Luna Park Sydney - Appearances in Film and Television

Appearances in Film and Television

Luna Park Sydney has been used as a filming location for sections of several works of film and television. In 1959, the entire park was used for Leslie Norman's film adaptation of Summer of the Seventeenth Doll, based on the play by Ray Lawler. Also, during this decade, sequences were filmed for the Six O'Clock Rock and Skippy the Bush Kangaroo television series'.

In 1976, television soap opera Number 96 had the characters Dorrie and Herb Evans (Pat McDonald and Ron Shand), Flo Patterson (Bunney Brooke) and "Junior" Winthrop (Curt Jansen), visit the park, including scenes of them in Coney Island, eating fairy floss, and riding on the Big Dipper and the Topsy-Turvy House. This footage has been preserved in Number 96: And They Said It Would not Last, a bonus feature on the DVD release of the feature film version of the show, Number 96: 2 disc Collector's Edition.

Following the 1996 closure of the park, Luna Park (in particular the Big Dipper) was used for a section of Our Lips Are Sealed starring Mary-Kate and Ashley Olsen. The 'memory sequences' in Farscape episode "Infinite Possibilities Part I: Daedalus Demands", material for the two-part '100th episode' of JAG, "Boomerang", and scenes for the Bollywood film Dil Chahta Hai were filmed at points between the 1996 closure and the 2001 removal of the Big Dipper. During this time, the documentary Spirits of the Carnival - The Quest for Fun was filmed about the history of amusement parks named 'Luna Park' in general, and Luna Park Sydney specifically. Following Luna Park's reopening in 2004, material was filmed in the park's Rotor for the 2006 film Candy.

Read more about this topic:  Luna Park Sydney

Famous quotes containing the words appearances, film and/or television:

    The appearances of goodness and merit often meet with a greater reward from the world than goodness and merit themselves.
    François, Duc De La Rochefoucauld (1613–1680)

    The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.
    Jeanine Basinger (b. 1936)

    So why do people keep on watching? The answer, by now, should be perfectly obvious: we love television because television brings us a world in which television does not exist. In fact, deep in their hearts, this is what the spuds crave most: a rich, new, participatory life.
    Barbara Ehrenreich (b. 1941)