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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
24 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2013 Oliver Lawrance - Photoplay: “Now with the dollar in the low 90s I think it’s a more sustainable exchange rate and much healthier for our production industry. And it will be a big help to attracting overseas productions in the feature film and TV industry as well in the commercial industry” Jo de Fina - The Otto Empire: “Clients, consumers and the entire economy has changed. The industry is in a state of flux. The state of the Australian economic and political environment this year has also affected confidence. Leadership spills, elections...” tion work this year than at any other time since inception. A part of this is attributed to our growth, but another big reason for this is the Aussie dollar devaluation. OLIVER LAWRANCE - PHOTOPLAY: When the Aussie dollar was high it affected overseas TVC productions and made it less competitive to shoot in Australia compared to most overseas cities, and even the US was looking more competitive. Now with the dollar in the low 90s I think it’s a more sustainable exchange rate and much healthier for our production industry. And it will be a big help to attracting over- seas productions in the feature film & TV industry as well in the com- mercial industry. We’ve also just set up a production company in the US, Razr, as the sister company of Photoplay, so we hope to be able to bring more US productions to film in Australia. COREY ESSE - EXIT FILMS: We are seeing less facilitation jobs from overseas for Australia, we still quote a few in New Zealand though. We are also finding we are quoting against more international directors when the Australian dollar is strong. ANNA FAWCETT - FILMGRAPHICS: Agencies and clients have greater access to overseas directors with our stronger dollar and of course, international companies do not get as much value when shooting here once they tally up their travel costs. SUSANNAH DILALLO - RAPID FILMS: 6 months ago NZ was a much cheap- er option to put forward to a client, unfortunately now its not as cost effective as it used to be. The dollar fluctuations are ever constant. Within our domestic market things don’t seem to change too much. It’s when were doing overseas work that the challenges begin. For us it’s all about keeping up with the changes in the international markets. MICHAEL COOK - THE FEDS: The strength of dollar is a challenge for our business in the Asian market. There is a strong desire amongst agencies to use international direc- tors, but the dollar is making it hard to be competitive with directors from other international markets. PETER MASTERTON - PLAZA FILMS: The currency’s strength has increased the number of directors who are prepared to be paid in it, especially ones that might be find- ing it difficult to ply their trade in their own markets. Obviously it’s very difficult to shoot international projects here too - we tend to be spending more time in NZ and South Africa, although I’m far from convinced that NZ is as cheap as its thought to be. GEORGE McKENZIE - ROBBER’S DOG: Not really, we continue to shoot most of our work in NZ and some in Australia. But the stronger AUD has meant that where necessary international locations are a real option. MICHAEL RITCHIE - REVOLVER: It’s certainly effected the notion of attracting Overseas production to this country. We are often asked to quote Sydney for a project and we know from the word go that its not going to be competitive. We are shooting in New Zealand a lot more than we used to, not that that’s a bad thing but it would be nice to keep things equally healthy here. But see question above too. PETER GRASSE - CURIOUS FILM: We’re passionate exporters offering a qual- ity product to a voracious world, and so I would like to see the AUD come down farther for us to feed them. JO DE FINA - THE OTTO EMPIRE: A strong dollar means overseas direc- tors are more affordable, so there is a lot more work going to US direc- tors, whereas in the past, that work would go to Aussie directors. Why wouldn’t creatives want to have access to everyone and anyone. It just means Aussie directors must rise to the challenge. Which I have no doubt they can, will and do! Are too many Aussie commercials being shot by overseas companies? WILF SWEETLAND - THE SWEET SHOP: This is a loaded question yet an issue that is inevitable due to cost cutting by clients and rising local production costs. When we shoot overseas (or any other Australian production company does) it is still an Australian production company shooting. Countries other than Australia have great incentives to shoot - suitable locations, favourable exchange rates, reason- able talent fees and excellent quality crew. Until Australian costs are brought in line with the change TVC+CONTENT PRODUCTION v De Fina: “A strong dollar means overseas directors are more affordable, so there is a lot more work going to US directors, whereas in the past, that work would go to Aussie directors. Why wouldn’t creatives want to have access to everyone and anyone. It just means Aussie directors must rise to the challenge. Which I have no doubt they can, will and do!” CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:26 PM Page 24
CBNAT SEPTEMBER 2013
CBNAT FEBRUARY 2014