I’m always saying that even to advertising agencies. A contemporary of Jane Campion at the AFTS where he started at the age of 17, the Egyptian-born Proyas was always considered most likely to succeed. It was literature that made me really focus on the genre. (Not to overstate it or anything) A three hander set in a post apocalyptic Oz outback (but one which is wildly more fantastical than Mad Max), Spirits of the Air tells the story of Smith, a stranger on the run who happens upon Felix and Betty, far into the desert. My film school work was experimental avant-garde films, but there was always this early influence of fantasy and science fiction, and I kept going back to it. Other films in the season included Campion’s Passionless Moments and Acquisto’s Hungry Heart. | The accidental gunshot death on March 30 of Brandon Lee, lead actor in The Crow, has ensured that Proyas’s directorial debut will stand out. Here's hoping it might be revived and released in digital form - if nothing else, the visuals and the score would continue to attract interest, especially if offered in a better format than VHS. Given the weight and prestige of the producer, there should be little doubt that Caspar will be seen by a very wide audience. “But it’s a film of fantasy, and Australia is not good with that level of the imagination.”. Where and when: ’Spirits of the Air, Gremlins of the Clouds’ is on Friday and Saturday nights as the regular late show at the Longford Cinema, 59 Toorak Road, at 11 pm. All I’ve ever wanted to do is to make films but I have to do something in order to convince people to give me $15 million. You have to be absolutely secure with the story, the characters and the actors. Stunning to look at, even on wretched VHS, thanks to locations, the intriguing photography (some using forced perspective), the excellent and evocative production and costume design, and good to listen to, thanks to Peter Miller's music (but no thanks to the treatment of the dialogue in the mix), these departments provide a handy distracton from the film's flaws as a drama. Set against the beautiful Australian landscapes in the outback, "Spirits of the Air, Gremlins of the Clouds" is certainly not a film that is fun science-fiction in the classic sense, which is not really surprising given the arthouse tone. It would be really hard for me to recommend this movie, as the story is thin, the three characters unlovable, and if you are not into 1980s New Age electronic music, then you definitively WILL throw something at the screen before an hour is up. The cast struggles with the material, and aren't helped by the sound recording. There are only 355 people that rated this movie and I guess that at least eighty percent of those rates are from people that know somebody that was involved in this movie, friends or family, and that's why it has a ridiculous high rating. If you love art, and particularly Australian desert landscapes, and in particular the almost uncanny use of colour, texture and design from that landscape, then Spirits of the Air may best be described as 90 minutes of a really excellently vivid (and original) slow moving art show (with a very tiny apocalypse theme), yet with a 1989 play trying to narrate. Even a shorter eighty minutes might have spruced things up. Personally I don't have much to write about Spirits Of The Air, Gremlins Of The Clouds besides it has a ridiculous title, the story is slow and done without any budget, and the acting is terrible especially from Melissa Davis. For example, the Marlboro billboard was a forced perspective miniature, as were the cars used in the iconic shot of cars buried bonnet down in the earth. Locations: according to the film’s composer and co-art director Peter Miller, the main exterior location was on the Mundi Mundi plains. “Dark City” is the direct result of it, of all these ideas that I was influenced with at an early age coming back to haunt me. He and his neurotic sister, Betty (Rhys Davis), live in an outback house left by their late, religious fanatic father. I should have added a few characters, but I didn’t think of that.”, What Proyas made was Spirits of the Air, Gremlins of the Clouds. There’s his loony sister working against him and a fugitive from justice who wanders into the picture and fuels the increasingly obsessive flying dreams. A circus of the grotesque, simple and amazing. Composer sound designer and art director Peter Miller stood in for Betty in a couple of distant shots, while production designer Sean Callinan played the second Pursuer. Michael Lake does the best of the three, but even he struggles. Home Explore Movies Explore Composers Resource Directory Forums Contact Us About Us. Proyas had this to say about his screenwriting in the same interview with Khoury: I’d written many scripts before — quite bad ones. The interview was done to help promote a short season of the film at the Longford cinema in Melbourne: Michael Lake and Mel Gibson have a lot in common; they both have piercing blue eyes, charisma and both are variously regarded as exceptional actors. It was his first feature. Quarry (Kit Quarry, Proyas’ friend and film producer)  remembers Proyas - “probably awake for 72 hours straight at this point” - breaking out into a rendition of That’s Amore. Spirits of the Air, Gremlins of the Clouds - Trailer Leider haben wir zu Spirits of the Air, Gremlins of the Clouds bisher noch keine Videos. Audacity. So where and how did this man with the strong blue eyes and slightly exaggerated nose crawl out of the woodwork. I hope to get onto it soon but every time I say that, another project comes along and it distracts me. It’s much more difficult in many ways more difficult than writing a novel. The final images show Felix still in his wheelchair in the loneliness of desert …as his sister plays her strange musical instrument. Peter Miller Spirits of the Air, Gremlins of the Clouds ℗ 2018 Peter Miller Released on: 2018-09-27 Auto-generated by YouTube. The characters are absolutely charming in their eccentricity, and despite the fact that they are, (on purpose I expect) slightly caricatured, it seems to fit in totally with the alternately gaudy and melancholy feel of the environment. Even if the aim was to do a Tarkovsky, Tarkovsky has more moment to his moments. The film was a three hander and the cast didn't move on to larger acting careers. Spirits of the Air, Gremlins of the Clouds is a 1989 post-apocalyptic Australian film directed by Alex Proyas.It was his first feature. He had many other offers to direct but was careful in his choice of material. “I feel the system is so much more established and honest here. Umbrella digital restoraton: c. 96 minutes (Umbrella timing). Alex Proyas. Released in 1989 containing music from Spirits of the Air, Gremlins of the Clouds (1989). Alex Proyas began his career as a music video director, then directed some short films before pond-hopping his way into the hearts of goth and sci-fi fans with the one-two punch of The Crow (1994) and Dark City (1998). It was fun in a very odd way because there was a little bit of AFC money in there but the majority of the money came from a company called MMA who were INXS' management. Lake, the tragic hero of the new Australian film, recalls the tale of his outback disappearance with the pathos of a man who won’t allow himself to be taken too seriously. But while the heart is right, the three hander story simply lacks sufficient substance to sustain its feature-film length. Paterson records the work as having been done, not for public release, but for his client’s own personal archive, though he does wonder if the film might be given a public release and develop a cult following. Director, Writer. With Michael Lake, Melissa Davis, Norman Boyd, Rhys Davis. Nevertheless, thanks to the great pictures and acoustics as well as the wonderful acting, this unconventional film is definitely worth seeing for the fans of Richard Lester, Konstantin Lopushanskiy and Piotr Szulkin. Awards PROYAS: We were very naive, inexperienced and didn't really have the resources. That band’s management heard he had a film script. Dabblers. Sometimes we could not afford to shoot more than one take of a set-up as we did not have enough film stock (16mm) – but I think it shows some early visual and tonal qualities people came to expect from my later movies. The camera tilts up into the sky and end credits begin to roll over black... Production company: A Meaningful Eye Contact Film, produced in conjunction with MMA Films, Pro-Image and the Creative Development Branch of the Australian Film commission. His ability as a film-maker was recognisable from his student films, which won prizes not only in local film festivals but also in London. At 35, Lake has done plenty for one who grew up in a broken family, dodging trouble and sneaking to theatre shows at London’s West End. Directed by: Alex Proyas. Low This article has been rated as Low-importance on the project's importance scale. I was naïve to the extent that I didn’t know that when I made it. The debut feature from Alex Proyas (The Crow, Dark City, I Robot), Umbrella Entertainment presents a 2K scan from the original 16mm negatives. Original Title: Spirits of the Air, Gremlins of the Clouds Voted: 512 Brother and sister endure alone together in a post-apocalyptic Outback until the sudden arrival of a stranger. The film funding bodies didn't get it. I’m a real whore if there is an opportunity to shoot something, to make something.”. Spirits of the Air, Gremlins of the Clouds, it was a story of success and failure, like dream and reality. Art director, composer and sound designer for the film, Peter Miller, at a Facegroup page dedicated to the film, here (Facebook membership required) claimed the original idea for the film came to Proyas this way: Here's a little snippet of trivia for you, Spirits fans: the original incarnation of the movie was a short film that Alex penned in 1984 titled 'God Bless America'. For years now, Spirits of the Air, Gremlins of the Clouds has been all but a lost film. The pricing is understandable in terms of recouping the cost of restoration, but A$35-00 for the Blu-ray extras, is rather handsomely priced. Boyd opted to stay with the car; Lake tried to make it across the desert to base camp but became disoriented and walked for what seemed like an eternity. Although Lake never actually saw the stranger, the voice remained potent in his mind, almost haunting. In the meantime, Proyas’ best personal film, The film has a post-apocalyptic setting which is never explained in any detail within the film. It was for example packaged by the Longford Cinema in Melbourne for a late night screening in the “Piccolo at the Longford” season on 2nd September 1988, as part of “an exciting selection of young Australian directors’ latest works”. Budget: $500,000 (Cinema Papers, March 1987) (director Alex Proyas says the AFC contribution to budget was small and that most of the finance came from the INXS management company MMA). Spirits of the Air, Gremlins of the Clouds is within the scope of WikiProject Australia, which aims to improve Wikipedia's coverage of Australia and Australia-related topics.If you would like to participate, visit the project page. I don't claim to be an experienced film reviewer, just an enthusiast who loves this one. One of the hardest things to do is to tell a thirty- or sixty-second story. Navíc, odehrát to celé ve třech lidech, klobouk dolů. Metacritic Reviews. The editing insists on a very slow-moving pace, and the expectation that something bigger is just around the corner is constant, but it never arrives. I’ve always used my work in commercials as a way of understanding and telling a cinematic story more concisely; I have visual approach to storytelling, but I don’t think it’s any less relevant than characters talking in a theatrical manner. That’s for su, If Proyas has all the negatives in his possession, this raises the question of why James Paterson used tape sources for his digital restoration, In a story about Australian directorial talent heading to Hollywood, in the, Proyas also discussed the making of the film in a profile by Lauren Martin published in the, Lead actor Michael Blake, who is featured in the extras section of the Blu-ray release of the movie, and who also turned up as one of the Strangers in Proyas’ film. Yeah...I don't know where I got that idea.". Proyas discussed the making of the movie in a number of interviews, though many of the comments tended to focus on the low budget nature of the enterprise. That’s why I wanted to make films, and commercials and music videos are a great training ground, to learn technical aspects. I think those early novels that I read were what influenced “Dark City.” I remember reading Philip K. Dick, Ray Bradbury, and all these guys that kinda made me reevaluate things and excited me. The film picked up a special prize at the Yubari International Fantastic Film Festival, 1990, in Japan. Perhaps it leans a little too much towards making money, but the process of making a film to satisfy an audience and make it a profitable process is absolutely fine. That’s pretty much the way we worked on “Dark City.” I wrote many drafts initially and then worked with Lem Dobbs and David Goyer to focus on what it was we were trying to do and to use them as a sounding board. The film was also available on DVD, for A$24.99, but this was strictly a barebones release, with no extras and irritatingly, without subtitles. Rated the #76 best film of 1987, and #4955 in … Nevertheless, I look back and think, “Wow, that is an interesting film”, but certainly not a completely successful one. I like to tell stories in a visual fashion, and I’ve always been drawn to films that do that. The interiors were created on a set at Supreme Studios in Sydney. du folgst. Nevertheless, I look back and think, “Wow, that is an interesting film”, but certainly not a completely successful one. In the meantime, the film occasionally turns up on, This site doesn't usually link to unofficial versions but it's worth noting that in the absence of a Proyas-approved release, this release is closing on on 30k views as of September 2016 (and composer Peter Miller used the comments section to provide a link to his site about the film, It could have been a contender, having many connections to the sort of outsider landscape orientated art of such films as de Heer's, As a result, the film disappeared. The homage to the Cadillac Ranch is just one of a number of visuals that stick in the mind ... (Note: currently the stills available on this site are from the original VHS release and do not reflect the Umbrella digital release. original 16mm negative has disappeared. As a result, the film disappeared. View credits, reviews, tracks and shop for the 2018 CD release of Spirits Of The Air, Gremlins Of The Clouds: The Original Soundtrack By Peter Miller From The Meaningful Eye Contact Film on Discogs. ...the only source material (for the vision) existed as two completely different video formats: a domestic PAL Betamax recording, and a 3/4" Umatic videotape screener. A book about flight was the only book he got, apart from his old man’s religious books ... Felix persuades Smith to stay, and they begin building models for a new aircraft design, but while Betty keeps railing at the intruder and consigning him to hell, the models keep failing. That tragedy has cast a long shadow over the film from which the principals involved are only now starting to emerge. The problems seem to have been resolved with the restoration now released by Umbrella in high and standard def formats. The Sydney Valhalla was mainly a repertory and cult first release venue, and the film only had a short two week season. “I still remember him with his arms up in the air, with that smile, singing, ‘When the moon hits your eye …’”. This site doesn't usually link to unofficial versions but it's worth noting that in the absence of a Proyas-approved release, this release is closing on on 30k views as of September 2016 (and composer Peter Miller used the comments section to provide a link to his site about the film here). The disc was priced at A$34.99. The film isn’t listed in the Film Victoria report on domestic box office and this is hardly surprising. The film began a short season at the Sydney Valhalla on 1st July 1989;  in Melbourne it opened at the Longford with a late show premiere the same day (, Nominated, Best Achievement in Production Design (Sean Peter Miller) (Sally Campbell won for, Nominated, Best Achievement in Costume Design (Angela Tonks, Mathu Anderson) (Glenys Jackson won for, The soundtrack for the film was nominated for an ARIA in the 1990 Best Original Soundtrack/Cast/Show Album category (the original cast recording for, Audio Commentary with Director Alex Proyas, Audio Commentary with Composer Peter Miller and Editor Craig Wood, SPIRITS: Making a Post-Apocalypse Western featurette, Details by clicking on the Blu-ray listing, Ozmovies previous remarks on the film’s availability have been retained below for the record, at a time when it was believed that the. For you won’t see Lake signing a $5 million Hollywood movie contract, or casing Malibu for a new home - at least not yet. James Paterson of the Australian Television Archive published a report on restoring the film (June 22d 2016 here), and he reports having only two main sources for the vision - a PAL Betamax recording and a 3/4” Umatic video screener. He directed a very low-budget feature, Sprits of the Air, Gremlins of the Clouds, in Australia. I see nothing wrong with that process. A few interiors were dressed on location to provide a match between the exteriors and the studio work. Maybe this time. Six years before director Alex Proyas would hit the mainstream with The Crow, and four years after that with Dark City, he cut his feature-length teeth on the DIY Australian production Spirits of the Air, Gremlins of the Clouds, a film that scarcely made it out of its home country, having never been officially released in the U.S. either theatrically or on home video. Everything else is very important - casting, writing, the script, designing the sets - but to me the most important part is shooting it. Domestic advertising for the film listed an appearance at the Festival Internationale du Film Fantastique … This could be the festival held in Gérardmer, France, but in one interview, director Alex Proyas also says the film was invited to the Sitges film festival (International Fantastic Film Festival of Catalonia). Smith intends to head north, over the distant mountains, but Felix assures him there’s no way across … you can’t climb those buggers. So I do want to release the movie on Blu-ray etc. But Betty intends to stay to tend the grave of her dead father as they promised, and in turn Felix reluctantly decides he’ll stay too, giving Smith a better chance on his own to escape …, The wind cranks up, Felix reminds Smith of the flaps, the launch proceeds, the propellor-driven craft takes to the sky and Smith flies away … leaving Felix with his sister …. Set against an overwhelming desert landscape, Felix (Michael Lake) and Betty Crabtree (Rhys Davis) are eccentric siblings living together in an isolated homestead in a post-apocalyptic era. Proyas started the interview by recalling his coming to a housing commission flat in the inner suburb of Waterloo in Sydney (though born to a Greek family, he came from Egypt, at the age of 3) and then as an only child being let loose with a super 8 camera at the early age of 10. How could he when he earned less than $4,000 for two summer’s work on the film?. “That seems to be the standard procedure for a young director who shows some visual ability and can handle action, they give him a follow-up to an already proven film. The results in this area continue to make the film very watchable. Perhaps these technical devices were an interest Proyas cultivated as an AFTS student (though in a Facebook posting on his Facebook page he describes his education at the now AFTRS as "frontal lobotomy") or during his music video and TV commercial years. | A micro budget. Proyas then compares later easier digital technology - the ability to shoot a movie on a phone and cut it on a lap top - as compared to the old days of expensive gear and film stock and hire of editing rooms (though he does acknowledge that in the modern era, the business of releasing a movie has become increasingly hard). The film was shot on location near Broken Hill, New South Wales and at Supreme Studios Sydney. The film picked up two nominations in the design area at the 1988 AFI Awards: Nominated, Best Achievement in Production Design (Sean Peter Miller) (Sally Campbell won for The Navigator), Nominated, Best Achievement in Costume Design (Angela Tonks, Mathu Anderson) (Glenys Jackson won for The Navigator). 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