It’s skite season for the agencies again, with the New South Wales Film and Television Office reporting that $1.8 million in government money has attracted $23.5 million in investment from other government money and some private folding stuff as well.
The producer's nightmare: make a v. expensive film, and then find out that another powerful studio run by enemy zombies who don't like your friendly zombies at all is suing because some long gone exec forgot to reconfirm a put clause.
The YAWL4Film workflow management system had its first test in the production of feature film Prime Mover. Designed by researchers at Queensland University of Technology in collaboration with Eindhoven University of Technology in the Netherlands, it makes the production coordinator's life a lot simpler.
Even in London, the Andrew-Cate duo seems a bit .. unusual. (Most British power people are so unpleasant a relationship outside a bondage dungeon is impossible. Unless its inside the family, like Grendel and his mum.)
Framing the SMH's announcement of the AWGIES, Ms Monticelli admits to being "more persistent' than Hollywood. Figures, since our screen people are trained to work completely without money, food, approval or hope.
Free of the muzzle of hope, former Film Finance Corporation CEO Brian Rosen speaks his mind. His vision of the new agency, Screen Australia, is not pretty, folks.
With a population of 26 million (65% of whom speak English), stunning scenery, and a currency called the ringgit that’s at a discount to the American dollar, Malaysia is looking becoming an international location – and exploring the possibility of an Australian co-production treaty. Screen Hub interviews Mahyidin Mustakim, the Director General of The National Film Development Corporation Malaysia (FINAS).
Tim Pye had a presidential moment at the AWGIES, to perform the serious business of the evening - to take stock of the Guild's work in the last year. Here is his address.
The Square was released on 51 screens, was well reviewed, aimed at the genre market, and still only managed $102,216 on its first weekend at the box office.
“We welcome Dr Hartley and recognise the skills and expertise she has
developed working with the New Zealand Film industry for over twenty years. I look forward to building a shared understanding of the Australian environment at a critical time in the development of a more sustainable Australian Industry,” said Trish Lake President of Screen Producer Association of Australia (SPAA).
This year, an award has been won by 'Jimmy The Exploder', which we think is the single best Australian writing credit evah. Besides, he is handsome and dapper, as all good writers are.
Leading up to the release of the film and before he heads off to the Fantastic Fest and Toronto Film Fests, director Mark Hartley will participate in a number of Q&As following special preview screenings of the films.
MIFF did well this year, partly by selling more tickets to ordinary people rather than the dedicated festival goers, identified by beanies, salami sandwiches and steel bladders. But it turns out that success has a price, as distributors push for more of 'their share'.
The "light boys of Chennai" have brought Bollywood crashing to its knees with a strike. Even their own union is against them. More than this, we do not know.
United Artists, a pale rebulld of an honoured institution by Paula Warner and Tom Cruise, pisses away $US500m of credit by failing to make pictures, and then implodes.
Hicks to shoot a movie about a grungie, desperate journalist with his desperate kids in a desperate British town. The location will be a famous wine-growing area just south of Adelaide. Budget cited at $18.5m.
Pictures in Paradise have signed a six picture deal with Italy's Barbablu Films. The films will be made over the next five years and include the thriller 'Dark Door' to be shot in Queensland. This is the first co-production deal between Australia and Italy.
