Draft 2 PhD Introduction - ResearchSpace@Auckland

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338 Noel Appleby, Best Cinematography, Best Soundtrack, Best Director, Best Editing, Best Film Score, Best Original Screenplay, Best Production Design, New Zealand Film and Television Awards 1989. 1990 Alien 3 (as scriptwriter) 114 minutes, 35mm, 70mm colour Production Company: Twentieth Century Fox: A Brandywine Production Budget: approx US $70 million Executive Producer: Ezra Swerdlow Co-producer: Sigourney Weaver Producers: Gordon Carroll, David Giler, Walter Hill Director: David Fincher Screenplay: David Giler, Walter Hill, Larry Ferguson Director of Photography: Alex Thomson Editor: Terry Rawlings Music: Eliot Goldenthal Production Designer: Norman Reynolds Visual Effects: Richard Edlund Cast: Signourey Weaver (Ellen Ripley), Charles Dutton (Dillon), Charles Dance (Clemens), Paul McGann (Golic), Brian Glover (Andrews), Ralph Brown (Aaron), Daniel Webb (Morse), Christopher John Fields (Rains), Holt McCallany (Junior), Lance Henriksen (Bishop II), Christopher Fairbank (Murphy), Carl Chase (Frank), Leon Herbert (Boggs), Vincenzo Nicoli (Jude), Pete Postlethwaite (David) Awards: Nominated for Academy Award for Best Visual Effects 1991. 1992 Map of the Human Heart (as director, scriptwriter and producer) 109 minutes, 35mm colour Production Companies: Working Title, Map Films (London); Vincent Ward Films (Sydney); Les Films Ariane (Paris); Sunrise Films (Toronto) for Polygram Filmed Entertainment Budget: approx. $20 million Executive Producers: Graham Bradstreet, Harvey Weinstein, Bob Weinstein Producers: Tim Bevan, Vincent Ward Co-producers: Timothy White, Linda Beath, Paul Saltzman (Canada), Sylvaine Sainderichin (France) Screenplay: Louis Nowra Story: Vincent Ward Director of Photography: Eduardo Serra Editors: John Scott, Frans Vandenburg (Australia) Production Designer: John Beard Costume Design: Renee April, Penny Rose (UK) Music: Gabriel Yared Cast: Jason Scott-Lee (Avik), Robert Joamie (young Avik), Anne Parillaud (Albertine), Annie Gallipeau (young Albertine), Patrick Bergin (Walter Russell), Clothilde Courau (Rainee), John Cusack (Mapmaker), Jeanne Moreau (Sister Banville), Ben Mendelsohn (Farmboy), Jerry Snell (Boleslaw), Jayko Pitseolak (Avik’s grandmother), Matt Holland (Flight Navigator), Rebecca Vevee (Inuit cook), Josape Kopalee (Inuit elder), Reepah Arereak (Avik’s girlfriend), Monique Sparziani (Nurse Beatrice), Harry Hill (X-ray doctor), Anik Matern
339 (Thelma), Marc Ruel (Photo Analyst), Tyley Ross (Photo Messenger), Charlotte Coleman (Julie), Richard Zeman (Military Policeman), Minor Mustain (Army Sergeant), Gordon Masten (Captain Johns), Michelle Turmel (Ginger Jameson), Rick Hamburg (Arctic NCO), Dall Sullivan (Barrage Balloon WAAC), Tamar Kozlov (Dresden girl), Robin Dorken (Oil man), Bill Rowat (Barman), Sophie Leger (Voice artist) Awards/Major Festivals: Screened at Cannes in the non-competitve section 1992, Young Actor’s Award Australian Film Institute 1993, Best Artistic Contribution Award (Vincent Ward, director) Tokyo International Film Festival 1993. 1993-1995 Ward worked on several films as an actor: Leaving Las Vegas, directed by Mike Figgis (released 1995) The Shot, directed by Dan Martin (released 1997) One Night Stand, directed by Mike Figgis (released 1997). 1998 What Dreams May Come (as director) 113 minutes, 35mm colour Production companies: PolyGram in association with Metafilmics Budget: approx. US $90 million Executive Producers: Ted Field, Scott Kroopf, Erica Huggins, Ron Bass Producers: Stephen Simon, Barnet Bain Screenplay: Ron Bass, based on the novel by Richard Matheson Director of Photography: Eduardo Serra Editors: David Brenner, Maysie Hoy Production Designer: Eugenio Zanetti Costume Designer: Yvonne Blake Music: Michael Kamen Visual Effects Supervisors: Joel Hynek, Nicholas Brooks Cast: Robin Williams (Chris Nielsen), Cuba Gooding Jr (Albert), Annabella Sciorra (Annie Nielsen), Max von Sydow (The Tracker), Jessica Brooks Grant (Marie Nielsen), Josh Paddock (Ian Nielsen), Rosalind Chao (Leona), Maggie McCarthy (Stacey Jacobs), Wilma Bonet (Angie), Matt Salinger (Reverend Hanely), Carin Sprague (Cindy), June Lomena (woman in car accident), Paul P. Card IV (paramedic), Werner Herzog (face), Clara Thomas (little girl at lake), Benjamin Brock (little boy at lake) Awards: nominated for an Academy Award for Production Design, received an Academy Award for Visual Effects, 1999. 2003 The Last Samurai (as researcher and co-producer) 154 minutes, 35mm colour Production Company: Warner Bros. Budget: $170 million Director: Edward Zwick Executive Producers: Ted Field, Rick Solomon, Charles Mulvehill, Vincent Ward Producers: Scott Kroopf, Tom Engelman, Edward Zwick, Marshall Herskovitz, Tom Cruise, Paula Wagner Screenplay: John Logan, Edward Zwick, Marshall Herskovitz Director of Photography: John Toll
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http://researchspace.auckland.ac.nz
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ii Abstract This thesis examines th
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iv me a Harriet Jenkins Award to as
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vi Chapter Seven Hollywood and Beyo
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1 Introduction My interest in the w
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3 Expressionist filmmakers such as
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5 strongly connected to the Romanti
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7 point, ignoring the larger body o
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9 Eisner’s and Kracauer’s argum
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11 Bazin (its leading contributor),
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13 and his deep respect for the inh
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15 tangible categories, particularl
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17 determining than the individual
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19 with Ward’s collaborators also
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21 to be very fruitful in terms of
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23 German critics. 72 Out of the Sh
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25 Finally, it examines local Expre
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27 Ward can be regarded as a “New
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29 was understood to stand for an e
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31 self-determining original, moreo
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33 erupting volcano is sublime to a
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35 was not strictly speaking, natur
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37 invaded academic classicism”.
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39 supreme value of the personal se
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Gothic Influences 41 The relationsh
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Expressionism 43 The darker side of
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45 that he was interested in this w
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47 Both the early films listed by H
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49 sense of Malfred’s increasing
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51 for the emotional states of its
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53 ambiguous”. 184 As discussed e
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55 imposed in industrial society, b
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57 New Zealand’s Expressionist an
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59 Were Warriors (Lee Tamahori, 199
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61 so effective about the film and
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63 parallels between the farm where
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65 than her, on the train to Jerusa
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67 “Even now, after hearing this
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69 Despite the difficulties, Judy m
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71 everything, but on the other han
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73 He was, in her view, “a very m
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75 He was far more interested in be
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77 good”. 260 Their attitude was
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79 my father’s stories that were
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81 offering one of the only filmmak
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83 have your foundations achieved.
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85 film theories and various moveme
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87 Right from the beginning of the
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89 there. 298 Victoria Stafford, a
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91 cinematography looks forward to
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93 subject. The end-of-year examina
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95 when she discussed it with Ward,
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97 Chapter 3 A State of Siege A Sta
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99 makers, but the vigorous physica
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101 that could respond to her work
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103 Malcolm Moore, an experienced s
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105 some important changes, is the
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107 changes transformed the somewha
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109 later form. Within a few weeks
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111 footsteps for scenes like the a
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113 negative-matcher for the “con
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115 director and White as producer
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117 stead. In many ways [it] perhap
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119 pointed out, has the effect of
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121 The next morning, Malfred waste
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123 Figure 2: Ending of A State of
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125 night is not yet over. Malfred
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127 magazines around the country (s
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129 film was praised for its evocat
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131 many of the new wave of New Zea
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133 Filmmakers, painters, craftsmen
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135 protagonist, instead of acting
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137 Chapter 4 In Spring One Plants
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139 major shaping force on New Zeal
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141 thought, because she was embarr
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143 speaks about his mother’s chi
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145 series) but about spirituality
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147 was an interest in discovering
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Production 149 During filming, the
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151 audience “might adversely aff
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153 essential footage”. After the
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155 of aesthetic must necessarily c
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157 have been made if I’d waited
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159 film is to argue that while it
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161 working order yet in an act sym
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163 Bilbrough also claims that due
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165 most appropriate, accurate and
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167 my van pull up. Niki had thrown
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169 traditional values is at least
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171 critical response to the film i
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173 the ability of the artist to cr
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175 Chapter 5 Vigil Ward’s involv
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177 they were the only solid basis
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179 just how much goes on the floor
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181 to the film in that, just befor
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183 initially hostile reaction to h
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185 They got the tractor going and
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187 between the scenes shot from To
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189 its side, only to hoist it vert
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191 Figure 4: Ending of Vigil. An e
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193 He shows her his world, the wor
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195 with the foreigner. Through sex
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197 to the detriment of his relatio
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199 This made him reluctant to comp
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201 for Morris to work closely with
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203 Vigil that enhances the sense o
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Visual Style 205 In terms of the de
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207 example, the shot of Elizabeth
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209 except possibly for the ballet
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211 than bread and butter. I think
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213 world - albeit seen through Eur
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215 Medieval Odyssey. This would re
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217 The idea for The Navigator orig
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219 Atoll in the South Pacific, was
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221 loosed from their moorings. Min
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223 Ward’s intention was not, how
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225 heaven but “a vision of hell
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227 negotiating this final deal for
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229 and had been warned by his doct
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231 shoot was lengthy by Australasi
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233 constraints on the film […].
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235 and there was going to have to
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237 Ward explained that: “I alway
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239 nineteenth-century mining music
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241 Figure 6: Storyboard of The Nav
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243 While the main crew on the shoo
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245 “a sort of Pilgrim’s Progre
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247 of the logic of nuclear deterre
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249 production, in Australia it is
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251 retelling the story of The Navi
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253 but Ulf’s beliefs seem more l
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255 belief and unbelief, faith and
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257 uncertainty, anxiety, and absur
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259 Chapter Seven Hollywood and Bey
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261 As Jonathan Rayner points out,
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263 executive at the studio approac
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265 stick on the wall of Ward’s b
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267 Canada, they were required to u
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269 situation. 867 In an interview
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271 praise the film’s imagery and
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273 an Art Film […]. And as we we
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275 divinely directed patterns. The
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277 both on the outer edges of the
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279 indicate that his motivation fo
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What Dreams May Come 281 Ward’s n
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283 Ward wanted to get Robin Willia
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285 engraver Doré, acknowledged by
Page 295 and 296: 287 The visual concept for the film
Page 297 and 298: 289 creating and building up decisi
Page 299 and 300: 291 gave him the key that enabled h
Page 301 and 302: 293 primary goal is money”. 959 H
Page 303 and 304: 295 escapism, but his emphasis on t
Page 305 and 306: 297 by the Government, which pays l
Page 307 and 308: 299 can completely affect the conte
Page 309 and 310: 301 The investors, who include busi
Page 311 and 312: 303 Conclusion The primary aim of t
Page 313 and 314: 305 reflected in the external envir
Page 315 and 316: 307 he formed a successful partners
Page 317 and 318: 309 time Romantic - and far removed
Page 319 and 320: 311 compromises inevitable in any c
Page 321 and 322: 313 commitment to the project. Once
Page 323 and 324: 315 story concept that included asp
Page 325 and 326: 317 also - in his most recent proje
Page 327 and 328: 319 Biskind, Peter. Down and Dirty
Page 329 and 330: 321 Elgar, Dietmar. Expressionism.
Page 331 and 332: 323 Koszarski, Richard. An Evening'
Page 333 and 334: 325 Romer, Richard Ira. "The Cinema
Page 335 and 336: 327 Campbell, Russell, and Miro Bil
Page 337 and 338: 329 ---. "The Navigator: A Medieval
Page 339 and 340: 331 Dart, William. "Interview with
Page 341 and 342: 333 Urban, Andrew. "Love on the Edg
Page 343 and 344: 335 1975 The Cave (as scriptwriter
Page 345: 337 Camera: Alun Bollinger Editor:
Page 349 and 350: 341 All interviews were conducted i
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