JOSH POMERANZ SPECTRUM FILMS

Over the next 45 years it became a mecca for Australian and overseas filmmaking post-production. The Sydney Morning Herald. Spectrum became the school for emerging filmmakers. Working in a film laboratory, he wanted to be where the films were shot and made. An agnostic, he was a fierce advocate of social justice and staunch defender of Israel, fearing that, for Jews, “one day it could all happen again”. At war’s end Max, Julia, Hans and his brother, Leo, were reunited – but the boys’ sister, Henriette, was never seen again and may have died in Auschwitz. In , Pomeranz established Spectrum Films, an editing service for independents.

The grieving family sought a place most distant from war’s sadness and scars. In the feature film Stockade ignited a political and commercial battle that nearly ruined Spectrum but galvanised the community. Scriptwriters wanted him to edit their stories. He played first grade soccer for Hakoah – he later became president and coach of the Mosman club – and went exploring, discovering an abiding affection for the landscapes of his new homeland. Spectrum became the school for emerging filmmakers. Exhibitors and distributors closed ranks, offering the identical deal, but not one the filmmakers would accept. Cook and Pomeranz eventually arranged for a premiere in the Orange Civic Centre.

The NSW chief secretary, Eric Willis, raised health and safety issues and said that films could not be publicly screened within several hundred metres of cinemas. When a vacancy for a trainee film editor arose, an affectionate cry went pomfranz He was passionate about cricket, soccer and cryptic crosswords. Working in a film laboratory, he wanted to be where the films were shot and made.

Arriving in Australia with the wave of s migrants, they first lived in Bradfield Park migrant hostel. A pomeran industry applauded. A distribution company undertook to exhibit it but the deal fell through. Their sons, Josh and Felix, followed him into the film industry; Margaret became a film reviewer. After a heart transplant inhe raised funds for St Vincent’s Folms and made information films for patients facing surgery. Cook and Pomeranz eventually arranged for a premiere in the Orange Civic Centre.

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A force in Australia’s film industry.

David Elfick, a film producer, says that before there were any film development corporations, there was Pomeranz. Over the next 45 years it became a mecca for Australian filsm overseas filmmaking post-production. He played first grade soccer for Hakoah – he later became president and coach of the Mosman club – and went exploring, discovering an abiding affection for the landscapes of his new homeland.

Pomeranz, who has died days short of his 69th birthday, was born in Enschede, Holland, to Max, a tailor, and Julia. Hans married Margaret Jones-Owen.

He was awarded a medal in the Order of Australia. With basic funding from the fledgling Australian Film Development Corporation, Cook adapted the stage script. Pomeranz graduated swiftly from editing news and fi,ms to the program Weekend Magazine.

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An agnostic, he was a fierce advocate of social justice and staunch defender of Israel, fearing that, for Jews, “one day it could all happen again”. The family had to split up in and, after a lonely time in an orphanage, Hans spent the rest of World War II as a “son” of a Protestant minister, with the German occupiers asking why the dark-haired boy was so different from the minister’s other children.

Stockade was a dramatic musical about the Eureka Stockade, with story and lyrics by Cook. The idea of a future life in Australia and a stake in the Australian film industry was unimaginable for the little boy and his family sheltering in a darkened doorway in the Netherlands one night inwaiting for rescuers to shift them to safety from the German enemy. The film, well reviewed, remained a costly outcast. The Sydney Morning Herald.

The grieving family sought a place most distant from war’s sadness and scars. Yet Hans Pomeranz’s adult life ran parallel with the decades from the beginning of television in Australia in through the peaks and troughs of the Australian film industry, including his challenge in to the power of overseas film exhibitors and distributors.

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Harry Kippax, the Herald critic, hailed it. Film editing was his forte and provided a community in which he clinched his citizenship, put down his professional roots, developed a network of friends and heard the jsh siren call of the industry’s quests for talent.

Pomeranz alleged that filmmakers were up against “slush funds” from America.

In the feature film Stockade ignited a political and commercial battle that nearly ruined Spectrum but galvanised the community. Spectrum became the school for emerging filmmakers.

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Exhibitors and distributors closed ranks, offering the identical deal, but not one the filmmakers would accept. At war’s end Max, Julia, Hans fiilms his brother, Leo, were reunited – but the boys’ sister, Henriette, was never seen again and may have died in Auschwitz. Pomeranz would direct, edit, post-produce and invest in the film. With filmss skills other than sharp intelligence and excellent English from his schooldays in Holland, Hans secured a printing apprenticeship and began to enjoy life, a zest he never lost.

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It was premiered in Ballarat and screened in halls spectum Victoria. InPomeranz established Spectrum Films, an editing service for independents. The Eureka Stockade battle, though lost, liberated its successors. Stockade became a national political controversy. Scriptwriters wanted him to edit their stories. The Australian industry flourished and at least a third of Australian films and overseas productions set in Australia have been post-produced at Spectrum.