My Brilliant Career (1979) - News Poster


Rediscovering Starstruck: Gillian Armstrong's 80s rock musical extravaganza

Armstrong’s second feature after My Brilliant Career was a neon lightning bolt with all the makings of a classic – and it’s finally been given a second life

A teenage girl dangles from a tightrope, strung between two office buildings in the Sydney Cbd. She wears a soft helmet and at first glance her chest is exposed – exaggerated fake breasts poking out from under a gaudy set of Diy wings. It’s pop art, by way of the Sydney Mardi Gras parade.

The girl is Jackie Mullens, a singer with “that little something extra”, wearing a costume guaranteed to attract the attention needed to crack the big time.

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See full article at The Guardian - Film News »

Katherine Dieckmann on Crafting an Unconventional Female Protagonist in “Strange Weather”

Strange Weather

Katherine Dieckmann’s films include “Motherhood,” “Diggers,” and “A Good Baby.” She began her career as a journalist, writing for such publications as Rolling Stone, The Village Voice, and Vogue before going on to direct music videos for bands including R.E.M., Aimee Mann, and Wilco. Dieckmann is an Associate Professor at Columbia University’s graduate School of the Arts Film Program, where she has taught screenwriting for over 15 years, and a Creative Advisor for the Sundance Institute.

Strange Weather” hits theaters and VOD July 28.

W&H: Describe the film for us in your own words.

Kd: “Strange Weather” is a lyrical, emotionally rich drama tracking a woman (Holly Hunter) as she travels the deep south with her best friend (Carrie Coon) in an effort to process her grief over the loss of her son. It’s a story about how to be fully alive while facing death, about forgiveness, grace, and redemption.

W&H: What drew you to this story?

Kd: I wanted to explore the complicated path of an unconventional female protagonist in a way that felt real to me in terms of the women I actually know in my life — women I rarely if ever get to see represented on the big screen. They have reached a certain age but remain unresolved, alive, contradictory, compelling, and not prone to stereotyping.

Strange Weather” deals with female friendship, learning to see outside the sphere of your own personal pain, and finding ways to overcome that pain in the process. These are all ideas that I was interested in exploring in a feature, and this story allowed me the context to dive into all of them.

I also wanted to set a story about one woman’s turbulence within the climactic instability we all live with now, so that the outer world reflects the inner world, and vice versa.

W&H: What do you want people to think about when they are leaving the theater?

Kd: Hopefully people who have experienced some seismic loss — which is probably almost everybody — will find something in the story and its execution that allows them to breathe a little bit more deeply and feel less isolated in their own lingering grief, and to reach out and connect with others.

The path to redemption is often a crooked and unexpected one. And even though my main character has a traditional love interest with whom she can reconcile, what ultimately delivers her to a better place is her own tenacity and willingness to become open to both her pain and her foibles, and the constancy of her best friend, who supplies what is truly the most important relationship explored in the film.

W&H: What was the biggest challenge in making the film?

Kd: The biggest challenge was having 21 not-terribly-long days to realize a movie with a road trip spanning several southern states and different weather conditions, not to mention to shoot a script that contained a number of extended, emotionally complicated scenes that put great demands on my actors — which, I have to add, they met beautifully, especially Holly Hunter, who carried every one of them.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Kd: My film got funded through the sheer stubbornness of my two female producers, Jana Edelbaum and Rachel Cohen (iDeal Partners), who were tireless in their search for financing and in their conviction that this was a film that needed to get made. Eventually they found a financier, Great Point Media, that appreciated the script for what it was and allowed me to make exactly the film I wanted to make, with zero interference, which is such a rarity in indie filmmaking these days that I can still barely believe it happened.

My executive producer Caroline Kaplan also provided steady and unconditional support.

And beyond essential was my lead actress and stalwart collaborator, Holly Hunter, who came aboard about a year before we found our backing, and fought hard for the project in that interval and beyond, whether that meant reaching out personally to potential supporting cast or simply keeping the film alive in her heart and mind and helping to will it into being.

Great Point then affirmed that Holly alone was a valuable enough element to warrant our small budget, which one would want to believe is a no-brainer, but sadly it isn’t. That was a major gift, as it allowed us to cast freely for the rest of the parts.

W&H: What’s the best and worst advice you’ve received?

Kd: The best advice I’ve received is to never give up: never abandon hope with a cherished project because only the person who wrote it and will direct it is going to care about it enough to keep it alive when the odds are looking dire, and at some point they inevitably do. Robert Altman said something like you have to love every film as though it were your own child — and you have to love even the ugly ones, meaning you can’t disown a misfire.

The worst advice I’ve ever received was to be encouraged to bend my vision and what I knew would be best for my film by miscasting to secure financing. I take full responsibility for those mistakes [because I let it happen.]

That is something I will never, ever do again — I’d rather just not make a movie at all if it comes down to that. But it’s hard to resist the temptation to get your film financed, always, even if in your heart you know you could compromise it by making dubious decisions.

Again to reference Altman, casting is everything, and if you make sure to cast intelligently — and I would add, have a solid script going in — you’d have to work really hard to screw up your film.

W&H: What advice do you have for other female directors?

Kd: Write the strongest script you can write — something you care about passionately and can wholly believe in — and then keep rewriting it. Good writing will rise to the surface at the end of the day, I truly believe that. Get to know other filmmakers, not just female ones, and forge bonds and support each other, especially to better face disappointments along the path.

I feel that many independent filmmakers I know whose work I love and admire are right there behind me, cheering me on, as I also do for them. When anyone smart and decent who has a way with material gets to make a film, it is a good thing for everybody.

But for women specifically, I think the best thing is to be fearless, stubborn, and kind — even if you’re faced with unkindness. Rise above it. Do and be better, because the world is less forgiving of women: that’s just a stone cold fact. Surround yourself with people who understand what you are up to completely independent of your gender, because if they’re the right people, that will be the last thing they’ll focus on.

W&H: Name your favorite woman-directed film and why.

Kd: “An Angel at My Table” by Jane Campion. It speaks so clearly and poetically to why I wanted to become a writer, and how one woman writer came into existence, with a specificity that somehow makes it feel entirely universal.

I also have to co-cite the long-lost film “High Tide” by Gillian Armstrong, whose work remains criminally underappreciated today, especially “My Brilliant Career” and “Mrs. Soffel.” Judy Davis gives one of the most searing and singular portraits of a vexing woman ever committed to the screen in “High Tide.” You can find it on YouTube, but I wish Criterion would dig that one up and properly restore it.

W&H: What are the filmmaking opportunities for women in your country? Have you seen recent improvements? What do you think needs to be done see some significant change?

Kd: I think the situation for female filmmakers in the U.S. is improving markedly now, although more in television than in features. There’s still a long way to go in terms of getting smart, complex female-driven stories on the screen, and for women to be able to feel free to take on any subject matter they want, which isn’t necessarily woman-centric or “personal.”

[And progress still needs to be made for women to] get taken seriously and be given the opportunities that men with way less experience and chops get handed everyday.

We are far from parity. But compared to when I made my first feature, “A Good Baby,” nearly 20 years ago, it’s night and day.

Katherine Dieckmann on Crafting an Unconventional Female Protagonist in “Strange Weather” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Sundance 2017 Women Directors: Meet Cate Shortland — “Berlin Syndrome”

Berlin Syndrome

Cate Shortland’s films have screened at film festivals around the world, including Cannes Film Festival and Sydney Film Festival. Her previous credits include “Somersault” and “Lore.”

Berlin Syndrome” will premiere at the 2017 Sundance Film Festival on January 20.

W&H: Describe the film for us in your own words.

Cs: A young Australian photographer, Clare, meets Andi at the lights in Berlin. Lust and intimacy are replaced by entrapment and obsession.

W&H: What drew you to this story?

Cs: The mix of sex and both personal and state politics was potently interwoven through the novel the film is based on by [Australian author] Melanie Joosten. Clare is imprisoned by Andi. His parents were imprisoned by the state in the German Democratic Republic (Gdr). He is trying to create a bizarre utopia in his apartment in Berlin, with Clare as his created “girlfriend.”

I am fascinated by how she transcends her situation. How history is always present. How both Andi and Clare become ruled by the psychology of entrapment — he as the capturer and she as his prisoner. Clare cannot rely on anything or anyone. In the end, I fell in love with her resilience. She is a survivor.

W&H: What do you want people to think about when they are leaving the theater?

Cs: What are we entrapped by? Why, as young women, are we still fed and half-believe the fairy tale of the strong male figure and the erotic fixation with the passive female? What is the nature of obsession and control within our fictions and realities?

W&H: What was the biggest challenge in making the film?

Cs: Staying true to the relationship between Clare and Andi. Not letting fear guide me while getting inside an obsessive, terrifying relationship where mutual need is still very strong. I had to stay true to this, even though at times I was so angry, so fearful.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Cs: In Australia, we are fortunate to be funded by government film agencies. Polly Staniford, our producer, also sought private investment within Australia, and we were supported by the wonderful people at Momento Films International.

W&H: What does it mean to have your film play at Sundance?

Cs: Sundance feels like a great fit for “Berlin Syndrome,” as it has always has a really interesting mix of documentaries, dramas, and genre films.

W&H: What’s the best and worse advice you’ve received?

Cs: The best is to keep making making work. Don’t stop. This is hard sometimes with kids and life. This is strong advice given to me by Jane Campion.

I forget the worst, as I didn’t take it.

W&H: What advice do you have for other female directors?

Cs: Make work. Keep making work.

W&H: Name your favorite woman-directed film and why.

Cs: When I was 16, I saw “My Brilliant Career” by Gillian Armstrong. It had a profound effect on me personally, as it is the story of a young woman fighting to find her identity. The story landscape of the Brindabella mountain range was my landscape; when I was growing up, I could see it, snow-capped, out of my kitchen window. I still love the film.

I also love Lynne Ramsay’s “Morvern Callar” and many more, like Jennifer Peedom’s “Sherpa” and Andrea Arnold’s “Red Road.”

W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?

Cs: In the last 40 years, we have had a real push from women to be involved in the film industry in Australia. This becomes harder and harder as opportunities for training and female-centered funds drop away.

I believe women haven’t “made it,” and this is obvious when we look at the percentage of films and TV series made by women. We need to push for more specialized female-centered film funding, training, and support.

Sundance 2017 Women Directors: Meet Cate Shortland — “Berlin Syndrome” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

David Stratton on his "very personal" 'Stories of Australian Cinema'

David Stratton's Stories of Australian Cinema is set to premiere on the ABC this year over three episodes. Before that broadcast (the date of which is still under wraps) a theatrical cut will be distributed by Transmission.

Produced for the ABC by Stranger than Fiction's Jo-Anne McGowan (Art+Soul) with support from Screen Australia, Screen Nsw, Adelaide Film Festival and Transmission, Stratton describes the project as "very personal".

"It.s not a history of Australian film at all. It.s called David Stratton.s Stories of Australian Cinema, and it's really just that. Without wanting to sound too pretentious about it, it.s sort of my journey coming to Australia from England, running the Sydney Film Festival for eighteen years, fighting censorship, [and] being at the Sydney Film Festival just as the Australian New Wave was happening with the Peter Weirs and the Gillian Armstrongs and the Fred Schepisis.
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Twelve regionally-based female filmmakers selected for The Athena Project

Writer/director Jub Clerc, from Quedjinup, Wa is one of 12 women selected to participate in Screenwork's Athena Project.

Following a nation-wide callout, Screenworks has selected 12 female filmmakers from across regional Australia to participate in its upcoming career enhancement program, The Athena Project.

Among those selected are BAFTA Award winning director Hattie Dalton (Byron Bay Nsw), award-winning animated film writer/director Justine Wallace (Barkers Creek Vic), Nyul Nyul/Yawuru woman and writer/director Jub Clerc (Quedjinup Wa) and co-winner of the Northern Territory Book of the Year 2016, Clare Atkins (Darwin Nt).

The twelve selected participants will spend two and a half days in an intensive residential program in Byron Bay, where they will receive advice from some of the most notable woman in the Australian screen industry, including Gillian Armstrong (Women He.s Undressed, My Brilliant Career), Felicity Packard (Janet King), Debbie Lee (Barracuda) and Cate McQuillen (dirtgirlworld).

As part of the residential program,
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Applications now open for The Athena Project

Screenworks has unveiled The Athena Project, its initiative to support female regional filmmakers.

The project, Screenworks. largest to date, is funded by Screen Australia through the Genders Matters: Brilliant Careers program. It aims to help female writers and directors from regional areas to leverage initial success in the screen industry, build professional networks and create viable career pathways.

The initative will include two events to be held in Byron Bay: a public careers forum and a two-day career development residential workshop. Four teams/individuals from regional Nsw and one from each of the other states and territories will be selected to take part.

Some of Australia.s most outstanding female filmmakers are set to be involved, including the multi-award winning writer-director Gillian Armstrong (Women He.s Undressed, My Brilliant Career), Matchbox Pictures. director of scripted development Debbie Lee (The Family Law, Glitch), multi-award winning creator and director Cate McQuillen
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‘Women He’s Undressed’ Review: Oscar-Winning Costumer Orry-Kelly Lives Again in Rousing Doc

‘Women He’s Undressed’ Review: Oscar-Winning Costumer Orry-Kelly Lives Again in Rousing Doc
“Women He’s Undressed” is a lively and revealing documentary — but not in the way the salacious title might suggest. A lot more than clothing is probed, fingered and illuminated in this stylish look at the brilliant career of three-time Oscar-winning costume designer Orry George Kelly, known professionally as Orry-Kelly. Director Gillian Armstrong (“My Brilliant Career,” “Charlotte Grey”) smartly trains her focus on several key areas of intriguing Hollywood history: the restrictive Hayes Code, closeted homosexuality among Hollywood icons, and the overbearing studio system. Of course, it also spotlights the sartorial artistry of Orry-Kelly, through the knowing commentary of renowned.
See full article at The Wrap »

"I'm not your average dolly bird": Judy Davis on her career, quotas and writing

Judy Davis on the Sff red carpet with the winners of the Lexus Short Film Fellowship.

As the Lexus Short Film Fellowship jury chair, Judy Davis last week selected four young filmmakers - Alex Ryan, Anya Beyersdorf, Alex Murawski and Brooke Goldfinch - to receive $50,000 each to make a short that will premiere at next year's Sydney Film Festival.

The gender parity of the winners was a coincidence, Davis told If.

"On this jury, there was no quota, and I chose the films I liked. But as the afternoon wore on, it became clear it was looking like two and two. And one of the other members of the jury said, 'that's really good'."

Asked for her opinion on quotas, Davis said she wonders whether they might "breed resentment and mistrust", and argued instead for a shift in mindset: "that gradual but inevitable realisation that the female voice can be a profound voice,
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Brooke Goldfinch talks shadowing Ridley Scott on the set of Alien: Covenant

Brooke Goldfinch.

Brooke Goldfinch is one of 21 emerging filmmakers shortlisted for the Lexus Short Film Fellowship, set to be announced at next month's Sydney Film Festival.

The four winners will receive $50,000 each to make a short, which will then premiere at the 2017 festival.

Goldfinch studied filmmaking at Nyu, and her short, Red Rover, won her the award for best direction in an Australian short at Flickerfest earlier this year.

In what is shaping up as a banner twelve months, she also beat out a record number of applicants to become one of two director's attachments on the set of Alien: Covenant, Ridley Scott's sequel currently shooting in Sydney.

"Last week we were doing night shoots and it was so cold", Goldfinch told If..

"My wardrobe is becoming better at dealing with the cold weather. I don't know why four and a half years in New York didn't teach me
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Wow Film Festival to hit Sydney with Gillian Armstrong as patron

Director, Gillian Armstong, named patron of the Wow Film Festival.


The World of Women.s Cinema (Wow) Film Festival will take place in Sydney this year with director Gillian Armstrong as patron.

An initiative of Women in Film & Television (Wift) Nsw, the festival will be held throughout various venues in Sydney from April 28 to May 1, as well as touring to a number of venues and locations throughout Australia between May 2016 and May 2017.

Gillian Armstrong, acclaimed Australian director, has been announced as Wow Film Festival Patron for 2016.

Her seminal 1979 drama, My Brilliant Career, has been selected to screen at the Wow Film Festival opening night gala..

The festival will also hold a special 25th anniversary screening of Ridley Scott.s iconic 1991 film Thelma and Louise.

Wow Film Festival is now in its 21st year, with its ultimate goal to celebrate and recognise films by and about women, by Australian and international creative teams.
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Wow Film Fest to screen My Brilliant Career, Thelma and Louise

Sam Neill and Judy Davis in Gillian Armstrong's 1979 film My Brilliant Career.

The 21st World of Women.s Cinema (Wow) Film Festival will take place in Sydney from April 28 to May 1..

An initiative of Women in Film & Television (Wift) Nsw, the festival will be held in various venues across the city, as well as touring to locations throughout Australia from May..

Gillian Armstrong has been announced as Wow Ff's patron for 2016.

Armstrong's 1979 film My Brilliant Career will screen at the festival's opening night gala..

Also in the line-up is a special 25th anniversary screening of Ridley Scott.s 1991 film Thelma and Louise..

The program features eight curated programmes of short films as well as four international feature premieres, as well as Pow-Wow, a series of panel discussions.

Festival Director Sophie Mathisen also unveiled a new development initiative..

On the Table will offer a female screenwriter the chance to have
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Joachim Trier’s “Louder Than Bombs” To Open 19th Sonoma Int’l Film Fest

Joachim Trier’s “Louder Than Bombs” To Open 19th Sonoma Int’l Film Fest
Joachim Trier’s “Louder Than Bombs,” which played at Cannes in May, will open the 19th Sonoma International Film Festival, taking place March 30-April 3 in the wine country destination in Northern California. The film, the Norwegian helmer’s first English-language feature, about the residual effect of a war photographer’s death on her family, stars Amy Ryan, Jesse Eisenberg, Gabriel Byrne and Isabelle Huppert.

The fest closes with “The Sense of Wonder,” a romantic comedy directed by French director Éric Besnard that originally surfaced at Toronto.

The festival, which bills itself as “the best in film, food, wine and spirits” is presenting more than 100 films shown at six venues within walking distance of Sonoma’s central plaza, and will host nearly 200 filmmakers from around the world. Competitive categories include American indies, documentary features and narrative and documentary shorts. There will also be offerings that fall under such rubrics as food & wine,
See full article at Variety - Film News »

Aacta awards 2015: Mad Max and The Dressmaker win big – as it happened

Who won what at Australia’s glitziest film and TV awards do? And why is Cate Blanchett so snotty? Seriously, catch up on all the gossip and gongs here

10.05am GMT

And that’s that. No tie for best film like last year, make that January. The Dressmaker takes the audience choice gong but Mad Max: Fury Road wins the all important academy vote. Sounds about right – at least Guardian chief film critic Peter Bradshaw would approve. Compare and contrast his reviews of the two films.

Related: Mad Max: Fury Road review – Tom Hardy is a macho Mr Bean in brilliantly pimped reboot

Related: The Dressmaker review – revenge drama falls apart at the seams

There would/should have been (justifiably) riots on the street if #MadMaxFuryRoad didn't win Best Film at #AACTAs

9.45am GMT

The big one ... how did we get here already?

So will it be:

#MadMaxFuryRoad wins Best Film presented by @Presto!
See full article at The Guardian - TV News »

Sydney Film Festival unveils new $200,000 short film fellowship

The Sydney Film Festival has launched a new $200,000 cash fellowship to kickstart the careers of four Australian filmmakers.

The Lexus Australia Short Film Fellowship will be the largest cash fellowship for short film in Australia.

Up to four annual Fellowship winners will receive $50,000 each to produce their next short film in 2016 and 2017, to premiere at the Sydney Film Festival in 2017 and 2018.

A shortlist of the best Australian entrants to the Lexus Short Films series will be curated by the Producers at The Weinstein Company, and sent to the Lexus Australia Short Film Fellowship jury..

This jury, headed by Sydney Film Festival.s Festival Director Nashen Moodley, will then select the four winners of the Fellowships grants.

Moodley said this substantial new investment would open up vital funding to local filmmakers to enable them to tell their stories.

Australian filmmaker Gillian Armstrong, whose films include Oscar and Lucinda, Charlotte Gray, and Little Women,
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Toronto Film Review: ‘Women He’s Undressed’

Toronto Film Review: ‘Women He’s Undressed’
Nothing against production designer Ross Wallace, but if a documentary film needs a production designer at all, it’s a sure sign something’s afoot. Such is the case with “Women He’s Undressed,” the first film in five years from Gillian Armstrong, whose 1979 feature debut, “My Brilliant Career” was a defining moment in the Australian New Wave. An illuminating and involving portrait of the prolific, Down Under-born and Oscar-winning costume designer Orry-Kelly, whose crowning achievement was that gravity-defying gown Marilyn Monroe fills out admirably in Billy Wilder’s “Some Like it Hot,” the film overstays its welcome by punctuating his story with ill-advised dramatic fantasy sequences that are meant to illustrate the anguish of a gay man in mid-century America, but come across as heavy-handed and mean-spirited. Armchair Hollywood historians and fans of the artist’s films will be drawn to the subject, but in the end it feels
See full article at Variety - Film News »

The Last Days of Chez Nous rewatched – emotions laid bare with a steady, sympathetic hand

Gillian Armstrong gives strength and honesty to a study of the dying stages of a marriage, with a clear-eyed focus on the flow of everyday lives

A little over a decade after breaking through with My Brilliant Career, becoming the first woman to direct an Australian feature film for almost 50 years, Gillian Armstrong returned to a headstrong book-writing female protagonist in 1991’s The Last Days of Chez Nous.

One of three screenplays written by Geelong-born Helen Garner, an influential voice on the Australian literary scene, the film is a layered but unpretentious examination of the last embers of a dying marriage – and a rumination on how some decisions yield emotional consequences that entangle our day-to-day lives.

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See full article at The Guardian - Film News »

Gillian Armstrong on her Orry-Kelly documentary: friendship, fame and homophobia

My Brilliant Career director’s documentary on the forgotten Oscar-winning costume designer looks back at his triumphs, heartbreaks and famous boyfriend

For Gillian Armstrong, making documentaries is like writing detective stories. “You try to find out about this person and then get him right.” Yet even for the accomplished director, following the trail of costume designer Orry-Kelly was a challenge.

He was once the most famous Australian in Hollywood. A three-time Oscar winner, he partied with Cole Porter, created costumes for Marilyn Monroe, gossiped with Bette Davis, and shared pillow talk with one of Hollywood’s leading men. Yet when Armstrong, a 30-year-film-industry veteran, first heard his name, she had no idea who he was. “I thought this is criminal,” she says, “so I [decided] Orry deserved a film.”

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See full article at The Guardian - Film News »

Stan looks for more original content

Subscription video-on-demand service Stan expects to announce at least two more development deals with Australian producers in the next couple of months.

The platform co-owned by Nine Entertainment Co (NEC) and Fairfax Media sees Australian original content as a key point of differentiation with competitors Presto Movies/Presto TV and with Netflix, which is due to launch in Australia/New Zealand on March 28.

The number of Aussie projects it will commission will depend partly on its ability to raise finance from other sources including international broadcasters or co-producers.

.We have a fixed amount to spend so the key will be to find overseas partners for co-funding at an early stage,. Nick Forward, Stan.s director of content and product, tells If.

.That may mean more reliance on international cast or co-commissions with subscription VoD and premium cable players who make a lot of this sort of content..

Last month Stan
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Aussie students prefer watching local fare online

Tertiary students in Australia would rather watch online. documentaries such as John Pilger.s Utopia and Gilliam Armstrong.s Love, Lust & Lies and Aussie features than Hollywood blockbusters. That.s apparent from a list of the most popular videos streamed in 2014 on Kanopy, an online platform for universities, colleges and their students.

Excluding instructional videos, 20 of the 30 most watched titles in Australia last year were local productions. Silver Linings Playbook is the only recent Hollywood film to figure in the top 30.

.Students have access to hundreds of Us blockbusters yet they are choosing to watch videos like Utopia, Freedom Writers or Samson & Delilah more regularly than the mainstream Us blockbusters,. Kanopy CEO Olivia Humphrey tells If.

.Crossing the Line, Samson & Delilah, Ten Canoes, Muriel.s Wedding, Looking for Alibrandi, Head On, Lantana and My Brilliant Career all outperform even The Hunger Games.

.It's surprising because student viewing behaviour on Kanopy
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Icons Of Fright Interview With The Mule/Saw/Insidious: Chapter III’s Leigh Whannell!!

Since making one hell of a splash writing (and acting in) 2004’s epic franchise starter, Saw, Leigh Whannell hasn’t really stopped for a second. Being involved with the Saw series, along with collaborations with Saw director James Wan, Leigh wrote films like Death Sentence, Dead Silence, Insidious and Insidious: Chapter Two, as well as acting in a decent amount of films outside of that collaborative team. While just finishing up writing the upcoming horror/comedy Cooties, making his directorial debut helming the third film in the Insidious franchise and a million of other projects, Whannell co-wrote and co-stars in The Mule (hitting theaters/VOD/iTunes on November 21st via XLrator Media), a crime thriller revolving Insidious star Angus Sampson (read our recent interview with Sampson here) getting entangled in some nasty situations, when he decided to smuggle drugs.

We had a chat with Whannell recently about his role in The Mule,
See full article at Icons of Fright »
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