New South Wales Cinema Pioneer of the Year

The Society of
AUSTRALIAN
CINEMA PIONEERS
Please address all correspondence to
BRUCE LEONARD
National Honorary Secretary/Treasurer
9 Collins Crescent, Lapstone 2773 (E-mail - [email protected])
BULLETIN -­ OCTOBER 2011
OUR 71ST
NATIONAL PRESIDENT
ALAN FINNEY OAM
W
hilst studying law at Melbourne University during the 1960’s, Alan became heavily involved in the Film Society, Film Festival and film making activity. He also co-­founded the La Mama Company, a performing group responsible for innovative Australian theatre of this period.
In 1996, he became the Managing Director of Australian Production and Director of New Business Development, bringing THE CASTLE to Village Roadshow and overseeing its successful Australian release. He also served as Co-­Executive Producer on THE CRAIC.
Gaining a law degree in 1969, in the following year he commissioned, co-­directed and appeared in the theatrical production of David Williamson’s THE COMING OF STORK which director Tim Burstall filmed in 1970.
Buena Vista International, (now Walt Disney Studios Motion Pictures) sought his expertise in 1998 to launch and head up their Australian and New Zealand operations as Vice President and Managing Director of Buena Vista International (Australia and New Zealand). Since then he has overseen the theatrical releases of THE SIXTH SENSE, PIRATES OF THE CARIBBEAN, CHICAGO and THE MAN WHO SUED GOD, WHALERIDER to name just a few and most recently, the record breaking FINDING NEMO from Pixar Studios and PIRATES OF THE CARRIBEAN: DEAD MAN’S CHEST. He left the Disney Company in April, 2010.
In 1971 he joined Roadshow Film Distributors working in Advertising and Promotion and brought the movie STORK to Roadshow’s attention. This acquisition led to the formation of Hexagon Productions, the first ongoing joint venture between Production and Distribution entities in contemporary Australian history with Finney serving as Executive Director of the company and Associate Producer on movies such as ALVIN PURPLE, ALVIN RIDES AGAIN, PETERSEN, END PLAY and ELIZA FRASER, also appearing in the two ALVIN movies in support roles.
During the 1970’s, Alan commenced appearing on Television and Radio reviewing movies and regularly guesting on shows on all four television networks through to the early 1980’s.
Between 1980 and 1987, he was in charge of National Marketing and Sales for Roadshow Film Distributors and in 1988, was appointed General Manager of Distribution and Marketing.
In December 1989, he was appointed Executive Director of Roadshow Film Distributors and then in 1991, Managing Director.
During his time with Roadshow Film Distributors, Alan supervised the release of many Australian titles including MAD MAX, BREAKER MORANT, PROOF, ROMPER STOMPER, BAD BOY BUBBY, THE PIANO, MURIEL’S WEDDING and PRISCILLA: QUEEN OF THE DESERT.
Australia Day Honours for 2002 saw Alan awarded the “Order of Australia” Medal (OAM) for services to the Australian Film Industry – particularly in the areas of film distribution and promotion. He also served on the Board of the Australian Centre for the Moving Image and as a Board Member of The Australian Film Institute.
In 2010 at the Screen Producers of Australia Association Conference he was awarded The Maura Fay Award for Services to the Industry.
In December 2010, he was appointed Chair of The Australian Film Institute.
Alan became a member of the Australian Cinema Pioneers in 1998 and on being elected National President of the Cinema Pioneers for 2012, he commented: “This is indeed an honour to be involved with smart business colleagues and true friends, all of which have made such a valuable contribution to our Australian film industry and culture”.
OUR YEAR 2011
NATIONAL JOINT
“CINEMA PIONEERS OF THE YEAR”
THEO AND MARGARET GOUMAS
I
t all began more than 40 years ago for Theo and Margaret when they had a coffee bar in a Sydney City Newsreel Cinema called The Roma. At the time, it was only a side-­line for them – Margaret was working for a political party at Circular Quay, and Theo had a business in George Street.
Television was well established in almost every home, bringing the news of the day into the lounge room, so Newsreel cinemas -­ where you saw the news and sporting events of the week, as well as cartoons and travelogues, all in one hour, and all for one shilling (10 cents) – which were so popular, were now closing down. So The Roma became a small cinema where Theo and Margaret set up their coffee bar. Intervals were at regular times – at 11AM, 2PM, 5PM and 8PM – so it was easy for one of them to be there for the busy times.
After operating the coffee bar for three years, they heard that a Newsreel cinema in Newcastle, which had been called The Tatler, had closed and had been vacant for two years. After careful consideration, they decided to move to Newcastle where they re-­ opened The Tatler, changing its name to The Roma, after the Sydney Roma.
They had an enormous amount of work to do before they could commence operation at The Roma. For a start, there was no curtain, and the 212 seats had seen better days. Margaret had grown up in Sydney, and was used to the comfort of the palatial city and suburban cinemas, which she attended every Saturday night with her family, and often mid-­week as well when there was a change of programme. So she purchased a bolt of red velvet and made a curtain with gold braid and tassels for the naked looking screen. It was the biggest thing she had ever sewn.
By co-­incidence, but not because of, The Victoria Theatre closed its doors the day Theo and Margaret opened the Newcastle Roma in April 1966. Even after Margaret had made 212 material seat covers lined with foam rubber, the seating was still not comfortable, so they purchased 220 seats from The Victoria. Since they didn’t own a car, with the help of a projectionist they had employed, they carried the seats 2 by 2 at a time from The Victoria to The Roma, and were thus able to provide more acceptable seating for their patrons. Things were looking great !!
Most of the films Theo and Margaret screened at The Roma were referred to as “Continental”, and they were responsible for bringing the first “R” rated films to Newcastle. “Bedroom Mazurka” ran for 42 weeks, and holds the record for the longest running film in Newcastle. It was so popular that Margaret is sure everyone over 18 came to see it at least once. The Roma’s screening pattern was diverse, ranging from Art House films to Walt Disney movies for children, and it didn’t take long for Theo and Margaret’s presence to be felt among Newcastle’s cinema industry.
Seeking to expand their cinema operation, they purchased small premises not far from The Roma, and had an architect draw up plans for their second cinema in Newcastle. They opened The Kensington in May 1970 with “My Fair Lady”, which ran for 6 months. It was followed by “Ryan’s Daughter”, which screened for a further 6 months. Thus began 30 years of good quality main stream films, some also enjoying very long seasons, such as “The Way We Were”, “Close Encounters Of The Third Kind” and “Ghandi”.
The Lyric in Newcastle was built early in the 20th century as a picture palace screening silent movies. It also screened the first “talkie film” “The Jazz Singer” with Al Jolson. It closed its doors in the late 1960s, and Theo and Margaret were invited to think about re-­opening it. After much consideration, they decided to renovate it, and in July 1972 they opened with the Australian film “Adam’s Woman”. To preserve the name of the original Lyric Theatre, they opted to change the “c” to “que” to indicate to the public that the new Lyrique theatre was under new management.
Theo and Margaret were now operating three successful cinemas in Newcastle city.
In the mid 1990s Coles, who occupied the premises next to The Lyrique, moved out, and since The Roma had been closed for more than 10 years, Theo and Margaret began thinking about extending The Lyrique into that space. Plans were drawn up to build two new cinemas to connect with The Lyrique, creating a complex they would call Showcase City Cinemas. It was an exciting development built in the art-­deco style to compliment the other buildings in the street. The interior was decorated with two of Margaret’s favourite colours, pink and burgundy. Showcase opened with “Anna Karenina” and “Brassed Off”. During the 11 years they operated the Showcase City Cinemas, Theo and Margaret enjoyed a good relationship with the film distributors who admired their energy and enthusiasm, and as a result they were able to screen some of the best films of recent times. Then in May 2008, Theo and Margaret were, suddenly and without warning, asked to cease trading immediately. It seemed that a wall in the adjoining building was not fire compliant, and although the walls of Showcase were, the developer (GPT) who had purchased their building from the previous owners in mid-­2007 was not happy with the situation. Their last screening as Newcastle’s popular and much respected cinema exhibitors was the opera “La Fille du Regiment” at the 1PM session on Sunday May 11, 2008.
(Footnote:-­ In September 2010, the Newcastle Herald reported that GPT had pulled the plug on its development of the Showcase City Cinemas site.)
OUR 72nd
NATIONAL PRESIDENT ELECT
SUE MILLIKEN AM has been elected 72nd National
President Elect, and a full profile of Sue’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
DAVID KILDERRY
22 Tea Tree Court, Lyndhurst, 3975
TONY BURKE
10 Bateman Street, Geebung, 4034
MAY 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
JOHN HARTMAN
ROB COPPING, ACS
John began his career in 1950 at Hoyts Theatres, firstly as an Office Boy, then as 3rd Spool Boy in the Projection Department at Sydney’s Regent Theatre. From there he went on to devote the next 40 years to the Industry he still loves. Rob left school aged 16 and worked as a trainee photographer in London prior to conscription to the RAF in 1952. He returned to England from the Middle East in 1955 and worked as a photographer at the Atomic Weapons Research Establishment (AWRE) at Aldermaston, and then for a commercial photo studio in London.
Christmas 1954 saw John leave Hoyts and travel to London where he was employed in the Cinema and Lighting Department of the Morgan Crucible Company.
In 1956 he returned to Australia was self employed as an Independent Cinema Proprietor in partnership with Merv Connell at the Rocket Theatre at Toongabbie in Sydney’s west. He remained in this venture until 1962 (by which time television was seeing the closure of many such small independent cinemas), and went to work for the Morgan Crucible Company again, this time at their Sydney Branch.
Then an opportunity came for John to join J.C. Williamsons where he was employed as Treasurer and was also involved in the management of their theatres from an office at Her Majesty’s Theatre in Sydney. From there, he moved to Queensland and became administrator of the Schonell Theatre at Queensland University.
In 1971 John was appointed to the position of Director of Theatre Services at the Cinema Center Group of Canberra. He was responsible to the Managing Director for group film buying and programming, the initiating of cinema management policies, and overseeing the operations in 9 cinemas, which included the Academy Twin Cinema in Sydney.
In March 1977 he became Programme Manager of Consolidated Drive-­In Corporation (a joint operation of Greater Union and Hoyts Theatres). Here he was responsible to the Board of Management for film buying, programming and initiating advertising and publicity.
In 1979 he was promoted to become Chief Film Buyer and Programme Manager of the Greater Union Organisation. This position was a direct progression from Consolidated Drive-­In Corp. Here he continued to buy and programme the Australia-­wide circuit.
Then, in July 1981 he moved into distribution, becoming General Manager of Greater Union Film Distributors. In this position he was responsible to the Managing Director for the Australian play-­off of product from overseas producers, Disney, EMI and Rank, which the company represented.
Travel, stars, premieres, the Oscars all became second nature during this time. London, Paris, Los Angeles, anywhere there was something happening in the Industry, John was there. Film sets such as “Condorman” in London, and “Something Wicked This Way Comes” for Disney. John has one of the few remaining daybills which were incorrectly printed with the title “Wicked Something This Way Comes” !!!
In March 1982, he watched the red carpet arrivals for the 54th Academy Awards at the Dorothy Chandler Pavilion in Los Angeles from the foyer – Vodka Martini in hand.
He helped oversee the World Premiere of “Can’t Stop The Music” which saw pretty much the entire cast (Village People, Valerie Perrine, Bruce Jenner and The Ritchie Family), along with Director, Nancy Walker and Producer Allan Carr in attendance. The premiere was held at the Paramount Theatre in Sydney with the after-­party organised by John Fraser, at Maxie’s opposite. Traffic in George Street came to a standstill as the many guests crossed the red carpet to the party. Allan Carr greeted local identities – an ex-­Prime Minister, Jackie Weaver, Michael Pate, George Lazenby, Michael Parkinson, Johnny Farnham… the list went on and on. Anyone who was anybody was there that night. The Premiere had 7 Network TV and front page newspaper coverage. It was quite an affair.
Seeking to improve his career, in 1986 John became General Sales Manager of Fox Columbia Tri-­Star Film Distributors, a position he held for 4 years until the amalgamation of Hoyts Distribution and Columbia Tri-­Star in 1990. Then in the four months following Christmas 1992, he took on a short term management position at the Tuggeranong Cinema Complex in the ACT for Terry Jackman, after which he retired.
John continued to serve the Industry in his retirement for 12 years from 1993 as a member of the Council of the Motion Picture Industry Benevolent Society of New South Wales. In 1958 he joined Guild Television Services in London, working in specialised cinematography making commercials for the UK and Europe. During this period he met David Bilcock, who suggested he came to Australia. In 1963 he moved to Melbourne and was employed as a cinematographer by Senior Films for five years. This was a most important period of his career.
In 1968 Rob and David Bilcock established Bilcock and Copping Film Productions and this quickly became a very successful venture. They joined Tim Burstall and together they produced and exhibited the Australian feature film “Stork”, which was a hit beyond expectations.
Graham Burke from Village Roadshow proposed a joint venture project, and in 1972 they made “Alvin Purple”, which became the most successful box office Australian film of all time. This success led to the formation of Hexagon, which produced a stream of films through the seventies. Tim Burstall, David Bilcock and Rob Copping formed the Production arm of this entity. Graham Burke and two other Directors represented Distribution and Exhibition. Alan Finney was also a key member of the team.
As well as feature films, Hexagon was involved with the production of several Cinema shorts and also in the encouragement of other film makers ranging from Producers, Writers, Directors, Art Directors and technicians, many of whom gained their first Feature Film experiences, often aided by participating Distributors and the production experience of the Hexagon team.
Rob has photographed, produced and directed films and videos in most categories. His credits include the feature films “2000 Weeks” (1968), “Stork”, “Libido” (“The Child” segment -­ 1972), “Alvin Purple” (1973), “Peterson” (1974), “Alvin Rides Again” (also co-­director – 1974), “End Play” (1975), “Eliza Fraser” (1976), “The Pirate Movie” (1980), and “Kangaroo” (1985 -­ 2nd Unit – which was adapted from D.H. Lawrence’s book).
Additional credits include a documentary on George Adams for Tattersalls, Cinematography of “The Tracking of a Galleon's Ghost” (1992 -­ a film on the attempted salvage of a Spanish Galleon in the waters of Guam);; “Forbidden Journey” (1986 -­ a one hour film on an overland crossing of Tibet) shown nation-­
ally on “Our World;; Producer, Director and Cinematographer “Procol Harum” (1970 -­ a one hour TV documentary on an iconic band of the day, which was shown Nationally on ABC and in the UK on BBC).
Rob photographed, produced/ directed over a thousand commercials, and it was the existence of high budget commercials that provided the expertise of many film mak-­
ers and technicians. He spent much time in Asia during the Eighties and Nineties, based in Singapore, working, mainly through Yarra Films. He worked as Producer/ Director for many Corporate clients and Advertising Agencies, filming in Singapore, Indonesia, Malaysia, Thailand, the Philippines and China.
Rob was on the committee of the Victorian Australian Cinematographers Society (ACS) for several years, and served as Vice President for two years in 1998/99. He has been fortunate to have won many awards during his career, and was inducted into the ACS Hall of Fame in 2004, which he considers to have been a great honour.
He was very pleased to be given the opportunity to serve as President of the Victorian Branch of the Australian Cinema Pioneers (2009-­2010), and was able to encourage some very noteworthy Victorian film makers to become members. Rob now lives on the Mornington Peninsular and continues to make films. Still photography also remains prominent in his activities.
QUEENSLAND’S
CINEMA PIONEER OF THE YEAR
SOUTH AUSTRALIA’S
CINEMA PIONEER OF THE YEAR
KATH HENRIKSEN
DAVID CONDON
In 1956 Kath joined the Tivoli Theatre in Brisbane as Secretary to the then Theatre Manager Charles Kerwin. The Theatre Accountant, Kath Murphy, became a mentor, a great friend, and a great influence on the new employee, who was eager to learn as much as possible.
David began as an unpaid 3rd boy one night a week at Woodville North Drive-­In in 1969, and then at Seaton Park Drive-­In, where on May 1, 1970 he was offered a full time position as the Assistant Projectionist by the State Managing Director of the Clifford Theatre Circuit. A condition of his employment was that he had to obtain his projectionist license in 9 months. The Tivoli Theatre, which opened in 1918 as a Vaudeville Theatre, now consisted of two theatres – a main theatre at street level, and a rather unusual roof garden theatre. The movie playing in Kath’s first weeks was “Rock Around The Clock” with Bill Haley and His Comets. The audience would dance in the aisles, and the building literally shook. Police were employed to control crowds in the theatre. For a person used to commercial offices, this proved to be an exciting entry into the movie industry for Kath.
This was a time when movies were the main entertainment in Brisbane. People queued for hours to attend, and Saturday nights were all pre-­booked. Unlike today, there were 20 to 25 Usherettes and Booking Clerks employed under the watchful eye of the head Usherette Dot Brown. The uniformed Usherettes were always immaculate.
In June 1965, the Tivoli closed for the purpose of extending King George Square and car park, and this attracted much public outcry and controversy. However, Greater Union announced that a replacement cinema would be built on the site of the Lyceum Theatre in George Street Brisbane, and this was completed in September 1965. It opened as the George Cinema with a gala opening ceremony and the movie “The Fall Of The Roman Empire”.
Shortly thereafter Kath was offered the position of Secretary to Charles Kerwin, who had become Manager of the new George Cinemas. She remained his Secretary until 1971 when Greater Union acquired the Metro Theatre, and a central office was created at the Odeon Theatre (which was previously known as The Majestic). At this time, Kath became Secretary to Greater Union’s Brisbane Managers – Charles Kerwin (George Cinema);; Harry Greaves (Wintergarden Theatre);; Eric Minns (Odeon Theatre);; Monty Wight (Forum Cinema);; and George Anastas (Metro Theatre – which was later to become the Albert Cinemas).
In December 1972, Bruce Hawkins was transferred from Sydney to Brisbane as Greater Union’s Queensland Manager. Subsequently, Kath became his Secretary and later shared this position with Jacki Purdon, who had previous experience in the movie industry. This arrangement continued for several years with great success.
He went to see Ralph Turner (the then Chief Inspector of Public Place Entertainment) and asked about the possibility of doing this – 12 months was the required time in those days. He was asked 3 questions, which he failed, but he was told that if he sat for the licence again and proved his capabilities he would be issued with one.
About 8 months later, David took the exam at the Wakefield Star, and this time he passed (he was asked the same 3 questions). He did some relief Assistant and Projectionist work, and eventually took over as Projectionist at the Semaphore Odeon. He also did some filling-­in shifts around the Clifford Circuit, which at that time consisted of 10 locations. He then went to the Vogue Cinema as the permanent Projectionist.
From there he was transferred to Hectorville Drive-­In, and then in order to Gilles Plains Drive-­In, Seaton Drive-­In, Marion Drive-­In and Elizabeth Drive-­In. He then moved into Adelaide city to the Hindley 6, and then to GU5 at the Cosmopolitan Centre. When GU5 went to one-­man operation, he worked between GU5 and Marion Drive-­In – everything else had closed.
In 1997, when the company came up with the concept of “Technicians”, David was kept on as a Trainee Technician (there could only be one technician at a location). When Marion 30 was opened, he became the Technician at GU5. Twelve months later (in 1998) he was asked to go to the 30 screen Marion Megaplex as the Technician, and he has been there ever since. As David reflects ... “To say that it has been ‘interesting’ would be an understatement. I have even managed to keep most of my hair. Over this time I have seen 35mm film start to disappear. Where we used to speak of scratched / faded / damaged / or out-­
of-­frame prints, the terminology is now corrupt DCP’s, malfunctioning light engines, or non-­working KDM’s. I have always enjoyed working in the Industry and with the people in it.” In the early 1980s, the Queensland office was relocated to premises vacated by Birch, Carroll and Coyle at 136 Elizabeth Street, Brisbane. This incorporated the Accounts Office under Rex Bartlett within the State Manager’s Office.
In 1988, Bruce Hawkins was transferred back to Sydney as General Manager of The Greater Union Organisation. Kath continued with promotions and advertising until a well-­earned retirement in 1991. During Kath’s career in the Cinema Industry, she became a member of the Australian Cinema Pioneers in 1989, along with Pauline Parker and Bev Townsend. These ladies were among the first to be admitted as Cinema Pioneers, as previously it had been an all-­male preserve. Kath also began serving as Treasurer of the Queensland Branch of the Cinema Pioneers in 1990 – a position she still holds today. For a period in the 1990s she also acted as Secretary.
Other positions held by Kath include Secretary of the M.P.I. Club, and Secretary / Treasurer of the M.P.I. Benevolent Association (QLD) from, 2001 to 2007. Along with Bev Townsend, she enjoyed being co-­hostess at the Movie Convention on the Gold Coast for some years during the 1980s.
It was a great time to be a member of the Industry – there were Gala Charity Premieres involving closing-­off streets, with brass bands and film stars entering the theatre on the red carpet. Other memories include lunch with John Cleese at an M.P.I. function, and a photo taken with Charlton Heston during his visit to Australia to promote his film “Mother Lode”.
Kath thoroughly enjoyed her years working in the Industry amongst many interesting and friendly people, and hope to continue these friendships into the future.
AUSTRALIAN CINEMA PIONEERS' WEBSITE
Check it out at www.cinemapioneers.com.au.
* Membership Application Forms for each State can be downloaded from the website. However, it is important that you select the correct Application Form for the state in which the applicant lives before downloading. This will ensure that the application goes to the relevant State President for processing. * The website will also provide you with updates as they occur regarding the use of the Pioneers’ Photo ID Membership Card for free admission to cinemas.
WESTERN AUSTRALIA'S
CINEMA PIONEER OF THE YEAR
HISTORIC CINEMA PIONEERS’ DOCUMENTS PRESERVED
One of the highlights of the 2010 Annual Dinner in Sydney was the presentation of the leather bound volume of application forms of the original Pioneers of our Society (1933 to 1939), together with an A3 mounted photo of the Australian Cinema Pioneers’ Foundation Members, to the Mitchell Library of the State Library of New South Wales.
HEDLEY SIMS
(On June 15, 2011, The Western Australian Executive Committee met and selected Hedley Sims as their “Cinema Pioneer of the Year” for 2011. Subsequently, State President John Polmear wrote to Hedley to advise him of his Award, only to be informed that he had sadly passed away on that day.
The Award is to be presented posthumously to Hedley’s widow Valmae at this year’s WA Branch Christmas function.)
Adrian Peter Hedley Sims (known as Hedley to everyone) was born in York, east of Perth in Western Australia in 1937, to parents who were in the farming and farrier business. It wasn’t until the Sims family moved to Midland Junction in the 1940s, and Hedley was exposed to photography and movies at Midland Junction High School, that his future career was mapped. Hedley joined a “Picture Circuit” where huge reels of movie film were transported around the countryside to local halls to show pictures to the various communities. He fell in love with the movie industry as he learnt to “thread-­up” the spools of film, strike-­up the arc, show the advertising and “Coming Attraction” slides (which were then on glass slides that had to be physically loaded into a slide projector), and then screen the picture the patrons had come to see.
Hedley gained his own circuit in 1957, and for many years screened movies in halls at Carilla, Byford and Cannington – halls that had a projectionist bio box attached to the building. At one stage he even contemplated opening his own specialty-­built “Picture Gardens”, but television was beginning to make its presence felt, and the “Cinema Industry” contracted into specifically-­built large movie houses. Hedley’s career in the Industry spanned fifty-­four years. He became the Chief Projectionist at the Piccadilly and the Grand Theatre in Central Perth, where he screened all the major films of the era. His expertise as a projectionist in the sourcing of cinema equipment was utilised on a consultancy basis by a number of other groups. As a member of the Australian Museum of Motion Picture Technology (AMMPT), he continued his fervour for the Film Industry to ensure that future generations become aware of past film technology.
This remarkable collection was found by Alan Rydge among the private papers of his late father, Sir Norman B. Rydge. Alan generously presented the volume to the National Executive Committee for safe keeping. Your Executive decided to offer the volume to the Mitchell as they have the most comprehensive collection on the history of our Australian Cinema in the country. The Membership Application Forms reflect a Who's Who of the Industry of the time including founder Stanley W Wright, Franklyn Barrett and Raymond Longford. Tracy Bradford, Senior Curator of Documents at the Mitchell Library was delighted to accept the volume from Alan Rydge. The Library has confirmed the volume and the photograph is being archived, and will be accessible to any member of the Cinema Pioneers and those historians and students studying the history of our Cinema Industry.
Alan Rydge presenting Pioneer Application Forms 1933-­1939 to Tracy Bradford of the Mitchell Library.
Hedley Sims was a true stalwart of Western Australia’s movie entertainment scene, and will be sadly missed by his family and his Industry colleagues. 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. To acquire a Photo ID Membership Card, simply have a passport photo taken at a local chemist or Australia Post shop and send it (together with your existing blue 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.
IMPORTANT CHANGES REGARDING COMPLIMENTARY ADMISSION TO CINEMAS
Our 2011 National President, John Kirby, has been working hard to achieve a consistent policy agreement across the three major circuits and Reading, Palace and Wallis regarding the use of the Pioneers Membership Card for complimentary admission to cinemas. The policy agreement (below) has been reached on the basis that Photo ID Membership Cards be introduced immediately. To facilitate the changeover from the existing blue Membership Cards to the new Photo ID Membership Cards, Village, Greater Union and Hoyts have kindly agreed sponsor equally the cost of the production and issuing of the new cards.
(See “Replacement of Blue Membership Cards with the new Photo ID Membership Cards” for details of how you can replace your exiting blue Pioneers Membership Card with a Photo ID Pioneers Membership Card.)
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 (now including Avalon, Collaroy and Warriewood 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, Nambucca Heads and Grafton, 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, A.M.C. Cinemas (at Stafford, Sunnybank, Redcliffe, South Tweed Heads, Noosa and Frankston), 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. 78th ANNIVERSARY DINNER AND 2011 ANNUAL GENERAL MEETING
The Year 2011 Annual General Meeting and 78th Anniversary Dinner will be held on FRIDAY NOVEMBER 18 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.
As it was generally accepted that our guest speakers over the past two years – David Stratton and Margaret Pomeranz – added an enjoyable dimension to our Dinners, your National Executive Committee is pleased to advise that this year our special guest speaker will be popular media personality JOHN MICHAEL HOWSON.
Members are reminded that they can bring their spouse, family member or friend to the Dinner. However, non-­
members will have to pay a less subsidised cost of the Dinner, and not the heavily subsidised cost extended to members. 2QFHDJDLQGXHWRWKHJHQHURXV¿QDQFLDOVXSSRUWUHFHLYHGIURPZLWKLQRXU,QGXVWU\WKHFRVWWRDWWHQGWKH
Annual General Meeting and Dinner will remain at last year’s amounts of $55 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 4, 2011.
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:-­ The SWISSOTEL has advised that due to changes in management and company policy, it is not able to offer special accommodation rates to members and guests attending the Dinner this year. 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 2010 Pioneers’ Bulletin and Membership List, and the 77th 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), Ray Brown, Classic 99 Pty Ltd (John Reid), Ray Edmondson, Elm Films Pty Ltd (Lynda House), Ross
Entwistle, Hoyts Corporation Pty Ltd, ICAA (Mark Sarfaty), Independent Cinemas Association of Australia, Motion
Picture Exhibitors’ Association of Qld (Inc.), Pacific Cinemas, Palace Cinemas, Paramount Pictures Australia Pty.,
Roadshow Films Pty Ltd, Samson Productions (Sue Milliken), Sony Pictures Releasing, Eugenie Tasker, 20th Century
Fox Film Distributors Pty Ltd, Universal Pictures International Australasia Pty Ltd, Val Morgan Cinema Network, Frans
Vandenberg, Village Roadshow Limited.
VALE -­
HONOURING THOSE PIONEERS WHO LEFT US DURING THE YEAR
Max Adams, Isobel Bambrick, Peter Brock, Patricia Brown, Reg Burbury, Carmen Coutts, John Davies, David Drummond,
Brian Duffy, Tom Francis, Noel Hallam, Frank Henley, Rick Hill, Noel Jacobson, Lindsay Jones, Cyril Keir,
Louie Keramidas, Cec Knowland, Geoff Levers, John Lloyd, David Macwhirter, John Marsden, Allan Morley,
Margaret Murphy, Don Oughtred, George Pitts, Hedley Sims, Alex Sharp, Roy Smyth, Jack South, Ken Spicer,
Brian Stuart, Alex (Sandy) Thom, Meg Thomas, Owen Tuckey, Allan Whitta, Bill Wylks
WHO IS ELIGIBLE FOR MEMBERSHIP?
Persons who have been employed on a FULL TIME basis in ...
The Cinema Exhibition and/or Distribution Industry, or
The Production of Motion Pictures for Cinema Exhibition,
for a period of 20 years or more, and can provide proof of their service, will be eligible to apply for membership of The Society Of Australian Cinema Pioneers.
(It should be noted though that the production of motion pictures, mini-­series or commercials that are screened on television or are released on video or DVD and are not shown in cinemas is not to be taken into account when calculating the required 20 years full time employment in the Cinema Industry.)
Please remember -­ all applicants are required to provide the names of two current members of the Australian Cinema Pioneers who are able to verify the information contained in their applications, and a once only application fee of $100 must accompany all applications for membership.
IMPORTANT: New applicants should also supply a passport photo with their membership application form to allow a Photo ID Membership Card to be produced for them.