Steven Ball
Marie Craven
Solrun Hoaas
Daryl Dellora

Melbourne independent filmmakers

Leo Berkeley
Giorgio Mangiamele
Michael Buckley
Moira Joseph
 
     


Jon Hewitt
(Jon Desmond Hewitt)
b. April 8, 1959, Wodonga, Victoria, Australia.

BIOGRAPHY:   Jon Hewitt cut his teeth in the Australian film industry in exhibition and distribution. From 1983 thru 1997 he worked in programming, acquisitions and marketing for Australia's largest "quality" film exhibitor and distributor, The Premium Group.

 


 
 

CRITICAL OVERVIEW:   I first started to think about making movies in 1975 when I was fifteen and saw Sandy Harbutt's incredible bikie classic, Stone (1974). Suddenly here was a film that told a story about people who seemed real to me - people I knew. The area I lived in (Albury/ Wodonga) had a big bikie culture and the people in the film seemed just like the bikies I saw around me. So, this was really the watershed moment when the heavens opened and I saw that movies could come from 'real' life - and exciting, action-packed movies at that .... While Bloodlust was being written the filmmakers that had the greatest impact on the process included Russ Meyer (Faster Pussycat, Kill! Kill!, 1965), Abel Ferrara (King of New York, 1990) and John Woo (The Killer, 1985). Hong Kong bullet-ballet cinema also had a huge influence .... Because we [Richard Wolstencroft and I] were doing it underground with no support from the 'industry' and film funding bodies, there was no pressure from that quarter ... [in the years that followed] most people involved in the industry thought we were gross, perverted, appallingly untalented and not deserving of any support. So nothing happened that had any career impact. Richard also went on to shoot his second feature in mid-1996 [Pearls Before Swine, 1999] but, basically, we're both still waiting for something to happen, for someone to give us a break, but we're not counting on it ... [A production] doesn't have to be big and probably shouldn't be. A large percentage of the shoot of my next feature will be just me [camera and sound] and the actor ... I see myself as a filmmaker defined by the writing, producing and directing of the project, but editing is a skill I prefer to put in the hands of an artist ... It's technically easier to make a feature-length project than ever before. You can shoot footage on a domestic video camera now that's more than good enough to cut it in the world marketplace and it's also ridiculously cost-effective. One of the films in competition in Cannes 2004 was shot on various grunge formats and post-produced on a Mac ibook on a budget of $400. I've always thought that the hardest thing of all is getting to the point of turning over on the first shot. After that, it's all downhill.

Jon Hewitt, April 2004, excerpted from Metro Magazine (see reference below).


FILMOGRAPHY:

 
 
Redball

Bloodlust (1990, 89 mins, shoot SP Betacam, delivery 1" video)
co-director Richard Wolstencroft

Redball (1998, 91 mins, shoot mini DV, delivery 35mm)

darklovestory (2003-2007, 80 mins, shoot Super16mm, delivery HD)

Acolytes (2008, 91 mins, shoot Viper Filmstream, delivery 35mm)

X (2011, 90 mins, shoot RED-ONE, delivery 35mm)

Turkey Shoot Reloaded (2014, 90 minutes, shoot SONY F55 4K raw, delivery DCP)


SELECT BIBLIOGRAPHY:

"Jon Hewitt on 'Bloodlust': 'fuck film. Digital is where it's at.'" - by Tristan Bancks, Metro Magazine, Summer 2004.


Jon Hewitt, Feb 2014

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Melbourne independent filmmakers is compiled by Bill Mousoulis