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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
27 NOVEMBER/DECEMBER 2013 CAMPAIGNBRIEF Susannah DiLallo - Rapid Films: “Another issue that we’re seeing more and more is the competition to win the job. The Australian market is saturated with directors so it’s becoming increasingly cut-throat. Budgets get slashed to become more competitive and it can get to the stage that unfortunately no one wins.” Michael Cook - The Feds: “The obvious issues are decreasing budgets and less time. But increasingly concerning is the number of jobs where creative is not completely signed off, which means consequent changes and additional costs make jobs even harder once awarded” in current economic conditions, a percentage of productions will by necessity need to be shot off-shore. JONATHAN SAMWAY - PRODIGY FILMS: The weaker Australian dollar will make it very difficult for overseas companies to be shooting here. That said, it is an international market. ALEX HAY - JUNGLEBOYS: I don’t think so. From my past experience as an agency producer, I know there are times that creatives feel that a script requires an overseas director. So, if the budget can afford it, it’s nice to get an overseas director to pitch on a job to get an international perspective. As a local production company however, we see it as healthy competition. OLIVER LAWRANCE - PHOTOPLAY: Every production company has to compete on an international level. We all have to aspire to great cre- ative work and content that appeals globally. The increased globalisa- tion of our industry means that Photoplay is pitching on more work out of the US, Europe and Asia, and naturally more overseas compa- nies will pitch on work over here too. Currently we’re working on a project with an agency in New York, and pitching two others out of London and India. I also think we should have no fear of overseas production companies pitching on Australian work, just as much as we are pitching on work in Asia and USA. It’s just the nature of our industry and the increased competi- tiveness hopefully leads to better creative and content, that’s my hope anyway! COREY ESSE - EXIT FILMS: No, there aren’t that many productions that are 100% completed by overseas companies. Many rely on local facilitation which means you are involved to some level, a lot of the production companies have rela- tionships with overseas directors and companies for that very reason. ANNA FAWCETT - FILMGRAPHICS: What is too many? Most produc- tion houses in Australia represent overseas directors and production companies. A lot of work goes to America, they have an enormous pool of A directors. Or an agency may fly in a director from overseas who usually has an affiliation with a local production company. I like competition, it’s natural part of any industry. Australian directors can also fly to other countries and shoot, so it works both ways. SUSANNAH DILALLO - RAPID FILMS: No more so than Aussie directors going overseas to shoot in other markets. It’s always been a bone of con- tention. For us it feels pretty fair. Our guys get to look at quite a bit of overseas work but at the same time it sucks to loose out on a big job to an “out of towner”. To be honest I feel it can really lift the production standards. MICHAEL COOK - THE FEDS: Not espe- cially. It’s a natural desire for cre- atives to want to use big name over- seas directors when the creative and the budget warrant it. PETER MASTERTON - PLAZA FILMS: In one way that’s a bit like asking are there too many foreign cars on our roads - the obvious answer is no, because we all like to drive them, but then German cars tend to be better than Holdens, and I don’t think anyone would say the stan- dard of commercials and content in Australia has risen because there are more international directors working here. GEORGE McKENZIE - ROBBER’S DOG: Every time an ‘overseas’ director shoots a New Zealand or Australian commercial the complaints start. As a member of the production com- munity I find this embarrassing. Good directors have global careers, coveted Australasian directors shoot all over the world. Why shouldn’t the reverse happen down under? MICHAEL RITCHIE - REVOLVER: I think it’s a net result of our dollar com- bined with Australia’s improved creative reputation in the global arena. There is alway a sense of the exotic about buying overseas execu- tion and it can work out really well... sometimes it’s not right. We are a really grown up, mature and creative market now, (thanks to ‘Dumb ways to Die’ we are going stellar) and our production industry TVC+CONTENT PRODUCTION is also far more revered than it ever was - this means we are also work- ing in OS markets. It’s simply glob- al and I am proud of the fact that we are from Australia which is now producing some of the best work in the world. PETER GRASSE - CURIOUS FILM: Work with the best and you get the best result. That’s true! Yet some of the best directors are right here in Australia and New Zealand. That takes confidence and experience to employ. JO DE FINA - THE OTTO EMPIRE: What tends to happen is Aussie produc- tion companies either facilitate an overseas job here, or the agency goes direct to the director’s interna- tional production company. Where a US director is bought into Australia to work, at least the pro- duction is still happening here. So the industry is still ticking over even if the local directors are being over looked. If the job leaves our shores entirely, that’s when the affect is truly felt. We have great talent here. We should nurture and protect it. We produce great work here, so there’s no reason not to support our creative minds. But competition is good, and drives local talent to develop their skills. We are all living in a global economy and industry now, rather than a local one. As someone who spent 10 years living and working outside of Australia, I welcome this global approach. v CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:27 PM Page 27
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