American Cinematographer - February 1995 - 16

Around the World's Film Commissions
compiled by Marji Rhea
ment, Creative Nation, has allocated
$250 million to be committed to the

sion has launched its third edition of Get

Arts

soundstage at the Warner
bring¬
ing the number of soundstages available

guide to the
country's film, television and video in¬
dustries. The guide notes developments
over the past year in the audiovisual sec¬
tor, gives findings from the last five an¬
nual production surveys, looks at the
impact of new
technologies and
the emerging geo¬
logical shift in de¬

a

for hire to six. The Commission is also

mentary programs; a Special Broadcast¬
ing Service Production Fund to commis¬

for small-screen

Australia
The Australian Film Commis¬
the Picture, a reference

over the next four years, including
television production fund for drama,
children's drama programs, and docu¬

sion
from

high-quality Australian programs
independent producers; a focus on

mand on distribu¬
tion strategies, ex¬
amines critical and
audience recep¬
tion of Australian

hoping to lure to Queensland productions
adaptations of Robert
FTughes' book The Fatal Shore, as well
as the mini-series sequel to Colleen
McCullough's The Thorn Birds.
Film Victoria reports that
Melbourne has hosted the production of
Hotel Sorrento, a film adaptation of Aus¬
tralian Flannie Rayson's award-winning
stage play. Also being filmed in
Melbourne

are

Fa inbows in

the mini-series The Feds

My Desert; Law of the Land

Series 3, a television series; and the fea¬
ture film Lucky Break.
For information: Australian
Film Commission, Sydney, (02)321-6444.

dustry information
such

Roadshow Movie World Studios,

and Halifax;the documentaries A Domi¬
nant Woman - My Jewish Mother and

film, and lists in¬
sources

on a new

as

organizations and
associations, pub¬

Pacific Film & Television Commission,

lications and data¬
bases. Data in¬

Brisbane, (07) 224-4114. Film Victoria,
Melbourne, (03) 651-4089.

cluded features
federal film assis¬
tance and employ¬

The Bahamas Film Commis¬

Bahamas

sion is

ment figures; pro¬
duction numbers
and value; feature

using software to market its mes¬
location scouts and producers.
Available in both Mac- and IBM-compat¬

films, mini-series,
series, serials, and
telemovies; data

ible formats, the diskette, "The Official
Guide to the Perfect Locations," offers
information on facilities and services in¬

sage to

imports/ex¬

Fall colors in full

ports, the cinema

splendor at Camp
Hanes in King,

on

and video indus¬

North Carolina.

tries, and theatri¬
cal, TV and video releases; box-office fig¬
ures;

tion

ratings; and awards.

on

New to this edition is informa¬
the number and value of Austra¬

lian feature films from 1970-1979; balance-of-payment figures for film, TV and
video

multimedia; and a new committee on
Copyright Law Review to examine pro¬
tection of copyright in the new commu¬
nications environment. The government
also announced that 20th Century-Fox
will be establishing a $20 million film
studio in Sydney.
In Queensland, which was the

site of the entire shoot of last
ture film No

cluding accommodations, transportation,
local

production facilities, talent and
well as a listing of the
Bahamas' extensive film, television and

crew resources, as

commercial credits.
For information: (809) 326-

0635, FAX (809) 328-0945.
California

year's fea¬

All of five months old, the

Escape, the Pacific Film and

City

royalties; employment data by
state, gender, ethnic background and in¬

Television Commission hosted the pro¬
ductions of Street Fighter, ABC's MOW

of

and film stock imports.
Creative Nation, the Federal

Kansas, the U.S. television series Time
Trax, and the feature Fortress II, starring

government's new cultural policy state¬

Christopher Lambert. Construction began

Bernardino National forest. The Big Bear
Valley has been visited by The Wonder
Years, Days of Our Lives, Hart to Hart,

American

February 1995

come;

Cinematographer

Big Bear Lake Film Office is eager to
bring productions to this city in the San
American Cinematographer - February 1995

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