Phillip Noyce Strategizes How to Survive the Disruption of New Hollywood: ‘We Need a Miracle’

As an ardent admirer of Phillip Noyce, I find myself captivated by his extraordinary journey as a filmmaker and his unconventional yet effective approach to storytelling. This Australian maestro effortlessly weaves together humor, wisdom, and technology, creating a cinematic tapestry that is both engaging and insightful.

Philip Noyce, who has directed films like “The Quiet American,” “Salt,” and “Rabbit Proof Fence,” is not your typical storyteller. Despite his friendly and seemingly clumsy appearance, he possesses a sharp mind and is tech-savvy.

He was showcased at the International Film Festival of India in Goa, where he received a lifetime achievement award. Additionally, on Monday, he gave an unforgettable masterclass there.

In my critique, I’d say:

Noyce’s assessment on the predicament faced by the U.S. film industry is that production levels surged during COVID-19 but subsequently decreased; the earnings from movie theaters are dwindling, which in turn lowers the market value of established actors and upcoming films yet to be made; and during the writers’ and actors’ strikes in 2023, the studios utilized this period to reevaluate their future strategies.

In my perspective, following the wisdom of Noyce, it’s all about finding ways to make things more affordable. Much like the inspiring story from the Bible where a few loaves and fishes miraculously fed thousands, I believe we can stretch our limited resources by making them go further.

As a movie enthusiast, I’d rephrase it like this:

He suggested mentoring young people who have different minds to the generation of established directors and are learning new filming tricks from social media. Or finding the right crew and ways to inspire them. “You can exponentially increase creativity, but it only works on trust,” he said.

At that moment, Noyce requested some participants for an engaging, safety-conscious game called “The Trust Game”. This activity involved the use of blindfolds and pairs of people navigating through the Kala Academy auditorium. Notably, among the volunteers were Noyce’s daughter and renowned cinematographer John Seale, who had spoken earlier at the festival. He reassured the sighted participants, saying, “Let’s make it enjoyable and secure.

As a movie buff, I always make it a point to engage in collaborative activities before the filmmaking process begins. These sessions can stretch up to a whopping four hours, with renowned actors like Denzel Washington and Angelina Jolie joining in, along with key department heads.

As a cinephile penning my thoughts, I’d like to share an intriguing approach I recently encountered in the filmmaking world: the concept of creating multiple versions of a movie – teasers, trailers, and shorter cuts. This innovative strategy aims to ensure everyone involved, from financiers to actors to distributors, is fully on board before the actual filming begins. It’s like a rehearsal for the main event, allowing me as a director to test the waters and refine my vision. With each iteration, I uncover new facets of the story, making it an enriching experience throughout the process.

In a similar fashion, Noyce expressed his frequent reliance on storyboards and animatronics, particularly for action sequences. “Action can be costly and risky,” he noted, “Animatronics enable me to complete fewer takes and film fewer scenes myself. Often we can handle it with the secondary crew instead.” He went on to reveal that the thrilling action sequence in “Salt” featuring Angelina Jolie leaping from a series of moving vehicles was primarily filmed by the second unit team. “I only shot the scenes involving male actors,” he said, further explaining, “For me, technology is like multiplying loaves and fishes; it allows us to execute such a scene for a fourth of the original cost and a tenth of the risk.” He also hinted that today, similar action scenes involving bridges and vehicles could be produced at a significantly reduced cost by employing virtual production or a volumetric stage.

Noyce’s knack for meticulous planning, grasping the intricacies of technology and movie financing contradicted his humble claim that he merely shouts “action” and “cut”. However, he maintains a childlike enthusiasm for his role as a film director, attributing it to being captivated by a circus ringmaster at a young age.

At a college in Sydney, he let his interest guide him and acted upon a poster promoting low-budget, brief films. “These were personal, artistic, non-linear productions,” Noyce expressed excitedly. “Anyone could create a movie. I came home, grew a beard, and claimed the title of film director. I produced a film about the erotic daydreams of adolescents and sold acting roles in it.

He was there for the beginnings of the modern Australian film industry. “Those movies were the first time we’d heard an Australian accent on screen. Australians were then blessed by having a prime minister who would support cinema,” Noyce explained. “There is no economic rationale for the Australian film industry. The Americans and the Brits could have supplied all the films we needed. But there was a cultural imperative. And we were profitable, because Australians enjoyed seeing themselves, like a baby looking in the mirror.”

As a movie enthusiast, I’ve been pondering over the escalating production costs, the transformative impact of AI, and the ongoing changes in the Hollywood studio system. Yet, amidst these concerns, I believe that filmmaking is destined to become more affordable and accessible. Regardless of technological advancements, the art of storytelling (and the allure of showmanship) will remain pivotal.

As a film enthusiast, I’ve learned firsthand that the importance of promoting a movie can outshine its production budget, a lesson I gleaned from creating “Rabbit Proof Fence.” The process of making a film extends far beyond just filming; it encompasses everything leading up to that moment – the pre-production phase.

A film director seeking a long-lasting career was advised to remain adaptable and receptive to fresh ideas. He described himself as “eager” and shared that he had attended lesser-known digital film festivals to learn. “Today, you can write, edit, and monetize films using a 4k phone,” he stated, although this wasn’t entirely accurate when he first began, as he had to scramble for film stock. However, this is now possible due to advancements in technology.

An example of that, he recalled, was accepting a phone call from a stranger at 2.30am and allowing himself to be pestered into reading their script. “It was a film about me, how I needed to escape from the re-education center called Hollywood that I was in.”

2024-11-27 10:17

Phillip Noyce Strategizes How to Survive the Disruption of New Hollywood: ‘We Need a Miracle’

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