The Society of Australian Cinema Pioneers

The Society of
AUSTRALIAN
CINEMA PIONEERS
Please address all correspondence to
BRUCE LEONARD
National Honorary Secretary/Treasurer
9 Collins Crescent, Lapstone 2773 (E-mail - brunard@optusnet.com.au)
BULLETIN - OCTOBER 2012
OUR 72nd
NATIONAL PRESIDENT
SUE MILLIkEN AO
S
ue's first job on a feature film was as a Production
Assistant on “SKIPPY AND THE INTRUDERS”, which
was produced by Joy Cavill and Lee Robinson in 1968.
In 1973 the Australian feature film industry was just getting
started, and after working at the ABC as a continuity girl, and
later freelancing as continuity and production secretary, she was
asked by Cinema Pioneer John Daniell to step in to take over as
Production Manager on the Disney feature film “RIDE A WILD
PONY”, which was being made in Australia.
Her next feature as Production Manager was “THE PICTURE
SHOW MAN” for producer Joan Long. She continued to
freelance in production while developing feature films with her
husband, Cinema Pioneer Tom Jeffrey, in their company Samson
Productions.
In 1975 they produced “WEEKEND OF SHADOWS” with Matt
Carroll at the South Australian Film Corporation, followed by
“THE ODD ANGRY SHOT” in 1976, which starred Graham
Kennedy, Bryan Brown and John Jarrett.
In 1980 Sue was offered the role of Australian representative of
the international Completion Guarantor Film Finances,
representing the company first on Richard Franklin's
“ROADGAMES”. Through Samson Productions, Sue continued
to represent Film Finances in Australia and New Zealand for the
next thirty years, retiring in 2010 to become a consultant to the
company. In that time Film Finances was responsible for the
delivery of over two billion dollars' worth of Australian
productions.
After working full time for Film Finances for five years, Sue
returned to producing, starting with “FIGHTING BACK” with
Tom Jeffrey, followed by Cinema Pioneer Bruce Beresford's
feature film “THE FRINGE DWELLERS”, which was Australia's
official entry in the Cannes Film Festival in 1986. In 1990 she
worked again with Bruce Beresford as Australian Producer on
the Australia/Canada co-production, “BLACK ROBE”.
This was followed in 1992 by “SIRENS” for director John
Duigan, and “DATING THE ENEMY”, co-produced with Phil
Gerlach and directed by Megan Simpson Huberman. She
worked again with Phil Gerlach when they later co-produced the
Imax Cinema documentary “SYDNEY STORY OF A CITY”. In
1996 she produced with Cinema Pioneer Greg Coote the feature
film “PARADISE ROAD”, which was directed by Bruce
Beresford. Recent film credits have included Executive Producer
on “SOLO”, and Producer of the half hour Indigenous drama,
“CROCODILE DREAMING”, directed by Darlene Johnson and
starring David Gulpilil.
Sue was a founding member of the Feature Film Division of the
Screen Producers Association (SPAA), serving as Council
Member, Vice President and President. She was made a Life
Member of SPAA in 1991. In 1993 she was awarded the
Australian Film Institute's Raymond Longford Award for her
contribution to the Australian Film Industry. Then in 2004, she
was invited to present the National Film & Sound Archive's
fourth Longford Lyell Lecture.
Sue was Chairman of the Australian Film Commission from
1992 to 1995, and served for five years on the Board of Screen
West and also for five years on the Film & Literature Board of
Review. During her time on the Board of Review some of the
more controversial films seeking to overturn their censorship
rating included “THE COOK THE THIEF HIS WIFE AND HER
LOVER”, “HENRY, PORTRAIT OF A SERIAL KILLER”, and
“SALO”.
In 2001 Sue was a recipient of the Centenary Medal, and in 2008
she was made an Officer of the Order of Australia (AO). She is
looking forward to her time as National President of the Cinema
Pioneers, which she considers a great honour.
OUR YEAR 2012
NATIONAL
“CINEMA PIONEER OF THE YEAR”
NATALIE MILLER OAM
N
atalie has been a Distributor and Exhibitor in
Melbourne for nearly 45 years - a Distributor as
Sharmill Films since 1967, and Exhibitor since 1984.
She started Sharmill Films in 1967 with the purchase of Luis
Bunuel's “Exterminating Angel”. She hired the Palais Theatre,
and was amazed to find people queuing round the block for
this black and white Mexican film. This purchase came as a
result of her being the publicist for the Melbourne Film
Festival (a job she held for 16years), and she realised that
there was a lot of top art-house films that came and went with
the Festival. Thus began a long career, which continues to this
day, of distributing three or four films a year for the art-house
market.
It was not always easy to get exhibition space, so in 1984,
when the opportunity arose to lease the Longford Cinema in
South Yarra, Natalie embraced it together with Michael Walsh
of then Brighton Bay (not Mike Walsh from Sydney’s
Cremorne Orpheum Picture Palace) and Andrew Pike of Ronin
Films. Michael and Andrew subsequently sold their interests
to Natalie.
The Longford had many successes including “Muriel's
Wedding”, “Priscilla, Queen of the Desert”, and exclusively
“Mona Lisa”, “ My Left Foot”, “Truly Madly Deeply”, to
name a few.
Then competition arose on the Longford's doorstep. First
Como with three screens, then Village Jam Factory with 16
screens. Running a single screen became impossible. Plans
were made to expand to three screens, but were found to be too
costly and not practical in the light of the competition, so the
doors were closed in 200I to the strains of “Cinema Paradiso”
as a final public screening. The cinema had also been used for
double-head screenings, so most Australian films of that era
had the director and their team at early morning test screenings
with the cinema’s projectionist Terry Brown. People still
lament the passing of the Longford, which is currently being
developed into an apartment block. In the 1980s Natalie also
took over the Capital Cinema in Melbourne city with Brighton
Bay Michael Walsh for a short stint, but made an exit very
quickly.
Fortunately in 1992 Natalie joined forces with Barry Peak of
Valhalla (at his invitation) to develop a cinema in Carlton in
Lygon Court with two screens initially. Thus began a
partnership that has lasted twenty years and still going strong.
The new Carlton cinema was named Cinema Nova after much
discussion, and gradually expanded to four screens, then five
screens, then eight screens.
At this point the Landlord decided he wanted the comfort of a
public company as part of the ownership of the lease. Thus
Robert Kirby was approached and he came in with Palace
Cinemas, his art-house partners of that time. Cinema Nova
then grew to 11 screens, one of these being the first digital-
only screen in Australia. A few years ago, four more screens were
added together with the Nova Bar, which also has a small viewing
room. So now Cinema Nova has 15 screens in all and a reputation
as one of the best art-house cinemas in Australia. Its management
is totally controlled by Natalie Miller and Barry Peak, and its
programming policy has remained strong for art-house product,
Australian product, exclusives, documentaries and many events.
Cinema Nova is now totally converted to digital and is looking
forward to all the benefits the new era will bring.
In 1999, The Nova expanded to Adelaide City, with a three cinema
complex in Rundle Street with Hoyts as an investment partner.
Then Palace opened a four screen complex opposite with their
Village partners. It soon became evident that neither site was
going to flourish, so they joined forces as Palace / Nova Cinemas,
and today are enjoying success having expanded to 11 screens.
Village sold out their share in Adelaide some years ago.
Sharmill Films continues to distribute and with a new challenge.
Four years ago, Barry Peak and Natalie captured a live performance
of the Metropolitan Opera for digital presentation screenings in
cinemas throughout Australia. So began a new aspect to the
business for Sharmill with distribution of the Met Opera, National
Theatre Live, the Bolshoi Ballet, and soon the Nedlands Dance
Company. There will also be many one-off alternate content
presentations, including Leonardo Live, Star Trek and the
forthcoming Barrymore.
Natalie has served on many Film Boards over the decades
including Film Victoria, ACMI and currently the Victorian College
of the Arts, AIDA and NACO. She remains very optimistic about
the future of our industry.
OUR 73rd
NATIONAL PRESIDENT ELECT
MIkE BAARD has been elected 73rd National
President Elect, and a full profile of Mike’s career in our
Industry will appear in the next issue.
STATE PRESIDENTS
N.S.W.
VIC.
QLD.
S.A.
W.A.
TAS.
WENDY PATERSON
32 Macarthur Ave., Pagewood, 2019
PETER WALLACE
1 / 78 Maribyknong Road, Moonie Ponds, 3039
TONY BURKE
10 Bateman Street, Geebung, 4034
MAX BECK
4 Fiveash Drive, Pasadena 5042
JOHN POLMEAR
6 Matthew Street, Falcon, 6210
YURIK CZYZ
56 Forest Road, West Hobart, 7000
NEW SOUTH WALES
CINEMA PIONEER OF THE YEAR
vICTORIA’S
CINEMA PIONEER OF THE YEAR
ANDREW PIkE OAM
MICHAEL DENSLEY
Andrew is a Film Distributor, Film Historian, Documentary Film Maker and
former Exhibitor. He was born in Adelaide in 1946. His university years were
spent at the Australian National university in Canberra, where he achieved a
B.A. (Hons) and M.A. in Australian History.
Growing up in Tasmania, Michael fell in love with the movies at a very early
age. At 15 he badgered the kindly old Manager/Projectionist at the local flea
pit into letting him help out in the projection room….for no pay. This unprofitable, but enjoyable arrangement lasted for 18 months, until he left school.
He researched & co-authored (with Ross Cooper) a major book documenting
Australia's film history, Australian Film 1900–1977, which was published by
Oxford University Press in 1980. He served for 3 years as Consultant to the
National Library's National Film Collection, on the acquisition of films for
schools and universities, and also worked for three years as a Research Fellow
in the Department of Pacific History at the Australian National University.
There he made an award-winning documentary, “ANGELS OF WAR”, about
the experiences of the people of Papua New Guinea in World War 2.
In order to make a living in the Cinema Industry, he moved to Melbourne.
There he secured a position at the Village Northland Twin Drive-in. This was
the start of a long and happy association with the Village group of companies.
In 1974, he formed Ronin Films with his former wife, Dr Merrilyn Fitzpatrick.
The company was involved in many innovative distribution and marketing
activities for which Andrew won the Australian Film Institute's Byron Kennedy
Award in 1986. Among the many Australian feature films which the company
has distributed are “STRICTLY BALLROOM”, “ SHINE” and “ROAD TO
NHILL”, all of which achieved outstanding national box-office figures.
As an exhibitor, Ronin ran the Academy Twin Cinema in Sydney for several
years during the 1990s, and was a partner in Natalie Miller’s Longford Cinema
for several years. He also managed the Electric Shadows Twin Cinema in
Canberra from 1979 to 2006.
Andrew was a Member of the Board of the Australian Film Commission
between 1989 – 1992, and in 1992, he was given a special award by the
Australian Film Critics' Circle for contributions to the film industry. Between
1999 and 2008, he was a Founding Member (and from 2004 to 2008 President) of the Friends of the National Film and Sound Archive, Inc., an
association dedicated to support the Archive’s work and to promote best
practice in audio-visual archival work. When the National Film and Sound
Archive was established as an independent authority on July 1, 2008, Andrew
was appointed to the NFSA Board, a position he still holds.
He worked at many Village Drive-In and hard-top sites around Melbourne,
and progressed from Assistant Projectionist to Projectionist, and eventually
to the level of Chief Projectionist. Michael met his wife, Pamela, while they
were both working in the cinemas.
Craving further challenges, he obtained a private pilot licence, then returned
to the books at the age of 30, to study electronic engineering. By this time,
the phenomenon of the multi cinema complex was on the horizon.
Dissatisfied with the cinema automation systems of the time, he set about
designing a more user friendly system to meet the perceived future need.
This had its inception as a project during his course.
Upon graduation he moved to the position of Cinema Engineer at Village
Roadshow Technology. There, in addition to his other duties, he continued
to develop the automation system he had started in college. The result was
EZYMATION, a system that has been installed at many cinemas, both in
Australia and overseas.
After 20 years at Village, he decided to combine aviation with his engineering expertise by moving into the world of Flight Simulation, where he
worked for the next 23 years. He has continued to be involved in the cinema
industry on a casual basis, both as a Projectionist and Engineer, and from
2003 to 2004 served as Victorian President of the Australian Cinema
Pioneers.
Michael retired this year, and continues to enjoy his family, movies, travel,
and on the odd occasion, a little flying.
In 2003, he was appointed by the French government to the rank of Chevalier
dans L’Ordre des Arts et Lettres for Ronin’s promotion of French Cinema in
Australia. Between 2002 and 2005, he was a Founding Member and Secretary
of the A.C.T. Film & Television Council, Inc.
2007 saw Andrew awarded a Medal in the Order of Australia (OAM) for
services to the film industry and to the community; an Honorary Doctorate
from the University of Canberra for services to the Film Industry and to the
Community; in addition to which he produced a feature-length documentary,
“ACROSS THE PLATEAU”, by Chinese director, Zhang Zeming which was
screened at many international film festivals including Rhode Island and Sao
Paolo.
Between 2008 and 2012, Andrew has been ...
* Writer-Director of feature-length documentary, “THE CHIFLEYS OF
BUSBY STREET”, which was about Australia’s visionary post-war Prime
Minister, Ben Chifley. It was released for screening in cinemas nationally;
* appointed a member of the ACT Government’s Cultural Council to advice
the Ministers for the Arts on arts policy;
* produced many in-exhibition videos for the touring exhibition of paintings
by Emily Kame Kngwarreye, screened in Japan and in Australia;
* Writer-Director of a feature-length documentary, “EMILY IN JAPAN”, about
the “blockbuster” exhibition of paintings by Emily Kame Kngwarreye that
toured Japan, which was broadcast by ABC TV.
* Consulting Producer on “INTO THE SHADOWS”, a feature-length
documentary about Australian cinema history, released in cinemas and
purchased by ABC TV, and
* Writer-Director of a feature-length documentary, “LADY MUNGO’S
MESSAGE” (working title) – which is currently in progress.
And since 2011, he has been giving a fortnightly talk on film classics on ABC
Radio in Canberra.
Andrew was presented with his Award by New South Wales President Wendy
Paterson at the NSW Branch Luncheon on May 10.
qUEENSLAND’S
CINEMA PIONEER OF THE YEAR
DAMIEN FARRELL
Damien’s interest in the Industry began from a very early age - he recalls being excited about catching a glimpse through an open projection room door at
the Victorian Cinema at Sorrento. By the time he was 13 years of age, he had wormed my way into the local cinema at Mitcham in suburban Melbourne,
where he used to tear tickets and clean up the rubbish after sessions. He doesn’t recall getting any pay for this work, but he used the cash in the soft drink
bottles (they had a deposit in those days) and he got to go to the movies for nothing. He eventually worked his way up into the Projection Room, which
was where his real interests lay, and thus started what was to be his life's work.
When his secondary schooling eventually ended, Damien was able to get a full time job as Assistant Projectionist at Greater Union's Forum Cinema in
Melbourne. At the same time, he started study at RMIT (the Royal Melbourne Institute of Technology) doing the Motion Picture Projection Course. By
1967 he had passed his Victorian Licence exams. He was promoted to Projectionist at the Chelsea Cinema when it went to 4 shows a day, and remained
in that position until mid-1967, at which time he was required to fulfil his obligation to do two years National Service in the Army.
During his time in the Army, Damien made enough of a nuisance of himself to be posted to the Area Theatre, Puckapunyal which, he recalls, was the
largest of the Army theatres, with a capacity of around 1500. He continued in this role until his discharge in 1969.
When he returned to Greater Union, he found that one of their theatres had closed. This meant that he no longer had a full time projection position to come
back to, so he now found himself on the relief roster doing both Operator and Assistant Operator holiday relief. It was difficult for him to settle though,
and it was not too long before he resigned. He worked for a while with IBM, but still did not settle. Then out of the blue came an offer to work on contract
as a Cinema Technician in Tahiti, which he accepted and, as a result, had one of the best times of his life working. It was also quite challenging, with the
mixture of American and French projection equipment, the locals who did not speak English, and the French he had learnt at school. French had never
been one of his better subjects.
When he returned to Australia, an opportunity to work with Pioneer Theatres in Alice Springs presented itself. The guy that ran the company had his hand
in several enterprises, so anything from looking after the 16mm film exchange through to operating the bottling machine at Cavanaugh's Cordials was on
the cards. This exhibitor was also responsible for stimulating Damien’s interest in aviation, and it was during this time that he achieved my Private Pilot
Licence.
By this time, he had spent enough time in warm climates to not want to subject himself Melbourne’s cold climate, so he decided to move to Brisbane,
where there was plenty of work ... and warmth. It wasn't too long before he was employed by National Theatre Supplies as Sound Engineer. The job called
for lots of travel throughout Queensland, Northern New South Wales and the Northern Territory.
There were a lot of changes happening in those years, and Damien worked on a couple of the unusual ones, such as Sensurround and Warnersound. It was
also during these years that he first encountered Xenon lamps, platters and automation systems for projection.
Eventually he tired of being continually being away from home, so he opted for a quieter life. He began working as Relief Projectionist at Birch Carroll
& Coyle and Sourris Drive-Ins until a permanent position became available as Projectionist at the Village Twin in the Brisbane suburb of New Farm. A
couple of years later an opportunity opened up at the newly refurbished Hoyts Regent 4 in Queens Street, Brisbane. He was initially employed to run the
Preview Theatrette there, and also to assist with the building maintenance. During his eleven-odd years at Hoyts, he carried out many duties, including
installation and servicing of sound and projection equipment in various locations. Eventually Hoyts offered redundancies to some of its employees. Damien
was one of those who took up the offer, and set about building his house up in the hills, some 40-odd Klms north-west of Brisbane. He was nearing the
end of this project when he received a call from Birch Carroll & Coyle asking if he was interested in some installation work that was about to eventuate.
This led to another period of 12-odd years with the Amalgamated Holdings Group. BC&C Engineering eventually became an Australia-wide projection
support group overseeing the servicing of equipment, and the training of technical staff. It included the company’s circuits in Australia and the United Arab
Emirates. During part of the Greater Union restructure, the company decided that Damien’s role was required to be located in the Sydney office. When he
declined the offer to move to Sydney, his position was made redundant.
So, still living in his city of choice, Damien was approached to work as a Sound Engineer with Entertainment Services, which saw him back on the tools
and out in the field during next 18 months or so.
After he left Entertainment Services, Damien was offered a position with Australian Multiplex Cinemas. This suited him as most locations were close to
home, and it was a small enough circuit for him to manage technically. However, when Hoyts took over AMC, there wasn't a position for Damien in the
new structure, although he did continue to do some minor sound service work as a contractor. Unfortunately, it has been failing health that has seen
Damien’s career in our Industry come to an end.
Damien has been a long-time member of the Queensland Branch Committee of the Australian Cinema Pioneers, where he served with distinction as the
Branch President during 1993.
SOUTH AUSTRALIA’S
CINEMA PIONEER OF THE YEAR
BARRY LOANE
In the early 1950s, when American movie couples were still sleeping in separate beds, a teenage Barry Loane left work as a
Trainee Journalist at the Sydney Morning Herald Library and headed for the nearby Savoy Cinema. There he was introduced
to “foreign” films – sexy French and European films. “They had a sense of reality and honesty about dealing with emotions”
says Barry. “I thought that must what being an adult was all about”.
Until then, Barry had grown up on a diet of films from Hollywood in Sydney’s beachside suburb of Manly, with four movie
palaces within a five-minute walk from home – lots of MGM musicals with Fred Astaire, etc. - Row CC, seats six, seven and
eight for mum, sister Shirl and Barry - with a weekly change of programme. The Savoy (in Bligh Street, Sydney) changed
all that, for the better. While Barry has never lost his affection for American films, he entered a new world – the alternative,
independent or, as he prefers to call it, “World Cinema”.
Barry spent sometime overseas, living in Spain, the USA and Canada, where he worked as a professional dance instructor. he
also gained valuable experience programming for art-house cinemas. He lived briefly in Adelaide in the 1960s, and when he
returned there in 1978, he realised that there was permanent alternative cinema in that city. After visiting a run-down cinema
in the eastern suburbs named The Trak, he started what was to be a lifetime revolution for him and Adelaide movie-goers.
He was warned against showing independent and foreign language films on a regular basis, as the only thing that was working
in Adelaide at the time was the once-a-year ten day Festivals, which were staged by Peter Crayford. His first big test came
when he screened a German Documentary entitled “HITLER – A CAREER”, which proved to be popular with audiences. He
then extended his six month lease and established The Trak as Adelaide’s first “boutique” cinema for discerning movie-goers.
It was a meeting with Bob Casson that convinced the pair to open and operate the Classic Cinema (formerly Willard Hall),
where they screened the very popular “THE GODS MUST BE CRAZY” for a record-breaking two years. The Classic Cinema’s
life ended when the building’s owners, the Catholic Church, decided to redevelop the site. The film also ran for twelve months
at The Trak, and lead the way to other hits such as “MRS CALDICOTT’S CABBAGE WAR” and “LEON, THE PIG
FARMER”, and those long-running Sunday late sessions of “A CLOCKWORK ORANGE”.
Barry’s interest in independent film led him to establish Repfilm & Adfilm Distribution, and success followed with the
Australian & New Zealand Distribution rights for “LEON, THE PIG FARMER”, “VOLARE, VOLARE”, and Paul Cox’s
“LUST AND REVENGE”, for which he provided a distribution guarantee.
In 1989, Barry extended The Trak to two screens, which proved extremely popular with patrons, giving them a greater
selection of programs from which to choose. In the ealy-1990s, he was invited by the then South Australian Minister of the
Arts, Di Laidlaw, to join the Board of the South Australian Film Corporation, where he was involved with the Development
Committee for five years.
After twenty-five years at The Trak, it was ill-health that made Barry decide to retire, and in 2003 he sold The Trak Cinemas
to the current owners, Michael Todd and Michael Schneider. Reflecting on his career, Barry attributes a lot of his success to
good timing, good friends and outstanding staff.
Barry Loane is truly a Cinema Pioneer and at last, his achievements have been recognised as the 2012 “SA Cinema Pioneer
of the Year”.
WESTERN AUSTRALIA'S
CINEMA PIONEER OF THE YEAR
COLIN REALE
Colin’s start in the film industry dated back to when he and his friends occasionally went to Hoyts Cinema Club on a Saturday morning.
Jim Anderson, who was the fireman at the theatre and a friend of Colin’s family, introduced him to the projectionist Allan McCracken.
When Colin showed interest in how films were shown, Allen invited him up to the projection room explaining to him how it all worked.
Because of his interest, he attended once a fortnight as “Work Experience”.
With school days completed, Colin was first employed as a Customs and Shipping Officer. Due to import and export restrictions,
several positions were made redundant. Then, a position of Assistant Projectionist became available at Hoyts Fremantle, and as Colin
had just purchased his first Holden car, he gladly accepted the position.
Shortly after Colin started at Fremantle, Allan McCracken (who had been an enormous help to him), left for Albany, and Warwick
Sewell became projectionist. He also helped Colin with his studies and final exams. Chris Spivey and George Edwards were the
relieving projectionists. James Irving was the Manager at the time.
After three years, Colin was asked if he would accept a position of Despatch Clerk at 20th Century Fox. This represented a change
from working afternoons and nights, although he had worked part time assisting with the repair and rewinding of films at the exchange.
He had the privilege of being the first to check and rewind “THE ROBE”, the first Cinemascope and Stereophonic Sound film, which
was screened at the Ambassador Theatre in Hay Street, Perth. From there he was asked to assist Lindsay Bell at the Skyline Drive-In,
where he stayed until his promotion to the position of Assistant Manager at the Parkline Drive-In at Forrest Field, under Joe Sweeney.
This position was for a three month trial. After three weeks, the Manager of the Grand Theatre in Perth City left and Joe Sweeney
replaced him. Colin then became Manager of the Parkline. The prices differed throughout the week; Friday and Saturday were one
price, Sunday night was a different price, and cheaper prices were available for Monday to Thursday sessions.
In March 1969, the Riverline Drive-In at Riverton opened, and to Colin’s surprise, he was chosen to be the Manager. The opening
was on the Thursday before Easter, and it was a full house. At the time, the Drive-In was situated in High Road at Riverton, which was
only a narrow road. This caused havoc as people with caravans, boats, etc., who were off on Easter Holidays, were caught in the DriveIn traffic for over an hour.
It was decided that the initial film releases were to be shown in 70mm. “THE SOUND OF MUSIC” was the first programme, and it
screened for over five and a half weeks. “ZULU” ran for four weeks, and many other programmes also had runs of several weeks.
Riverline was the first Drive-In to run 70mm programs. Colin eventually became Senior Manager at the Riverline, and during his
tenure there, he established a Bulk Store where all the cafeteria requirements were bought in bulk, and then distributed from that central
point to all Grand Theatres’ Drive-Ins and Theatres.
With the arrival of Television, attendances began dropping at the Riverline. Colin began managing both the Riverline as well as the
Oriana Theatre (which was previously Hoyts Fremantle), as the Grand Theatre Company (operating as City Theatres at that time) had
taken over (along with the Skyline Drive-In at Floreat Park and the Starline Drive-in at Hilton Park).
For a short period of time Colin was transferred to Cinema City in Perth City which was the Number One Cinema Complex at the
time, to relieve the Managers. He was subsequently sent back to the Riverline Drive-In, and during this period, it was decided that it
would close. He helped out with the closure, after which he was transferred back to Cinema City, where he stayed until taking voluntary
redundancy in December 1988.
Colin formed many rewarding and lasting friendships during his long and distinguished career in Western Australia’s Cinema Industry.
In particular, he expresses his thanks to the late Arthur Stiles and his son Allan, both of whom (he states) “had more faith in me than
I did myself”.
TASMANIA'S
CINEMA PIONEER OF THE YEAR
WAYNE DORAN
Wayne’s life in the Motion Picture Industry began at the age of twelve, when he would spend many Saturday afternoons with
family friends (the late Max and Eileen Wallace) who managed the cinema at Glenorchy, a suburb of Hobart. It was there he
learnt to thread his first reel of film, which was the Academy Award winner “THE COUNTRY GIRL”, which starred Bing
Crosby and Grace Kelly. When television came along, so did the closure of many suburban cinemas, including Glenorchy.
At the age of sixteen, he obtained a position as a Relief Assistant Projectionist under the late Ted Burne at the predominately
MGM Avalon Cinema in Hobart city, which was equipped with Bauer B11 projectors. The House Manager was the late Keith
Willis, and when he retired, Ted Burne took over as House Manager, and Wayne was offered the position of Assistant
Projectionist.
In March 1966, “MY FAIR LADY” was released in Tasmania. However, there were no 70mm installations in Hobart, so it was
decided to equip the Avalon with the process. Wayne remembers the late nights during which he assisted the technicians with
the installation of the heavy Philips DP 70/35 projectors, the RCA Transistorized Pre-Amps and Valve Output Amplifiers, and
the new large screen and stage curtains.
The screen and sound results were excellent. Wayne feels that all projectionists would agree that threading 70mm film for the
first time was almost like trying to thread up a toilet roll. From that time on, the Avalon was the first release house of all
Warner Bros and MGM 70mm product in Tasmania. It was at this time that Wayne was promoted to Senior Projectionist.
In July 1969, the Avalon came under the banner of Village Theatres. It operated successfully until November 1976, when it
closed as a result of the opening of the first Twin Cinema Complex in Hobart. The new Twin was equipped with Bauer U3
Projectors and Speco Platters. The entire installation was handled by the Village Technicians under the watchful eye of
Village’s Head Tasmanian Technician Lindsay Stephens, who guided Wayne through all the pros and cons of the new concept
in projection. In 1989, the Twin was converted to a seven screen multiplex.
With the additional five screens came the necessity for new equipment. The original twin screens retained the Bauer projectors,
while the five new screens were equipped with Kinoton FP 30 projectors, with Speco Platters and Ezymation Automation
consoles. The new cinemas opened on Boxing Day to outstanding business. Wayne spent all Christmas Day in the new
Projection Room placing Ads and Trailers on programmes ready for the following day. He finally managed to eat his
Christmas Dinner at midnight on Christmas night.
The Village Cinemas in Hobart operated to very good trading, so ten years later two more locations opened – at Glenorchy
and Eastlands on the Eastern shore. Wayne transferred to Eastlands, which was much closer to his home. Both the new
complexes were equipped with Kinoton FP 30 D Projectors and Altec Lansing Amps. All cinemas had Digital Sound with
Dolby CP 500 Processors installed.
Wayne reflects ... “Now, of course, the Motion Picture Industry has and will face the biggest change in its history with
“Digital Projection”. One would have thought that a motion picture being projected from a hard drive would only be
something that we would see in a science fiction movie.
It is at my time of life, not only with the dramatic new changes, that the time has come when my career is coming to an end.
Sadly, with projectionists becoming obsolete, that familiar sound of film passing through the projector will be no more. I have
cherished my 50 years in an Industry that once was called ‘The Dream Factory’.”
IMPORTANT CHANGES REGARDING
COMPLIMENTARY ADMISSION TO CINEMAS
The President and Executive Committee are pleased to advise that Greater Union, Event Cinemas, Hoyts, Village, Birch Carroll & Coyle, Reading Australia,
Wallis Cinemas (SA), Grand Cinemas (WA), and IMAX Theatres (in Sydney and Melbourne) will honour a Photo ID Pioneer Membership Card by offering
complimentary admission to a Pioneer and one guest to participating cinemas on any day (including weekends), now including 3D movies and glasses.
Exceptions are as follows:- the Photo ID Pioneer Card cannot be used on Saturday evenings after 6:00PM, on Public Holidays, Premium Seating, and
Special Programmes (e.g. Special Previews and Premieres, and those programmes signifying “No Free List” Tickets).
To the best of our knowledge at the time of publication, the following Independent Cinemas have also agreed to honour our Membership Card:NSW and ACT
Roseville Cinemas, Hayden Cinemas, Randwick Ritz, Manly Cinemas, United Cinemas, The Empire Theatre Complex at Bowral, The Lake Cinema at
Boolaroo (Newcastle), “The Edge” Maxvision Cinema at Katoomba, Mt. Vic Flicks at Mount Victoria, the RAAF Theatre at Richmond, The Crossing
Theatre at Narrabri, The Civic Cinema at Gunnedah, Majestic Cinemas at The Entrance, Singleton, Inverell, Port Macquarie and Nambucca Heads, Nelson
Bay Cinema Complex, Roxy Cinema at South West Rocks, Narooma Kinema, The Picture Show Man Twin Cinema at Merimbula, Roxy Cinema Complex
at Nowra, Griffith City Cinemas, Wagga Forum Theatre, Dendy Cinemas Canberra City, Limelight Cinemas at Tuggeranong (Canberra).
vIC
Carlton Nova Cinemas, Dromana Twin Drive-In, Kino Dendy Cinemas, Sun Theatre Yarraville, Melton Cinemas, Mornington Cinemas, Rosebud, Sorrento
and Warragul Cinemas, Axedale/Lake Eppalock Open Air Cinema, Bainsdale Cinemas, Healesville Cinema, Inverlock Cinema, Mansfield Cinema,
Maryborough Paramount Cinema, Mildura Deakin Cinema Complex, Mooroolbark Cinema, Portarlington & Tidal River Cinemas, Hamilton and Port Fairy
Cinemas, Portland Star Cinema, Sale Twin Cinemas, Swan Hill Oasis Cinema, Swanpool Cinema, Wonthaggi Cinema, Yarram Regent Theatre, The Lunar
Drive-In at Dandenong, and Palace Cinemas (comprising Northcote Westgarth Cinema, Como Cinemas South Yarra, Balwyn Cinemas Balwyn, Dendy
Cinemas Brighton, Brighton Bay Cinemas Brighton, and The George St. Kilda).
qLD
Pacific Cinemas at Loganholme, Palace Cinemas Fortitude Valley, Hawthorn, Balmoral and Southbank Cinemas, Gold Coast Arts Centre Cinema, Hervey
Bay Cinemas at Pialba, Summergarden Twin Cinemas at Bowen, Civic Theatre at Dalby, Ironbark Theatre (Cultural Centre) at Chinchilla, The World Theatre
at Charters Towers, Bribie Island Cinemas at Bribie Island, Warrina Cineplex at Townsville, and Reef HQ IMAX Dome Theatre at Townsville, Australian
Cinemas at Nerang and Croydon.
SA
Wallis City and Suburban Cinemas, The Nova and Palace Cinemas in Adelaide City, Reading Cinema Complex at West Lakes, Trak Cinema at Toorak
Gardens, Capri Theatre at Goodwood, Oatmill Cinema at Mount Gambier, Flinders Cinema at Port Lincoln.
WA
Ace Subiaco and Midland Cineplex (Perth), The Regent at Midland (Perth), The Cygnet at Como (Perth), Busselton Central Cinema, Busselton Drive-In
Outdoor Cinema, The Astor Mount Lawley, Grand Cinemas at Armadale, Warwick, Currambine, Bunbury, Joondalup, and Whitford Cinemas at Hillarys.
TAS
Village Cinemas at Hobart, Glenorchy, Eastlands and Launceston, The State Theatre North Hobart, C Max Cinema Complex at Devonport, and Metro
Cinemas at Burnie.
NT
C Max Cinema Complex at Palmerston (Darwin)
The Society acknowledges and appreciates the courtesy extended to its members by these exhibitors.
Members are reminded, once again, that....
(a) the Pioneers’ Photo ID Membership Card is to be used only by the member whose name and photo appears on the card, and by no one else, and
(b) the use of the Pioneers’ Photo ID Membership Card is a privilege extended to our members by cinema exhibitors - it is definitely NOT a right,
and should never be regarded as such.
79th ANNIvERSARY DINNER AND
2012 ANNUAL GENERAL MEETING
The Year 2012 Annual General Meeting and 79th Anniversary Dinner will be held on FRIDAY NOvEMBER
16 in the Blaxland Ballroom at the SWISSOTEL SYDNEY (68 Market Street, Sydney – entrance opposite the
State Theatre) at 6:30PM. Dinner will be served at 7:30PM.
Members are reminded that they can bring their spouse, family member or friend to the Dinner. However, nonmembers will have to pay a less subsidised cost of the Dinner, and not the heavily subsidised cost extended to
members.
from the estate of a deceased Cinema Pioneer, the cost to attend the Annual General Meeting and Dinner will be
reduced for members this year - $50 only for members (heavily subsidised), and $85 for non-members (also
subsidised). This price includes the normal two course meal (main and dessert) and a 4.5 hour beverage package,
which includes house wines, local beers, and soft drinks.
Once the four and a half hour beverage package has expired, additional drinks can be purchased at normal bar
prices.
Those members wishing to attend are requested to complete the separate Reservation Form which accompanied
this Bulletin, and return it with a cheque or money order made payable to
“AUSTRALIAN CINEMA PIONEERS” to …
The National Honorary Secretary/Treasurer (Bruce Leonard)
no later than FRIDAY, NOvEMBER 2, 2012.
IF ANY MEMBER OR GUEST ATTENDING THE DINNER HAS ANY SPECIAL DIETARY
REQUIREMENTS, PLEASE ADVISE FULL DETAILS ON THE REVERSE SIDE OF THE RESERVATION
FORM, EVEN IF THESE DETAILS HAVE BEEN PROVIDED PREVIOUSLY.
Note:- Michelle Leong (Conference and Events Co-ordinator – SWISSOTEL SYDNEY) has advised that special
accommodation rates are available to members and guests attending the Dinner this year, depending on room
availability on November 16, at discounted rates:
To receive the above rates, guests can either call the Swissotel’s Group Reservation Agent, Helen Tuzelturk on
02 / 9238 8866 or via email groups.sydney@swissotel.com by stating they are attending Australian Cinema
Pioneers’ dinner or by quoting the accommodation Block ID Code - “AUS 111612”.
The National Executive Committee extends a warm welcome to all members of Interstate Branches.
ACkNOWLEDGEMENT OF
FINANCIAL SUPPORT
The Society wishes to sincerely thank the following supporters who made donations to subsidise the cost of the
printing of the Year 2011 Pioneers’ Bulletin and Membership List, and the 78th Anniversary Annual General Meeting
and Dinner:AHL Administration Pty Ltd, Australian Cinema Pioneers (NSW Branch); Australian Cinema Pioneers (VIC Branch),
Australian Cinema Pioneers (QLD Branch), Australian Cinema Pioneers (SA Branch), Australian Cinema Pioneers
(WA Branch), Patricia Blunt, Evanne Chessan, Classic 99 Pty Ltd (John Reid), Benita Collings, Deluxe Australia,
Ray Edmondson, Elm Films Pty Ltd (Lynda House), Bill Hoorweg, Una Hopkins, Hoyts Corporation Pty Ltd,
Hugh Keays-Byrne, Grahame Litchfield, Rex Mower, National Association of Cinema Operators, Paramount Pictures
Australia Pty., Reading Entertainment (Aust) Pty Ltd, Roadshow Films Pty Ltd, Sony Pictures Releasing,
20th Century Fox Film Distributors Pty Ltd, Universal Pictures International Australasia Pty Ltd, Val Morgan Cinema
Network, Frans Vandenberg, Village Roadshow Limited, Stephen Wallace, Walt Disney Company (Australia) Pty Ltd.
vALE - HONOURING THOSE PIONEERS
WHO WE HAvE BEEN ADvISED LEFT US DURING THE YEAR
Roy Ashton, Bill Bailie, Ken Boudrie, Alan Bourne, Horace Brown, Irwin Dickinson, Maurice Dufficey, Nance Dunshea,
Ina Gee, Kay Geran, Margaret Goumas, Margaret Grainger, Jim Greenwell, Frank Hackett, Shirley Hawthorn,
Philip Hearnshaw, Don Hitchins, Peter James, Ron Landon, Eric Lawrence, Andrew Lockett, Ann Lyons, Keith McLennan,
Kenneth Manning, Lubo Medich, Jack Murphy, Albert Petherick, Roy Radford, John Richmond, Mark Sarfaty,
Graeme Schulze, Ted Sharry, John Shenton, Nelson Smith, Harry Taylor, Ron Taylor, Jane Tsagias, Hazel Turner,
Philip Virgona, Edmund Waddell, Joe Walker, Ed Wilson, Allan Woodard.
REPLACEMENT OF BLUE MEMBERSHIP CARDS WITH NEW
“PHOTO ID” MEMBERSHIP CARDS
In accordance with the consistent policy agreement reached between the major circuits (Greater Union, Hoyts, Village, Reading,
Palace and Wallis) regarding the use of the Pioneers’ Membership Card, effective immediately, existing blue Membership Cards
will need to be replaced with Photo ID Membership Cards for complimentary admission to cinemas.
At the date of publication, approximately 1,500 of our 2,300 members have had their old Membership Cards replaced with the
new plastic Photo ID Membership Cards.
If you have not had your old blue or orange Membership Card replaced with one of the new Photo ID Membership Card
already, you will need to have a Passport Photo taken (no other type of photo is suitable) at a local chemist or Australia Post
shop, and send it (together with your existing blue or orange Pioneers Membership Card) to the National Secretary /Treasurer
Bruce Leonard (at 9 Collins Crescent, Lapstone, 2773), and a new Photo ID Membership Card will be forwarded to you - at
no cost. (The entire cost of the new cards is being sponsored jointly by Village Cinemas, Hoyts, Greater Union, Event Cinemas
and Birch, Carroll & Coyle.)
The replacement Cards are currently taking between 6-8 weeks to process, and will be forwarded direct to members from the
card manufacturers.