Behind a Velvet Trap: A Filmmaker's Journey from Cinesound to Cannes
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Tony Buckley is well placed to take us behind the scenes to observe through his eyes the fascinating growth of Australian film-making. Covering a vast period of our modern history, he introduces us to the characters he has met: actors, stars, producers, technicians - sharing his entertaining stories and insights.
Film Producers Association (FFPA) (now the Screen Production Association of Australia – SPAA) and resigned as a director of Forest Home Films. Drastic actions or dramatic decisions no doubt, but that first weekend I slept peacefully for the first time for a long, long while. I think the initiative of the Australian Film Commission in supporting packages such as Forest Home Films, rather than developing films piecemeal, was a great one and gave us enormous confidence and zeal to achieve something
‘Righto, get back and finish the film, let’s go to lunch.’ So off we went to the Warners commissary, Mel and George going off to talk about old times and Bruce and I repairing to discuss the finalisation of the film and its release. Alan Finney had originally suggested having the world premiere in Brisbane, more or less following the line of Andrew Pike’s original strategy for the release of the film, but the Centenary of Cinema put paid to this plan. We had arrived at the time to screen the
claim that the standard of writing and adaptation to the small screen has been far superior to anything we have produced for the screen in the past decade. Network television is to be loudly applauded for the money they invest in the development of the script. If an Australian film attracts over 100,000 admissions it is considered a success, but how can one possibly compare this with the fact that the average Australian telemovie will attract a million viewers and our top quality miniseries peak
we were both recommending. Nureyev studied the cuts backwards and forwards but could not grasp what we wanted him to achieve. Needless to say, the editing at times is quite noticeable because I had to wait for his feet to ‘settle’ before cutting to the next shot. In the minaches it wasn’t a problem. In fact, Nureyev learnt quickly that he could make up his whole routine by cutting not from the two-camera coverage, but from the many takes of a minache to achieve the absolutely perfect performance.
for the camera to run along, take hours to set up, rehearse and film. On the page there is absolutely nothing wrong with the scene. Likewise at rushes. However, in the cut of the film it was absolutely boring. It completely stopped the energy and progression of the story. It was information we, and the audience, didn’t need to know. One complete night’s filming on the cutting room floor! What is not on the cutting-room floor is the extraordinarily long tracking shot at the beginning of the film.