Hughes’ and Bailey’s $6m Photon payments don’t tell the whole story

As we reported earlier today, Tim Hughes has departed Photon Group’s board, not long after relinquishing the chairmanship.   Read more »

King of Shaves: rude and spammy

Dear King Of Shaves Australia, thank you for your tweet inviting me to vote for you in the FHM Awards. Here’s why I won’t be voting for you:   Read more »

If you don’t like the Ad Standards Board ruling, ignore it

Good to see that Pharmacare Australia, the company behind Brut, takes its responsibilities to the Advertising Standards Board seriously.   Read more »

Of timewarps and billionaires

The devil may have the best tunes, but so far this election, Labor’s had the funniest ads.   Read more »

TVC: Commonwealth Bank, Amelie style

There is an ongoing love affair between established filmmakers and TVC work, and the new Commonwealth Bank campaign is a perfect example of this phenomenon, having been helmed by acclaimed French director Jean-Pierre Jeunet (Amelie, Micmacs).

How did this high-profile filmmaker end up shooting a poodle in the streets of Melbourne? Miguel Gonzalez writes.

Read more »

Distribution: What Film Distributors Really Want

AIMCEvery day, Australian distributors are contacted by local filmmakers with all kinds of ideas, styles and budgets, hoping that their projects will get picked up. Few succeed. While some elements – an engaging story with the potential to capture the attention of an audience – should be obvious, there are certain things that distribution executives want producers to know in order to make the best out of that first contact. This is their advice. Read more »

Who’s afraid of Australian films?

Hi in craft, but low in content, South Solitary is perfect for those who prize art for its own sake and a perfect example of why the rest of Australia is afraid of Australian films.

The Sydney Morning Herald won’t be getting a Christmas card from director Shirley Barrett. Read more »

Who moved my pyramid?

This is an edited version of last night’s opening keynote to the Walkley Media Conference in Sydney from SMH editor Peter Fray

I was recently reminded of the six golden rules of how to become a good reporter:

Read, read, read – write, write, write.   Read more »

What does a planner do anyway?

If people working in the media and marketing industry have one thing in common, it’s the fact that their families have almost no idea what they do.

Which is why I love the insight behind this call for entries video from Account Planning Group chairman Jeremy Nicholas’s mum.   Read more »

Now it’s leaky lemons

It’s starting to look like it won’t be the ads that decide this election campaign.

Indeed, there’s only one set of ads that I suspect will linger in the memory at all – and that’s the Liberal Party’s lemon series.   Read more »

So bad it’s bad

Last night’s premiere of Brian Trenchard-Smith’s Arctic Blast left us cold, but probably not in the way the filmmakers intended.

Isn’t the charm of ‘bad movies’ the fact that those making them were being absolutely serious and failed miserably? Isn’t a cult movie something that stands out from the crowd and has a special, almost undefinable quality that connects with a very specific, adoring audience? However, deliberately trying to make a ‘bad movie’ (or a B-movie, as many would rather label certain filmic abominations), is a recipe for disaster. Read more »

The seven rules of creativity

This is an edited version of the Sydney AWARD School graduation address given by chairman Craig Davis last night.

Creativity is not an option. It’s not a luxury, a bonus, a nice to have.

Creativity is not a dalliance, an indulgence, it’s not effete, auto-erotic or a distraction.

Creativity is the main event.   Read more »

On location: Packed to the Rafters – a familiar feeling

Now entering its third year, Packed to the Rafters has become the Seven Network’s flagship drama. Its creators told Eleeza Hooker that making a hit TV show might be difficult, but maintaining it over the years is even harder.

The series, about a couple whose adult children come back to live at the family home, has been a hit with audiences, averaging 1.9m viewers in 2008 and 2009 – with a peak of 2.07m for Episode 41, a number surpassed only by Nine’s Underbelly. Read more »

A Minute To Win It; hours of practice first

One of the problems with overseas TV formats is that the pesky participants can give themselves something of an unfair advantage.   Read more »

Recalcitrant Australia

Australians are notoriously recalcitrant when it comes to seeing Australian films. They need to be told not just that the film is good, but that it is exceptional.

Animal Kingdom director David Michôd opens his heart to New York’s The Village Voice prior to the August 13 US release of the film. Read more »

Finance agreements: painful but necessary

There is no standard way to finance a film – any deal can be made as long as all parties are commercially satisfied and the deal isn’t in breach of any laws. Gene Goodsell writes

Finance agreements can be painful, but unfortunately, they are also crucial because they start the production funding flowing so that production of a project can begin in earnest. Read more »

Distribution: Coexistance is Possible

The Tumbler will be Pack Screen’s first cinema DVD releaseThe competitive nature of the industry, the limited amount of screens and the high volume of films is
forcing independent filmmakers and smaller distributors to try different models to reach audiences. It’s a
world where old and new are destined to coexist.

Peter Castaldi, director of the new distribution company PackScreen, will be one of the first to experiment with hybrid models.

Read more »

Exhibition: success and challenges

More than a billion dollars might be enough to think the exhibition sector is healthier than ever and, although optimistic, there are still pressures and challenges for cinemas – particularly for the independents.

Box office takings in 2009 crossed the $1 billion line, and by February 2010, James Cameron’s Avatar (Twentieth Century Fox) had become Australia’s highest grossing film of all time, and the first to enter nine- digit territory with $114,763,630 in takings. It seems like the exhibition sector has a billion reasons to celebrate. Read more »

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