'As part of the Australian Perspectives program at ACMI, industry guests and cinema academics discuss Australian films, and directors provide us with some exclusive insights into their work. ' (Website introduction)
Only literary material within AustLit's scope individually indexed. Other material in this issue includes:
- Naked on the Inside with Director Kim Farrant
- Anthony Carew Presents Cane Toads: An Unnatural History
- Wedding Sari Showdown 1 & 2 with Director Kylie Boltin
- Megan Spencer Presents: Jisoe + A Dollar for the Good Ones
'I don't remember exactly when I first saw Wendy Hughes, or more accurately when I first became aware of Wendy Hughes as a presence on the screen. I thought I had first seen her in Lonely Hearts (1982), the AFI award-winning Best Feature film directed by Paul Cox, but I now realise she must have been in earlier Australian films, or on television without my being aware of exactly who Wendy Hughes was.
I would probably have seen her as one of the fine cast of My Brilliant Career (1980), directed by Gillian Armstrong, a film that did much to re-establish the reputation of Australian filmmaking internationally. As the concerned, caring Aunt Helen of Judy Davis' Sybilla, it was an important early step for Wendy Hughes and clearly demonstrated her compassionate side.'
'INT. LONDON UNDERGROUND PLATFORM DAY
England 1983. Commuters stand in silent groups awaiting the next rattling arrival on the Piccadilly Line.
Work, consume, be silent, die - is etched on the faces of many. The Thatcher Years.
Only two men are having a conversation; one, a young movie geek, the other, a national newspaper film critic (although in fact he sees himself as a Cinema Critic)' (Introduction)
'Philippe Mora on the Making and Selling of Australian Myth' (Source : Blurb)
'My one hour documentary World Of Kung Fu (1973) was a ratings success for the Seven Network, so I quickly sold a sequel concept to Channel Nine, this time 75 minutes for a 90 minute slot. The film would follow Australian stuntman Grant Page going to Hong Kong to learn more about kung fu, and to find who would succeed the late great Bruce Lee as Asia's top martial arts star.
A one page sizzle sheet, and my relationship with the Nine Network (for whom I had previously been the on-air promo producer before starting my own production company) was enough to get me a verbal acquisition deal from Nine's Len Mauger. In those days an executive's word was his bond.' (Introduction)
See also:
'Battling It Out Kung Fu Style', Australian Women's Weekly, 1 May 1974, p.21/
'It's flattering to be asked to write about the inspiration for Yakkety Yak (1974). It's also a bit embarrassing. The film is a trifle, produced on a $4000-and-change budget, shot in a week, directed by someone who wasn't sure what he was doing, and starring a pudgy guy who'd never acted before (or since). Over thirty years have passed since I made it, and more than twenty since I last saw it. But flattery trumps embarrassment, so here goes.' (Introduction)
