The Hive Lab has announced its film-makers to collaborate with artists, theatre actors, choreographers, animators and writers over 11-14 October. The list of film-makers include Sophie Raymond, co-director of Mrs Carey’s Concert and Natasha Pincus, director of music video Somebody That I Used to Know by Gotye with artists such as Eddie Perfect and Bill Henson.The announcement:
A roll call of some of Australia’s most extraordinary artists, filmmakers, theatre practitioners, choreographers, animators and writers have signed up for the Hive Lab, taking place during the Melbourne Festival from 11-14 October. The four-day Hive Lab brings seventeen filmmakers and artists together in a creative clash of cultures, nurturing new ideas that cut across artistic boundaries.
The second Hive Lab was originally conceived by Adelaide Film Festival and is co-presented with Australia Council, ABC TV, Screen Australia and the South Australian Film Corporation.
The 2012 Hive Lab participants are arts and performance practitioners Bill Henson,...
A roll call of some of Australia’s most extraordinary artists, filmmakers, theatre practitioners, choreographers, animators and writers have signed up for the Hive Lab, taking place during the Melbourne Festival from 11-14 October. The four-day Hive Lab brings seventeen filmmakers and artists together in a creative clash of cultures, nurturing new ideas that cut across artistic boundaries.
The second Hive Lab was originally conceived by Adelaide Film Festival and is co-presented with Australia Council, ABC TV, Screen Australia and the South Australian Film Corporation.
The 2012 Hive Lab participants are arts and performance practitioners Bill Henson,...
- 9/13/2012
- by Colin Delaney
- Encore Magazine
Toronto International Film Festival. Glenn is in Australia but he's seen Monday's premiere "Lore".
Australia isn’t a regular player in the Academy’s annual game of Best Foreign Language Film. We’ve only submitted five films prior to 2012: Clara Law’s Floating Life (1996), which I have never seen; Steve Jacobs’ La Spagnola (2001), which is fun, if slight, immigrant comedy; Rolf de Heer’s Ten Canoes (2006) a fabulous film that was the first ever filmed in native Aboriginal dialects; Tony Ayres’ The Home Song Stories (2007), which features an incredible performance by Joan Chen; and Samson & Delilah (2009), Warwick Thornton’s groundbreaking indigenous drama about two teens escaping their remote lives only to stumble upon tragedy at every turn. Thornton’s film was the closest Australia has ever come to snagging a nomination, having managed to find a spot on the nine-wide shortlist. As great as that film was, however, its...
Australia isn’t a regular player in the Academy’s annual game of Best Foreign Language Film. We’ve only submitted five films prior to 2012: Clara Law’s Floating Life (1996), which I have never seen; Steve Jacobs’ La Spagnola (2001), which is fun, if slight, immigrant comedy; Rolf de Heer’s Ten Canoes (2006) a fabulous film that was the first ever filmed in native Aboriginal dialects; Tony Ayres’ The Home Song Stories (2007), which features an incredible performance by Joan Chen; and Samson & Delilah (2009), Warwick Thornton’s groundbreaking indigenous drama about two teens escaping their remote lives only to stumble upon tragedy at every turn. Thornton’s film was the closest Australia has ever come to snagging a nomination, having managed to find a spot on the nine-wide shortlist. As great as that film was, however, its...
- 9/8/2012
- by Glenn Dunks
- FilmExperience
Margaret Pomeranz delivered a powerful keynote speech at the opening of the Spaa Conference yesterday in Sydney, and Encore has the full transcript of her meditation on the state of Australian film and television – and why Government and audiences should appreciate the arts a little more.
I’m extremely grateful to Spaa for inviting me to give this keynote speech today. It is the Hector Crawford Memorial Lecture and I want to honour the man today. Hector put Australian television on the map, he made Australian accents acceptable in the media. Do you remember when we could only stomach New Zealanders reading our news because they sounded more English than us? Brian Henderson was a prime example. But more than that Hector validated Australian writers, Australian actors, directors, designers, a whole Australian infrastructure, Some of those people are still working today. In a very significant way Hector created an industry,...
I’m extremely grateful to Spaa for inviting me to give this keynote speech today. It is the Hector Crawford Memorial Lecture and I want to honour the man today. Hector put Australian television on the map, he made Australian accents acceptable in the media. Do you remember when we could only stomach New Zealanders reading our news because they sounded more English than us? Brian Henderson was a prime example. But more than that Hector validated Australian writers, Australian actors, directors, designers, a whole Australian infrastructure, Some of those people are still working today. In a very significant way Hector created an industry,...
- 11/18/2010
- by Miguel Gonzalez
- Encore Magazine
- ‘Second Wave’ Hong Kong filmmaker Clara Law (Floating Life) is finally returning to the director’s chair after a four year sabbatical with her first Chinese film since 1994’s King of Western Chu (her last film before bolting to Australia prior to Hong Kong’s handover to China in 1997). Like a Dream, which Law announced at the Shanghai Film Festival, is a romancer that spans the cities of Shanghai, Taipei, and New York. She told Variety ‘The idea for the film sprang from a conversation I had with a friend who remarked how much Shanghai resembles New York these days.’ The film stars Hk mega-idol Daniel Wu (The Banquet) as a native Chinese-American who gets wrapped up in a bit of international romantic intrigue. Bubbly Quan Yuan (For the Children) plays Wu’s love interest. Law’s films often examine the themes of migration and cultural identity so the
- 6/18/2008
- IONCINEMA.com
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