No love for the agencies

As a business the Australian film industry suffers from”jobs for the boys’ syndrome. This is common in industry such as Government constructions and projects where no cost or pay back responsibly lies with the people receiving the funding. If a funded film or film maker receive to make a project then the cost of those funds should be returned from the takings. if a film made by a body or maker DOES NOT make enough money to pay back these funds then they should be allowed to fund ONE more film only. if this film covers the cost of both fundings then they can stay in the finance funding system BUT if they again do not make enough money to repay the loans then they should be released from any funding rounds that may come available for a period five years. Friends of friends who seem to get funding priority is not smart business. this will always end in less then commercial success and when it comes down to culture, I suggest private funding for all projects. If they are good then they will get the support they need but if they are average (and we have seen a lot of that in the Australian box office) they will get Zero assistance. I have a business back ground, worked in film and television for 10 years and specialise in people. Seeing 300million dollars spent for less then 60 million return (with most of that coming from one or two films) is simply disgusting.

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The sad thing is…that’s its a small few wrecking it for everybody…killing an industry..and smug in the process of doing so…love this speech from Orson Welles…

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THE DINNER PARTY had its premiere to a full house last night at the National Film & Sound Archive – Apologies to cast, crew, family and friends who could not get tickets because the almost 300 capacity Arc cinema at the National Film & Sound Archive was sold out by midday ! incredible to see so many people turned back.

There are still some tickets left for Saturday’s screening so make sure you pre-book. If not, the DVD will be out soon and you can pre order that through Accent Film Entertainment. Again Canberra, thanks for turning up – I am humbled. A big thank you to the National Film & Sound Archive – Everything ran like a well oiled machine last night and in the lead up – brilliant management.

and now too the ELEMENTS of the film that the media loves so much. I just wanted to say that I dont hate these agencies – I am an Australian film-maker that has had an English private company spend more money on my film than the Australian Federal Govt has – does anyone see something wrong with that? Perhaps the independent films in Australia should be funded small amounts of money for media and promotions once they have sold internationally? In other words, ‘impartial funding markers’ that trigger some money to help support . Or am I just talking crazy talk? surely something is better than nothing? so many 100’s of millions and I cant get a fucking dollar – damn, if i just got 5k to help with advertising, I would never have said a bad thing about our funding bodies – why not help independent films? why not respond and discuss with independent film-makers?

Steve, I agree and fundamentally why can’t these agencies talk to us and workshop it with us and ask us ‘hey, what can we do for independent films?’ Cause lets be realistic here, these agencies have been created by the people and the Government FOR film-makers. We, the film-makers are not there for THEM.

Funding Bodies (really Im refering to ScreenAustralia) – Im not your enemy, just a person with an opposing opinion. That’s not illegal in this country yet…..sheesh now Im having a discussion with myself….

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Yes Brendan, if you tickle it enough your navel might respond.

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Yes Brendan something is really wrong here…something strange has evolved and I think you said it best here:

“Cause lets be realistic here, these agencies have been created by the people and the Government FOR film-makers. We, the film-makers are not there for THEM.”

Somehow everything became skewed, we’re still battling a system that seems to have forgotten its agenda…agencies have no idea how tough it is to try and build a career in this industry or how impossible it is..utterly impossible and so we have this massive brain drain..intellects who should be able to build a career and approach an industry hungry for talent and engaging stories…this DRAINAGE from an industry that thrives on fresh ideas…and its this lack of fresh ideas that is really killing this industry…really killing it. I mean what are the avenues for taking fresh ideas to the industry…you could jam these supposed clogged pathways to funding innovation into a keyhole…they don’t exist and its an illusion perpetuated by funding bodies and supposed national film education institutions that the pathway towards developing innovative and entertaining concepts actually exists..when they simply don’t
if they do..somebody list them

One of the greatest pains to human nature is the pain of a new idea.
Walter Bagehot (1826 – 1877)

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Agreed Dolly – I have been pushing this film fior years – and really only because of the reactions i continue to see – part of our latest press release……

Once again the 300 seat Arc cinema at The National Film & Sound Archive was packed to capacity for the 2:00pm matinee on Saturday. Again, dozens of people were turned back as a line of people snaked outside the front entrance.

Since Saturday, I have been asked by media and people on the street if there will be any more cinema screenings of the film – I even received a call today from a film journalist in Perth asking me why this film is not screening in Perth?!

As most of you know the DVD will be released Australia wide on the 18th February BUT I am currently in contact with Greater Union Canberra and Dendy Canberra to see if we can provide Canberran’s more opportunities to see this film on the big screen – I hope I am not the only one who believes a Canberra film can attract an audience….cause it just did!

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Are you suggesting that there is no screen, theatre or hall in Canberra that you can 4-wall for a week and then release the film yourself.

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Rocky- are you suggesting you work for a funding agency and are prepared to get into a discussion?

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hey Rocky – I could have 4-walled a local hall but what kind of impression does that give for your film? and how likely would I be to convince private investors to fund my next film (hey we screened at the local scout hall…please fund me?), not that many people would see it.

The screenings at the NFSA went so well that we have been inundated with demand in Canberra to see this on the big screen! Could not be happier and now Dendy Canberra have jumped on board and we will be holding theatrical screenings at Dendy Canberra a few days AFTER we go to DVD on the 18th….now that’s breaking the rules huh?…press release on screenings out soon.

current cinema box office average per screening is $2,160.50 – sure it’s averaged from 2 screenings but an average nonetheless – It would have been a higher average had we not had to knock back dozens of punters.

check out FilmInk Magazine’s review – http://www.thedinnerparty.com......eb2011.pdf

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Brendan, Figures talk. Say 16 sessions over one week averaging $1500 per session (say 110 people) grosses $24,000 for the week. You’d most likely be top of the indie charts for that week. Most likely have more than Dendy Canberra knocking on your door. But hey, why isn’t the film on at the Carlton NOva – they seems to be able to take films and make ’em work. Did you ask them to release it?

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Hi Rocky – yeah I asked Nova to screen it 🙂

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Due to increasing demand for people to see this film on the big screen, THE DINNER PARTY will start screening at Dendy Canberra starting on Monday the 21 February (See attached flyer).

Please call the following number to ensure a seat:

(02) 6221 8900

6:45pm Monday 21 February
6:45pm Wednesday 23 February

Given we have been slotted into programming so quickly, calling is the only way to book.

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As Chopper would say: “Whinge whinge fuckin whinge”.

Just get out and make your damn movie. The guys behind The Tunnel, The Horseman, Jon Hewitt’s X, Bad Behaviour, Braille, Wasted on the Young, etc didn’t sit around complaining. Even the Blue Tongue guys funded half their stuff themselves, or via innovative means, until their features.

There’s craploads of money out there if a producer is savvy enough to see it. You don’t need the funding bodies sticking their faces in, with their ideas about what sells, or what is culturally relevant, or whatever their blinkered vision is looking this year.

Here’s lookin at you, kid.

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Well said, Rabel.

I’ve gone down this very road myself and it’s been great – very liberating.

It did sting the bank balance a little, but nothing like seeing your words come to life.

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Yeah Here Here to that..personally… I really hate whingers……………………………………………………………………………………………………………………………………………………………….oh..shit….sorry wrong Blog

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I saw a 15 year old stunner walking down the street in Bronte yesterday wearing a t-shirt that read, “Don’t be bitter, be better.”

I think we can all keep that in the back of our minds.

Brendan, I feel for you and I think you have courage saying what everyone thinks, but will never say as they don’t want to get shot or stuff up there own future chances of funding by rocking the boat, that the funding bodies basically have a “turn” system (EG hand around long enough you’ll get your film funded) and that also the people in there use the place to get their own films made, EG Mr X Mrs Y and Mr Z are on this rounds committee, they put friend Mrs.A’s film through, and then they swop and do the reverse for each other.

At the very least, they have stopped allowing people being on the committee of a funding round, when they are also an applicant! There is a film that is about to be released that I believe to be the last one to have such a thing happen before the law changed but the films EP was also on the funding panel of the said round. How crap is that, talk about conflict of interest. This was poorly publicised, and an outrage. A builder can’t be on his local council, why is this any different?

There are a certain group of people at the top in the industry, there will be “club” issues in any industry in the world, I would like to believe that a lot of these producers are indeed at the top of their game through merit and hard work, and that one day we can all get their too if our creative is good enough.

Should they dish out even a token amount of money, just because you managed to make up the rest of the money privately? A bit would be nice. Kind of like our parents agreeing to match our pocketmoney. This goes in to an argument about us filmmakers having a big sense of entitlement here … I say they should help a bit, thats what they’re there for.

Good luck on your release Brendan,

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and like all beurocracy’s, just tick the god-damn boxes like they ask, play the game and you can get a long way. Know the landscape, and just deal with it, and be grateful we have some government assistance. But if you want to be a renegade you got to do it yourself, and at least you’ll have creative control. If you don’t fit in their boxes, go it alone.

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There’s nothing wrong with a little bitterness, its all about how you channel it….channeled it into creativity, bitterness can achieve some great things. I think one of the main problems with our industry is the slow growth of transition. What we are seeing right now is a transitional period…the new wave of ambition, embracing emancipating technologies. But still we have this shocking level of nepotism at the top level..and it is becoming such a common trait that those who are the repeat offenders of this gluttony technique simply shrug their collective shoulders and think nothing of it.
Certain people, sitting on film development boards right across the country, are getting awarded development money for their projects..this simply has to stop..either be on the board or get in line like the rest of us, you can’t and shouldn’t have both…Film Victoria is one agency where this springs to mind..why is a well known filmmaker, who has just released a film nobody really wanted to see..blaming the federal election for this inherent social apathy with regard to his film.. getting awarded development funds to develop another film?
It is simply wrong…and does nothing to dispel the bitterness of fellow filmmakers who simply can’t access the same funds. It is a shocking example of nepotism and it simply needs to stop…the worst part about all this…the people in question don’t deserve the money..all they have done is deliver a product time and time again that nobody wanted to see..so why are they given more? Oh thats righ there last success was over twenty years ago!!!
Public funds are not a trough that your snout is allowed endless access to..but we see it all too often..and we are branded bitter or cynical for expressing what is actually anger and outrage…it really is along the same lines of somebody pushing in front of you at the supermarket line because they know the check-out chick…you’d be pissed and express your annoyance at the rudeness of such an act..yeah go make your film, get out there and do it alone..but some help and recognition could go along way towards trying to push those cinematic boundaries. Agencies and their decisions need to be held accountable…simply shrugging their shoulders and saying”Oh sorry we got it wrong” really isn’t good enough…transparency, accountability and checks and balances for fighting nepotism need to become the norm…if not, a whole generation of filmmakers will become bitter and twisted…a little like our Australian audiences. I mean we are a very ambitious nation of people, who pride ourselves on the “Fair Go”…but in the arts..that doesn’t seem to apply..especially in the world of film. I think we’re a highly creative nation..that’s putting along in first gear..the depth of talent is staggering.
But here we sit, plodding along with the same old tired ideas. The sad thing is..the talent is here to turn it around…its just not being given a chance..especially while funding is being approved to projects because a certain clique want to “Work together”..with the actual quality of the project in question being an after thought..yes LAID..the ABC TV series I mean you..what boring dross.

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Writing writers into the picture.
(current state of play).

Unfortunate reality is – ruling APS elite actually believe they are ‘creative fillmmakers’ – (been told – reminded – numerous times) – dare question this & you’ll be placed in their bureaucratic ‘do not communicate outtray’ – ie: Coventry.
How do they intend changing current situation (no jobs) when their not accepting submissions? Never mind alternate views plans & strategies – – simply not accepting – anything?
How does this work?

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The best thing is to just think big and make your film your way. Getting caught up worrying or complaining about percieved negatives is a waste of time and creative energy. Look at our neighbours in New Zealand. They made the Lord of the Rings Trilogy. Not bad, eh? That didn’t happen by accident, that was the result of a man who had vision and could really think big, no matter what country he was living in.

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I must say that I agree with dolly and Brendan. The funding system isn’t right and needs to be changed. I myself will never rely on gov’t funding. We privately funded our film “the day Hollywood died” and I must say to all u passionate Indy film makers. Go out there and do it on your own. You will have all the creative freedom to do what you have to do for your film. It is tough and we are still finalizing our film but believe me it is so satisfying when you know that you gave achieved it without the gov’t

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OMG, I did not realise this was still on the front page of Encore! hmmm, that;s either a good thing or a bad thing for me – perhaps both. I can just start using this blog to promote my next film, LAYING WITH DOGS The synopsis? “Sex, Drugs, Guns ….and the Stock Exchange”…some phenomincal casting choices to be made public shortly…

Good to hear the general concensus is that people are not relying on anyone but themselves out there – That said, some positive things out of the budget such as lowering certain thresholds for productions. I don’t believe my career is damaged though as I will make my films if I have to grind my body and soul into dust to do so and in reality I have made many good friends and contacts for my honest/stupidity comments…much to the chagrin of my poor wife though!

I saw a person on the weekend with a T-Shirt that said “F*ck You, you F*cking F*uckers”… now there is a brave person! but I do agree with you Kate, positive energy equals positive achievements – That said it would seem my negative energy has helped incresed DVD sales in Australia, so as Dolly said, its about choosing the right time to be positive and the right time to stand up for something. I am sure it was my naivity and newness to the industry but I really had no idea my comments would be considered so controvercial… I honestly thought it was common knowledge and no-one would even notice – But thats the point in hindsight – People feel they cannot say anything as it may have detrimental affects on their career and if people say nothing then nothing ever changes so what to do?

Well, in my humble opinion, the human race never moved forward by accepting the status quo.

Will release details of the new film, LAYING WITH DOGS shortly.

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Yes, we certainly have a lot of nepotism in our film industry.It needs to stop as the government funding for film projects are from tax payers (your money).
I’ve seen to many films at festivals that were funded and were terrible but everyone knew everyone else.(money and production team).
I have a small film production hire business (cameras,grips,lights,rigs,sound etc) and i see it all the time.I also get threats from equity and crew unions saying it’s alright for me to help out now but if it’s picked up and gets a sale or becomes a series I cannot be involved.The film industry here is like the wharfies.Their lazy,corrupt,get the big bucks and won’t allow others to join or get some.
Rick

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Well, I don’t know how much truth there is in some of the criticisms which I often hear about the film bodies, but my own experience is that they are rather difficult to impress and I have never gotten very far with them, even when I took their advice to heart.

What I think I can say is this: there’s a MONUMENTAL lack of good, clear, useful guidance being offered by those in the know to the aspiring film makers of this country. And that really is massive problem. Most of us could and have indeed picked up a video camera and gotten some actors and a script, and most of us could or have made something that way.

The thing is, to go to the next level, making it professional enough so it can sell to the viewing public and make money for the distributors and the makers and bolster this industry, we need money. But…and this is the rub here…it doesn’t take a huge amount of money. Just more than most aspiring film makers have. But does the funding bodies have a way to help us here? No.

It’s either a traditional film shoot with a budget in the millions or it’s nothing. I saw the famous actor John Hurt on TV the other day. He said there’s lots of big budget films, there’s lots of films made on little or no budget, but what bothered him was that there were NO middle-budget films.

I mean…the cash budget to hire a handful of actors for a week, hire a DOP, a sound man, a couple of lights and a HD camera…what would that be? More than I got in my bank, but not even a fraction of what goes on one feature film as a rule.

Why isn’t there a simple way to apply for some kind of funding for indie ultralow budget films that are designed to let aspiring film makers give it a shot?

The all or nothing approach is crap. And frankly, we get diverted with a million utterly pointless competitions. Making short films and hoping yours will be the one out of a thousand that wins the prize? What an utter waste of time! This is supposed to be a business, show business, a business that employs actors, writers and technicians. All we have is these things that are designed to divert us into wasting our time on wanking around.

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I could have done so much more for my creative ambitions and the ambitions of others with $45,000

“A SWISH $45,000 send-off party for the outgoing chief executive of Film Victoria was a “ridiculous” waste of taxpayers’ money, the Ratepayers Association says.”

http://www.heraldsun.com.au/ne.....6066773020

Really I hope this isn’t true…if it is…the level of disconnect between funding bodies and the struggling filmmaker is ridiculous. What are they doing?

$45,000 would fund a lot of writers…with the old script development funding programme..which is now obsolete..that would have funded 4.5 screenwriters

the mind boggles…it really does

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Yeah, it’s so true, I mean they now have cameras that can shoot HD at the level of quality needed for a digital feature, such as the RED and the new Arriflex one and what would it take to fix up indie film makers with this type of gear for say a month so they could shoot an indie film? Even if they bought a few cameras and appointed someone who could approve lending it to aspiring directors for the duration of their shoot. What costs would there be? A bit of insurance? Maybe some funding to polish up the results in post production? But there needs to be some leadership and vision here. Australia could really latch onto the digital revolution and we could have a whole new generation of dynamic directors and producers. All it takes is some support that is simple, easy to access and open-minded.

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Hey, I shot my film for less than that ! ha! 35k, 11 days…forget the farewell party….go see THE DINNER PARTY!!!! …sorry ,bad joke.

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I’m certainly impressed by what I’ve read about The Dinner Party, it sounds like a perfect example of how to get a film made in Australia. I’d certainly like to see a sharing of these empowering ideas and approaches in our country. Frankly, that is something else which the film bodies here could help bring about by funding and faciilitating it. If it were done online, too, as a kind of web-based resource, then film makers who need encouragement and advice about how to succeed could be nurtured. I think there *are* solutions, all it takes is the will to solve the issues and a little genuine support. Perhaps the agencies are simply in need of updating their policies and approaches. In the end, I think it’d be best for them as well as the film makers at large.

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Brendan, congrats on making your film and getting a screening or two. I agree with almost everything you say about the funding bodies, but your points have very little to do with the reason your film hasn’t had a release or found an audience.

That reason is that it’s not a great film. If it was, you would have distributors and sales agents clamoring to get their hands on it. At the very least, you’d have independent cinemas giving it a run and reviews that don’t apologise for the production values or direction.

Maybe you know this fact, maybe you don’t. But the ongoing myth that good films get overlooked by both the industry and the audience is exactly that – a huge myth. Great films get noticed and supported, mediocre ones (which comprise 95% of what’s out there) take their chances.

I’ve had money out of the funding bodies and I’ve been rejected plenty more times as well, but at the end of the day, the quality of what I do rests with me and the team I pull together, especially in this age of affordable technology and simplified workflows.

You can blame them for not giving you money or support for as long as you like, but as soon as you make something that’s really worthy of attention, they’ll be calling you.

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How exactly will the industry become aware of a truly great film someone has made? I assume film distributors are not psychic. And besides, some dire films have been big box office hits while some masterful films have been ignored. Independence Day was a huge success, despite a crass script, while Kubrick’s gloriously beautiful masterpiece Barry Lyndon was all but ignored. So how do we define a great film? The classy direction of Kubrick or the enagaging nonsense of Independence Day? Who decides? I certainly found it frustrating in the 1990s when Film Victoria told me nobody would want to see my story made into a film despite it having more commercial aims than many Aussie films I’d seen.

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Hi TruthToPower – Some interesting thoughts there and funny you should mention attracting a funding agency although I would not expect you to know that THE DINNER PARTY was green-lit for post production funding back in 2009 from the Australian Film Commission (before the AFC rolled into ScreenAus). We actually pulled out and did not take the funding as we did not agree with the direction and level of involvement the Government demanded in exchange for the funds – we then confirmed more private investment to complete the project….there is some truth for you. Im not blaming them because i backed out. Im all about improvement and progression with a fast moving industry.

Whether you think the film is good or not is arbitrary. Like the currently screening SNOWTOWN you will find reviews that give it one star and 4 stars – some reviews have called it brilliant and others, horrible. In any event its a film and thats all that matters. This industry is about perception and that perception is built through good marketing. Whether your film is good or not is not only arbitrary but secondary to having a powerful media and marketing machine behind you – I guess that is why films like ‘Mega Shark vs Octopus’ are distributed in over 30 countries…or is that a GOOD film?

TDP has 7 countries under its belt for release now and we have just been offered a north american deal form a reputable distributor….so is the film good or bad or did we get this offer because we have already released in 7 countries – perhaps both but I was contacted by the US company because of the media (such as this website) and the marketing i have been working on over the years.

I like your back handed compliment that you start with. For the record, it was ‘6’ cinema screenings (not 1 or 2) and every single screening was packed – some in 300 seat cinemas with hundreds being knocked back. HUNDREDS…..the only reason we stopped screening is because Dendy Canberra ran out of screening times due to prior commitments to start running major films…….So, Good film? Bad film? or a film that was inspired by one of the most controversial stories in Australia with an obvious and existing demand out there BUT without a MEDIA/MARKETING machine behind it, that only fist full’s of cash can bring you…..There is the TRUTH and see my next comment detailing the POWER it has gained us.

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I am very pleased to announce that our next project, LAYING WITH DOGS has just had funding confirmed from ScreenACT. From the team that brought you THE DINNER PARTY, comes a visceral story about guns, drugs, sex…..and the stock exchange.

FOUR HOUSEMATES, ONE NIGHT AND A GUN.

The funding we have received from ScreenACT is a small amount but I take my hat off to this state/territory funding body who has the foresight to realise that a small amount of funding can very much help films get off the ground – The level of involvement is reasonable and allows our creative team to be able to move quickly in an industry that is changing very very quickly. This is particularly helpful, especially since I am currently in London working to confirm private investment. ScreenACT, run by Monica Penders seems to be very forward thinking in terms of its funding structure and we look forward to working with them and we hope other funding agencies in Australia later in the project.

Some VERY exciting casting choices have already been confirmed…..but these details will be release when the time is right.

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Brendan, your reaction is sadly predictable. You have done yourself no favours with these rants, but nothing you have said is as revealing and plainly stupid as this:

“Whether your film is good or not is not only arbitrary but secondary to having a powerful media and marketing machine behind you”.

THAT is why your film stinks and no one is going to see it. Because you, the Producer of all people, didn’t care if it was good or not.

Best of luck in your endeavours at attaching a marketing machine to your future mediocre projects. I’ll be off making films that I care about and doing my best to make them good, at the very least.

There’s some truth for you.

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My feeling is that we should all support films like The Dinner Party, by going to see it, getting the DVD of it, and telling people about it through social media we’re involved in, because that’s the way to show distributors and the industry that there is support for locally made films. I believe there is definitely an appetite for raw-edged indie thrillers in the tradition of stuff like Blair Witch and Reservoir Dogs and this is a compelling alternative to flashy, but often empty, Hollywood blockbusters. We should help Aussies to carve out their own niche and in the end, I think everyone would benefit. If you are going to “buy Australian”, how about starting with cinema tickets or DVD hire?

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TruthPower: I think you’re being a tad ignorant and wonder if you’ve actually made a film or even been to a film market.

In the context of microbudget feature films to even find a distributor to back you is a success. Unless you’re a more marketable product like horror or action it’s going to be very difficult. But microbudget films are mostly ignored – even ones that have won multitudes of awards at minor festivals, even films that screen at Sundance these days struggle to find distribution and find an audience – never mind the good ones that don’t find an audience. That’s the reality for these types of films. Does that mean they’re bad? I don’t think so.

Good on Brendan for ranting about the reality of making it as a film maker.

Best wishes.

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I think Scott has hit the nail on the head. Distributors need to support microbudget features. Australian directors are not in the position of Hollywood film makers, so the mircobudget digital feature is pretty much what most Aussie directors are able to do at the start. If the distributors were enouraged to get behind these kind of films and promote them for their local content and flavour, then local directors would have a solid chance to build careers from the ground up. We need to make that happen. If Film Vic or anyone else wants to invest money, put the money into an incentive to get the distributors to promote and market microbudget digital features from Aussie directors out to make a name.

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Reality check my friends …

There’s a GFC going on – and sales agents and distributors, like everyone else, are playing it very cautious.

About a third of the sales agents around the world have gone broke in the last 3 years.

Releasing a film in Australia, including advertising, doesn’t come cheaply.
Let alone internationally.

If there’s no drawcard for a film – it’s hard to get bums on seats without forking out a bunch of cash on advertising of some kind.

Admiration to the guys who have taken the risk and done it themselves.
Presumably, you’ve got someone putting food on your plate and paying your rent.

But I ask you – would you put all that time energy money and effort in doing the same for my film ? someone else’s film ?

As likely not – you wouldn’t have a vested interest to take on such a risk.

The same goes for sales agents and distributors.

Sure it’s about a well told / executed story – but it’s also about how much resources it will take to get it to an audience.

They get offered a slate of pictures – they choose the ones which have the greatest chance of financial success vs cost.

That’s just good buisness sense.

Anything else is charity.

LfO

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