The Australian Embassy in Beijing is pleased to announce the third Australia-China Film Industry Forum (ACFIF) will be held in Shanghai on 13-14 June, immediately prior to the Shanghai International Film Festival (SIFF) held on 15-23 June. The ACFIF is part of the ongoing promotion of the Australian film industry in China and continues to build on the success of the two previous Australia-China Film Industry Forums in 2010 and 2012.

The Forum will be organised by the Australian Embassy, Beijing and co-hosted by the Australian Consulate, Shanghai, drawing on assistance from a wide variety of related Australian agencies and organisations, including Screen Australia, Ausfilm, the Screen Producers’ Association of Australia and the Australia-China Screen Alliance.

In 2013, as well as maintaining a focus on the development and expansion of producer relationships with China co-production partners, the ACFIF will additionally focus on 3D, post, digital and visual production to capitalise on the growing interest and increasing demand for 3D films and digital technologies in China, and to highlight the strengths of the Australian post-production and visual effects industries.

Following a call out for submissions, the following Australian producers have been selected to attend ACFIF to meet with leading Chinese production partners for the development of specific co-production projects that hold international appeal.

Australian Producer & Post Production Delegation – ACFIF 2013:

ACFIF will also feature panel sessions with leading Australian and Chinese industry representatives, networking events and presentations showcasing Australia’s 3D and post production capabilities.

“With many outstanding Australian and Chinese film and production companies present, the 3^rd Australia-China Film Industry Forum will offer an unprecedented opportunity to develop and expand co-production and film industry collaboration between our two countries. ”, said Ms Frances Adamson, Australian Ambassador to the People’s Republic of China

The full schedule for ACFIF including details of speakers and presenters will be announced shortly.

*********************************************

For event enquires contact:

Katie Tian – Senior Cultural Relations Project Officer, Australian Embassy, Beijing

Katie.Tian@dfat.gov.au

T: +8610-5140-4225    M: +86-137 0123 0637

For media enquiries contact:

Kristy Officer – Head of Marketing and Business Development, Ausfilm

kristy.officer@ausfilm.com.au

T: + 61 2 9383 4191 M: +61 424 174 957

EXTENDED: Expressions of Interest sought by MONDAY, 6 MAY 2013 

Submissions for the 2013 Australia-China Film Industry Forum (ACFIF) have been extended until Monday, 6 May 2013.

The forum will be held in Shanghai on 14-15 June, immediately prior to the Shanghai International Film Festival (SIFF) held on 15-23 June.

The ACFIF is intended to provide a gateway for all Australia-China co-productions and feature-length film and documentary collaborations, thus welcoming producers with projects and an interest in the China market.

In 2013, as well as maintaining this broad approach, the ACFIF will in part focus on 3D, post-, digital and visual production aspects to capitalise on the growing interest and increasing demand for 3D films and digital technologies in China.

Funding support is available to a limited number of film industry delegates to attend. If you wish to access this funding, you are requested to submit an expression of interest to the Australian Embassy with a copy to Ausfilm, no later than Monday, 6 May 2013 .

Applications will be assessed by a panel which includes Screen Australia, Ausfilm, Screen Producers Association of Australia and Australian Embassy Beijing representatives. All applicants will be notified of the outcomes of the process by Friday, 10 May.

For more information and application details please click here.

Ausfilm is pleased to announce that Ausfilm Partner with Australia will take place June 5th-9th in Los Angeles.

Ausfilm Partner with Australia aims to create, build upon and develop international relationships between Australian producers with key clients in Los Angeles to encourage international production to Australia.

The Producer Collaboration Sessions provide the opportunity for Australian producers to showcase projects that might attract US executives and claim the Producer Offset for Australian production. The goal of the initiative is to present some of Australia’s most commercially viable feature and television projects to potential partners.

Expressions of Interest

To express your interest in participating please complete the application form (attached below) and return by email directly to Ausfilm’s Los Angeles office care of Michelle Sandoval, Client Liaison Executive, at michelle.sandoval@ausfilm.com.au with your state screen agency in copy by Friday, April 19^th, 2013.

Producers confirmed to attend Ausfilm Partner with Australia will be notified via email in early May, 2013.  Further details will be provided to attending producers once confirmed.

Any questions relating to producer involvement in Ausfilm Partner with Australia should be directed to Michelle Sandoval.

Ausfilm Partner with Australia Application Form

The Federal Government has committed an additional one-off payment in adition to the current Location Offset to attract the film to Australia. The project is expected to create up to 2,000 jobs and substantial investment in Australian businesses which will service such a major production.   

The additional funding is similar to the one-off payment given to The Wolverine, which created over 1750 jobs, used more than 1,000 Australian companies and generated over $80 million of investment right across Australia.

“There has been renewed interest in Australia as a preferred location following the one-off grant provided by the Federal Government to The Wolverine, and the substantial benefits such a production brings.” said Debra Richards, CEO, Ausfilm.

 “The announcement of 20,000 Leagues Under the Sea to film in Australia will result in meaningful benefits for the industry and the economy; including jobs, skills and training, and investment back into the local industry. This one-off payment highlights the importance of an attractive Location Offset which can successfully compete for large scale international production to shoot in Australia,” said Debra Richards.

 “Today’s announcement along with the additional $20 million announced in Creative Australia as part of the national cultural policy to attract international production, will be an excellent boost to the Australian film industry and as we have seen most recently with The Wolverine, to the wider Australian economy.” said Debra Richards

 Ausfilm supports a permanent increase to the Location Offset, to ensure Australia’s long term competitiveness for major international production.

 “Ausfilm wishes to thank and acknowledge the Federal Government for this initiative and its support of the Australian film industry to ensure Australia can still compete for international screen production,” said Debra Richards.

—————

Media enquiries:
Caroline Raffan, Marketing & Communications Coordinator, Ausfilm
T: + 61 2 9383 4124    E: caroline.raffan@ausfilm.com.au

The additional $20 million fund to encourage major international production will provide a significant boost to the Australian film industry and the wider Australian economy.

“Encouraging major international production will deliver meaningful benefits for the industry and the economy, including direct and indirect employment; skills development and training; innovations in technology; infrastructure maintenance and renewal; along with direct benefits to a range of businesses across Australia,” said Debra Richards, CEO, Ausfilm.

“We have already seen a renewed interest in Australia as a preferred location following the one-off grant provided by the Federal Government to The Wolverine, and the substantial benefits such a production brings,” said Debra Richards.

Ausfilm supports a permanent increase to the Location Offset, to ensure Australia’s long term competitiveness for major international production.

The increasing number of production incentives now offered worldwide and the strong Australian dollar have made it very difficult to attract major international production, which can locate anywhere in the world. An attractive Location Offset together with what Australia has to offer with world class crew, locations, state of the art studios and award winning post and visual effects houses, will make us extremely competitive internationally and will also bring the offset in line with the post and digital and visual effects (PDV) offset already increased to 30% by the Federal Government in 2011,” said Debra Richards.

“Ausfilm wishes to thank and acknowledge the Federal Government and particularly Simon Crean for his support of the Australian film industry with this interim measure to ensure Australia can still compete for international screen production,” said Hon. Bob McMullan, Chairman, Ausfilm.

“Ausfilm also acknowledges the ‘tri-partisan’ support for incentives to attract major international production, with support for the Location Offset increase by Senator Christine Milne and The Australian Greens, and the original introduction of incentives for international production, by the Coalition,” said Debra Richards.

Ausfilm will continue to work with its industry members to ensure international film studios, particularly in the US, are again budgeting Australia as a foremost location for their big budget productions and post-production work.

Media enquiries:

Caroline Raffan, Marketing & Communications Coordinator, Ausfilm

T: + 61 2 9383 4124 E: caroline.raffan@ausfilm.com.au

Ausfilm March Newsletter

Drift was shot over six weeks during winter of 2011 in and around the breathtaking and epic setting of the remote Western Australia coastline in locations from Cape Naturaliste to Cape Leeuwin, including Margaret River, Augusta, Gracetown and Nannup, with over 700 local crew employed for the shoot.

The story of the two Kelly Brothers is played by Myles Pollard (Wolverine, McLeod’s Daughters) and Xavier Samuel (Twilight Eclipse, A Few Best Men), alongside international Australian star Sam Worthington (Avatar, Clash of the Titans, Terminator Salvation) as a travelling surf photographer and filmmaker. Lesley-Ann Brandt (Memphis Beat, CSI: NY) plays his Hawaiian surfer companion.

Drift is co-directed by Morgan O’Neill (Solo, upcoming feature The Factory) and Ben Nott in his feature film debut. The screenplay is written by Morgan O’Neill from an original story by Morgan and Tim Duffy (Let’s Talk About Sex) and produced by Tim Duffy, Michele Bennett (Chopper) and Myles Pollard.

Following the Australian premiere in March, Hopscotch Entertainment One Films have slated Drift for a wide theatrical release in May 2012.

Drift is a production of World Wide Mind Films and is funded by Screen Australia, South West Development Commission, ScreenWest and Screen NSW. Regional funding partners include the Shire of Augusta-Margaret River, Shire of Busselton and Tourism Western Australia and Augusta Margaret River Tourism Association.

Drift Trailer

View original release here.

Australia at Asian Side of the Doc 2013 is designed to give an overview of Australian companies attending the market, including information about project slates and company contact details. It will be a valuable tool to help international contacts find out about the Australian line-up at the market and meet potential Australian co-producers.

If you’re heading to the market and would like to include your details in this booklet please contact Sally Walker in Screen Australia’s Marketing Department via email sally.walker@screenaustralia.gov.au or on             +61 2 8113 5846       before Friday 22 February.

Screen Australia, through the Enterprise Asia program, will fund up to 10 companies with suitable factual projects to attend Asian Side of the Doc. Applications closed on Tuesday 29 January and successful applicants will be announced on Monday 18 February.

Asian Side of the Doc is the most important co-production meeting for documentary professionals in Asia. Bringing together producers, distributors and broadcasters, Asian Side of the Doc offers a platform to build strong professional and international networks, to promote deals and presales for programs in production and to initiate new co-production projects.

Asian Side of the Doc will take place 19–22 March 2013 in Kuala Lumpur, Malaysia. More information about Asian Side of the Doc can be found on their website.

View original article here.

Every year the Directors’ Fortnight (16–26 May 2013) programs a selection of films from around the world for screening during the Cannes Film Festival.

Created by the SRF (French Directors’ Society) in 1969, the Directors’ Fortnight is about highlighting new talent in world cinema and the directors of tomorrow. It also supports talented filmmakers whose work has not been shown in the major international festivals. The Directors’ Fortnight runs alongside the Cannes Official Selection.

In recent years, Australian films that have screened at the Directors’ Fortnight include short film Cicada in 2009 and features Jindabyne in 2006 and Wolf Creek in 2005.

The festival requires that films be made in the 12 months preceding the festival. The film should not have been screened outside Australia at any international festival or film event except an international market screening. Please see www.quinzaine-realisateurs.com for full details.

Filmmakers with eligible feature films should contact Lucy Burne at Screen Australia on lucy.burne@screenaustralia.gov.au or telephone (02) 8113 1086,  toll free 1800 213 .

Submission deadline is Wednesday 20 February 2013.

The feature documentaries Make Hummus Not War and Red Obsession have been selected to screen in the Culinary Cinema program, which presents films dedicated to food, pleasure and the environment.

Red Obsession, directed by David Roach and Warwick Ross, who is also the producer, looks at the new relationship between the famous châteaux from the Bordeaux vineyards, and the new and affluent wine collectors in China. The screening will be followed by a dinner inspired by Bordelais and China by VAU chef chef Kolja Kleeberg. The Berlinale screening will mark Red Obsession’s world premiere.

Make Hummus Not War, directed by Trevor Graham and produced by Trevor with Ned Lander, documents a conflict waged passionately in the kitchens of the Middle East, fought over chickpeas.

Following its recent international premiere at the Sundance Film Festival, the mini-series Top of the Lake will also screen as part of the Berlinale Special program, which presents recent works by contemporary filmmakers. Top of the Lake is written by Jane Campion and Gerard Lee, directed by Jane Campion and Garth Davis, and produced by Philippa Campbell with executive producers Emile Sherman, Iain Canning and Jane Campion.

Three Indigenous features and four Indigenous short films have been selected as part of the inaugural NATIVe – A Journey into Indigenous Cinema at Berlinale 2013.

Features selected for this program are Ivan Sen’s Beneath Clouds produced by Teresa-Jayne Hanlon; Warwick Thornton’s Samson & Delilah produced by Kath Shelper, and Ten Canoes, written and directed by Rolf de Heer with the people of Ramingining, co-directed by Peter Djigirr and produced by Julie Ryan and Rolf de Heer. Three short films from writer/director Warwick Thornton – Greenbush, Nana and Payback – will also screen, along with writer/director Erica Glynn’s short, Ngangkari.

The program will introduce audiences to the milestones of Indigenous filmmaking and includes features, documentaries and short films from New Zealand/Oceania, Canada and the United States as well as Australia. Discussions between experts, filmmakers and audiences before and after the films will give greater insight into the culturally diverse and politically, economically and artistically charged history of Indigenous cinema and its creators.

A number of Indigenous Australian filmmakers will travel to the festival to participate in the special program, including Erica Glynn, who is also Head of the Indigenous Department at Screen Australia.

The Berlin International Film Festival will take place 7–17 February 2013.
www.berlinale.de

12 December 2012

Culture and the Arts Minister John Day today announced the State Government’s world-first crowdfunding initiative – called 3 to 1 – had gone live and attracted the support of Hugh Jackman.

Mr Day said ScreenWest was leading the country with its innovative ways of supporting digital content by showing Western Australia’s talented creative people to the world.

“The 3 to 1 project will allow the public to voice their opinion on what films, web series and interactive projects should be made in Western Australia and I encourage everyone to support our artists and have their say in what gets made in our State,” he said

“More than 25 WA projects have been loaded on the Pozible website for the public to view and pledge money towards; ScreenWest will contribute triple the funds pledged, effectively quadrupling the project’s budget, once a team meets their nominated target

“Teams must raise between $5,000 and $50,000 to trigger $15,000 through to a maximum of $150,000 contribution from ScreenWest.

The Minister thanked high profile WAAPA graduate Hugh Jackman who has endorsed the initiative and released a video urging the public to visit the site and pledge to 3 to 1.

“Each project will have a set time frame – up to a maximum of 90 days – to reach their funding target, although the $250,000 will be allocated on a ‘first past the post’ basis,” Mr Day said.

“Some projects will also proceed in a scaled-down version, using crowd-funded pledges once the pool is exhausted. The result will be more creative work, all chosen by audiences.”

These projects have been through a ScreenWest assessment process to ensure that the teams have the capacity to deliver. To access the ScreenWest funds, a project must be delivered on a digital platform and have a minimum of 40 pledges.

      Fact File

• Hugh Jackman’s video can be viewed at http://www.youtube.com/screenwest
• More information at http://www.pozible.com/3to1 and http://www.screenwest.wa.gov.au

Minister’s office – 6552 6200

Ausfilm, together with representatives of the Australian film industry converged in Los Angeles from 24-31 October for Ausfilm Week 2012.

The week-long event comprised of a series of interactive panel sessions highlighting Australia’s production incentives schemes, post production and filmmaking talent, networking experiences, producer collaboration meetings and learning opportunities between the Australian and US film industries to encourage access to Australia’s Screen Production Incentives.

Targeted one-on-one meetings were held between leading Australian filmmakers, US studios, development executives, production companies and packaging agents took to discuss collaboration for the development of Producer Offset projects.  Seventeen Australian producers participated in Ausfilm Week 2012, these producers were:

• Jamie Hilton, See Pictures
• Michael Robertson, Prodigy Movies
• Steve Jaggi, Jaggi.Shute
• Chris Brown, Pictures in Paradise
• Mark Overett, New Holland Pictures
• Todd Fellman, Story Bridge Films
• Tracey Robertson & Nathan Mayfield, Hoodlum
• Trish Lake & Dan Lake, Freshwater Pictures
• Dee McLachlan, The Picture Tank
• Leanne Tonkes, Ministudios & Circus Productions
• Michael Adante, Source Collective
• Pete Ford, Resolution Independent
• Aidan O’Bryan, WBMC
• Alan Lindsay, Vue Group
• John V. Soto & Deidre Kitcher, Filmscope Entertainment
• Josh Wakely, Grace Films
• Melanie Ansley & Sam Voutas, Scopofile

Ausfilm Week Los Angeles is an annual event which provides the platform to present Australia as a world-class film destination with its diverse locations near sound stages, Oscar-winning talent & crew and attractive tax incentives available to American producers in partnership with the Australian film industry.

See below some images from Ausfilm Week 2012.

Instigated by ABC Television, the AAS will be held 10–11 December 2012 in Malaysia. It is being run by Canadian publishing and event-organising company, Brunico, which manages other international events such as Kidscreen and Realscreen.

Screen Australia’s Chief Executive Ruth Harley said, “We are delighted to assist Australian animation producers to be part of the inaugural AAS. It is where they can actively engage with the screen agencies, government authorities and other producers from the region to facilitate screen business and cultural exchange, all aims of the government’s recently released Asian Century white paper.”

The Australian projects and participants are:
• Cate McQuillen of mememe Productions with Babyccino
• Patrick Egerton and David Webster of Ambience Entertainment with Bottersnikes and Gumbles
• Jessica Beirne of Lemonade Digital Productions with Evie & Tom’s Mad Hair Days
• Dan Fill and Luke Jurevicius from Chocolate Liberation Front with Fantastic Forest
• Stu Connolly and Donna Andrews from Sticky Pictures with Herb & Ray’s Yum
• Austen Atkinson and Yvonne Wilcox from Planet 55 Studios with Prisoner Zero
• Stephen Viner from Liquid Animation with Ramiro: The Imagination Hero
• Ron Saunders from Beyond Screen Production with Skyrunner
• Barbara Stephen from Flying Bark Productions with Super Mega Hyper Pets
• Jim Ballantine from RE Productions Pty Ltd with The Eggsperts.

Screen Australia selected the 10 Australian projects, which will be presented in sessions over the two days. They include partially financed projects seeking investment and projects in development seeking market feedback and financing interest.

The AAS is an initiative of four countries: Korea, Singapore, Malaysia and Australia. Producers, broadcasters and government agencies from these four countries will be participating. In addition, broadcasters from around the world will also be in Kuala Lumpur for the summit.
Screen Australia’s Tim Phillips and Elena Guest will also be in Kuala Lumpur for the summit in support of the delegation. They will be joined by executives from the ABC and other Australian organisations.

Media Enquires
Teri Calder, Screen Australia
T +612 8113 5833
E teri.calder@screenaustralia.gov.au

Entries are open to features, documentaries or short films (under 40 minutes) in all sections of the festival program including:

- The FOXTEL Australian Documentary Prize (cash prize $5,000),

- The Dendy Awards for Australian Short Films Live Action Award and Best Director Overall – both cash prizes of $5000 sponsored by Dendy Cinemas,

- The Yoram Gross Animation Award (cash prize $4,000).

The Sydney Film Festival is recognised on the Academy®’s Short Film Awards Festival List so winners of the Live Action and Animation Awards become eligible for Academy Awards® consideration (see www.oscars.org for info).

Entries close 5pm Wednesday 27 February 2013.

Ausfilm Week LA aims to create, build upon and develop international relationships between Ausfilm members and Australian producers with key clients in LA to encourage international production to Australia.

The event will comprise a series of interactive panel sessions highlighting Australia’s production incentives schemes, post production and filmmaking talent, networking experiences, producer collaboration meetings and learning opportunities between the Australian and US film industries.

Targeted one-on-one meetings between leading Australian filmmakers, US studios, development executives, production companies and packaging agents will take place during Ausfilm Week 2012 to discuss collaboration for the development of Producer Offset projects.  

Seventeen Australian producers are participating in Ausfilm Week 2012, these producers are:
Jamie Hilton, See Pictures 
Michael Robertson, Prodigy Movies 
Steve Jaggi, Jaggi.Shute 
Chris Brown, Pictures in Paradise 
Mark Overett, New Holland Pictures 
Todd Fellman, Story Bridge Films 
Tracey Robertson & Nathan Mayfield, Hoodlum 
Trish Lake & Dan Lake, Freshwater Pictures 
Dee McLachlan, The Picture Tank 
Leanne Tonkes, Ministudios & Circus Productions 
Michael Adante, Source Collective 
Pete Ford, Resolution Independent 
Aidan O’Bryan, WBMC 
Alan Lindsay, Vue Group 
John V. Soto & Deidre Kitcher, Filmscope Entertainment 
Josh Wakely, Grace Films 
Melanie Ansley & Sam Voutas, Scopofile  

We will also be joined by over twenty members participating in Ausfilm Week LA including OFTA Screen Australia, State Screen Agencies and corporate members.

The response from the US industry has been very strong.  A wide range of companies representing distribution/production/broadcasting/post production/talent agents/sales agents/financiers will be in attendance at events from October 24^th to 31^st.

This year Ausfilm will also be exhibiting at AFM following Ausfilm Week from November 1^st to 7^th. AFM is the premiere global marketplace for motion picture production and distribution and the largest gathering of film industry professionals in North America with over 8000 attendees.

Ausfilm’s purpose for participating in AFM is to enhance opportunities for co-production markets and promote Australia’s Screen Production Incentives via networking events and 1-2-1 meetings for Australian producers and potential co-production market partners.

The Academy of Motion Picture Arts and Sciences VFX shortlist included four films which featured Fuel VFX’s work (Captain America: The First Avenger, Mission: Impossible – Ghost Protocol, Cowboys & Aliens and Thor), two films which featured RSP’s effects (Harry Potter and the Deathly Hallows Part 2 and Pirates of the Caribbean: On Stranger Tides), and one film which featured Animal Logic’s work (Sucker Punch).

Among those films, Captain America: The First Avenger represented Fuel VFX’s biggest job: the company created 120 shots across six sequences. One of its most ambitious scenes was the bike chase scene where Captain America was chased back to base by enemy ‘hydrobikers’, requiring 70 shots and complex plate manipulation for compositing and integration.

Adelaide-based RSP contributed 63 shots to Harry Potter and the Deathly Hallows Part 2 (it also worked on Part 1). Creating the evil dementors was a core part of its work as well as the title sequence which opened the film. Other effects included an ‘apparate’ effect to turn Severus Snape into a dark, shadowed creature of cloth and smoke.

Animal Logic created the dragon fantasy sequence in Sucker Punch, which included 164 shots over 12 minutes. The company built all the characters, a mother dragon, a baby dragon, orcs, knights and digital doubles for all the cast.

The full list of films on the Academy shortlist are:

• Captain America: The First Avenger
• Cowboys & Aliens
• Harry Potter and the Deathly Hallows Part 2
• Hugo
• Mission: Impossible – Ghost Protocol
• Pirates of the Caribbean: On Stranger Tides
• Real Steel
• Rise of the Planet of the Apes
• Sherlock Holmes: A Game of Shadows
• Sucker Punch
• Super 8
• Thor
• Transformers: Dark of the Moon
• The Tree of Life
• X-Men: First Class

The list will be cut to 10 films in early-January, 2012, by the Academy’s visual effects branch executive committee before the final five films are selected on January 19. The final Academy Awards nominations will be announced on January 24 and presented on February 26.

 For article source click here

This is a fantastic acknowledgement of Iloura’s achievements in 2012.

Iloura is a collective of artists and technologists that make and enhance creative content for film and television productions, commercials and the ever-evolving world of experiential and interactive media.

The studio’s specialties lie in 3D and character animation, 2D VFX, on-set VFX supervision and motion design with Iloura’s advertising services further extending to colour; experiential ideation, events and immersive experiences; offline/online editing, and sound and music design.

Iloura has a combined team of 120 people including animators, designers, editors, producers, technologists and interactive experts. It has honed its visual effects crafts on international feature films like Ted, Emperor, Ghost Rider: Spirit of Vengeance, The Pacific, Don’t Be Afraid of the Dark, Charlotte’s Web. These great projects have provided an extraordinary opportunity to build talent, expertise, and R&D that assists us to make any idea possible across any screen.

Iloura’s film division has grown its team from 40 to 90 people in the last year. It has won and completed VFX and animation work on three major Hollywood feature films – Ghost Rider: Spirit of Vengeance, Emperor and Ted. The studio is currently undertaking VFX and animation work on M.Night Shyamalan’s After Earth starring Will Smith and I, Frankenstein directed by Stuart Beattie for Lakeshore Entertainment. 

Additionally, Iloura’s commercials team has just completed work on Honda’s Game On for Draft FCB and Birdseye’s Dinner’s Done for BWM.

Iloura was recently acquired by Deluxe Entertainment Services Group – the leading provider of entertainment industry services and technologies to the worldwide entertainment industry including Hollywood studios, broadcast/cable/satellite providers, digital distribution, gaming as well as content owners and creators.

Ausfilm Week Los Angeles

October 24th – 31st 2012

The fourth annual Ausfilm Week LA will take place in Los Angeles from October 24 – 31, 2012.
Ausfilm Week aims to create, build upon and develop international relationships between Ausfilm members and
Australian producers with key clients in LA to encourage international production to Australia.

Ausfilm Week provides the opportunity for Australian producers to tout films that might attract US investors and claim the
40% producer offset for Australian production. The goal of the initiative is to present some of our most commercially
viable projects to potential partners.

Producer Expressions of Interest:

To express your interest in participating please download and complete the project summary document here and
return by email directly to Ausfilm (return email address on form) by September 12th 2012 (NB: Attendee numbers are limited).

To download the Producer Expressions of Interest form click here.

Tuesday 28 August, 2012

Minister for the Arts, George Souris, has congratulated NSW film and television script writers who have been recognised with major awards from the Australian Writers’ Guild known as the AWGIE Awards.

 
The writers of The Sapphires, Tony Briggs and Keith Thompson, won the Major Award for the Most Outstanding Script and also the AWGIE Award for Feature Film Adaptation.

 
“The Sapphires is a wonderful showcase of NSW creative talent – including the producers, Rosemary Blight and Kylie du Fresne, director Wayne Blair, writers Keith Thompson and Tony Briggs and lead cast members Deborah Mailman, Jessica Mauboy, Shari Sebbens and Miranda Tapsell, who are all based in NSW,” Mr Souris said.

 
“The NSW Government supported the production of The Sapphires through the Screen NSW Production Finance Fund and with a grant from the Regional Filming Fund and I am delighted to see the film so enthusiastically embraced by audiences. I’m told it reached $7.8 million at the box office yesterday, which is a stunning result.”

 
The other NSW Government-funded AWGIE Award winners were: Michael Lucas for the Award for Feature Film – Original for Not Suitable for Children: Susan Smith for her screenplay for Mabo which won the Telemovie – Original Award; Blake Ayshford, Jaime Browne, Kristen Dunphy and Nicholas Parsons with Louis Nowra for The Straits which won the award for Television Mini-Series – Original and Samantha Strauss for Dance Academy which won the Children’s Television Award.

 
“My congratulations to all these winners from NSW who have been recognised by their writer peers for outstanding achievements in writing for the screen,” Minister Souris said.

“The NSW Government has provided almost $10 million in funding for Screen NSW in 2012/13, to boost creative excellence and commercial growth in the local screen industry.

 
“Last year, $6.5 million was committed towards attracting 32 new screen productions including major feature films and television series, to be made in NSW. These productions alone are expected to generate more than $99 million in investment for the State’s economy and create more than 4,300 local jobs”.

 
Mr Souris said NSW is now home to 46 per cent of the national film industry.

 
Media enquires: Norm Lipson: 0467 734 679

SPAA will be hosting a co-production business class session in Sydney on the 21st August and in Melbourne on the 30th of August.

The session will examine what producers can do to prepare for a successful and mutually beneficial official co-production partnership, recent changes to Screen Australia’s guidelines, what is on the horizon and where there may be potential for new productions.

 
In this session key Australian producers will share their lessons learnt from official co-productions and we will hear from the people who assist you in getting your ducks in a row – the lawyers, accountants and government representatives.

Speakers:

Mario Andreacchio Executive Director, AMPCO Films

Sonia Borella Partner, Holding Redlich

Jane Carter A/g Director, Screen Industry Section, Office For The Arts

Jane Corden Managing Director, Moneypenny Services Group

Chris Hilton Executive Producer & CEO, Essential Media and Entertainment    

Alex Sangston Senior Manager, Producer Offset and Co-production Unit, Screen Australia

Chaired by:

Ian Robertson Manager Partner, Holding Redlich (SYD)

Dan Pearce Partner, Holding Redlich (MELB)

Sydney Tuesday 21 August 9.30-12.30pm | Melbourne Thursday 30 August 2.00-5.00pm

SPAA Member $70 | Non-member $120

Click here for more information

Media Release

 31 Jul 12

Screen NSW announces that applications are now open for the new rounds of Aurora and the Emerging Filmmakers Fund (EFF).

Aurora is Screen NSW’s premium feature film development program. Since its inception in 2002, Aurora has attracted acclaimed Australian and international filmmakers as advisors and participants in the program, and has identified major new Australian filmmaking talent. Films developed through Aurora include Animal Kingdom, The Black Balloon, Somersault, Little Fish and Wish You Were Here.

Following consultation with the industry, this year Aurora has some new features. The program is now open to projects at both draft and treatment stage. Teams with an experienced writer can apply with a treatment only, allowing them to use the expertise on offer at Aurora during the crucial architectural stage of their project’s development.

The main workshop will move to the summer, at the beginning of February 2013, with the follow up workshop scheduled for mid-year, providing an accelerated time frame for Aurora. Teams will deliver a draft and a polish in between the two workshops, for which they will be provided with a draft investment of $30,000. And, for the first time, one of the two international Aurora advisors will act as the Guest Creative Director of Aurora for the year.

Applications for Aurora are now open, and will close on 21 September 2012.

The Emerging Filmmakers Fund supports talented new and emerging filmmakers in NSW by funding the production and post-production of short films.

There is one round of EFF a year and, this year, funding will be provided to three projects with grants of up to $30,000 for production and/or post-production.

Respected producer Kath Shelper (Samson and Delilah) will act as the mentor and Executive Producer for the EFF shorts for this round.

Applications for EFF are now open, and will close on 28 September 2012.

Successful teams for both programs will be announced in November 2012.

For more information, see:

Screen NSW Aurora webpage
Screen NSW Emergining Filmmakers Fund webpage

The Hon Louise Asher MP
Minister for Innovation, Services and Small Business
Minister for Tourism and Major Events

Minister for Innovation, Services and Small Business Louise Asher today announced that screen projects supported in 2011/12 financial year by the Victorian Coalition Government through Film Victoria have leveraged total production expenditure of $152.7 million for the state, an increase of 89 per cent on the previous year.

Ms Asher said it has been a robust year for the Victorian screen industry marked by significant local and footloose production activity.“In the 2011/12 financial year, Film Victoria supported film, television and digital media projects that created 6,662 jobs for practitioners, supporting the local industry and providing many opportunities for small businesses and individuals,” Ms Asher said.“These strong figures can be attributed to the Coalition Government securing projects like feature film I, Frankenstein that filmed at Docklands Studios Melbourne and various locations around the city; TV pilot Frontier, which shot in regional Victoria; adult comedy feature Ted, which completed its visual effects here; and the mini-series Howzat! The Kerry Packer Story, among others.”

Ms Asher said local production is thriving and there has been a buzz of activity throughout Victoria.“More than $5.8 million was committed to 33 local projects through Film Victoria’s Screen Production – Investment program,” Ms Asher said.“Local television productions such as Offspring Season 3, Miss Fisher’s Murder Mysteries, The Dr Blake Mysteries and Jack Irish have created a real hype of activity in Victoria.“Eight regional projects were supported that commenced production in 2011/12 through the Regional Locations Assistance Fund, spending an estimated $2.3 million in regional Victoria.”

A summary of productions commencing in 2011/12, supported by Film Victoria include: 13 film projects, leveraging $59 million; 28 television projects, leveraging $90.1 million; and 13 games projects and one interactive project beginning development in 2011/12, which leveraged $3.6 million.

Film Victoria CEO Jenni Tosi said it had been a strong year for the Victorian screen industry despite the high Australian dollar and competitive environment.“In 2011/12 Film Victoria delivered significant support to local screen practitioners, businesses and projects through our programs and services,” Ms Tosi said.“The results we’ve been able to achieve reflect the talent, creativity and responsiveness of Victoria’s screen professionals, and their ability to tell stories that resonate with audiences.”
Media enquiries: Bronwyn Perry 0408 221 963 bronwyn.perry@minstaff.vic.gov.au

Visit www.premier.vic.gov.au for more news

Source: The Age

Date: July 22, 2012

Stroy By: Michael Lallo

MELBOURNE’S contribution to Hollywood has been great in recent years: Guy Pearce, Cate Blanchett and Geoffrey Rush spring to mind. So too – albeit in a slightly different way – has Ted, the pot-smoking bear with a penchant for prostitutes, who has hit the big time in his eponymous film Ted.

Ted is a Melburnian, the animated creation of the South Melbourne production studio Iloura.

In 2010, Family Guy creator Seth MacFarlane received an email with a clip of the animated teddy attached, rang the Melbourne office and said that was how he would like his bear to look. And so Ted’s star was born: for eight months, 70 artists toiled full-time to bring him to life.

When it opened in the US last month, it grossed $US54 million ($A52 million) in its first weekend: a record for an original R-rated comedy. The company is now working on I, Frankenstein and the Will Smith blockbuster 1000 A.E. It also has several other Hollywood films to its name, including Where the Wild Things Are, The Bank Job, Ghost Rider: Spirit of Vengeance, Don’t Be Afraid of the Dark and the Steven Spielberg mini-series The Pacific.

 Advertisement It’s a long way from the mid-noughties, when Iloura was a boutique post-production company specialising in TV commercials. Lured by government incentives, Paramount Pictures came to Melbourne in 2004 to shoot Charlotte’s Web – and Iloura got the animation contract.

 ”John Berton, the film’s visual effects supervisor, took a huge leap of faith on us,” says Iloura’s executive film producer, Simon Rosenthal. ”We were in our infancy when it came to film.” Berton’s gamble paid off: Iloura’s animated pigs were indistinguishable from the real ones used in some scenes.

 While Iloura does standard visual effects such as backgrounds, it forged its reputation with lifelike character animations.

 ”We got Ted because we don’t overanimate like a lot of studios do,” says visual effects supervisor Glenn Melenhorst. ”We didn’t make a wide-eyed, Pixar-style, overly expressive bear. Seth wanted a ‘real’ aesthetic.”

 Over the past decade, Iloura’s staff has tripled to 90. ”We had 500 shots for Ted and each one required separate tasks,” explains Iloura’s head of visual effects, Ineke Majoor. Her 70 artists were assigned painstakingly specialised jobs. One created the glass Ted drinks from, another the beer inside and someone else did the foam.

 To viewers, it appears Ted is the only animated component of the live action film. But the scene in which he climbs a stadium tower is entirely fake. ”You should not be able to detect what’s real and what’s animated,” Melenhorst says.

 Rosenthal is confident Ted will lead to bigger projects. ”The industry is now geographically agnostic,” he says. ”We’ve been around for 30 years,” adds business development director Caroline Pitcher. ”It feels like we’ve only just begun. We’re hungry for the next challenge.”

 View original article here

We were also be joined by representatives from Screen Australia and the state screen agencies.

The response from the UK industry for Ausfilm Week London was excellent. A total of 145 UK companies (representing distribution/production/broadcasting/ post production/talent agents/sales agents/financiers) were in attendance at events from May 13th to 15th.

If you didn’t make it to this year’s event or know Australian producers who you think would be interested in attending, make sure you put it in your calendar for next year, it’s not one that you want to miss!

Don’t just take our word for it on how successful this year’s event was, see testimonials below.

The Picture tank: ‘I think it was one of the best ventures for our business – and potentially most encouraging.’

Galvanized Film Group: ‘Congratulations to everyone involved ‐ it was a worthwhile productive event. It’s particularly good to see Ausfilm supporting those of us going out to the world market and not just focusing on productions coming to Oz. Thank you including me and my project.’

Ruby Entertainment: ‘Fantastic meetings, great array of guests’.

SC Films International: ‘I forged new relationships with Australian producers. There is a real possibility to collaborate on some of the projects pitched.’

Australia/ UK Co-production directed by Jonathan Teplitzky and staring Nicole Kidman, Colin Firth and Stellan Skarsgård. Filmed in Scotland, Thailand and Queensland, Australia in 2012.

The Grandmothers

Australia/France Co-production directed by Anne Fontaine and starring Naomi Watts, Robin Wright and Xavier Samuel, filmed in NSW in 2012

The Great Gatsby

Warner Bros. production, directed by Baz Lurhmann and starring Leonard DiCaprio, Tobey Maguire, Carey Mulligan and Joel Edgerton, filmed in Sydney in 2011.

Directed by James Mangold and Staring Hugh Jackman, Filming in Sydney, NSW.

I, Frankenstein

Directed by Stuart Beattie and starring Aaron Eckhart, filming in Victoria.

Daniel Dubiecki’s The Allegiance Theater production company, based in the US, has opened a Melbourne branch, which will be led by his Australian partner, Torus Tammer. Dubiecki’s father was Australian and he holds dual Australian-US citizenship.

The Allegiance Theater has already acquired the film rights to Damian Marrett’s best-selling true crime autobiographies, Undercover and White Lies, which Dubiecki and Tammer will produce. Patrick Hughes (Red Hill) is attached to direct and Justin Monjo (Farscape, Bait) will adapt Undercover.

“The new Australian division of The Allegiance Theater makes movies for audiences around the world, putting the Australian artists at its centre and drawing from the deep pool of vibrant talent and rich stories that exist in there,” Dubiecki said in a statement…

Click here for the complete article

Ausfilm is pleased to announce Ausfilm Week London – to be held from May 13th to 15th, 2012. Ausfilm is hosting this targeted event, pre-Cannes, to develop co-production opportunities between Australian and UK producers for both feature film and high-end television series.

The event schedule will feature meetings for Australian producers with UK counterparts for specific co-production projects that hold international appeal. Following a call out for submissions, the following Australian producers have been selected to attend Ausfilm Week London to meet with leading UK production partners.

Mario Andreacchio – AMPCO Films
Angie Fielder – Aquarius Films
Karen Radzyner – Dragonet Films
Trish Lake – Freshwater Pictures
Heather Ogilvie – Galvanized Film Group
Cathy Overett – New Holland Pictures
Vincent Sheehan – Porchlight Films
Mark Ruse – Ruby Entertainment
Timothy White – Southern Light Films
Dee McLachlan – The Picture Tank
Sue Taylor – Taylor Media
Janelle Landers – WBMC

Ausfilm Week London 2012 will also comprise publisher pitching events with literary agents, networking experiences and learning opportunities to develop and foster strong growth between the Australian and UK film and television industries.

About Ausfilm:
Ausfilm is an industry-government partnership which promotes Australia as a destination for international screen production. It comprises Australia’s Federal, State and Territory Governments and around 25 private-sector companies. Ausfilm provides the international film community with direct access to Australia’s screen incentives, talent and facilities. Ausfilm’s objective is to connect international filmmakers worldwide with Australia.

For more information on Ausfilm Week and filming in Australia visit www.ausfilm.com

**********************************************
For media enquires contact:
Kristy Officer – Head of Marketing and Business Development, Ausfilm
kristy.officer@ausfilm.com.au
T: + 61 2 9383 4191 M: +61 424 174 957

Ausfilm is hosting this targeted event, pre-Cannes, to develop co-production opportunities between Australian and UK producers for both feature film and high-end television series.

The Forum will feature meetings for Australian producers with UK counterparts for specific co-production projects that hold international appeal. These meetings will focus on the development of current projects with a view to co-production/finance/sales and will be established through in-depth profiling and matchmaking.

Ausfilm Week London 2012 will also comprise networking experiences and learning opportunities to develop and foster strong growth between the Australian and UK film and television industries.

To express your interest in participating please complete this form Ausfilm Week London – Producer expression of interest and return directly to Ausfilm info@ausfilm.com.au. The deadline for applications is March 19th 2012.

Any questions can be directed to Kristy Officer, Head of Marketing – Ausfilm:
kristy.officer@ausfilm.com.au

Among the new projects to receive support for development is The Tunnel: Dead End, the sequel to the successful crowd-funded online horror feature film The Tunnel from producer/writers Enzo Tedeschi and Julian Harvey and director Carlo Ledesma.

Harry Cripps will develop the romantic comedy script Addition, based on the novel of the same name, with producers Bruna Papandrea and Cristina Pozzan, and writer Jules Duncan will be supported to develop the comedy script Bogan Wedding.

Writer Pip Karmel and Porchlight Films’ producer Vincent Sheehan will receive support to develop their new comedy drama script What Alice Forgot, and Out West is a new comedy to be developed by writer/director Alister Grierson (Sanctum) and producers Catriona Hughes, Leesa Kahn and Terry Jennings.

Projects to receive continued development support include writer Mark Herman and producers Marian Macgowan and Sarah Radclyffe’s Julian Corkle Is a Filthy Liar, and writer/director Jocelyn Moorhouse and producer Sue Maslin’s The Dressmaker.

The Outrageous Barry Rush is an adventure feature project in development by writer Andy Cox with director Kriv Stenders (Red Dog) and producer Alan Harris, and writer Shaun Grant (Snowtown) is continuing to develop his comedy script Bad Angel about a New York hit man who is unwittingly embraced by a rural Australian community. Nicholas Cole and Antonia Barnard are on board as producers.

Last Cab to Darwin is a drama in development about a Broken Hill cab driver who learns that it’s never too late to change his life from writer/director/producer Jeremy Sims, writer Reg Cribb, producer Greg Duffy and executive producer Ian Darling.

Plates Day is an animated black comedy in development from writer/director Bruce Petty and producer Jenny Day about the certainties we search for and the fantasies we can’t live without.

Black Echoes is a horror feature script in development by writers Shayne Armstrong and Shane Krause with director Greg McLean (Wolf Creek) and producers Murray Pope and Michael Robertson.

Producer Mary Minas will also be supported by Screen Australia with a six-month professional internship, receiving bespoke training in development, production and distribution from producer and distributor John Maynard (Balibo, An Angel at My Table, Romulus, My Father, The Bank) at Felix Media and Footprint Films in Melbourne.

Kate Stenhouse is experienced in all aspects of production and post. She was most recently at production house Collider and has worked with Sydney’s Animal Logic and The Mill in London for premium brands including Coca-Cola, Guinness and Dyson, and on award-winning campaigns such as Comcast ‘Rabbit’.

Samantha Daley brings a strong background in animation, design, post-production and 3D stereoscopic for commercials, series animation and film and has worked at studios as diverse as a.k.a. Cartoon and Pork & Beans in Canada, and at Sydney’s Animal Logic and Kapow Pictures. Sam has worked on international campaigns including Lego Star Wars and Lifelock, and locally for Bird’s Eye (3D), Qantas and Foxtel.

Fuel Managing Director and Co-founder, Andrew Hellen: “We’re very excited to have formed this new team. Fuel’s business was born from commercials production and our focus remains delivering the best work possible at a competitive price and to ensure that our clients receive uncompromised attention. We’re confident that we have a strong, focused and positive team, and we’re very much looking forward to the year.”

The film stars Rachael Taylor (‘Red Dog’) and Josh Lawson.

Trailer below:

The winners will be announced in Los Angeles on February 26th.

Warner Bros has set Sullivan Stapleton to star in 300: The Battle of Artemisia, which will be directed by Noam Murro for Warner Bros. He’ll play Themistokles…. Stapleton was one of the terrific ensemble of Animal Kingdom, and he just completed a supporting role for the studio in Gangster Squad, the Ruben Fleischer-directed period crime film that stars Sean Penn, Ryan Gosling and Josh Brolin. Stapleton, who stars on the Cinemax series Strike Back, is repped by WME. ICM reps Santoro.

For more visit: deadline.com

Joel Edgerton’s name has long been linked to the untitled Osama Bin Laden pic from Kathryn Bigelow and Mark Boal, and now the Warrior thesp has officially signed on to star.

Reports had Edgerton in the project as early as May, but insiders said at the time that he was merely the unofficial top choice, as the script was unfinished. By the time a script was done and casting began in October, it looked like Edgerton’s schedule would clash with shooting; he’d been mulling an offer to star in the 300 prequel. But Edgerton passed on the Warner Bros.’ project, freeing him up to join the Bin Laden pic cast that already includes Jason Clarke.

Sony is distributing with Bigelow attached to direct from Boal’s script. Megan Ellison’s Annapurna Pictures will finance.

For the complete article click here: Joel Edgerton

Fuel VFX for Captain America: The First Avenger

Rising Sun Pictures for Harry Potter and the Deathly Hallows Part 2 and Pirates of the Caribbean: On Stranger Tides

Australian VFX companies have worked on seven of the 15 feature films in consideration for this year’s Academy Award for achievement in visual effects.

The Academy of Motion Picture Arts and Sciences VFX shortlist included four films which featured Fuel VFX’s work (Captain America: The First Avenger, Mission: Impossible – Ghost Protocol, Cowboys & Aliens and Thor), two films which featured RSP’s effects (Harry Potter and the Deathly Hallows Part 2 and Pirates of the Caribbean: On Stranger Tides), and one film which featured Animal Logic’s work (Sucker Punch).

Click here for the complete article

The Newport Beach Film Festival will be held next year from April 26 – May 3 in Orange Country, California. The festival is a great opportunity for Australian filmmakers to show their films to the US audience and industry professionals. For more information click here: Newport Beach Film Festival 2012 or to submit your film visit http://www.newportbeachfilmfest.com/2012/

For more information on this film, its incredible talent, screenings, press and links visit: http://www.wishyouwereherethefilm.com/#!__video

Monday 5 December 2011

Screen Australia has announced almost $17 million investment in a diverse slate of feature films, adult television drama projects and children’s television series. The investment in 14 projects will trigger over $97 million in production.

Features approved for investment include, The Grandmothers, an erotic tale of misguided love based on a Doris Lessing novel, adapted for the screen by Oscar® winner Christopher Hampton. The film features a powerhouse cast including Naomi Watts, Robin Wright, Xavier Samuel and James Frecheville. The Grandmothers will be produced by Andrew Mason and Philippe Carcassonne and will be directed by Anne Fontaine (Coco Avant Chanel).

Other feature projects include 2:22, a high-concept psychological thriller set in New York (p: Jackie O’Sullivan, Paul Currie, w: Paul Currie, Todd Stein, d: Paul Currie) and Patrick (p: Antony I Ginnane, w: Justin King, d: Mark Hartley), a gothic horror re-working of the 1978 classic of the same name.

The Mule, a black comedy co-written and co-produced by one of Australia’s most successful international screenwriter/actor/producers Leigh Whannell (Saw franchise), was also approved for investment. Whannell will star in the film with co-writer and co-producer Angus Sampson. The film will be directed by Tony Mahony and be produced by Paul Clarke…

Click here for the complete media release

Thursday 1 December 2011: The feature film Wish You Were Here, produced by Angie Fielder, co-written by Kieran Darcy-Smith and Felicity Price and directed by Kieran Darcy-Smith, has been selected for the 2012 Sundance Film Festival.

Wish You Were Here will have its world premiere on the opening night of the World Cinema Dramatic Competition. A showcase of exceptional works from across the globe, the Dramatic Competition is described by the festival as ‘a way to honour the independent spirit in filmmakers’.

The film tells the story of four friends who travel to South-East Asia on a holiday, but only three of them return home. The film reveals what happened on that fateful night when they were dancing under a full moon in Cambodia.

“Kieran and I are immensely proud and honoured that Wish You Were Here has been selected to have its world premiere at Sundance. It’s exciting to see our film open the prestigious World Cinema Dramatic Competition at a festival which celebrates independent filmmaking,” said producer Angie Fielder.

“Sundance’s international competition program is one of the most sought-after premiere slots in the world. Thousands of films are submitted; only 16 are chosen. Established by Robert Redford in 1984, the festival is a mecca for the independent film community and, like Animal Kingdom and others before, it offers Australian cinema an outstanding debut platform,” said Screen Australia’s Head of Marketing, Kathleen Drumm.

Click here for the complete Media Release

Emerging as one of Hollywood most sought-after young actors, 16-year-old Aussie Callan McAuliffe is currently preparing to start his work as Young Jay Gatsby in Baz Luhrmann’s 3D telling of the classic American story The Great Gatsby, due out in theaters on Christmas Day 2012, amidst sword fighting training, martial arts and ballet work for his role as archangel Uriel in Paradise Lost, adapted from the epic Biblical poem and shooting in January 2012 for a scheduled 2013 release.

During this recent exclusive phone interview with Collider, from Australia where he is going to shoot both films, Callan McAuliffe talked about what appealed to him about both projects, some changes in The Great Gatsby that could surprise audiences but that he thinks they will appreciate, that even though he’s playing a younger version of Leonardo DiCaprio he doesn’t think he looks like him at all, and what he thinks the 3D will add to the experience for audiences. He also talked about how he’s relying on director Alex Proyas’ vision for Paradise Lost when it comes to playing an archangel, that he’s looking forward to his scenes with Djimon Hounsou, and how he’d like to model his character after Johnny Depp, playing more alternative types of characters. Check out what he had to say after the jump:..

Click here for the complete article: Callan McAuliffe

The Australian Government’s 2011/12 Budget included a number of proposed reforms to the Producer Offset.

On Monday 21 November 2011, legislation enacting the reforms was passed by the Australian Parliament.

The Bill, the Tax Laws Amendment (2011 Measures No. 7) Bill 2011, will be presented to the Governor-General for Royal Assent in the coming weeks. Following that, the amendments will be in force, taking effect for:

Projects with Screen Australia production funding (investment or grant), where funding approval was given (ie a Letter of Approval was issued) on or after 1 July 2011.
All other cases (ie projects without Screen Australia production funding), where pre-production commenced on or after 1 July 2011.

The Bill also includes amendments to the Location and PDV Offsets in line with the Budget Announcement.

The Bill and its Explanatory Memorandum are both available here. Schedule 9 is the relevant part of the Bill.

Media release
Thursday 24 November 2011

A feature film to be shot in India and Melbourne has won Victorian Coalition Government support as part of the Government’s commitment to building ties with Bollywood. Louise Asher, responsible for the Victorian film industry as Minister for Innovation, today announced support for Save Your Legs, a Victorian film about a suburban Melbourne cricket team and their tour of India. Ms Asher said the film would showcase Victoria’s key landmarks, such as the MCG, as well as reaffirm the state’s film industry connection to Indian film-goers. “Save Your Legs is a unique Victorian story celebrating Australia’s and India’s shared love of cricket,” Ms Asher said.
“The Coalition Government is pleased to be supporting a film which will be able to further strengthen our ties with the Bollywood industry, and at the same time promote Victoria on the big
screen.” Confirmed Australian cast members include Stephen Curry, Brendan Cowell and Damon Gameau. The film will be directed by Boyd Hicklin and produced by Nick Batzias and Robyn
Kershaw. “The Coalition Government’s support for Save Your Legs is just one of the many initiatives in 2012 associated with the Government’s Trade Engagement Program for India – a dedicated program to increase two-way trade with one of the world’s fastest growing economies,” Ms Asher said. “Victoria’s trade and investment relationship with India has grown steadily over the past decade and greater ties with the film industry can only open up more diverse business opportunities for Victorian companies. “The Victorian Government is committed to building better links with Bollywood, which includes a commitment of $500,000 over four years to develop the Bollywood Film Festival.”

Save Your Legs will premiere as part of the 2012 Melbourne International Film Festival, followed by a theatrical release in summer 2012-13.

Media contact: Bronwyn Perry 0408 221 963

Visit www.premier.vic.gov.au for more news

Red Dog is now the eighth most popular Australian film of all time and has grossed over $21 million at the Australian box office.

Over the past few weeks photos have emerged from the garage where Myrtle Wilson lives set up in Rozelle, Centennial Park right next to Fox Studios in Sydney and the International College of Management overlooking Manly where one of Jay Gatsby’s elaborate 1920′s parties were staged.

Sydney has been a dynamic and more than adequate stand in for the decadence spoken of in F. Scott Fitzgerald’s best seller. Sadly we will have to wait over a year to see the film. We can’t wait!

MEDIA RELEASE

Wednesday 16 November 2011

LEGO® FILM TO BE PRODUCED IN SYDNEY

Acting NSW Premier and Minister for Trade and Investment Andrew Stoner has announced NSW will be the production base for a new animated feature film based on the popular children’s construction toy LEGO®.

Warner Bros. has contracted Academy Award-winning Sydney animation studio Animal Logic to make the family entertainment comedy at Fox Studios Australia, where Mr Stoner made the announcement today alongside Animal Logic CEO Zareh Nalbandian.

The NSW Government has helped secure the production for the State’s film industry with assistance from NSW Trade & Investment’s State Investment Attraction Scheme.

“Congratulations to Animal Logic for beating strong international competition from the US and Canada to secure this major animated film production,” Mr Stoner said.

“The production of LEGO will see up to $48 million spent in NSW, which will include commitments to industry research, development and training.

“The film will employ over 200 people during its peak.

“The LEGO film will be based on the popular children’s LEGO building blocks and include licensed LEGO characters.

“Originally designed in the 1940’s in Denmark, LEGO has achieved international appeal and this film is sure to be a hit with children around the world,” Mr Stoner said.

“The film’s directors will be Phil Lord and Chris Miller, who co-directed the 3D animated comedy Cloudy with a Chance of Meatballs (2009) which grossed $239 million worldwide.

“LEGO will be an innovative film incorporating the latest animation and photo-real techniques which will demonstrate the strength of NSW creative technology skills and enhance the international reputation of Sydney as a film location.

“Not only will the securing of LEGO enable Animal Logic to retain staff through an ongoing work schedule but it will also place Sydney in a strong position to secure further work should sequels be planned later.

Mr Nalbandian said “LEGO is further testament that Sydney is now established as one of the world’s great digital animation centres.

“With LEGO, Animal Logic continues to develop and produce ground breaking digital entertainment and to build a talent base that’s second to none anywhere in the world.”

Steve Papazian, President of Worldwide Physical Production for Warner Bros. Pictures, said “I want to extend my appreciation to the NSW Government for its continued support.”

“We look forward to building upon our valued relationship.”

LEGO is due for release in 2014 with Warner Bros. both producing and distributing the film internationally.

The LEGO film is being written and directed by Lord and Miller, with Chris McKay serving as co-director. Dan Lin and Roy Lee are producing. LEGO Company’s Jill Wilfert will executive produce and Lin Pictures’ Seanne Winslow will co-produce.

LEGO and its logo are trademarks of The LEGO Group. © 2011 The LEGO Group.

MEDIA: Office of the Acting NSW Premier 9228 5209

Actors Josh Lawson and Isabel Lucas have been named Best Hollywood Newcomers at the Beverly Hills Film, TV and New Media Festival for their roles in an Australian film which is yet to get distribution two years after being made.

Despite gaining recognition at a number of festivals, it now looks like The Wedding Party will not get a release this year.

Directed by Amanda Jane and produced by Nicole Minchin, the romantic comedy opened MIFF last year.

Click here for the complete article on Josh Lawson and Isabel Lucas or see the trailer below

LA’s Ausfilm Week: “Like speed dating without the alcohol”

Eleven Australian producer teams from across the Australia met with American producers and studio executives at the Ausfilm Week in last week.

Ausfilm’s Deb Richards told Encore the sessions were, “like speed dating without the alcohol, with seven meetings one after another.”

The one-to-one sessions were project-specific, the filmmakers pitching a feature script they looked to receive funding and create co-productions on.

Australian producers included Bill Leimback (Beneath Hill 60), Jamie Hilton (Sleeping Beauty, The Waiting City), Stephen Amis (The 25th Reich), Robert Galinsky & Elizabeth Howatt-Jackman (Prey), Pam Collis (Singularity), Craig Lahiff & Helen Leake (Swerve), Sonya Armstrong (Seduction in the City), Lessa Khan and Marissa Goodhill, Jodea Bloomfield and Pippa Hinchley (The Live Sex Girls), Anthony Maras (The Palace) and Michelle McDonald of Screen Australia.

The selection of US production companies included; The Weinstein Company, Arclight Films, Smoke House Pictures, Artists International, Michael de Luca productions, Fox Searchlight and more.

Click here for the complete article on Ausfilm Week

Sourced: theaustralian.com.au

JOEL Edgerton didn’t appreciate how good his new film Warrior might be until well into filming.

He had his hopes that director Gavin O’Connor might pull something out of the hat but this was a film about mixed martial arts, or cage-fighting. It needed something special to elevate it beyond being a movie about a sport with a brutal reputation.

“Getting involved with any movie is a risk,” Edgerton says from the set of The Great Gatsby in Sydney. “One of the things I love about filmmaking is everybody involved in it can help make it better and also everybody involved can make it worse. You really have no control over a lot of it. The one thing you do have control over is the decision to jump on board the project.”…

Click here for the complete article on Joel Edgerton

Why Australia’s Film, TV Business Has Hollywood Buzzing Again

From ‘Great Gatsby’ to ‘Happy Feet Two’: 7 Hot Movies, Series Coming Out of Australia

For the most up to date information on Ausfilm Week 2011 click Ausfilm Week 2011

Ausfilm Week 2011 will commence on Monday 24th October 2011 with a VIP Preview Screening of A Few Best Men, with stars including Olivia Newton-John (Grease) and Rebel Wilson (Bridesmaids) walking the red carpet.

Ausfilm Week promotes Australia’s production locations, oscar-winning talent and crew, and Australia’s competitive production incentives.

Stay tuned for the latest pictures out of Ausfilm Week 2011 as well as coverage from the events.

Highlights of Ausfilm Week 2011 will be the Gala Dinner and the Monster Bash Cocktail Party to honor Troy Nixey and his film Don’t be Afraid of the Dark which was filmed in Melbourne.

DAY 1 – MONDAY 24th OCTOBER, 2011

Ausfilm Week 2011 opened on Monday night with a VIP screening of A Few Best Men. Ausfilm and Australians in Film teamed up for the preview screening with Olivia Newton John, Rebel Wilson and director Stephan Elliot all walking the red carpet at the Linwood Dunn Theater.

It was a great start to the week with lots of laughs had by all.

Stephan and Olivia also held a Q&A at the conclusion of the screening.

For more information contact ausfilm at info@ausfilm.com.au

Screen Australia

Media Release

Thursday 13 October 2011

Screen Australia today announced over $500,000 in support for the development of 17 feature films.

Emile Sherman and Iain Canning (The King’s Speech) will develop a biopic by writer Luke Davies (Candy) called Life, and actor/producer Simon Baker will work with producers Jamie Hilton (The Waiting City) and Mark Johnson (The Chronicles of Narnia) and writer Peter Duncan (Unfinished Sky) to develop the adaptation of Tim Winton’s novel Breath.

Four comedy feature scripts are among the 17 supported projects including the romantic comedy Almost French from writer/director Kate Dennis and producer Sonja Armstrong, and Ali’s Wedding from producers Michael McMahon and Helen Pankhurst, written by Osamah Sami and Andrew Knight.

The team behind the highly anticipated Wish You Were Here will work together again to develop writer/director Kieran Darcy-Smith’s Memorial Day, produced by Angie Fielder.

Jonathan Teplitzky (Burning Man) is attached to direct Choir of Hard Knocks, to be written by Pip Karmel and produced by Marian Macgowan.

Producers Craig Somers and Brian Mooney have brought on board the rapidly emerging talent of Shanti Gudgeon to write their musical Bdazl…

For the complete article: Screen Australia supports development of 17 feature projects

Callan McAuliffe has become the first Australian to join the cast of Alex Proyas’ epic Paradise Lost, as reported by Variety.

The 16-year-old actor, who was recently seen in cloudstreet and Hollywood action flick I Am Number Four, will play the archangel Uriel after beating out a number of internationally-based actors for the role.

Following Lucifer’s (Bradley Cooper) rebellion against God, Uriel steps up as second in command of Heaven’s army, under the archangel Michael (Ben Walker).

Paradise Lost is based on the 17th century poem by John Milton and details Lucifer’s war on Heaven and the fall of mankind.

Click here for the complete article

Terra Nova may have dinosaur-sized ambition but its heart is closer to home.

THERE were several moments in the tortured development of Terra Nova – the epic series launching on Sunday on Channel Ten – that shaped just what sort of show it would become. The most expensive new show to air this year, the question the high-level team developing the program wrestled with was whether Terra Nova should be a science-fiction series or a family drama.

The series begins with a double episode set 138 years in the future. Earth is at breaking point. The planet is seemingly a lost cause, rendered almost uninhabitable.

Read more: http://www.watoday.com.au/entertainment/tv-and-radio/premodern-family-20110928-1kvu4.html#ixzz1ZJCJGITJ

‘Terra Nova’ will premiere in Australia on Sunday 2nd October on Channel 10.

The sessions, panels, and scheduled social events provided the perfect networking opportunity for both film territories and producers to further discuss partnerships.  South Africa and Australia had a strong presence of producers in attendance.  Because of the recent Australia/South Africa co-production treaty going into effect, the venue allowed for Ausfilm to establish relationships with both South African producers and its’ film offices in addition to Canadian producers and production companies in attendance.

Wednesday 21 September 2011
Screen Australia today announced $3 million worth of production investment in three feature film projects triggering almost $21 million in production.

Oscar®-winner Colin Firth (The King’s Speech) will star in director Jonathan Teplitzky’s The Railway Man, an emotionally charged true story based on Eric Lomax’s best-selling account of confronting his World War II torturer 30 years on. The film will be produced by Andy Paterson and Chris Brown and is written by Frank Cottrell Boyce and Andy Paterson.

Rekindling Venus is a groundbreaking feature project written and directed by renowned Australian installation artist Lynette Wallworth and produced by John Maynard. It will be an immersive fulldome film experience and multi-platform work to be screened exclusively in dome cinemas and planetariums around the world.

Writer/director brothers Colin and Cameron Cairnes’ debut comedy/horror feature film 100 Bloody Acres,to be produced by Julie Ryan and Kate Croser and executive produced by Jonathan Page, also received investment.

Screen Australia’s Chief Executive Ruth Harley said, “It’s exciting for Screen Australia to invest in these three very different projects. They all provide opportunities for Australian talent to take their storytelling to the next level.

“The Railway Man is a compelling story that will be satisfying to both Australian and international audiences. This is a wonderful opportunity for one of our country’s rising directors, Jonathan Teplitzky, to work with one of the world’s finest actors, Colin Firth. The film will also provide great exposure for Australian talent on the world stage.

“The film experience Rekindling Venus is of high commercial and cultural merit and it’s great to be able to support an artist of the calibre of Lynette Wallworth to work on such a grand scale using the immersive fulldome cinema experience.

“The comedy/horror 100 Bloody Acres will be a talent escalator for debut feature writer/directors Colin and Cameron Cairnes, backed by a great producing team with Julie Ryan, Kate Croser and Jonathan Page.

“These three projects contribute to Screen Australia’s goal of investing in a high-quality, diverse slate of feature films,” concluded Dr Harley.

100 BLOODY ACRES
Cyan Films Pty Ltd
Producers Julie Ryan, Kate Croser
Executive Producer Jonathan Page
Writer/Directors Colin Cairnes, Cameron Cairnes
International Sales The Works
Australian Distributor Hopscotch
Synopsis They’re not psycho killers… they’re small business operators.

THE RAILWAY MAN
Archer Street and Pictures in Paradise
Producers Andy Paterson, Chris Brown
Writers Frank Cottrell Boyce, Andy Paterson
Director Jonathan Teplitzky
International Sales Lionsgate International
Australian Distributor Transmission/Paramount
Synopsis An extraordinary true story of heroism, inhumanity and the redeeming power of love based on Eric Lomax’s best-selling account of confronting his WWII torturer 30 years on, starring Oscar®-award winning actor Colin Firth.

REKINDLING VENUS
Felix Media
Producer John Maynard
Writer/Director Lynette Wallworth
International Sales Maze/Sky Skan (co-venture)
Australian & UK Distributor Footprint
Synopsis A fulldome film experience and multi-platform work immersing the viewer in the spectacle of fluorescent coral reefs and marine life as the pivot point for global co-operation in the face of climate change.

Today Iloura announced that it has been appointed as a major VFX vendor for Media
Rights Capital and Seth MacFarlane’s (Family Guy) – live action/ CG-animated feature
comedy Ted.

Iloura’s Executive Producer, Simon Rosenthal said, “We’re very excited to be working
with Media Rights Capital, distributors Universal Pictures and Seth MacFarlane on
such a creative and unique project. Ted enables us to continue to expand our skills
and capacity and allows us to undertake some highly complex character animation
work on over 250 shots”.

Iloura’s Creative Director, Glenn Melenhorst adds, “Our extensive efforts early on in
the R&D of ‘Ted’ were instrumental in establishing the overall look and nuances of the
character. This included development and testing of facial expressions and body
movement, all the way down to the matted and worn texture of his fur. All this work
formulated our pitch which assisted us to win a significant package of shots on the
film.”

This announcement comes on the back of Iloura completing Guillermo Del Toro’s
Don’t Be Afraid of the Dark, Omnilab Media’s Killer Elite and undertaking visual effects
on Columbia Pictures’ Ghost Rider: Spirit of Vengeance.

Ted, starring Mark Wahlberg, Mila Kunis and featuring the voice of Seth MacFarlane
as the title character, focuses on the story of John Bennett (Wahlberg) – a grown man
who must deal with the cherished teddy bear who comes to life as a result of a
childhood wish. The film also stars Joel McHale, Giovanni Ribisi and Patrick
Warburton. Written by Seth MacFarlane and his Family Guy co-writers Alec Sulkin
and Wellesley Wild, the film is produced by Jason Clark, John Jacobs, Scott Stuber,
Macfarlane and Wellesley and is set for a July 2012 release.

Ted was attracted to Iloura with the assistance of the Australian Government’s 30%
Post Digital and Visual Effects (PDV) offset and Film Victoria’s Production Investment
Attraction Fund (PIAF).

www.iloura.com

11 out of 10 – That’s the score that all of these screen industry professionals will get this year with their work, as their profiles rise to new heights. These are Encore’s 11 faces to watch in 2011:

ANDREW McINALLY (Producer) & GARETH CALVERLEY (Producer/writer)

ANTHONY DAMIANAKIS

BELLA HEATHCOTE, Actress

BECK COLE, Director/writer/producer

BEN BRIAND, Writer/director

BRENDAN FLETCHER, Writer/director/producer

CALLAN McAULIFFE, Actor

DARIO RUSSO (Writer/director/producer) & DAVID ASHBY (Writer/actor)

ENZO TEDESCHI (Writer) & JULIAN HARVEY

KIERAN DARCY-SMITH, Writer/director/actor

LUKE JUREVICIUS, Writer/director/producer

Click here for the complete article

I am really looking forward to seeing how Elizabeth, a graduate from the Victoria College of Arts, works with seasoned and Academy Award nominated actors. She could just be the ‘next big thing’!

]]> http://www.ausfilm.com.au/news/elizabeth-debicki/feed/ 0 http://www.ausfilm.com.au/news/why-melbourne-is-a-great-film-location/ http://www.ausfilm.com.au/news/why-melbourne-is-a-great-film-location/#comments Mon, 12 Sep 2011 02:51:48 +0000 Laura Sierakowski http://ausfilm.com.au/?p=2611 Variety recently released a few articles on Melbourne as a production destination in their ‘Scout & About’ segment .

The articles really showcases Melbourne’s flexibility as film location.

Check out this link  http://www.variety.com/article/VR1118041333

Media Release

Thursday 8 September 2011

The Indigenous Department of Screen Australia, in association with the ABC, is pleased to announce the five participants selected for Call to Country, a new initiative to unearth Indigenous Australian documentary makers.

Victor Steffensen (Queensland), Ella Bancroft (New South Wales), John Harvey (Victoria), Dylan McDonald (Northern Territory) and Kelli Cross (Western Australia) will each make a film documenting aspects of Australian life from an Indigenous perspective to be broadcast on ABC TV.

The five participants will first take part in a week-long documentary making workshop in October 2011. Following the workshop they will be allocated surprise Australian locations and funded to research and develop stories from these locations for production as broadcast half-hour ABC TV documentaries.

Led by award-winning documentary filmmaker Pat Fiske, Call to Country is the latest initiative of the National Indigenous Documentary Fund (NIDF), which has produced 12 successful series to date.

Head of Screen Australia’s Indigenous Department Erica Glynn said, “These filmmakers will not only have the opportunity to develop their screen storytelling skills; they will also be uncovering a slice of Indigenous life rarely represented on Australian screens.”

Head of ABC’s Indigenous Department Sally Riley said, “The NIDF has a long history of unearthing Indigenous filmmaking talent and the ABC is looking forward to broadcasting this exciting new work and partnering with Screen Australia on this innovative new approach.”

PARTICIPANT BIOGRAPHIES

Victor Steffensen – Cairns, Queensland
Victor has worked on film projects for several years in communities throughout the Gulf Country in Far North Queensland and across Australia. With previous experience in land and cultural management, Victor began using his interest in filmmaking with his work, creating the Traditional Knowledge Revival Pathways program in 1999 which saw him produce several corporate films on revival of land management practices and traditional knowledge specifically in relation to fire and water management.

Ella Bancroft – Sydney, New South Wales
Ella completed the Foundation Course at the Australian Film Television and Radio School (AFTRS) this year. With an initial interest in photography and the arts, Ella began pursuing a career in filmmaking in 2010 when she completed short courses in directing at Metro Screen and Shooting on HD at AFTRS. In 2010, Ella undertook an attachment in the camera department on the feature film Here I Am. Call to Country will be Ella’s introduction to documentary filmmaking.

John Harvey – Melbourne, Victoria
John is an emerging filmmaker with a strong background in arts management. In 2009, John made his first short film producing writer/director Romaine Moreton’s short drama The Farm through Screen Australia’s The New Black short drama initiative. John is currently developing several projects through his production company Brown Cab Productions including two short drama projects as producer and a documentary project as writer/director. He is also currently undertaking a part-time Producer Internship with Rob Connolly’s company Arena Media. Call to Country will be John’s introduction to documentary filmmaking as a director.

Dylan McDonald – Alice Springs, Northern Territory
Dylan currently works as Production Assistant at CAAMA Productions in Central Australia.
He has made several short films, documentaries and advertisements. In 2010, Dylan’s collaborative film Pop Goes the Weasel was shortlisted for Tropfest. In 2011, his advertisement Alcohol Can Effect Anyone won first prize in the Tell ‘Em That’s Enough Grog Campaign competition.

Kelli Cross – Perth, Western Australia
Kelli made her first short drama film Turtle through the Australian Film Commission’s Bit of Black Business short drama initiative in 2006, followed by You’re Not Playing That (2007) and Bingo (2010) through the ABC/FTI/ScreenWest Deadly Yarns initiative. Call to Country will be Kelli’s introduction to documentary filmmaking

Sydney and Melbourne add to Method Studio’s Global Footprint

Santa Monica, CA – Sept. 6, 2011 – Method Studios, the visual effects group within the Deluxe Entertainment Services Group, announced today the addition of three facilities in Australia, further expanding Method’s already established network of studios in Los Angeles, Vancouver, New York and London.

Joining the award-winning group under the Method banner is a brand new commercial facility in Sydney’s fashionable waterside district of Walsh Bay, and the Deluxe owned and operated commercial post-production business in Melbourne previously known as MRPPP and Sydney-based feature visual effects studio at Lane Cove previously operating as CIS-Postmodern.

“Uniting our Australian visual effects businesses under the Method Studios brand paves the way for those creative facilities to work together even more synergistically,” says Stefan Sonnenfeld, President of Deluxe Creative Services. “It’s our plan to continue to increase the level of collaboration among all the creative facilities within Deluxe’s global network to further benefit our clients both creatively and financially wherever they may be.”

“Method Studios in Australia launches with a team that is already well known in the local Australian and Asian markets,” said Dan Glass, Method Studios’ Executive Vice President, Senior Visual Effects Supervisor.  “We share the same goals of a strong creatively driven brand and will be working together to build on our creative and technical resources for both commercials and feature films.”

“Being part of Method’s international network means we can really raise the bar creatively for local clients,” said Alaric McAusland, Head of Deluxe in Australia.  “With the recent increase in the tax rebates for feature film production, our international clients will also be able to get their visual effects done locally.  This is a win-win situation for the creative community of Australia.”

Feature work being completed across the Method brand includes “Abraham Lincoln: Vampire Hunter” (Fox, directed by Timur Bekmambetov), “Dark Shadows” (Warner Bros., directed by Tim Burton), “Clash of the Titans 2: Wrath of the Titans” (Warner Bros., directed by Jonathan Liebesman) and “J. Edgar” (Warner Bros., directed by Clint Eastwood).

The Method Australia feature visual effects facility will include a dedicated software team under Paul Ryan, Vice President of Technology and former CTO of WETA, the goal being the ability to share tools, assets and shots across the facilities.  The feature division also includes VFX supervisor James Rogers who has enjoyed close collaborations with filmakers such as Alex Proyas and Baz Luhrmann.

On the commercial front, the Method Australia group will also share resources with the Method facilities in the U.S. who have recently won VES and AICP awards for “Halo Reach: Deliver Hope” (VES award winner for Outstanding Visual Effects in a Live Action Commercial and AICP Visual Effects award winner) directed by Noam Murro.  Across Method, recent commercial work includes Kia “Share Some Soul” directed by Mark Romanek and Verizon “Arena” for director Noam Murro.

In addition to visual effects, the Walsh Bay and Melbourne commercial facilities offer high-quality end-to-end creative solutions including editing, color grading, 3D & 2D design, and finishing.  Deluxe Australia, along with Deluxe companies EFILM and Stage One, are co-located within the Sydney visual effects facility.

About Method Studios
Method Studios is an award-winning international visual effects group with facilities in Los Angeles, Vancouver, New York, London and Australia.  As an artist-driven company known for its creativity, the company services high-end feature film, commercial, television, games and motion graphics clients in the global marketplace.  Built around an exceptional team of visual effects professionals, Method’s international facilities provide a full range of visual effects services including conceptual design, look development, on-set supervision, 3D animation/CGI, matte painting, compositing and finishing, and full stereoscopic workflow.  With its global reach accented by its boutique accessibility, the company has the capacity to service its clientele wherever production is situated. Method Studios is wholly-owned by Deluxe Entertainment Services Group Inc. www.methodstudios.com

About Deluxe
Deluxe Entertainment Services Group Inc., a wholly-owned subsidiary of MacAndrews & Forbes Holdings Inc., is a leading provider of a broad range of entertainment industry services and technologies to the worldwide entertainment industry including the Hollywood studios, broadcast/cable/satellite providers, digital distribution, gaming as well as content owners and creators. Services for content creation in features, television and commercials are offered in production, post production, digital distribution, multi-platform development, marketing services and asset management. They include motion picture film processing and printing; EFILM® and Company 3® digital intermediates; post production and subtitling services; titles design and digital VFX; DVD compression, encoding and authoring; advertising distribution and syndication services; digital cinema services, and 2D to 3D conversioning. Laboratory and post production facilities are located in North America, Europe, and Australia. Deluxe Digital Studios offer home entertainment services in North America, Europe and India. For more information, please visit www.bydeluxe.com.

Contact:
Gail Laguna
Director of Marketing
Deluxe Entertainment Services Group
818-260-6229
Gail.laguna@bydeluxe.com

Media Release

Wednesday 7 September 2011

Filming has started in Sydney on The Great Gatsby, which will inject more than $120 million into the NSW economy, Deputy Premier and Minister for Trade and Investment Andrew Stoner said.

Mr Stoner welcomed the start of principal photography on Baz Luhrmann’s 3D film, based on the classic novel by F. Scott Fitzgerald and starring Leonardo DiCaprio, Tobey Maguire, Joel Edgerton and Carey Mulligan.

“Pre-production on The Great Gatsby has been completed and 17 weeks of filming is now underway, which will be followed by 30 weeks of post-production work in Sydney,” Mr Stoner said.

“While Fox Studios at Moore Park is the production base for The Great Gatsby, location shoots are also expected to occur in other parts of our State.

“This major international film production is supporting many jobs for our screen industry and injecting valuable spending into our local economy.

“Over 400 cast and crew are being employed during principal photography as well as many extras, and about 150 crew will be employed for post-production and visual effects.

“Importantly, The Great Gatsby is helping maintain Sydney’s reputation as an international film-making destination at a time when the high Australian dollar exacerbates global competition for major productions such as this.

“NSW will remain on the edge of the latest 3D film techniques thanks to the envelope-pushing nature of Baz Luhrmann and his creative vision for this latest adaptation of a classic story.”

“I thank director Baz Luhrmann for his support of NSW on this valuable endeavour.”

Mr Stoner said the high-powered cast of The Great Gatsby has drawn global attention to Sydney and its lifestyle at the peak of its spring-time beauty.

The cast includes Academy Award nominee Leonardo DiCaprio who is playing Jay Gatsby, Tobey Maguire as Nick Carraway, Joel Edgerton and Carey Mulligan as Tom and Daisy Buchanan, Isla Fisher and Jason Clarke as Myrtle and George Wilson, and newcomer Elizabeth Debicki as Jordan Baker.

When complete, The Great Gatsby will be distributed in 3D and 2D by Warner Bros. Pictures and in select territories by Village Roadshow Pictures.

MEDIA: Lis Davies 0414 780 288

The South Australian Film Corporation (SAFC) is pleased to announce the appointment of Viron Papadopoulos as its new General Manager of Industry Development and Production.

Mr Papadopoulos has been acting in this position since late July. Prior to this he managed The FACTory, a joint initiative between the ABC and SAFC aimed at developing original ideas for factual programs, to be produced out of South Australia and air on ABC1 in prime time.

SAFC’s CEO Richard Harris said “Viron’s appointment comes at an exciting time for the SAFC, in its new home at the Adelaide Studios, and with a new generation of local talent beginning to really take on the world.”

“Viron is an award-winning filmmaker who brings not only a strong filmmaking background to the position, but a good working knowledge of the local industry which will serve the SAFC well as it continues to develop its local sector, and continuing initiatives such as FilmLab. He has provided real leadership during what has been a time of dramatic change for the SAFC, and has strong and fresh ideas about the future direction of the organisation.”

Mr Papadopoulos was a production accountant with Moneypenny Services for five years before running his own production house, Plexus Films. His critically acclaimed shorts include The Mystery of Flying Kicks (2010, Best Documentary, Melbourne International Film Festival and Best Film, South Australian Screen Awards) and Bad Language (2010, Flickerfest SBS Award and Best Foreign Film Award, NYC Downtown Film Festival.)

Mr Papadopoulos has served as a Board Member at the Media Resource Centre since 2007, Deputy Chair, Screen Producers Association of Australia (SPAA) and as Treasurer for the South Australia Screen Industry Council from 2007-2009.

www.safilm.com.au

The star of Alice in Wonderland on her new role as Jane Eyre, why she turned her back on ballet and how her love of photography allows her to focus the lens away from her

I arrive for my interview with Mia Wasikowska 45 minutes early, barrelling into the hotel corridor as she leaps gawkily, girlishly through a door. We lock eyes, I recognise her, she smiles shyly, as if trying to remember who I am, then realises she has no idea. This 21-year-old, the highest-grossing female film star of 2010, one of Time magazine’s 100 most influential people in the world, is clearly entirely unused to being recognised. Her expression shifts to friendly confusion, and she bounds off through another door.

Even when she’s completely silent, stories whisper over Wasikowska’s face, which explains her latest casting as Jane Eyre, a woman whose inner monologue bubbles with wit and defiance. The film opens with Eyre’s stricken flight from Thornfield Hall, after a betrayal by her great love, Rochester, and the camera focuses on Wasikowska’s stripped-bare face as she runs across sodden woodland, down wet paths, and lies on a rock in the hammering rain. The scene could easily veer into parody – the sort of watery, weepy cape-and-bonnet moment French and Saunders might once have sent up. But Wasikowska never teeters into histrionics, she is always completely believable…

Click here for the complete article

Australian director Fred Schepisi given award as his film adaptation of Patrick White’s novel gathers momentum in advance of an anticipated TIFF screening.

West Australia’s up-and-coming film festival, CinéfestOZ, wrapped over the weekend with a closing night gala in honor of director Fred Schepisi after a screening of his hotly tipped film adaptation of Patrick White’s novel, The Eye of the Storm. The Australian-born producer/director, well received in Hollywood after successfully helming numerous known films the past few decades such as Six Degrees of Separation, The Devil’s Playground and Roxanne, was given an achievement award Saturday evening after The Eye Of The Storm screened in the small town of Busselton, just south of Perth.

“I’m happy for the films I get to make,” Schepisi said at the closing party after being given the award (and name checking a few notable films with top talent attached that never made it to production for various reasons over the years).

The Eye Of The Storm has so far made critics who have seen it happy, with more critical reaction expected at TIFF in Toronto after it screens September 11th at the Winter Garden Theater…

Click here for the complete article

With “The Debt” and “Texas Killing Fields” opening in theaters, the “Avatar” star is keeping busy with numerous projects.

Sam Worthington has several films on the docket after starring in several films last year, including Clash of the Titans and Last Night. But it was 2009′s blockbuster Avatar that catapulted him to notoreity.

With several films set to make screen at festivals and be released in theaters for moviegoers, what is next for the Australian actor? One of his upcoming projects is the drama-thriller The Debt, co-starring Helen Mirren and Jessica Chastain.

The Debt, a remake of the 2007 Israeli film of the same name, premiered at last year’s Toronto Film Festival and was originally set to be in theaters by the end of 2010, but its opening was pushed to the following year. Worthington stars as a young David, who is a former Mossad agent. The Debt was directed by John Madden and written by Matthew Vaughn, Jane Goldman and Peter Staughan…

Click here for the complete article

Internationally acclaimed Australian film director Fred Schepisi will arrive in Kalgoorlie-Boulder tomorrow for a whirlwind tour to “get a feel” for the history and landscape of the area, as well as identify suitable film locations for the movie The Drowner.

The multi-million dollar film production, to be shot on location on the Goldfields, looks set to bring a tidal wave of tourism and economic benefits to the region.

Based on West Australian author Robert Drew’s award-winning novel The Drowner, about engineer CY O’Connor’s determined quest to build a water pipeline at the turn of the last century to supply fresh water to Kalgoorlie, there are high hopes the film will also bring an image change to Kalgoorlie-Boulder along with increased tourism.

The multi-award-winning Mr Schepisi, who whose film achievements include The Eye Of The Storm, The Russia House, Evil Angels and The Chant Of Jimmie Blacksmith, will take a helicopter along the pipeline from Mundaring to Kalgoorlie-Boulder with producer Stephen Van Mil and there are hopes of a similar flight to Leonora on Wednesday…

Click here for the complete article

HIS famously laid-back character Diver Dan would be perfectly at home in Busselton’s peaceful Geographe Bay but last night David Wenham led a cast of some of the year’s most exciting Australian cinema players down the red carpet at Busselton’s Orana Cinemas.

The Lord Of The Rings actor, iconic Australian director Fred Schepisi and his actress daughter Alexandra were among Mad Bastards star Dean Daley-Jones and Drift producer Tim Duffy at the WA premiere of Schepisi’s new film The Eye Of The Storm.

There was no sign on the red carpet of elusive Avatar star and Rockingham boy Sam Worthington who Duffy said had been filming scenes out deep in the surf all day. It was hoped he would make an appearance at the gala party.

Now in its fourth year, CinefestOZ is intended to bring the best new Australian and French films to the region and to connect audiences with the filmmakers behind them…

Click here for the complete article

Wednesday 24 August 2011

Screen Australia is proud to announce that six Australian producers and one Australian director have been awarded internships through Screen Australia’s Talent Escalator program. The internships are with highly regarded international production companies and the experience will provide the practitioners with invaluable professional development opportunities to enhance their skills.
The details of the selected internships are:

•    Producer Zyra McAuliffe will work closely for six months with renowned producer William Horberg (The Talented Mr Ripley, The Kite Runner, Sliding Doors, Cold Mountain) at Wonderful Films in Los Angeles to enhance her script development skills and gain valuable insight into the creative and financial aspects of movie making.

•    Producer Sheila Jayadev will spend six months in the development department at Ridley and Tony Scott’s London-based Scott Free Productions (Robin Hood, The A-Team, Unstoppable), working closely with Head of Development Jack Arbuthnott on their expanding film and television slate.

•    Producer Adam Bishop will spend six months in the development department at London-based Film4 (Slumdog Millionaire, 127 Hours, Four Lions), working across the breadth of projects on their film slate and reporting to Head of Development Sam Lavender.

•    Melissa Kelly, producer of the feature film Blame, will work directly with the Head of International Sales at Magnolia Pictures in New York for four months, gaining valuable insight into the international marketplace from a sales perspective.

•    Michelle Sahayan will receive training as a Development Executive from London-based producer Andy Paterson, whose various films (Hilary and Jackie, Girl with a Pearl Earring) have received multiple Oscar® and BAFTA nominations, working with him for six months on the finance and development of his diverse slate of upcoming projects.

•    Benjamin Gilovitz, producer of multi-award winning short film Deeper Than Yesterday, will be attached to producer/director Roman Coppola for six months on a variety of projects at The Directors Bureau in Los Angeles, a film, commercial and music video production company working with directors such as Sofia Coppola.

•    Director Leonie Savvides will be attached for eight months to director Jane Campion on her mini-series Top of the Lake based in Sydney and New Zealand.

Screen Australia’s Head of Development Martha Coleman said, “These internships are an important part of Screen Australia’s professional development support of filmmakers. Each of these ambitious placements will expose Australian producers or directors to the international production landscape, helping to broaden outlook, hone specific skills and advance marketplace awareness, which will directly benefit the Australian industry more broadly.”

For more information about internships through Screen Australia’s Talent Escalator program visit: www.screenaustralia.gov.au/funding/talent_escalator/internships.aspx

Fox’s ‘Greatest Showman on Earth’ features Jackman as the circus icon

Just weeks after signing on to direct Disney’s revisionist Snow White pic “The Order of the Seven,” commercials helmer and vfx veteran Michael Gracey has become attached to direct Hugh Jackman in 20th Century Fox’s P.T. Barnum pic “The Greatest Showman on Earth.”

Jenny Bicks (“Sex and the City”) wrote the original contemporary musical, which Jackman is producing with his former producing partner John Palermo and Laurence Mark (“Dreamgirls”). Project came about after Jackman, Mark and Bicks worked together on the 81st Academy Awards, which Jackman hosted, Mark exec produced and Bicks helped write.

Click here for the complete article

Wednesday 17 August 2011

Julia Leigh’s Sleeping Beauty was announced overnight to join an outstanding line-up of Australian films screening at the Toronto International Film Festival next month.
Completing the Australian line-up at the festival, Sleeping Beauty will join five other feature films screening at Toronto – The Tall Man, Snowtown, The Eye of the Storm, Burning Man and The Hunter.

Sleeping Beauty, written and directed by Julia Leigh, produced by Jessica Brentnall and starring Emily Browning, Michael Dorman and Mirrah Foulkes, had its world premiere at the Cannes Film Festival in May 2011. The Toronto screening will be the film’s North American premiere.

Sleeping Beauty will screen in the prestigious Special Presentations program joining Burning Man directed by Jonathan Teplitzky, The Eye of the Storm directed by Fred Schepisi and The Hunter directed by Daniel Nettheim. Burning Man and The Hunter will have their world premieres and The Eye of the Storm will have its international premiere at the festival.

The Tall Man, directed by Tony Krawitz, will screen in the Real to Reel program at the festival, marking the film’s international premiere. Snowtown, directed by Justin Kurzel, will screen in the festival’s Vanguard program which will be the film’s North American premiere.

Screen Australia has a program to support filmmakers whose films are having their international or world premieres to travel to the festival and launch their film.

The Toronto International Film Festival takes place 8–18 September 2011.

http://tiff.net/thefestival

Sleeping Beauty
www.sleepingbeautyfilm.com
Production Company Magic Films Pty Ltd
Writer/Director Julia Leigh
Producer Jessica Brentnall
Executive Producers Timothy White, Jamie Hilton
Cast Emily Browning, Michael Dorman, Mirrah Foulkes
Sales and Distribution Transmission Films, E1 Films and UTA

Synopsis “You will go to sleep: you will wake up. It will be as if those hours never existed.” Death-haunted, quietly reckless Lucy is a young university student who takes a job as a Sleeping Beauty. In the Sleeping Beauty Chamber old men seek an erotic experience that requires Lucy’s absolute submission. This unsettling task starts to bleed into Lucy’s daily life and she develops an increasing need to know what happens to her when she is asleep.

Thursday, August 11, 2011

Media Release

Cine Sparks, the International Film Festival for young people, will bring new cinematic experiences to South East Queensland schools and students this year, announced Arts Minister Rachel Nolan.

Ms Nolan said the event is a prelude to the Brisbane International Film Festival and provides children with the chance to experience and engage in the city’s celebration of screen.

“Cine Sparks, 10-14 October, will showcase a mix of foreign language documentaries and feature films from countries as diverse as Mexico, Indonesia, Spain, Japan, Norway, France and China,” Ms Nolan said.

“This year the festival will deliver 11 world cinema titles over 20 sessions for secondary school students, all taking place during school hours.

“A particular highlight is the Norwegian film The Liverpool Goalie, winner of the Crystal Bear Award at the 2011 Berlin Film Festival and voted by the Children’s Jury.

“Arild Andresen’s heart-warming comedy delves into the suburban world of 13-year-old Jo, a world of madcap adventures, growing pains, and all the complications of teenage life in high school.”

Education Minister Cameron Dick said the program gives young Australians a window into other cultures and provides an opportunity to explore experiences of youth through humour, drama and documentary stories.

“The stories align with Queensland’s secondary school curriculum, combining media and visual literacy education, with foreign languages, as well as the study of social and community studies, drama, film, new media, geography and history.

“I encourage all students and teachers to participate in the 2011 program and be inspired by another world in your very own backyard,” he said.

“The Bligh Government is a proud supporter of Cine Sparks and will send four thousand programs directly to teachers and educators across South East Queensland.”

A partnership between Cine Sparks and the Australian Teachers of Media (ATOM) provides ATOM study guides for a selection of the films, emphasising the educational component of the festival for teachers and students.

The State Government through Screen Queensland and Education Queensland will invest $60,000 in Cine Sparks.

Cine Sparks will be held at Palace Barracks cinema in Brisbane. The program is available online at www.biff.com.au/cinesparks Bookings can be made through ATOM’s Metro Magazine website at www.metromagazine.com.au/cinesparks

Shane Brennan
“NCIS: Los Angeles” (CBS)

Impact: After running the mothership “NCIS” for four seasons, Brennan created and successfully spun off “NCIS: Los Angeles,” using the same character quirkiness and injection of humor in an entirely different setting where the NCIS agents are undercover. Benefiting from the brand and the lead-in, he and his team keep auds hooked with character-driven storylines.

Partners in crime: “NCIS” showrunner Gary Glasberg, writer and exec producer R. Scott Gemmill, co-executive producer John Kousakis and Brennan’s wife, Cathryn.

Biggest challenge: “?’NCIS’ in its ninth year is still fresh,” Brennan says. “One reason people still watch is that it’s new and exciting. In ‘L.A.,’ that’s what we’re trying to do, keep it fresh, contemporary and relevant for the audience so it’s not another tired procedural.” Adds Glasberg: “The biggest challenge is continuing to tell stories that people are attracted to and that entertain and keep our characters growing.”

What’s ahead: The next season of “Los Angeles” and several shows in development with the Eye. “CBS is my partner in crime from the get-go,” Brennan says. “We’ve got a great relationship, and we’re looking forward to developing new projects.”

Click here for the complete list of ‘Primetime Drivers’

Russell Crowe is set to star alongside Mark Wahlberg in the Allen Hughes-directed independently financed noir drama Broken City. Production begins in November. Wahlberg plays an ex-cop-turned-private detective who is hired by the mayor (the role Crowe will play) to see if his wife is cheating on him. The private eye confirms those suspicions, and when the mayor’s wife’s cheating partner ends up dead, the private eye immerses himself in the mayor’s business and uncovers a real estate scandal that involves the pol dealing himself choice city-owned properties. The script by Brian Tucker made the 2008 Black List script. The $60 million film will be financed by Emmett/Furla Films.

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Monday 8 August 2011

Screen Australia today announced investment of $2.7 million in eight documentaries. The investment will trigger production worth almost $10 million.

Five international documentaries were announced including the SBS documentary The Network, produced, directed and written by Academy Award®–winning documentary filmmaker Eva Orner. The Network takes place behind the scenes at a new television network in one of the most dangerous places on earth.

Also announced is the ABC documentary The Australian Wine Revolution, written and directed by Stephen Oliver, about the recent history of the Australian wine industry. It is produced by Andrew Ogilvie and executive produced by Andrew Ogilvie and Phil Craig.

Screen Australia’s Chief Executive Ruth Harley said, “The latest funding round will produce a substantial slate of culturally significant and original documentaries for Australian and international audiences.”

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Sydney’s Fuel VFX delivered 120 shots in six sequences for the latest Marvel superhero blockbuster CAPTAIN AMERICA: THE FIRST AVENGER.

Fuel’s VFX Supervisor Dave Morley led a team of more than 50 artists and technicians through production, ensuring that the team’s work was in line with the vision of director Joe Johnston and VFX Supervisor Christopher Townsend. “This is an effects-heavy film that’s set in the 1940s and stars a mythical superhero, but Joe and Chris never wanted the effects to be over-the-top or gratuitous. All the effects do in this movie is help to tell the story, so that’s the brief we worked to,” said Morley.

Much of the work that Fuel delivered for the film involved building full CG environments such as the Hydra Base in the German Alps and reconstruction of the famous Radio City Music Hall, as well as delivery of various CG elements such as the Stark Industries bathysphere, motorbikes, the Hydra tank, digital doubles and the signature ‘cube’. A lot of CG effects work such as energy lasers, explosions, fire, smoke, snow, and water -  including a sequence involving Captain America chasing a mini submarine in the murky water of New York harbour – were part of a varied, complex package of work completed by Fuel, starting with the opening sequence.

A fully CG opening shot of headlights resolving out of a blizzard introduces the audience to an Arctic excavation site where scientists have discovered a huge aircraft buried in the ice.  Shot on stage at Shepperton in the UK, Fuel took a locked off shot of the aircraft wingtip and creating a moving camera shot that depicts a digitally-created frozen wasteland complete with digital doubles and CG snowcats; the extent of the buried craft mapped out with marker lights. A few laser effects and face replacements later and the scientific team has entered the aircraft and found a certain shield frozen in the ice.

The largest of the sequences undertaken by Fuel was a James Bond-style motorcycle chase where Captain America is being pursued by the enemy as he heads towards the Hydra base. The sequence required a seamless intercutting of location and green screen plates, enhanced with various elements such as digital doubles, CG flame-throwers, explosions, ‘blue bolt’ laser effects and tree extensions as Cap dispatches his pursuers before attacking the entrance to the Hydra base – in reality, the outskirts of Shepperton Studios redressed as the foothills of the Alps by the Fuel crew.

After Cap leaps his motorcycle over the base walls, the digital environment extensions were required for almost every camera angle while further CG fire, smoke, debris and blue bolt effects work fleshed out the ensuing action.  A detailed CG build of iron doors embedded into mountain rock was required for the shot when Cap uses his motorbike as an explosive to blast a hole in the doors and glimpse the cavern beyond. This build was later re-used when the Allied commandoes storm the Hydra base – much of that action created from many layers of separate elements of extras, vehicles and explosions.

Another challenge was the underwater chase, where Cap swims at a super-human pace to catch the character of Heinz Kruger in his one-man submarine. Filmed wet-for-wet in a tank, Fuel VFX Supervisor Dave Morley explains, “the trick was to get the timing of these shots right as Cap should be swimming at about 40km an hour to catch the sub. To do this, we moved either the digital camera or the submarine in comp. Particulates added to the water help sell the speed they are travelling at.”  The underwater particulate sims also made the water appear suitably murky with the look of the sequence completed by a hint of the wharf pylons in the background, the giant rudder of a container ship, cavitation bubbles from the sub, and even a few fish.

“The body of work we delivered played to our strengths in digital environmental builds, seamless effects and complex plate integration,” says Executive Producer Jason Bath. “Working on this film was a great experience for our team and we’d like to thank Chris Townsend, Mark Soper, Joe Johnston, Victoria Alonso and all at Marvel – we very much enjoy working on the Marvel projects and appreciate being regular contributors for their VFX.”

Captain America: The First Avenger opened in cinemas in the US on July 22 and in Australia on July 28 and reached #1 at the box office on its opening weekends in both territories.

Which cast member did Steven Spielberg insist on? What is the truth behind its delayed launch? The new issue of The Hollywood Reporter goes exclusively on-set with Fox’s epic dino series.

Fox’s Terra Nova follows the Shannon family and other settlers who, threatened with extinction in the year 2149, travel back 85 million years in time to join a prehistoric Earth colony.

The Hollywood Reporter visited the Queensland, Australia set to get a behind the scenes glimpse of Fox’s highly anticipated —and heavily scrutinized—show ahead the series’ Sept. 26 premiere.

Among the revelations from this week’s cover story:

1. STEVEN SPIELBERG CAST AVATAR’S STEPHEN LANG
Executive producer Steven Spielberg made his first choice very clear on who he wanted to play paramilitary guy Nathaniel Taylor — the first to travel to Terra Nova: Avatar’s Stephen Lang. “He was always an advocate of Stephen Lang — and he was right,” says Brannon Braga. Another Spielberg note: add oxygen masks. He was responsible for the “rebreathers,” masks inhabitants of 2149 wear as there’s no longer fresh air on the overcrowded earth. That people from the overpopulated future nearly choke to death when they arrive in the oxygen-rich Terra Nova was an ironic twist that also came directly from him. “It was such a cool detail,” Braga notes. “A lot of the ‘Here’s what would really happen if…’ came out of Spielberg’s brain.”

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Legendary Pictures is negotiating with Benjamin Walker to play the archangel Michael in Paradise Lost, the action epic battle between good and evil that is inspired by the John Milton poem. Walker, who just wrapped the title role in Abraham Lincoln: Vampire Hunter, will go mano a mano against Bradley Cooper’s Lucifer in what I’m told is the war that began all wars. After being cast out of Heaven, Lucifer mounts an army that battles the forces of good, and the film will have cutting-edge visual effects that will make these battles resemble 300 meets Lord of the Rings — but with winged warriors. While Warner Bros is finalizing a release date, I’m told Paradise Lost is likely to reach theaters in fourth-quarter 2013.

Production will begin in January in Sydney, which will give Cooper time to star alongside Jennifer Lawrence in the David O Russell-directed The Silver Linings Playbook for The Weinstein Company.

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I am very excited to be writing the first post for Ausfilm’s blog. My name is Laura Sierakowski and I am the Marketing and Operations Coordinator at Ausfilm in Sydney.

Welcome to our blog. Here you will be able to find all the latest news with regards to filming in Australia. This includes discussions about Australian incentives, our hot new talent, intriguing locations and facilities as well as all the latest production news.

Joining me as bloggers will be Debra Richards (Ausfilm CEO) as well as Tracey Vieira (Executive Vice President, International Production) and Michelle Sandoval (Client Liaison Officer) who are both based in Los Angeles.

We are very much looking forward to our dialogue with you. Hope you enjoy!

Black & White & Sex

There is nothing black or white about the sex worker under the spotlight in “Black & White & Sex,” an experimental Aussie drama that reps the helming debut of producer John Winter (“Rabbit Proof Fence”). Filmed on a single set with eight actresses playing Angie, a prostitute being interviewed by a largely unseen documaker, pic offers a full-tilt examination of the sex-for-sale biz that effectively challenges stereotypes and is well served by dashes of droll humor. Scheduled for domestic release later this year, this talkfest faces a tough commercial future. Fest programmers should check it out.

Considering Australia rarely produces movies about the sex industry, it’s a strange coincidence that Julia Leigh’s Cannes competition entry “Sleeping Beauty” and “Black & White & Sex” appeared within a few weeks of each other. Unlike Leigh’s artsy take on an esoteric corner of the trade, Winter’s script zeroes in on an unashamed working girl who’s seen and done it all and is ready to give her filmmaker “client” his money’s worth.

The sole location is a movie studio where the unnamed director (Matthew Holmes) has paid Angie to appear in his docu about sex. With four cameras trained on his subject, he commences inquiries with Angie 1 (Katharine Hicks), a confident Marilyn Monroe type who talks disparagingly about how sex workers are usually portrayed as victims in mainstream movies.

At around the 10-minute mark, this first Angie is replaced via a jump cut to Angie 2 (Anya Beyersdorf). Following a short sequence cutting back and forth between the two actors, Angie 2 assumes sole occupancy of the screen. Employed at each transition point, this device proves highly successful in maintaining narrative momentum while introducing auds to the many potential ages and faces of a single character.

Concept never gets tired due to questions from the filmmaker that represent what many people would probably want to ask a sex worker, given the chance. Despite a couple of flat dialogue stretches, pic holds the attention with extremely frank descriptions of paid sexual encounters and a gradual shift in the power balance as Angie, who has a science degree, throws her own highly provocative questions at the interviewer.

Thesping by the well cast femmes is uniformly excellent. While it seems unfair to single anyone out, Valerie Bader is dynamite as the mature and sassy Angie 3, and Saskia Burmeister (“Hating Alison Ashley”) manipulates her sweet girl-next-door persona to telling effect as her Angie 7 discusses sex and submission.

Outstanding black-and-white HD widescreen imagery by lenser Nicola Daley subtly evokes everything from the high key-light portraiture of film noir to glamour model photography of the 1950s and the stark realism of direct cinema. Rest of the tech package is topnotch.

Sam Worthington, Toni Colette, Baz Luhrmann head home for new projects

SYDNEY — There was a dizzying number of announcements from Australian producers and national agency Screen Australia this week, with the agency committing production and development funding to a raft of features with some major names attached, as well as the selection of three Australian films in the Toronto Film Festival and a fourth chosen for the Venice Film Festival.

At the same time two new local features headlined by Sam Worthington and Toni Collette go into production, while Baz Luhrmann has returned home to finish prepping The Great Gatsby in 3D ahead of the start of production, now set for mid-September at Fox Studios Australia.

Screen Australia announced AUD$18 million ($19.6 million) in production funding for six features and eight TV projects, triggering AUD$85 million in production, while development funding has been given to another eight features by the agency.

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The entertainment travel specialists moved four spirited kelpies to remote parts of Australia for filming of the movie, which tells the true story of a dog renowned for his travels through WA’s Pilbara region.

Stage and Screen arranged for the four canine stars to be flown from Melbourne and Adelaide to Karratha to star in the production. The task included organising flight permits and crates, and coordinating pick-ups and transfers for the animals. On their arrival in Perth, the dogs were also given a ‘comfort stop’ before they were flown to Karratha.

“RED DOG took film travel logistics to a whole new level for us,” said Stage and Screen Travel Manager Lyndal Hunt. “We loved working with the dogs and it really was a case of booking travel for A-Listers with special requests!”

Screen Australia’s CEO Ruth Harley commented that “enhanced capacity through Enterprise funding has enabled company producers to recruit key creative and managerial personnel to oversee development and production”.

This program aims to provide long term sustainability for the Australian film industry; “ They’re building alliances with complementary domestic production companies and international partners, attracting private investment, developing new revenue streams and demonstrating innovation in the online environment” Harley said.

The state-of-the art Adelaide Studios feature ‘two soundstages, production facilities, a 96-seat screening theatre and Dolby Premiere Mixing theatre’. The Adelaide Studios will provide exciting times ahead according to SAFC Chair Cheryl Bart who stated that ‘the future looks bright – very bright’.

Hendon Studios produced such Australian titles as GALLIPOLI, BREAKER MORANT, THE CLUBTHE LIGHTHORSEMEN and MAD MAX BEYOND THUNDERDOME as well as helping to launch the careers of acclaimed Australian artists Peter Weir, Jack Thompson, Scott Hicks, Rolf de Heer, Bryan Brown, Geoffrey Rush and Bruce Beresford.

We look forward to witnessing the films produced and careers launched by the new Adelaide Studios.

Rebel Wilson may not yet be a household name in the States, but thanks to her scene-stealing role as Kristen Wiig’s roommate in the smash hit “Bridesmaids,” her career has gone turbo-charged almost overnight.

“It was my first job since moving to L.A., and there’s already talk of a sequel,” reports Wilson, who reteams with “Bridesmaids” co-star Matt Lucas in indie comedy “Small Apartments.”

Audiences will soon be seeing much more of her. She’s already wrapped two other features, “This Means War” (with Reese Witherspoon) and “A Few Best Men” — a big step for the Australian-born standup/writer.

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