Branded content a hit at MIPCOM
Kate Edwards, partner of brand-funded content company Quail Content reports from MIPCOM 2010.
For the first time ever, MIPCOM put together a program about the rise of brand-funded content. This day’s program coincided with the announcement that @Radical Media was being bought (60 percent) by Fremantle worldwide – this only further proves the relevance of such a convergence model both in today’s clutter interruption advertising market and the TV production space. Read more »
Sun shines on co-prod
Auds may well be in tears just minutes into the film, a deeply moving study of emotionally scarred adults who were illegally deported as children to Australia from Britain in the 1940s and 50s [...] will make a strong claim for arthouse berths everywhere.
Furious over Fury delay
George Miller’s film has been delayed for a second time and will not begin filming until 2012.
The delay has left many major film crew members without work amid fears the high Australian dollar could ultimately kill the film as its budget grows.
The Australian reports on the uncertain road that awaits the Mad Max franchise. Read more »
Bob Ellis’ Rough Cut
Bob Ellis on Wall Street – Money Never Sleeps, The Reluctant Infidel, Arthur Penn, Tony Curtis and Elizabeth Taylor. Read more »
Spinning out of control
Surely, there’s no way a simple interview request could result in an investigation by the Independent Commission Against Corruption? Think again. Filmmaker James Ricketson says “in the Alice in Wonderland meets Kafka Comedy of Errors that is the NSW government, such things are not only possible but par for the course!”
This is his story… Read more »
Bob Ellis’ Rough Cut: Tomorrow, When the War Began
Bob Ellis on Tomorrow, When the War Began, Me and Orson Welles, The Ghost Writer, The Special Relationship, The Kids are Allright, South Solitary and The Disappearance of Alice Creed. Read more »
Who’s afraid of Australian films?
Hi in craft, but low in content, South Solitary is perfect for those who prize art for its own sake and a perfect example of why the rest of Australia is afraid of Australian films.
The Sydney Morning Herald won’t be getting a Christmas card from director Shirley Barrett. Read more »
So bad it’s bad
Last night’s premiere of Brian Trenchard-Smith’s Arctic Blast left us cold, but probably not in the way the filmmakers intended.
Isn’t the charm of ‘bad movies’ the fact that those making them were being absolutely serious and failed miserably? Isn’t a cult movie something that stands out from the crowd and has a special, almost undefinable quality that connects with a very specific, adoring audience? However, deliberately trying to make a ‘bad movie’ (or a B-movie, as many would rather label certain filmic abominations), is a recipe for disaster. Read more »
Recalcitrant Australia
Australians are notoriously recalcitrant when it comes to seeing Australian films. They need to be told not just that the film is good, but that it is exceptional.
Animal Kingdom director David Michôd opens his heart to New York’s The Village Voice prior to the August 13 US release of the film. 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 »