Most writing on Australian film tends to concentrate on stars and directors, so its good to see producers putting in their ten cents. Milliken was more than that of course - also a production manager, bureaucrat, continuity person, film finance guarantor. It was an entirely decent, honorable career with some very impressive films on the CV (The Odd Angry Shot, Black Robe, Dating the Enemy, Sirens).
Milliken came up the hard way, learning her trade at the ABC (where bludging was an option - the section of the book on this is very funny), eventually breaking into the commercial industry via Skippy but also working on classic ABC stuff like Pastures of the Blue Crane. She married director Tom Jeffreys and I got the feeling Milliken pulled her punches when writing about him and their relationship (no doubt because he's still alive). They made a number of movies together but she is probably best known for her collaborations with Bruce Beresford. She was smart enough to diversify - also working as a film finance guarantor and bureaucrat to supplement those erratic film fees.
Lots of interesting trivia, stories and observations such as Richard Franklin being a bit free and easy with his hands on the set of Roadgames, the saga of setting up Total Recall on the Gold Coast, the mess that was Les Patterson Saves the World, the director's ego on Burke and Wills, incompetence on We of the Never Never, Rod Taylor being a handful on The Picture Show Man, lots of people announcing loudly that they'll cover the cost of a crew dinner but adding it to the film's budget.
There's perhaps too much time dedicated to the making of Paradise Road, but I guess it is the film of which she's most proud so that's understandable. She makes some first rate comments/critics on current funding which all make sense and would be cheap and easy to introduce.
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