David Hannay, the 2007 Australian Film Institute Raymond Longford Award recipient, is an industry leader and internationally recognised film and television producer and executive who has called the Bathurst region home for the last decade. His illustrious career has already spanned seven decades with more than 50 producer credits. He has several projects in development.
David has received a number of awards and accolades for his prodigious work. Some of his other awards include the1988 Human Rights Film Award, the 1996 Lifetime Achievement Award from the Producers and Directors Guild of Australia, and in the same year Film Pioneer of the Year from the Society of Australian Cinema Pioneers ‘for outstanding service to the Motion Picture Industry’. At the Screen Producers Association of Australia’s Independent Producer Awards in 2002 he was the inaugural recipient of the Maura Fay Award for service to the industry. In 2011 he was awarded the Ken G Hall Award by the National Film and Sound Archive for his outstanding contribution to the art of the moving image and its preservation.
His body of work includes a “Who’s Who” of national and international talent and locations. His television credits include two award winning television series, THE GODFATHERS and NUMBER 96 and three award winning telemovies, IS THERE ANYBODY THERE?, THE ALTERNATIVE, and MAMA’S GONE A HUNTING.
His feature film credits include Sandy Harbutt’s international box office hit STONE, the Golden Harvest Greater Union co-production THE MAN FROM HONG KONG, the award winning New Zealand feature SOLO, the World War II dramas DEATH OF A SOLDIER with James Coburn and EMMA’S WAR with Lee Remick, Bill Douglas’ award winning masterpiece COMRADES with Vanessa Redgrave, James Fox and Michael Hordern, Oliver Schmitz and Thomas Mogotlane’s anti apartheid and multi-award winning film MAPANTSULA, SHOTGUN WEDDING with Aden Young and Zoe Carides, GROSS MISCONDUCT starring Jimmy Smits and Naomi Watts, John Feldman’s New York set DEAD FUNNY starring Andrew McCarthy, Elizabeth Pena and Paige Turco, the UK/NZ Co-Production SAVAGE PLAY starring Ian Richardson, Peter Kaa, Lisa Walker, Wi Kuki Kaa and Rena Owen, the French/Australian Co-Production LOVE IN AMBUSH, starring Jacques Perrin, Sigrid Thornton and Gary Sweet, and Richard Kuiper’s feature documentary STONE FOREVER.
In the ‘noughties’ his feature films include the award winners CUBBYHOUSE starring Joshua Leonard, Belinda McClory and Craig McLachlan, and HILDEGARDE starring Richard E. Grant, Tom Long and Tara Morice.
David’s more recent projects as executive producer includes the 2010 Independent Spirit Award winner MORTAL FOOLS, and Brit director Ross Boyask’s action drama TEN DEAD MEN, and as producer on the mockumentary comedy, THE ARGUES: THE MOVIE, and Ross Boyask’s WARRIORESS in post in the UK.
Despite his commitment to his craft and personal projects, David has always found time to nurture and develop emergent industry talent through lecturing, and as an educator and mentor. He has worked with thirteen directors on their first feature films, and at least as many first time writers and producers.
What advice do you have for emerging producers?
I began my career in the movies behind the scenes in 1958, and it was not until 1968 that I had the temerity to call myself a producer. I worked my way up through the system, from runner to production manager. You need to get out and practice your craft. You need to learn all aspects of filming to be a good producer. You have to earn respect that you know what you are doing, and that you know how a film is made from the bottom up. This will enable you to understand what your crew is achieving for you.
While the film industry is a business you need passion to work in it. I say “ I don’t do it for a living, I do what I do to live. It is my passion.” I love my work. I want people to do it right, to learn from their mistakes like I did by getting out and doing it. But, the thing is, to not make the same mistake more than once.
You need to have several projects in development. You can’t live from just one project, as getting a project up is often a matter of timing. Without a slate of projects in development you would then be left with nothing if that one does not happen.
In my office on Broadway in Sydney in the 1980s, I had a cupboard where I kept scripts of projects that had not happened. It was floor to ceiling and full.
You need to be passionate about your projects but also pragmatic. I have never done a picture I didn’t want to do, but you have to be pragmatic and practical about what you spend your time and energy on.
