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Opinion | Features
Can sport save Ten?
First there was the Grand Prix. Next came the reported $500m bid for cricket rights, then Ten secured the 2014 winter Olympics. So, can sport save the ailing network? In a feature that first appeared in Encore, Nic Christensen investigates.The television sports rights bidding process is a bit like a game of poker.
Check, fold or bet. Those were the options for the Ten Network last week when it had to finalise its bid for the cricket rights.
Andy Lark: good for the marketing of marketing
I can still remember the first story I wrote about Andy Lark, when it emerged that he was to be the new chief marketing officer of CommBank.
It was immediately clear that Australia was about to meet an interesting marketer, one who blogged and tweeted and thanks to his time at Dell in the US was digitally savvy. Even two years ago, that was a big deal. The fact that he also had a stint in public relations gave him an absolutely intriguing background before he even arrived.
Storming the media barricades - advice for young journalists
This week Mumbrella’s Nic Christensen, who began his career four years ago, gave the keynote address to would-be journalists at the Media, Entertainment & Arts Alliance’s Student Day. This is an edited version of his speech.Good afternoon, I can remember distinctly the last time I was in this room.
It was 2009 and I was sitting where you are. I’d come to this event, a friend and myself — from memory we sat up the back — and I can remember at the time wondering if I’d ever get a job as a journalist.
It was only four years ago and then as now getting a job was ultra competitive but I’m not sure there was quite as much media ‘doom and gloom’ as there is now…
Paywalls will help fund campaigning journalism
In this guest post, News Limited’s group editorial director Campbell Reid responds to the views of ninemsn’s Hal Crawford that the company’s push into metered paywalls is about data rather than dollars.Hal Crawford is both right and wrong in his article which argued that our digital subscription plans are all about the data.
Fake it 'til you make it... as a features editor
Cosmo’s Kate Leaver tells us how to bluff it in her job in a feature that first appeared in Encore.What do you do, as a features editor?
Really, play with words and ideas all day. At any one time, we’re working across three issues of the mag – getting one on its way to the printers, pooling all the words together for another, and planning the issue after that. It’s busy but it’s a pretty magnificent process.
Savage counsel - JFDI
Hi Chris,I run a medium-sized agency that is doing pretty well. As the leader, I am finding my workload just seems to go up and up. I am struggling to stay motivated and particularly to tackle the bigger and tougher challenges I have to face every day. How do I keep up the energy when there just seems so much to do? How do you do it?
Productive, successful executives are those able to consistently tackle difficult and big challenges. It’s a constant struggle for me so I know how you feel. How do the successful leaders do it?
Q&A with Brett Clegg
Brett Clegg, group director – business media, Fairfax Media, in a Q&A that first appeared in Encore, on the journo who refuses to work with him – his wife.Who is the most powerful person in Australian media and why?
Hard to go past Rupert Murdoch. He controls the single largest and most diverse portfolio and is intent on leveraging its scale (and, of course, influence). He’s an innovator and his will to win is obvious to all.
The experiential experience
Anyone can throw up a tent in a high-traffic area and harass the general public, but what does it take to pull off an effective experiential event? In a piece that first appeared in Encore, Matt Smith investigates.A television commercial can easily be muted and ignored, but try ignoring a purring, squirming cat in your arms. That was the experience awaiting passers by in Sydney’s Martin Place in October last year when Mars Petcare built Whiskas Kitten Palace.
The News Limited paywall isn't about revenue. It's about data
In this guest post, ninemsn’s editor in chief Hal Crawford argues Fairfax Media and News Limited’s new paywalls won’t draw much revenue, but will generate data. And they’re late to the data party.When I first learned that ninemsn’s major digital competitors Fairfax and News Ltd were going to introduce paywalls across their mainstream properties, I was excited.
Every obstacle thrown in the way of their audiences is an opportunity. People hate friction and anything that makes life difficult on a rival site is a chance to get them on yours.
Is this the worst time to be a journalist?
With scores of redundancies in 2012 and a mass exodus of experienced journos, is this the worst time to be a journalist? In a feature that first appeared in Encore, Nic Christensen asks the question.In June last year a tsunami of redundancies began to sweep across Australia’s media landscape. They came in a series of waves and in the 12 months that followed, an estimated 1,200 journalists departed the mainstream media.
Are you a conscious leader?
As the advertising and marketing industry struggles to address the issue of rocketing rates of staff churn in their businesses, Slingshot CEO Simon Rutherford argues that today’s ‘conscious leaders’ should be more focussed on creating ‘staff wellness’ in order to deliver high performing teams and healthy profits.
A conscious leader believes the business has a greater responsibility towards the community it operates in. To ensure sustainable long-term profits, people must come first. Awareness, trust, authenticity, transparency, 100% responsibility, connection, compassion, and love: these are the tools of the conscious leader.
Suits: less popular than pest controllers
Advertising suits have a thankless job that is currently being eroded by the changing industry says Naren Sanghrajka in a piece that first appeared in Encore.Not in my wildest, craziest nightmares would I ever have thought I’d say this. But I’m going to. Being a bean counter is far more appealing than starting as a suit in advertising. There it is. I said it. I actually said those words.
Yes, it’s incredibly depressing. But it’s true.
An answer for Adam: What's the future for creatives?

Each fortnight, Adam Ferrier poses a question to the industry. This week, he asks about the future of the creative.
Who or what is a creative? It’s an old thought, but as I continue on my merry journey in advertising I wonder if there is a role for a ‘creative’ and if there is, what that role is?
In the world of film and TV there is not a ‘creative’. There is a director, a writer, a producer, a DOP and so on. From this mix the creativity happens. But no-one is charged with being ‘the creative’.
Australian films stand on their own merit
The argument that Australian audiences only embrace local films once they’ve picked up a gong at an international festival is inherently flawed says Lee Zachariah in a piece that first appeared in Encore.As much as we like to pretend that we collectively fulfil the world’s need for a country comprised entirely of laid-back, mellow beach dwellers, we do seem to get disproportionately excited when someone else mentions us. Our cool exterior drops away as our local news bulletins breathlessly report that CNN or the BBC or really anyone in one of the ‘real countries’ acknowledged our existence.
We feel detached from the world, and therefore crave its validation.
The vindication of Paul Fishlock
You may have noticed that not much went up on Mumbrella over the last couple of hours.
That’s because I’ve been reading the judge’s findings in Paul Fishlock’s case against The Campaign Palace.
I’d always known that agencyland can be a brutal place. But the picture of the cynical, ego-driven, unsentimental world that comes through in the findings of Justice John Sacker is something else. I recommend you take the time to read it yourself.
The reputation of Young & Rubicam’s global creative director Tony Granger certainly takes a battering in my view. The word “bully” is a hard one to come back from.
And former Campaign Palace CEO Mark Mackay comes across as someone you might think twice about either hiring or working for, based on the evidence presented. The judge calls him contemptuous of both Granger and Fishlock.
The Great Gatsby trailer released
The first trailer has launched for one of the most expensive films ever shot in Australia.
Baz Luhrmann’s 3D interpretation of F Scott Fitzgerald’s The Great Gatsby has debuted on YouTube and Apple Trailers this morning.
The film received a reported $10-12m rebate to shoot in NSW by the NSW Film & Television Industry Attraction Fund.
With a budget of an estimated $127m, the film was shot Sydney’s Fox Studios involving a key Australian crew of creative’s including Luhrmann’s Oscar winning wife Catherine Martin as both producer and production/costume designer, producer Anton Monsted, editor Jason Ballantine, screenwriter Craig Pearce, as well as Kiwi Simon Duggan, with hundreds of extra crew and cast employed.
As well as an international cast that includes Leonardo DiCaprio as Jay Gatsby, Carey Mulligan as Daisy Buchanan and Tobey Maguire as Nick Carraway there is a strong Australian cast including Joel Edgerton as Tom Buchanan, Isla Fisher, Gemma Ward, Jason Clark, Jack Thompson and Vince Colosimo.
The film is due for release on 10 January 2013 in Australia.
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Comments
23 May 12
12:39 pm
Sounds like Jack White did the soundtrack.
23 May 12
12:57 pm
No, no no! What a terrible music choice — why isn’t this scored? It’s a classic US tale set in the 1920′s!! The opening trailer track has ALREADY BEEN USED in the SAFE trailer with Denzel Washington.
23 May 12
2:00 pm
Warner Bros have neither confirmed or denied that The Great Gatsby has received the 40% of Australian expenditure rebate for this film on the basis that it is an “Australian Film” under the tax act. It is commercial in confidence with the ATO however there is little doubt it will receive a rebate in the vicinity of $30-35 million. Wake up ATO and the Federal government. This is not an Australian film. It is just a blatant manufacturing subsidy for Warners Bros topped up with 10-12 million from the NSW government. But unlike other manufacturing industries this is a one-off with no long term benefits and all the profits will flow to Los Angeles. It is time to tighten the definition of an Australian film and understand that the subsidy which has gone to it for over 30 years has been a cultural subsidy so Australians can tell their own stories and not a manufacturing subsidy for Hollywood studios so they can remake American classics.
23 May 12
2:09 pm
The track Jack White is singing is U2′s Love Is Blindness. So it’s bit even an original, but at least he does it justice.
23 May 12
3:05 pm
Why should the local film or auto industry expect to get my tax money ! Get over it No 3!
23 May 12
3:54 pm
Hey Harry,
Why should the Australian movie industry or auto industry be singled out for Government (aka my tax money) when others are not.
Get over it buddy. If you want to tell Australian stories then pay for it with your own Australian money.
23 May 12
4:38 pm
What will Australian taxpayers get for their $40 million contribution to the coffers of Warner Brothers’ GATSBY – an American producer of film and television entertainment whose primary market is the United States? What will NSW taxpayers get for their $10 million contribution to Gatsby’s budget? We are not allowed to know precisely what these figures are.
That a substantial part of Gatsby’s $120 million budget was spent in Australia was good news in the short term for the film technicians who worked on it and for the providers of other services required in its production – but was it good news, in the long term, for the Australian film industry?
Why is it important that we have an Australian film industry? Would it really matter if the federal and state governments stopped subsidizing it and allowed it to die a natural death as other inefficient industries are? (The Chinese could, after all, make Australian films for a fraction of the cost!) Or if, for whatever reason, we feel that an Australian film industry is in some way important to our culture, are there ways in which $50 million of taxpayers’ money (or whatever the secret sum is) might be better spent?
The word ‘industry’ is problematic – conjuring up, as it does, a product for which there are identifiable consumers and from which a profit is expected to accrue. Virtually no Australian films make a return on the investment in them (the Australian taxpayer being a major investor) and to pretend that they ever will is to delude ourselves and lead to the wrong questions being asked. Imagine if we referred to ‘the Australian ballet industry’, ‘the Australian Opera industry’, the ‘Sydney Symphony Orchestra industry’, ‘the poetry industry’ and so on. As industries they are all abject failures so why do we bother to subsidize them? Drop ‘industry’ and think only in terms of ‘Australian film’ and the questions become both more interesting and more pertinent. Baz Luhrman’s Gatsby may well be a box office hit. It might be a masterpiece. It will not, however, be an Australian story told for Australian audiences and reflecting aspects of our own culture for the benefit of present or future generations of Australians. It will an American story with zero relevance to Australia above and beyond the relevance that all great cinema (all great art) has for mankind in general.
So, how might Gatsby’s $50 million of Australian and NSW taxpayers’ money be better spent to nurture the production of Australian films that speak to and of being Australian? In this new digital era in which it is possible to produce feature films for comparatively low budgets and to distribute and broadcast these on a variety of different platforms. As Paranormal Activity revealed a few years ago (budget $11,000, worldwide box office in excess of $100 million) if a story captures the imagination of the audience, it matters little whether it is shot on widescreen 70 mm or with a mobile phone.
But that’s just a one-off, like the Blair Witch Project, it might be argued. Fair enough. How about The Kids are Alright – budget $4 million, worldwide box office $30 million. Yes, the film was undoubtedly helped at the box office by the presence of film stars (Annette Benning, Julianne Moore and Mia Wasikowska) but why did they choose to work on the film for a fraction of their usual fee? Because it was a terrific screenplay. Could we make 10 Australian films of the calibre of The Kids are Alright (with or without stars) for the cost, to the tax-payers of one Great Gatsby? Yes, if there were 10 screenplays as good (why there are not is an important question but space does not allow it to be gone into here).
23 May 12
5:11 pm
I am prepared to love this movie.
25 May 12
12:33 pm
the Baz Luhrmann formula – Throw a bunch of flamboyant shit at the screen to distract people from my horrible screenplay.
25 May 12
6:03 pm
The subsidy is about $9-10/person in NSW.
Free tickets to every person in NSW would be nice
25 May 12
8:41 pm
If it walks like a duck and quacks like a duck. It’s probably a duck !