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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : November December 2008
Ritchie: “The film, Australia is effectively the most significant piece of branded content the world has so far seen. The Tourism Australia campaign utilizes a modern version of the storyline of the film. The executions celebrate the same emotional outcome we enjoy in the film.” He says: “There is great benefit in the local industry as a collective in working together to generate export exposure a nd o pportunit ies . We have dir ector s wh o just love to shoot - the broadcast medium and forma t is i rre levant. The 35 mm TVC will always hav e its pl ace, or at l east unti l the n ew tec hnology can r eplicate the inherent qu alities that fi lm d elivers. The new med ia market is an opportunity and is one tha t w e are grabbin g wi th bo th hands.” There’s less wo rk in the ma rket due to the lo oming economic crisis and more di rectors than eve r, says Mark Toia, director at Zoo m Film & Television: “For me pe rsonally, I’m still ve ry busy but with all the news I’m getting from other dir ec- tors around Australia things are not good at all. You know it’s bad when you get several emails a we ek from directors lo oking for ne w home s. Most of t hem blame thei r c urrent production company o r the ir pro - ducers for lack of work, not the cur- rent e conomic climat e or them - selv es. I h ave t wo very st rong directors that work out o f Zo om and both teams are pulli ng e very trick in the book to secure work.” Meanwhile, there’s been pl enty of demand for crea ting digital content for the we b: “The onl y problem is that there is no money for t he pro- duction, but lots for the web devel- ope rs th at make the sit es. Also clients t hink all you have to do is N OVE MB ER/DEC EMB ER 2 008 make a TV ad and st ick it on their sites. The truth is that web c ontent - movies, ads, shorts, et c, - have to be completely unique to s tand out on the web. It makes free-to-air or cable TV look tame in comparison for content,” says Toia. He especially en joys doing long play spots that are two-four minutes long, lik e the ones h e ha s been doing for Yamaha Motors over the yea rs wit h more slated fo r nex t year. “I really think that long form TVCs aided with product place - ment i s t he way to g o for TV. Remember (good) content is always king,” says Toia. Sam Peacoc ke, a direc tor wi th Robber’s Dog, a New Zealand pro- duc tion comp any laun ched in 2006, welcomes the move to brand- ed content with initiatives such as The Sweet Shop’s Schweppes Short Film series. “In my experience the main chal- lenge is t he one that eve ryone goes on about and that is tha t younger people have little tolerance for te le- visi on adver tising in its cu rrent form. The way we r espond to that and make thin gs pe ople a ctual ly want to watch is the main challenge - changing it f rom forced exposure to people wanting to watch it,” says Peacocke. Dive rs ity i s enc ouraged at the company so directors ca n exp lore othe r medi ums . T he offshoot , Robber’s Dog Shorts i s a pa rtner- ship bet ween d irector Adam Peacocke: “Everyone goes on about that is that younger people have little tolerance for television advertising in its current form. The way we respond to that and make things people actually want to watch is the main challenge - changing it from forced exposure to people wanting to watch it.” Stevens, pro ducer Mark Fos ter, and producer Kristian Eek and was selected to executive produce three short fi lms in 2008/2009 for the New Zealand Film Commiss ion’s Short Film Fund. Peacocke says: “My background is music videos and I’m wo rking o n two at the moment and t his i s a company that is really supportive of them, a lot of oth er c ompani es aren’t, as there isn’t a lot of money in them. That’s what I like abou t being at Robbers’ Dog - ever yone has their own personal projects on the boil.” NEW HIRES/NEW TALENT There’s been plenty of movement in the industr y wit h dir ector s changing production c ompanies and new talent coming fr om film schools, post houses and advertising agencies. The Sweet Shop’s n ew s ignings inc lude Davi d G addie, Bruce St.Clair, Sam Holst, Kathi Prosser, Nicolas Randall and Jeff Wood. Says Prince: “New talent is the corne rsto ne t o a succ essf ul film production business; the n ature of advertising and communica tions arts seems to be a li ttle bit a bout sacrificing the old for the emerging new, so if you are not bringing new- ness to the table, you are probably trading your way out of business.” He says creatives wan t t he best director on the planet and if th ey can’t get that, then they’ll next look to emerging talent because they bring an edge with them that invig- orates the work. The Sweet Shop also brought in Stev e Dicks tein, f orme r Par tizan pr esi dent and fou nder of Propag anda Fi lms’ commerc ial division, as global pres ident and managing partner. He becomes an equal partner with original share- holders Prince , Melani e Bridge , and Sharlene George. Plaza’s Masterton says it feels like there are a lot of new people com- ing into the industry from various backgrounds including film school, des ign and cr eati ves who have switched over to directing. “There’s always room for new tal- ent , the peopl e who ar e bei ng affected the most are those in the middle ground. The new guys know how to mak e th ing s wor k for a tighter b udget and quicker turn- around, but the established direc- tors are doing fine,” he says. Changes to Plaza’s roster includes the signing of British comedy direc- tor James Pilkington, who directed the Dove ‘Chocumentaries’, a fable of how two women escape li fe’ s afflictions through their chocolate addictions . His car eer started in short films with his first short film, Poc ket , wi nning the 1998 BBC Short Film Award and more recent- ly, his short film Sweet, runner up in the London Film Festival and nominated for a BAFTA. Further- more, Nicholas Reynolds left to ? CAMP AIGN B RIE F 35
Awards Dec 2008
January February 2009