1 ENTERTAINMENT
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Continued from Page 55
Dani Wachsmann, director
of "Hamsin," adds: "This
runs counter to the arrange-
ment which exists in nearly
every Western country. Israel
TV is incredibly conservative
and fearful of precedents — a
bureaucratic mentality par
excellence prevails there!'
Itzik Kol is even more
outspoken. "ITV is not involv-
ed and doesn't care about the
film industry. The money that
they offer producers to obtain
feature films is scandalous.
ITV pays between $2-3,000
for every foreign film it ac-
quires; it offers that same
amount to acquire original
Israeli films, but in shekels.
As a result, Israeli audiences
know everything about the
British, but they don't know
anything about their own
history!'
One other subject which is
a shared contention among
leading Israeli filmmakers
concerns the shortage of pro-
fessionally trained — and
talented — local screen-
writers. Baruch Dinar
acknowledges that there is "a
crying need" for professional
screenwriters in Israel.
closely
person
One
associated with local screen-
writers is Israeli author, - -
director and Tel Aviv Univer-
sity lecturer Avraham Hefner.
Hefner, who has taught
screenwriting at the universi-
ty for 10 years and is a well-
known. "script doctor," is con-
sidered to have been one of
the first local directors to in-
troduce "Hebrew as spoken
by Israelis" into local feature
films.
Hefner, who wrote and
directed three feature films —
"The Winchell Affair," "Aunt
Clara" and "But Where is
Daniel Wax?" — says that the
latter film "changed
something in Israeli movies.
Before 'Daniel Wax,' the
Hebrew spoken in Israeli
films had been completely ar-
tificial; people here didn't
know how to write for the
cinema!' "Daniel Wax," made
in 1973 and released three
weeks before the outbreak of
the Yom Kippur War, is still
something of a "cult film,"
and is periodically shown at
the various Israeli cinemas.
Israeli cinema in 1988 is
growing, diversifying, improv-
ing and quickly establishing
itself as a potent and promis-
ing industry. Israeli films and
filmmakers are enjoying in-
creasing amounts of prestige
and recognition both here and
abroad. Yet at the same time,
the oportunities for talented
and ambitious young Israeli
filmmakers to make not only
a living but to prosper, are ex-
tremely limited. ■
Reprinted by permission.
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