Category Archives: Film

Film news with a particular orientation towards Australia.

What’s Behind the Dismal Winter at the US Box Office

What’s Behind the Dismal Winter at the US Box Office

5:00 AM PST 3/6/2013 by Pamela McClintock – THR

Theater stocks slide and grosses drop 15 percent as “Jack the Giant Slayer” leads a
season of discontent and a glut of grim action flops leaves few studios unscathed.

When Bryan Singer sat down at his computer in mid-January and read Internet
comments criticizing a new Warner Bros. poster for his big-budget epic Jack the
Giant Slayer, he fumed. He didn’t care for the cartoonish image of the film’s stars
brandishing swords and standing around a swirling beanstalk. So Singer complained
on Twitter. “Sorry for these crappy airbrushed images,” he wrote Jan. 16, irking
Warners’ powerful marketing head Sue Kroll. “They do the film no justice. I’m proud
of the film & our great test scores.” An insider confesses, “Bryan felt like he had to
apologize to his fans.”

The dust-up points to a long and fraught process culminating with the low $27.2
million North American debut of Jack the Giant Slayer during the March 1-to-3
weekend, the latest in a string of dismal 2013 domestic releases. Revenue and
attendance both are down a steep 15 percent from the same period in 2012, wiping
away gains made last year. Jack might have cost far more than any of the other
misses, but in assessing the carnage, there’s a collective sense that Hollywood is
misjudging the moviegoing audience and piling too many of the same types of movies
on top of one another. Continue reading What’s Behind the Dismal Winter at the US Box Office

2012 box office figures in Australia

From Screen Daily:

Australian box office up on 2011; down on 2010

28 January, 2013 | By

The people of Australia spent $1,173.2m (A$1,125.5m) on cinema tickets in 2012, a 2.8% increase on the previous year but about $7.6m (A$7.3m) less than they spent in a record-breaking 2010.

 It is the third consecutive year that annual revenues have exceeded $1bn.

The Motion Picture Distributors Association of Australia (MPDAA) released the figures but, as usual, chose not to estimate admission numbers so early in the year.

It is likely that 85 to 90 million tickets were sold – the population is 22.9 million.

The five films that lead the pack in 2012 all grossed more than $30m:

  • The Avengers (Walt Disney);
  • Skyfall (Sony Pictures);
  • The Dark Knight Rises (Warner Bros);
  • Ted (Universal);
  • The Hunger Games (Roadshow).

The next five all exceeded $20m:

  • The Twilight Saga: Breaking Dawn – Part 2 (Hoyts/StudioCanal);
  • Ice Age 4: Continental Drift (Fox);
  • Madagascar 3: Europe’s Most Wanted (Paramount);
  • The Best Exotic Marigold Hotel (Fox);
  • Sherlock Holmes: A Game Of Shadows (Roadshow).

“Clearly 2012 benefitted from a tremendous mix of commercial and highly entertaining movies and consumers continue to demonstrate strong support for the timeless and unique appeal of going to the cinema,” said Marc Wooldridge, chair of the MPDAA, in a statement.

The managing director at Twentieth Century Fox Australia also said that Australia boasts some of the best cinemas in the world and a night at the movies continues to provide “a tremendous, good value, out-of-home experience”.

Of the 548 films (421 were new releases) that earned some money in 2012:

  • 231 (42.2%) were from the US
  • 63 (11.5%) from the UK
  • 43 (7.8%) from Australia
  • 211 from other countries.

According to government agency Screen Australia, the amount spent on tickets to the 43 Australian films was $49.8m (A$47.9m), which represented 4.3% of the total gross, and a few million dollars more than the five-year average.

The annual domestic share has not been higher than 5% for the past 10 years and no higher than 10% for the past 25 years.

The top grossing Australian film, The Sapphires, grossed $15.1m (A$14.5m). The others in the top five were Happy Feet Two, Kimderella, A Few Best Men and Mental.

Australia has 1,995 cinema screens and the MPDAA estimates that 72% of them are now converted to digital. Of these, 57% are 3D capable.

Wooldridge also noted that Australian exhibitors lead the world, on a per capita basis, on the number of screens accessible to disabled audiences.

Film Vic Script Lab

From the Film Vic Industry News:

Thoughts from the Feature Film Script Lab

We love supporting writers to develop their craft and create great stories for the screen. Last week we ran a Feature Film Script Lab for Victorian practitioners to develop their projects with the help of local and international mentors including John Sayles, Maggie Renzi and Joe Forte.

Eight projects were selected for development from 75 expressions of interest, and as participants returned to their daily lives we asked them to send us their two favourite things about the lab. Here’s what some of them had to say: Continue reading Film Vic Script Lab

Local filmmakers catch onto crowdfunding

Financing films using crowd funding is growing in Australia. It is hard to get
money for a feature if you have not yet made one.

Last week about 100 people gathered in a small studio in inner city Sydney to listen
to Andrew Masterson read excerpts from his novel The Second Coming. Director
David Barker and producer Angie Fielder also talked during the evening about how
they intended to make the 2001 Ned Kelly Crime Fiction Award winner into a film
noir murder mystery, and introduced actress Sarah Snook, who is set to be the film’s
femme fatale.

The Second Coming is about a man who believes he is Jesus and has to clear his
name after he becomes the prime suspect in a murder. It is hoped that the film
version will go into production in 2013.

Continue reading Local filmmakers catch onto crowdfunding

‘Taut thriller’: Assange movie highlights teen struggle

IT IS a story full of complexity and trauma, and largely unknown to a wider audience who view its subject as merely a publisher of classified military intelligence. Yet the teenage years of Julian Assange – now the subject of a gripping film – will again stir vigorous debate.
Underground, the latest political thriller from writer-director Robert Connolly – which had its world premiere at the Toronto International Film Festival on Saturday night – homes in on Assange’s troubled upbringing, in an effort to make sense of his present predicament. The embattled WikiLeaks founder, currently holed up behind the walls of the Ecuadorian embassy in London, remains fearful of being extradited to the US for publishing the leaks.
“I knew a lot about the current situation, but had very little knowledge of that period in history,” says Connolly, whose previous political thrillers include Balibo and The Bank (which also both screened in Toronto). “It was something of a revelation to me.”

Continue reading ‘Taut thriller’: Assange movie highlights teen struggle

Variety reviews ‘Underground: The Julian Assange Story’, at the Toronto Film Festival

Straightforward and effective, “Underground” is a made-for-TV biopic about WikiLeaks founder Julian Assange’s formative years as a teenage hacker in Australia. Helmer-scribe Robert Connolly (“The Bank,” “Balibo”), an Oz filmmaker with a genuine and consistent social conscience, does an excellent job of dramatizing Assange’s unconventional background and his coming of age during a time of political activism and technological innovation, albeit taking artistic license with incidents, characters and timelines. Guaranteed to be one of the smallscreen events of the year when it preems on Network Ten Down Under, this timely, strongly thesped drama reps quality material for fests and broadcast outlets worldwide.

Continue reading Variety reviews ‘Underground: The Julian Assange Story’, at the Toronto Film Festival

Don’t Call Her Muriel – Toni Collette

Toni Collette reunites with Muriel’s Wedding director P J Hogan to make Mental.
From working-class Sydney to Sunset Boulevard is quite a journey, but Toni Collette has made it look easy. Amanda Hooton meets the instinctive actor and hands-on mother who has taken the “t” out of can’t.

You can tell Toni Collette is a celebrity because of her hair. It’s blonde (art, not nature) and thick, and it has an excellent kink in it, swinging over her forehead and brushing her cheekbone. Even when celebrities shave their heads – as Collette has done on more than one occasion – you just know the great hair is there, waiting to spring forth again upon an astonished world.

Continue reading Don’t Call Her Muriel – Toni Collette

Worst Box Office slump in a decade

Worst Box Office slump in a decade as Hollywood loses golden touch

Analysts blame a surfeit of sequels and remakes

Hollywood has suffered its worst weekend at the American box office since the immediate aftermath of the 9/11 terror attacks, with analysts blaming a surfeit of sequels and remakes for deterring audiences.

Initial estimates suggested the entire gross takings for cinemas in North America would be around $US65 million ($A62.8 million) last weekend, down 20 per cent from the same period a year ago.

In September 2001, takings on one weekend fell to just $US59.7 million ($A57.7 million).
The results were so bad that the best-performing movie in America, measured in terms of revenue per screen, was Raiders of the Lost Ark, first released in 1981. It was shown on re-release on 267 screens last weekend and took in $US1.7 million ($A1.6 million), at an average $US6460 ($A6244) per screen.

No single film grossed more than $US10 million over the weekend. The nearest was The Possession, a horror story with no big stars, that took just $US9.5 million ($A9.18 million).
The Words, which stars Bradley Cooper, was savaged by critics and disappointed at the box office.

Other major releases also disappointed. The Words, starring Bradley Cooper, one of Hollywood’s most in-demand leading men, was savaged by critics as “boring” and “turgid”, while The Cold Light of Day, an action film starring the British actor Henry Cavill, Bruce Willis and Sigourney Weaver, also flopped badly after costing $US20 million ($A19.3 million) to make. It was described by The New York Times as a “catastrophe worth noting only for the presence of its name cast.” The Labour Day weekend, which has just passed, is traditionally slow for cinemas, but this year attendances sank to levels which shocked studio executives.

It capped a disappointing season for Hollywood, which had expected its biggest ever summer. In a still troubled economy, executives were reluctant to take risks on original concepts and relied heavily on a series of big-budget action films and superhero sequels.
The result was the lowest summer movie attendance in 20 years. The number of tickets sold fell to 532 million, down 4 per cent from summer 2011.

Two films that were successful – The Avengers and The Dark Knight Rises, a Batman film – accounted for almost a quarter of the entire box office return in North America. Before the summer even began, the Disney studio had been forced to incur a $US200 million ($A193 million) writedown over its science-fiction flop, John Carter, in March.

Paul Dergarabedian, a box office analyst at Hollywood.com, said: “It is pretty scary when the top movie comes in at only $9.5 million. On paper, the summer of 2012 looked like a clear record-breaker. But the audience is what makes and breaks the summer, and they didn’t come out in the numbers we expected for a lot of these films.”

Factors contributing to the slump included the Olympics on TV. The mass shooting in which 12 people were killed at a screening of The Dark Knight Rises in Colorado in July also put people off. But neither factor was believed to have had a major impact on attendance.

Nick Allen, Los Angeles – Telegraph – September 11, 2012

Feature Films from the Spierig Brothers, Rolf De Heer and Greg Mclean greenlit

Screen Australia today announced $5.5 million investment in three new feature
projects triggering over $17 million in production.

Predestination is a new film noir, science fiction, crime thriller from writer/director
brothers Michael and Peter Spierig (Daybreakers) about the life of a temporal agent
who has to recruit his younger self to pursue the one criminal who has for a lifetime
eluded him. Produced by Paddy McDonald and Tim McGahan, the film is based on
the short story by revered sci-fi author Robert A Heinlein.

Veteran Australian filmmaker Rolf de Heer’s Charlie’s Country has also been
approved for investment. Rolf de Heer will once again collaborate with one of
Australia’s greatest actors David Gulpilil (The Tracker). Produced by Nils Erik
Nielsen and Peter Djigirr, the film is an uplifting tragi-comic portrait of one man’s
struggle to define himself as an Aboriginal in modern Australia.

Screen Australia also confirmed its commitment to the horror feature Wolf Creek 2
from director Greg McLean. The film is written by McLean and Aaron Sterns and
produced by Helen Leake, Greg McLean and Steve Topic.

“These three diverse feature projects supported by Screen Australia today come from
some of the most exciting filmmaking teams in Australia,” said Screen Australia’s
Chief Executive Ruth Harley.

“Predestination is a strong script which will be executed by a proven and talented
team passionate about the sci-fi genre.

“Charlie’s Country continues a tradition of Rolf de Heer’s previous films The Tracker
and Ten Canoes which combines cultural significance with commercial and critical
potential.

“The long-awaited return of the mad killer Mick Taylor in the sequel to Wolf Creek
comes from an experienced team which can take advantage of the significant pre-
existing market awareness both in Australia and overseas,” concluded Dr Harley.

CHARLIE’S COUNTRY

Vertigo Productions Pty Ltd
Producers Nils Erik Nielsen, Peter Djigirr
Writer/Director Rolf de Heer
International Sales Fandango Portobello
Australian Distributor Hopscotch
Cast David Gulpilil
Synopsis Rolf de Heer and David Gulpilil collaborate to create a tragi-comic
portrait of Charlie’s struggle to understand how he should define himself as an
Aboriginal in modern Australia.

PREDESTINATION

Wolfhound Pictures/Blacklab Entertainment
Producers Paddy McDonald, Tim McGahan
Writer/Directors Michael Spierig, Peter Spierig
International Sales Arclight Films
Australian Distributor Pinnacle Films
Synopsis Chronicles the life of a temporal agent who on his final assignment must
recruit his younger self, while pursuing the one criminal that has eluded him
throughout time.

WOLF CREEK 2

Emu Creek Pictures Pty Ltd
Producer/Writer/Director Greg McLean
Producers Helen Leake, Steve Topic
Writer Aaron Sterns
International Sales Arclight Films
Australian Distributor Roadshow Films
Synopsis The outback once again becomes a place of mind-bending horror, action
and suspense as another unwitting backpacker becomes prey for crazed, serial-killing
pig-shooter, Mick Taylor.

Screen Australia: Thursday 6 September 2012

Aaddendum:

He terrified audiences with his depraved take on Ivan Milat-style serial killer Mick
Taylor back in 2005. Now, after one false start and a funding fall-out, Aussie actor
John Jarratt is finally set to reprise the role that helped make Wolf Creek one of
Australia’s most successful horror flicks, reports the Daily Telegraph. So far, Jarratt
is the only actor cast in the sequel and the actor told Confidential yesterday he is
ready to transform back into his blood-thirsty alter ego, saying the script penned by
writer director Greg McLean is “just as scary” as the original. “It’s the sort of stuff
horror buffs really want,” said Jarratt, who had recently wrapped a small part in
Quentin Tarantino’s upcoming Django Unchained.

Jenni Tosi’s keynote speech, Open Channel Generation Next

Thanks Jennie, and good morning all.

This event is being held on the traditional lands of the people of the Kulin nation, and I wish to acknowledge them as Traditional Owners.

I would also like to pay my respects to their Elders, past and present, and the Elders from other communities who may be here today.

Thanks to everyone for being here today. Film Victoria is delighted to support Open Channel to deliver this event and we congratulate Jennie Hughes and Catherine Nebauer for assembling such a stellar group of speakers who will share their insights today and tomorrow.

Thanks also to all of the panellists and moderators who’ve given up their time to help make this event such a success. This gesture – of giving back to our industry – is worthy of acknowledgement. We all benefit when people share their experience and knowledge, and it’s vital to strengthening our industry.

Over the next two days the aim is to illuminate for you, our next generation of content creators, the many considerations that come into play when developing and producing narrative content for television.

There’s a reason this conference is about Drama and Comedy for Television. Television is the format that presents the greatest opportunities for you as practitioners to develop and hone your craft skills.  Whilst many of you may harbour a desire, to one day reach the holy grail of making a feature film that finds box office and critical success, as a career choice this is a long and tough road – and one that has become even more challenging in recent years.

Post GFC, traditional financing sources have collapsed, distribution methods and windows have changed, piracy is eroding revenue streams, and the cost of production, particularly in Australia,  has increased – partly driven by demand for cast names to be attached and the need for big marketing dollars to help a feature film find attention in a crowded market. All have contributed to a very different landscape.

However I think most significant of all, is how much harder it now is to seduce audiences from the comfort of their homes into the cinema.  And why is this? Partly because going to the movies is no longer the cheap entertainment choice it once was. The cost of the ticket, the popcorn and coke, parking, maybe a bite to eat afterwards – it’s easily a $50-$100 exercise for two people, and imagine the cost if you’re taking a family of four!

So a feature film has to offer big value and a big experience for people, especially if you want them to tell their friends about it. And of course that’s assuming they’ve chosen to go see a movie over the raft of other leisure and entertainment choices on offer on any given night or weekend.

Getting back to creating the film in the first place, as I said it’s a long and tough road. The average script is in development for 5 – 7 years, and it spends another 2-3 years being financed and produced before it’s ready for release. That’s 10 years a filmmaker has aged, waiting for their feature to be realised and their desire to be fulfilled.

I recently read an interview with Tony Gilroy, the Director of Michael Clayton, Duplicity and the Bourne Legacy. Since 1992 he has written a mere 16 produced screenplays including Michael Clayton, Duplicity and all 4 scripts for The Bourne Franchise Films.

He was quoted as saying, “I thought, Oh I know exactly what my life will be: I’ll write for dough, I’ll write to pay the rent, and every couple of years I’ll go and make Crimes and Misdemeanours.  It’ll be a really cool and interesting life; but that just disappeared out from under me and for everybody else.  It doesn’t exist anymore. The middle has gone and you can see right where it went.”

In saying “the middle has gone” he was referring to the market for smart, medium budget films for adults. This once-strong niche aspect of the feature film market that worked so well in the English-speaking US, UK and Australian markets, and in Europe, has all but evaporated.  Dominating the landscape now are big budget, high action studio films with big marketing budgets to match.

But what I found most interesting was what he said next. To quote: “American television right now is probably the best entertainment that’s ever been on the planet. It’s f..king extraordinary.  I mean it’s really exciting and that’s where the business has gone.”

And I can only concur with this view.

Great TV viewing has become the audience preference and why not!  For one, it’s convenient – you can watch it at home on a big screen TV, a computer, an ipad, an iphone, an xbox, you can watch it on the train, on holidays, in the toilet, anywhere you please.  You can watch it small chunks or you can binge over a weekend.

But there’s more going on than just convenience.  TV drama offers the audience a return experience.  As a viewer you get to know the characters, identify with them, love them, hate them, but most importantly you can come back for more, see what they do next, episode after episode, season after season. There’s no waiting for 2 years, like for a movie sequel. For about $30 – assuming you pay for it and don’t Bit Torrent – you can get a 6 – 12 hour experience, which you can turn on and off to suit yourself. Now that’s value!

Add a strong idea, a fresh approach and some great cast and you’re really packing a punch for the audience. If it’s good they’ll tell their friends, if it’s great they’ll be back for Seasons, 2, 3, 4 and beyond. For the TV audience, the ‘hooked factor’ is a big one. It’s not hard to understand why the change in the feature film landscape has been so dramatic.

And what’s really exciting is that TV drama keeps getting better and better. The craft of storytelling and screenwriting has become more sophisticated and clever, with complex characters and plots. If you think back to 1999 when The Sopranos and The West Wing first graced our screens, it was the quality of these shows that got people watching and talking. As a result, those series ran for 6 and 7 seasons respectively. Even today these shows are on many people’s must-see, catch-up lists.

What then followed was Six Feet Under in 2001, along with some classy procedural dramas like CSI & NCIS. 2004 gave us Deadwood and Entourage. Then in 2006 and 2007 Dexter savaged us and Mad Men seduced us. Brothers and Sisters gave us sibling rivalry and Glen Close Damaged us.

2008 put us in the world of Vampires with True Blood and my favourite 21st century new odd couple, Walt & Jessie, cooking up a storm with chrystal meth in Breaking Bad. There were cops and drug pushers you could barely understand in The Wire and Laura Linney dealing with the Big C. Meanwhile, from the UK we’ve had The Lakes, The Sins, State of Play, House of Cards, Rome, Spooks and The Office. Denmark has chipped in with The Killing and The Eagle.

Audiences are spoilt for choice. With so many shows with calibre actors, great writing, high production values and lots of surprises, it’s no wonder we can’t find our way out the front door to the cinema.

Most of the shows I’ve mentioned have been driven by US subscription TV channels who understand their audience very well. They know that to keep their subscriber base growing they have to distinguish themselves, and they do this by offering dramas that are unique, that take risks and break the mould.

In Australia we’ve been the beneficiaries of this trend, with a huge selection of programs to watch. But importantly, the success of these shows has encouraged our own Free To Air and Subscription television networks to reinvest in locally produced drama.

In 2008, audiences flocked to Packed to the Rafters  and Underbelly- it was these shows which seemed to reignite Broadcaster confidence.  Underbelly, is now about to head into its sixth series,and has also spawned 3 telemovies. We’ve had four series of Rush, three series of Tangle & East West 101, the beautifully realised Cloudstreet and much-lauded The Slap.

Conspiracy 365 – 12 one-hour episodes of family TV is screening monthly across 2012, a bold and successful programming approach. Along with three series of Dance Academy, and Slide these shows have struck a chord with younger audiences; while Offspring has filled a gap for females aged15-40, with seasons 4 and 5 on their way. New off the block is Puberty Blues and House Husbands, Mr & Mrs Murder coming later this year, and a raft of telemovies including Mysteries of the Handsome Cab, Deadly Remedies, Cliffy and Underground, a story which charts the dramatic years of Julian Assange’s early life here in Melbourne and has been selected to screen at the Toronto Film Festival.

Howzat! Kerry Packer’s War has screened over two weekends to audiences above 2 million, a great outcome. And congrats to Lachy Hulme for his terrific performance by the way. Many of these dramas have strong comedic elements too. And then of course there are the pure comedies: Shows like Laid, Lowdown, Wilfred, Twentysomething and Summer Heights High.

There are many other Australian shows I haven’t mentioned that are equally worthy. And I’m really pleased that many of the shows I have named were created or produced here in Victoria, which is a testament to the talent and creativity that emanates from this state.

So hopefully you’re starting to get the picture and agree that Television is indeed an exciting medium to be working in. For me it’s clearly the dominating format and it’s hard to see this changing too much in the next 3 – 5 years. The technology on which we view it will continue to improve, when we see it and how much we’re prepared to pay for it might change, but I suspect the demand for great TV content will continue to grow.

In Australia much of this growth will be driven by the ABC who, thanks to a much needed boost in funding, are back to producing 70 hours of drama per year and aiming for more. And we’re all hoping the Federal Government will be supportive of an increase to SBS’s triennial funding in next year’s budget, which will provide further demand and increased diversity. Our Subscription TV event, held in July, confirmed that the many channels operating under and alongside Foxtel want to increase their drama output and are looking for strong ideas to service their market share.  And should the recommendations from the convergence review be adopted, particularly an increase in the producer offset to 40% for premium television drama and an increase in Australian content quotas for both Free to Air and Subscription TV, the need and desire for more content will further increase.

All this should be exciting for you, our next gen practitioners. Why? Because it means plenty of opportunity and demand for new stories to find their way to the screen, and you could be the creator, the producer, the writer or director of one of these shows.

Even more importantly – as storytellers, television is the medium that allows you to really hone your craft skills.  The number of hours television demands to feed its very hungry appetite means that whether you’re a writer, a producer or a director, if your skills are good enough, you’ll end up employed for many more hours, across a greater diversity of genres and styles, and this will help you become much better in your area of expertise. 10 years of regular work across television is much more likely to help you become a master craftsman in high demand, than producing one feature film across that same time period.

I know, the challenge for many of you is finding out what and who you need to know to get a gig in this medium. And that’s what these two days are all about. Some of the best and brightest in our industry are going to share information that will set you on the path to success.

Of course there are other things you’ll need to reach your goal, and a colleague suggested I share with you my top ten tips based on my own 30 years in the industry, much of which was spent working on television drama and comedy. So here goes:

My first big tip: Persevere. Don’t let the knock-backs throw you off course, because trust me, there’ll be a few of them!  Desperate to get a foot in the door, the first job I applied for in this industry, was quite complex– it involved putting the film cans from the ‘Sunday Night Movie’ into boxes, taping them up, and labelling them for despatch by road from Channel 9 to Win TV in Ballarat – a really difficult job for an 18 y o you’ll agree, with a lofty title of despatch clerk!. Following my interview I was told they were very impressed with my application, and I was their number 2 choice. Why not number 1? Well they’d never had a girl do that job before. Clearly it was a big risk! Maybe guys had neater writing or were better with packing tape. Go figure!

I didn’t get the job, but I didn’t dwell on it for too long. I continued to look for other jobs, even though the “we like you but you’ve got no experience’ statement was a common theme. I’m sure many of you are familiar with it too – so how can you get experience when no-one will give you a job?

Which leads me to Tip Number 2: There’s always a way around any problem.  For me it was fluking my way into the then new Media Studies course at RMIT, which I figured would at least get me using cameras and editing equipment. It was a good strategy on my part, because oddly enough it did lead to me working on corporate videos, some short films and a really low budget feature film all for free, and through which I got some very basic experience. It was this experience, plus my perseverance, that saw me knocking on the doors of Crawford Productions, then the biggest TV drama production house in the country, who were producing 4 drama series at any one time.  It didn’t matter that they offered to put me in the typing pool, and that being the only girl at high school who didn’t want to be a secretary, I’d never learnt to type. More perseverance and problem solving skills – A quick trip to Dandenong market for a 2nd hand typewriter and a ‘how to type’ book, plus 2 days banging the keys, plus another phone call to the personnel officer, with a passionate request to spend some days on the set of The Sullivans observing in my own time. Eventually Crawfords trained me as a script supervisor and gave me a paying job.  Luck and timing also played a part.

Tip Number 3: Be prepared to work for nothing and do any related job you can. Runner, props, lackey, caterer, take whatever you can get and do it well. This will get you rungs on the board, and along the way you’ll gather experience and some handy contacts for the future. Sooner or later it will lead to something, and you’ll end up with the gig you’re aiming for.

Tip Number 4: Be entrepreneurial. If you can’t find someone who’ll give you a go, create an opportunity for yourself. The technology is so easy to access. Grab your friends and family to help you, raise your funds, shoot on weekends and nights. Whatever it takes!  It’s all experience and I’ve always found being proactive is more productive than being reactive.

Tip Number 5: Play to your strengths and value collaboration. There are very few of us who can excel at writing producing and directing. And even if you are one of those rare geniuses, these are big jobs. Be the best at the one you love the most, and find some like minded bodies to share the rest of the load. It’s much more fun and likely to be a better product because you embraced the chance to collaborate.

Tip Number 6: Use any opportunity to hone your skills, whatever your craft. Whether it’s on training and corporate videos, commercials, music videos, docos, drama, short form, long form, for broadcast or online – in essence these are all forms of storytelling. Every project is a new experience with its own challenges, and each time you create something – no matter the form – you will learn from the process and improve your skills and sensibilities.

Tip Number 7: Television is all about story. You need to hook the audience in and keep them there, you need great proactive characters driving strong plots. Keep working on your idea until it’s well crafted, make it the best it can be, whether you’re the creator or collaborator. It needs the ‘wow factor’ or it won’t cut through the hundreds of other ideas out there. It has to be fresh, but it can be and usually is a highly original take on an old idea. After all they do say there are really only seven stories to be told.

Tip Number 8: Develop and use your sense of humour. It works well in stories and getting you out of tricky situations, whether on the page or in life. Humour is one of the best tools bestowed on humans beings, so use it to your advantage.

Tip Number 9: Don’t try to generate all your story ideas based on your own personal experiences. Look around you for sources of inspiration. Dramatic and funny stories are everywhere – in newspapers and books, on the tram, on the street, overheard conversations, when your friends tell you about something that happened to them. You’ll find inspiration in real life, juxtaposing the ordinary with the extraordinary, which is where your imagination comes in!

Finally Number 10: Be patient. Don’t be in too much of a hurry to get that first paying job in your preferred discipline.  You’ll likely just get annoyed, frustrated, maybe even disheartened. Accept upfront that it might take between 3 – 5 years, even longer, and that so much will depend on luck and timing. A lot of it is out of your control. But things do come to those who wait, and sometimes when you least expect it.  I should also add here, that equally sometimes you need to recognise when it’s time to let go, or try a new approach or idea, particularly if it’s a passion project that’s getting no traction.

In the meantime, enjoy every day as it comes, seize every opportunity you can and remember why you love this crazy industry in the first place.

And you can start on this journey now, by enjoying and absorbing what you discover here over the next two days.  I hope you all leave this event feeling inspired, confident and determined, and I am really looking forward to seeing the stories you, our next generation of storytellers, will bring to our screens.

Thanks and have a fantastic conference.

06.09.2012