Friday
May 31
THE
DEATH OF INDEPENDENT FILM? "Making movies is not the
same as it used to be. The golden era of '80s and early-'90s American
independents, in which directors like Jim Jarmusch, John Sayles,
and Good Machine-nurtured auteurs such as Hartley, Lee, and Todd
Haynes flourished, is no longer possible. Where there once was
funding for innovative newcomers through foreign financing and
the burgeoning video market, overseas funders are now scarce,
video sales are down, and there is an increased reliance on foolproof
bets. And like the burst of the dotcom bubble, the very success
of the independent film has led to its gradual decline, with studio
systems co-opting some of the brightest new talents (David O.
Russell, Christopher Nolan) and the challenging economics of the
film business excluding so many others."
Village Voice 05/28/02
THE
ACTION COMIC BOOK MOVIE: Why are they so popular with movie
studios? "Above all, these movies are bankable. The audiences
are pre-booked. Whatever the critics say, brand loyalty will assure
the all-important first weekend take. They'll go to ACBM2 because
they went to ACBM1. And if the critics say 'don't go', they'll
walk right over the critics on the way to the best seats."
The Guardian (UK) 05/31/02
Thursday
May 30
WORST
CANNES EVER? This year's Cannes Festival was as overhyped
as a filmfest can get, and the howling of the critics could be
heard worldwide as a result. But was this year's installment of
the world's most prestigious film festival really its worst effort,
as some have charged? Not likely. "Though the hype continued
unabated, the naysaying of the first week proved to be an overreaction.
While lacking in masterpieces of the epic variety, the second
half of Cannes showed what film is all about--devious experimentation,
political films of the moment, and severe art films with little
commercial viability in sight." City
Pages (Minneapolis/Saint Paul) 05/29/02
Wednesday
May 29
THERE'S
ALWAYS ONE OR TWO WHO SPOIL IT FOR THE REST: How did the French
movie Baise-Moi get banned in Australia? An Australian
parliamentary committee wants to know. "The director of the
Office of Film and Literature Classification, Des Clark, said
that of about 50,000 Australians who saw the film in the three
weeks before it was banned, 'one or two' had lodged a complaint
with the office." The
Age (Melbourne) 05/29/02
- AND
SPEAKING OF DIRTY MOVIES THAT AREN'T... The British Film
Classification Board, the duties of which fall somewhere in
between a ratings board and a national censor, seems to be relaxing
somewhat its standards for what is allowable in English cinema.
More films are being allowed to screen, and there is a movement
afoot to make national age standards for attending certain films
advisory rather than mandatory. BBC
05/29/02
CLEAR
CHANNEL'S BLURRY FUTURE: No company is more powerful in the
world of American radio than Clear Channel Communications. The
company owns more radio stations in more markets than any other
company, and is more or less responsible for the generic, predictable,
nationally repetitive formats that consultants say are guaranteed
to pull in listeners. So why is Clear Channel losing money hand
over fist? Washington Post 05/29/02
IMAGE
MAKEOVER: Britain's Channel 5 is something of a national joke,
known mainly for showing soccer matches, bad movies, and soft-core
pornography. But the channel is attempting to broaden its appeal,
and programmers see the arts as the way to better demographics.
"There will be 28 new half-hour arts shows after successful
prime-time trials." BBC 05/28/02
Tuesday
May 28
THE
END OF FILM? There are many practical reasons to like digital
filmmaking. And many are predicting the end of film, as more theatres
begin projecting digital movies. But not so fast - "it appears
that we're in for a long coexistence, since most cinematographers
are not about to abandon shooting on film and digital projection
is still in its infancy." Los
Angeles Times 05/27/02
"REALITY"
IS RELATIVE: The problem with the spectacular digital effects
in movies? The real people in the scenes look fake. So they're
taken out and replaced with computer graphics. "Interaction is
much more believable when digital characters are interacting with
digital effects. In the future, to get work actors will need to
be trained how to act and interact when no-one is there."
Sydney Morning Herald 05/28/02
MINORITY
REPORT: After being criticized for their record on including
minorities in their programming, American TV network executives
say they're doing better. "Executives at ABC, NBC, CBS and
Fox last week pointed out how most of the new dramas and comedies
coming this fall feature at least one minority character, and
several new ensemble dramas feature minorities - primarily African
Americans - in key roles. Minority groups disagree. "We were looking
for growth, and there isn't any. We have concerns to the extent
that there are no central or lead minority characters on the new
shows. Yes, there are blacks and Latinos on some of the shows,
but the numbers on Asians and Native Americans are dismal."
Los Angeles Times 05/27/02
Monday
May 27
A
RECORD MOVIE YEAR? It's been a great winter and spring for
the movie box office, with revenues way ahead of last year. And
"with Spider-Man and the new Star Wars as lead-ins
to a huge summer film lineup, the season is shaping up to break
last year's domestic revenue record of $3.06 billion from Memorial
Day weekend through Labor Day." Nando
Times (AP) 05/26/02
MAYBE
IT RUNS ITSELF? The Australian Broadcasting Company has had
a rocky year as it's struggled to find a new managing director,
after former top boss Jonathan Shier left. But it turns out the
TV network has had one of its most successful periods ever in
the ratings, with a substantial boost in viewership recorded in
the latest ratings period. The Age
(Melbourne) 05/27/02
OUR
VIDEO FUTURE: "Despite the recession, a prolonged technology
slump and Sept. 11, sales of video game hardware, software and
accessories increased 43 percent last year, to a record $9.4 billion.
A number of industry executives and analysts say that the current
economic wave is rooted in both the cycle for new generations
of video game players and the demographic shifts that have taken
game playing out of the realm of cult status and into the mainstream."
The New York Times 05/23/02
WHAT
WOMEN WANT? "By and large, designing video games for
guys does not require an enormous amount of imagination. Girls
are a bit more complicated. Despite countless research projects
into women's needs, video game makers still aren't sure what female
gamers want. They all know it's a market with enormous potential:
'female' software currently makes up less than one per cent of
the total video game industry, which last year made close to $20
billion, more than Hollywood takes at the box office." The
Age (Melbourne) 05/27/02
FAILURE
TO POP: High-art practitioners have long complained that TV
pays little attention to them. But the same can certainly be said
for pop culture. British "television's culture tsars either
do not understand pop culture, or simply do not like it. There
is little other reason for television's tokenistic treatment of
both popular music and film, the two most defining cultural mediums
of our time. While broadsheet newspapers in this country belatedly
cottoned on to the importance of both forms and began expanding
their coverage accordingly, television has lagged behind to an
embarrassing degree." The
Observer (UK) 05/26/02
Sunday
May 26
POLANSKI'S
PIANIST WINS CANNES: Roman Polanski's film about the Holocaust
wins the Palme d'or at the 55th Cannes Festival. "The film
stars Adrien Brody as a brilliant Polish pianist who manages to
escape the Warsaw ghetto. As boy in Poland, Polanski himself survived
the Krakow ghetto but lost his mother at a Nazi camp."
Nando Times (AP) 05/26/02
BUYING
WHAT CANADA WATCHES: Canadian TV gets most of its programming
from the US. "This week, Canada's programming executives
flew down to L.A. to hole up in the city's most expensive hotels.
From there, they spend several days kicking the tires, by watching
pilot episodes for the forthcoming series - often at hype-filled
gala screenings. Other countries also participate in the Screenings,
but it is really all about Canada: No other country buys so much
fresh U.S. programming, or pays as much for it."
The Globe & Mail (Canada)
05/25/02
PIRACY
FRUSTRATES PRODUCERS: With their recent thwarting of anti-piracy
measures, digital pirates are in control. Film and music producers
are at a loss to figure out how to stop digital copying, but security
may mean a change in the way they've traditionally done business.
But how? Philadelphia Inquirer (Reuters)
05/26/02
Friday
May 24
NETWORK
AUDIENCE DOWN AGAIN: US TV networks had an average prime time
audience of about 45 million in the just-completed season. That's
down 3 percent over the previous season, and continues a move
of viewers to cable channels. Los
Angeles Times 05/24/02
RADIO
RALLY: Radio is undergoing a resurgence in the English countryside.
"The almost biblical plagues that have afflicted the countryside
in the past two years — the floods of 2000 and foot-and-mouth
disease in 2001 — have given local radio a new passion and sense
of purpose. Radio, after all, is the perfect crisis medium. It’s
democratic: you can phone in and air your views. More important
still, it’s low-tech. Newspapers stop coming when transport is
blocked. Television and the Internet are no good without power
or phone lines. But almost nothing can stop you listening to your
old battery-powered trannie." The
Times 05/24/02
Thursday
May 23
ESCAPE
FROM NEW YORK: For the first time in recent memory, no American
TV shows are being filmed in New York next season. Why? "Maybe
there's a perception on the part of writer/producers, who are
almost all in Los Angeles, that New York is a place that you don't
want to be working in right now." New
York Post 05/22/02
CBC
LOCKOUT ENDS: Workers at the French-language Radio-Canada
and CBC networks in Quebec will return to their jobs tomorrow
after a bitter, 64-day lockout over wages and job security. Workers
staged a one-day walkout in late March, and the network responded
with the lockout, which appears to have successfully worn down
the union members. The contract approved yesterday is said to
be "only marginally better than the one they rejected last
week by three votes." Montreal
Gazette 05/23/02
Wednesday
May 22
LATIN
BAN AT CANNES? "The Cannes film festival is ignoring
an important revival in Latin American cinema, according to Brazilian
director Fernando Meirelles... Two Mexican films, the critically-acclaimed
Y Tu Mama Tambien and Amores Perros, have helped
boost the international profile of Latin American film after a
long period of perceived stagnation. But no Latin American films
have been selected to compete for the coveted Palme d'Or award."
BBC 05/22/02
VIDEO
GAMES AS ART (REALLY, IT'S CLASSIC): Video games already outsell
movies. Pretty soon they'll outsell music as well. But do they
mean anything as art? "In many ways computer games offer
something that works of art have been attempting since the Renaissance.
Art historians have commented that the German Romantic painter,
Casper David Friedrich painted from what would appear to be an
impossible perspective - as if he were floating high above the
ground. And think of Picasso, wrestling with the possibilities
of cubism, trying to see from all angles simultaneously. The artist
wants to be all-seeing, everywhere at once. The new games let
us see the world from wherever we wish. Indeed, they let us construct
that world completely." London
Evening Standard 05/21/02
Tuesday
May 21
FAILURE
TO MIX: Another report blasts the lack of diversity on American
prime time television. "Only 7 percent of TV situation comedies
featured racially mixed casts, down more than 50 percent from
the 2000-01 season. All of the series with all-black casts were
comedies. The only programming genre considered '100 percent mixed'
was wrestling." Boston Globe
05/21/02
CANNES
EXPLORES VIOLENCE: "At this festival, the 55th, the violence
and confusion that afflicts societies from Asia to the Americas
have also found their way onto the screens of the Palais des Festivals.
Filmmakers from different backgrounds, working in wildly eclectic
styles, use the medium to explore, with varying degrees of success,
histories of poverty, war, communal hatred and the way these histories
continue to shadow contemporary daily life." The
New York Times 05/21/02
TRAILING
EDGE: Movie trailers are a big business in themselves, and
studios are spending ever more time and money on creating new
ways to hook an audience. "A recent survey by Variety, the
Hollywood trade paper, and Moviefone found that ticket buyers
cited in-theater trailers as the biggest influence on their movie
choices, followed by television, newspapers and the Internet."
Chicago Tribune 05/21/02
Friday
May 17
MOVIE
AS COMMUNITY: Why are so many people lining up overnight to
get into openings of big movies? "Whether motivated by the
dark side of the force (competition, pride) or the light (punctuality,
promptness) – or just suckered by advertising hype – the movie-going
norm is shifting as Americans clamor to share in the collective
experience of a movie event. 'It's a huge shared ritual. It means
on Monday morning, around the watercooler, there's a notion of
a shared experience'." Christian
Science Monitor 05/17/02
DIGITAL
TRACTION: Digital movies are getting attention in this year's
Cannes Festival. Getting the most publicity is George Lucas, who's
on a digital crusade. But four of the movies in the Cannes Film
Festival's main competition were shot digitally. From China, Russia,
Britain and Iran, they all went digital for different creative
or practical reasons. Toronto Star
(AP) 05/17/02
Thursday
May 16
TAXING
PROPOSAL: Canada proposes to levy a tax on the sale of digital
storage devices. "The fee, based on storage capacity, would
add $132 (210 Canadian dollars) to the $500 price of a 10-gigabyte
Apple iPod, for example. The collective is also asking the board
to introduce a $1.43 copying fee on recordable DVD's and to triple,
to 39 cents, a fee imposed two years ago on recordable CD's. The
fees are intended to compensate members of the music industry
for the use of recordings." The
New York Times 05/16/02
I
WANT MY DAB: "Digital radio has been available free of
charge in most British homes for seven years. So why can't you
hear it? It's a sad old story. Not for the first time, Britain
has invented an idea and lost the race to exploit it. In radio
we were first to Marconi's wire, first to a public broadcasting
network and now first to DAB." London
Evening Standard 05/15/02
Wednesday
May 15
WHY
CANNES? Given the proliferation of international film festivals,
"why is Cannes still considered the most important film festival
in the world? It has something to do with the distinction of its
past, built upon with an iron determination to let glamour support
art, and vice versa, but as much with the fact that almost every
film-maker in the world still wants his or her latest offering
in competition." The
Guardian (UK) 05/15/02
Tuesday
May 14
CENSORSHIP
STANDS: The Australian state of Victoria wanted to overturn
a national censor board ruling that banned the French film Baise-Moi.
But after looking into it, the state's attorney general says there's
nothing the state can do. "We don't have any power (to overturn
the ban). We don't have any power to review the review. We will
adhere to the ultimate decision of the umpire, but the process
has been appalling." The Age (Melbourne)
05/14/02
- Previously: BANNED
FILM SHUT DOWN: "New South Wales police last night
closed down screenings of Baise-Moi at the Valhalla and
Chauvel cinemas in Sydney. Queensland, South Australia and Western
Australia had dropped the film from their schedules last week.
Melbourne cinema-goers were undeterred by the controversy, many
queuing in the rain in Lonsdale Street last night, saying the
widely reported ban had encouraged them to see the film."
The Age (Melbourne) 05/13/02
THUMB-SUCKING:
What's happened to Canadian movie critics? "While most Canadian
critics are giving decent performances, true criticism is taking
a supporting role to quick-hit reviews and simple 'I liked it'
plot summaries. And it's not necessarily the critics' fault. The
thinking at dailies seems to be that readers are looking for advice
only on whether or not to spend their $12."
Ryerson Journalism Review Summer
02
Monday
May 13
BANNED
FILM SHUT DOWN: "New South Wales police last night closed
down screenings of Baise-Moi at the Valhalla and Chauvel
cinemas in Sydney. Queensland, South Australia and Western Australia
had dropped the film from their schedules last week. Melbourne
cinema-goers were undeterred by the controversy, many queuing
in the rain in Lonsdale Street last night, saying the widely reported
ban had encouraged them to see the film." The
Age (Melbourne) 05/13/02
- Previously:
DEFYING
THE CENSORS: The Australian Classification Review Board
banned the graphically explicit French film Baise-moi last
week, even though the movie has been showing in Australian cinemas
for over a month. The decision has prompted an outcry, and several
cinemas are continuing to screen the film in defiance of the
order. The Age (Melbourne) 05/12/02
TRIBECA
FEST A SUCCESS: The TriBeCa Film Festival wasn't designed
to be the most innovative or unusual film festival in America
- it was created to revive business in a section of Manhattan
which was devastated by the 9/11 attacks. As it happens, it accomplished
that goal, and also turned out to be a darned fine film festival,
pulled off in record time. New York
Post 05/13/02
PIRATE
CLONES: The new Star Wars installment is out - on computer.
Bootleg copies are out and being traded on the internet even before
the movie has made it to movie theaters. "The copy was made
at an early screening of the movie, using a tripod-mounted digital
camcorder pointed at the screen. Another apparently employed a
more sophisticated version of the same technique." The
Age (Melbourne) 05/13/02
ART
TAKEN OFFLINE: An internet art project that scans the net
probing for ways into other computers has been taken offline by
the museum that is hosting it. The New Museum of Contemporary
Art took the work offline on Friday "because the work was
conducting surveillance of outside computers. It is not clear
yet who is responsible for the blacking out — the artists, the
museum or its Internet service provider — but the action illuminates
the work's central theme: the tension between public and private
control of the Internet." The
New York Times 05/13/02
FILMS
OF SUMMER: Summer is important not just for escapist studio
blockbusters, but for smaller independent films too. "In
the past five years, non-studio movies have regularly chalked
up between 7% and 10% of overall ticket sales. Because they are
not competing with the studios' meatier Oscar-caliber films, which
are primarily crammed into the last six weeks of every calendar
year, summer independent releases have consistently been able
to stand out with reviewers and linger in the memory long enough
to garner mention on 10-best lists at the end of the year.
Los Angeles Times 05/12/02
Sunday
May 12
AUSSIE
FILM INSTITUTE MAKING CUTS: "A financial crisis within
Australia's premier film culture body, the Australian Film Institute,
has prompted the resignations of three board members and forced
the organisation to severely cut back its operations. The AFI
is to axe its sales and distribution department, cut its events
program and is negotiating to halve the rental bill on its South
Melbourne office by sharing with another film organisation."
The Age (Melbourne) 05/12/02
MISSING
THE POINT OF MATRIMONY: Why does every movie about marriage
seem, ultimately, to be about adultery? Surely real life doesn't
unfold this way for every married couple. "Part of the problem
is that American movies act as if marriage is only about the two
people who promise to spend their lives together and not about
all the other people who share in that shared life." Boston
Globe 05/12/02
DEFYING
THE CENSORS: The Australian Classification Review Board banned
the graphically explicit French film Baise-moi last week,
even though the movie has been showing in Australian cinemas for
over a month. The decision has prompted an outcry, and several
cinemas are continuing to screen the film in defiance of the order.
The Age (Melbourne) 05/12/02
Friday
May 10
NO
HARM, NO FOUL? Should the Australian ratings board ban the
French film Baise-moi? There is pressure for it to do so
from morality watchdogs, who say that "no harm will
come from banning the film while a great deal of harm will come
if it is released". But "in attempting to assert the
narrowest version of public morality the guardians not only seek
to make children of us all, they threaten the concept of an open
society and its citizens' freedom of choice." The
Age (Melbourne) 05/10/02
WHY
CANNES MATTERS: Cannes "has become the world's largest
yearly media event, a round-the-clock cinematic billboard that
in 1999 attracted 3,893 journalists, 221 TV crews, and 118 radio
stations representing 81 countries. And then there are the films.
For many film people, a first trip to Cannes is kind of a grail,
a culmination that tells you, whether you're a journalist with
a computer or a film-maker walking up the celebrated red carpet
to the Palais du Festival for an evening dress-only screening,
that you've arrived." The Guardian
(UK) 05/10/02
- KICK
THE CANNES: "A leading Jewish organization is urging
Hollywood figures to reconsider their plans to attend the Cannes
Film Festival this month, citing a recent series of anti-Semitic
attacks in France. In full-page ads in trade newspapers this
week, the West Coast chapter of the American Jewish Congress
compared the situation in contemporary France to the climate
60 years ago, when the anti-Semitic Vichy government was in
power. " New York Post 05/10/02
- CRONENBERG'S
CANNES: No one could ever accuse David Cronenberg of lacking
Hollywood's taste for excess. But aside from one or two brief
flirtations, his career as a filmmaker has mostly taken place
outside of Tinseltown, and his best films have achieved only
"cult classic" status. His latest work is called Spider
(no "man," thank you,) and it is Canada's only entry
in the judging at this year's Cannes Film Festival, a fact of
national pride which is not lost on Cronenberg. Toronto
Star 05/10/02
THE
MOST HATED MAN IN HOLLYWOOD? When Michael Ovitz, once the
most powerful man in the movie industry, crashed and burned a
couple years back, the glee emanating from the rest of Hollywood
was palpable. Even for L.A., the schadenfreude seemed a bit much
- how could Ovitz have turned off so may people so fast? An anonymous
article purports to provide some answers. Chicago
Tribune 05/10/02
Wednesday
May 8
ARTHOUSE
BLUES: Movie attendance goes up in Britain, but audiences
for arthouse films are shrinking. One solution? The government
will spend £17 million on the arthouse circuit. Some complain
it's too little too late. Good movies are pricey, the prime demographic
of yesteryear has abandoned art films, and advertising is expensive.
Maybe independent film is dying? The
Guardian (UK) 05/08/02
MORE
THAN JUST GAMES: Video games are quickly becoming the entertainment
of choice for much of the electronic world. They make "more
money than the movie business (£10.3 billion last year to the
film industry’s £8.2 billion). In the UK we spend more on games
than we do on videos or cinema tickets and it is expected that
sales of games will soon surpass sales of music too. Despite this
success, video games have spent much of the last 40 years being
maligned as a low-brow form of entertainment. But now, it seems,
video games may at last be about to gain at least a degree of
acceptance from the art world." The
Scotsman 05/08/02
Tuesday
May 7
NEW
UK MEDIA RULES: Proposed new laws to regulate media companies
are being introduced in Britain today. "As well as regulating
commercial broadcasters, Culture Secretary Tessa Jowell says she
wants to see a 'level playing field' between those companies and
the BBC." BBC
05/07/02
WHAT'S
REAL? "The quest for cinema truth has existed since the
early days of Russian Kino-Pravda; but the idea flourished in
the Sixties, mainly because of the advent of light- weight cameras
and sound recorders, and fast film requiring minimal lighting.
Modern digital cameras mean that cinema truth and its offshoot,
reality television, are, in practical terms at least, more tenable
than ever. And yet, paradoxically, there is nothing real about
what passes for reality television today."
New Statesman 05/06/02
Monday
May 6
A
FILM FOR ALL SEASONS: As the "summer movie season"
pushes earlier and earlier into May, many movie studios are abandoning
the idea of seasons for movies. "Opening movies in what used
to be regarded as the off-season is an inevitable result of the
studios placing more of their bets on 'franchise' pictures - that
is, pictures with sequels - and other so-called event movies that
typically benefit from heavy buzz and marketing."
Orange County Register (WSJ)
05/05/02
Friday
May 3
CANADIANS
STILL VALUE CBC: CBC competitor Global TV wants the Canadian
government to do away with the public broadcaster's subsidy. As
part of its campaign, CanWest, Global's parent (and owner of most
of Canada's newspapers) commissioned a poll to ask Canadians if
funding should disappear. The poll came back with a strong no,
and to CanWest's credit, its newspapers reported the results.
Toronto Star 05/03/02
Thursday
May 2
LONDON'S
NEW ARTS RADIO: A new all-arts radio station hits the London
airwaves. Its founders promise "no play lists, no smarmy
DJs or pompous pundits, but a wide range of programmes made by
artists representing the diversity of London's arts scene."
The Guardian (UK) 05/01/02
NO
SCIENCE ABOUT IT: This is the time of year American TV network
execs determine what gets on the fall schedule. "Once a boisterous
affair, with producers and studio executives passionately lobbying
networks on behalf of programs, entertainment industry mergers
have made those studios and networks siblings within the same
corporate families. And while these step-kids might wrestle a
bit with each other, ultimately a very few media barons serve
as the arbiters of what gets on and stays on. So instead of a
robust debate, the main gatekeepers engage in what has become
little more than a high-stakes internal monologue."
Los Angeles Times 05/01/02
- Previously: TV
PROGRAMMING - JUST PICK ONE: Four out of five TV series
fail. And fail fast - sometimes in just a few episodes. Yet
shows are the result of research, focus groups, testing, formulas
and lots and lots of money. But for all the planning "TV
programming is just another lottery. Pick one, and say your
prayers. The networks call this 'churn,' probably because it
describes the queasy feeling they get when specialty cable shows
draw three times their numbers." The
Globe & Mail (Canada) 04/30/02
Wednesday
May 1
THE
BATTLE FOR A DIGITAL FUTURE: Some content producers are trying
to require copy protection technology on computers and entertainment
devices. "At some date in the near future, perhaps as early
as 2010, people may no longer be able to do the kinds of things
they routinely do with their digital tools today. They may no
longer be able, for example, to move music or video files easily
from one of their computers to another, even if the other is a
few feet away in the same house. Their music collections, reduced
to MP3s, may be movable to a limited extent, unless their hardware
doesn’t allow it. The digital videos they shot in 1999 may be
unplayable on their desktop and laptop computers."
Reason 05/02
NEW
AMERICAN FILM UNION RULES ANGER AUSSIE PRODUCERS: In the American
film industry's latest attempt to stem the flow of productions
leaving the US to film in other countries America's actors union,
the Screen Actors Guild, has "ordered its 98,000 members
not to work on films, TV shows or theatrical productions in Australia,
Canada or any other country unless they are offered an SAG contract."
This has outraged Australian and Canadian producers who say "they
will not be able to meet the rates and conditions set by SAG"
and that their local film industries will suffer.
The Age (Melbourne) 05/01/02
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