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Opinion
A night at the unintentionally amusing AACTAs
Encore managing editor Brooke Hemphill attends the inaugural AACTA awards and comes away cringing.
Last night the inaugural Australian Academy of Cinema and Television Arts awards were held at Sydney’s Opera House as the Australian film and television community gathered to celebrate the achievements of the past 12 months and those who went along for the ride left vaguely amused, with little thanks to the event’s producers. Read more »
Knocking the summer television model of old
This year’s non-ratings period could signal the dawning of a new era. Steve Molk considers the It’s a Knockout model.
Normally the minute the ratings period ends, viewers switch off the television in droves. There’s usually naught on they’ve not already seen, or some extremely poor sitcom from the US. But this year, Ten have been trying a different approach as they revive a retro favourite. Welcome back It’s A Knockout.
Niche versus mass market: big just isn’t better at the cinema
Chris Murray laments the demise of independent cinemas and the rise of generic shopping centre multiplexes with their get ‘em in, bang ‘em out culture.
Punters visit the cinema for an exciting communal experience, not the ease of parking.
As the multiplex struggles to keep the candy bar traffic flowing, automated cogs pump out digital images and the passionate few who strive to make their independent exhibition houses a cultural beacon (The Ritz, The Astor, Chauvel and so on) face impending doom. It’s an education problem, to be honest. Read more »Confessions of a two screening tragic
For today’s TV viewer, one screen isn’t enough. Steve Molk tells us why networks need to take notice of two screening.
My name is Steve Molk and I like to live tweet television shows. A lot. I get a kick from connecting with people who watch the same programs I do and together we discuss, joke, and in the blood sport that is ABC1’s Q&A, compete to see our tweets on screen. Read more »
A sexy funding solution for an age-old problem
Chris Murray proposes an ingenious plan to help fund local screen productions with the naughty dollar.
It has recently come to light that the Hungarian government has some innovative ideas for supporting their local film industry. By introducing three different taxes, our European friends plan to channel funds into local productions and ailing art house cinemas.
The first tax would apply to local porn websites; another, a three per cent tax on multiplex tickets, to funnel into art house exhibition; and finally a general 20 per cent tax break on foreign productions.
According to Variety, the latter has so far generated a US$98 million injection into the local economy via the miniseries World Without End, The Borgias and feature film 47 Ronin starring Keanu Reeves. This is on top of income from Brad Pitt’s US$125m budgeted zombie flick World War Z which is currently shooting in the Hungarian capital, Budapest. Read more »
No dramas, sadly
If there’s a time that Foxtel’s marketing machine outdoes itself, it’s when it comes to reveal its future year’s programming.
Last night Foxtel made the most of having its hands on the Sydney Opera House for the Australia’s Next Top Model final and announced its plans for 2012 too.
It was a glitzy upfront, attended by media agencies and trade journalists, plus plenty of Foxtel personalities.
But comparing it to last year’s affair, the emphasis appears to have shifted away from local drama. Read more »
Want more Swamp People? Then drop the local content quota
The short-sighted idea of dropping TV networks’ local content quota obligations was put back on the agenda today with ad agency CEO Mat Baxter claiming the safety net can now be removed, because we’re all loving local content.
But Australian programs rating well, and the Australian TV industry thriving are completely different.
Despite the high ratings of Packed to the Rafters and The X Factor, what is the likelihood commercial programmers would keep investing in Australian shows? Slim, Read more »
Fox Studios comes out of hibernation as the bustling screen hub we want to see
A few months back I visited Fox Studios in Sydney to view the filming of a commercial for Earth Hour.
The main thing that struck me (apart from the massively rude security guy on the gate) was how depressingly empty most of the place was.
It was desolate. It had the atmosphere of a business district on a Sunday afternoon rather than the film hub of one of the world’s great cities.
Today though, the feeling is very different. Read more »
If scripts could talk
This week the Screen Producers Association of Australia presented its list of seven projects that it will be putting in the shop window at its conference. But the SPAAmart list omitted the names of the script writers. A member of the Australian Writers Guild offers this alternative version of events.
Trouble is brewing over this year’s SPAA conference, with the scripts selected for the feature film shop window staging a sit-in at SPAA head office.
Wake Up Dead, a particularly fat script, blocked the door of the SPAA lunchroom just before lunch yesterday while other scripts phoned media outlets with a list of demands.
Sci-fi thriller The Room was clearly angry, “I mean, we all wrote ourselves, didn’t we? Read more »
The screen industry should run on ingenuity, not politics
Popcorn Taxi’s Chris Murray suggests a taxi service and pie van could keep the industry moving – an industry that should be founded on ingenuity and creativity rather than politics.
It would seem, based on serial offenders to the numerous blogs in and around the Australian Film Industry, that as a generalisation, filmmakers have a lot of time on their hands.
Encore to represent Variety in Australasia
Focal Attractions P/L, the publisher of Encore magazine and media portal mUmBRELLA, has recently entered into an agreement to represent Variety magazine in Australia and New Zealand.
“Having a local Variety representative will make it easier for individuals and organisations trying to reach the international screen industry to assess their options,” said sales director Sean McKeown.
Established in 1905, Variety is the bible of the international showbiz industry, covering film, television, theatre, music, interactive media and publishing.
“There has been a certain mystique attached to the brand down here, due to the fact that people had to deal with staff overseas,” added McKeown.
“Whilst everyone knows the brand and its international reach, most wouldn’t be fully aware of the options it offers – the daily and weekly print editions, plus the online components that include email newsletters for different industry segments and, of course, www.variety.com.”
To discuss international marketing opportunities with Variety, contact Sean McKeown at (02) 8296 0219 or sean@focalattractions.com.au
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Comments
29 Jul 10
6:08 PM
Your puff piece contains a blatant lie. For more than 30 years, Variety maintained a Sydney bureau with full-time staff. I was the bureau chief until the bureau closed in 2005, a short-sighted and ultimately disastrous move on cost-curting grounds. But the paper still had an advertising rep in Oz, Simon Foster, until he left Reed (Encore’s former owner). Either you were ignorant of all this, or chose to ignore it.
29 Jul 10
8:41 PM
Hi Don,
Thanks for your comment. Apologies if you felt we were being misleading. However, I think you may be slightly misinformed about the order of events.
Focal Attractions purchased Encore from Reed a few months ago. It was a proud moment for all of us.
We’re well aware that Variety once had a presence based at Reed’s offices in Chatswood. I used to work there myself as it happens (I joined Reed after you left so I’m afraid we’ve never met.), as did my colleague Sean.
By the point I came on board, the editorial presence of Variety was no longer there, although the logo still proudly appeared at reception!
Where you are slightly mistaken is that the representation arrangement between Reed and Variety actually came to an end some time before Simon’s departure from Encore.
Regardless, once we had Encore in our care, it was a priority for us to resurrect the relationship with Variety and to do our best to make it work for both titles.
As I’m sure you’ll agree, Variety and Encore have a lot in common and as Sean mentioned above, dealing with staff overseas isn’t generally ideal – we certainly hope to provide a good local service. We did not mean to imply (and I don’t think we did) that there had never been a previous local representative – just that there hasn’t been one for too long.
I’m delighted that we have been able to rekindle the relationship between Encore and Variety, and I hope that you’ll wish us luck in that.
All the best,
Tim Burrowes
Editorial director – Focal Attractions
30 Jul 10
12:57 AM
Tim,
It is you who slightly mistaken on the matter of ad sales representation for Variety in the Australian/New Zealand territories.
I was selling across all of the Variety branded advertising options up until a matter of days prior to my departure from Reed. The catalyst for my departure was Variety’s decision to sell from it’s Hong Kong base, though I closed out client dealings on Variety ad campaigns up to the day I left.
I do wish my good friend Sean well in your endeavors with the once-great trade paper though felt it necessary to correct what I’m sure was an honest error.
Simon Foster
30 Jul 10
8:54 AM
Good luck with the new venture and I look forward to meeting you Sean,
All the best
Pippa Johnson
30 Jul 10
1:02 PM
Thanks for the clarification, Tim. I was fully aware of the sequence of events leading to the end of local representation. I just felt it was pertinent to point out the ‘back story’ of Variety’s long engagement with this territory.
30 Jul 10
1:39 PM
With all due respect to Encore and mUmBRELLA, Variety and its main competitor The Hollywood Reporter (I’ve worked for both) will never claw back the prestige and clout they once had in Australia. Both are struggling desperately to remain relevant in the US let alone internationally.They’re being beaten badly by on-line newsletters and some traditional print media. Sadly, the allure of their famous mastheads is meaning less and less to a new generation of content creators.
Also, both invested heavily in the region. Now it might as well be Austria. Some journalists/editors at Variety would struggle to know the difference.
Where’s there’s money to made, there is some willingness to provide some coverage, but that’s not Australia any more. And by not having good coverage -which takes a full time and dedicated office- there’s even less reason to advertise or subscribe. Vicious circle.
Variety has done this before, with Film Francais. It didn’t work. Good luck this time around!
25 Aug 10
1:47 PM
Hi,
Ouch! I for one love reading Encore and Variety as they at least write both sides to a story and investigate truths. Other (won’t name) editorials are run by mates of the boys club so it’s obvious who they are hedging their bets on.
I personally can’t wait for Variety to have another presence in Aus. Count me in!
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