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The 50 most influential people in Australian television

SMH

Michael Idato

Actress Asher KeddieClout: Asher Keddie is smart and bankable. Photo: James Geer

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Our expert panel reveals who wields the power in Australian television.

The Oxford dictionary defines ”influence” as the capacity to have an affect on the character, development or behaviour of someone or something. In television, that translates into only one thing: having a hand in the most successful programs.

Yet influence is more complex than mere power. Chief executives have power by virtue of their office. Programmers have it by virtue of their control over the schedule.

The Guide canvassed a panel of experts – critics, executives and industry insiders – to compile the list of the 50 Most Influential People in Television.

Executive producer of The Voice, Julie Ward.She speaks, they listen: Julie Ward, executive producer of The Voice. Photo: Marco Del Grande

This draws together the power partnerships, the deal-makers behind the deals and the new generation of rising stars.

 

US TV’s Midseason Ratings Catastrophe

10:00 AM PST 3/6/2013 by Michael O’Connell – THR

With record-low debuts across the broadcast networks — unless you’ve got Kevin
Bacon in “The Following” — execs are rethinking one of the calendar’s biggest launch
pads.

If fall is the television season’s sink-or-swim deep end, then midseason is the kiddie
pool. Fewer launches, lower ratings expectations and softer competition often pave
the way for such slow-growing hits as Grey’s Anatomy, The Office and, most
recently, Scandal.

But nearly all of the 2012-13 midseason entries have drowned so far and, with the
exception of Fox’s renewed Kevin Bacon hit The Following, have done so in rather
gruesome fashion. Continue reading US TV’s Midseason Ratings Catastrophe

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.

2nd AACTA AWARDS

The 2nd AACTA Awards kicked off today with a luncheon appropriately enough at the Star Casino in Sydney. The rain pelted down in weather blown down from the tornadoes in Queensland.
Producer Al Clark was presented with the prestigious Raymond Longford Award, also bestowed upon Pat Lovell producer of Gallipoli and Picture At Hanging Rock, who died last Saturday.
Clark was lauded by former employer Richard Branson and Stephan Elliott, director of the iconic Priscilla Queen of the Desert, which Mr Clark produced.
The highlight was MC Adam Elliot, who reminisced about winning an Oscar for Harvie Krumpet. He said that having ten seconds left in his acceptance speech, he gave a plug to its screening on SBS, which was known to the American audience as a Nederlands porn channel.

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

Election media caught in bipolar trap

Election media caught in bipolar trap

 

THAT footage of Mitt Romney dismissing half the US electorate to a room full of wealthy donors that leaked last Monday may turn out to have been a signal moment of the campaign.But if you were watching Fox News that day you might not have known it happened. The conservative channel whose trademarked line “Fair and Balanced” is more taunt than slogan steered clear of the story until the following day, when it demanded to know why the “mainstream media” was not focusing on a video dug up by the conservative Drudge Report website revealing that in 1998 the then state senator Barack Obama favoured wealth redistribution.

Continue reading Election media caught in bipolar trap

Why Netflix’s ‘House of Cards’ Is the Future of TV

CANNES – If its pitchmen are to be believed, House of Cards, the first drama series
commissioned by VOD service Netflix, is the future of TV.

Kevin Spacey and Robin Wright, who star in the modern-day political drama, flew
into Cannes to hype the series, which Media Rights Capital is producing and Sony
Pictures Television is selling worldwide. Sony screened the first two episodes
of House of Cards to international buyers. Netflix will put all 13 episodes of the first
season online at once in February.

With a budget north of $100 million for the two, 13-episode seasons commissioned
by Netflix and with David Fincher on board as an executive producer – and director
of the first two episodes – House of Cards has the potential to either be a game
changer for the VOD business or a costly mistake for Netflix and its partners. The series is based on a BBC show of the same name from the 1990s which starred Ian
Richardson as an ambitious and ruthless British politician.

Continue reading Why Netflix’s ‘House of Cards’ Is the Future of TV

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