MADMAN CINEMA PRESENTS - MIFF Industry
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MADMAN CINEMA PRESENTS…
Long Synopsis Short Synopsis
NOT QUITE HOLLYWOOD : Before the censor’s axe…
The Wild, Untold Story of “Ozploitation” Before the critics’ attacks…
Before the Brazilian wax…
Free-wheelin’ sex romps! Blood-
soaked terror tales! High-octane action NOT QUITE HOLLYWOOD is the wild,
extravaganzas! They’re the main ingredients wonderful, untold story of “OZPLOITATION”
of NOT QUITE HOLLYWOOD, the first detailed films. It irreverently documents an era
The wild, untold story of OZPLOITATION! examination and celebration of Australian when Australian cinema got its gear
genre cinema of the 70s and 80s. off and showed the world a full-frontal
explosion of sex, violence, horror and
In 1971, with the introduction of the foot-to-the-floor, full bore action!
TABLE OF CONTENTS R-certificate, Australia’s censorship regime
went from repressive to progressive virtually
overnight. This cultural explosion gave birth
to arthouse classics, such as PICNIC AT
Short and Long Synopses 3 HANGING ROCK and MY BRILLIANT CAREER,
but also spawned a group of demon-children:
Director’s Statement 4 maverick filmmakers who braved assault from
all quarters to bring films like ALVIN PURPLE,
THE MAN FROM HONG KONG, PATRICK,
Biography Mark Hartley – Writer / Director / Editor 6 TURKEY SHOOT and MAD MAX to the
big screen.
Biographies of Key Creatives 7
As explicit, violent and energetic
as their northern cousins, Aussie
Select Interviewee Biographies 8 genre movies presented a unique
take on established conventions.
Background Notes 12 In England, Italy and the
grindhouses and Drive-ins
Did You Know? 14 of America, audiences
applauded our homegrown
Credits 15 marauding revheads with
brutish cars, our spunky
well-stacked heroines and
Publicists 23 our 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 that was unashamedly packed full
of boobs, pubes, tubes... and even a
little kung fu.
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It’s a story that begins in 1971 with the Over the past few years I have been colourful local and international poster art –
introduction of the R-certificate classification. researching/directing featurettes and and this is all accompanied by a soundtrack
This rating ended an era of savage censorship feature-length documentaries for the local of seminal radio hits from the period. It is
and allowed Australian cinema to break the and international DVD release of many my hope that these are all the ingredients
shackles of a staid, highly conservative Australian films. I have been fortunate to needed to serve up a thrilling theatrical
society and start producing films such have forged strong relationships with the experience!
as STORK (1971), THE ADVENTURES OF cast and crews of many key films featured
BARRY McKENZIE (1972) and ALVIN PURPLE in this documentary. It is the brutally frank So, please leave your political correctness
(1973). These films achieved unprecedented recollections of these people that are the in the foyer, crack a tube and settle in for
commercial success and demonstrated that most important element of NOT QUITE a fast-moving journey back to an unjustly
local audiences were willing to pay to see HOLLYWOOD. forgotten cinematic era when our big-screen
local product. heroes were possessed with white-line fever,
These are the real stories from the people our heroines were well-stacked and sexually
What followed, hand-in-hand alongside the who were there in the cinematic trenches liberated and our truly death-defying stunt
revered SUNDAY TOO FAR AWAY (1975), – including the wild, trailblazing mavericks work just had to be seen to be believed!
THE GETTING OF WISDOM (1977) and who found private finance, snubbed their
MY BRILLIANT CAREER (1979), was the nose at authority, made their own rules Enjoy.
production of an abundance of sex romps, and in the process introduced the car
terror tales and action extravaganzas. chase,karate kick, BMX bike and water bed
to Australian cinema.
For every CADDIE there was a FELICITY. Mark Hartley
For every PICNIC AT HANGING ROCK there These candid interviews have been Writer/Director
was a STUNT ROCK. interwoven with remastered film scenes,
For every JIMMY BLACKSMITH there was an promotional trailers and never-before-seen
ALVIN PURPLE behind-the-scenes footage from over 80
Director’s Statement These films found enthusiastic audiences not Aussie genre pictures. Energetic montages
just locally but all around the globe. have been created from rare film stills and
As a member of the X- generation growing
up in the outer suburbs of Melbourne, I Back home we didn’t realize it, but THE
never got to experience 70s Australian MAN FROM HONG KONG (1975) was setting
genre cinema in the theatres or drive-ins. box office records in London and quickly
I discovered it late at night on TV. becoming the all time box office champ in
Pakistan - and PATRICK (1978) was soon
After-dark TV screenings of films such as to become the highest grossing film ever
THE MAN FROM HONG KONG (1975), released in Italy!
PATRICK (1978) and SNAPSHOT (1979)
thrilled excited and downright scared me. The story of these “Ozploitation” films is
They were filled with familiar Aussie faces brimming with outrageous anecdotes and
– but spectacular content... a fist fight and you-have-to-see-it-to-believe-it footage, but
chopper chase around Ayer’s Rock… it is also full of many cultural themes and
a comatose killer with telekinetic powers… issues that are equally enthralling.
a murderous Mr. Whippy van…
• The High-Art versus Low-Brow 70s culture
To a kid who loved movies it was the wars and our image abroad.
perfect blend – films with action, suspense
and horror that were full of iconographic • Nudity in 70s Australian cinema – was
homegrown brands, landmarks and accents. it a case of sexual liberation or simply
Interestingly, when I tried to read about these titillation?
films in borrowed library books on Australian
Cinema I discovered most ofthe time they • Our pioneering stunt and special effects
weren’t even listed - let alone discussed work – unparalleled in quality and
or critiqued. extreme danger.
My documentary feature, NOT QUITE • Australia’s embrace of car culture and
HOLLYWOOD, finally tells the tale of these drive-in culture - our white-line obsession.
often overlooked and neglected films and
their maverick filmmakers. • The making of local genre movies – often
dismissed in Australia, but finding strong
and responsive audiences overseas.
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Key Creative In 1996, Mark joined Famous by Craig Griffin (Producer) Sara Edwards (Co-editor)
Tuesday, a production company It could be said that Craig started preparing Sara began her editing career at advertising
Biographies specializing in TV commercials for his Producer’s job on Not Quite Hollywood agency DDB and then worked at production
and started writing and developing in 1984, because that is when he got his first company Famous by Tuesday - where she
Mark Hartley
feature film projects, including job in the film industry - working as a runner cemented a long-standing relationship with
(Writer/Director/ Co-editor
THE DRIVE-IN KIDS and THE KING on John Lamond’s incomparable ‘Sky Pirates’. Mark Hartley. Together they have worked
OF POP. He followed that up with the only weepie on numerous TVCs and music videos
After graduating from the
Brian Trenchard-Smith ever directed - “Jenny including the Aria award winning Madison
Swinburne School of Film &
Since 2003, Mark has worked Kissed Me’. More recently Craig engineered Avenue clips. In 2002 Sara began a freelance
Television in 1990, Mark worked
as a freelance director for DVD the face off between ‘ozploitation’ experts career and has since edited many special
in a variety of low paying / high
Distributor Umbrella Entertainment Mark Hartley and Quentin Tarantino and the features for Umbrella Entertainment releases
learning positions in the film
specifically on classic Australian rest is history really… including “Careful He Might Hear You” and
industry including working as an
cinema. Mark has worked closely Lonely Hearts”.
assistant editor to Jill Bilcock on
with producers and directors Michael Lynch (Producer)
STRICTLY BALLROOM (for tram
including Peter Weir, Bruce Michael is a 20 year veteran of the Australian Stephen Cummings (Composer)
fare!) and cutting music videos,
Beresford and Fred Schepisi to “entertainment industry” with a career Stephen has had a lengthy and successful
TVCs and film trailers at Mike
create special features packages ranging across music, TV, theatre and now, career as a singer songwriter and novelist.
Reed’s Post Production.
for over 60 Australian film releases, for the first time, film. Michael has worked He formed the legendary pop rock band
including PICNIC AT HANGING with Mark Hartley previously from Mark’s time The Sports in 1976 and scored a top 40
During this period he also began
ROCK, DON’S PARTY and CAREFUL as an award winning music video director. US hit with “Who Listens to the Radio?”.
directing music videos through
HE MIGHT HEAR YOU. Michael is clearly in the feature documentary Since embarking on a solo career in 1983
City Films, a production company
business for the “big bucks”. he has released 15 acclaimed albums.
headed up by producer Craig
He has also been responsible He was voted Best Male Singer in 1988 by
Griffin and director Paul Goldman
for a large list of “Ozploitation” Karl von Moller (Cinematographer) Rolling Stone Australia and won an ARIA
(AUSTRALIAN RULES,
titles finding their way onto DVD, Since graduating from the Swinburne Film Award for Best Adult Contemporary album
SUBURBAN MAYHEM).
including “The Adventures of & Television School, Karl has worked as a in 1990. His memoir, ‘Mister Transistor’
Barry McKenzie”, “Long Weekend”, Cinematographer in advertising, music is to be published by Hardie Grant
At last count, Mark had directed
“Roadgames”, “Razorback”, “Stone” video and feature film production. in March 2009.
over 150 film clips for artists
and “Turkey Shoot”. Through this He recently shot the Australian leg of the
including Powderfinger, You Am
work, Mark developed relationships Roger Donaldson directed film, “The Bank
I, The Cruel Sea, The Living End
with many of the cast and crew who Job” and the horror film “Storm Warning”
and Sophie Monk. His work has
have been crucial to the making of for Director Jamie Blanks. He re-teamed
won a swag of awards including
NOT QUITE HOLLYWOOD. with Blanks to lense the remake of “Long
two ARIAS (as well as seven
Weekend”, due for release in late 2008.
nominations), a TUI New
Mark has officially been researching
Zealand Music Award and
NOT QUITE HOLLYWOOD for the Jamie Blanks (Co-editor)
an International MTV
last ten years, but has basically Jamie started making slasher films
Award nomination.
spent a lifetime watching, studying, in his early teens, chopping up
researching and enjoying Aussie friends and relatives. In his 20’s
genre films. he graduated to killing off some
of Hollywood’s rising stars in the
NOT QUITE HOLLYWOOD is horror flicks URBAN LEGEND and
Mark’s first theatrical feature film. 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.
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Select Interviewee Everett de Roche Deborah Gray Stacy Keach
(Writer) (Actress) (Actor)
Biographies: Everett set off for Melbourne Playboy playmate and disco star After appearing in such seminal
from the US in his early 20s turned best-selling white witch films as THE HEART IS A LONELY
to surf - and he never left. He author, Deborah appeared in HUNTER, BREWSTER McCLOUD
Phillip Adams talked his way into a writer’s NO. 96 (as a woman with a and FAT CITY, Stacy appeared
(Producer/Broadcaster) job on the seminal Aussie cop show Homicide phobia about wearing clothes, no less) and alongside Jamie Lee Curtis and a dingo in
As a film producer, Phillip was and eventually became our foremost genre John Lamond’s cheeky romp, PACIFIC BANANA. ROADGAMES. He has recently had a high-profile
responsible for splashing the screenwriter. He knocked out SNAPSHOT in 4 career resurgence thanks to his role as Warden
technicolor yawn across the big days and thankfully spent more time penning Henry Pope in PRISON BREAK.
screen with THE ADVENTURES the genre classics LONG WEEKEND, PATRICK
Gregory Harrison
OF BARRY McKENZIE. He passionately lobbied and ROADGAMES.
(Actor)
for freedom from censorship - and then called Following his small screen Ted Kotcheff
for the banning of MAD MAX. His least favourite success on TRAPPER JOHN M.D, (Director)
film is TURKEY SHOOT. Richard Franklin Gregory came to Australian Ted arrived in Australia for
(Producer/Director) to star in the giant pig movie, the first time to direct WAKE
A student and protege of Alfred RAZORBACK. His film career is still yet IN FRIGHT - and immediately
Russell Boyd Hitchcock, Richard directed to recover. found a parallel between the
(Cinematographer) the soft-core flop, THE TRUE soul-crushing emptiness of frozen north of
The same year that Russell STORY OF ESKIMO NELL, his homeland Canada and the vast Australian
lensed PICNIC AT HANGING before realizing his career lay in imitating desert landscape. The only outback trouble
Dennis Hopper
ROCK he also shot THE MAN his mentor. He made the critically acclaimed he encountered was from the local male cast
(Actor)
FROM HONG KONG a career high local Hitchcockian thrillers PATRICK and who thought acting was a particularly unmanly
After single handedly
possibly only eclipsed by winning an Oscar in ROADGAMES before heading to the US to helm profession. He went on to direct projects as
demolishing the Hollywood
2004 for MASTER & COMMANDER: THE FAR PSYCHO II, CLOAK & DAGGER and FX2. Sadly, diverse as FIRST BLOOD and WEEKEND AT
studio system with EASY RIDER,
SIDE OF THE WORLD. Richard passed away only 3 weeks after being BERNIES.
Dennis became a burnt-out
interviewed for NOT QUITE HOLLYWOOD.
Hollywood outlaw – perfect casting for the role
of the rum-swilling psychopathic bushranger,
Jamie Lee Curtis MAD DOG MORGAN. Over 30 years later, he John D. Lamond
(Actress) Rebecca Gilling (Actress) is still not legally allowed to drive – or be a (Producer/Director)
After establishing herself as Starting her acting career as a passenger – in a car in Victoria. Dubbed by The Melbourne
cinema’s reining scream queen frequently undressed fixture in Herald Sun as “Australia’s
with roles in HALLOWEEN, seminal Ozploitation fare (No. diminutive Master sexploiter
TERROR TRAIN and PROM NIGHT, 96 – THE MOVIE, STONE and by appointment to the raincoat
Barry Humphries
Jamie Lee journeyed down-under to appear THE MAN FROM HONG KONG), brigade”, John established himself as our
(Actor/Writer)
alongside Stacy Keach in the outback thriller, Rebecca skyrocketed to Aussie TV icon status premiere sexy auteur with a trio of saucy hits
Australia’s best-loved satirist
ROADGAMES (where she found herself stuffed after appearing as “the Skinny Milk girl” in a (AUSTRALIA AFTER DARK, THE ABC OF LOVE &
got to indulge in one his
in a sleeping bag off-screen for much of the popular TV commercial and being disfigured SEX – AUSTRALIA STYLE and FELICITY) before
favourite pastimes whilst
film’s duration!). Since then she has appeared by a rogue crocodile in the mini series RETURN trying his hand at horror (NIGHTMARES),
making THE ADVENTURES OF
in such money-making blockbusters as TO EDEN. old-fashioned romance (BREAKFAST IN PARIS)
BARRY McKENZIE – mixing fake chunder. The
TRADING PLACES, A FISH CALLED WANDA and the ubiquitous Indiana Jones rip-off
film introduced projectile vomiting to the
and TRUE LIES. (SKY PIRATES).
cinema screen, pre-dating THE EXORCIST by
Antony I. Ginnane a good year. Barry has subsequently appeared
(Producer) in such films as SGT PEPPER’S LONELY HEARTS
Cassandra Delaney The self-proclaimed “Roger CLUB BAND, HOWLING III – THE MARSUPIALS George Lazenby
(Actress) Corman of Australia”, Tony and SPICE WORLD: THE MOVIE – all of which (Actor)
Cassandra starred alongside produced the soft-core box Australia has been very happy to forgive Bursting onto the big screen
Carl Weathers in Australia’s office smash, FANTASM before him for. with a memorable bare-knuckle
Blaxploitation misfire, unleashing on the drive-in screen a slew of beach fight at the start of
HURRICANE SMITH, and local genre pics including PATRICK, SNAPSHOT, ON HER MAJESTY’S SECRET
bravely slogged her way through all manners THIRST, HARLEQUIN and THE SURVIVOR. “I never thought that SERVICE, George created cinema history as
of hardships in FAIR GAME (in which she is Australia’s James Bond! After refusing to sign a
stripped nude and tied
Australia was a place lengthy Bond contract and being subsequently
to a bush-bashing monster truck) before that needed culture blacklisted in Hollywood, he returned home to
marrying and divorcing country music icon, appear as the villainous kung fu kicking drug
John Denver.
of any description…” lord in THE MAN FROM HONG KONG.
BARRY HUMPHRIES
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Dr. George Miller Grant Page “Nobody shoots a car Roger Ward
(Director) (Stuntman) (Actor)
A long time before he won an Australia’s most famous the way Aussies do. Roger made a career playing big,
Oscar for HAPPY FEET, George stuntman and Stud Cola They manage to shoot bad and bald in films such as
was a young Doctor turned spokesman, Grant nonchalantly STONE, THE MAN
amateur filmmaker blocking off braved car knockdowns while cars with this fetishistic FROM HONG KONG and MAD
roads, battling weary crews and creating cinema set on fire in many high-octane extravaganzas lens that just makes you MAX. If an award was handed out for “the
history as he staged car chases in the outer including THE MAN FROM HONG KONG, most vicious camp commandant in a futuristic
suburbs of Melbourne for a low-budget drive-in DEATHCHEATERS, STUNT ROCK
want to jerk off!” Australian b-movie” Roger would be proudly
film called MAD MAX. and MAD MAX. QUENTIN TARANTINO accepting it for his role in TURKEY SHOOT.
Quentin Tarantino
Vincent Monton Steve Railsback Brian Trenchard-Smith
(Fan)
(Cinematographer) (Actor) (Producer/Director)
A self-confessed Ozploitation
Vince shot FANTASM, LONG A serious method actor trained Since his karate chopping
nut, Quentin wore his heart on
WEEKEND, SNAPSHOT, THIRST, by Lee Strasberg, Steve found TV directorial debut, THE MAN FROM
his sleeve and paid homage to
RACE FOR THE YANKEE ZEPHYR, fame playing Charles Manson in HONG KONG, Brian has applied
PATRICK in KILL BILL VOL 1
ROADGAMES and directed Linda Blair in FATAL HELTER SKELTER and was on the his high-camp sensibility to
and FAIR GAME in DEATH PROOF.
BOND... and lived to tell the tale. verge of becoming a big screen Hollywood star over 30 feature films working in niche genres
after an acclaimed performance in THE STUNT unexplored by most mainstream directors – the
MAN… then he signed on to appear in atomic-dog genre, the killer-leprechaun genre,
TURKEY SHOOT. Jeremy Thomas the Christian-propaganda-apocalypse genre,
Philippe Mora
(Producer) to name but a few. His latest 10-day wonder is
(Director)
Jeremy started his distinguished AZTEC REX – a genre cocktail fusing Apocalypto
An acclaimed artist, historian,
career bailing Dennis Hopper with Jurassic Park!
raconteur and b-movie auteur, Cheryl Rixon
out of jail the day after Hopper
Philippe has directed over 20 (Actress)
arrived in Sydney to star in MAD
features including HOWLING III – A finalist in the Annual Miss West
DOG MORGAN. He subsequently went on to
THE MARSUPIALS, PTERODACTYL WOMAN FROM Coast bikini beauty pageant in Simon Wincer
produce MERRY CHRISTMAS MR LAWRENCE,
BEVERLY HILLS and the ultimate alien-probe-up- Perth, Cheryl was cast in the (Director)
NAKED LUNCH, SEXY BEAST and the 1988
the-rear-passage movie, COMMUNION. nudie detective spoof, PLUGG After cutting his feature film
Oscar Winner for Best Picture, THE LAST
– a film in which no money was wasted on teeth on Tony Ginnane quickies
EMPEROR.
costumes. She subsequently moved to the US (SNAPSHOT and HARLEQUIN),
and became a genuine bonafide disco queen Simon graduated to helming the
Judy Morris
and Penthouse pet of the Year in 1980. acclaimed US mini series LONESOME DOVE and
(Actress)
Jack Thompson various Hollywood assignments including FREE
A decade and a half before
(Actor) WILLY and OPERATION DUMBO DROP.
penning BABE: PIG IN THE CITY
Beginning with a walk on role
and HAPPY FEET, Judy was being John Seale
in SKIPPY and a stand out
raped by David Argue and torn (Cinematographer)
performance in WAKE IN FRIGHT,
apart by a giant pig in RAZORBACK (and who After camera operating on Susannah York
Jack’s rugged good looks and
says there are no good roles for women in ALVIN PURPLE and getting his (Actress)
confident Aussie swagger made him Australia’s
Australian movies?!) first cinematography credits 13 years after achieving fame
preeminent male star of the
shooting DEATHCHEATERS and appearing in TOM JONES,
big and small screens. His sex appeal
BMX BANDITS, John eventually won an Oscar Oscar nominated Susannah
was well and truly confirmed when he was
for THE ENGLISH PATIENT. found herself acting alongside a
Russell Mulcahy chosen as Cleo magazine’s first nude male
booze-sodden Trevor Howard in an antipodean
(Director) centrefold in 1972!
variation of the colonial sex romp, ELIZA
Considered the maestro of
FRASER. Her long list of credits includes THE
the pop clip, Russell tried Lynda Stoner
BATTLE OF BRITAIN, THEY SHOOT HORSES
his hand at a feature film (Actress)
Sigrid Thornton DON’T THEY and SUPERMAN I, II & IV.
with RAZORBACK, and in the Appearing in THE YOUNG
(Actress)
process created the ultimate 90-minute giant, DOCTORS and COP SHOP,
Before Australia fell in love with
rampaging feral pig music video! Subsequent Lynda became one of the most
Sigrid steering a paddle ship
big screen adventures include HIGHLANDER glamorous, popular and buxom
down the Murray
and RESIDENT EVIL: EXTINCTION. Aussie Television stars of the 70s and early
in ALL THE RIVERS RUN or
80s. Her big screen career began and ended
romancing Tom Burlinson in THE MAN FROM
with TURKEY SHOOT.
SNOWY RIVER, she was screaming for her life
and dodging a psychopathic pervert set on fire
in SNAPSHOT.
“100 million dollar film but $10 pig!” RUSSELL MULCAHY on “RAZORBACK”
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Background Notes They battled through claims from the But the influence of these films is starting
emerging feminist movement that their films to be seen amongst a new generation of
In 2003, the A-list of the local film industry Playwright David Williamson and featured the worst instances of Australian young Australian filmmakers.
attended the Australian premiere of Quentin satirist Barry Humphries recognized that sexism and misogyny.
Tarantino’s KILL BILL - VOLUME ONE. exaggerated humor verging on parody Director Jamie Blanks, a big fan of
When introducing the film Tarantino shocked worked with Australian audiences at that They took a stand against Actors Equity who Australian genre directors Richard Franklin
the audience by dedicating it to his favorite time – and the films STORK (1971) and THE introduced new tougher guidelines limiting (ROADGAMES) and Brian Trenchard-
Antipodean Filmmaker, Brian Trenchard- ADVENTURES OF BARRY McKENZIE the number of foreign actors that could be Smith (TURKEY SHOOT), has followed
Smith - Australia’s leading exponent of (1972) were born. These films were a imported for an Australian film. his two big budget Hollywood horror films,
action/exploitation films in the 70s and 80s. sensational success with Australian audiences URBAN LEGEND (1998) and VALENTINE
– providing a voice for the long silent They soldiered on when critics and politicians (2001) with a couple of local genre films
Newspaper articles reported, in disbelief, proletariat. Most importantly, these films alike demanded a less vulgar, more culturally scripted by Everett DeRoche (PATRICK,
Tarantino’s keen interest and love of proved to cynical distributors that elevated filmmaking in an attempt to RAZORBACK) - STORM WARNING
Australian genre cinema. It appeared the all-Australian productions could attract represent Australia abroad as refined, and a remake of Colin Eggleston’s LONG
journalists, and indeed the Australian film- the public. genteel and sentimental. WEEKEND.
going public, had forgotten that, as well as
Alongside STORK’s director, Tim Burstall, They offered an alternative to the wave of Leigh Whannell, another self-confessed
the revered historical films of the 70s and
a select group of fearless filmmaking nostalgic films produced during Australian “Ozploitation” fanatic, has written, produced
80s, the local industry had also produced a
mavericks emerged - including cheeky, cinema’s elegiac period of the late 70s - and and starred in the US box office smashes
steady stream of sex romps, terror tales and
diminutive sex-specialist John D. Lamond, ultimately, they produced Aussie genre films SAW (2004) and SAW 2 (2005).
action extravaganzas.
foot-to-the-floor action helmer, Brian that were playing in hundreds of American
The early 70s were a time of change in Trenchard-Smith, and high-concept genre theatres and breaking box office records in Greg McLean’s low budget horror film,
Australia. After decades of repressive producer Antony I. Ginnane, who had little the most unlikely countries. WOLF CREEK (2005), was the highest
censorship laws and highly conservative time for loose talk of art or culture and much grossing Australian film of 2005, with
As the 70s progressed, the “bedroom action” reviews linking it back to 70s Australian
governments, a wave of liberalism swept the time for marketing and packaging deals. soon gave way to “white-line action”. genre films such as MAD MAX (1979) and
country. The R-certificate was introduced
This wild bunch of colourful cinematic Films such as STONE (1974) and THE ROADGAMES (1981).
in late 1971 to reflect changing community
renegades quickly took advantage of MAN FROM HONG KONG (1975) laid
standards – and almost overnight Australia
Australia’s newfound big-screen liberation the foundation for the groundbreaking Internationally, genre specialist Quentin
had one of the most progressive censorship
and produced a string of films that packed MAD MAX movies – climaxing with that Tarantino has even paid homage to PATRICK
regimes in the world.
Australian cinemas with patrons craving to one magic moment in time when, to quote (1978) in KILL BILL (having the comatose
At the same time, Australia was re- see boobs, pubes, tubes and kung fu - with a Tarantino, “Aussie films were so bang-on bride replicate Patrick’s trademark spitting)
discovering itself on the cinema screen. unique Australian spin. that the Italians did rip-offs of them. First the and FAIR GAME (1985) in DEATH PROOF
For several decades the country had been unofficial PATRICK sequel and then for most (Stuntwoman Zoe Bell is strapped to the front
overwhelmingly on the receiving end Along the way these filmmakers braved a of the 80s Italy’s rip-off machine specialized of a speeding vehicle).
of British and American cinema – and barrage of assault from critics with “high in MAD MAX rip-offs. That was the coin of
art” notions who found it distasteful that this the realm!” “NOT QUITE HOLLYWOOD” is the first
Australian audiences had rarely seen their
appalling culture was being foisted on poor, detailed examination and celebration of
own landscapes or heard their own accent in
unsuspecting suburbanites. Recently, there has been a fevered Australian genre cinema. It looks at how
the local picture theatre. Now, the creative
examination and re-evaluation of genre genre cinema got started in Australia; its
floodgates opened and a film industry
They faced accusations from moral cinema from England (Hammer Horror), triumphs, near misses and tragedies - and it
re-emerged after being virtually
crusaders, The Festival of Light, who Italy (the Spaghetti westerns finally shines a spotlight on the undervalued
dormant for thirty years.
proclaimed many of their early films and Giallo horror movies), America auteurs who brought it to life in such an
“Government sponsored pornography”. (grindhouse cinema) and Canada (the early explosive way!
Cronenberg movies), but Australian genre
cinema has been overlooked, even locally –
still eclipsed by the focus on our “historical”
cinematic output.
12 www.notquitehollywood.com.au 13
Did You Know ? Credits
• ALVIN PURPLE recouped its $200,000 $300,000 on US sales plus profit share, the Writer and Director Mark Hartley
budget in its first few days of release in 1973 largest overseas advance to that time. Producers Michael Lynch and Craig Griffin
and by 1976 had grossed over $4.7 million Executive Producers Bruno Charlesworth, Jonathan Shteinman,
• PATRICK was the highest priced Australian Paul Wiegard and Nick Batzias
at the local box office - equating to over $35
film ever sold to Canada and SouthEast Line Producer Roslyn Walker
million today. In New Zealand it earned more
Asia. At Cannes in 1978 it notched up world Cinematographer Karl von Moller
money in its first two weeks than any other Jamie Blanks, Sara Edwards and
sales of more than $500,000 - more than Editors
film ever theatrically released there. Mark Hartley
the other competing Australian films, THE
Composers Stephen Cummings and Billy Miller
• By the time ALVIN RIDES AGAIN CHANT OF JIMMY BLACKSMITH and
premiered in December 1974, an estimated NEWSFRONT. Production Co-ordinator Eleni Arbus
10% of the Australian population had paid to 1st Asst Cameraman Angelo Sartore
• In the first week of its U.S. release Sound Recordist Jock Healy
see ALVIN PURPLE.
PATRICK topped the $1 million mark on the Make Up Artist Heather Ross
• In 1975, THE MAN FROM HONG KONG Variety box office chart, rocketing to 10th Gaffers Chris Shanahan
broke box office records in London, taking place among the top 50 major releases. Grahame Dickson
the highest opening week since MIDNIGHT Finbarr Collins
• In 1978, PATRICK became the highest Justin King
COWBOY six years earlier. Researchers
grossing film ever released in Italy and Simon Wells
• In Pakistan THE MAN FROM HONG spawned an unauthorized spaghetti-sequel, Production Assistants Marilen Tabacco
KONG became the all time box office PATRICK VIVE ANCORA a.k.a. PATRICK Luci Schroder
champ for four years. It ran for six months, IS STILL ALIVE (1979). Merran Williams
out-grossing previous record holders, THE Rob Gale
• In May 1979, the Australian Crime Additional Cinematography Germain McMicking
GUNS OF NAVARONE , CLEOPATRA and
Prevention Council President, Mr. P. Johnson, Vincent Monton
WHERE EAGLES DARE. Angelo Sartore
declared that MAD MAX should be banned
• Screening alongside PICNIC AT because of its excessive violence. James Kniest
Additional Camera Assistants Jeremy Rouse
HANGING ROCK and CADDIE, MAD
“It contains scenes of pack rape, barbecuing Kevin Campbell
DOG MORGAN became one of the most Additional Sound Recordists Ben Banks
traffic policemen and running down
successful Australian films ever shown at David Glasser
children, which only a very small minority
Cannes. It was purchased by for Lily Dawson
of Australians could consider worthwhile Additional Interview Liaison
release in North America Additional Make-up Jessica Clark
entertainment.” Johnson said MAD MAX
with an advance of
was the sort of film the Commonwealth UK UNIT:
Censorship Board should make an example Production Manager Geraldine Hawkins
of so that other Australian producers would Gaffer Dave Hutton
not portray the same scenes. Best Boy Simon Hutton
Runner Nick Osborne
• New Zealand censors banned MAD
US UNIT:
MAX informing the distributor that
Production Manager NY Matthew Snyder
the film contained “too much anti- Production Manager LA Rebecca Morley
social behaviour”. Gaffers Soran Zdjna
James Kniest
• FELICITY and MAD MAX
Production Assistant Andy Villalobos
were the only two Australian “There were very
Location Scout Jack Constintine
moneymakers in 1979 - and the Consulting Editors Stephen Evans few actresses of my
only two Australian releases that year Mark Atkin generation who weren’t
without major investment and/or loans On-line editor Sonia Cook
from federal and/or state government sources. Music editor Mark Hartley tits and ass on an
Post Supervisor Sara Edwards Alvin Purple film.”
CANDY RAYMOND
14 15
www.notquitehollywood.com.au
IT Consultant Computers Now
Interviewees:
Phillip Adams Glory Annen
“He snorted a lot of
Tony Corr cocaine, he started
Victoria Annoux Ian Barry
Archival HD Telecine Digital Pictures Briony Behets Steve Bisley drinking when he
Colourist Stanley Lopuszsanski Jamie Blanks Graeme Blundell woke up in the
Digital Film Post Production Digital Pictures
Russell Boyd Richard Brennan morning – which
Head of Post Production Pamela Hammond
Tom Burstall Rob Copping was very early.
DI Colourist Stanley Lopuszsanski
DI Post Producer Rachel Knowles Barry Crocker Lynette Curran
He was 39 when
Post Production Co-ordinator Haley Gillies Jamie Lee Curtis Cassandra Delaney
Mastering George Awburn Everett de Roche Ross Dimsey
we were making
DigitalFilm Supervisor Tony Poriazis David Eggby Bob Ellis the film, I really
Sound Post Production Soundfirm Australia Alan Finney Richard Franklin believed he would
Sound Mixer Rob Mackenzie Belinda Giblin Rebecca Gilling never hit 40!”
Sound Editor Peter Mills Antony I. Ginnane Deborah Gray
Facilities Manager Helen Field RICHARD BRENNAN
David Hannay Gregory Harrison
Additional Sound Editing Jamie Blanks on DENNIS HOPPER
Rod Hay Sandy Harbutt
Film Post Production Cinevex
Ian Anderson Rod Hardy Carla Hoogeveen
Graphic Design, Animation Marcus Cobbledick Alan Hopgood Dennis Hopper
John Michael Howson Barry Humphries
“They pronounced
& Supervision
Animators Roger Blayden John Jarrett Barry Jones me dead. They said
Damien Dunne Stacy Keach Ted Kotcheff ‘you’re dead – with
Matt Griffiths John D. Lamond Nina Landis the alcohol content
Eric Ocson George Lazenby Bill Margold
Michael Tan that you have in
Ross Matthews Don McAlpine you’re body, you’re
3D Animation Rob Nunn
Artwork/footage preparation Emma Bemrose Bob McCarron Hal McElroy
dead!’ So, that was
Luke Brewer Greg McLean Gus Mercurio
Dr. George Miller Vincent Monton
good news!”
Kevin Desa
Chamath Dharmasiriwardena Philippe Mora Judy Morris DENNIS HOPPER
Cam Smith Russell Mulcahy Rod Mullinar
Grant Page Susan Penhaligon
Music Clearances Michael Lynch
Legals Marshalls and Dent| Steve Railsback Candy Raymond
Bryce Menzies Cheryl Rixon Joanne Samuel
Kris Darmody Fred Schepisi John Seale
Completion Guarantor Film Finances Ken Shorter Lynda Stoner
Jenny Woods Quentin Tarantino Jeremy Thomas
Accountant Moneypenny Sigrid Thornton Brian Trenchard Smith
Jill Hewitt Jack Thompson Roger Ward
Kat Slowik
James Wan Gary Wapshott
Insurance Holland Insurance John Waters Leigh Whannell
Elaine McNulty Tony Williams David Williamson
Collections Agency Fintage House Simon Wincer Arna Maria Winchester
Camera Equipment Panavision Uri Windt Norman Yemm
Lemac 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.
16 17
www.notquitehollywood.com.au
FANTASM COMES AGAIN KILL BILL - VOLUME ONE
THE ABC OF LOVE & SEX – © 1977 First Film Finance Pty. Ltd. Courtesy of Miramax Film Corp.
AUSTRALIA STYLE Courtesy of Antony I. Ginnane. All rights reserved
AUSTRALIA AFTER DARK
BREAKFAST IN PARIS DEAD KIDS LONG WEEKEND (1978)
FELICITY © 1981 Gupta Film Services Pty Ltd. Courtesy of Richard Brennan
PACIFIC BANANA and Flavius Films Ltd.
Courtesy of John Lamond Motion Picture Courtesy of Antony I. Ginnane SNAPSHOT
Enterprises © 1978 F. G. Film Productions Pty. Ltd.
ALISON’S BIRTHDAY Courtesy of Antony I. Ginnane.
INN OF THE DAMNED Courtesy of David Hannay
NIGHT OF FEAR THIRST
PLUGG A DANGEROUS SUMMER © 1978 F. G. Film Productions Pty. Ltd.
Courtesy of Terryrod Productions MELVIN – SON OF ALVIN Courtesy ofAntony I. Ginnane.
RAZORBACK
SCOBIE MALONE Courtesy of McElroy and McElroy HARLEQUIN
Courtesy of Kingcroft Australia Productions © 1980 Farflight Investments Pty. Ltd.
Film Clips: Courtesy of Antony I. Ginnane.
ROADGAMES BROTHERS
CADDIE THE TRUE STORY OF ESKIMO NELL LADY STAY DEAD
WAKE IN FRIGHT Courtesy of Quest Films Courtesy of Terry “It became gonzo filmmaking,
Courtesy of Tony Buckley Bourke Jnr because there was nothing
CROSSTALK
HOODWINK PATRICK
in the law that allowed
THE NAKED BUNYIP
Courtesy of Southern Cross Films Pty Ltd RUN CHRISSIE RUN © 1978 Australian you to block off this road,
Courtesy of Southern Star International Film drive a car over the speed
ALVIN PURPLE Corporation Pty. limit, roll it and crash it
ALVIN RIDES AGAIN CENTRESPREAD Ltd. Courtesy of into another car!”
ELIZA FRASER Courtesy of Wayne Groom Antony I. Ginnane.
ENDPLAY DR. GEORGE MILLER
on “MAD MAX”
HIGH ROLLING DON’S PARTY
THE LOVE EPIDEMIC THE GETTING OF WISDOM
PETERSEN Courtesy of Phillip Adams
STORK
Courtesy of Hexagon Productions THE CARS THAT ATE PARIS
PICNIC AT HANGING ROCK
THE ADVENTURES Courtesy of Peter Weir
OF BARRY McKENZIE
Courtesy of Longford Productions THE MANGO TREE
Print courtesy of the National Film and Courtesy of Michael Pate
Sound Archive of Australia
- A Kodak/Atlab Project Print THE CHANT OF JIMMY BLACKSMITH
Courtesy of Fred Schepisi
BARRY McKENZIE HOLDS HIS OWN
Courtesy of Fremantle Media FANTASM
© 1976 TLN Film Productions Pty. Ltd.
NUMBER 96 – The Movie Courtesy of Antony I. Ginnane
Courtesy of Cash Harmon Productions
18 www.notquitehollywood.com.au 19TURKEY SHOOT
THE SURVIVOR MAD DOG MORGAN
© 1981 Second FGH Film Consortium Pty. Ltd.
© 1980 Riaci Investments Pty. Ltd. Courtesy of Philippe Mora and John Webb
Courtesy of Antony I. Ginnane.
Courtesy Antony I. Ginnane.
CHAIN REACTION
BMX BANDITS
DARK AGE TO SHOOT A MAD DOG
Courtesy of Tom Broadbridge
© 1986 International Film Management Courtesy of Palm Beach Pictures
Limited Courtesy Antony I. Ginnane.
FAIR GAME
DANGERFREAKS
Courtesy of Ron Saunders
HOWLING 3 – THE MARSUPIALS DEATHCHEATERS
Courtesy of Philippe Mora KUNG FU KILLERS
SKY PIRATES
THE MAN FROM HONG KONG
Courtesy of John Lamond and Michael Hirsh
NEXT OF KIN THE STUNT MEN
Courtesy of Robert Le Tet STUNT ROCK
THE RETURN OF CAPTAIN INVINCIBLE
Courtesy of Brian Trenchard-Smith
Courtesy of Andrew Gaty and Tom Cooper
GROUND ZERO
RUNNING FROM THE GUNS SAW
DEAD-END DRIVE-IN
Courtesy of Geoff Burrowes Courtesy of Lionsgate Films Inc.
Courtesy of Andrew Williams
HOSTAGE RUNNING ON EMPTY
BLOOD MOON
Courtesy of Frank Shields Courtesy of Joe Constantini
MAD MAX
ROGUE
STONE MIDNITE SPARES
WOLF CREEK
Courtesy of Hedon Productions Courtesy of Tom Burstall and Filmco
Courtesy of Village Roadshow Pictures
Productions
LONG WEEKEND (2008)
RACE FOR THE YANKEE ZEPHYR
STORM WARNING
© 1981 Gupta Film Services Pte. Ltd.
Courtesy of Arclight
Pellinto Investments NV, Drake Films
Limited Courtesy of Antony I. Ginnane.
UNDEAD STILLS
Jack AND ADDITIONALRoger Ward
Thompson
Courtesy of Peter and Michael Spierig ARCHIVE MATERIALS COURTESY OF:
James Wan Gary
ABC, AFI Research and Information - Alex
Wapshott
BLACK WATER
Gionfriddo and Deb Verhoeven, Penny Becchio,
Courtesy of Michael Robertson John Waters Leigh
Mal Bryning, ACMI - Sarah Kidd and Lynda
Whannell
Bernard, Terry Bourke Jr, Richard Brennan, Tom
Tony Williams
Burstall, DavidDavid
Rob Copping, Jamie Lee Curtis,
The producers express their gratitude to the Williamson
Eggby, Film Australia, Angus Forbes, Richard
National Film and Sound Archive of Australia
Franklin,
Simon Manuela Furci, Michael Glasheen,
Wincer Arna Maria
for supplying a majority of the film material
Antony I.
Winchester Ginnane, Deborah Gray, Jennifer
featured in this documentary.
Hadden, Carla Hoogeveen, The Estate of Ivan
This film was made possible through the NFSA’s Uri Windt Norman
Hutchinson, David Kilderry, Anne Louise
expertise in audiovisual preservation. Yemm
Lambert, Jeanie Lamond, John D. Lamond,
Patricia Lovell,
Susannah York Chris Lofven, Madman Cinema,
Thanks especially to Zsuzsi Szucs,
Philippe Mora, Pacific Publications - Helena
Rita Parkinson, Sonya Thoms, Judy Schou,
Debevec, Grant Page, David Parker, Cheryl
Jillian Mckenzie, Robert Waterfall, Julie
Rixon,Beresford,
Bruce SAFC, Brian Trenchard-Smith,
Wendy Lynda
Hughes and Rod Taylor
Heffernan, Siobhan Dee, David McGrouther.
Stoner, Chic
interview Stringer, Margret Stringer,
footage
“THE MAN FROM HONG KONG was probably Jeremy Thomas, Umbrella Entertainment,
Courtesy of Umbrella Entertainment.
the limo bill of the James Bond film!” GEORGE LAZENBY Roger Ward, Jenny Woods, Norman Yemm.
20 www.notquitehollywood.com.au 21Music:
“We Can’t Be Beaten” “Black Eyed Bruiser” Publicists
(Anderson/Riley) © J. Albert & Son Pty Ltd (P) (Vandenberg/Young) © J. Albert & Son Pty. Ltd Victoria:
Albert Productions (P) Albert Productions Miranda Brown
Performed by ROSE TATTOO Performed by STEVIE WRIGHT An excerpt taken from
Miranda Brown Publicity
Used by permission of Albert Music Used by permission of Albert Music the ‘Fantasm Comes Again’
t: +61 3 9419 0931
m: +61 3 94156787 Press Kit...
“Undecided” “Sky High”
(Bower/Morrison) (P) Universal/MCA (Scott/Dyer) Published by Universal/MCA e: miranda@mbpublicity.com.au
Music Publishing Music Publishing New South Wales:
Performed by MASTERS APPRENTICES Performed by JIGSAW Philippa Harris
Licenced courtesy of Universal Music Licensed courtesy of Splash Records Nix Co
Publishing Pty Ltd T 02 9380 4933
“Take A Long Line”
Courtesy of EMI Music Australia Pty Limited philippa@nixco.com.au
(Brewster/Neeson/Brewster) © J. Albert & Son
“I’ll Make You Happy” Pty Ltd (P) Albert Productions Queensland:
(Vandenberg/Young) © J. Albert & Son Pty. Ltd Performed by THE ANGELS Georgina Stegman
(P) Albert Productions Used by permission of Albert Music Think Tank Communications
Performed by THE EASYBEATS t: 07 3511 1356
“This Time”
Used by permission of Albert Music m: 0415 622 213
(Hewson/Hunter/Hunter/Storey/Taylor) © EMI
“Living In The 70s” Songs Australia PL, for the World 1976 e: gstegman@optusnet.com.au
(Macainsh) © Mushroom Records (P) 1990 Performed by DRAGON South Australia:
Performed by SKYHOOKS Licensed courtesy of EMI Music Publishing Steven Watt
Licensed courtesy of Mana Music Australia Pty Picture This! Marketing
Ltd On behalf of Warner Music Australia Pty Ltd t: 08 8248 6638
Filmed at Ren-Mar Studios, Hollywood, m: 0419 835 955
“Bad Boy For Love”
Twickenham Film Studios, Middlesex e: steven@picturethis.net.au
(Rilen) © J. Albert & Son Pty. Ltd (P) Albert
and on location in Australia, The United
Productions Western Australia:
Kingdom and The United States.
Performed by ROSE TATOO Kristy Hall
Used by permission of Albert Music Makeup supplied by M.A.C. Freckle Marketing
“Shadow Boxer” m: 0423 046 660
Produced with the financial assistance of
(Brewster/Neeson/Brewster) e: kristyjhall@gmail.com
The Melbourne International Film Festival
© J. Albert & Son Pty Ltd (P) Albert (MIFF) Premiere Fund MATERIALS
Productions Performed by THE ANGELS Executive Producer: Mark Woods All materials including
Used by permission of Albert Music An initiative of the State Government key art and production
of Victoria, Australia stills can be found on our press site:
www.madman.com.au/pressarea
Produced in Association with SBS Independent
Commissioning Editors: Trevor Graham, Ned Further enquiries:
Landers, Denise Eriksen Michael Cicirko
Theatrical Admin & PR Coordinator
Developed and Produced with the
Madman Cinema
assistance of Film Victoria
t: 03 9417 0977
Principal Investor FFC m: 0402 239 852
Dolby in selected theatres e: michael.cicirko@madman.com.au
International Sales: HDNet
© 2008 City Films Worldwide
Pty Ltd, FFC and Film Victoria
Dedicated to our friend, RICHARD FRANKLIN 1948 – 2007
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