Hicks, best known for directing the hit film Shine, which depicted the life of pianist David Helfgott, has been honoured for his contribution to the movie industry in SA.

He was one of four South Australians presented with Australian of the Year awards by the state's governor, Rear Admiral Kevin Scarce, in Adelaide tonight.

“Scott is passionate about South Australia and whenever possible brings elements of his filming projects here,” a spokeswoman said.

Hicks is in Australia filming his latest movie, The Boys Are Back In Town, and often completes post-production of his films in SA.

Science communicator Professor Rob Morrison was honoured as SA's senior Australian of the Year for his media work and stewardship of groups including the SA Royal Zoological Society.

For 18 years, he was a presenter of the 1970s and 80s children's science television program The Curiosity Show, which was filmed in Adelaide.

The state's young Australian of the year is musician Niki Vasilakis, the lead violinist with Australian piano trio TrioZ who has performed as a soloist with some of the world's finest orchestras.

SA's local hero of the year is rural community builder Samantha Krollig.

Ms Krollig's work in her home town of Bowhill includes forming a social group for parents and children to offer rural families support and parenting skills, and leading the fundraising drive for a $250,000 community centre.

The four SA winners are finalists in the national Australian of the year awards, which will be announced in Canberra on January 25.

Source: Adelaïde Now

Hicks parle dans cet article de son documentaire sur Glass. La première du film en Australie aura lieu le 9 mars 2008 au cinéma Picadilly / Here Hicks is talking abouts "Glass a portrait in twelve parts". The Premiere in Australia will be on March 9 2008 at Picadilly Cinema.

In 1984, my then teenage son Scott convinced me to go with him to a midnight screening of Godfrey Reggio's cult film KOYAANISQATSI at the Chelsea Cinema, and a new addiction was created. From that moment, I became a fan of Philip Glass's dynamic music, with its complex, layered sonic structures and its characteristic repetitiveness. I was hypnotised by it.

In 1997, while editing Snow Falling on Cedars, I used a track of Philip's music as a "temp" score (music you use as a guide in the editing stage). As my composer was having difficulty matching the power of the Glass piece, I contacted Philip's New York company to inquire about licensing the track in case I wanted to actually include it in the film. His manager, Jim Keller, realising I was a Glass "tragic", encouraged the start of a relationship between Philip and myself. Over the next few years, I was invited to a number of his performances, from Los Angeles to Sydney, taking both my sons to see Philip and his ensemble play live to screenings of movies that he had scored.