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Annie Beauchamp Production Designer BLACK MIRROR DIR: VARIOUS NETFLIX (Season 5, Episode 1) ExP: Charlie Brooker, Annabel Jones, Mark Kinsella RICHARD SAYS GOODBYE DIR: WAYNE ROBERTS AUTOMATIK ENTERTAINMENT Prods: Brian Kavanaugh-Jones, Greg Shapiro THE LEGO NINJAGO MOVIE DIR: CHARLIE BEAN, PAUL WARNER BROS. (Live Action Unit) FISHER, BOB LOGAN Prods: Maryann Garger, Roy Lee, Dan Lin, Phil Lord, Chris McKay, Christopher Miller TOP OF THE LAKE: CHINA GIRL DIR: JANE CAMPION BBC WORLDWIDE (Season 2) ExP: Jane Campion, Iain Canning, Emile Sherman, Jamie Laurenson, Lucy Richer THE YELLOW BIRDS DIR: ALEXANDRE MOORS CINELOU FILMS Prods: Mark Canton, Courtney Solomon MADLY DIR: MIA WASIKOWSKA MTV Prod: Eric Mahoney SEPTEMBERS OF SHIRAZ DIR: WAYNE BLAIR MILLENNIUM FILMS *Official Selection, Toronto Film Festival (2015) ECLECTIC PICTURES Prods: Gerard Butler, Heidi Jo Markel, Danielle Robinson, Alan Siegel, Hanna Weg, Les Weldon DEVIL’S PLAYGROUND (Mini-Series) DIR: RACHEL WARD, MATCHBOX PICTURES *Winner, Best Telefeature, Mini-Series or Short Run TONY KRAVITZ ExP: Tony Ayres, Simon Burke, Penny Win Series, Australian Academy Cinema Television Arts Awards (2015) *Nominated, Best Production Design, Australian Academy Cinema Television Arts Awards (2015) THE DARKSIDE DIR: WARWICK THORNTON SCARLETT PICTURES Prod: Kath Shelper THE TURNING: LONG CLEAR VIEW DIR: MIA WASIKOWSKA ARENA MEDIA *Official Selection, London Film Festival (2014) Prods: Robert Connolly, Maggie Miles, Kath *Official Selection, Berlin Film Festival (2014) Shelper ADORE DIR: ANNE FONTAINE HOPSCOTCH FILMS GAUMONT *Official Selection, London Film Festival (2013) Prods: Philippe Carcassonne, Michel Feller, *Official Selection, Berlin Film Festival (2013) Barbara Gibbs, Andrew Mason *Nominated, Best Production Design, Australian Academy Cinema Television Arts Awards (2013) GODDESS DIR: MARK LAMPRELL THE FILM COMPANY *Nominated, Best Production Design, Australian WILDHEART FILMS Academy Cinema Television Arts Awards (2013) Prods: Andrena Finlay, Richard Keddie SLEEPING BEAUTY DIR: JULIA LEIGH SCREEN AUSTRALIA *Official Selection, Cannes Film Festival (2011) SUNDANCE SELECTS *Nominated, Best Production Design, Australian Prod: Jessica Brentnall Academy Cinema Television Arts Awards (2012) DISGRACE DIR: STEVE JACOBS FORTISSIMO FILMS *Winner, FIPRESCI Award, Toronto International Film Prods: Steve Jacobs, Anna Maria Monticelli, Festival (2011) Emile Sherman MOULIN ROUGE (Art Director) DIR: BAZ LUHRMANN TWENTIETH CENTURY FOX *Winner, Excellence in Production Design, Art Prods: Fred Baron, Martin Brown, Baz Director’s Guild (2002) Luhrmann *Winner, Best Production Design, Academy Awards (2002) .

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PAUL RANFORD Is a Producer with Over 30 Years Production Experience Across Film and Television. Recent Feature Film Credits
PAUL RANFORD is a producer with over 30 years production experience across film and television. Recent feature film credits include True History of The Kelly Gang from director Justin Kurzel; Ambience Entertainment’s Storm Boy, directed by Shawn Seet; and Sony Pictures’ Will Gluck helmed Peter Rabbit. Recent television credits include the ABC-TV/Netflix six-part series Stateless, starring Cate Blanchett, Dominic West and Yvonne Strahovski and the award-winning series Secret City and Deadline Gallipoli, all in association with Matchbox Pictures and NBCUniversal. Production credits also include the international titles Mad Max: Fury Road, Matrix Revolutions and Matrix Reloaded. Selected Work History: Producer Stateless (TV series) Matchbox Pictures / NBCUniversal / Dirty Films Directors: Emma Freeman, Jocelyn Moorhouse Executive Producers: Cate Blanchett, Tony Ayres, Elise McCredie Producer True History of the Kelly Gang (Feature) Porchlight Films / Daybreak Films/ Film 4/ Memento Films Director: Justin Kurzel Producers: Liz Watts, Hal Vogel, Justin Kurzel Co-Producer Storm Boy (Feature) Ambience Entertainment/ Piccadilly Pictures Director: Shawn Seet Producers: Michael Boughen, Matthew Street Unit Production Manager Peter RaBBit (Feature) Sony Pictures / Animal Logic Director: Will Gluck Producers: Will Gluck, Zareh Nalbandian Line Producer Secret City (TV series) Matchbox Pictures/ NBCUniversal / Foxtel Director: Emma Freeman Producer: Joanna Werner Executive Producers: Penny Chapman, Penny Win Line Producer Deadline Gallipoli (TV series)
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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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Expressive Culture: Film Class Code CORE-UA 9750 – 001 Instructor Dr Megan Carrigy Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Fall 2017 Expressive Culture: Film Wednesday 1:30 - 5:30pm 6 September to 13 December Room 302 NYU Sydney Academic Centre 157-161 Gloucester St, The Rocks 2000 Prerequisites None Class How has Australian cinema engaged with significant and often contested historical, political Description and cultural events in the nation’s past? The films in this course offer critical perspectives on the history of colonisation in Australia; the legacies of the Stolen Generations; the controversies surrounding Australia’s role in World War One; as well as Australia’s relationships with its Pacific Asian neighbours. We will focus on films that have marked significant shifts in public consciousness about the past such as Gallipoli (1981), Rabbit-Proof Fence (2002) and Balibo (2009). We will also draw on films that have employed innovative narrative and aesthetic strategies for exploring the relationship between the past and the present such as Ten Canoes (2006) and The Tracker (2002). Throughout the course, students will develop their understanding of the methods and concepts of cinema studies. In particular, students will develop a critical vocabulary for analysing how filmmakers have approached the use of memory, testimony, re-enactment, researched detail, allegory and archives across a diverse range of examples. Desired By the end of the course students will be able to: Outcomes • Apply the basic vocabulary of film form. Page 1 of 14 Expressive Culture: Film • Grasp the mechanics of structuring a written argument about a film’s meaning.
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You Are the Cheese to My Macaroni Preserving the Archive of Australia’S Oldest Film School Donna L
You are the cheese to my macaroni Preserving the archive of Australia’s oldest film school Donna L. Hensler It has been said that short films are In 2013, in my role as VCA screen just like cheese—they get better with production coordinator, I took on the age.1 Taking this analogy further, good role of distributing the FTV’s short cheese depends on proper care and films, which had generated a buzz storage. It needs to be housed in its beyond academia. It soon became own capacious, gloomy, cheesy cave, apparent that the general vibe among residing at just the right temperature. past and present students was that Attention needs to be given to the the films they directed and produced humidity, and the area should be at the school went into the VCA clean, free of dust, and checked often. vault and died. This is similar to storing celluloid Encouraged by the academic film and magnetic media; unlike chalk staff and the current head of school, and cheese, the moving image and Nicolette Freeman, I became manchego have much in common and interested in helping VCA FTV their similarities go far beyond taste distribute its films online. Following and enjoyment. These living, breathing current digital distribution processes, organisms will alter their state as a which are at the forefront of business consequence of temperature, humidity development in the motion picture and light. It is these reactions that graduates, including directors Gillian and television industries, and with make the preservation and digitisation Armstrong (Little women, Oscar and the aid of the school, I began to of the Victorian College of the Arts Lucinda), Robert Luketic (Legally investigate digital distribution as a Film and Television School (VCA blonde, Monster-in-law), Adam way to disseminate the VCA FTV FTV) audiovisual archive a most Elliot (Harvie Krumpet), Andrew archive holdings.
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All in the Family: Three Australian Female Directors Brian Mcfarlane
ALL IN THE FAMILY: THREE AUSTRALIAN FEMALE DIRECTORS BRIAN MCFARLANE y any standards, apart perhaps from box-office takings, 2009 was a banner year for Australian films. There were Balibo and Samson and Delilah, Disgrace and Last Ride, but what is really impressive is that three of the most memorable entries in this memorable year were directed by women, in an industry where Bdirection has long been dominated by men. I don’t want to make any special, essentialist point about what’s attracting female directors: male directors have been just as often drawn to the conflicts that rend families (think of such recent Australian films as Steve Jacobs’ Disgrace, Tony Ayres’ The Home Song Stories, Glendyn Ivin’s Last Ride, Dean Murphy’s Charlie & Boots). I just want to celebrate three very significant films by female directors. On the international scene, Kathryn Bigelow’s The Hurt Locker has won and been nominated for numerous awards, and neither in this nor her earlier films has the family been the site of her chief interest. Perhaps film directing is no longer a male preserve, and female directors are not to be confined by the parameters of what used to be patronisingly characterised as ‘the women’s picture’. With this sort of proviso understood, the three major films I want to highlight here—Sarah Watt’s My Year without Sex, Rachel Ward’s Beautiful Kate and Ana Kokkinos’s Blessed—indeed foreground family matters and do so with rigour and perception, but there the similarities end. 82 The three films are tonally distinct from each other.
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Nowhere Boys: the Book of Shadows, Mini-Series Seven Types of Ambiguity, and Barracuda
Introduction The wait is over…Australia’s award-winning drama series Glitch returns to ABC, Thursday 14 September at 8.30pm with all episodes stacked and available to binge watch on ABC iview. When it first premiered in 2015, Glitch broke the mold and garnered fans around the country, who became immersed in the story of the Risen - the seven people who returned from the dead in perfect health. With no memory of their identities, disbelief soon gave way to a determination to discover who they are and what happened to them. Featuring a stellar cast including: Patrick Brammall, Emma Booth, Emily Barclay, Rodger Corser, Genevieve O’Reilly, Sean Keenan, Rob Collins and Hannah Monson, Glitch is an epic paranormal saga about love, loss and what it means to be human, and the dark secrets that lie beneath our country’s history. Season two picks up with James (Patrick Brammall), dealing with his recovering wife, Sarah (Emily Barclay) and a new-born baby daughter. He continues to be committed to helping the remaining Risen unravel the mystery of how and why they have returned and shares with them his discovery that Doctor Elishia Mackeller (Genevieve O’Reilly), now missing, died and came back to life four years ago and has been withholding many secrets from the beginning. Meanwhile on the run and desperate, John Doe (Rodger Corser) crosses paths with the mysterious Nicola Heysen (Pernilla August) head of Noregard Pharmaceuticals. Sharing explosive information with him, she convinces him that that the only way to discover answers to his questions is to offer himself up for testing inside their facility.
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CAPPI IRELAND costume designer Agent: Belinda Maxwell (Film & TV) LMCM - 61 2 9387 8207 Booking service: Freelancers (TVC’s) - 61 3 9682 2722 FILM/TV EXPERIENCE: AUGUST 2018 TV Series Glitch Series 3 Costume Designer Matchbox/ Netflix FEBUARY 2018 Feature Ride Like A Girl Costume Designer Director Rachel Griffiths DECEMBER 2016 TV Series Glitch Series 2 Costume Designer Matchbox Pictures/ NBCU/Netflix JULY 2016 TV Series Newton’s Law Costume Designer Every Cloud Production/ ABCTV FEBURARY 2016 TV Series Seven Types of Ambiguity Costume Designer Matchbox Pictures/ NBCU SEPTEMBER 2015 TV Miniseries Barracuda Costume Designer Matchbox Pictures/ NBCU Director Robert Connolly JULY 2015 TV Series Tomorrow When The War Began Costume Designer TMRW Skagos /ABCTV JANUARY 2015 Feature Lion Costume Designer AACTA AWARDED Aquarius/ See Saw Films Director Garth Davis OCTOBER 2014 TV Series Glitch Costume Designer Matchbox Pictures/NBCU Director Emma Freeman DECEMBER 2013 TV Series Gallipoli Costume Designer Endemol Director Glendyn Ivin NOVEMBER 2013 Feature Cut Snake Costume Designer Matchbox Pictures/NBCU Director Tony Ayres APRIL 2013 Feature The Mule Costume Designer The Mule Productions Director Tony Mahoney DECEMBER 2012 Feature The Rover Costume Designer Porchlight Films Director David Michod 1 CAPPI IRELAND costume designer Agent: Belinda Maxwell (Film & TV) LMCM - 61 2 9387 8207 Booking service: Freelancers (TVC’s) - 61 3 9682 2722 AUGUST 2012 TV Series Wentworth Costume Designer Fremantle Media Director Kevin Carlin DECEMBER 2012 Feature I,
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HIGH GROUND DIRECTED BY STEPHEN JOHNSON RELEASE DATE TBC RUNNING TIME 1 HOUR 45 MINS RATED TBC MADMAN ENTERTAINMENT PUBLICITY CONTACT: Harriet Dixon-Smith - [email protected] Lydia Debus - [email protected] https://www.madmanfilms.com.au TAGLINE In a bid to save the last of his family, Gutjuk, a young Aboriginal man teams up with ex-soldier Travis to track down Baywara, the most dangerous warrior in the Territory, his Uncle. SYNOPSIS Northern Territory, Australia 1919. The Great War is over, the men have returned home. Many return to their normal lives in the cities in the south, others are drawn to the vast open spaces of the North. A sparsely populated wild frontier. They hunt buffalo, they hunt crocodile, and those that can join the overstretched Police service. Travis and Ambrose are two such men. A former sniper, Travis has seen the very worst of humanity and the only thing that keeps him on track is his code of honour, tested to its limit when a botched police operation results in the massacre of an Indigenous tribe. Travis saves a terrified young boy named Gutjuk from the massacre. He takes him to the safety of a Christian mission but unable to deal with the ensuing cover up, Travis leaves his police outpost and disappears into the bush. Twelve years later, 18-year-old Gutjuk hears news of the ‘wild mob’ – a renegade group of Indigenous warriors causing havoc along the frontier attacking and burning cattle stations, killing settlers. It’s said their leader is Gutjuk’s uncle, Baywara thought to be a survivor of the massacre.
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Animal Kingdom Press
A Sony Pictures Classics Release BEN MENDELSOHN JOEL EDGERTON and GUY PEARCE LUKE FORD JACKI WEAVER SULLIVAN STAPLETON and introducing JAMES FRECHEVILLE Written & Directed by DAVID MICHÔD Produced by LIZ WATTS A Porchlight Films Production Winner - Grand Jury Prize World Cinema- 2010 Sundance Film Festival Winner: Best Supporting Actress – Jacki Weaver, National Board of Review 2010 Winner: Best First Feature, 2010 New York Film Critics Circle Awards Winner: Best Supporting Actress, Jacki Weaver, 2010 Los Angeles Film Critics Association Awards Winner, Best Supporting Actress – Jacki Weaver, 2010 San Francisco Film Critics Circle Golden Globe® Award Nominee, Best Supporting Actress – Jacki Weaver Academy Award® Nominee, Best Supporting Actress – Jacki Weaver NY & Los Angeles Release: August 13, 2010 | TRT: 112 min | MPAA: Rated R East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Judy Chang Carmelo Pirrone 34 East 39th Street 2A Melody Korenbrot Lindsay Macik New York, NY 10016 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054, ext 101 Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax 2 Screen Australia and Porchlight Films presents In association with Film Victoria, Screen NSW, Fulcrum Media Finance and Showtime Australia A Porchlight Films Production BEN MENDELSOHN JOEL EDGERTON and GUY PEARCE ANIMAL KINGDOM LUKE FORD JACKI WEAVER SULLIVAN STAPLETON and introducing JAMES FRECHEVILLE DAN WYLLIE ANTHONY
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1144 05/16 Issue One Thousand One Hundred Forty-Four Thursday, May Sixteen, Mmxix
#1144 05/16 issue one thousand one hundred forty-four thursday, may sixteen, mmxix “9-1-1: LONE STAR” Series / FOX TWENTIETH CENTURY FOX TELEVISION 10201 W. Pico Blvd, Bldg. 1, Los Angeles, CA 90064 [email protected] PHONE: 310-969-5511 FAX: 310-969-4886 STATUS: Summer 2019 PRODUCER: Ryan Murphy - Brad Falchuk - Tim Minear CAST: Rob Lowe RYAN MURPHY PRODUCTIONS 10201 W. Pico Blvd., Bldg. 12, The Loft, Los Angeles, CA 90035 310-369-3970 Follows a sophisticated New York cop (Lowe) who, along with his son, re-locates to Austin, and must try to balance saving those who are at their most vulnerable with solving the problems in his own life. “355” Feature Film 05-09-19 ê GENRE FILMS 10201 West Pico Boulevard Building 49, Los Angeles, CA 90035 PHONE: 310-369-2842 STATUS: July 8 LOCATION: Paris - London - Morocco PRODUCER: Kelly Carmichael WRITER: Theresa Rebeck DIRECTOR: Simon Kinberg LP: Richard Hewitt PM: Jennifer Wynne DP: Roger Deakins CAST: Jessica Chastain - Penelope Cruz - Lupita Nyong’o - Fan Bingbing - Sebastian Stan - Edgar Ramirez FRECKLE FILMS 205 West 57th St., New York, NY 10019 646-830-3365 [email protected] FILMNATION ENTERTAINMENT 150 W. 22nd Street, Suite 1025, New York, NY 10011 917-484-8900 [email protected] GOLDEN TITLE 29 Austin Road, 11/F, Tsim Sha Tsui, Kowloon, Hong Kong, China UNIVERSAL PICTURES 100 Universal City Plaza Universal City, CA 91608 818-777-1000 A large-scale espionage film about international agents in a grounded, edgy action thriller. The film involves these top agents from organizations around the world uniting to stop a global organization from acquiring a weapon that could plunge an already unstable world into total chaos.
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David Stratton's STORIES of AUSTRALIAN CINEMA
David Stratton’s STORIES OF AUSTRALIAN CINEMA **David Stratton: A Cinematic Life (a feature version of this series) has been selected to screen at the 70th Cannes Film Festival which opens May 17. “When I started championing Australian cinema at the Sydney Film Festival I couldn’t have imagined the richness of movies that would follow,” says David. “These are the stories of the films that changed the way the world saw us and how we saw ourselves … a story of how the films and those who made them broke through the status quo.” Revered critic David Stratton tells the glorious story of Australian cinema, focusing in on the films that capture the nation’s true nature with candour, emotion and humour. David is superbly qualified for this task. While he adapted to a new country and turned his passion for cinema into a profession as a film festival director and film critic, a growing band of courageous Australians turned their enthusiasm for storytelling into an extraordinary body of work. “A nation found its identity through cinema and so did I; this is my journey through the movies that made our nation,” he says. Those movies are wildly diverse but strong themes echo throughout the body of work. Screen Australia, The Australian Broadcasting Corporation and Screen NSW in association with the Adelaide Film Festival present A Stranger Than Fiction Production Episode one: Game Changers (June 6) Filmmakers gained confidence with: the boldness of Picnic at Hanging Rock and Mad Max; the global success of Crocodile Dundee and Shine; the flamboyance of Strictly Ballroom; the substance and style of Samson & Delilah.
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Resume Wizard
Expressive Culture: Film Class Code CORE-UA 9750 – 001 Instructor Dr Anne Barnes Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Spring 2018 Expressive Culture: Film Thursday 9:00am –1:00pm (4 hours per week including film screening) OR Thursday 2:00 –6:00pm (4 hours per week including film screening) 1 February to 10 May Room 302 NYU Sydney Academic Centre 157-161 Gloucester St, The Rocks 2000 Prerequisites None Class How has Australian cinema engaged with significant and often contested historical, political Description and cultural events in the nation’s past? The films in this course offer critical perspectives on the history of colonisation in Australia; the legacies of the Stolen Generations; the controversies surrounding Australia’s role in World War One; as well as Australia’s relationships with its Pacific Asian neighbours. We will focus on films that have marked significant shifts in public consciousness about the past such as Gallipoli (1981), Rabbit-Proof Fence (2002) and Balibo (2009). We will also draw on films that have employed innovative narrative and aesthetic strategies for exploring the relationship between the past and the present such as Ten Canoes (2006) and The Tracker (2002). Throughout the course, students will develop their understanding of the methods and concepts of cinema studies. In particular, students will develop a critical vocabulary for analysing how filmmakers have approached the use of memory, testimony, re-enactment, researched detail, allegory and archives across a diverse range of examples. Desired By the end of the course students will be able to: Outcomes Page 1 of 14 Expressive Culture: Film • Apply the basic vocabulary of film form.
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