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L'AVVENTURA - THE MOST INCREDIBLE FILMS EVER

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  • DAILY THOUGHTS - THE BLOG, IN FACT
  • SCHEDULE & MISSION
  • OBSERVATIONS
  • ESSAY - JEAN VIGO'S L'ATALANTE
  • ESSAY - COPPOLA - THE GODFATHER
  • ESSAY - FRANCIS FORD COPPOLA - THE OUTSIDERS
  • ARTICLES
  • ESSAY - JEAN RENOIR'S CAMERA
  • ESSAY - KINGSMAN - WE ALL KNOW IT'S A JOKE
  • ESSAY - MARTIN SCORSESE - TAXI DRIVER (1976)
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  • BLADE RUNNER IS A SYMBOL FOR
  • WEEK BY WEEK SCHEDULE
  • THE MISSION
  • WHAT I'VE SEEN SO FAR
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  • ESSAY - AU HASARD BALTHAZAR
  • ESSAY - MOTHER - DARREN ARONOFSKY
  • ESSAY - 2001 A SPACE ODYSSEY - THE VISION
  • ESSAY - INGMAR BERGMAN - EXTRAORDINARY ARTIST
  • ESSAY - INGMAR BERGMAN - WINTER LIGHT (1963)
  • ESSAY - SURELY A 100 GREATEST FILMS LIST DOESN'T MAKE SENSE
  • ESSAY - BERNARDO BERTOLUCCI - IL CONFORMISTA
  • ESSAY - NEVER INVEST IN YOUR OWN FILM
  • ESSAY - VERTIGO - A PATCH OF RED
  • ESSAY - WHEN WATCHING MOVIES BECOMES A DISORDER
  • Home
    • BIOGRAPHY
    • FEATURE FILM CREDITS
    • MUSIC I PRODUCED
    • MY FRIEND SIMON
    • FILMS I'VE DIRECTED
  • BOOKS
  • cricket
  • QUOTES
  • 1M1 DIGITAL PTY LTD NEW SOUNDTRACK - BOOK RELEASES
  • Mark Isaacs Film Scores CDs
  • Philip Powers Recording Credits
  • SIDNEY POITIER BLACK AND WHITE
  • The Film Music of Mark Isaacs Vol 1 2-CDs
  • Nothing Can Go Wrong
  • WOMAN IN THE DUNES
  • BLADE RUNNER - IT'S NOT GENOCIDE - IT'S RETIREMENT
    • BLADE RUNNER IS A SYMBOL FOR
  • DAILY THOUGHTS - THE BLOG, IN FACT
  • SCHEDULE & MISSION
    • WEEK BY WEEK SCHEDULE
    • THE MISSION
    • WHAT I'VE SEEN SO FAR
    • THE TOP FILMS
  • OBSERVATIONS
    • ESSAY - AU HASARD BALTHAZAR
    • ESSAY - MOTHER - DARREN ARONOFSKY
    • ESSAY - 2001 A SPACE ODYSSEY - THE VISION
    • ESSAY - INGMAR BERGMAN - EXTRAORDINARY ARTIST
    • ESSAY - INGMAR BERGMAN - WINTER LIGHT (1963)
    • ESSAY - SURELY A 100 GREATEST FILMS LIST DOESN'T MAKE SENSE
    • ESSAY - BERNARDO BERTOLUCCI - IL CONFORMISTA
    • ESSAY - NEVER INVEST IN YOUR OWN FILM
    • ESSAY - VERTIGO - A PATCH OF RED
  • ESSAY - JEAN VIGO'S L'ATALANTE
  • ESSAY - COPPOLA - THE GODFATHER
  • ESSAY - FRANCIS FORD COPPOLA - THE OUTSIDERS
  • ARTICLES
    • ESSAY - WHEN WATCHING MOVIES BECOMES A DISORDER
  • ESSAY - JEAN RENOIR'S CAMERA
  • ESSAY - KINGSMAN - WE ALL KNOW IT'S A JOKE
  • ESSAY - MARTIN SCORSESE - TAXI DRIVER (1976)
  • INTERVIEWS
  • Articles and Essays

 NOTHING CAN GO WRONG

WRITING A BOOK

Writing a book is easy. Finishing a book is harder.

Selling a book is EVEN harder in 2020 than selling a Compact Disc

IN 2020 I STARTED WRITING

NOTHING CAN GO WRONG

about MICHAEL CRICHTON'S

"FIRST FILMS"

My grandfather was a movie star, in Australia in 1936. He was the star of Orphan of the Wilderness and Mystery Island. He was lost at sea at the age of 26 while attempting to sail back from Lord Howe Island - where they had wrapped filming of Mystery Island - to the east coast of Australia.

My father was a film censor in the 1970s for five years. Then a buyer for ABC Television in the late seventies and early eighties.

He took me and my brother - and his wife - to see G to M-rated films. Some of the M-rated films were full-on. I think he thought I could, at seven, see the rational world - what was rational in his mind - and determine what was morally right and wrong and successfully translate the good things that I saw, into my life.

.As a family we saw at least two films in cinemas in Sydney every week, sometimes more.

I was often allowed to go into the Film Censorship screenings during school holidays and watch films along with the other censors, which they were evaluating for their rating.

My father and brother read Michael Crichton books. We all watched Michael Crichton films.

He was a staple of our family.

©Philip Powers 2020