Queensland-based Sparke Films has released an intense first look featurette at Primitive War, the survival thriller directed by Luke Sparke, suggesting audiences are in for genre-blending, white-knuckle crowd pleaser that introduces dinosaurs into the harsh jungles of the Vietnam War.
The preview includes insights from the director and cast on the rigorous filming process and offers a glimpse into the sprawling sets and real jungle locations that create a raw, immersive experience.
Adapted from the cult novel by Ethan Pettus, Primitive War follows Vulture Squad, a recon team sent to a remote jungle valley in 1968 to locate a missing Green Beret platoon, only to find themselves face-to-face with prehistoric predators. “I’m thrilled with Luke’s interpretation and the passion the team is bringing to the story,” says the author, “I know his team is giving this project everything they’ve got”.
The cast boasts Emmy and Golden Globe winner Jeremy Piven (Entourage), Tricia Helfer (Battlestar Galactica), Ryan Kwanten (True Blood; pictured, left), and Nick Wechsler (The Boys) alongside a talented support ensemble that includes Anthony Ingruber (Age of Adaline), Aaron Glenane (Danger Close), Carlos Sanson Jr (Bump), Ana Thu Nguyen (Mortal Kombat 2).
In the featurette, director Luke Sparke (Occupation Rainfall; Bring Him To Me; Scurry; pictured, right) recalls his first encounter with Pettus’s novel and of how the striking cover of a soldier battling a Utahraptor captured his imagination. Reflecting on the shoot, Kwanten comments, "Filming has been pretty darn amazing." Helfer adds, "It’s about people coming together, using primal instincts to survive." Wechsler describes the concept as "bananas – and so much better than it has any business being." Carlos Sanson sums it up as, “a war film meets dinosaur film meets action film – blending the best of all genres."
Produced by Carmel Imrie and Carly Sparke, with executive producers Geoff Imrie and Luke Sparke & Co Producer Alex Becconsall, Primitive War also boasts the creative talents of Wade Muller as cinematographer, with Sparke overseeing production design, editing, and visual effects.
Primitive War was filmed on the Gold Coast, Australia, with a mostly local crew, contributing hundreds of jobs to the region. The film is set for a global release in 2025.
Australian production and distribution studio Arcadia has optioned Stephanie Alexander and Maggie Beer’s bestseller Tuscan Cookbook and Stephanie’s Journal for adaptation to the big screen.
Akin to box office hits The Best Exotic Marigold Hotel, Under the Tuscan Sun and Julie & Julia, the feature film will be written by Australian film and television writer Katherine Thomson (Amazon TV’s A Place To Call Home; Women He’s Undressed; StudioCanal’s Helena!). “As most women know, to have a best friend is a great blessing and if they share your passion and inspire you, then you’ve really lucked out,” says Thomson (pictured, below). “Stephanie and Maggie first shared their friendship with the world through the books, now they’re allowing me to expand on the narrative and into a movie – a big leap for them, and how fortunate am I.”
Published by Penguin, Stephanie Alexander and Maggie Beer’s Tuscan Cookbook, transports readers to the sunlit hills of Tuscany, where in 1997 they left Australia to run a cooking school in a villa outside of Siena. The Tuscan Cookbook records in detail their time in Italy, the dishes cooked, the places visited, the people who made it all happen and the guests who joined for the ride.
Arcadia has also taken the option to Stephanie's Journal, her personal account of a year which saw the opening of the Richmond Hill Cafe & Larder, the closure of the celebrated restaurant, Stephanie's, the impact of The Cook's Companion, published a year earlier and the cooking schools in Tuscany with Maggie Beer.
Said Stephanie: “It was the adventure of our lives. It deepened our friendship as we supported each other and convinced us all over again of the value of being with others who shared our enthusiasm for ripe and real flavours, in a country that daily reinforced the importance of eating well as an essential part of living well.”
Maggie added: “There are times in your life that are so wonderfully significant that you have to pinch yourself that it was even possible. Our friendship and support for each other was so incredibly special and life affirming. Re-reading Stephanie’s journal of that year brings every moment back to life in cinematic detail, so to think of it coming to the big screen is both exciting and just a bit scary too.”
The film will be produced by Lisa Shaunessy for Arcadia, a company on a run of successes that have included the Kodi Smit-McPhee sci-fi hit 2067 and the SXSW Midnighters’ opener Sissy, starring Aisha Dee. From their base in the central NSW township of Orange, they are currently in production on the sci-fi thriller In Vitro starring Succession’s Ashley Zukerman.
Arcadia parrtner and executive producer on the film, Alexandra Burke (pictured, left; credit Jude Keogh), says “As beloved icons, Maggie Beer and Stephanie Alexander have made significant contributions to Australian life, in a similar way to how Julia Child revolutionised the home kitchen in America. The story behind the Tuscan Cookbook captured my imagination many years ago and now the timing felt right.”
The South By Southwest Film Festival, the annual indie sector mecca set deep in the heart of Texas, has picked five Australian works amongst its 2021 line-up. The diverse range of films, including three by women directors and two steeped in indigenous culture, will launch March 16 as part of the online roster of official selections.
The Aussie contingent are part of the 75 features in the program, including 57 World Premieres, three International Premieres, four North American Premieres, one U.S. Premiere, and 53 films from first-time filmmakers. In addition to the features line-up, 84 short films will unfold including music videos, five episodic Premieres and six episodic pilots. Highlighting the festival progressive ethos, twenty Virtual Cinema projects will screen and fourteen title design entries will be considered in competition.
The Australian films in the SXSW mix are:
NARRATIVE SPOTLIGHT THE DROVERS WIFE: THE LEGEND OF MOLLY JOHNSON (Director/Screenwriter: Leah Purcell, Producers: Bain Stewart, David Jowsey, Angela Littlejohn, Greer Simpkin, Leah Purcell) A reimagining of Leah Purcell’s acclaimed play and Henry Lawson’s classic short story. A searing Australian western thriller asking the question: how far do you go to protect your loved ones? With Purcell in the lead role, she is joined by Rob Collins, Sam Reid, Jessica De Gouw and Malachi Dower-Roberts. “To be following in the footsteps of the amazing films and filmmakers that have gone before me is humbling,” said Purcell, via a Screen Australia press release. “As an Indigenous Australian woman and filmmaker, I am proud to be sharing a story that literally has mine and my family's DNA all over it and to be able to share our cultural practise as storytellers through film to the world.”
24 BEATS PER SECOND UNDER THE VOLCANO (Director: Gracie Otto, Screenwriters: Cody Greenwood, Gracie Otto, Ian Shadwell, Producers: Cody Greenwood, Richard Harris) The story of George Martin’s AIR Studios Montserrat and the island that changed music forever, Otto’s documentary features interviews with Sting, Mark Knopfler, Nick Rhodes, Jimmy Buffett, Verdine White, Tony Lommi, Stewart Copeland, Guy Fletcher, Midge Ure, and Roger Glover. Producer Cody Greenwood said, “The festival is universally recognised for its music documentaries, so to have Under The Volcano premiere at this festival is a huge honour. Our whole team worked tremendously hard to pull the film together and I can’t wait for it to be shared with audiences.” (Pictured, above: Andy Summers and Sting in Under The Volcano. Photo credit: Danny Quatrochi)
MIDNIGHT SHORTS THE MOOGAI (Director/Screenwriter: Jon Bell) An Aboriginal psychological horror, The Moogai is the story of a family terrorized by a child-stealing spirit. In a statement following his selection, Bell said, “The festival pulls from a number of mediums and speaks to multiple disciplines. I think The Moogai will find an audience with the patrons of SXSW because they’re up for the kind of story we’re telling. A story of loss from an Indigenous point of view. There are many similarities between Australian Aboriginal and Native American connection to country and the clash of cultures with the western world that I think it will feel familiar and foreign to American audiences.” After receiving impressive accolades locally, including an AACTA Award 2020 nomination for Best Short Film and winning the Erwin Rado Award for Best Audience Short Film at Melbourne International Film Festival 2020, The Moogai will make it’s international premiere at SXSW. (Pictured, above: Shari Stebbens in The Moogai)
MUSIC VIDEO COMPETITION JULIA STONE - 'BREAK' (Director/Screenwriter: Jessie Hill) Award-winning Australian folk singer-songwriter and multi-instrumentalist Julia Stone’s latest clip, directed by Jessie Hill. (See the full clip below)
VIRTUAL CINEMA COMPETITION OF HYBRIDS AND STRINGS (Australia, France, Germany; Director: Lauren Moffat, Producer: Fabbula) Of Hybrids and Strings is a fabulatory immersion into possible human and non-human connectedness. In a forest, at night, one becomes strangely entangled to plants and creatures. Until the forest starts to crystallize… "With Of Hybrids and Strings, I wanted to create a science-fiction-like experience, but without forcing people into a particular perspective," says Moffat on the film's website. "I wanted to construct a speculative narrative that would shift classic science-fiction themes—such as environmental disorders—by thinking them outside all preconceptions." (World Premiere) (Pictured, above: Moffat's 'Hybrid Flowers' from Of Hybrids and Strings)
Register for SXSW Online 2021: From March 16-20, experience conference sessions and keynotes addresses, music showcases, film screenings, exhibitions, networking events, mentor sessions, professional development, and more, all in a digital setting.
Since her television debut in a 1974 episode of The Box, Joanne Samuel has been one of the Australian sector’s most adored actors. Whether as ‘Jessie’, the ill-fated wife whose fate turns Max mad in Dr. George Miller’s Mad Max (1979) to being the heart and soul of 136 episodes of the primetime soap Skyways (1979-80), Samuel has exuded warmth, charm and a natural screen presence like few in the industry ever have. Jump forward 40 years, with her career in front of the camera providing a remarkable legacy, Joanne Samuel has stepped behind the lens for the first time.
Her feature film directing debut is an environmentally-themed teen adventure called The Legend of The Five. “I want to make another one and another one, to repay the industry that I have grown up in and really, really love,” Samuel told SCREEN-SPACE, with her family-friendly film in limited release for the Australian school holidays...
“My son Jesse Ahern produced it, researching what was marketable,” Samuel says, pointing out her family film was a family affair from its inception. “We wanted to make a film (together) and I thought it was a natural progression for me to just step up and direct. I have directed theatre and a few other things, so I thought I need to just do this.”
The story of five diverse teens who are plunged into a fantasy realm to save a life-giving tree from an evil force, The Legend of The Five drew upon the great all-ages films of the 1980s. “We wanted to make a family genre film, because it’s my favourite. I love PG-, G-rated adventures,” says the director, citing The Princess Bride, Labyrinth and The Goonies as inspirations. “Jesse came up with the idea and we worked on it with writer Peter McLeod, finally rolling cameras in October 2018.” (Pictured, right; Samuel, in blue, with cast and crew)
Read the SCREEN-SPACE review of The Legend of The Five here.
Working with her cast was an extension of Joanne Samuel’s passion for inspiring young creativity; she runs the 3 Sisters Youth Theatre in the Blue Mountains, west of Sydney. “We do film and theatre work with the kids and they come up with their own concepts and visions,” she says, highlighting the challenge her production faced when addressing the very clued-in young modern audience. “I knew that our ‘family adventure film’ had to offer so much more. Working with the kids and having some understanding of how the modern teen thinks was a real advantage. I do so love working with them.”
The ensemble represents a broad spectrum of teenage types, as was always the intention. “We deliberately went after a diverse group,” Samuel recalls, who cast LA-based Australian actors Lauren Esposito and Lee Joel Scott opposite big-screen newcomers Gabi Sproule, Nicholas Andrianakos and Deborah An. “We wanted the kids to be as much like what kids are like today and then to transport them to this place that is like nothing they have ever imagined. Keeping them relatable to the target audience was crucial, as it allowed us to still create drama from the fantasy setting.”
If her cast has an international flavour, her location choices are very much Australian. Sweeping aerial photography of the stunning terrain captures the magnificence of the region, a landscape that has since been all but destroyed by the fires that ripped through the nation’s heartland last summer. “The location is a character. It is a magical place,” says Samuel, who has called the Blue Mountains her home for many years. “We looked at what we had at hand, and I knew the spots we had to go to.” (Pictured, right; Samuel, far right, on location durning the shoot)
Samuel knew that for her film to succeed it would have to travel, but always knew it’s heart reflected hers. “For my first film, it was important that we ticked all the boxes for our markets, both national and international,” she says, “but I love that people will know it is an Australian film. I want to tell Australian stories.”
From its World Premiere at the SciFi Film Festival last September, Chris Elena’s award-winning short film Audio Guide was set to take the world by storm. When the young director shipped it around, programmers responded; it was booked for slots at the Brussels International Fantastic Film Festival and California’s Cinequest.
But COVID-19 nixed those festivals, as well as the 2020 run of the Aussie arts bash, Short + Sweet. Elena connected with the creative team behind the planned production of Refused Classification, a darkly comedic anti-censorship play that was to have debuted at Short + Sweet. Together, they have reworked the concept and the project has re-emerged as Elena’s highly anticipated follow-up.
"It is a fictional story about the M.P.A.A. and how they've been negatively geared towards queer relationships and sex in general,” says Elena (pictured, right). “Polyamorous, bisexual and queer audiences have been robbed of seeing themselves on screen without restrictions. And lovers of film have had to put up with condensed and watered down stories and depictions due to a flawed and dated ratings system.”
Elena has adapted the play’s text with co-writer Bradford Elmore, who co-hosts the podcast By The Bi with his wife, Angela (pictured, below). The popular chat show explores bisexuality, the swinger lifestyle and open relationships, most notably their own. “Refused Classification is a love letter to them and the community," promises Elena, who will reteam for the shoot with his Audio Guide DOP Kym Vaitiekus and leading lady Emma Wright, who is on board as associate producer.
Faced with an arts sector in financial turmoil and an industry funding model that has abandoned the short film format, Elena is banking on private backers. “We’re crowdfunding this project because it won't exist otherwise,” states Elena, bluntly. “It's a short story but it's an important one and we want to share it with you.”
The production is utilising the Australian Cultural Fund website to collate it’s production budget and launches in line with an online screening of Audio Guide on the St Kilda Short Film Festival; the campaign will be active until August 1.
Two features and a wave of short films will represent the Australian film sector at the 5th Manchester International Film Festival (MANIFF), launching March 2 at the Odeon Cinemas in the north-west metropolis’ iconic Great Northern Railway Warehouse centre.
Expanding to a week-long celebration for the first time in its history, MANIFF will host the U.K. premiere of Heath Davis’ bittersweet dramatic-comedy Book Week, which has benefitted from a strong grass-roots marketing campaign and independent release strategy in its homeland.
For Davis (pictured, right), the MANIFF acceptance of his little-film-that-could is deeply rewarding. “It’s wonderful,” he told SCREEN-SPACE. “It helps get your voice heard on an international platform and validates that what you’re creating resonates on a global level.” The two sessions of Book Week will see Davis return to Manchester for the first time since the festival screened his acclaimed drama Broke in 2016.
The festival will also host the first screenings in England’s north-west of Ben Hackworth’s opera drama Celeste, starring Radha Mitchell (pictured, top), which played the London Film Festival in October 2018. Australian talent also features in Jeff Vespa’s international co-production Paris Song, with actress Abbie Cornish (pictured, below) co-starring with Sanzhar Madiyev in the true story of Kazakh singer Amre Kashaubayev and his presence in an international singing competition at the 1925 Paris Expo. The Antipodes are further represented by New Zealander Dustin Feneley’s Stray, a potent romantic drama shot in the Otago region of the nation’s South Island.
In addition to the feature line-up, Australian short films have commandeered an impressive 12 slots in the program, including six U.K. premieres and one, Luke Wissel’s A Stone’s Throw, getting its first international exposure. It is a significant showing that Heath Davis says represents a burgeoning pool of Down Under filmmakers. “There’s a new wave of Aussie talent brewing and we want to create a brand where Australian films are sought after,” he says. “It’s starting to happen and this is an example of that.”
The vast richness displayed in the programming of the Australian content reflects the commitment of the festival to offer Manchester filmgoers breadth and depth of choice. In a press statement, Head of Programming Al Bailey says, “This year’s line-up is the perfect example of what we set out to achieve five years ago – a showcase of the most eclectic independent films from around the world and the strength of the selection shows the reputation that the festival has and continues to gain.”
The short film roster includes:
Colony (Dir: Catherine Bonny; starring Emma Burnside, Alicia Hellingman, Ben Leyden; pictured, right) In the future two women struggle for survival as part of a work colony.
For Your Sins (Dir: Julian Lucas; starring Ryan Shelton, Dave Lawson, Michala Banas) A young man realises that everyone is sinning and seeks the help of a boutique communications agency to help raise awareness for his cause.
St. Bernie (Dir: Elise Tyson; starring Lara Robinson) Like any teenager, Bernie is curious about her developing body, sexuality and romantic interests but, denied any sex education in school or at home, Bernie feeds her curiosity in secret.
Solus (Dir: Adam Jamsek; starring Stephen Degenaro, Christopher Kirby, Tycho Richardson) A father and his chronically ill son go tracking into the heart of a forest in search for a magical healing bird.
Bridget and Iain (Dir: Leah Patterson; starring Vivienne Powell, Damian Sommerlad, Sala Baker) A loving mother struggles with her addict son and comes to realise that her actions maybe enabling his addiction.
Rooftops (Dir: Odeya Rush; starring Odeya Rush, Ryan Lee, Harry Nathan) The story of a boy in love, centered around the lyric "Rollin' like it's high school fantasy".
Skates (Dir: Maddelin McKenna; starring Renee Kypriotis, William McKenna, Corey Robert Hunt) New Year's Eve 1979; a young boy working at the local roller-skating rink forms a bond with a girl, skating alone.
A Stone’s Throw (Dir: Luke Wissel; starring Lily Pearl, Anna Steen, Patrick Graham) A rock thrown from an overpass sets in motion a series of crises that open emotional wounds for a middle-class family.
Behind Barres (Dir: Sophia Bender; starring Tizana Saunders , Damien Welch; pictured, right)A prisoner within her own body, ballerina Adelina is tortured by injury and begins to detach from reality in order to fight the physical pain and personal demons that torment her.
Cherry (Dir: Claudia Bailey, Vanessa Bray, Evie Friedrich) An anthology of stories that address virginity take an unflinching look into the awkward, perverse, intimate and sometimes embarrassing nature of sex.
Shooter (Dir: Andrew Carbone; starring Dugald Mullen, Clayton Watson, Mark Lee) Two boys dealing with the loss of their mother are faced with a father who is becoming increasingly unhinged in his grief.
Don’t Call Me Beautiful (Dir: Jill Robinson; Documentary) In 1965, at the age of 3 months, Zeitha Murphy was removed from the care of her Aboriginal mother, setting in motion years of emotional and physical abuse. Now, determined to create a better life for herself and her sons, Zeitha embarks on a journey to find her true place in society and her birth family.
The 2019 Manchester International Film Festival runs March 2-10. Full session and ticketing details can be found at the event’s official website.
Films tackling such weighty thematic elements as grief, alcoholism, kidnapping and disco have topped the winner’s list at the 2019 Nextwave Youth Film Awards. Hosted by local starlet Bonnie Ferguson (Book Week, 2018), the culmination of a year-long submissions process was held before a packed audience at the C.ex Coffs Auditorium in Coffs Harbour on Friday night. The student filmmaking strand of the Screenwave International Film Festival (SWIFF) welcomed a record number of submissions from over 50 school and community workshops held in 11 regions across rural New South Wales in 2018.
“It is fantastic to see so many people becoming engaged with it,” said Dave Horsley, SWIFF Festival Director and founder of the REC Ya Shorts Youth Film Festival, the popular student filmmaking competition that this year was rebranded and folded into Screenwave’s broader program. “Filmmaking is an activity that helps you make friends, cultivate relationships and all that good stuff which leads to positive mental health.” Nextwave is presented in conjunction with Headspace, a youth-focussed mental and emotional health care provider located in Coffs Harbour. (Pictured, below; Horsley and Screenwave Artistic Director Kate Howat attending a Nextwave/REC Ya Shorts workshop)
To qualify for the official competition, student filmmakers adhered to guidelines that stated their films must be no longer than six minutes, explore the theme of ‘Escape’ and include a ‘Sign’. Best Film winners were awarded in three age-specific categories – 12-14 years, 15-19 years and 20-25 years. Separate technical and creative categories were open to all age groups and were judged by a panel of industry professionals, including Alice Foulcher and Greg Erdstein, the creative team behind the 2017 comedy hit That’s Not Me.
The Best Film (12-14) went to Poe Black’s Kidnapped, a masterfully-paced black comedy about two young lads who don’t follow the ‘stranger danger’ creed yet emerge not only unscathed but also one-up on their would-be abductor. The Best Film (15-19) trophy was awarded to the remarkably accomplished 104 (pictured, top), a heartbreaking account of how living with an alcoholic parent impacts a young girl’s life; its director, Benjamin Bowles, also earned the Best Cinematography honour. The Best Film (20-25) award went to Willow Driver’s scifi-themed disco homage It’s Time to Dance, a loving ode to an era of music and fashion that ground to a halt three decades before the young filmmaker was born.
Though it was denied a Best Film award, Tallulah Rémond-Stephen’s We Are You, a stylish, dreamlike study of disenfranchisement, grief and confusion, was the night’s big winner, taking home three Nextwave honours. Lead actress and local girl Indigho Gray (pictured, below) took out the Best Actor award, earning herself a NIDA Acting Short Course, while Remond-Stephen earned both Best Director and Rising New Talent honours, an acknowledgement that comes with a one year Emerging Director Membership of the Australian Director’s Guild. The young Bellingen-based auteur is a REC Ya Shorts favourite, having earned top honours last year with her film Perdu, and in 2016 for The Inventor.
Director Benjamin McPhillips was also identified as an Emerging Talent honouree for his direction of the twin-sister drama, Prison Escape. Runners-up in the Acting category were Crystal Reichert, as the student caught living an exam day nightmare, in Jessica Burton’s Trials; and, Noah Mackie for his lovelorn graveyard worker in Skull, Jacob Shrimpton’s dark fantasy spin on the Cyrano de Bergerac tale. Shrimpton (pictured, below) had a good night, with his crowd-pleasing ‘watch-out-what-you-wish-for’ comedy Clone earning him Best Editor. Best Script went to David Smith for his confronting and personal examination of the euthanasia debate, Escape.
A special Judges Commendation Award was bestowed upon Maeve Forest for her hilarious account of being trapped inside a bathroom during a wedding, entitled Water-loo: An Epic Battle for Freedom. Members of the judging panel recognised a unique voice and talent in nominating the director, whose film was in the youngest 12-14 category.
Also recognized on the night for their contribution to the Nextwave initiative were five regional high schools responsible for the most number of submissions in 2018/19 - Woolgoolga High School, Chatham High School, Oxley High School, Macksville High School, Nambucca Heads High School. Each of these schools had more than 5 students submit films, and helped them develop their talent and ambition through feedback, resources and time.
The digital revolution represents the biggest shift in the exhibition sector since the ‘multiplex boom' of the 1980s. Old-school projection booths, once the beating heart of the cinema-going experience, have all but vanished, replaced by sterile environments housing touch-screen monitors filled ‘encrypted files’. Dying of the Light is a stirring, melancholy account of American film exhibition up to this moment in time; a point in film history that threatens to reduce to museum pieces 1000s of spools of classic film storytelling and the grand machines that lit them up. In his moving, insightful film, director Peter Flynn, Senior Scholar-in-Residence at Boston’s Emerson College, profiles the projectionists who have forged generations of film-going memories and who are now faced with a ‘change or perish’ life choice. He spoke with SCREEN-SPACE about his loving tribute to the art and romance of movies…
SCREEN-SPACE: Where did your passion for the moving image and how it is presented and preserved originate?
FLYNN: I’ve always loved film. My earliest memories are of the large-screen cinemas of Dublin City, where I grew up in the 70s and 80s—the Ambassador, the Savoy, and the Adelphi. Back then it was not uncommon to spend two hours waiting outside in the rain for the doors to open and for the show to start. But it was worth it. To enter those old theaters, with their ornate surroundings and lush carpeting, their balconies and curtained screens, was to enter another world. Going to the cinema was something special back then, and it remained so throughout my childhood. The Dying of the Light digs deep into those memories, I suppose. Try as I might to be balanced in the film, its by no means objective.
SCREEN-SPACE: As a lover of film culture and academic dedicated to film history, how did the research period and the trips to hollow, dilapidated halls in small towns impact you?
FLYNN (pictured, right): The image of the ruined abandoned movie theatre/projection booth became a sort of visual metaphor in the film, I suppose; a way to underscore the loss and ruination of the practice of film-handing and projection. It was also the right place to start—with this palpable sense of loss, of better days gone by. The idea of the projection booth as an archeological site fascinated me from the start. So many had the feeling of being tomb-like—relics of an older order, filled with the possessions of the dearly departed. It was not uncommon as late as three or four years ago to enter a projection booth and find traces of the very early stages of film’s history. Fire shutters dating back to the nitrate days which lasted up until the 1950s; old 1,000 foot reels, which would have held silent films of the 1920s; notes written on the walls from one projectionist to another; old magazines tucked away in corners. Projectionists spent so much of their lives in those little rooms. How could they retire without leaving something of themselves behind? So the film was inherently sad, or inherently reverential in a way. But I’m also Irish and I entered into this with the idea that the film would be a wake—mixing the sad and the solemn with a spirit of tribute and celebration, with humor and energy. I hope balance comes across.
SCREEN-SPACE: The film walks a fine line between eulogising a dying/dead aspect of the industry and celebrating its impact. Was it a struggle not to succumb to the sombre, sad loss of film projection?
FLYNN: Yes, it’s a very fine line. And I did struggle at times to temper my own nostalgia for, or romanticization of “the good old days.” But as a documentary maker you have to listen to your interviewees. And not all waxed lyrical on the old days. Nor were all critical of the new digital technologies—some “old-timers” embraced the future. The final lines in the film, spoken by one of the older projectionists (ironically to one of the younger ones), ask that we look ahead to the future, not the past. And I thought that was a very important note to end on—a corrective to the romantic view that so many of us can easily fall into. (Pictured, above; David Kornfeld, projectionist at the Somerville Theatre, Somerville, Massachusetts).
SCREEN-SPACE: How much did your film's tone waver in post-production?
FLYNN: Post-production is where you (hopefully) find the right balance. You go out with your camera, you follow your gut, you engage emotionally and instinctually—in other words “on the fly”—with the world you are capturing and then you come back and you have to edit intellectually. You have to moderate all the voices you find, give each its proper weight in the film, and hopefully find the right balance in the end.
SCREEN-SPACE: Did you notice defining personality traits that were common across the projectionists you interviewed? What drove these men and women to commit to a life inside a small, dark room?
FLYNN: There is certainly a love and devotion to cinema uniting these people, but there’s a lot more besides. There’s a commitment they all share to a quality of performance that is lacking today—to the idea of doing a job to the best of your ability, whether you’re acknowledged for that or not; and also to a notion of showmanship, which is likewise missing today. The projection booth is a place of arrested development in many ways. Its easy to hold onto older practices, older standards, when you’re isolated from the rest of the world as you are in the booth. As such, many projectionists may be seen to be out of step with contemporary culture, or normal social conventions—a hazard of spending too much time alone in a darkened room, I suppose—but, without exception, the people I interviewed for this film were wonderful; very warm and welcoming, open and generous. Many have become good friends. (Pictured, above; projectionist Dave Leamon at the Brattle Theatre, Cambridge, Massachusetts).
SCREEN-SPACE: You address the recent release of The Hateful Eight, noting that it was ultimately a box office disappointment. But the initial 70mm 'roadshow' screenings were sell-outs. Does this indicate that large-scale film projection may still have a place as a 'prestige ticket' event?
FLYNN: The success or failure of The Hateful Eight in relation to the future of 70mm has yet to be determined. It’s a case of “wait and see.” My guess is that 70mm will pop up periodically in specialty theaters (but) not on the grander multiplex scale that the Weinstein Company and Tarantino had hoped for. For me, the great visual surprise of the holiday season was not The Hateful Eight in 70mm, but Star Wars in 4K Digital 3D. It was the best digital presentation I have ever seen. That seems to be the future of large-format, large-screen presentations. That does not imply that there is no room for 70mm presentations. In fact, the arrival of digital does not, or rather should not, imply the complete eradication of film presentations. There’s room for both—maybe less room for film than we’d like, but room for both nonetheless. Theaters like the Coolidge Corner Theatre in Brookline, Massachusetts, prove conclusively that there’s still a place for analog film in commercial exhibition. And that more than anything makes me feel there’s a future, albeit a limited one, for 70mm.
It has been a heady couple of weeks for Australian filmmaker, Kiah Roache-Turner. Having topped the iTunes charts with his zombie epic Wyrmwood, the debutant filmmaker then learnt that his low-budget passion-project was also one of the planets most illegally downloaded films. SCREEN-SPACE wanted to know how the turn of events impacted the Sydney-based director (pictured, below; on-set, with one of his creations) who, with his brother Tristan, poured all their money and countless unpaid hours into the production. So, for the first time, we turned our site over to the victim of a crime. Exclusively for SCREEN-SPACE, Kiah Roache-Turner provides a first-person account of how destructive net-piracy truly is…
“My name is Kiah Roache-Turner, I am a filmmaker who has just released my first feature, 'Wyrmwood: Road of the Dead'.
Wyrmwood is currently one of the most torrented films in the world. This is fantastic and horrible, all at the same time. What a lot of these ‘jolly pirates’ don't understand is that the film was made by a bunch of people on weekends over four years on a 'deferred payment' basis. A lot of these amazingly talented actors and crew, including myself, have not seen a cent from this film yet.
In this instance, profits from the film are vitally important because they go directly to very basic things like rent, bills and food for a lot of hardworking artists and technicians who exist in an industry where it is very difficult to find work (pictured, right; on the set of Wyrmwood).
We expected to be torrented. My issue isn't with torrenters; that is a global policing issue that is out of my hands. My issue is with those who pirate the film, love the film and then just move on to the next thing. All I ask is that you think about (your actions) for just a second. I don't mind the 'try before you buy' theory, but if you try it and you like it please pay for a legal copy because artists have to eat. It's really that simple.
I've been following the online comments and a lot of the reaction boils down to "If those fools were too stupid to organise a cross-platform, same-day global release strategy, then they deserve everything they get!" And yes, comments have been that harsh, even harsher; the Internet can be a pretty brutal playground.
When you sign on with a distributor, you sign on to be guided by their existing distribution model. Remember, these guys and gals are really smart and really know how to release a film. They've been doing it for decades to a wildly successful degree.
You don't sign onto one distributer, which would be fantastic; you sign on to many distributers all over the world, who all have different release strategies and key dates and different agreements when it comes to DVD, Blu-ray & VOD. This is a point that needs to be clarified, as most people don't seem to understand how the film industry works. Quite frankly, nor did I until very recently.
In conjunction with Studio Canal, we tried very hard to get 'same day' for Wyrmwood for iTunes but unfortunately our hands were tied due to the window* required by cinemas. In this instance we were able to get a two month window instead of three, which is fantastic. But Aussies were still pissed off when (US distributor) IFC Midnight released theatrical and VOD same day. As soon as the iTunes copy launched, 'BOOM'; somebody ripped that film off the platform, uploaded it to Pirate Bay and the film became one of the most torrented films in the world overnight.
People have been asking, "Then why go theatrical at all?” Unfortunately, funding bodies require a limited theatrical run for funding consideration. And my brother and I (pictured, left) ran out of money for this baby years ago so without funding - NO WYRMWOOD. Thank God Screen Australia believed in us because without government funding for post-production, this film would not be playing in cinemas at all.
People need to understand that this industry has been around for a long time. It is huge and vast and labyrinthine and doesn't change on a dime. I liken it to the 'Titanic'; we've all spotted the iceberg and the ship is turning, but not nearly fast enough. Every single person in every single organisation, from the government bodies to distributors to cinema chains all know what the problems are and they are working their butts off to make these changes. But it is happening in the way that all huge industries generally make gargantuan changes and that is never 'overnight'.
Right now it's in YOUR hands. Yes, YOU the person with the hand paused over the 'download' button getting ready to download my bad-ass ozploitation zombie film RIGHT now. I can't stop you pushing that button nor do I judge you for pushing that button. Mate, that's your decision, it's none of my business. But if you download Wyrmwood and really bloody like it, please do the right thing and purchase a copy. Support independent filmmakers who sweated blood for four long years to bring you that film.
It's all very well to say, "Well, this is how the world is" or "If the industry won't change fast enough, why should I bother?" But the simple fact of the matter is my cast and crew need to eat. So, please - YOU WATCH, YOU BUY and we can eat. It's really that simple.
Yours truly,
Kiah Roache-Turner.”
Australian readers can pre-order Wyrmwood on DVD here.
Wyrmwood can be purchased via the US iTunes store here.
Local screenings (including profit-share arrangements) can be organised here.
*period between a film’s theatrical release and subsequent ancillary platforms (DVD, VOD, Pay-TV, etc).
Friday, November 15, 2024 at 6:45AM 
Adapted from the cult novel by Ethan Pettus, Primitive War follows Vulture Squad, a recon team sent to a remote jungle valley in 1968 to locate a missing Green Beret platoon, only to find themselves face-to-face with prehistoric predators. “I’m thrilled with Luke’s interpretation and the passion the team is bringing to the story,” says the author, “I know his team is giving this project everything they’ve got”.
In the featurette, director Luke Sparke (Occupation Rainfall; Bring Him To Me; Scurry; pictured, right) recalls his first encounter with Pettus’s novel and of how the striking cover of a soldier battling a Utahraptor captured his imagination. Reflecting on the shoot, Kwanten comments, "Filming has been pretty darn amazing." Helfer adds, "It’s about people coming together, using primal instincts to survive." Wechsler describes the concept as "bananas – and so much better than it has any business being." Carlos Sanson sums it up as, “a war film meets dinosaur film meets action film – blending the best of all genres."
