A Polaroid to remember things by: editing from 1/2 Sony portable to 1/2 inch mains deck. TV sets were our monitors- using the RF (antenna) input not many had a video line input, couch cushions were our tilt bases.
John Hughes has got it almost right in his piece on the rise and fall of the film cooperatives. I’m conspicuous by my absence but it doesn’t matter and I’m grateful for him documenting things I’ve stopped remembering.
That’s John Grierson. He was held up to us as we did our Film Studies at RMIT Photography School, as sitting on the right hand of the film gods. I was an eager convert to the Church of the State Film Centre.
Besides the difficulty in re-organising my desk so that I could actually see the monitor if I faced it East, I wondered if the beneficial effects would carry over into my other peripherals and software.
Peter was part of my early filmmaking days and at the birth of the Melbourne Filmmakers Co-op. Now he’s a Senior Statesman of Australian film, perhaps then it was more an older brother. He was four years older then me, born in 1943). He was more of a friend with Jim Wilson than me, but […]
Neil Young is a keen filmmaker and when he is the cinematographer on a project, he lists his name in the credits as Bernard Shakey. Here’s a showreel I assembled when I could still see and hold the camera steady. It’s 3 mins. long.
Characterizing Mr.Storm (and other stories) Cinema Papers #114 1997 Baz Luhrman’s William Shakespeare’s Romeo and Juliet was shot in Mexico, cut in Los Angeles and neg cut in San Francisco. Although there were a large number of Australian crew working on it, it was a feature planned as international and designed for a young American audience. […]
The April 1982 Issue of Cinema Papers that included ‘Channels TV-Videotape’ magazine and my New Products and Processes section featuring a story about David Samuelson’s front projection equipment that was being demonstrated here. Clearly my interest was more in the switch to video production tools then what was really a SFX (Special Effects) tool from […]
It’s better to burn out then it is to ossify/stiffen/petrify/accrust.
Fame is fleeting. Only twice has someone recognised my voice or name from radio. A friend who said I appeared in his nightmare, then woke up to hear my voice on his clock radio.And a man at a ceramic tile shop who said he enjoyed the pieces I did with that nice Louise Maher so he gave me a discount.
The first article I wrote for Cinema Papers was for the November 1980 issue. I knew Scott Murray and Peter Beilby, then the editors (editor/co-founder Phillipe Moira left them to it in 1979) Scott as filmmaker and both by reputations. We ended up working together in various ways for over twenty years. The last issue I contributed […]
Looking out at popular mass media when it's watching you.
“It was a time when the hippie thing was declining and the drunken afternoons of too much beer, sun and basic rock developed. The music went from being experimental to being just moronic entertainment for yobbos.”
The poster that the late Albie Thoms presented, shows he had invited italian filmaker Alfredo Leonardi to present his selection of new films but Pier Farri, one of the filmmakers on the programme (but not listed on the poster) came instead.