ࡱ> gidef%` *bjbjNN ;,,8TD<^" ". :(******$ghpN N c```  (`(``` uͯB`y0`?Z?`?`4B< ~`lBBBNNJBBB"']tD0't   HYPERLINK "http://www.magnetreleasing.com/index.html"  Madman Cinema and Magnet Releasing Present A MAGNET RELEASE NOT QUITE HOLLYWOOD The Wild, Untold Story of OZPLOITATION! A film by Mark Hartley 100 min., 1.85:1, 35mm, Dolby SRD Distributor Contact:Press Contact LA/Natl:Press Contact NY:Matt Cowal / Arianne AyersChris Libby / Taya VarnichpunEmma GriffithsMagnolia PicturesB|W|R Public RelationsEmma Griffiths PR49 W. 27th St., 7th Floor(310) 550-7776 phone917-438-5074 phoneNew York, NY 10001  HYPERLINK "mailto:clibby@bwr-la.com" clibby@bwr-la.com  HYPERLINK "mailto:emma@eg-pr.com" emma@eg-pr.com (212) 924-6701 phone  HYPERLINK "mailto:tvarnichpun@bwr-la.com" tvarnichpun@bwr-la.com (212) 924-6742 fax  HYPERLINK "mailto:publicity@magpictures.com" publicity@magpictures.com  SYNOPSIS NOT QUITE HOLLYWOOD is the wild, wonderful, untold story of OZPLOITATION films. It irreverently documents an era when Australian cinema got its gear off and showed the world a full-frontal explosion of sex, violence, horror and foot-to-the-floor action. Free-wheeling sex romps! Blood-soaked terror tales! High-octane action extravaganzas! Theyre the main ingredients of NOT QUITE HOLLYWOOD, the first detailed examination and celebration of Australian genre cinema of the 70s and 80s. In 1971, with the introduction of the R-certificate, Australias censorship regime went from repressive to progressive virtually overnight. This cultural explosion gave birth to art house classics, such as PICNIC AT HANGING ROCK and MY BRILLIANT CAREER, but also spawned a group of demon-children: maverick filmmakers who braved assault from all quarters to bring films like ALVIN PURPLE, THE MAN FROM HONG KONG, PATRICK, TURKEY SHOOT and MAD MAX to the big screen. As explicit, violent and energetic as their northern cousins, Aussie genre movies presented a unique take on established conventions. In England, Italy and the grind houses and drive-ins of America, audiences applauded Australian homegrown marauding rev heads with brutish cars, spunky well-stacked heroines and stunts - unparalleled in their quality and extreme danger. Full of outrageous anecdotes, a large cast of local and International names and a genuine, infectious love of Australian movies, NOT QUITE HOLLYWOOD is a fast-moving journey through an unjustly forgotten cinematic era. DIRECTORS STATEMENT MARK HARTLEY As a member of Generation X- growing up in the outer suburbs of Melbourne, Australia I never got to experience 70s Australian genre cinema in the theatres or drive-ins. I discovered it late at night on TV. After-dark TV screenings of films such as THE MAN FROM HONG KONG (1975), PATRICK (1978) and SNAPSHOT (1979) thrilled, excited and downright scared me. They were filled with familiar Aussie faces but spectacular content... a fist fight and chopper chase around Ayers Rock a comatose killer with telekinetic powers a murderous Mr. Whippy ice-cream van To a kid who loved movies it was the perfect blend films with action, suspense and horror that were full of iconographic homegrown brands, landmarks and accents. Interestingly, when I tried to read about these films in borrowed library books on Australian Cinema, I discovered most of the time they werent even listed - let alone discussed or critiqued. My documentary feature, NOT QUITE HOLLYWOOD, finally tells the tale of these often overlooked and neglected films and their maverick filmmakers. Its a story that begins in 1971 with the introduction of the R-certificate classification. This rating ended an era of savage censorship and allowed Australian cinema to break the shackles of a staid, highly conservative society and start producing films such as STORK (1971), THE ADVENTURES OF BARRY McKENZIE (1972) and ALVIN PURPLE (1973). These films achieved unprecedented commercial success and demonstrated that local audiences were willing to pay to see local product. What followed, hand-in-hand alongside the revered SUNDAY TOO FAR AWAY (1975), THE GETTING OF WISDOM (1977) and MY BRILLIANT CAREER (1979), was the production of an abundance of sex romps, terror tales and action extravaganzas. These films found enthusiastic audiences not just locally but all around the globe. Back home we didnt realize it, but THE MAN FROM HONG KONG (1975) was setting box office records in London and quickly becoming the all time box office champ in Pakistan - and PATRICK (1978) was soon to become the highest grossing film ever released in Italy! The story of these Ozploitation films is brimming with outrageous anecdotes and you-have-to-see-it-to-believe-it footage, but it is also full of many cultural themes and issues that are equally enthralling. The High-Art versus Low-Brow 70s culture wars and our image abroad. Nudity in 70s Australian cinema was it a case of sexual liberation or simply titillation? Pioneering stunt and special effects work unparalleled in quality and extreme danger. Australias embrace of car culture and drive-in culture - our white-line obsession. The making of local genre movies often dismissed in Australia, but finding strong and responsive audiences overseas. Over the past few years I have been researching/directing featurettes and feature-length documentaries for the local and international DVD release of many Australian films. I have been fortunate to have forged strong relationships with the cast and crews of many key films featured in this documentary. It is the brutally frank recollections of these people that are the most important element of NOT QUITE HOLLYWOOD. These are the real stories from the people who were there in the cinematic trenches including the wild, trailblazing mavericks who found private finance, snubbed their nose at authority, made their own rules and in the process introduced the car chase, karate kick, BMX bike and water bed to Australian cinema. These candid interviews have been interwoven with re-mastered film scenes, promotional trailers and never-before-seen behind-the-scenes footage from over 80 Aussie genre pictures. Energetic montages have been created from rare film stills and colorful local and international poster art and this is all accompanied by a soundtrack of seminal Australian radio hits from the period. It is my hope that these are all the ingredients needed to serve up a thrilling theatrical experience. So, please leave your political correctness in the foyer, crack a beer and settle in for a fast-moving journey back to an unjustly forgotten cinematic era when Aussie big-screen heroes were possessed with white-line fever, heroines were well-stacked and sexually liberated and truly death-defying stunt work just had to be seen to be believed! Enjoy. Mark Hartley Writer/Director NOT QUITE HOLLYWOOD- BACKGROUND NOTES In 2003, the A-list of the local film industry attended the Australian premiere of Quentin Tarantinos KILL BILL - VOLUME ONE. When introducing the film Tarantino shocked the audience by dedicating it to his favorite Antipodean Filmmaker, Brian Trenchard-Smith - Australias leading exponent of action/exploitation films in the 70s and 80s. Newspaper articles reported, in disbelief, Tarantinos keen interest and love of Australian genre cinema. It appeared the journalists, and indeed the Australian film-going public, had forgotten that, as well as the revered historical films of the 70s and 80s, the local industry had also produced a steady stream of sex romps, terror tales and action extravaganzas. The early 70s were a time of change in Australia. After decades of repressive censorship laws and highly conservative governments, a wave of liberalism swept the country. The R-certificate was introduced in late 1971 to reflect changing community standards and almost overnight Australia had one of the most progressive censorship regimes in the world. At the same time, Australia was re-discovering itself on the cinema screen. For several decades the country had been overwhelmingly on the receiving end of British and American cinema and Australian audiences had rarely seen their own landscapes or heard their own accent in the local picture theatre. Now, the creative floodgates opened and a film industry re-emerged after being virtually dormant for thirty years. Playwright David Williamson and satirist Barry Humphries recognized that exaggerated humor verging on parody worked with Australian audiences at that time and the films STORK (1971) and THE ADVENTURES OF BARRY McKENZIE (1972) were born. These films were a sensational success with Australian audiences providing a voice for the long silent proletariat. Most importantly, these films proved to cynical distributors that all-Australian productions could attract the public. Alongside STORKs director, Tim Burstall, a select group of fearless filmmaking mavericks emerged - including cheeky, diminutive sex-specialist John D. Lamond, foot-to-the-floor action helmer, Brian Trenchard-Smith, and high-concept genre producer Antony I. Ginnane, who had little time for loose talk of art or culture and much time for marketing and packaging deals. This wild bunch of colorful cinematic renegades quickly took advantage of Australias newfound big-screen liberation and produced a string of films that packed Australian cinemas with patrons craving to see boobs, pubes and kung fu - with a unique Australian spin. Along the way these filmmakers braved a barrage of assault from critics with high art notions who found it distasteful that this appalling culture was being foisted on poor, unsuspecting suburbanites. They faced accusations from moral crusaders, The Festival of Light, who proclaimed many of their early films Government sponsored pornography. They battled through claims from the emerging feminist movement that their films featured the worst instances of Australian sexism and misogyny. They took a stand against Actors Equity who introduced new tougher guidelines limiting the number of foreign actors that could be imported for an Australian film. They soldiered on when critics and politicians alike demanded a less vulgar, more culturally elevated filmmaking in an attempt to represent Australia abroad as refined, genteel and sentimental. They offered an alternative to the wave of nostalgic films produced during Australian cinemas elegiac period of the late 70s - and ultimately, they produced Aussie genre films that were playing in hundreds of American theatres and breaking box office records in the most unlikely countries. As the 70s progressed, the bedroom action soon gave way to white-line action. Films such as STONE (1974) and THE MAN FROM HONG KONG (1975) laid the foundation for the groundbreaking MAD MAX movies climaxing with that one magic moment in time when, to quote Tarantino, Aussie films were so bang-on that the Italians did rip-offs of them. First the unofficial PATRICK sequel and then for most of the 80s Italys rip-off machine specialized in MAD MAX rip-offs. That was the coin of the realm! Recently, there has been a fevered examination and re-evaluation of genre cinema from England (Hammer Horror), Italy (the Spaghetti westerns and Giallo horror movies), America (grind house cinema) and Canada (the early Cronenberg movies), but Australian genre cinema has been overlooked, even locally still eclipsed by the focus on historical cinematic output. But the influence of these films is starting to be seen amongst a new generation of young Australian filmmakers. Director Jamie Blanks, a big fan of Australian genre directors Richard Franklin (ROADGAMES) and Brian Trenchard-Smith (TURKEY SHOOT), has followed his two big budget Hollywood horror films, URBAN LEGEND (1998) and VALENTINE (2001) with a couple of local genre films scripted by Everett DeRoche (PATRICK, RAZORBACK) - STORM WARNING and a remake of Colin Egglestons LONG WEEKEND. Leigh Whannell, another self-confessed Ozploitation fanatic, has written, produced and starred in the US box office smashes SAW (2004) and SAW 2 (2005). Greg McLeans low budget horror film, WOLF CREEK (2005), was the highest grossing Australian film of 2005; with reviews linking it back to 70s Australian genre films such as MAD MAX (1979) and ROADGAMES (1981). Internationally, genre specialist Quentin Tarantino has even paid homage to PATRICK (1978) in KILL BILL (having the comatose bride replicate Patricks trademark spitting) and FAIR GAME (1985) in DEATH PROOF (Stuntwoman Zoe Bell is strapped to the front of a speeding vehicle). NOT QUITE HOLLYWOOD is the first detailed examination and celebration of Australian genre cinema. It looks at how genre cinema got started in Australia; its triumphs, near misses and tragedies - and it finally shines a spotlight on the undervalued auteurs who brought it to life in such an explosive way! NOT QUITE HOLLYWOOD- ABOUT THE CREW Mark Hartley (Writer/Director/Co-editor) After graduating from the Swinburne School of Film & Television in 1990, Mark worked as an assistant editor to Jill Bilcock on STRICTLY BALLROOM and cutting music videos and TV commercials. During this period he also began directing music videos and at last count, Mark had directed over 150 film clips for artists including Powderfinger, You Am I, The Cruel Sea, The Living End and Sophie Monk. His work has won awards including two ARIAS (as well as seven nominations), a TUI New Zealand Music Award and an International MTV Award nomination. Since 2003, Mark has worked as a freelance director for DVD Distributor Umbrella Entertainment specifically on classic Australian cinema. Mark has worked closely with producers and directors including Peter Weir, Bruce Beresford and Fred Schepisi to create special features packages for over 60 Australian film releases, including PICNIC AT HANGING ROCK, DONS PARTY and CAREFUL HE MIGHT HEAR YOU. He has also been responsible for a large list of Ozploitation titles finding their way onto DVD, including The Adventures of Barry McKenzie, Long Weekend, Roadgames, Razorback, Stone and Turkey Shoot. NOT QUITE HOLLYWOOD is Marks first theatrical feature film. Craig Griffin (Producer) It could be said that Craig started preparing for his Producers job on NOT QUITE HOLLYWOOD in 1984, because that is when he got his first job in the film industry - working as a runner on John Lamonds incomparable SKY PIRATES. He followed that up with the only weepie Brian Trenchard-Smith ever directed JENNY KISSED ME. More recently Craig engineered the face off between Ozploitation experts Mark Hartley and Quentin Tarantino and the rest is history really Michael Lynch (Producer) Michael is a 20 year veteran of the Australian entertainment industry with a career ranging across music, TV, theatre and now, for the first time, film. Michael has worked with Mark Hartley previously from Mark's time as an award winning music video director. Michael is clearly in the feature documentary business for the "big bucks". Karl von Moller (Cinematographer) Since graduating from the Swinburne Film & Television School, Karl has worked as a Cinematographer in advertising, music video and feature film production. He recently shot the Australian leg of the Roger Donaldson directed film, THE BANK JOB and the horror film STORM WARNING for director Jamie Blanks. He re-teamed with Blanks to lens the remake of LONG WEEKEND. Jamie Blanks (Co-Editor) Jamie started making slasher films in his early teens, chopping up friends and relatives. In his 20's he graduated to killing off some of Hollywood's rising stars in the horror flicks URBAN LEGEND and VALENTINE. Recently Jamie has directed, edited and scored two Ozploitation movies penned by Everett DeRoche - the gore-drenched STORM WARNING and a remake of the 1978 Colin Eggleston classic, LONG WEEKEND. Sara Edwards (Co-Editor) Sara began her editing career at advertising agency DDB and then worked at production company Famous by Tuesday - where she cemented a long-standing relationship with Mark Hartley. Together they have worked on numerous TV commercials and music videos including the Aria award winning Madison Avenue clips. In 2002 Sara began a freelance career and has since edited many special features for Umbrella Entertainment releases including CAREFUL HE MIGHT HEAR YOU and LONELY HEARTS. Stephen Cummings (Composer) Stephen has had a lengthy and successful career as a singer songwriter and novelist. He formed the legendary pop rock band The Sports in 1976 and scored a top 40 US hit with Who Listens to the Radio? Since embarking on a solo career in 1983 he has released 15 acclaimed albums. He was voted Best Male Singer in 1988 by Rolling Stone Australia and won an ARIA Award for Best Adult Contemporary album in 1990. His memoir, Mister Transistor is to be published by Hardie Grant in March 2009. SELECT INTERVIEWEE BIOGRAPHIES Russell Boyd (Cinematographer) The same year that Russell lensed PICNIC AT HANGING ROCK he also shot THE MAN FROM HONG KONG. A career high possibly only eclipsed by winning an Oscar in 2004 for MASTER & COMMANDER: THE FAR SIDE OF THE WORLD. Jamie Lee Curtis (Actress) After establishing herself as cinemas reining scream queen with roles in HALLOWEEN, TERROR TRAIN and PROM NIGHT, Jamie Lee journeyed down-under to appear alongside Stacy Keach in the outback thriller, ROADGAMES (where she found herself stuffed in a sleeping bag off-screen for much of the films duration!). Since then she has appeared in such moneymaking blockbusters as TRADING PLACES, A FISH CALLED WANDA and TRUE LIES. Cassandra Delaney (Actress) Cassandra starred alongside Carl Weathers in Australias Blaxploitation misfire, HURRICANE SMITH, and bravely slogged her way through all manners of hardships in FAIR GAME (in which she is stripped nude and tied to a bush-bashing monster truck) before marrying and divorcing country music icon, John Denver. Everett de Roche (Writer) Everett set off for Melbourne from the US in his early 20s to surf - and he never left. He talked his way into a writer's job on the seminal Aussie cop show Homicide and eventually became our foremost genre screenwriter. He knocked out the film SNAPSHOT in four days and thankfully spent more time penning the genre classics LONG WEEKEND, PATRICK and ROADGAMES. Richard Franklin (Producer/Director) A student and protg of Alfred Hitchcock, Richard directed the soft-core flop, THE TRUE STORY OF ESKIMO NELL, before realizing his career lay in imitating his mentor. He made the critically acclaimed local Hitchcockian thrillers PATRICK and ROADGAMES before heading to the US to helm PSYCHO II, CLOAK & DAGGER and FX2. Sadly, Richard passed away only three weeks after being interviewed for NOT QUITE HOLLYWOOD. Antony I. Ginnane (Producer) The self-proclaimed Roger Corman of Australia, Tony produced the soft-core box office smash, FANTASM before unleashing on the drive-in screen a slew of local genre pictures including PATRICK, SNAPSHOT, THIRST, HARLEQUIN and THE SURVIVOR. Deborah Gray (Actress) Playboy playmate and disco star turned best-selling white witch author, Deborah appeared in NO. 96 (as a woman with a phobia about wearing clothes, no less) and John Lamonds cheeky romp, PACIFIC BANANA. Gregory Harrison (Actor) Following his small screen success on TRAPPER JOHN M.D, Gregory came to Australian to star in the giant pig movie, RAZORBACK. His film career is still yet to recover. Dennis Hopper (Actor) After single handedly demolishing the Hollywood studio system with EASY RIDER, Dennis became a burnt-out Hollywood outlaw perfect casting for the role of the rum-swilling psychopathic bushranger, MAD DOG MORGAN. Over 30 years later, he is still not legally allowed to drive or be a passenger in a car in Victoria. Barry Humphries (Actor/Writer) Australias best-loved satirist got to indulge in one his favorite pastimes whilst making THE ADVENTURES OF BARRY McKENZIE mixing fake vomit. The film introduced projectile vomiting to the cinema screen, pre-dating THE EXORCIST by a good year. Barry has subsequently appeared in such films as SGT PEPPERS LONELY HEARTS CLUB BAND, HOWLING III THE MARSUPIALS and SPICE WORLD: THE MOVIE all of which Australia has been very happy to forgive him for. Stacy Keach (Actor) After appearing in such seminal films as THE HEART IS A LONELY HUNTER, BREWSTER McCLOUD and FAT CITY, Stacy appeared alongside Jamie Lee Curtis and a dingo in ROADGAMES. He has recently had a high-profile career resurgence thanks to his role as Warden Henry Pope in PRISON BREAK. Ted Kotcheff (Director) Ted arrived in Australia for the first time to direct WAKE IN FRIGHT - and immediately found a parallel between the soul-crushing emptiness of frozen north of his homeland Canada and the vast Australian desert landscape. The only outback trouble he encountered was from the local male cast who thought acting was a particularly unmanly profession. He went on to direct projects as diverse as FIRST BLOOD and WEEKEND AT BERNIES. John D. Lamond (Producer/Director) Dubbed by The Melbourne Herald Sun as Australias diminutive Master sex-ploiter by appointment to the raincoat brigade, John established himself as our premiere sexy auteur with a trio of saucy hits (AUSTRALIA AFTER DARK, THE ABC OF LOVE & SEX AUSTRALIA STYLE and FELICITY) before trying his hand at horror (NIGHTMARES), old-fashioned romance (BREAKFAST IN PARIS) and the ubiquitous Indiana Jones rip-off (SKY PIRATES). George Lazenby (Actor) Bursting onto the big screen with a memorable bare-knuckle beach fight at the start of ON HER MAJESTYS SECRET SERVICE, George created cinema history as Australias James Bond! After refusing to sign a lengthy Bond contract and being subsequently blacklisted in Hollywood, he returned home to appear as the villainous kung fu kicking drug lord in THE MAN FROM HONG KONG. Dr. George Miller (Director) A long time before he won an Oscar for HAPPY FEET, George was a young doctor turned amateur filmmaker blocking off roads, battling weary crews and creating cinema history as he staged car chases in the outer suburbs of Melbourne for a low-budget drive-in film called MAD MAX. Vincent Monton (Cinematographer) Vince shot FANTASM, LONG WEEKEND, SNAPSHOT, THIRST, RACE FOR THE YANKEE ZEPHYR, ROADGAMES and directed Linda Blair in FATAL BOND... and lived to tell the tale. PhilippeMora (Director) An acclaimed artist, historian, raconteur and b-movie auteur, Philippe has directed over 20 features including HOWLING III THE MARSUPIALS, PTERODACTYL WOMAN FROM BEVERLY HILLS and the ultimate alien-probe-up-the-rear-passage movie, COMMUNION. Judy Morris (Actress) A decade and a half before penning BABE: PIG IN THE CITY and HAPPY FEET, Judy was being raped by David Argue and torn apart by a giant pig in RAZORBACK (and who says there are no good roles for women in Australian movies?!) Russell Mulcahy (Director) Considered the maestro of the pop clip, Russell tried his hand at a feature film with RAZORBACK, and in the process created the ultimate 90-minute giant, rampaging feral pig music video! Subsequent big screen adventures include HIGHLANDER and RESIDENT EVIL: EXTINCTION. Grant Page (Stuntman) Australias most famous stuntman and Stud Cola spokesman, Grant nonchalantly braved car knockdowns while set on fire in many high-octane extravaganzas including THE MAN FROM HONG KONG, DEATHCHEATERS, STUNT ROCK and MAD MAX. Steve Railsback (Actor) A serious method actor trained by Lee Strasberg, Steve found TV fame playing Charles Manson in HELTER SKELTER and was on the verge of becoming a big screen Hollywood star after an acclaimed performance in THE STUNT MAN then he signed on to appear in TURKEY SHOOT. Cheryl Rixon (Actress) A finalist in the Annual Miss West Coast bikini beauty pageant in Perth, Australia, Cheryl was cast in the nudie detective spoof, PLUGG a film in which no money was wasted on costumes. She subsequently moved to the US and became a genuine bonafide disco queen and Penthouse pet of the Year in 1980. John Seale (Cinematographer) After camera operating on ALVIN PURPLE and getting his first cinematography credits shooting DEATHCEATERS and BMX BANDITS, John eventually won an Oscar for THE ENGLISH PATIENT. Lynda Stoner (Actress) Appearing in THE YOUNG DOCTORS and COP SHOP, Lynda became one of the most glamorous, popular and buxom Aussie Television stars of the 70s and early 80s. Her big screen career began and ended with TURKEY SHOOT. Quentin Tarantino (Fan) A self-confessed Ozploitation nut, Quentin wore his heart on his sleeve and paid homage to PATRICK in KILL BILL VOL 1 and FAIR GAME in DEATH PROOF. Jeremy Thomas (Producer) Jeremy started his distinguished career bailing Dennis Hopper out of jail the day after Hopper arrived in Sydney to star in MAD DOG MORGAN. He subsequently went on to produce MERRY CHRISTMAS MR LAWRENCE, NAKED LUNCH, SEXY BEAST and the 1988 Oscar Winner for Best Picture, THE LAST EMPEROR. Jack Thompson (Actor) Beginning with a walk on role in SKIPPY and a stand out performance in WAKE IN FRIGHT, Jacks rugged good looks and confident Aussie swagger made him Australia's preeminent male star of the big and small screens. His sex appeal was well and truly confirmed when he was chosen as Cleo magazines first nude male centerfold in 1972! Sigrid Thornton (Actress) Before Australia fell in love with Sigrid steering a paddle ship down the Murray in ALL THE RIVERS RUN or romancing Tom Burlinson in THE MAN FROM SNOWY RIVER, she was screaming for her life and dodging a psychopathic pervert set on fire in SNAPSHOT. Brian Trenchard-Smith (Producer/Director) Since his karate chopping directorial debut, THE MAN FROM HONG KONG, Brian has applied his high-camp sensibility to over 30 feature films working in niche genres unexplored by most mainstream directors the atomic-dog genre, the killer-leprechaun genre, the Christian-propaganda-apocalypse genre, to name but a few. His latest 10-day wonder is AZTEC REX a genre cocktail fusing APOCALYPTO with JURASSIC PARK! Roger Ward (Actor) Roger made a career playing big, bad and bald in films such as STONE, THE MAN FROM HONG KONG and MAD MAX. If an award was handed out for the most vicious camp commandant in a futuristic Australian b-movie Roger would be proudly accepting it for his role in TURKEY SHOOT. Simon Wincer (Director) After cutting his feature film teeth on Tony Ginnane quickies (SNAPSHOT and HARLEQUIN), Simon graduated to helming the acclaimed US mini series LONESOME DOVE and various Hollywood assignments including FREE WILLY and OPERATION DUMBO DROP. Susannah York (Actress) Thirteen years after achieving fame appearing in TOM JONES, Oscar nominated Susannah found herself acting alongside a booze-sodden Trevor Howard in an antipodean variation of the colonial sex romp, ELIZA FRASER. Her long list of credits includes THE BATTLE OF BRITAIN, THEY SHOOT HORSES DONT THEY and SUPERMAN I, II & IV. CREDITS Writer and Director Mark Hartley Producers Michael Lynch and Craig Griffin Executive Producers Bruno Charlesworth, Jonathan Shteinman, Paul Weigard and Nick Batzias Line Producer Roslyn Walker Cinematographer Karl von Moller Editors Jamie Blanks, Sara Edwards and Mark Hartley Composers Stephen Cummings and Billy Miller Production Co-ordinator Eleni Arbus 1st Asst Cameraman Angelo Sartore Sound Recordist Jock Healy Make Up Artist Heather Ross Gaffers Chris Shanahan Grahame Dickson Finbarr Collins Researchers Justin King Simon Wells Production Assistants Marilen Tabacco Luci Schroder Merran Williams Rob Gale Additional Cinematography Germain McMicking Vincent Monton Angelo Sartore James Kniest Additional Camera Assistants Jeremy Rouse Kevin Campbell Additional Sound Recordists Ben Banks David Glasser Additional Interview Liaison Lily Dawson Additional Make-up Jessica Clark UK Unit: Production Manager Geraldine Hawkins Gaffer Dave Hutton Best Boy Simon Hutton Runner Nick Osborne US Unit: Production Manager NY Matthew Snyder Production Manager LA Rebecca Morley Gaffers Soran Zdjna James Kniest Production Assistant Andy Villalobos Location Scout Jack Constintine Consulting Editors Stephen Evans Mark Atkin On-line editor Sonia Cook Music editor Mark Hartley Post Supervisor Sara Edwards IT Consultant Computers Now Tony Corr Archival HD Telecine Digital Pictures Colourist Stanley Lopuszsanski Digital Film Post Production Digital Pictures Head of Post Production Pamela Hammond DI Colourist Stanley Lopuszsanski DI Post Producer Rachel Knowles Post Production Co-ordinator Haley Gillies Mastering George Awburn Digital Film Supervisor Tony Poriazis ound Post Production Soundfirm Australia Sound Mixer Rob Mackenzie Sound Editor Peter Mills Facilities Manager Helen Field Additional Sound Editing Jamie Blanks Film Post Production Cinevex Ian Anderson Graphic Design, Animation Marcus Cobbledick & Supervision Animators Roger Bladen Damien Dunne Matt Griffins Eric Ocson Michael Tan 3D Animation Rob Nunn Artwork/footage preparation Emma Bemrose Luke Brewer Kevin Desa Chamath Dharmasiriwardena Cam Smith Music Clearances Michael Lynch Legals Marshalls and Dent Bryce Menzies Kris Darmody Completion Guarantor Film Finances Jenny Woods Accountant Moneypenny Jill Hewitt Kat Slowik Insurance Holland Insurance Elaine McNulty Collections Agency Fintage House Camera Equipment Panavision Lemac Interviewees: Phillip Adams Glory Annen Victoria Annoux Ian Barry Briony Behets Steve Bisley Jamie Blanks Graeme Blundell Russell Boyd Richard Brennan Tom Burstall Rob Copping Barry Crocker Lynette Curran Jamie Lee Curtis Cassandra Delaney Everett de Roche Ross Dimsey David Eggby Bob Ellis Alan Finney Richard Franklin Belinda Giblin Rebecca Gilling Antony I. Ginnane Deborah Gray David Hannay Gregory Harrison Rod Hay Sandy Harbutt Rod Hardy Carla Hoogeveen Alan Hopgood Dennis Hopper John Michael Howson Barry Humphries John Jarrett Barry Jones Stacy Keach Ted Kotcheff John D. Lamond Nina Landis George Lazenby Bill Margold Ross Matthews Don McAlpine Bob McCarron Hal McElroy Greg McLean Gus Mercurio Dr. George Miller Vincent Monton PhilippeMora Judy Morris Russell Mulcahy Rod Mullinar Grant Page Susan Penhaligon Steve Railsback Candy Raymond Cheryl Rixon Joanne Samuel Fred Schepisi John Seale Ken Shorter Lynda Stoner Quentin Tarantino Jeremy Thomas Sigrid Thornton Brian Trenchard Smith Jack Thompson Roger Ward James Wan Gary Wapshott John Waters Leigh Whannell Tony Williams David Williamson Simon Wincer Arna Maria Winchester Uri Windt Norman Yemm Susannah York Bruce Beresford, Wendy Hughes and Rod Taylor interview footage Courtesy of Umbrella Entertainment. Tim Burstall interview footage Courtesy of David Bilcock and Rob Copping. Film Clips: CADDIE WAKE IN FRIGHT Courtesy of Tony Buckley THE NAKED BUNYIP Courtesy of Southern Cross Films Pty Ltd ALVIN PURPLE ALVIN RIDES AGAIN ELIZA FRASER ENDPLAY HIGH ROLLING THE LOVE EPIDEMIC PETERSEN STORK Courtesy of Hexagon Productions THE ADVENTURES OF BARRY McKENZIE Courtesy of Longford Productions Print courtesy of the National Film and Sound Archive of Australia - A Kodak/Atlab Project Print BARRY McKENZIE HOLDS HIS OWN Courtesy of Fremantle Media NUMBER 96 The Movie Courtesy of Cash Harmon Productions THE ABC OF LOVE & SEX AUSTRALIA STYLE AUSTRALIA AFTER DARK BREAKFAST IN PARIS FELICITY PACIFIC BANANA Courtesy of John Lamond Motion Picture Enterprises INN OF THE DAMNED NIGHT OF FEAR PLUGG Courtesy of Terryrod Productions SCOBIE MALONE Courtesy of Kingcroft Australia ROADGAMES THE TRUE STORY OF ESKIMO NELL Courtesy of Quest Films CROSSTALK HOODWINK RUN CHRISSIE RUN Courtesy of Southern Star CENTRESPREAD Courtesy of Wayne Groom DONS PARTY THE GETTING OF WISDOM Courtesy of Phillip Adams THE CARS THAT ATE PARIS PICNIC AT HANGING ROCK Courtesy of Peter Weir THE MANGO TREE Courtesy of Michael Pate THE CHANT OF JIMMY BLACKSMITH Courtesy of Fred Schepisi FANTASM Copyright 1976 TLN Film Productions Pty. Ltd. Courtesy of Antony I. Ginnane FANTASM COMES AGAIN Copyright 1977 First Film Finance Pty. Ltd. Courtesy of Antony I. Ginnane. DEAD KIDS Copyright 1981 Gupta Film Services Pty Ltd. and Flavius Films Ltd. Courtesy of Antony I. Ginnane ALISONS BIRTHDAY Courtesy of David Hannay A DANGEROUS SUMMER MELVIN SON OF ALVIN RAZORBACK Courtesy of McElroy and McElroy Productions BROTHERS LADY STAY DEAD Courtesy of Terry Bourke Jnr PATRICK Copyright 1978 Australian International Film Corporation Pty. Ltd. Courtesy of Antony I. Ginnane. KILL BILL - VOLUME ONE Courtesy of Miramax Film Corp. All rights reserved LONG WEEKEND (1978) Courtesy of Richard Brennan SNAPSHOT Copyright 1978 F. G. Film Productions Pty. Ltd. Courtesy of Antony I. Ginnane. THIRST Copyright 1978 F. G. Film Productions Pty. Ltd. Courtesy ofAntony I. Ginnane. HARLEQUIN copyright 1980 Farflight Investments Pty. Ltd. Courtesy of Antony I. Ginnane. THE SURVIVOR Copyright 1980 Riaci Investments Pty. Ltd. Courtesy Antony I. Ginnane. DARK AGE Copyright 1986 International Film Management Limited Courtesy Antony I. Ginnane. HOWLING 3 THE MARSUPIALS Courtesy of Philippe Mora NEXT OF KIN Courtesy of Robert Le Tet GROUND ZERO RUNNING FROM THE GUNS Courtesy of Geoff Burrowes HOSTAGE Courtesy of Frank Shields STONE Courtesy of Hedon Productions MAD DOG MORGAN Courtesy of Philippe Mora and John Webb CHAIN REACTION TO SHOOT A MAD DOG Courtesy of Palm Beach Pictures DANGERFREAKS DEATHCHEATERS KUNG FU KILLERS THE MAN FROM HONG KONG THE STUNT MEN STUNT ROCK Courtesy of Brian Trenchard-Smith SAW Courtesy of Lionsgate Films Inc. RUNNING ON EMPTY Courtesy of Joe Constantini MIDNITE SPARES Courtesy of Tom Burstall and Filmco Productions RACE FOR THE YANKEE ZEPHYR Copyright 1981 Gupta Film Services Pte. Ltd. Pellinto Investments NV, Drake Films Limited Courtesy of Antony I. Ginnane. TURKEY SHOOT Copyright 1981 Second FGH Film Consortium Pty. Ltd. Courtesy of Antony I. Ginnane. BMX BANDITS Courtesy of Tom Broadbridge FAIR GAME Courtesy of Ron Saunders SKY PIRATES Courtesy of John Lamond and Michael Hirsh THE RETURN OF CAPTAIN INVINCIBLE Courtesy of Andrew Gaty and Tom Cooper DEAD-END DRIVE-IN Courtesy of Andrew Williams BLOOD MOON MAD MAX ROGUE WOLF CREEK Courtesy of Village Roadshow Pictures LONG WEEKEND (2008) STORM WARNING Courtesy of Arclight UNDEAD Courtesy of Peter and Michael Spierig BLACK WATER Courtesy of Michael Robertson 2008 City Films Worldwide Pty Ltd, FFC and Film Victoria Dedicated to our friend, RICHARD FRANKLIN 1948 2007 PAGE  PAGE 17 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com 9:;<?@OVcdjlm}ϠykkkWG:khj&EhgOJQJaJhghg5CJxOJQJaJx&hg5B*CJHOJQJ^JaJphhj&Ehg5OJQJaJh.Z"hg5OJQJaJhRfhg5OJQJaJhg5OJQJaJ)h<hgB*CJOJQJ^JaJph2jhwkhgB*CJOJQJU^JaJph#hgB*CJOJQJ^JaJph,jhgB*CJOJQJU^JaJphhgOJQJ=>?@cdlm~ + $Ifgd@ ^@ gdg$a$gdggdg)  * + = , - S T U f g i j 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