The Wheel of Value: FremantleMedia’s mantra
It’s FremantleMedia’s successful mantra when licensing programs – with 360-degree, multi-spoke coverage of a brand. But should ‘The Wheel of Value’ influence the way film and TV creatives produce the original content? Georgina Pearson finds out.
Taking an idea for a TV series and turning it into a successful ratings winner is one thing, but taking that series and evolving it into a thriving global entertainment franchise is a whole new level of expertise.
The Wheel of Value: FremantleMedia's mantra
It’s FremantleMedia’s successful mantra when licensing programs – with 360-degree, multi-spoke coverage of a brand. But should ‘The Wheel of Value’ influence the way film and TV creatives produce the original content? Georgina Pearson finds out.
Taking an idea for a TV series and turning it into a successful ratings winner is one thing, but taking that series and evolving it into a thriving global entertainment franchise is a whole new level of expertise.
To Renovate or Not To Renovate. There is No Question
In this guest post, Ten’s chief programming officer David Mott responds to criticism about that controversial decision to schedule The Renovators during Sunday’s MasterChef finale.
Those of us in the programming business know that this isn’t a job for the thin skinned. There will always be someone willing to express their displeasure over your scheduling choices. Read more »
Red Dog: Koko’s big $1.78mil weekend
Red Dog, about a hitchhiking kelpie in 1970s Dampier, WA that unites the male-dominated mining town, has opened around the country with the largest first-weekend takings for an Australian film so far in 2011. Producer Nelson Woss told Encore, “I’m absolutely thrilled Red Dog been given a pat on the head by Australian audiences.”
The film – adapted from the Louis de Bernieres’ novelisation of the myth – posted $1.78 million across 245 screens which placed it fourth at the local box office with an average of $7265 per screen.
Marvelous Effects: Fuel VFX on Captain America
Sydney-based vendor Fuel VFX completed 120 shots on Captain America: The First Avenger, consolidating its relationship with Marvel Studios and reputation as a world-class company. Miguel Gonzalez reports.
Back in my day: Australian TV put another buck on the barbie
Video Hits is gone.
Sure, it didn’t exactly push the envelope culturally; nor even open one to reveal a letter of authenticity to the millions of kids who’ve watched religiously as their favourite artists strut about. But what it did do was be a vehicle in which one could travel the musical airwaves on the idiot box in the comfort of pajamas prior to indulging the great Aussie weekend.
Red Dog: Red Collar Worker
Red Dog captures the wild, blokey days of the 1970s Dampier. Shot on location in isolated WA’s Pilbara Region, the producers employed a low-budget mentality and called in favours to make finances go the distance. Joanne Whitehead reports.
Why I’ve ditched Facebook for Google+
In this guest posting, Seven’s newly appointed director of social media Adam Boland explains why he has dropped Facebook in favour of Google+ as his social network for his own use.
To be honest, I’ve never really understood Facebook.
Treating all of your “friends” as equals just doesn’t reflect real life. I like the concept of sharing, but why should my family get the same feed as people I see once a year? Read more »
Taking the temperature: Section 5 – Future of the Australian screen industry
Results from Encore Magazine‘s industry-wide survey into the mood of the sector and the EncoreLive panel discussion that followed.
Which of these statements best represents your general impression about the Australian film industry:
It’s living up to its potential – 7.8%
It’s seen better days, but it’s recovering – 36.3%
It’s struggling and there’s no relief in sight – 43.8%
It’s a lost cause – 7.8%
No response – 4.1%
Taking the temperature: Section 4 – Working overseas
Results from Encore Magazine‘s industry-wide survey into the mood of the sector and the EncoreLive panel discussion that followed.
Have you ever considered:
Leaving the country to look for work overseas – 34.8%
Staying in Australia, but leaving the industry to pursue another
type of work – 34.4%
None of the above, I’m happy doing this job in Australia – 28%
No response – 2.6%
Taking the temperature: Section 3 – Australian television industry
Results from Encore Magazine‘s industry-wide survey into the mood of the sector and the EncoreLive panel discussion that followed.
How strongly do you agree with the following statements about the Australian television industry:
Strongly disagree = 1 Strongly agree = 5
The introduction of digital multi-channels has benefited
Australian producers – 3
Opportunities for TV Drama projects are limited – 4
Pay TV should be given further incentives to commission more
local content – 4.5
The local industry is doing enough in terms of online and
cross-platform work – 2.5
TV currently receives the same level of funding support as feature film – 2.5
If the ABC didn’t let presenters moonlight they might have to pay them a decent salary
For anyone that attends industry awards nights, the fact that ABC personalities are for hire at corporate events will not be a shock, despite today’s news coverage around Q&A’s Tony Jones.
Take last week’s IAB Awards where ABC 702′s Adam Spencer was holding the fort.
Indeed, I felt like holding up my metaphorical cigarette lighter to go along with his greatest hit, so often have I heard him perform it. Read more »
My big Italian movie: marketing Big Mamma’s Boy
Big Mamma’s Boy’s Matteo Bruno and Franco Di Chiera had the challenge of marketing a rom-com set in Melbourne’s Italian community two ways, to the cultural minority and the mass majority. Colin Delaney reports.
“For me it’s a romantic comedy and that’s it,” says Franco Di Chiera, director of Big Mamma’s Boy about an Italian-Australian career man by day, jazz singer by night who falls for a non-Italian girl, while still living with his mother.
Taking the temperature: Section 2 – the screen agencies
Results from Encore Magazine‘s industry-wide survey into the mood of the sector and the EncoreLive panel discussion that followed.
How strongly do you agree with the following statements about public funding available to screen creatives:
Strongly disagree = 1 Strongly agree = 5
Funding is equally available to anyone with a good idea – 0.8
Funding is restricted to those with experience – even if they haven’t delivered strong results, making it difficult for emerging people to break through – 2.8
Funding decisions should be more transparent then they currently are – 3.1
Funding bodies should be publicly questioned about results of the projects they’ve supported – 3.2
Taking the temperature: Section 1 – State of the industry
Results from Encore Magazine‘s industry-wide survey into the mood of the sector and the EncoreLive panel discussion that followed.
Is the screen industry your main source of income? If not what percentage comes from your screen work and what is your main source of income?
Yes: main source – 67.4%
No: my income comes from other activities – 30.3%
No response: – 2.2%
Hot and Cold: Taking the temperature of the Australian screen industry
In the lead up to June’s EncoreLive Conference we conducted an indepth, industry-wide survey into the mood of the sector. At the conference the results were revealed before a panel of industry experts to discuss the findings and give their professional views and opinions.
Sending spoof redundancy letters to journalists as a PR stunt – now there’s a good idea
Click to enlarge
Those folks at Draft FCB sure are fans of hoaxing the trade press.
It’s not much more than three years since as editor of B&T I banned Draft FCB’s press releases from the magazine after they hoaxed us with a stunt involving claims that two of its creatives were leaving for a startup. It turned out to be to promote the new series of Mad Men.
This week saw a document arrive in the post from “The Australian Interior Authority” headed Notice of Your Redeployment. Read more »
Hell Razor: On the set of Underbelly’s latest
For the fourth series of Underbelly, we’re taken back to the mean streets of the 1920-30s when Darlinghurst was nicknamed ‘Razorhurst’ and two women ruled the streets. Colin Delaney steps back in time.
It wasn’t too hard to make Sydney’s Eveleigh St. terraces and Redfern’s infamous ‘block’ look run down and dilapidated. But build a couple of extra facades, roll in some beautiful old cars, bring in a few kids with grubby faces plus a few loitering, rugged old chaps and you’re thrown back to Darlinghurst in the hell-raising ‘20s. Gentrification has taken a turn for the worse: Read more »
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