The British needlewoman follows blindly where the merchant leads.
Build into each budget the cost of hiring and don't lump yourself with capital investment.
Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.
Ten years ago I was not heavily involved in the film world but on reflection it was a boom time with the mineral boom happening, so there was immense growth for industrial training films, documentaries to do with the mining, and the outback world.
The dichotomy between art and industry is totally dysfunctional in terms of film.
The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.
The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.
The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.
The worst thing that you can do in terms of bringing a product up to the market is to be two days after someone else has brought a similar product to the international market-It's dead.
In 1975 Australia was producing things like Picnic at Hanging Rock, in other words films that I would consider still some of the finest products to come out of Australia. I think that our quality now is less than it was then.
I think the long-term effect of video on cinema is good in that what we are now getting up there on the screen is of superior quality. Videos are just so much more sensitive to the world.
Any new producer starting up is to get investors' confidence. Investors are still very very wary of anything to do with the arts world.
We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.
Film is the most expensive, highest risk industry in the world.
Video just accesses international information so much more readily.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.
All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.
I see any production of any nature being good for the development of the whole industry.
We are the only state that does not have a State Film Corporation there to support the commercial industry.
