Australian films, thrilling, frustrating, excruciating, enriching: Palace
Nicolas Whatson, general manager for Palace Films, says the company’s experience of distributing Australian films has been “thrilling, frustrating, humbling, excruciating, enriching, nerve-wracking… in no particular order.”
What were your strongest performing films of the 2009/2010 financial year?
Michael Winterbottom’s Genova. We quadrupled the UK, and ended up with the best result worldwide. Never bet against [Colin] Firth.
What titles didn’t necessarily meet your expectations?
The French Kissers didn’t really take hold outside of Sydney which was a bit disappointing. Still, we broke even theatrically and now the DVD is doing great.
Were there any surprises, positive or negative?
I always thought Welcome would provoke an emotional reaction from anyone who bothered to come, but had reservations that the immigration theme might be an obstacle. It was lovely to see the exact opposite happen – audiences embraced it and we ended up grossing $750k, which was incredibly satisfying.
Palace seems to have fewer titles this year. Is this correct?
We’ll end up with four, possibly five theatrical titles by the end of the year, which is on par with ‘08 and ’09 – and with a full-time staff of three.
With an increasing number of 3D titles already competing for a limited number of screens, do you anticipate a saturation level where there are more films than screens?
3D releases are so not a part of my headspace. May that never change.
What genres/types of film don’t seem to be working in Australia at the moment?
Within the realm of projects we pursue, it’s more a case of what types of films aren’t getting released at all. I am a little embarrassed by the death of Asian cinema releases here, but unfortunately too many have tried and failed, including us.
Will the performance of recent local hits increase distributors’ interest in local product?
It’s really terrific to see such a variety of local titles bringing in punters in such healthy numbers, but Oz releases have always been wildly diverse – I don’t think anything’s really changed in that respect.
Is there any audience knowledge that distributors have that is no reaching local producers/writers/directors?
Not to those who care to listen. Sometimes it’s not always good news.
What has happened to Palace’s involvement in Australian film production?
Still committed to it. Perhaps less aggressively, but just as passionately on the right projects. We’re in development on two major productions that are chugging along nicely. Our new mantra is ‘less Is more’.
What are the main mistakes that Australian producers make when they approach a distributor?
It’s always surprising when they don’t seem to be able to identify – let alone articulate – their target audience.
What should they keep in mind when pitching a project – emphasis on the business side instead of just the storyline, perhaps?
The value of an attached cast can’t be underestimated, least of all a director with a clear vision and – ideally – some track record.
What are Australian distributors really looking for in a local film?
Aside from the bleeding obvious – something with an audience – you just can’t go past working with people who are open to collaboration and have a sense of humour.
Do you provide feedback when you turn down a local film for distribution?
Always try to, where there’s a point.
It would help if exhibitors promoted australian films by releasing trailers for Australian film to capacity audiences. I rarely see evidence of this. No point in running an Aussie trailer with a film that is screening once only during a 10 am session to an audience of one.
The poor director rings up to see if his trailer is screening and is told , ‘yes it’s screening’ whereas the question he should be asking is how often and on what film it screening with. A Aussie trailer released on a popular and newly released film is guaranteed a wider audience..
Mr What’ever’ is not alone in this regard, all monkeys travel in packs!!
Gasparini..
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