back to the Metro Theatre, where he Kennedy Miller's gain. The cancellation directed two episodes of The Dismissal of Umbrella Woman brought Noyce to and a full half of the lO-hour Bodyline. Cowra, and back to the setup he had so "What happened over there," he says, enjoyed during The Dismissal. And "marks the first time that filmmakers • Carl Schultz with actor Hugo Weaving on the set of Bodyline neither was that series his first encoun­ got together to make a series. We worked ter with Kennedy and Miller.

28/Cinema Canada - December 1984 • MATluMAL CIMlMA • mers. But amazingly few words are require d here. This rehearsal scene intensifies the impression I've had all day; George Ogilvie's touch lingers in ~'~~ the air, because everyone .here actually ...... seems to be on the same wavelength. Language is practically inconsequential. :. The Cowra set is unique, in both • mood and intensity. There have been a few scenes today featuring moments C Advance Australia of emotional fireworks; characters ex­ plode at one another in angry Japanese, and you find you can follow the story des­ pite the particulars of the dialogue. That's liant. He's also a great judge of perfor­ very much the case right now. As the AD mance. But both Phil and I have found calls for a run-through, people material­ that you can gauge the emotional inten­ ize from all over the building : secreta­ sity of a performance despite the lan­ ries, carpenters, electrics, producers. guage; you just hook into it at a non­ Word of this scene has travelled fast, and verbal level. And you really can tell." the perimeter of the set is soon crowded What is immediately apparent to an with onlookers. outside observer is the naturalness of When Noonan signals action, one of performance here, diametrically op­ the actors leaps up onto the stage and posed to the stylized tours de force one addresses the assembly of prisoners. has traditionally seen in Japanese The men's laughter and impatience theatre and film. Noonan traces it back reaches a crescendo as an exquisite to the workshop. • Mel Gibson as Mad Max in George Mllier's world-wide hit The Road Warrior geisha appears from behind the cherry­ "We talked to the Japanese actors for blossomed panel, her face hidden behind a long time about the kind of naturalism "I first met them during a one-month product. The network that doesn't have an enamelled fan. The men howl, stamp we were aiming for, which is an unusual workshop I helped give in Melbourne," Australian drama comes third in the their feet in glee - the man on stage sig­ approach in Japan. But we've had two he recalls. "In my group of eight or 10 ratings. nals the band, and the girl moves to the weeks of workshopping with them, students was George Miller, a trainee "I also think that the only thing keeping music with delicate, mincing steps. One trying to define just what that naturalis­ doctor from the University of New South the te levision industry from 'respect­ of the prisoners bounces from the audi­ tic approach is, and I think the perfor­ Wales, and he'd won a prize for the best ability' is the ego of filmmakers, along ence and onto the stage, where he makes mances reflect it. The test will come 3D-second student film. The prize was with the mystique that's associated with lewd advances toward the dancer. She when the series is screened for a Japan­ the trip to this workshop. Byron Kennedy cinema. Worldwide, television reaches seems unflustered, finishes her per­ ese audience. But these people are was also there ; he'd won a prize for one more people, so you could really say it's formance, and dances off as the men extraordinarily dedicated as actors, and of the best amateur 8mm films in the more important. Standards of production clap in hysterical appreciation. it may have something to do with the country. I taught them how to load a haven't been as high, but if you take the The sound is suddenly replicated all fact that they're in a foreign country, and camera, and they had to go out a nd audieHce's point of view, it's really the around the set as th," crovld of specta­ they don't have other lives to go home to shoot a film. George and Byron came more important medium. Once there's a tors breaks into applause. The actors at night. When you're using local actors, back with this completed film ; all you genuine body of criticism written about turn to acknowledge the response, and they've got their normal day-to-day con­ had to do was cut out the flash frame at television product, filmmakers will I'm still trying to figure out what the hell cerns, but these guys will stay up until the head of each shot, and the whole probably change their minds and start a Japanese woman is doing in an Austra­ three in the morning discussing scripts. film was right there." taking it seriously. As far as I'm con­ lian POW camp when the geisha appears It's phenomenal." Years later, the group came together cerned, I really don' t mind where I again and crosses directly in front of me. What about the beautiful geisha, I again for The Dismissal, and the project's work." Under the makeup, I see a slender want to know. Did the boy under the collaborative aspect had a profound young man. makeup train extensively in kabuki impact on Noyce's view of the whole theatre? filmmaking process. "I thought we were • Noonan bursts out laughing. in for a giant ego struggle," he says. "But, Round the corner on the Cowra set, "That kid lives in Sydney," he says. to my surprise, the whole thing turned Chris Noonan is blocking a major scene • " Nevet done anything like this in his life. out to be very harmonious. It was the in the barracks. The Japanese POWs One of the other Japanese actors in the first time any of us had really had a have apparently decided to alleviate the Chris Noonan is elated. The fears he har­ cast is a professional dancer, though, chance to watch someone direct, and boredom of incarceration by staging a boured before the shoot - and he freely and he spent two weeks training our we all learned from it." show; they've set up a platform and a admits they were numerous - have guy. Got him to walk with a phone book Production of Cowra is proceeding in wooden backdrop painted with delicate evaporated. between his knees. It's absolutely extra­ the same harmonious atmosphere, and cherry blossoms. A few of the prisoners "One of my greatest worries was that ordinary how well he picked the move­ Noyce is excited about the way the assemble into a small orchestra. Direc­ we wouldn't be able to judge perfor­ ments up." project has evolved. tor of Photography Jeff Burton stands by mance, and we still can't judge whether Cowra is Noonan's first large-scale "When I started on it - in April of1983 as Noonan explains what he wants to people are delivering their lines right. dramatic project, and it couldn' t have - it was just an idea. Since then, we've' the production's translator; he in turn But we're working with a fabulous lin­ happened to a nicer guy. A gentle, soft­ been to Japan twice, researched the transmits the directions to the perfor- guist, the interpreter, and he's just bril- spoken young man, he is best known whole thing and written 10 scripts. Now intern.ationally as a documentarian ; his we're finally shooting. I'm splitting the .. , superb, evocative Stepping Out has won episodes with Chris : he's odd and I'm ...., I emotional plaudits right around the even. It's basically a development of the , world. He's another product of the AFTS ~ theory that George and Byron had - that Year One, and his graduation piece film is an organic process, and that it there was a 35mm anamorphic short shouldn't be split up into boxes holding called Bulls. It was on the basis of that a writer, or producer or director. All you film that George Miller proposed him have is filmmakers. As directors, we for Cowra. Noonan also spent several direct on set, but along with Margaret years at Film Australia, and left the Kelly, we've conceived the whole thing, organization to make Stepping Out ; and written extensively. Margaret is now he'd like to concentrate on drama. Creative Producer now, responsible for "It's ironic," he says. "Right now, a lot the day-to-day running of the thing." of big-name directors are looking'for a The Australian television boom makes television break in order to make some­ perfect sense to Noyce, who isn't interes­ thing of quality. And I eQd up landing ted in holding out for a widescreen epic. the te levision job first as a step tow ard a "One of the things I remember Byron career in dramatic film. Shows you how saying Was that the Australian film in­ things turn around." dustry should essentially be a television He's watching Cowra take form in the industry. I think he was right. We only cutting room, and what he's seen rein­ have 15 million people, and with the forces his initial feelings: "The wholtl decreasing backup for theatrical films, think looks like it's very much on track. there's not enough to support a large .' Now you can see great slabs of the serie~ theatrical industry. On the other hand, coming together - it's like watching a there are three commercial networks, jigsaw puzzle begin to make sense. I • John Meillon as Australian governor-general Sir John Kerr in The Dismissal and the key to th,eir ratings is Australian hope this doesn't make us overly sure of

December 1984 - Cinema Canada/29 • MATIOMAL tlMEMA • siastic about the Australian film com­ last year and Kennedy Miller offered the weren't involved in war at this level. I munity and its potential. "Look," h e Cowra job, she accepted because "I was can't bring myself to make a project that says, "I couldn't resist coming here. And absolutely intrigued by the subject. It I think is inferior just because it features I had a wonderful Australian cast... first­ was so challenging ; everyone wanted wumen. And I'll probably have a lot of class actors. The crew was super- they to make an anti-war statement. I feel a criticism fired at me for that." worked from the heart. And I'd like to small twinge of guilt, because if I'd been Her overall response to the organiza­ think that what they've got going here out there this year, I might have gotten tion 7 will be able to flourish. That kind of my film off the ground. I hate to go on "More power to them. They've man­ assurance only comes with open bor­ record saying this, but I will: I think this aged to work through a very difficult ders. Once you close them, the people is a much more important subject, and time; they survived the death of Byron, [Advance Australia inside start dying. And that," he intones, will reach a lot more people than the and they've kept producing." She stops, "would be a godammed shame." film I was trying to make." and then cracks a little smile. "At the As one of the few 'female presences' moment, I think they're God." ourselves, but I'm awfully happy with in the Kennedy Miller hierarchy, Kelly what's happening." • has been asked on more than one occa­ • He suggests I return for rushes tomor­ Back in the' Cowra offices, Margaret sion as to whether the company's tradi­ row. Kelley reflects on the work ahead of her. tion of "boy's own" stories disturbs her. The bells are ringing again, this time to You betcha. "I've still got four episodes to rewrite," She is quick to respond. summon all and sundry to the rushes. she says, "and we'I'e well into the shoot­ "I honestly believe that the guys here That staircase is soon full of people ; • ing. I've been writing for a year now, and are inherently not sexist. They are boys, cast and crew, Kennedy Miller support r m getting really tired. I asked at the and they're interested in boys' subjects. staff, interested visitors. The lights go July 15 : "Nationalists beginning: 'How many writers are you I get on really well with them, and they down and the screening begins, footage can't produce anything." going to have 7' and they said 'Four or obviously like what I do because they from yesterday's shoot. five.' I said fine. We started shooting, made me Creative Producer on this The 16mm images are suffused with The critical previews of Bodyline are and now I'm the only writer left because project. And when I find a little sexism Jeff Burton's cold, edgy daylight, and in spilling out into the papers. Chris is directing. It's a nightmare, here, [ point it out - they listen, they closeup, the Japanese actors are electri­ "Ten Hours of Crash Hot TV," says The because I want to spend more time as laugh, but they do take notice. They're fying; their performances are rivetting Australian. The Sunday Telegraph Creative Producer." She sighs, and then very aware that this criticism has been and incredibly subtle. An apparently addresses the network itself: "Well shakes her head. "But then you sit there levelled at them, and they did look amusing line read sends the Japanese played, Ten! Cricket Series Will Bowl at rushes, and you just get a thrill down seriously at a project that involved only half of the audience off into helpless Over Viewers." And the weekly Bulletin your spine. They are so good." women. They threw it up to me, in fact. I laughter, and the Australians look at headlines with: "Bodyline : It's Not Just Kelly came to Cowra at Phil Noyce's think if I' d really loved it, we would have each other with bemused grins on their Cricket." The Sydney Morning Herald invitation; an award-winning writer, had a go at it. I'm a very strongfeminist, faces. An Aussie actor's goof a moment devotes the front page of their weekly she'd been working in television drama but in my work, I'm interested in making later reverses the response. The whole entertainment guide to the series, and for some 20 years, and moved into the best project possible. And if it hap­ occasion is one of those rare moments so it goes. On and on ... and on. prodUCing with Puberty Blues. When pens to only have men in it, then I'm when potential onset is transformed 'Message received. Umbrella Woman fell through on her sorry. Cowra's a war story, and women into real fire on screen, and it's a genuine pleasure to see it happen here. From the evidence on view at the foot • of that remarkable staircase. Cowra The harbour view offered by the 25th should be one spectacular series. From floor of Sydney's Regent Hotel is a stun­ the evidence at hand, Cowra will be one ner, and Dusan Makavejev is impressed. very special series. "This city is truly breathtaking," he remarks. "Just look at that. The Opera House, the Harbour Bridge. With a little • courage, it could be one of the most July 16: Goodbye to all that. beautiful places on earth." One does sense some reservation I haven't spent much time in local there. Makavejev has been in Australia drinking establishments since my arri­ for some time now, one of the few val, and it's been suggested that I've foreign directors in years to make a film bypassed the most significant expres­ in this country. The circumstances, he sion of Australian culture in existence. says, have not been the happiest; The So I do manage one last visit to a Sydney Coca Cola Kid (his first feature since pub, and find the place strangely quiet Montenegro) is an Australian-financed for a Monday night. It seems the watering movie, but there has been some negative holes and even the streets are virtually reaction within the community to his empty by 7 p.m . ; if drinks were had this presence here. Makavejev is both puzzled evening, they were tossed back early and a ngered by the sentiment. enough to get patrons home for the "I think the attitude of excluding premiere episode of Bodyline. "All foreign directors is stupid. Legally, they roads should lead to the box tonight," can claim some legitimacy for that says the Sydney Morning Herald. All stand; the tax deductible money is but the route followed by Qantas Flight supposed to stimulate national produc­ 3 en route to San Francisco. As the saga tion. But the Australians don·t seem to of cricket and national pride bows with realize that the world is all one big a three-hour opener, Sydney disappears thing, not a collection of separate below me in a swirl of winter rain places." clouds. The new picture - detailing the efforts So what does one come away with 7 of a brash American salesman to bring The feeling that when it's all said and Coca Cola to the Australian outback - done· they're going to be just ·fine. The stars Eric Roberts, and is, according to impetus for making movies in this coun­ Makavejev, "inherently Australian. And try didn't begin or end with a tax incen­ its international aspect gives it a very tive, nor will it, I suspect, in the days, special flavour. There's no such thing as months and years to come. Deals, politics ' national' art anvwhere; nationalists and diatribes aside, there are still people can't produce an~rthing. Foreign talent making magic down there. makes for a cross-fertilization of ideas, Good on ya, Oz. like what happened in France. That countrv's great strength is that it's a wonderful cultural manipulator. All the • Spanish filmmakers, the Brazilians, the My thanks to all who made the Austra­ paintel's, the writers ... the place is open lian story possible, and in particular to to evervone. And French culture is Kay Matthews and Ian Klava of the blooming. Paris is full of good art, and APC, Helen Sweeny of the Queensland you get government support for all of it. Film Corporation, Rea Francis, Jan So everybody benefits, especially French Batten and, most o.fall, to Mike Lynskey. culture and the French economy." • Wendy Hughes, Nicholas Gledhill and Robyn Nevin in Careful He Might Hear Yo u A very special debt of gratitude to Despite his reservations, he is enthu- Mike Harris. •

30/Cinema Canada - December 1984