By Anthony Buckley
Tony Buckley is definitely put to take us backstage to monitor via his eyes the interesting progress of Australian film-making. masking an unlimited interval of our glossy historical past, he introduces us to the characters he has met: actors, stars, manufacturers, technicians - sharing his exciting tales and insights.
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Extra resources for Behind a Velvet Light Trap: From Cinesound to Cannes - A Filmmaker's Journey
His name was Bert Cross, father of Clive Cross who, along with his business partner, Arthur Smith, had put the ‘sound’ into Cinesound. Bert was in charge of the negative processing machines, which, for this laboratory, were relatively new. Max Long was in charge of the positive developing machines which, to say the least, were rather old. I suspect the laboratories had been built in the late twenties or early thirties. From Lady Hay’s to Crows Nest Boys High and my first school uniform. Once again I was appointed the school projectionist.
The first move was to merge Johnson & Gibson and J. & N. Tait to Amalgamated Pictures, the General Film Company of Australasia to merge Wests Pictures, Spencer’s Pictures and Amalgamated Pictures. D. Williams Amusement Co. brought the centralising of four partners under Union Theatres and Australasian Films. When re-splicing the nitrate print of The Sentimental Bloke in 1953 at Automatic Film Laboratories there was an additional reel of hand-coloured material of Frank Hurley’s With the Headhunters of Unknown Papua (US title The Lost Tribe ).
My first city matinee was at the State to see Ali Baba and the Forty Thieves . I was in awe of the film’s main titles being washed off by the barrels of oil and the organist rising out of the stage. School holidays were spent once a year on my godfather’s property at Geurie, western New South Wales. Horace Patrick Buckley was the eldest of the Buckley brothers, to me Uncle Horace, to the rest of the family Horrie Pat. He was the only member of the family, other than my mother, to take an interest in me.