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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
28 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2013 George McKenzie - Robber’s Dog: “Production companies can’t really rely solely on the NZ market. It’s too small and the local and international competition for scripts is too fierce. So, to make sense of post GFC NZ, we expanded our definition of ‘local’ to include Australia. We opened an office in Sydney to support that idea” Corey Esse - Exit Films: “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 relationships with overseas directors and companies for that very reason” WILF SWEETLAND - THE SWEET SHOP: Traditional TVCs have until now been the mainstay of our business. Now however, long form work is increasing. We are working a lot more in long form these days, with two features in development for our directors, our own weekly brand funded cycling show, and partner- ing on more regular long form com- mercials for online. With our International position we facilitate a lot of work from our international offices in Australia and New Zealand. JONATHAN SAMWAY - PRODIGY FILMS: The split of local to overseas pro- ductions would be a neat 50/50 split. We have done a lot of direct work with agencies in China over the last 12 months. We have also worked well in New Zealand (but I consider that local as we have had an office in Auckland for the last 12 years). ALEX HAY - JUNGLEBOYS: Most of our business is local but we have done a number of jobs in New Zealand this year which has been fantastic. Nice and close to home and such great scripts come out of New Zealand. OLIVER LAWRANCE - PHOTOPLAY: The ratio of local vs international work is changing for us, but currently Photoplay does 20% international and 80% local. Photoplay has been expanding and has just opened offices in Auckland and New York, so the international share of busi- ness will naturally increase. What proportion of your business is local vs international? COREY ESSE - EXIT FILMS: Our core business is the local market, Australia and NZ, we do some facilitation for the USA and the UK but that is mainly from our NZ office. Some of our directors shoot 50% of their work internationally, most are 100% here though. ANNA FAWCETT - FILMGRAPHICS: On a recent sales trip to Singapore I was told repeatedly that Australia is expensive, and that clients prefer to shoot in Malaysia and Thailand for regional work because of this. So everyone has been affected and there is less international work coming into the country. SUSANNAH DILALLO - RAPID FILMS: 70% local, 30% international. MICHAEL COOK - THE FEDS: Our main commercial business still comes mostly from the local market, but we continue to grow our network of agencies in Asia and we are seeing more growth in NZ. PETER MASTERTON - PLAZA FILMS: About 50/50. GEORGE McKENZIE - ROBBER’S DOG: The breakdown of converted scripts would roughly be 50% NZ, 40% Australia, 10% the rest. MICHAEL RITCHIE - REVOLVER: I a m not sure, I think it’s actually less overseas than it was two years ago. Australia is creatively generating as good work as anywhere in the world. I guess we might be relying on 30% of overseas work to aug- ment our local slate. PETER GRASSE - CURIOUS FILM: The majority of our business is local. However in the past month the influx of ‘facilitation’ jobs has increased by 100%. Mind you, it is going into winter in the Northern Hemisphere so no surprises there. ALEX HAY - JUNGLEBOYS: The major- ity of Jungleboys’ commercial work comes from the Australian and New Zealand market and that is where our focus is, in the commer- cial world. We do have a separate long-form division that’s thriving and we like to give our commercial directors the opportunity to work on long-form projects. All of our directors worked on our recent ABC comedy The Elegant Gentleman’s Guide to Knife Fighting. Commercial directors Trent O’Donnell and Scott Pickett are each directing blocks of episodes of The Moodys, which is the follow up to A Moody Christmas - the six part comedy series that aired on the ABC last year. To us it is a benefit to have commercial directors doing a stint on a long-form series because it is a different way of working to commercials. Shooting up to 10 minutes as opposed to 30 seconds in a day, naturally you need to change the way you work and I find that the directors come back to the commercial world with new approaches and ideas that ulti- mately benefit their commercial work. OLIVER LAWRANCE - PHOTOPLAY: For Photoplay the core business is com- mercials and digital content, but long form has always been part of our vision from the outset. We always look for ways to collaborate and help support long form projects that interest our directors and pro- ducers, and this tends to result in TVC+CONTENT PRODUCTION What proportion is local TVCs vs international TVCs vs long-form work? several productions each year. This year Photoplay produced an ABC1 series that Scott Otto Anderson directed, which was a comic take of the world of contemporary art, as well as a feature documentary by Andrew Lancaster called The Lost Aviator which is just being sent out to the international festivals. There’s also a feature film in the pipeline, and several TV series and films being developed and pitched at any one time. Developing our own long-form productions has always been at the heart of what Photoplay is about, but given the amount of time and effort that’s involved in development before the project eventually gets green lit, when you look at the figures this is still only a small portion of the overall income for Photoplay, but it’s slowly growing. COREY ESSE - EXIT FILMS: We largely produce local commercials and long form work. The international com- mercials are mainly completed by our directors with international rep- resentation, there are exceptions though. SUSANNAH DILALLO - RAPID FILMS: I guess the bulk of it is still local stuff. We have a few international projects that we are looking at right now and we are also developing two very exciting long-form projects. For us it’s all about looking at options and really throwing every- thing we have into our projects. Big or small, long or short anything we put our name to gets the complete Rapid experience. MICHAEL COOK - THE FEDS: Local commercials still make up the high- est proportion of our business, but that is changing as our Broadcast v FGE_CAMPAIGN_BRIEF_AD_DEC13_FINAL.indd 1 1/11/13 10:20 AM CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:27 PM Page 28
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