Still I was amazed when Bruce Curry, his partner in plagiarism, showed up at the Piccolo Cafe 30 years later, I didn’t even recognize him and, on being re-introduced, didn’t scream or smack him. I was my usual, accommodating polite self, yeah yeah, surprise surprise, and simply asked him if he’d had any success in all these years, (other than with the design/technique he’d ripped off me.)
I got a small amount of money from the Aust Film Commission to make “The Thief of Sydney”, it took me 4 years to finish the 13 minute film as I had to paint 21 thousand acetate cells and 40 backgrounds by myself, it went on to win a Bronze Dragon at Krakow, Poland in 1985 and best kids' animation at ATOM Awards in Auz, has been shown hundreds of times around the world and is now referred to as an “underground classic” but the travail to get there is another story, to be told in later Blogs.
This is for the Akashic record: it's ironic that "The Thief" got ripped off, the cunts even took the animation camera, and in all the interviews they did over the years they never acknowledged Eddie vander Madden as the genius who launched them, or me as a founding member of the "animation collective", pretending it all came out of their wonderful brains. Julie Cuntham even had the nerve for the last thirty years to tell other fools she "taught TZ everything he knows about animation." What a dill! She couldn't even press the button on the camera to take a photo. To succeed in this 'post-modern' world the artist has to be ruthless, shallow and have a beastly fame-diseased soul. They conned a lot of arts bureaucrats to get money and fame but I'm glad I kept my integrity untarnished and carried on, doing my thing.
Sadly, the rip-offs were a "never-ending" horror tale. Mt next project, "Virgin Beasts" got dumped halfway through production by the funding bureaucrats while they, feminist dykes, went on to snaffle huge amounts of money from the Film Commissar to copy its format. I refused to give in and persisted till a new "male" bureaucrat took over and permitted me to finish the film. No one would distribute it and I had to sell it to Troma for a measly $1000. They showed it all around the world, especially after it won best Trash Film in the World at Feakzone, France 1996, but always telling me it made no money and yearly presenting me with a bill. In 2005 Troma re-released the film, why if it wasn'y making any money? I was ripped, plain and simple, left to starve in the utter.
If you are from a poor background, with no Private School background, no connections, no where-withal to hire a lawyer, no fame, living way down in the boondocks of Auz, not even fuckable, but with some ability at producing interesting work, then you can expect to be ripped off. The plagiarism/money-grab has been a constant, right up to this very day: I do my stage act, someone in the audience sees it, thinks, Hmmmm, that's pretty good, I want that act. All I have to do is get rid of Toby Zoates!" A few weeks/months later I see my act repeated by some dickhead I know, who looks at me oafishly, "How absurd, I dreamed this up, I've got better connections and you're just a guttersnipe!" Post-modernism even allows it with the bullshit line, "Everything is up for grabs!"
I know it goes on all over the world but hicksville convict cringe-worthy Australia is particularly bad for it. Auz has to be kept safe as a military base, a mining camp, a food bowl, a product test market, nothing can be allowed to rock the boat, all has to be State sanctioned and supported and feed High Fascist Capitalism. That's why most cultural products from Auz are so bad, so boring, so obsequious to Authority, elitism or the lowest common denominator. Fuck'em all, I'm out of here! (I suspect even the best of my stories here on this Blog will get ripped off and "worked over" post-modern.)