JOSH POMERANZ SPECTRUM FILMS

When a vacancy for a trainee film editor arose, an affectionate cry went up: Hans married Margaret Jones-Owen. 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. In , Pomeranz established Spectrum Films, an editing service for independents. Exhibitors and distributors closed ranks, offering the identical deal, but not one the filmmakers would accept. 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”. Pomeranz alleged that filmmakers were up against “slush funds” from America. Pomeranz graduated swiftly from editing news and newsreels to the program Weekend Magazine.

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. The film, well reviewed, remained a costly outcast. David Elfick, a film producer, says that before there were any film development corporations, there was Pomeranz. A nervous industry applauded. He was passionate about cricket, soccer and cryptic crosswords. Their sons, Josh and Felix, followed him into the film industry; Margaret became a film reviewer.

He played first grade soccer flims 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.

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 first siren call of the industry’s quests for talent.

Josh Pomeranz – IMDb

The Eureka Stockade battle, though lost, liberated its successors. Spectrum became the school for emerging filmmakers. A force in Australia’s film industry. David Elfick, a film producer, says that before there were any film development corporations, there was Pomeranz.

The film, well reviewed, remained a costly outcast. Exhibitors and pomefanz closed ranks, offering the identical deal, but not one the filmmakers would accept. Josb no 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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He was awarded a medal in the Order of Australia. The Australian industry flourished and at least a third of Australian films and overseas productions set in Australia have been post-produced at Spectrum. 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.

The ProductionBook

Pomeranz would direct, edit, post-produce and invest in the film. 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”. With basic funding from the fledgling Australian Film Development Corporation, Cook adapted the stage script. Pomeranz alleged that filmmakers were up against “slush funds” from America.

He was passionate about cricket, soccer and cryptic crosswords. When a vacancy for a trainee film editor arose, an affectionate cry went up: Arriving in Australia with the wave of s migrants, po,eranz first lived in Bradfield Park migrant hostel.

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. Over the next 45 years it became a mecca for Australian and overseas filmmaking post-production. Their sons, Josh and Felix, followed him into the film industry; Margaret became a film spectgum.

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 Specfrum minister, with the German occupiers asking why the dark-haired boy was so different from the minister’s other children.

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.

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Hans married Margaret Jones-Owen.

Pomeranz graduated swiftly pomerxnz editing news and newsreels to the program Weekend Magazine. It was premiered in Ballarat and screened in halls around Victoria. Working in a film laboratory, he wanted to be where the films were shot and made.

Cook and Pomeranz eventually arranged pomsranz a premiere in the Orange Civic Centre. Harry Kippax, the Herald critic, hailed it. The Sydney Morning Herald. Scriptwriters wanted him to edit their stories.

InPomeranz established Spectrum Films, an editing service for independents. After a heart transplant inhe raised funds for St Vincent’s Hospital and made information films for patients facing surgery.

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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.

Stockade pimeranz a national political controversy. In the feature film Stockade ignited a political and spectrmu battle that nearly ruined Spectrum but galvanised the community.

Pomeranz, who has died days short of his 69th birthday, was born in Enschede, Holland, to Max, a tailor, and Julia. A nervous joosh applauded. Stockade was a dramatic musical about the Eureka Stockade, with story and lyrics by Cook. A distribution company undertook to exhibit it but the deal fell through. The grieving family sought a place most distant from war’s sadness and scars.