Matthew
21-04-2003, 12:01 AM
Lumiere, March/April, 1972
FEGA - HOW TO RIG A TENT, AND OTHER THINGS!
When the producers of DISNEY ON PARADE can show film in a tent with the blessing of the N.S.W. Film Commissioner, it's time everyone in this industry started asking loud, pointed questions.
Why, for instance, can the Williamson Edgley group get permission to show films in a tent when many independent film producers cannot get licence to show films in a modern public hall?
I asked the Secretary to the Commission, Mr. Thomas, why this was so. He was most courteous and helpful in reply. The tent in question, he said, was issued with a "temporary structures permit" (No. 487) for entertainment. The tent met all the safety regulations, and the film was considered as "isolated clips" within a stage production. When I asked Mr. Thomas what the difference was between putting hundreds of people in a hall or tent, to watch a stage production or a film, from a safety point of view, he admitted there was none. So I asked why the special requirements for film?
His reply was fascinating. He said that the difference was in terms of the "public interest as the act was enforced in the State." Or, as he explained, where it could be proved that the creation of a new licence would produce undue competition, that application was rejected.
There were, he said, 2,000 public halls licensed for showing of films in New South Wales. Film producers should seek them out. That statement, which might appear reasonable, does not stand up under scrutiny of the Film Commission's record.
For instance, in 1968, National Mutual Life Assurance made application for a licence for an 800 seat cinema in the Oxford Square development. The application was rejected on the grounds of (a) not enough film, and (b) undue competition to existing cinemas.
Yet on July 17th, 1970, Metropolitan Tenures Pty. Ltd. made application for 5 (yes five) licences in the Trocadero complex with a total seating capacity of 3,400 and were successful! The Trocadero is right in the heart of the cinema belt.
Metropolitan Tenures Pty. Ltd., is a subsidiary of Hoyts.
In another instance, Mr. Albert Faizon, the maker of MORNING OF THE EARTH, asked the Warringah Shire Council to seek approval for a licence for the Forrestville Memorial Hall. It's brand bloody new! The council were prompt and had the application in by the end of January. To this date it has not even been gazetted for information and objection.
It is time the N.S.W. Film Commission and the Theatres and Public Halls Act (1908), came under independent scrutiny. And were revised.
Meanwhile down to Guild business
The first two F.E.G.A. workshops have been held with Tony Buckley and Nick Beauman presiding. Members of the weekend workshop were taken through extensive theory and discussion sessions and then given a sequence from SPYFORCE and a commercial to edit. The results were very exciting and will be presented to a general meeting. Our heartfelt thanks to Colorfilm and Atiab for duping 4,000 feet of work print free of charge and with great encouragement for the success of the weekend.
Film School where are you?
Tim Read
FEGA - HOW TO RIG A TENT, AND OTHER THINGS!
When the producers of DISNEY ON PARADE can show film in a tent with the blessing of the N.S.W. Film Commissioner, it's time everyone in this industry started asking loud, pointed questions.
Why, for instance, can the Williamson Edgley group get permission to show films in a tent when many independent film producers cannot get licence to show films in a modern public hall?
I asked the Secretary to the Commission, Mr. Thomas, why this was so. He was most courteous and helpful in reply. The tent in question, he said, was issued with a "temporary structures permit" (No. 487) for entertainment. The tent met all the safety regulations, and the film was considered as "isolated clips" within a stage production. When I asked Mr. Thomas what the difference was between putting hundreds of people in a hall or tent, to watch a stage production or a film, from a safety point of view, he admitted there was none. So I asked why the special requirements for film?
His reply was fascinating. He said that the difference was in terms of the "public interest as the act was enforced in the State." Or, as he explained, where it could be proved that the creation of a new licence would produce undue competition, that application was rejected.
There were, he said, 2,000 public halls licensed for showing of films in New South Wales. Film producers should seek them out. That statement, which might appear reasonable, does not stand up under scrutiny of the Film Commission's record.
For instance, in 1968, National Mutual Life Assurance made application for a licence for an 800 seat cinema in the Oxford Square development. The application was rejected on the grounds of (a) not enough film, and (b) undue competition to existing cinemas.
Yet on July 17th, 1970, Metropolitan Tenures Pty. Ltd. made application for 5 (yes five) licences in the Trocadero complex with a total seating capacity of 3,400 and were successful! The Trocadero is right in the heart of the cinema belt.
Metropolitan Tenures Pty. Ltd., is a subsidiary of Hoyts.
In another instance, Mr. Albert Faizon, the maker of MORNING OF THE EARTH, asked the Warringah Shire Council to seek approval for a licence for the Forrestville Memorial Hall. It's brand bloody new! The council were prompt and had the application in by the end of January. To this date it has not even been gazetted for information and objection.
It is time the N.S.W. Film Commission and the Theatres and Public Halls Act (1908), came under independent scrutiny. And were revised.
Meanwhile down to Guild business
The first two F.E.G.A. workshops have been held with Tony Buckley and Nick Beauman presiding. Members of the weekend workshop were taken through extensive theory and discussion sessions and then given a sequence from SPYFORCE and a commercial to edit. The results were very exciting and will be presented to a general meeting. Our heartfelt thanks to Colorfilm and Atiab for duping 4,000 feet of work print free of charge and with great encouragement for the success of the weekend.
Film School where are you?
Tim Read