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HOLLYWORLD

Up, up ... and away

Superman may be quintessentially American, but it's cheaper to film him in Australia.

December 31, 2005|Geoff Boucher | Times Staff Writer

Not everyone is happy with the southward migration of Hollywood productions. The idea of "Superman Returns," for example, a quintessentially American creation, taking flight in a foreign country has not set well with some observers. "Truth, Justice and the Australian Way" was the snide appraisal of the Film & Television Action Committee, a group active in the fight to stem the flow of film production away from the U.S.

There was also the public complaint of the director known as McG, who had been set at one point to work on the film. He left the production for several reasons, one of them the shooting site. In a statement issued when he parted ways with the project, he said the hero belonged on an American skyline: "When I flew to New York to scout, I became enamored with our greatest American city. It was clear to me that this was Metropolis. As a filmmaker, I felt it was inappropriate to try to capture the heart of America on another continent."

Producers of the movie have responded that McG's self-acknowledged fear of flying over bodies of water had more to do with his departure from the project than any sense of sanctity regarding Superman's iconography. But either way, the split highlights some of the downsides of working on a studio lot on the other side of the globe. For most projects, however, the upsides are far more compelling.

The "Lord of the Rings" films, the "Matrix" franchise, the most recent "Star Wars" trilogy, "King Kong," "Peter Pan," "Ghost Rider," "Charlotte's Web," "House of Wax," "Scooby-Doo" and "Stealth" are just some of the recent mainstream Hollywood product made in Australia or New Zealand. All were wooed by aggressive government deals that pull in productions to add amperage to the local economy.

An abstract by the New South Wales Department of State Development, for example, reports that "Superman Returns" injected some $80 million into the local economy, created 800 local jobs and employed as many 10,000 people as it shot on 60 sets on nine stages over eight months. A crowing minister told the Sydney press in November that the movie will be "more powerful than a locomotive at the box office" but that it's "already proven a winner" for the Sydney area.

For the cast and crew who live in Los Angeles and fly down for extended work stays in Australia, the locale and infrastructure make for a fairly comfortable transition. But there are some rough spots. As sheets of rain came down on Fox Studios one day last summer, the "Superman" crew hustled to a lunch tent after shooting a scene at the entrance to the arctic Fortress of Solitude (in this case, a soundstage covered with painted sawdust and faux snowdrifts). The complaint of the day: Weather and catering that fall short of L.A. in every way.

The film's director, Bryan Singer, said shooting in Australia afforded every convenience on the technical side and that the distance from home actually helped to keep the production focused. Not only did the long hours keep the crew on task, when they're cut free the sleepy suburb surrounding the studio was hardly a Sunset Strip of temptations.

Despite the activity there is still a lazy feeling to the Fox Studios Australia complex, especially just beyond the gates of the working lot where a retail hub has been built in the vein of CityWalk at Universal Studios in Los Angeles. Downtown, Sydney is a cosmopolitan and gleaming city by the sea, but the suburbs are not terribly exciting -- the exception being the grim recent civil strife that made headlines around the world. The news of racial unrest in some of the beach districts earlier this month was the sort of unpredictable dispatch that can send a shudder through Hollywood producers who never know what new chaos will affect their overseas ventures.

Studio executives say that in planning productions, they consider a range of factors, including shifts in economic policies, changes in government, currency exchange rates, weather and natural disasters, and union and labor issues.

The vagaries of production travel might present sandstorms or packs of wild dogs in some corners of the world, but in Sydney, Hollywood has found a steady sister. The prospect of high predictability always makes accountants and studio executives breathe easier, but sometimes the cast and crews have to stifle a yawn.

One night, for instance, executive producer Chris Lee, screenwriters Michael Dougherty and Dan Harris and a dozen others working on the film struck out for a midnight screening of "War of the Worlds" -- because of the international date line, the show at a movie theater adjacent to the Fox Studios lot was one of the first screenings of the film in the world.

The group bought their tickets hours early anticipating a crushing crowd -- they ended up, literally, being the only people in the room and chuckling about the different pace of life from L.A.

"It's like summer camp but a really brutal summer camp," Singer said the next day. "The thing is, with the advantages here we can get everything we can out of the budget. Everything is bigger in Australia. Big is bigger in Australia."

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