In a piece that first appeared in Encore, Emily Hoskins from ARN tells us how to do her job.
What does a radio newsreader actually do?
A radio newsreader has to be switched on from the moment they sit at their desk. At the Australian Radio Network each journalist writes, researches, edits and reads their own news bulletins under tight deadlines – every 30 minutes during the breakfast shift and every hour after 9am. Read more »
In an exclusive interview in Cannes today, advertising icon Keith Reinhard, one of the founding fathers of what is now DDB Worldwide, talked to Mumbrella’s Robin Hicks about freedom from fear, his favourite ads of all time, winning back McDonald’s and why the most important thing in advertising is passion. Read more »
In a piece that first featured in Encore, Chris Savage tackles your career and agency dilemmas. This week, he talks about when it’s okay to lie to clients.
I often find myself telling little white lies at work – I tell people on the phone that I don’t want to speak to I’m about to duck into meetings. I told my colleague her new haircut was great when really it wasn’t and I praised someone’s work when actually it was kind of shit. After each of these occasions, I felt pretty terrible and wonder if you could tell me how can I speak with candour in the future – for my sake and others. Read more »
How important is a company’s culture and how do you ensure you are breeding a good one? Matt Smith investigates, in a piece that first appeared in Encore.
When production companies Cordell Jigsaw and Zapruder’s Other Films merged early last year, bringing the staff together within the walls of the Zapruder building proved to be something of a challenge. While the two companies weren’t strangers to each other due to six months of talks and negotiations, working together on a full-time basis was a different story. Read more »
In a piece that first featured in Encore, Val Morgan CEO Damian Keogh reveals his potential alternate career.
Who is the most powerful person in Australian media and why?
I’d say Kerry Stokes, slightly ahead of Harold Mitchell and Kim Williams. He controls the entity with the largest revenue across free-to-air, online, magazines and newspapers. On pure size alone, his influence and leverage over advertisers, media agencies and consumers is unmatched. Harold is still the king in media, slightly ahead of John Steedman, but Henry Tajer and Leigh Terry are the heirs apparent. Kim Williams controls News and that’s a big base to work from.
A fortnight ago, it emerged that the Ad Standards Board had banned a television commercial for the video game Dead Island: Riptide, due to its depiction of violence – specifically suicide. Read more »
In a piece that first featured in Encore, Craig Anderson says there simply isn’t enough opportunity for content makers in Australia, especially for those making comedy.
Last year I had multiple meetings with production companies in Australia and discovered that apart from the odd commercial campaign, there’s no proliferation of paying platforms for comedy. From my own experience there’s iView, which will buy content once it’s already been made (though I live in hope that it will one day be granted the financial power to commission content). I’ve also had the odd informal commission from the SMH iPad consisting of two narrative series and a comical review show. But none of these endeavours were financially viable. Read more »
In an article that first appeared in Encore, Stephanie Brown says the advertising industry often leaves people ill-equipped when it comes to managing staff, especially when they’re promoted into management roles.
Managing people is hard. In fact, I actually think it’s the hardest job in the world. With no disrespect intended, I often joke that if my job didn’t involve other people to manage, it would be a walk in the park. I could get about my day’s work in a nice, linear fashion, happily checking off my to-do list as I go. I’m a process-orientated person. I get a kick out of getting things done.
You know how we look back at quaintly patronising ads from the 1950s and wonder what on earth the advertisers were thinking?
I’ve got a feeling that in a few years time, we’ll be looking at the behaviour of big brands on Facebook the same way.
An entire generation of marketers – or at least a sizeable proportion of them – have lost their minds.
So many have become so obsessed with generating user interactions at all costs, that all thoughts about overall brand perceptions or long term marketing goals have vanished. All that counts now, is generating likes and comments at all costs. Read more »
Paid content, sponsored posts and brand ambassadorships – in theory, today’s blogger can be just as valuable to brands as mainstream media. But does blogger outreach actually work? In an article that first appeared in Encore, Nic Christensen investigates.
“I get approaches from PR companies constantly,” says blogger and author Kerri Sackville, with more than a hint of exasperation. “I have never done a sponsored blog, on my own site, but that doesn’t stop them from asking.” Read more »
It’s all change at troubled broadcaster Channel Ten with new directions, new executives and a brand new CEO. Managing director of Adstream Peter Miller says Hamish McLennan is the right man for the job, in an article that first appeared in Encore.
I am a bit of a schmuck when it comes to movies. I love romantic comedies. My favourite is One Fine Day with Michelle Pfeiffer and George Clooney. Read more »
In a piece that first appeared in Encore, CEO of APN Outdoor Richard Herring talks media.
Who is the most powerful person in Australian media and why?
I don’t know if there is one person in particular. The fragmentation of traditional media and new entrants has made it a more level playing field with regards to major influencers. As was demonstrated with the recent media reform recommendations, together, the broader media community still has a very influential and powerful voice.
What one medium could you not live without?
Outdoor – clean, entertaining, evocative and informative. Read more »
Craig Pearce, screenwriter for The Great Gatsby, spoke to Encore about working with Baz and writing for 3D.
How did you get into script writing?
I always loved stories and acting and dressing up and being anything but myself and I never realised that was not something other people did. After leaving high school, I did a three year acting course at NIDA but always thought I would one day write. Baz was a good friend and he had a theatre company. He wanted to extend a 20 minute version of Strictly Ballroom. We got it to 45 minutes then he was approached by producers to turn it into a feature film. I started helping him out on the film while they were looking for a real writer but eventually Baz had to go to the producers and say, “There’s this guy who’s my best friend and he is a really good writer”. To the producers’ credit, they believed in Baz so we had two weeks to re-write it.
Chris Savage tackles your career and agency dilemmas in his weekly Encore advice column.
It seems we have to increasingly pitch for everything. Even with existing clients, we’re now expected to pitch ideas, competitively, for every project. We’re winning about two out of five of what we’re pitching for. It’s a huge burden on our time and budgets. What is your secret to winning a pitch presentation? How do we make sure our presentations are a knockout?
Jess Harris, series creator and writer of ABC2 comedy series twentysomething tells us how to bluff it as a TV series writer in a feature that first appeared in Encore.
What does a TV series writer actually do?
Create fictional characters and a make-believe world for them to play in. Basically, I’m a liar.
From Avatar to Gatsby and the ads in between, in a feature that first appeared in Encore, Lee Zachariah looks at the state of the 3D market.
When sound came in,they said it was a gimmick,” says director Baz Luhrmann. “It’s early days, and the [3D] tool is still being explored. But look at what Ang [Lee] did with the beautiful Life of Pi. And Dial M For Murder is just drama in a room.” Read more »
The Australian government’s support of Hollywood blockbusters is defeating the purpose of building a sustainable local film industry says Jason Kent, in a piece that first appeared in Encore.
One of the biggest hurdles for Australian filmmakers is competing with the big budget American studio films. Indeed, this is one of the reasons the government gives for subsidizing Australian films. However, it seems to be at odds with the support given to American films like 20,000 Leagues Under the Sea. Read more »
Baz Luhrmann’s The Great Gatsby may be crass, vulgar and, to some, disposable, but the broader benefits of its box-office success should not be underestimated says Ed Gibbs in a piece that first appeared in Encore.
He readily admits that critics rarely like his films. So it came as no surprise to Baz Luhrmann when The Great Gatsby opened to a critical mauling in the US and, more recently, in Europe, where it opened this year’s Cannes Film Festival. Read more »