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 »

Distribution: A hint of local flavour

Red Dog will be a broad comedic family film for RoadshowAll distributors, big and small, have hits and disappointments; it’s the nature of the business. Encore spoke with a number of distribution executives about their year and their relationship with Australian films.

The last 18 months have seen an unusual number of Australian films cross the $1m line, with Mao’s Last Dancer ($15.4, Roadshow/Hopscotch), Bran Nue Dae ($7.5m, Roadshow), The Kings of Mykonos: Wog Boy 2 ($4.9m, Paramount/Transmission), Animal Kingdom ($4.3m, Madman), Charlie & Boots ($3.9m, Paramount/Transmission), Beneath Hill 60 ($3.2m, Paramount/Transmission) and Samson & Delilah ($3.2m, Paramount/Transmission/Footprint) all delivering strong results – they may not all have made their budget back, but it’s a step forward in recapturing local audiences beyond niche numbers. Read more »

Subaru: driven by tools?

Currently running on the home page of YouTube is a promotion for the Subaru XV Rescue campaign.

The accompanying video ad features a car bombing about what looks like Sydney’s The Rocks.   Read more »

See ya Foursquare – I’m checking out

Although I didn’t realise it at the time, looking back I know the moment when I fell out of love with Foursquare.   Read more »

After Harold

The ‘Harold rumour’ rarely goes away.

Last time round WPP was rumoured to be looking at buying Mitchell Communication Group. On another occasion one of the trade magazines hoaxed a rival into reporting that Telstra was the buyer.

This time, the rumour appears to have a great deal more substance. Read more »

Intelligent TV – the next big thing?

I was, I must confess, mistaken about last night’s Gruen Nation.   Read more »

South Solitary: no film is an island

Director Shirley Barrett didn’t get to shoot South Solitary on her dream island, but she found that Plan B is sometimes better. Miguel Gonzalez writes.

Eight years ago Barrett stayed at the first cast concrete lighthouse in Australia, Green Cape, in southern NSW – it now provides accommodation for visitors. She was there doing research for a film she had written, about whaling in the early 1900s. Read more »

Applicants or supplicants?

In Australia, there is a lingering perception that the arts are an optional extra rather than an essential component of a contemporary nation, with tangible economic and social benefits. This perception casts artists as applicants and supplicants rather than as serious contributors to national wellbeing.

Julianne Schultz on Australia’s cultural global presence (or lack thereof). Read more »

Not much new on news channel

I hope the ABC moves quickly to freshen up the promos for the new service [...] For the Homer Simpson “Doh” award, I nominate the line: “The best thing about 24-hour news is that things happen when they’re not expected.” Hey, who would have thought it?

Mark Day on the launch of the ABC News 24 channel

Focus on South Australia: looking south

The wheels have been turning in South Australia to bring the state’s film industry to the forefront of the entire nation. Micah Chua reports on the state’s progress and finds out just how this ambitious goal is being acted out.

The vision for the South Australian Film Corporation (SAFC) as stated in their Strategic Plan for 2012 is to have SA ‘recognised globally as the most dynamic screen industry in Australia’, with measurable targets such as doubling the state’s feature production by 2014 and increasing the number of credited producers and writers in the state. Read more »

Masterchef: Homophobic? No. Racist? No. Ageist? Maybe

In this guest posting, Tactical TV’s Tony Richardson argues that Masterchef shows Australian TV audiences are ready for multiculturalism but not older faces

When the popularity of a TV show bumps the prime minister and the leader of the opposition to an earlier time slot, you know you have a phenomenon.   Read more »

Bad enough the SMH iPad app is just a PDF, forcing a print subscription is insane

So yesterday Fairfax launched its Sydney Morning Herald iPad app. The strategy – designed to shore up print – and the execution – already derided by users as a “glorifed PDF reader” – are both laughable.

If there were ever doubts that Fairfax is two companies pulling in different directions, then the handling of the iPad app dispels them.   Read more »

Television: Marketing battlefield

Gone are the days when TV networks only had to compete with a few rivals to get the attention of potential viewers. Creating compelling content is only the beginning; in a world of fragmented audiences and thousands of platforms and products competing for the same eyeballs, everyone is trying to stand out. Miguel Gonzalez reports.

It’s no secret that television has become a segmented market where audiences are no longer limited by the offerings of the five networks that for years were Australia’s preferred source of entertainment and information. It is a world of multi-channels, pay TV, IPTV, games and an explosion of local and international content available at home or on the go. All of these options are competing for the same viewers so, more than ever, broadcasters must remain visible and attractive. Read more »

Is a kettle boiling a good ad?

Life_is_too_shortSo would you watch a kettle boiling? The weekend magazines carriedied an unusual ad.

It was a plain, unbranded address for the url Life is too Read more »

Guest post: Why Sensis believes in the cause

After Mumbrella criticised the Facebook campaign by Sensis to give socks to the homeless, we invited the brand to explain its thinking. In this guest posting, Sensis communications manager Danielle Horan explains the background to the idea

The debate about the intention behind the Sensis 1234 Warm Up campaign certainly unearthed a range of differing opinions. Read more »

Hungry Jack’s – something to sing about

I often enjoy giving the Hungry Jack’s ads a kicking, so it’s good to see a new one where there’s an interesting idea. Read more »

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