visitors ( 2003 film )
2003 - “the horror, the horror... ” panel member, brisbane international film festival 2003
looking for movie tickets? enter your location to see which movie theaters are playing visitors (2003) near you .
visitors (2003). director - richard franklin. stars: radha mitchell, susannah york. moria - the science - fiction, horror and fantasy film review .
2003: bloom shakes hands with fans as he makes his way to frontierland .
saf welcomes groups and visitors for self - guided and organised tours and activities .
since sharjah biennial 6 in 2003, sharjah art foundation has supported the production of film and video work by visual artists and filmmakers .
well, i' m glad you said that, because that' s what visitors is about .
2003: keira knightley, who plays elizabeth swan, poses with some pirate wenches outside main street cinema .
2003 to 2012 - the vaginabillies (vocals) semi - acoustic cabaret version of they might be ...
dedicated to film and filmmaking, the saf film club is designed for filmmakers and offers opportunities to get involved in the local film community .
2003 - escape from the planet of the tapes (interview subject) sbs tv documentary about me and trash video' s struggle to evolve .
established in june 2003, sja film technologies ltd. , a privately owned company, began trading as a slitting, rewinding and film supplier company and quickly developed the business portfolio to include stocks of many substrates including plastic films, cast polypropylene, oriented polypropylene, degradable films, polyester, sandwich lidding film, release liner and paper .
2015 - gone lesbo gone (interview subject, co - producer) documentary directed by jarret gahan on the troubled production of lesbo - a - go - go (2003), premiered at brisbane underground film festival, january 2015 .
but, when the walt disney studios motion pictures movie had its world premiere at disneyland on june 28, 2003, few could have predicted it would be the success it is today. pirates is the ninth highest grossing film franchise in history, earning $ 4, 524, 358, 182 at the global box office after last year' s fifth film: dead men tell no tales. pirates of the caribbean: the curse of the black pearl premiered in theaters nationwide 11 days later, on july 9, 2003 .
arabiyat confirmed that the strategy was developed to help jordan benefit from the opportunities that filming destinations have, as designing tour itineraries around film locations can attract more visitors. he also noted that jtb has hosted many production companies from hollywood and bollywood in recent years and has offered incentives to encourage more filming in jordan. jtb also supported rfc’s efforts to promote jordan at international film festivals, including the cannes film festival .
amman, 13 august 2017 - under the patronage of her royal highness princess rym ali, the royal film commission (rfc) launched jordan’s first film tourism strategy today, which is set to guide efforts over the coming three years to attract more visitors to jordan through film. the strategy was developed in cooperation with the jordan tourism board and with support from the usaid building economic sustainability through tourism project (best) .
reflecting the growing importance of film in the foundation' s work, the saf film programme offers regular screenings in mirage city cinema, sharjah' s only dedicated outdoor cinema, a film club, educational programmes for film enthusiasts, as well as support for filmic work by visual artists .
sharjah film platform (sfp), an annual programme organised by sharjah art foundation, aims to support film production in the united arab emirates .
, which is generally the film, if i' m asked what i' ve made, is the film i refer to as my first film. even though there were one and a half films before it .
quick links what' s happening calendar of events deals and specials visitors guide subscribe to news not sure where to start? let santa fe’s experts lead the way on a variety of tours tailored for every interest .
ibrahim osta, usaid best chief of party, said that film commissions compete to attract part of an $ 88 billion - dollar industry that yields deep direct and indirect economic benefits to filming destinations. thus, “usaid best is supporting jordan’s efforts to boost its international competitiveness, create new tourism jobs, and distribute tourism revenues across the country through this film strategy, which lays out a clear path to attracting film productions and visitors .
, using a lot of the same financiers, you see, my next film was an attempt to make a universal genre film. and that was
the royal film commission – jordan (rfc) is a public institution, with administrative and financial autonomy, established in 2003 with a mandate to promote for and contribute to the development of an internationally competitive jordanian audio - visual industry. the rfc organizes training workshops, screenings and provides production support services .
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, which if i' m asked, is the film i refer to as my first film. even though there were one and a half films before it .
michal blaško (b. 1989, bratislava) is studying film and television directing at the academy of performing arts in bratislava (všmu). his short movie fear (2015), a coproduction with prague’s famu, premiered at the san sebastián iff and went on to win a variety of international awards. his bachelor project atlantis, 2003 was selected for the cinéfondation section at the 70th international cannes film festival .
but that must have been quite an honour to have italians rip off your film .
was also richard franklins last ever film and he died from cancer in 2007) .
, worked, but not the comedy. and so my next film, using a lot of the same financiers, was an attempt to make a universal genre film. and that was
representatives from local tour operators and film production companies attended the one - day conference, which included sessions on the latest global developments in film tourism and the successes of countries like denmark and czech republic in attracting hundreds of thousands of tourists, as a result of shooting blockbuster films. jordan' s film tourism strategy was discussed, as well as designing tourism itineraries around film locations .
new mexico offers one of the leading film incentive packages in the country. up to 30 %
it’s 2003, four years before slovakia becomes part of the schengen area. today the border with ukraine is one of europe’s best guarded, but back then it was the playground of smugglers and human traffickers. martin and denisija dream of leaving ukraine for germany to begin a new life. crossing the border brings unexpected complications, but the pair are willing to sacrifice a great deal to reach their destination. atlantis, 2003 provides a chilling excursion to a recent past we should not forget, but it also asks a universal question: how responsible are we for each other ?
radha mitchell is an awful actress and visitors might just be her tour de force of awful. she plays this character crazy for the outset, which makes her
descent
into crazy feel like just a normal day. she turns what could have been a solid mystery into something borderline unwatchable .
is on the cusp. as was the original. hitchcock just redefined the genre with that film, and
, and employs none of that film' s subtlety here) had no easy task before him - - a single character at sea is not the easiest of situations in which to establish any kind of drama without dialogue. with this in mind, it didn’t even bother me that georgia’s cat speaks to her in a laughable british accent, or that the film constantly flashes back to her life on the mainland, if only because they had to have some way of establishing character development without using constant narration. but when the titular visitors start showing up, the film exhausts any semblance of suspense and becomes almost laughably stilted .
and so i suppose it wasn' t until the late seventies that hardcore took over the sex film industry .
richard franklin isn' t my favourite australian filmmaker, but you' ve got to give credit to the man for managing to make a purely genre career in a country like ours. visitors isn' t his strongest effort visually or intensity wise, but he manages to crank out a few neat twists along the way .
elia kazan (1909 - 2003) was a dominant and hugely influential force in the postwar american cinema, a director whose keen intuition and perspicacity made him almost impervious to the vicissitudes of the declining studio system and ideally suited to take advantage of the gradual shift towards independent production. prolific in spite of hollywood' s dramatic ebbs, kazan created a group of vital, emotionally intense and frequently controversial films that helped define american film history and popular culture .
but you' ve got to realise, this was an era when it was very hard for young people to get professional work in hollywood and the people who are now the modern hollywood film industry were making these kinds of film .
a young ukrainian couple plan their getaway to germany. it’s 2003, four years before slovakia integrates into the schengen area. the slovak - ukrainian border is controlled by smugglers and human traffickers – martin and denisija have no idea of the traps that await them. they only have each other but they are willing to sacrifice much to fulfill their dream .
it was the hostile press that buried the film, thanks to the efforts of fred nile’s festival of light. “it was the fact that the film had government funding, and was based on a' pornographic poem'. and they cited
while franklin' s direction is crisp and stylish and mitchell performs admirably in the starring role, visitors is still missing something substantial that keeps it from being anything more than an interesting mind game. part of the unevenness comes from the fact that franklin doesn' t appear to be able to decide just what kind of movie he wants to make here. is it a slick horror film? is it a twisty mystery? is it a drama about insanity? while it touches on all three, the film never explores any of these elements sufficiently to fully satisfy in any particular direction .
, worked, but not the comedy. and so my next film, coming off the (in the end) quite successful
was a b film. i never thought of myself as making b films; i did see myself as making genre films .
* * please note that the following announcements and links are not supplied as an endorsement by the houston film commission, they are provided purely as a public service and as a convenience to users. these other sites are not under the control of the houston film commission, nor does the houston film commission endorse or adopt as its own, any of the content of the other sites * *
for a time during the 1980s, australias richard franklin was a genre director worth watching. in australia, richard franklin made the psychic coma patient film
, which was substantially a one - person drama about stacy keach in a truck where the entire film equally wavered between real and possibly imagined threat .
), i didn' t particularly want it to tarnish my career. ” in retrospect, his film career could have been over before it started .
and the room and so on. that was a pretty silly film otherwise. you made a comment about b movies; it used to be argued that
2012 -
di ingon' nato: zombies in our backyard
essay and director ivan zaldarriaga interview, sinekultura film journal (university of san carlos, cebu) issue # 4, second semester 2012, pp. 14 - 21; reprinted in film international 63 - 4 (sweden), august 2013
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
uae audiences can enjoy a wide range of films and film genres featured in the regularly scheduled screenings that take place in saf' s mirage city cinema .
from the past to the present, santa fe and new mexico has been a dramatic draw for filmmakers of all stripes and our film scene is booming .
2015 - talk on pinoy cult cinema with leo katigbak and manet a. dayrit, qcinema international film festival, quezon city, philippines 28 / 10 / 15
for two weeks in february every year, dublin turns into one of the hotspots of international cinema. the jameson dublin international film festival (jdiff) mixes works by independent film makers from around the globe with releases from the mainstream hollywood studios for a cross section of the most exciting movies of the past twelve months. from intimate documentaries to big drama, the range of films shown during the jdiff has something for everybody and dublin becomes a choice destination for film fans every february .
to mark the centenary of johnny mercer' s birth, director bruce ricker' s latest jazz documentary focuses on the music and legacy of the great american songwriter, interweaving interviews with tony bennett, andre previn and harry connick, jr. with screen performances of mercer ballads by the likes of frank sinatra, judy garland and nat king cole. the harvard film archive is pleased to welcome bruce ricker to discuss his latest film and to celebrate the very generous donation of his important film collection to the archive .
directed by elia kazan. with robert de niro, tony curtis, robert mitchum us 1976, 35mm, color, 125 min. print from the harvard film archive collection
although marketed as a horror flick, visitors is mostly a psychological drama with mild horror thriller elements, so take this into account before you embark on this one expecting some serious (or even cheesy) thrills and chills. director richard franklin (cloak & dagger, road games) puts aside his hitchcockian homage tendencies for a more atmospheric character study revolving around a woman that must try to keep from hurting herself, despite the vividness of the disturbing images that she sees on a daily basis .
special thanks to kent jones; mark mcelhattan; joan miller, wesleyan cinema archives; pat doyen, george eastman house; may haduong, academy film archive; kokkalis program on southeastern and east - central europe, harvard; mary keene, museum of modern art; brian block, criterion pictures usa; sara rubin, the boston jewish film festival .
directed by elia kazan. with kirk douglas, faye dunaway, deborah kerr us 1969, 35mm, color, 127 min. print courtesy of the ucla film and television archive
directed by elia kazan. with marlon brando, jean peters, anthony quinn us 1952, 35mm, b / w, 113 min. print from the harvard film archive collection
directed by elia kazan. with gregory peck, dorothy mcguire, john garfield us 1948, 35mm, b / w, 118 min. print courtesy of the academy film archive
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depp never gave any interviews to promote the film. instead, he decided to dress up in character as jack sparrow last year to surprise pirates of the caribbean riders at disneyland .
new europe film sales czerniakowska 73 / 79, 00 - 718, warsaw poland tel: + 48 600 173 205 e - mail: jan @ urltoken www: www. urltoken
sharjah art foundation works with artists and audiences on programmes that reflect the foundation' s core projects. these include the film programme' s screenings and film club activities, the artist and professionals programme' s residencies, production grants and internships as well as the opportunity for everyone to become involved through saf community programmes such as vantage point sharjah and the urban garden .
despite its god awful poster, visitors is surprisingly decent. whilst it doesn' t touch franklin + de roche' s earlier efforts, there' s enough solid moments and creative editing choices that cover up the many budget limitations that really undercut some of its thematic ambitions. the major flaws come from richard franklin' s choice of actors, who are all incredibly miscast (radha mitchell is a good actress, but doesn' t quite nail this role) and the digital cinematography looks cheap. i feel like if this same script was made by franklin in the 80' s, shot on nice grainy film stock and old school ozploitation practical effects, it would be regarded as a classic of that era .
b ut yes he is. and he was great fun to work with, and full of great stories about old hollywood, and i really enjoyed the whole film to be honest .
directed by elia kazan. with stathis giallelis, linda marsh, paul mann us / greece 1963, 35mm, b / w, 168 min. print from the harvard film archive collection
directed by elia kazan. with karl malden, carroll baker, eli wallach us 1956, 35mm, b / w, 114 min. print courtesy of the ucla film and television archive
the italian film festival in santa fe returns april 20 - 22, 2018. join us for contemporary film, food & fun, italian - style! cinefesta italia is a 501 (c) (3) non - profit organization that raises awareness of italian culture. a portion of our proceeds help our charitable partners support santa fe’s neediest children in today’s challenging world .
was that the selling point, the way to get the film financed? because it looks like it' s a period comedy, but then the nudity' s grafted on the top .
. well, she could not have been more chuffed, and went on the record to say that this film was going to undo the damage that spoto' s book had done to her father' s image. so in its way the film did have the blessing of the family. indeed, one of the things i' ve been looking at by way of preparation for
the director general of the jordan tourism board, abdul razzaq arabiyat, explained :
the strategy was developed in consultation with film and tourism industry representatives and will capitalize on the huge potential of jordan to become an international film destination .
he added that blockbuster films help promote destinations and there are many examples of countries that witnessed a huge increase in tourists as a result. in new zealand, tourism soared to more than $ 3 billion in 2014 following filming the hobbit franchise there, and florida reported an almost 70% increase in tourism thanks to the film dolphin tale .
workshop: echo film school 2 - week filmmaking boot camp (16 +) is july 23rd - august 3rd. learn essential filmmaking techniques in this 2 - week intensive summer camp. write, pitch, produce, shoot and edit a short film in 10 days. our experienced professionals will guide you through the process as you work with a small crew to make your own mini - masterpiece. contact barry atkins at echo film school and studio for more information. call 832 - 732 - 1154, barry @ urltoken, or visit https: / / www. urltoken / workshopbookings
is noteworthy for proving once again that mitchell has what it takes to be a legitimate star, and since this film’s release she has indeed found her way into more top - shelf material. but the film wastes what could have been a truly frightening premise on hackneyed plot devices. in the end it commits the most unforgivable sin in all of horror cinema: it just isn’t that scary .
directed by elia kazan. with dana andrews, jane wyatt, lee j. cobb us 1947, 35mm, b / w, 88 min. print courtesy of the ucla film and television archive
richard franklin' s final film is also his fourth collaboration with screenwriter everett de roche, but visitors is a far cry from the brilliance of patrick, roadgames and link. it' s certainly got that de roche touch of originality about it, but unusually none of his blows land on this occasion. it' s a psychological horror about yachtswoman george, who' s on the final leg of her solo circumnavigation of the world, but when we first meet her, she' s stuck south of africa due to calm seas. and that' s when she starts to crack up. it' s a nice touch having george communicate with her pet cat taco, and having him talking back to her, but the screenplay isn' t brave enough to make this all…
2007 - zombie mariachi (actor, producer, additional camera) short film directed by filipino guerrilla filmmaker khavn de la cruz during his 2007 biff appearance. i play
great white zombie hunter
!
the santa fe independent film festival invests in the advancement of independent, innovative, and cutting edge cinema bringing 5 days of excellence in filmmaking to the inclusive and diverse community of santa fe, new mexico .
and blue poles, the jackson pollock painting, as instances of the government squandering public funds. and the theatres were picketed, and it was actually fairly successful in terms of damaging the picture. i thought it would be great publicity, but the one thing people don' t want to hear is that tax dollars have been wasted. the minute they hear that, they' re less inclined to throw good money after bad, if you see what i mean. so the film was not successful, so that' s why i made my next film… i needed to make a film that would make money. ”
. i should have dropped out of university and done it permanently, in retrospect, but at the time i was in film school, so i just went out and visited when i didn' t have classes .
i usually tell people to avoid imdb when recommending a movie that has a twist ending that might be ruined by looking at the cast or the synopsis. but with this movie, i' d say avoid imdb because almost everything that is said about the movie is wrong. first the synopsis states that visitors is about
the story of georgia perry, the first woman to sail around the world solo .
. not sure who wrote that, but it' s clearly stated while she' s pulling out of the harbor that if she completes the journey that she' d be one in a handful of women to accomplish this feat. not only…
well, she didn' t think she' d been exploited, she just liked the front page of the sunday papers and the like! (laughs) but it wasn' t that that sparked off the festival of light, it was the fact that the film had government funding, and was based on a' pornographic poem'. and they cited eskimo nell and blue poles, the jackson pollock painting, as instances of the government squandering public funds. and the theatres were picketed, and it was actually fairly successful in terms of damaging the picture. i thought it would be great publicity, but the one thing people don' t want to hear is that tax dollars have been wasted. the minute they hear that, they' re less inclined to throw good money after bad, if you see what i mean. so the film was not successful, so that' s why i made my next film… i needed to make a film that would make money. so the next film was a deliberate attempt to make a sort of send up of the scandanavian sex documentaries that were able to be shown here .
workshop: houston mediasource, houston’s public access television channel, provides training and equipment for aspiring film, tv, and radio producers. houston’s creatives are welcomed to learn how their artistic visions can be transformed into high - quality film or tv productions at free orientation sessions held every monday at 6 p. m. houston mediasource is located at 410 roberts, 77003 in eado. attendees will learn how they can produce their own tv shows, radio programs, and film projects at houston mediasource, using top of the line gear, studios, and editing facilities. learn more at urltoken or rsvp to roger e palomino at info @ urltoken or call (713) 524 - 7700 x112
a fifth film, pirates of the caribbean: dead men tell no tales, was announced in 2013. plagued by production problems, the movie will make its long awaited debut in u. s. theaters on may 26 .
slovenský filmový ústav / slovak film institute grösslingová 32, 811 09, bratislava slovakia tel: + 421 257 101 503 fax: + 421 252 963 461 e - mail: sfu @ urltoken www: www. urltoken, urltoken
filmed at the time of kazan’s notorious huac testimony, viva zapata! offers a dramatically searching yet ultimately unresolved return to the director' s roots in radical left - wing theater and politics. written in close collaboration with lifelong mexicophile john steinbeck, who shared kazan' s fascination with zapata' s vision and failure, the film uses the idealistic revolutionary to offer an unflinching critique of the limits and corrosive potential of power. featuring one of brando' s underappreciated bravura performances, viva zapata! is today considered one of the most evocative screen depictions of the mexican revolution, despite the intense efforts by the mexican film industry to suppress and censor the film during its early production stages .
well, thank you! i storyboarded the whole film myself, my own drawings. they were fairly rudimentary, but it was a very studied piece of directing. i was doing a thriller, i knew how hitchcock worked, and i had a shoebox with dollhouse furniture. i had some concerns about filming an entire film in a small room, and i peered at this for months, and came up with lots of different camera angles. so thank you .
, which was trying to reinvent the genre. and i' m not saying that' s exactly what i' m doing, i think this particular film probably owes as much to polanski as it does to hitchcock, somewhere between
it was, and it was that that allowed me and tony ginnane to make patrick, which was my next film. even though i had done it under a pseudonym, it was perceived that i could make films that would make money .
you call it a sex comedy, i didn' t. as i saw it, it was in the same vein as something like, oh god i' m trying to think of it now, the jon voight - dustin hoffman film -
had already covered the making of a fictitious softcore version (as well as a gay western, kung fu and sickly family version !) of the famous bawdy 19th century poem by a unscrupulous smut film producer. franklin’s version, co - written with alan (
i remember seeing that film when i was living in the middle east, early eighties, i was only 12 or 13 at the time. i saw patrick and road games, both on videotape. and if it made it to the middle east - !
when we screened patrick at the afi awards, i remember being rather devastated at the amount of audience laughter, and then being amazed - nominated for best picture! what i had done inadvertently was what is now post - modernism, or a self - referential film. the film had fun with the genre, and that was mostly me having fun on the set. i didn' t really realise that it would transfer to screen quite so well. i thought there was a camp element to the matron and all of that…
2010 - machete maidens unleashed! (associate producer, additional footage, original concept) feature length doco written and directed by mark hartley, based on the original
the search for weng weng
concept. premiered at melbourne international film festival 24 / 07 / 10
fails to establish any kind of consistency of mood or tone. the film shifts radically in several instances, changing from a horror story to a family drama, from adventure (look out! there’re pirates about !) to thriller, eventually settling on an ending that seems lifted out of a bad romantic comedy. the whole thing smacks of drastic rewrites, and i wouldn’t be the least bit surprised to find that the film had been re - cut to satisfy a more mainstream audience. not only this, but outside of a few excellent cg - assisted zoom outs to the stratosphere, franklin does a meager job of conveying the truly desperate nature of georgia’s isolation, and for the majority of the film it seems obvious that her boat is floating in a water tank on a studio backlot .
in the ideal form of transmedia storytelling, each medium does what it does best - so that a story might be introduced in a film, expanded through television, novels, and comics, and its world might be explored and experienced through game play. each franchise entry needs to be self - contained enough to enable autonomous consumption. that is, you don’t need to have seen the film to enjoy the game and vice - versa. as pokemon does so well, any given product is a point of entry into the franchise as a whole .
) hopgood, sticks closer to the source material and transposes the action to a more culturally iconic stomping ground: the ballarat goldfields, the eureka stockade, the snow - capped blue mountains. the ambitious franklin’s second unit even filmed the klondike scenes - where dick supposedly loses his eye - outside montreal, and some incredible location shots such as the iceflows from the canadian far north helped win the film an afi award for best photography. come to think of it, it’s hard to remember when an r - rated film looked so good! i told franklin that
bloody hell. i mean it would have been a real shame to market it as a horror film, because the stuff that' s great about road games is where stacey keach is just flipping out and becoming ultra, ultraparanoid, and seeing things that aren' t there .
2015 -
balut westerns: the filipino cowboy as king, and the rise and fall of the goon action film
in domingo lopez (ed .), wild wild east: the curry western and the noodle western (tyrannosaurus books, barcelona), pp. 186 - 237 ,
among kazan’s most controversial films, this dynamic and intensely cinematic adaptation of tennessee williams’ provocative study of sexual desire inflamed a passionate outcry from the production code administration and the legion of decency, who tried to derail the film by branding it with their lowest rating of “c, ” for “condemned. ” centered around carroll baker’s still shocking performance as the thumb - sucking yet sexually precocious baby doll and principally shot in rural mississippi, kazan’s mid - career masterpiece offers one of the finest renditions of the psychosexual territory of williams’ mysteriously deep, deep south. print courtesy of ucla film and television archive .
the last of kazan' s studio assignments, and perhaps his least known film, the anti - communist thriller man on a tightrope was offered by zanuck as a means for kazan to establish his credentials as a
rehabilitated
director immediately following his outspokenness with huac. based on the true story of a czech circus troupe' s daring attempt to escape to the west, the film is energized by kazan' s extensive location shooting in eastern europe, the casting of members from the real life troupe, and a steely performance by frederic march as the harried circus leader dreaming of a better life .
film festival ticket price a season pass for the entire jdiff costs €230. 00 and entitles you to attend all screenings and associated events. the season pass can be purchased online on the festival' s website (see below). alternatively, you can buy tickets for individual screenings, either directly at the cinema showing the movie or in advance on the festival' s web site. individual film ticket prices range from €9. 00 to €15. 00 for adults, pending cinema and time of performance. you must be 18 years of age or older to attend screenings and events at the festival .
was built by filmmakers for filmmakers with two, 18, 000 square foot stages, 24, 000 square feet of production offices, full on - site production services, and national lambdarail broadband. it also may be the first, leed - designed, industry - standard film studio facility in the world .
indeed, 70s sex queen abigail was a major selling point, gorgeous as ever and totally starkers (for the first and only time on film !) as esmeralda the leopard - clad wife of a traveling magician who catches pete nailing her to the floor of his “magic box”. after leaving the warm bosom of the
red lotus films offers its international clientele world class production services. whether you are producing a fashion shoot, commercial, or film in the southwestern united states, our team of experienced producers ensures that every detail of your project is carefully managed and attended to. from concept to final product, your success is our priority .
comes from the tired school of horror where every bit of psychological fright has to be the result of some personal demon manifesting itself visually. so when georgia starts seeing things, they are all characters we’ve met before, and for the purposes of having some dialogue, she usually chats with them for a little while. while i can see why the filmmakers took this route (they were probably freaking out that they had a feature film with only a forty - page script), it does very little to encourage a mood of dread or suspense, emotions so key to a story like this. i found myself wishing that the menace at the film’s center had been a bit more nebulous, or at the very least that the filmmakers had tried to string the mystery along a little longer. as the film stands, we get georgia working out her issues with specters of her dead parents, a recycled plot device that fails to work even in the more direct dramatic sense. this story isn’t
director  richard franklin, screenplay  everett de roche, producers  richard franklin & jennifer hadden, photography  ellery ryan, music  nerida tyson - chew, visual effects  photon, special effects supervisor  peter stubbs, production design  stewart burnside. production company  showtime australia / digitimij / film victoria / bayside pictures .
crew call: untitled houston feature film is seeking crew who can work as locals for early june - july 25th shoot. synopsis: a troubled teen finds an unexpected friend in an elderly neighbor. crew needed: grips, electrics, and production assistants in all departments. crew positions are paid. please send crew resume houstonfilm2018 @ urltoken
is enough of a teaser to keep you watching, although you keep anticipating that there should be more to the story than what you' re actually seeing. as the film approaches the end, you may find yourself waiting for that pay off to the 85 previous minutes of constant build up, but unfortunately, it comes as a disappointment to find the pay off had already come and went without you realizing it a few minutes before. like the heroine of the film, we see visions and horrifying images flash before our eyes, and while we are looking for something substantive to help us make sense of it all, the answers are too inconclusive to truly satisfy .
yes, by me it was. i mean, i was pleasantly surprised when i learned years later from bill margold that the film was considered a kind of classic in the states. but a classic of an era. i don' t know how easily you' d find a copy of it now, you know, in the states .
budd schulberg and kazan reunited to adapt schulberg' s own cautionary tale about the manipulative and treacherous potential of television and advertising as political tools. misunderstood at the time, and badly wounded at the box office, a face in the crowd seems uncannily prescient in its depiction of right - wing extremism cloaking itself as all - american cracker - barrel folksiness. kazan' s successful and highly unconventional casting of untested comedians and character actors—dunn in tree, mostel in panic —reached its apogee in his ingenious selection of stand - up comic andy griffith, in his first feature film, as lonesome rhodes, the hayseed populist transformed into an ultimately uncontrollable televisual sensation. print courtesy of ucla film and television archive .
home to many film industry greats, santa fe boasts a wealth of talented technicians, artists, production and location managers, and diverse support staff trained and tested in the most demanding markets in the world. this pool of experienced and motivated cast and crew is one more reason choosing santa fe as a location makes sense. click here for the :
while the technological infrastructure is ready, the economic prospects sweet, and the audience primed, the media industries haven’t done a very good job of collaborating to produce compelling transmedia experiences. even within the media conglomerates, units compete aggressively rather than collaborate. each industry sector has specialized talent, but the conglomerates lack a common language or vision to unify them. the current structure is hierarchical: film units set licensing limits on what can be done in games based on their properties. at the same time, film producers don’t know the game market very well or respect those genre elements which made something like tomb raider successful. we need a new model for co - creation - rather than adaptation - of content that crosses media .
gillies spits out the smutty one - liners with relish, like “have you ever stuck your dick in a milk pail and churned it till it’s butter? ” at the heart of the film, however, is the oddly touching parasitic relationship between voyeur dick and coxman pete, and their shared wet dream of finding the fictional lay eskimo nell. “it was an attempt to do something kind of poignant, ” agrees franklin. “in retrospect it probably should have been funnier than it was. but it wasn' t my intention to make a sex comedy. you just have to remember the era, and the fact that the r certificate had just come in, and we' d just seen the first full - frontal nude in a commercial film in
richard: i still don' t talk about it very often… there are people who find the idea a bit offensive, even though it was softcore pornography. i' d had such a drubbing from the festival of light about true story of eskimo nell, the fact that i then did a sex film, i didn' t particularly want it to tarnish my career .
no, that' s when you do an american accent. that' s when you have english spoken with a bit of an american accent, so it works both places. that' s kind of what is commonly been done here now for american television that is shot here. but no, this was a miscalculation, because they promptly revoiced the whole film in america .
georgia is played by the severely underrated actress radha mitchell, who does a fine job of carrying the film on her shoulders, but her nuanced performance can’t lift the material beyond its very basic flaws, the biggest of which is that it never manages to deliver on its set - up in any way that’s not entirely contrived and predictable. in all fairness, writer everett de roche (who wrote
the original film' s world premiere shut down the theme park. a red carpet was rolled out on main street so johnny depp, keira knightley and orlando bloom could sign autographs and take pictures with fans. other attendees really got into the spirit, like danny bonaduce, who had a sword fight, and daryl hannah, who dressed in costume as a pirate (eye patch included) .
yeah, well as i say, it was an attempt to do something kind of poignant… in retrospect it probably should have been funnier than it was. but it wasn' t my intention to make a sex comedy. you just have to remember the era, and the fact that the r certificate had just come in, and we' d just seen the first fullfrontal nude in a commercial film in
i don' t think i' ve ever seen her in another film. i remember her in stills from about that time. as i recall, she had another name, i think she worked under multiple names, as a lot of them did and do, so i can' t - she may be better known under another name. but that was the name she wanted to do that under .
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. ” true, for a film marketed as a sex comedy, there is a palpable absence of flesh. “correct. but you' ve got to remember, this was the beginning of the' r' certificate era; ‘very little flesh’ was a lot. we had a full - frontal of abigail, and a couple of other girls topless, but quite a lot of bad language, you see. that was new. ”
yeah, she had a good time, we got on well. i remember when i made psycho ii, a lot of people asked why we didn' t use her in the lead. the answer was, it was too obvious. and i screened, one of the first screenings i had of the film was for jamie and janet, who came and saw it. but i haven' t seen her a lot since .
let’s face it: we have entered an era of media convergence that makes the flow of content across multiple media channels almost inevitable. the move toward digital effects in film and the improved quality of video game graphics means that it is becoming much more realistic to lower production costs by sharing assets across media. everything about the structure of the modern entertainment industry was designed with this single idea in mind - the construction and enhancement of entertainment franchises .
well you know the original poem' eskimo nell' is pretty raunchy. we were just trying to hypothesise about what kind of a true story might have been the basis of such a poem. i originally wanted to make the film in the states, at the time of the revisionist western, but learned quite quickly that the poem is unknown in the states. it' s known only in the “english world”, meaning canada, australia and england .
for 21 years, the houston production guide, in association with the houston film commission, has been the industry directory used by producers, location managers, event planners, national trade conventions, ad agencies, and corporations when seeking houston area production equipment, crews, editors, cameras, studios, graphics, music, talent, or even caterers, restaurants, hotels, limos, aircraft, tents, etc. – the houston production guide is the source .
so far, the most successful transmedia franchises have emerged when a single creator or creative unit maintains control over the franchise. hollywood might well study the ways that lucasfilm has managed and cultivated its indiana jones and star wars franchises. when indiana jones went to television, for example, it exploited the medium’s potential for extended storytelling and character development: the young indiana jones chronicles showed us the character take shape against the backdrop of various historical events and exotic environments. when star wars moved into print, its novels expanded the timeline to show us events not contained in the film trilogies, or recast the stories around secondary characters, as did the tales of the cantina series, which fleshes out those curious - looking aliens in the background of the original movie. when star wars went to games, those games didn’t just enact film events; they showed us what life would be like for a jedi trainee or a bounty hunter .
with this thin veneer of medical' therapy', or whatever, these films were being shown in these little underground cinemas and so on around the place. they were all essentially softcore, and we decided to make a kind of send - up of one, really. not because we wanted to do a send - up, but because we didn' t think we wanted to do a genuine one. we just wanted to make a fun film about sex !
still, sometimes the very texture of the film, and the information that surrounds the characters on the screen, make it worth seeing. i didn' t believe in james caan' s cons, but i believed him, and at times like that it' s helpful to stop keeping score and live in the moment. between the caan and dillon characters there are atmosphere, desperation and romance, and, at the end, something approaching true pathos. enough .
crew call: independent short film ruby and ray is seeking crew for a july 20th - 22nd shoot in houston / huntsville areas. synopsis: in birmingham, alabama 1961 a teenage interracial couple strive to gain perspective in a relationship under the pressure of society, expectations and advantages. crew needed: director of photography, audio, hair and makeup, grip, production assistant. when applying for crew positions, please submit reel link. positions are unpaid. rubyandrayshortfilm @ urltoken
how to get to the festival screenings during the jdiff take place in six cinemas across dublin. five of the festival cinemas are located within walking distance of each other in the city centre: the savoy, cineworld, the screen, lighthouse cinema and the irish film institute. the sixth cinema, movies @ dundrum is located at the dundrum village centre and can be reached from the city centre with the green luas tram line which departs from st. stephen' s green.
visitors is a 2003 australian thriller film starring radha mitchell , susannah york and ray barrett , directed by richard franklin and produced by jennifer hadden . the film proved to be richard franklin 's final project . 
visitors is a 2003 australian thriller film starring radha mitchell, susannah york and ray barrett, directed by richard franklin and produced by jennifer hadden. the film proved to be richard franklin's final project.
visitors is a 2003 australian thriller film starring radha mitchell, susannah york and ray barrett, directed by richard franklin and produced by jennifer hadden. the film proved to be richard franklin's final project.