The Down Under film biz is not just relying on coin and government handouts to
help tempt runaways, there are a range of other initiatives to help make it easier to
head to Oz.
In February, Film Victoria launched its online database eMate that is aimed at
making it easier for international creatives to create a relationship with Aussie
bizzers. The database is expected to help international films firm up Aussie partners
that may help access the Producer Offset, currently at a competitive 40%, which
requires a key “Australian content” test that includes the use of locals in key creative
roles.
Film Victoria topper Jenni Tosi says the launch of the database has been a great
success with many overseas and local creatives already getting in touch.
“There are quite a considerable number of projects that we are tracking and we are
talking to a range of studios and independents, and with those projects it just a
matter of timing,” Tosi says.
She says Victoria, which recently hosted Miramax’s “Don’t be Afraid of the Dark” and
actioner “Killer Elite,” sees a lot of repeat business; however, they have to stay
vigilant having recently lost a U.S. series to Canada due to Oz’s distance.
Of course, sometimes getting out of town can be a benefit in the run-up to
Hollywood’s pilot season.
“Due to the timing of pilot season in the U.S., Sony Pictures Television was attracted
to the prospect of shooting the pilot episode of ‘Frontier’ in our region,” says Tosi.
“Film Victoria was very quick to respond and offer the right mix of incentives,
locations advice and production services to convince the filmmakers they could make
this drama pilot here.”
In neighboring South Australia, there has been something of a film biz revolution
with pix such as Justin Kurzel’s “Snowtown” going on to international acclaim and
local feel-good pic “Red Dog” grabbing more than $A20 million ($20.6 million) at
the Aussie B.O. The state has opened a state-of-the-art new studio complex called
Adelaide Studios. The studios bowed late last year and have been developed for
$44.4 million, including custom-built sound stages, cutting-edge post-production
facilities and a mixing room which has only just achieved Dolby Premiere
Accreditation.
The last pic to shoot at the old Hendon Studios, Rolf de Heer’s “The King Is Dead,”
was first into the new sound-mixing suite while TV mini “Resistance,” co-produced
by Andrew Dillon and Lesley Parker, was one of the first skeins to lens in the space.
“The new Adelaide Studios is the only Australian studio that is backed by a
government screen agency, allowing it great flexibility to tailor packages across
production and post-production for filmmakers,” says South Australian Film Corp.
topper Richard Harris. “The Adelaide Studios has strong appeal for independent
producers with budgets ranging from ($5.6 million-$31 million).”
So while the financial incentives may be yet to materialize, the industry itself is
getting ready for the influx.
By PAUL CHAI Mon., May. 7, 2012