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Hello. I'm James Valentine. This is The Mix Remixed. This is where we take
our best stories from 2016 and we prepare them for summer. We put little swimmers on them,
give them a towel, enough money for an icy pole and send
them off to the beach for the day. Here's what we're gonna do.

Bigger than Ben-Hur. Quentin Tarantino's old-school
roadshow is giving it a shot. I actually teared up when I watch. We take a look
at the cult film craze. We actually sold out
our 700-seat cinema. We just committed to running it
every month no matter what, and now here we are three years
later and we haven't looked back.

Tell her it's for luck. And the metaphysical man
behind the megahit movie Ghost. I wanted to write a movie
that basically implied that life begins
somewhere before you're born and continues after your death.

When television took off and became
very popular in the 1950s and '60s, Hollywood fought back with an idea
they called 'roadshows'. These were widescreen releases
and big productions - things like Lawrence Of Arabia
and Ben-Hur. As technology advanced,
the roadshow got left behind, but Quentin Tarantino thought he'd
give it another shot last year for his film The Hateful Eight, and he took our very own movie tragic
Jason Di Rosso along for the ride.

Here we are at the Cremorne Orpheum
in Sydney. You can hear the overture
playing in the background. This is one of six theatres
in Australia giving Quentin Tarantino's new film
The Hateful Eight the full roadshow treatment. So what is a roadshow? Back in their heyday,
roadshows were big events. Studios screened their prestige
releases on giant 70mm prints with limited theatrical engagements
in larger cities. Audiences got dressed up,
there was reserved seating, an overture to set the mood
as you took your seat, an intermission and they even
gave you a program. Congratulations on the film.
Thank you. What do you love about the roadshow
release strategy? It's like that blast from the past
sort of experience when you go and there's
the intermission and so forth and also just seeing it
projected on 70mm, there's just something
really magical about that. I couldn't agree with you more. I was at the Sydney premiere. It looked wonderful. I mean, the colours in it,
it looked terrific. I could see the audience
really responding to the movie. They responded to the overture. It was really nice. Richard, how different
is a roadshow screening to the sort of screenings
you're used to doing? It's completely different. It's an amazing experience
to look out, see a sea of people in
the auditorium, the music, the overture music is playing,
the curtains are opening, the lights are dimming,
people are getting so excited about the prospect
of seeing the movie. And from a projection point of view,
it's fabulous.

Online, I saw this little short
film that the theatre in Melbourne has put together to put together
a 70mm projector, they found one, they found the different parts. I actually teared up when I watch
that little short film, because wow, they really care. They're really trying to present
my movie in the best possible light and it's not even
like they had it set up. They went out to do it
and it was just so touching.

It's a lot of work
from a projection point of view. The 70mm print is quite heavy.
(CHUCKLES) It arrives in individual reels which then have to be
physically made up by us and put onto the platter, the projector threaded. And you can actually see
the film running, you can see the projector starting, you can see the first frame
of image coming to the projector. It's an amazing experience
but it's a very hands-on experience which is what film always was. Well, here's what makes 70mm
so glorious. The movie is shot in 65mm,
then projected in 70mm with an image twice the size
of what you're used to! Which will make your
enhanced viewing even doper! When you see the grain of 70,
you see the colour of 70, like the wide shot inside the barn
and the close-ups of the faces, it's beautiful. We all know we're gonna tackle this. Tell me about the camera and the
lenses that you used on this film, because there was a lot of
dusting off of boxes, I hear. Oh, yeah, good way of saying that. I knew I wanted to shoot in 70mm, and so my magnificent
cinematographer Robert Richardson went down to Panavision
to just investigate the different 70mm lenses they had, just to see what could be the best
look for what we're trying to do. And while they were there, they noticed these crazy dinosaur
lenses that were on this shelf. And he was like, "What's that?" And they go, "Those are the
ultra-Panavision 70 lenses." He goes they have the special format
they shot It's A Mad Mad World in, they shot Ben-Hur and the Marlon
Brando Mutiny on the Bounty. And he goes, "Oh, so they used
lenses like that?" "No, no, no,
they used THOSE lenses." Bob was like, "Do they work?" And
Panavision was like, "We think so." Then it became an issue
of testing them, seeing what the limitations were,
what the problems were, could they be tweaked to fit
with a modern camera? And Panavision did it. Panavision actually looks at The
Hateful Eight as a legacy movie, as a movie to really show
what they can do.

It's the intermission. Now, during roadshow releases,
there was always an intermission between act one and act two,
which was a time you could go to the concession stand
and buy something to eat, talk to your friends
about what you'd seen, and talk to your friends also about what you thought
you were about to see. But of course,
there's one more thing attracting people to this latest
Tarantino film in its roadshow form. Not only was The Hateful Eight
shot on film, but as a roadshow, it's being
projected on film as well. And that makes it quite a novelty. This is the first time
we've run film for three years. So having to go back and remember
everything that you had to know when you were running film has been quite
an interesting experience. Film is, in many ways... People were thinking
it was going to disappear forever and be replaced by digital. But there are a few directors,
yourself, Christopher Nolan is another one, others who love films,
are still working on film. How difficult is it to keep the
faith as it were and work on film? It was in a dire straits not
last summer but the summer before last. We almost lost film altogether. Literally they were gonna
close up the plant and that would've been it
for 35mm film as we know it. That didn't happen, and part of
the reason it didn't happen was Christopher Nolan led the charge
to stop it from happening. So we got a stay of execution
for quite a bit. Given the audience reaction you've
seen to these roadshow screenings, do you think there's any future
for this kind of film presentation? I hope so! I certainly do. The impact that this particular film
has had as a roadshow presentation has been quite phenomenal. And I would certainly be quite happy
to see not only roadshow presentations but
also 70mm come back for the future.

Cult movies have a life of their own. Despite their questionable
production values, they often have legions of fans. The Room is one such film. It's so bad it's been called
the Citizen Kane of bad movies. Here at The Mix, we were wondering
why these things end up so popular, so Mix producer Richard Mockler
went along to The Room and he braved some flying spoons
to find out.

RICHARD: These are the fans,
or soon to be fans, of The Room... So, this will be my third time
seeing the film. I'm not an expert.
I am a Room virgin. ..a film that, over a decade ago,
was a box-office flop. Now it's selling out theatres. MAN: This hadn't screened in Sydney,
I think, for at least a few years. And when we put it on, we actually
sold out our 700-seat cinema. And we thought,
"Wow, this is crazy." We just committed to running it
every month, no matter what. Now, here we are, three years later,
and we haven't looked back. And Alex isn't alone. # I saw my baby... # Theatres around the country
are adding cult classics to their regular schedules. Next month, you can get lost
in Jim Henson's Labyrinth at the New Farm Cinema in Brisbane. You can take your Droogies
to see A Clockwork Orange at the Astor in Melbourne. And even big chain cinemas
have joined the cult, screening the likes of Donnie Darko
and The Shining. Here's Johnny! Cult cinema just comes from
having a cult following. So, any film can be a cult film. Like, it's a crowd-pleaser, but a weird crowd-pleaser,
if that makes sense. It's like a film
for the weirdos, perhaps. # Let's do the Time Warp again... # So, the Rocky Horror Picture Show
is probably the cult film to end all cult films. It screens all around the world,
all the time. When I first started programming, I just thought, "I'll just
pop it on one Friday night." And then people started
emailing and calling, asking, you know, like how much
could people get involved. And I realised that
that was something people still really want to do.

ALEX: Alright, guys,
now we would like to invite the first five biggest Room fans
to make their way onto the stage. The amount of people that want to
talk about this movie, I mean, we have university students who are actually doing,
like, papers on this. Like, they're actually studying
this film and why it's a hit. "Wow, you look so sexy, Lisa."

It's so bad on every level -
the acting, the writing, the dialogue, everything - you want to keep watching
because you get this sense that the person behind this
believes it's good. He's not deliberately
making a bad movie. He's legitimately putting
his heart and soul and his whole being into this movie, thinking he's making
this dramatic masterpiece, which he's not. But that's the fun of it. Meet Tommy Wiseau, the man behind everything
to love and hate about The Room. He wrote, directed, produced
and even financed the film. And as you may have noticed,
he's also the star. It's a plot lifted
from Bold and the Beautiful. Tommy plays Johnny, living the dream
in San Francisco. He's up for a promotion at work, and
is engaged to his girlfriend, Lisa. Lisa is cheating on him
with his best friend. I'm so happy I have you
as my best friend, and I love Lisa so much. And the majority of the film involves
Lisa emotionally torturing Johnny, who has no clue what's going on. You are tearing me apart, Lisa! Throw in a cast of confusing
secondary characters, let them vaguely
cross paths for way too long, and there you have it - The Room. KATE: The Room's an interesting one because it has this really bizarre
life beyond the actual film. It's similar, in a way,
to Showgirls. You know, there's that whole debate of whether the director and everyone
in the film, except for the star, knew that they were making
a bad movie. You keep thinking, "Does she know?
Does she know what she's doing?" 'Cause she is giving
the performance of her life. Does Tommy Wiseau think
he's made the greatest film ever, or is he in on the joke? I don't know. Either way, did Tommy have any idea
THIS would happen? (AUDIENCE JEERS) The best record we've ever
had for spoons is going through about 10,000
in one night. Initially, the people that were
watching it in LA and having viewing parties, and
coming up with little things to do, and as it travelled overseas,
those things have come with it, to the point where the director
actually sends you a cheat sheet - things you're meant to yell
at certain points in the movie, what to do with your plastic spoons. OK, someone please explain
the spoons. Well, he's inexplicably
decorated his entire house with photos of spoons. Someone, at some point, came up
with the brilliant idea that whenever one of those
spoons is on screen, you just start throwing
plastic spoons at the screen.

More and more, I think people
are after collective experiences. And I think that's really
what sets the cult films apart. It's not a pure
cinematic experience, where everyone needs to be
deathly silent. Like, there's a bit of
joy in the air. (CHEERING AND APPLAUSE)

I'm James Valentine.
This is The Mix Remixed. In a moment, we're going off to
the pub to talk about documentaries, but just before we do, let's take a look at another aspect
of our movie-going appetite - the big superhero franchise. Every second movie's
one of these things, isn't it? But we thought
we'd consider the pioneers. Here's a top five. The top five longest-running
movie franchises.

At number five, it's all aboard
the USS Enterprise for Star Trek. There have been 12 films released
over the last 36 years, six of which involved the classic
cast led by William Shatner. Then there were four Next Generations
and two recent reboots.

In 1980, a slasher film came along that gave the hockey mask
a bold new look.

Friday the 13th hacked its way
through 12 bloody incarnations, including a collaboration
with the Elm Street crew in Freddie Vs. Jason and a reboot in 2009.

Number three is Bond.
James Bond. Since 1962,
there have been 25 Bond films made. Some other vital stats -
six actors have played 007, 61 women have had the pleasure of
kissing or bedding the secret agent - that's an average of 2.44 women
per film... Bond, what do you think
you're doing? Keeping the British end up, sir. ..and Bond has killed
a total of 220 people...

..thankfully, all of them baddies. World domination,
that same old dream. A giant green monster
called Godzilla has been angrily stomping
on Japanese cities since 1952. He terrorised a few American ones
in two US versions as well, but all up there are 30 films
in the franchise. Now really let's see those chests
come out. Who would have thought
that entendres and innuendo would have such longevity? Ooh! The Carry On films started in 1958
with Carry On Sergeant, and they are now up to number 31.

Get excited, people,
the cheap British sex farce will soon be foisted upon
a whole new audience - there are two new Carry Ons
currently in production.

Alright, time to have the Pub Chat. I'm a little nervous because
we're doing documentaries and I feel this should be
a very authentic moment. I'm just worried
that it's a bit fake. Performance is great. Are you alright, Jen Peedom?
Yeah, I'm good. Jen Peedom, maker of Sherpa
and many other fine documentaries, usually set at high altitude. Michaela, you like to be
more at sea level, I understand. That's right. Michaela Perske, you've just been in
the Sydney Film Festival. What was it? We had our feature documentary,
Destination Arnold, in there which got a special mention
at the jury prize, which is great.

MAN: Want to turn to your right.

So body building,
mountaineering with Sherpa - I'm getting it. MAN: In the single worst tragedy
ever on Mount Everest. WOMAN: Trying to make the way safe
for international climbers. Tonight, at least 12 people
have been killed, all guides known as Sherpas. Yours is a fascinating example
of the story you wanted to tell that's not what you ended up with... Well, you would say that
but it's actually... I would.
You would say that. But you couldn't have known
that there'd be the disaster. You couldn't have known... I couldn't have known
that there was a disaster but what I knew
was that there was conflict, there was going to be conflict,
because this tension... And through Facebook
I really knew this, because the Sherpas
were really huge adopters of that and I was observing online that they were absolutely at a peak
where...they had the shits. MAN: Sherpas see how much credit
Westerners are getting for a climb on Everest and they know that they've done
most of the grunt work.

What we set out to do
was to explore that tension, that growing tension
between that relationship. You know, there were many
deaths on Everest this year and it proved that there is... ..stuff goes down
absolutely every single year and Sherpa lives are put at risk
every single year so if it hadn't have been
that thing, there would have been
other smaller things. Yeah. Yeah, yeah. Did you know what was happening
in Destination Arnold or was it... Well, we did. "I like these characters.
I want to see what happens"? Well, we kind of did.
I mean, we sort of came into it and the girls had been prepping
for a competition that they had to do, like their first
body building competition in order to get them
to the Arnolds. My body-to-be, that's what I want. (WHISPERS) Just got to lose this. On paper it was like, "This is going to happen
then this is going to happen," and of course that didn't happen, and the film was meant to take us
six months and it ended up taking us two years. You've earned the right
to get on stage with the best athletes in Australia.

I mean, in one sense
I think it would be a great time to be making documentaries. The technology is very accessible, you can be putting cameras
everywhere. Is it easier or harder now?

I think it is a really exciting time
to be making documentaries. You know, documentaries used to be
the spinach of filmmaking and I don't think they are anymore. The spinach... (LAUGHS) I think the fact that, you know,
they are showing on the big screen, Sherpa is still in cinemas
10 weeks in, and I think there is an appetite
for them and they are becoming... ..they're becoming
more like movies in many ways. I mean,
when we decided to make Sherpa, we very much...very clearly set out
to make a movie. So the audience has changed,
Michaela? I think the audience
has changed a lot and I think, you know,
Michael Moore actually has quite a lot
to thank for that, to be honest. Hi. I'm Michael Moore. In my home town of Flint, Michigan, General Motors closed the factories
and put 30,000 people out of work. To raise their spirits,
I made this movie. His first film, Roger and Me, it broke down the mould of the way
people think about documentaries as this really boring thing
of some guy sitting there and then it's going to have archive. And I think that audiences
really want to engage in those real-life kind of stories. Is there a purist approach
to documentary that suggests the Michael Moore thing
is a problem? It brought an element of showbiz,
an expectation of entertainment into documentary making? I think when that first started
happening, there was resistance, but I think
that has really shifted now. There is a real sense that those
things and those techniques are acceptable now. It's just people are starting to
play with the form and playing with the form
is becoming expected rather than, you know,
the unexpected, I guess. Yeah, and I think also just the way that people engage with technology
now, it's completely different. You know, you can find things
on, you know, social media and you can find things here
and you can find things there, so I think
one of the biggest challenges for documentary filmmakers is to constantly kind of be
pushing the boundaries of how you tell a story or how you engage an audience
in a really interesting way. I mean, a film like Catfish, I
think, is an interesting example.

WOMAN: Hello?
Hey, Megan. Hi, how are you? Your voice is not at all
what I expected.

They're making entertainment and there's two kinds
of entertainment, really. There is the one
where you can escape and there's the other kind
that engages. Right. But all of it should entertain
in some way, shape or form. I did have a radio mentor
at one point who said, "Just because it's worthy doesn't
mean it's allowed to be boring." It's a joke that we actually have
in our office and in the edit suites and stuff
whenever we're making a film - don't ever use the word 'important'. You know, as soon as you kind soon as you say, "This is a really important film," you're kind of putting this
weight on the film straightaway and I'm sure, like,
most documentary films are important but I think it's about... I think it's about kind of going
beyond that in some way and you want to be entertained
and engaged and informed. Let's finish off
with your touchstone documentary. When you're in the thick of it
do you think, "Wow, this could be as good as..." I just adore anything
by Errol Morris. And Werner Herzog -
I completely love Grizzly Man. I think
that's an extraordinary film. Michaela. My two picks would probably
be Kansas, which is a film... It was one of the first
kind of observational kind of frontline films about a
big strike that happened in Kansas. And the other one
would have to be... It's the all-time classic,
is Grey Gardens. Well, thanks. I think it's been
a really important Pub Chat and we've really touched on
some issues and we're now going to do a lot
of slow-motion walking shots just to pad it out for a feature. Cheers.
Thank you.

Bruce Joel Rubin. You don't know the name
but you know his work. He wrote one of the most popular
movies of all time, Ghost. He was in Australia last year promoting the musical version
of the film Ghost and we ended up talking to him about the afterlife, acid trips
and the seductive art of pottery.

Well, this is a complicated subject, and I honestly can talk about it
forever, different ways. MAN: (ON RECORDING) LSD was isolated
by Stoll and Hoffman in a Sandoz pharmaceutical company
of Basel, Switzerland. A friend of mine
was a friend of Timothy Leary's. He gave me a tab once to take that I carried around,
waiting for the right day, and that day came once and the tab
didn't seem to have any effect.

The man who supplied Timothy Leary
from England has brought Sandoz acid
from Switzerland and asked to leave it
in our apartment, and my friend said, "Fine." So when my pill didn't work, he went
to take an eyedropper's worth of LSD and give me a drop, and the one drop just turned into
the entire eyedropper, right down my throat, and everything in my life
changed from that moment on. I mean, truly nothing
was ever the same again.

It's a journey
beyond life and death. It's transcendent, it's mystical, it's sort of everything
you don't expect in the world, and unexplainable on so many levels. But when I came back from it, I kind
of said, "Why have I come back?" And this voice -
I don't know where it came from - said, "To tell people what you saw." And thus I was given a career.

My first film
was a film called Brainstorm, noted for, unfortunately,
Natalie Wood's demise in the making of the movie. But it's very much, in a way,
the first virtual reality movie - in which someone puts on a headset and is able to experience another
person's thoughts, feelings, emotions and experience of life.

I did a movie called Jacob's Ladder
with Adrian Lyne, which is...basically
the Tibetan Book Of The Dead as a Hollywood film. I'm not dead. What are you, then?
I'm alive. I wanted to write a movie
that basically implied that life begins
somewhere before you're born and continues after your death. That was very important to me, because again,
part of my early experiences were proof of that, in a way, and I wanted to make something
that wasn't a fantasy that had a kind of imprint
of "This is what it is", and Ghost became that story.

I had to learn
how to pitch the story. And you have to understand -
executives in Hollywood are the most jaded audience
you can possibly imagine. You open with your first line
and they're going... that, and so you can't let them do that. And I had to go back
to my kindergarten teacher, who used to find a way to
keep us like this.

And that's what I had to do,
and I had to get that, and the way I found out
that would work is when I said,
"And then Sam is shot." (GUNSHOT)

And then one of the producers,
Lisa Weinstein, cried as I told her the story, and I said, "She's the one,"
and she became the producer.

The idea of Jerry Zucker
directing Ghost, to me... Let me even start again, if I can.

I got a phone call
from the vice president of Paramount saying, "Are you sitting down?" I said, "Yes." She said,
"We have a director for your movie." And I...I mean,
I can't tell you the excitement, and I was thinking
Spielberg, Scorsese. I mean, my head
was filling with possibility. And then she said, "Jerry Zucker,"
and I kind of collapsed inwardly. What can you make out of this? This? Well, I could make a hat... ..or a brooch, or a pterodactyl... Beetlejuice had just come out,
and I could see they would want to just
turn my movie into a total comedy, and the director of Airplane! seemed
like the perfect person to do that, and I was really unhappy. And keep an eye on that number three
engine gauge over there. It's running a little hot.

And I talked to Jerry and I said, "Jerry, I'm very happy
to get together with you "and to sit and talk,
with one ground rule - "we can talk about anything
except Ghost."

And he said, "Fine." And we went out to dinner
and we had the best conversation. For hours, we talked. And we became friends
in this conversation, and that friendship continues
to this very moment. That's a knife. I was very much in support
of Paul Hogan in Ghost. I thought Paul would be great. He was very hot. He was coming
off of Crocodile Dundee. We had...I believe been turned down
by Tom Cruise and Harrison Ford. Harrison, who it twice
and said, "I still don't get it." Ditto. Tell her ditto. What the hell is 'ditto'? Ditto! I had a girlfriend who would tell me
she loved me all the time, and I could never find the way to
say "I love you" back. I couldn't do it.
So I'd go, "Ditto." "Ditto." And it became part of our life.
We just... It was understood I didn't say
"I love you" - I said "ditto". But it was really my inability, 'cause when I met the woman
who I married, saying "I love you"
was not hard at all.

My wife was not the inspiration
for the potter's wheel, even though she was a potter. The pottery scene, when we shot it,
was so crazily erotic that even though
we were then planning and actually did shoot
a lovemaking scene to follow it, when we cut the film, we said, "We
don't need the lovemaking scene." And then the movie came out and it became the scene
that everybody talked about, and everyone looks at me now when
they know that my wife is a potter, and they all believe
we spend our time together playing with the pottery wheel and falling on the floor immediately
afterward and making love. It's a little bit of
an awkward situation for me.

And finally on The Mix, I'm sure you're familiar
with the myth of Sisyphus, who was condemned for all time
to roll a boulder up a mountain. It's not surprising this ended up
an inspiration for a coffee table.

This is Sisyphus. It's a kinetic art table
that utilises a robotic magnet to heroically push a ball
endlessly through sand, creating mesmerising patterns.

The genius underneath this tabletop
Greek tragedy is a tiny computer which plays a series of patterns
in the way an MP3 player plays music. In fact, its creator, Bruce Shapiro, says it's very much like
a musical instrument, but instead of songs it plays paths. And like the Greek hero,
there's no stopping because there's no on and off switch. But the pattern's speed and lighting
can be controlled through an app. It's like having
your very own Zen garden.

Ah, feeling more relaxed already.

Well, that's about all
we've got time for. Don't forget to follow us
on social media, on Instagram, and there's lots of great stories
on the ABC Arts Channel on iview. I'm James Valentine. We'll be back with brand-new Mixes
in February.

Captions by Ericsson Access Services Copyright
Australian Broadcasting Corporation

This program is not captioned.