"Overall, Luhrmann`s Gatsby is every bit as vulgar, shoddily opportunistic, crazed for elusive prestige and uninterested in tomorrow`s ultimate verdict on what matters as its hero. That`s how come I like it—and why I think Scott Fitzgerald might have, too. To be alive enough to be travestied sure beats being embalmed."
With Ted Hope, Mark Cousins, Blue-Tongue and the Spierigs on one side, and the wonderful rise of Indigenous filmmaking on the other side, the bumper edition of Lumina from the Australian Film, Television and Radio School is pretty chewy. And fun. Let`s not forget the fun.
The two orgs are collaborating on `Think Big at the Festival - two documentary masterclasses`. Seats are limited, the speakers are international, and Sandy George is already carefully preparing her role as moderator.
The Heath Ledger Scholarship, run by LA-based Australians in Film, allows a winner and two runners up to go to Hollywood, pitch their skills and receive a variety of support. It is a good thing there are only three, or our television series would look decidedly middle-aged.
When The Houston Chronicle went gunning for Baz Luhrmann, they found themselves facing down Antony I Ginnane instead. The uncanny resemblance between Ginnane and Chuck Norris has often been a topic of conversation in the Screen Hub offices...
Larry Gross is extremely sensible on the role of the indy screenwriter and the spec script, while pushing hard for more flexible and integrated approaches to script and production. We reckon this is more important than the Soderbergh speech which has been getting heaps of mileage.
Baz may not have grown up with a Gatsbyesque high life, but he is an adult version of the kid in Cinema Paradiso. Not sure if this titbit came from the mighty Bazmark Machine or the initiative of the Camden Haven Courier.