We’re looking for the best of 2010!
Encore wants to hear from screen industry companies who think they’re the best at what they do.
This year we will recognise the work of those companies that, in spite of all ongoing and new challenges, keep the Australian film and television sectors alive and at the highest level of production values.
Encore has been the voice of the Australian screen industry since its inception in 1983. We have witnessed all the changes, the successes and missed opportunities. We’ve seen some companies flourish while others perished. We’ve reported on the technologies that allowed professionals to tell their stories. We’ve seen it all.
It is only natural for Encore to recognise and celebrate the best of the industry!
These are the categories:
- Production Company of the Year – in the following three sectors:
- Feature Film
- Television
- Cross-Platform
A great production company is not measured by a single project, but for their overall strategy, including its selection of projects, sales figures, commercial and critical success, and involvement with the industry. Who’s got the plan that allows them to score hit after hit?
1. Post-production Company of the Year
Editing, visual effects, sound and many other services are the finishing strokes in any masterpiece. Who has provided exceptional service, delivering exactly what the project needed, and always on time? Who has the best infrastructure to offer these services, and the skills to provide the necessary support to clients?
2. Distributor of the Year
There is a world of difference in marketing budgets between majors and independents, but regardless of the resources available, they’ll all need creativity and vision to get their product out there and raise awareness to engage audiences with their films and achieve box office success. From huge blockbusters to little independent comedies, you can always have a hit if you know how to sell it.
3. Television Network of the Year
The television landscape is more competitive than ever, with commercial and public free-to-air networks exploring new territories with their digital multi-channels, and an increasing penetration of pay-TV offering more options to subscribers.
The television network of the year will not only have achieved high ratings, but also a commitment to quality programming and local production, as well as an ongoing interaction with the production community and the Australian audience.
To be considered for this special industry event, send a one-page document to miguel@focalattractions.com.au by COB November 12, addressing the criteria for each category. Please send any supporting documents to 126 Abercrombie St, Chippendale NSW 2008
Opinions from other industry practitioners are also welcome. If you think one of your clients, suppliers or partners deserves to be considered, email miguel@focalattractions.com.au and tell us why.
It’s well past the deadline but Madman should get a nod for distributor of the year. Learning from the lessons of 2009 and earlier, they took the initiative with Animal Kingdom, really committing to marketing well before Sundance. So by the time the film broke at Sundance people already had a place to go to find out more, and more there was with a teaser being cut real early on.
Same goes for The Loved Ones, which they really took a punt on and should be respected as that was always a hard sell. So the film didn’t set the box office on fire but talk about pride at seeing the posters emblazoned on trams and walls around the city, and then hearing random young people at least be aware of the film. It should do fiery blazes on DVD. Their preview screenings of TLO were amazing entertaining events, that really fired up audiences. Maybe the blueprint of the lead up should be changed but some parts should also be studied.
The Hunter and Hail and whatever else they have on their slate for 2011 make me excited to see what they will do next, as in 2010 they really jumped into the stream, took some risks, had a few defeats but also won big time with a few films. Lots of the industry will probably accredit the Sundance win with lots of the success but it takes a savvy and organised distributor to take hype, wrap it up in a bow, and keep feeding it for six months so that its still fresh and exciting by the time a film hits cinemas.
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