After three days in Melbourne we are back home, enthusiastic and ready to continue the hard slog of editing Into the Shadows together.
On Monday, we arrived in Melbourne and after dropping some bags of at our now regular, City Limits hotel, met Paul Coulter. Paul has had a long life in the film industry, from the days of the Melbourne film co-op, Melbourne Film Festival and finally running the Lumiere Cinema for 12 years before closing it in late 2005.
He made some interesting comments about distribution and exhibition in Australia and views the need for a vibrant screen culture as very important. Afterwards he offered us a lift into the city where we met with Tony Ayres.
Tony is currently producing a TV Series 'Bogan Pride' and we ended up interviewing him in the art-department store room, which actually worked out quite well. Tony spoke openly about his experiences making and releasing The Home Song Stories. He also commented on the way Australian films are financed and the grueling development processes that they must go through from script to screen.
After the interview Phil and I headed back to the hotel, then we were off in search of wood fired pizza and a cold beverage.
Tuesday was not as eventful. Matt Zeremes was unable to do his interview (so we postponed it till later in the month) and I could not get in contact with Matt Saville. Not wanting to waste a day, we packed up the camera and tripod and went scouting for overlay. We shot exteriors of some cinemas and imagery of the city scape then took a taxi out to Westgarth and recorded the old Valhalla cinema (now run by Palace). The building tells its own story of changing times, reflected in the mix of its past and modern architecture.
We then headed back into town to meet Jarred (four4ty), a singer, song writer and our potential music composer. We talked over a beer and discussed how we saw the music working in the doco. Jarred was really receptive and liked the idea of collaborating with us to create a dynamic soundtrack. Phil and I left the conversation with some enthusiasm and headed off to Lygon Street for dinner and more filming.
The highlight of the night was getting to film inside the projection room at the Nova followed by a free bottle of wine and great pizza and pasta.
Wednesday, we checked out of the hotel and headed off to meet Clayton Jacobson, the man behind the 2006 Aussie hit 'Kenny'. Clayton was welcoming from the minute he opened the door to the minute we left. The interview was insightful on many levels, filmmaking, distribution, exhibition and audience perception. We chatted with Clayton for a while after the interview and left inspired to continue on in our work for Into the Shadows.
Yet again Phil and I have returned from the city of Melbourne with more great stories, experiences and encouragement to keep on keeping on...
Thursday, 10 April 2008
Monday, 7 April 2008
Last plane to Melbourne
It's 5am and I am about to head out to the airport for what will hopefully be our last plane trip to Melbourne (time for a morning coffee).
We have 5 interviews planned with some great Australian directors, an actor and a past exhibitor and all round film buff.
If all goes to plan we will be back in Canberra on Wednesday night with plenty to blog about. So until then, stay safe and have a great week!
-Andrew.
We have 5 interviews planned with some great Australian directors, an actor and a past exhibitor and all round film buff.
If all goes to plan we will be back in Canberra on Wednesday night with plenty to blog about. So until then, stay safe and have a great week!
-Andrew.
Tuesday, 1 April 2008
Richard Harris responds to 'Embracing Innovation - White paper'
Richard Harris: A Response to Robert Connolly’s White Paper
Robert Connolly’s paper Embracing Innovation is provocative, thoughtful and immensely timely. Robert is one of the few people who works successfully as a film practitioner who has the ability to step back from the industry, examine his own practice and preconceptions, and really look at how things could be done better. It’s a rare gift.
What has always amazed me in the almost twenty years I have been in this industry is how resistant it is to change. This is an industry that prides itself on its creative and technological innovation and yet it in so many areas it remains locked into paradigms and methodologies that were developed over 100 years ago. And there so often seems to be a fear within the industry of challenging them. This is the reason, whether you agree with Robert’s analysis and recommendations or not, that interventions like this paper are so valuable.
Robert’s paper starts with a look at the changing framework for filmmaking in this country and with a challenge to some of the myths and preconceptions that exist in the industry. However, the greatest strength of the paper is that Robert not only identifies problems but tries to make recommendations for change where possible. He is willing to go out on a limb on a number of issues, but just as importantly he is also willing to recognise that there are some issues that cannot be solved immediately but will require further discussion and negotiation with numerous industry players.
In terms of the analysis itself, Robert makes crucial points about the state of our sector, and the structural limitations within which filmmakers operate – the failed business model, the need for innovation, the perverse incentives that exist, and the bizarre treatment of income for filmmakers whose films are commercially successful. These are just some of the big picture issues that he correctly identifies as needing addressing.
Then he moves his focus to wages and fees – dangerous territory because there are always stories of abuse and exploitation in the film industry. What is important, however, is that he identifies that there are models outside of Australia that could provide models for moving forward, and that should be considered.
He correctly questions the fixed percentage model for producers’ fees (and also writers’ and directors’), which has always struck me as an odd invention, because in a system where there is no incentive for success – because there is no way to share in it for a producer – the only incentive is to bump your fee up in order for you to survive until you make your next film. The more the budget is, the more the producer earns – surely there has to be some more sophisticated way of calculating this; surely there needs to be some connection between success and rewards.
Finally, Robert looks at cast fees, an issue that has caused much consternation over the years, because of the seeming contradiction between the need to attract back our best and brightest stars and the need to keep budgets more realistic and in line with the size of our market. Robert’s nuanced proposal to cap cast fees is a vast improvement on a proposal that I made a number of years ago to simply cap, at a fixed rate, actors’ fees on FFC films (along the lines of the Fox Searchlight cap), because Robert’s proposal makes allowance for the marketplace value of that actor. This makes eminent common sense as a proposal, as it allows flexibility while recognizing the constraints within which our film financing operates.
Robert’s final four recommendations focus on issues that seem so basic and simple that you wonder why they have never been addressed – until you remember that there are very few ways for the industry to look at issues at a whole-of-industry level. Insurance, the seemingly endless expense of legals even on simple projects, the level of unnecessary reporting required – surely some of these mechanical blockages and expenses can be removed or streamlined so that filmmakers can get on with the job of filmmaking. It’s like the whole industry needs an enema to clear out all this detritus that has gathered over the years – and I hope Robert would forgive me for suggesting that that paper is the first dose.
Finally, Robert touches on just one of the issues of distribution – an area that gets scant attention so often within the production industry, and its seeming refrain that if we build it they will come! Robert focuses on the ever increasing delivery demands of the marketplace, which are becoming more and more excessive – and makes a plea for some sanity to return and for the responsibility not to continue to lie always with the filmmaker.
In some ways, I see Robert’s paper as just the start of a discussion that needs to continue beyond those structural areas that he has identified and really delve downwards into the production methodologies themselves. Why are crew structures the way they are? Do they need to stay that way? How do we maximize the benefits that can accrue from new technologies in the actual production process? There are countless questions about the micro that are worth asking and that could take the industry in interesting directions if there was a will to take it there.
This discussion only gets us so far, because it will not solve the many issues that the industry faces that are outside the scope of innovation in production – and in particular issues related to financing and distribution. These will have to be teased out and, who knows, even solved by Robert’s next paper. What this paper does, however, is start the process on what we can do in our own backyard – to fix a few of the problems that we have right now. He’s thinking global but acting locally (as the slogan goes). And who knows, if we can start to embrace a culture of innovation within the production sector perhaps we will even have the guts to begin to challenge the locked marketplace structure within which filmmakers operate. For encouraging this kind of radical thinking, Robert Connolly should be applauded.
This article is found on the Centre for Screen Business website.
Robert Connolly’s paper Embracing Innovation is provocative, thoughtful and immensely timely. Robert is one of the few people who works successfully as a film practitioner who has the ability to step back from the industry, examine his own practice and preconceptions, and really look at how things could be done better. It’s a rare gift.
What has always amazed me in the almost twenty years I have been in this industry is how resistant it is to change. This is an industry that prides itself on its creative and technological innovation and yet it in so many areas it remains locked into paradigms and methodologies that were developed over 100 years ago. And there so often seems to be a fear within the industry of challenging them. This is the reason, whether you agree with Robert’s analysis and recommendations or not, that interventions like this paper are so valuable.
Robert’s paper starts with a look at the changing framework for filmmaking in this country and with a challenge to some of the myths and preconceptions that exist in the industry. However, the greatest strength of the paper is that Robert not only identifies problems but tries to make recommendations for change where possible. He is willing to go out on a limb on a number of issues, but just as importantly he is also willing to recognise that there are some issues that cannot be solved immediately but will require further discussion and negotiation with numerous industry players.
In terms of the analysis itself, Robert makes crucial points about the state of our sector, and the structural limitations within which filmmakers operate – the failed business model, the need for innovation, the perverse incentives that exist, and the bizarre treatment of income for filmmakers whose films are commercially successful. These are just some of the big picture issues that he correctly identifies as needing addressing.
Then he moves his focus to wages and fees – dangerous territory because there are always stories of abuse and exploitation in the film industry. What is important, however, is that he identifies that there are models outside of Australia that could provide models for moving forward, and that should be considered.
He correctly questions the fixed percentage model for producers’ fees (and also writers’ and directors’), which has always struck me as an odd invention, because in a system where there is no incentive for success – because there is no way to share in it for a producer – the only incentive is to bump your fee up in order for you to survive until you make your next film. The more the budget is, the more the producer earns – surely there has to be some more sophisticated way of calculating this; surely there needs to be some connection between success and rewards.
Finally, Robert looks at cast fees, an issue that has caused much consternation over the years, because of the seeming contradiction between the need to attract back our best and brightest stars and the need to keep budgets more realistic and in line with the size of our market. Robert’s nuanced proposal to cap cast fees is a vast improvement on a proposal that I made a number of years ago to simply cap, at a fixed rate, actors’ fees on FFC films (along the lines of the Fox Searchlight cap), because Robert’s proposal makes allowance for the marketplace value of that actor. This makes eminent common sense as a proposal, as it allows flexibility while recognizing the constraints within which our film financing operates.
Robert’s final four recommendations focus on issues that seem so basic and simple that you wonder why they have never been addressed – until you remember that there are very few ways for the industry to look at issues at a whole-of-industry level. Insurance, the seemingly endless expense of legals even on simple projects, the level of unnecessary reporting required – surely some of these mechanical blockages and expenses can be removed or streamlined so that filmmakers can get on with the job of filmmaking. It’s like the whole industry needs an enema to clear out all this detritus that has gathered over the years – and I hope Robert would forgive me for suggesting that that paper is the first dose.
Finally, Robert touches on just one of the issues of distribution – an area that gets scant attention so often within the production industry, and its seeming refrain that if we build it they will come! Robert focuses on the ever increasing delivery demands of the marketplace, which are becoming more and more excessive – and makes a plea for some sanity to return and for the responsibility not to continue to lie always with the filmmaker.
In some ways, I see Robert’s paper as just the start of a discussion that needs to continue beyond those structural areas that he has identified and really delve downwards into the production methodologies themselves. Why are crew structures the way they are? Do they need to stay that way? How do we maximize the benefits that can accrue from new technologies in the actual production process? There are countless questions about the micro that are worth asking and that could take the industry in interesting directions if there was a will to take it there.
This discussion only gets us so far, because it will not solve the many issues that the industry faces that are outside the scope of innovation in production – and in particular issues related to financing and distribution. These will have to be teased out and, who knows, even solved by Robert’s next paper. What this paper does, however, is start the process on what we can do in our own backyard – to fix a few of the problems that we have right now. He’s thinking global but acting locally (as the slogan goes). And who knows, if we can start to embrace a culture of innovation within the production sector perhaps we will even have the guts to begin to challenge the locked marketplace structure within which filmmakers operate. For encouraging this kind of radical thinking, Robert Connolly should be applauded.
This article is found on the Centre for Screen Business website.
Wednesday, 19 March 2008
What's at Risk: Justice Leauge or the Australian Film Industry?
Justice League Mortal is the film everyone is talking about and its not even in cinemas, yet-
Background:
A new tax incentive for Australian producers has been introduced, its called the Tax Offset (formally the Tax Rebate) and it provides up to a 40% Offset of budget of the film, which goes to the Producer. Like all incentives this one comes with its Red Tape. On this occasion a film must qualify under QAPE (Qualifying Australian Production Expenditure) to be able to access the Offset. This means that when a film is submitted, to the powers that be, a panel of assessors decide if the film is Australian 'enough' and if it is, then it gets the tick of approval. If not? Then find another country to film in with better tax breaks or change the script.
The Situation:
Justice League Mortal now sits in production limbo as, rumour has it, the Film Finance Corporation (FFC) rejected the producers preliminary request for the 40% Offset. So the question remains, are an Australian director, some key cast and crew enough to be an Australian Film? Or does the story have to be about a man cooking 'shrimp' on a Barbie in the outback? In today’s times, when filmmaking is becoming an increasingly global phenomenon the question is asked, what is an Australian film? And does an industry, that seems to be all but fading away, have the capacity to let such an investment go?
Well, on Wednesday, Dr. George Miller (director of Justice League) gave an impassioned response when interviewed by Fran Kelly on ABC Radio National about why he feels Justice League Mortal should receive the Offset.
There is an audio file of the interview and an interesting write up in The Sydney Morning Herald.
What do you think?
Want to know more about Justice League the comic? Find out here.
-Andrew.
Tuesday, 18 March 2008
Foundation Approved
All our time filling in forms and writing up applications has not been an entire waste!
Into the Shadows has been approved by the Documentary Australia Foundation to be a documentary deemed worthy of philanthropic support. Phil and I have issued the Foundation with a production still and synopsis, which will be added to their website shortly. In time Into the Shadows will appear on the Foundation's website 'Approved List' for all to view.
So, if you or someone you know, would like to donate to the production or post production costs of Into the Shadows you can, knowing that you are supporting an offical, charitable production. This also means you can now recieve tax breaks from your donation to the making of the film.
Support the making of Into the Shadows and share in the creation of the film that will raise the awareness, of the need for a fresh, dynamic, vibrant Australian cinema culture.
-Andrew.
Into the Shadows has been approved by the Documentary Australia Foundation to be a documentary deemed worthy of philanthropic support. Phil and I have issued the Foundation with a production still and synopsis, which will be added to their website shortly. In time Into the Shadows will appear on the Foundation's website 'Approved List' for all to view.
So, if you or someone you know, would like to donate to the production or post production costs of Into the Shadows you can, knowing that you are supporting an offical, charitable production. This also means you can now recieve tax breaks from your donation to the making of the film.
Support the making of Into the Shadows and share in the creation of the film that will raise the awareness, of the need for a fresh, dynamic, vibrant Australian cinema culture.
-Andrew.
Thursday, 13 March 2008
Face Space
We have finally done it. Into the Shadows is now not only on Myspace but Facebook too!
We have started the page off very simply, with a Teaser and a forum to discuss the points raised in the teaser. All are welcome to add comments.
So head to Myspace and become a friend or you can head to Facebook and become a FAN! Then again why not just head to both?
We have started the page off very simply, with a Teaser and a forum to discuss the points raised in the teaser. All are welcome to add comments.
So head to Myspace and become a friend or you can head to Facebook and become a FAN! Then again why not just head to both?
Tuesday, 4 March 2008
New Channel
Hey everyone, we have updated our INTERVIEWEE page. Check it out and add some comments below.
We have also created our own YOUTUBE channel. Keep an eye on this for clips and coming trailers.
We have also created our own YOUTUBE channel. Keep an eye on this for clips and coming trailers.
Saturday, 1 March 2008
Friday is always too far away
Early this afternoon I posted our application to the AFC for production funding.
Phil has been hanging with his girlfriend all week, as she leaves for England tomorrow, so it was almost a one-man show. Has anyone else tried to fill in an AFC application? It’s a lot of work, making sure every box is ticked.
But the paper work is finally signed, sealed and delivered - Fingers crossed!
I have just come back from a night out on the town with my mate Dax; it was a good way to end the week. Hopefully next week will bring some exciting news as we wait to hear from ScreenACT.
Can't wait til next Friday afternoon.
Phil has been hanging with his girlfriend all week, as she leaves for England tomorrow, so it was almost a one-man show. Has anyone else tried to fill in an AFC application? It’s a lot of work, making sure every box is ticked.
But the paper work is finally signed, sealed and delivered - Fingers crossed!
I have just come back from a night out on the town with my mate Dax; it was a good way to end the week. Hopefully next week will bring some exciting news as we wait to hear from ScreenACT.
Can't wait til next Friday afternoon.
Thursday, 28 February 2008
Friday Deadline
We are busy working on two applications:
One for AFC production funding and the other to be approved by the Documentary Australia Foundation as an official film that can receive Philanthropic support.
To anyone else out there working hard to get an application in on time- good luck!
One for AFC production funding and the other to be approved by the Documentary Australia Foundation as an official film that can receive Philanthropic support.
To anyone else out there working hard to get an application in on time- good luck!
Monday, 25 February 2008
Embracing Innovation - White Paper
Robert Connolly has issued a new White Paper titled, Embracing Innovation: a new methodology for feature film production in Australia.
We have interviewed Robert for Into the Shadows, during the interview he did discuss some interesting points of view about the funding models in Australia. We applaude him for his work on this white paper and encourage you all to read it.
ConnollyWP%5B1%5D.pdf
We have interviewed Robert for Into the Shadows, during the interview he did discuss some interesting points of view about the funding models in Australia. We applaude him for his work on this white paper and encourage you all to read it.
ConnollyWP%5B1%5D.pdf
AIDC Day 3
After our late night of inspiration how did the final day play out? Read on...
Day 3: Friday
Peter Greenaway was the keynote speaker of the conference and his session was well worth the wait. He spoke very provocatively about Documentary itself as a form and challenged everyone’s notion of the context of cinema in contemporary life. He sees the idea of “the frame” as a limited way of shooting and exhibiting films and has begun to test new ways of viewing films and on new subjects. He has been working with artists in Italy who have been projecting work on massive surfaces, from museum walls and ceilings to 10m high boards. The most interesting clip he showed featured Rembrandt’s The Nightwatchman and was originally played during a Rembrandt exhibition in Amsterdam. Digital composting was used to bring the painting to life, adding a whole new aspect of light, sound and vision to the work.
I came away from Greenaway's talk feeling that I had experienced something new. It is hard to describe but it is as if something in the new age of cinema is a foot and Peter Greenaway is onto it.
I went to a session run by Bruno Felix, from submarine channel, about the way documentary and the virtual world is evolving together. Later, Phil and I both sat in on the session, Basement Tapes by Brett Gaylor. He is a young director from Canada, making a groundbreaking documentary on Piracy and copyright in the digital world. He helped establish this idea of open source cinema, which encourages re-mixing and re-mashing of one filmmakers work by another. Another session, another glimpse at what the future of filmmaking may look like.
The day ended with some padded out sessions including listening to the people behind ABC and SBS explain what they are programming and looking for over the coming year and according to Matt Campbell Australia's Top Gear did not cost $11m. I was able to meet Jennifer Collins from ABC and chat about our project, she was interested in it and recommended we apply for the JTV DOCS funding round.
The day ended on a high note going for drinks at the Beach Bar, meeting and greeting other producers, directors and people from state agencies. With plenty of Little Creatures on offer and a cool setting it was a great way to end a very full three days.
It was then time to say good bye to the Ole B&B and fly back to the East side to our homes in Canberra. With new deadlines to meet and plenty of business cards to sort through it’s back in front of the computer and into it all over again.
Day 3: Friday
Peter Greenaway was the keynote speaker of the conference and his session was well worth the wait. He spoke very provocatively about Documentary itself as a form and challenged everyone’s notion of the context of cinema in contemporary life. He sees the idea of “the frame” as a limited way of shooting and exhibiting films and has begun to test new ways of viewing films and on new subjects. He has been working with artists in Italy who have been projecting work on massive surfaces, from museum walls and ceilings to 10m high boards. The most interesting clip he showed featured Rembrandt’s The Nightwatchman and was originally played during a Rembrandt exhibition in Amsterdam. Digital composting was used to bring the painting to life, adding a whole new aspect of light, sound and vision to the work.
I came away from Greenaway's talk feeling that I had experienced something new. It is hard to describe but it is as if something in the new age of cinema is a foot and Peter Greenaway is onto it.
I went to a session run by Bruno Felix, from submarine channel, about the way documentary and the virtual world is evolving together. Later, Phil and I both sat in on the session, Basement Tapes by Brett Gaylor. He is a young director from Canada, making a groundbreaking documentary on Piracy and copyright in the digital world. He helped establish this idea of open source cinema, which encourages re-mixing and re-mashing of one filmmakers work by another. Another session, another glimpse at what the future of filmmaking may look like.
The day ended with some padded out sessions including listening to the people behind ABC and SBS explain what they are programming and looking for over the coming year and according to Matt Campbell Australia's Top Gear did not cost $11m. I was able to meet Jennifer Collins from ABC and chat about our project, she was interested in it and recommended we apply for the JTV DOCS funding round.
The day ended on a high note going for drinks at the Beach Bar, meeting and greeting other producers, directors and people from state agencies. With plenty of Little Creatures on offer and a cool setting it was a great way to end a very full three days.
It was then time to say good bye to the Ole B&B and fly back to the East side to our homes in Canberra. With new deadlines to meet and plenty of business cards to sort through it’s back in front of the computer and into it all over again.
Sunday, 24 February 2008
New Mags
Just been added to the IF Magazine in production webpage and FILMINK's links page.
Keep an eye out for next month's IF Magazine and the new FILMINK.
Keep an eye out for next month's IF Magazine and the new FILMINK.
Saturday, 23 February 2008
AIDC Day 2
Thinking back to day 2...it was a day that began quickly, lost its way then ended with a high energy climax...so what exactly went down?
Day 2: Thursday
First up was “Who's Who” where all the delegates sat in the audience and were introduced to the faces behind the networks and broadcasters from all around the world with likes of National Geographic, Channel 4, ITVS and Verve Entertainment International.
Documart! For the first time Phil and I watched people giving pitches to television broadcasters from all around the world; Scotland, Germany, the USA, Bangladesh and of course SBS and ABC from Australia. This may show my age, but I wonder why commercial networks like Ten, Seven and Nine don't turn up? Documentary seems to be a hot form at the moment so you never know...(if anyone does know the answer tell us in the comments)
Some pitches were great, some were...not so...actually on second thought all of them were pretty good. The most interesting thing about it was to watch the re-actions and interactions between "pitcher" and the “broadcaster”. Sometimes broadcasters were nice, interested and right into the idea and other times they were ice cold. Phil and I will be mindful of this when we tighten our synopsis and treatments as well as use this experience to further our pitching skills for the future.
“What’s in it for private investors?” was interesting...to sum it up? In our opinion? The new producers offset still has a few bugs to be worked through and the FFC or the to be new Screen Australia will have to work hard with banks and institutions to ensure that the offset is seen as a secure viable model for investing into Australian production. One thing that can be said is that the offset is not designed for small time independent producers but for medium to large size companies who can take on a slate of projects. Instead of trying to make it sound like there are ways for little indie guys to survive I wish someone would have the guts to say what is really going on here and that this is not right as it could destroy the business model for small time players. Some may argue that this is fine, that they are not needed but if the raw indie producers are culled off then the industry stands to lose fresh ideas and its vibrant-risky edge.
The next seminars were so so and our night was drifting nowhere, then by chance we bumped into Tim Sparke from joiningthedots.tv and had fish and chips for dinner with him. We got talking about our project and joiningthedots.tv and before we new it we were debating the current trends in cinema, from England, Australia to the USA and Europe. Later, Tim worked through our film narrative further. We ended up getting some contacts from him and at the stroke of midnight (almost) we met Daryl Karp, Chief Executive Officer of Film Australia. She added some thoughts on our project and with that we walked back to our humble B&B with a renewed focus and vigour.
Day 2: Thursday
First up was “Who's Who” where all the delegates sat in the audience and were introduced to the faces behind the networks and broadcasters from all around the world with likes of National Geographic, Channel 4, ITVS and Verve Entertainment International.
Documart! For the first time Phil and I watched people giving pitches to television broadcasters from all around the world; Scotland, Germany, the USA, Bangladesh and of course SBS and ABC from Australia. This may show my age, but I wonder why commercial networks like Ten, Seven and Nine don't turn up? Documentary seems to be a hot form at the moment so you never know...(if anyone does know the answer tell us in the comments)
Some pitches were great, some were...not so...actually on second thought all of them were pretty good. The most interesting thing about it was to watch the re-actions and interactions between "pitcher" and the “broadcaster”. Sometimes broadcasters were nice, interested and right into the idea and other times they were ice cold. Phil and I will be mindful of this when we tighten our synopsis and treatments as well as use this experience to further our pitching skills for the future.
“What’s in it for private investors?” was interesting...to sum it up? In our opinion? The new producers offset still has a few bugs to be worked through and the FFC or the to be new Screen Australia will have to work hard with banks and institutions to ensure that the offset is seen as a secure viable model for investing into Australian production. One thing that can be said is that the offset is not designed for small time independent producers but for medium to large size companies who can take on a slate of projects. Instead of trying to make it sound like there are ways for little indie guys to survive I wish someone would have the guts to say what is really going on here and that this is not right as it could destroy the business model for small time players. Some may argue that this is fine, that they are not needed but if the raw indie producers are culled off then the industry stands to lose fresh ideas and its vibrant-risky edge.
The next seminars were so so and our night was drifting nowhere, then by chance we bumped into Tim Sparke from joiningthedots.tv and had fish and chips for dinner with him. We got talking about our project and joiningthedots.tv and before we new it we were debating the current trends in cinema, from England, Australia to the USA and Europe. Later, Tim worked through our film narrative further. We ended up getting some contacts from him and at the stroke of midnight (almost) we met Daryl Karp, Chief Executive Officer of Film Australia. She added some thoughts on our project and with that we walked back to our humble B&B with a renewed focus and vigour.
AIDC End
So much for posting an entry every day of the AIDC. I guess that's what you get for not having wireless abilities on your mac.
It's all about meeting people at these conferences. Andrew and I met a lot of people. And I mean, a lot! The common questions of course were what are you doing here and what is your project about? Personally I liked to talk about anything but my project. It wasn't because I dont like my project or ashamed or anything like that. In fact, quite the opposite. I am so proud and happy with our project that I didn't want to sound conceited.
I talked about my project when I had to, and I discussed it with enthusiasm when I did. Overall, the other delgates were very positive with their feedback. Some great interest from filmmakers, distributors, local broadcasters and surprisingly, international braodcasters.
Even though Into the Shadows is a very local story, the international correlations are obvious. Especially when in Into the Shadows, we turn around and look outward to see how other countries dealt, deal, and are dealing with the same or similar struggles and challenges our own filmmakers, distributors, exhibitors and government funding bodies etcetera are dealing with in our story.
They seemed to like the Australian focus and felt it could be used as an education of the industry for their industry.
It's all about meeting people at these conferences. Andrew and I met a lot of people. And I mean, a lot! The common questions of course were what are you doing here and what is your project about? Personally I liked to talk about anything but my project. It wasn't because I dont like my project or ashamed or anything like that. In fact, quite the opposite. I am so proud and happy with our project that I didn't want to sound conceited.
I talked about my project when I had to, and I discussed it with enthusiasm when I did. Overall, the other delgates were very positive with their feedback. Some great interest from filmmakers, distributors, local broadcasters and surprisingly, international braodcasters.
Even though Into the Shadows is a very local story, the international correlations are obvious. Especially when in Into the Shadows, we turn around and look outward to see how other countries dealt, deal, and are dealing with the same or similar struggles and challenges our own filmmakers, distributors, exhibitors and government funding bodies etcetera are dealing with in our story.
They seemed to like the Australian focus and felt it could be used as an education of the industry for their industry.
Thursday, 21 February 2008
AIDC Day 1
We have decided to track back the three days at the AIDC:
Day 1: Wednesday
It was a really big day yesterday. There was lots to do and lots to see. Lots of people to meet and lots of coffee to drink...
I went to the round table discussion with Katrina Sedgwick (director of the Adeaide Film Festival) and considering neither of us had been to one before, it went really well.
Katrina was extremely informative about the investment fund, and I truly believe our stars and timelines are aligned. We will be submitting an application to the AFFIF as soon as possible.
Andrew had similar luck with Mitzi Goldman and Susan McKinnon from the Documentary Australia Foundation. He received really positive feedback from our draft application and once we get back to Canberra we'll submit our polished application and hopefully be approved by the foundation so we can go on in our search for philanthropic support.
Opening night drinks are always good - especially when the drinks are free - and last night's events were no exception. We met some really nice people, caught up with our friend Sophie from Closer Productions, met her (production) partner Bryan, watched an amazing sunset, got drinks spilt on me and almost lost my bag.
A great night, hopefully followed by another great day.
Day 1: Wednesday
It was a really big day yesterday. There was lots to do and lots to see. Lots of people to meet and lots of coffee to drink...
I went to the round table discussion with Katrina Sedgwick (director of the Adeaide Film Festival) and considering neither of us had been to one before, it went really well.
Katrina was extremely informative about the investment fund, and I truly believe our stars and timelines are aligned. We will be submitting an application to the AFFIF as soon as possible.
Andrew had similar luck with Mitzi Goldman and Susan McKinnon from the Documentary Australia Foundation. He received really positive feedback from our draft application and once we get back to Canberra we'll submit our polished application and hopefully be approved by the foundation so we can go on in our search for philanthropic support.
Opening night drinks are always good - especially when the drinks are free - and last night's events were no exception. We met some really nice people, caught up with our friend Sophie from Closer Productions, met her (production) partner Bryan, watched an amazing sunset, got drinks spilt on me and almost lost my bag.
A great night, hopefully followed by another great day.
Tuesday, 19 February 2008
No Good Night but hopefully plenty of Luck!
I haven’t gone to sleep tonight, and our flight is at 6:50 am so I don’t think I’ll get there, plenty of time to rest on the plane...we are off to the AIDC 2008 in Fremantle. Never been to West Aussie, heard its a great place so I’m looking forward to it.
Last night was Tropfest 08, sorry...last night was SONY TROPFEST 08! It was packed in Canberra- a 20,000 strong crowd and for once the weather was hot and sunny! Sometimes I forget if its a marketing event or a short film festival, either way I suppose its great to bring so many people together to support short films. I must admit I snuck away during the interval to have a coffee but congrats to all the winners and a big shout out to the two local entries from Canberra who made it into the top 16.
Today Phil added links to the new bios and should have them up and running tomorrow, if we can fit it in between the flights, DOCO2012 seminar and drinks. Whilst Phil worked on the website, I edited our Documentary Australia proposal. I can finally say that it is done! And I am looking forward to meeting Mitzi Goldman and Susan MacKinnon on Wednesday at the round table discussion. If successful Into the Shadows will be given official recognition by the foundation which will help us in our venture to woo philanthropic investors.
My right pointer finger is sore from typing, my neck is creaking and my bag is not packed...time to sign off and get everything else ready for the trip.
Look out for our daily updates whilst at the AIDC.
Last night was Tropfest 08, sorry...last night was SONY TROPFEST 08! It was packed in Canberra- a 20,000 strong crowd and for once the weather was hot and sunny! Sometimes I forget if its a marketing event or a short film festival, either way I suppose its great to bring so many people together to support short films. I must admit I snuck away during the interval to have a coffee but congrats to all the winners and a big shout out to the two local entries from Canberra who made it into the top 16.
Today Phil added links to the new bios and should have them up and running tomorrow, if we can fit it in between the flights, DOCO2012 seminar and drinks. Whilst Phil worked on the website, I edited our Documentary Australia proposal. I can finally say that it is done! And I am looking forward to meeting Mitzi Goldman and Susan MacKinnon on Wednesday at the round table discussion. If successful Into the Shadows will be given official recognition by the foundation which will help us in our venture to woo philanthropic investors.
My right pointer finger is sore from typing, my neck is creaking and my bag is not packed...time to sign off and get everything else ready for the trip.
Look out for our daily updates whilst at the AIDC.
Tuesday, 12 February 2008
Breakdown
Yesterday we packed the car early in the morning and were on the road to Sydney by 6am. We were heading up there to interview Brendan Cowell, the lead actor in Noise and then come back that afternoon. Get up early, leave on time and everything would work out...or so we thought.
Unfortunately, the car had other ideas. An hour and a half outside of Canberra the car broke down. First the radio cut out, the digital dashboard went blank and the Speedo was stuck on 120 so we decided to pull over. As the car came to a stop it lost all power and stalled on us.
An ABS light had come on, which the manual told us meant we had no ABS. No anti-lock braking wasn't the worst thing in the world, so we decided to keep going. On the second try, the car started and we were on our way…5 minutes later the car conked out again.
This time we did what must be done and called Phil’s old man as well as the NRMA. 10mins later the NRMA was there to rescue us, but to no avail. All he could say was that our alternator might need to be fixed but that everything else was fine and as long as we kept the radio, air con and cruise control off (basically everything besides the basic function of driving) we could try our luck and continue on to Sydney or take a turn to Moss Vale and find a ford dealer to check over the car.
So with none of the luxuries we have come to depend on we headed for Moss Vale. The car was running fine and all was well until the gremlins struck again and the car blanked out.
By this time Phil’s mum who had decided to drive to our aid and swap cars was coming up to Goulburn and so she continued to Moss Vale. We called Ford and the NRMA. 45 mins later Phil’s mum turned up, we exchanged cars and were back on the highway.
Thanks to Phil’s stunt man driving and a bit of luck we got to Brendan’s place by 11:30am, half an hour late but nonetheless there. Brendan was very gracious about it and so the interview went on.
Huge thanks to Bob and Lorraine for giving up their entire day to ensure we got the interview.
Today we have captured the interview, and are continuing to prepare for the AIDC 2008. We hope to have a complete promo reel done by Friday, so for now it’s back to the grindstone.
A side note - FILMINK has also added Into the Shadows to their links page - thanks Dov for your continued support.
Unfortunately, the car had other ideas. An hour and a half outside of Canberra the car broke down. First the radio cut out, the digital dashboard went blank and the Speedo was stuck on 120 so we decided to pull over. As the car came to a stop it lost all power and stalled on us.
An ABS light had come on, which the manual told us meant we had no ABS. No anti-lock braking wasn't the worst thing in the world, so we decided to keep going. On the second try, the car started and we were on our way…5 minutes later the car conked out again.
This time we did what must be done and called Phil’s old man as well as the NRMA. 10mins later the NRMA was there to rescue us, but to no avail. All he could say was that our alternator might need to be fixed but that everything else was fine and as long as we kept the radio, air con and cruise control off (basically everything besides the basic function of driving) we could try our luck and continue on to Sydney or take a turn to Moss Vale and find a ford dealer to check over the car.
So with none of the luxuries we have come to depend on we headed for Moss Vale. The car was running fine and all was well until the gremlins struck again and the car blanked out.
By this time Phil’s mum who had decided to drive to our aid and swap cars was coming up to Goulburn and so she continued to Moss Vale. We called Ford and the NRMA. 45 mins later Phil’s mum turned up, we exchanged cars and were back on the highway.
Thanks to Phil’s stunt man driving and a bit of luck we got to Brendan’s place by 11:30am, half an hour late but nonetheless there. Brendan was very gracious about it and so the interview went on.
Huge thanks to Bob and Lorraine for giving up their entire day to ensure we got the interview.
Today we have captured the interview, and are continuing to prepare for the AIDC 2008. We hope to have a complete promo reel done by Friday, so for now it’s back to the grindstone.
A side note - FILMINK has also added Into the Shadows to their links page - thanks Dov for your continued support.
Friday, 8 February 2008
AIDC Prep
Weeks seem to come and go at the moment and there goes another one. We have been working on a fresh look for our website, including new material: promos, interviewee bios and our news blog.
We have also been preparing for our trip to the AIDC 2008.
Registration... Check!
Flights... Check!
Accommodation... We had some hick-ups but can now say, check!
We are aiming to meet and greet other documentary filmmakers at the conference and find out what other people out there are making. There are going to be some great seminars run by experienced filmmakers and industry professionals so it should be an enriching experience.
We have also been preparing for our trip to the AIDC 2008.
Registration... Check!
Flights... Check!
Accommodation... We had some hick-ups but can now say, check!
We are aiming to meet and greet other documentary filmmakers at the conference and find out what other people out there are making. There are going to be some great seminars run by experienced filmmakers and industry professionals so it should be an enriching experience.
Thursday, 7 February 2008
Office Space
Today we are working from our new office. No it’s not one of those minimalist design penthouse view offices that have views of the CBD. It’s in Phil’s renovated backyard garage, but nonetheless it’s an office space and its working well for us.
Last week we submitted a funding application to ScreenACT. It’s the first time the ACT government has issued funding through ScreenACT specifically for film projects...so fingers crossed. If we receive the funding we will be able to finish the production stage of our doco. If we don’t, we will be hitting up the credit cards again - either way this film will be completed.
On some other news, as you may have noticed we have a new addition to our website - Our news blog! Will we be adding entries to this more often! It will be a great way to keep up to date as our project continues and it means you can now comment on the website and the film.
We have also cut a promo reel and some clips for Into the Shadows so keep an eye on this space because they will be up soon…until then go out and make a film! You know you want to.
Wednesday, 2 January 2008
New year is here
Happy New Year! Fireworks are over and the Christmas tree is coming down for 2007, so here it is, 2008 upon us already.
We have been relaxing with family and friends which has been great but now its time to focus on the documentary again and focus on one thing in particular- finance! Yep, we are sucking in the footage, cutting a reel and preparing treatments and budgets for grants.
First cab off the rank...THE SCREENACT 2008 PROJECT FUND. We need to fill out some paper work, write a proposal, treatment, cut a reel and have a budget. Only twenty odd days to go so we better get cracking!
We have been relaxing with family and friends which has been great but now its time to focus on the documentary again and focus on one thing in particular- finance! Yep, we are sucking in the footage, cutting a reel and preparing treatments and budgets for grants.
First cab off the rank...THE SCREENACT 2008 PROJECT FUND. We need to fill out some paper work, write a proposal, treatment, cut a reel and have a budget. Only twenty odd days to go so we better get cracking!
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