Lack of support at Cannes

Hi David Gould,

Re:Experiences with Screen Australia and lack of support in Cannes – May 2010

As a budding screen writer and producer, it is unfortunately not the first time to have to hear about how Australia’s producers are not been supported and how the likes of Screen Australia displays disconnection with Australian producers’ lack of access to the players that may be able to genuinely assist.

I recently took a screen writing course at a Sydney University where our lecturer MADE SURE we’d read an entire article of several pages written by a well known Australian producer on the lack of support Australian producers were receiving from its major agencies. I suppose she was preparing us for the reality of the industry.

No doubt you’ve heard that “its who you know and not always what you know”. Sounds like those particular Screen Australia personnel that you encountered may have made prior deals or negotiations with certain creatives which unfortunately you were not a part of.

From producers, directors, writers, cinematographersand other talented Australians, they ARE taken seriously by the international market, especially the United States or else they’d not use the likes of Australian actors for major film roles.
It’s believed the problem lies within Australia itself. Those that have talent are seemingly left to fend for themselves, especially those that have little or no acces to funding personnell that may be able to help.

As Australia’s population continues to increase, no doubt the industry will become only more competitive. From in-depth research and from listening and talking with many in the industry and generally speaking, it’s believed it’s the Australian industry that stunts it’s own growth- where many will need to get off the elitist bandwagon that distracts them from further opening the door, assisting serious producers and film makers.

Generally speaking and of the saddest truth though, it is of the industry’s needs to take itself seriously – believe in itself – back itself up and then maybe, just maybe, it can get on with the real task of assisting films of quality, merit and real potential rather than conducting backdoor deals to questionable films.

David, good on you for having a go. As an English speaking country, Australia is highly thought of by those big international film movers and shakers – they take Australia seriously. We just need to strongly believe in ourselves and continue to have a go.

I feel for David Gould. Yes I had the same treatment even back in 1990 when I was at Cannes! All these years later, I keep getting the feeling that Screen Australia are, in the main, not staffed by people who have been in a producer’s shoes! And that’s really dumb. They employ people who talk smooth in interviews.

And no doubt, to stand up and be noticed by the government people, especially it being tough to make Aussie movies without them, is brave. When I kept being knocked back, I made three full length features by asking cast & crew to work for me on deferred fees with me paying for the catering and unavoidables like public risk insurance premiums. That’s tough & a measure of the tenacity producers need in this country.

I have found the marketing side of our tax paid state and federal film bodies very weak. On the other side of the coin I’ll admit theirs is not an easy job. But above all, some of these people ought to be experienced in the hands on, to know just how hard it is, not hard in a practical sense, but ‘stupid-hard’. Government staff don’t like listening to my truth because it upsets them so much. So I’ll keep at them till they support my projects even if it’s to shut up folk like me and Mr Gould!
John Meagher

I was distressed to read the protestations of David Gould and as an Australian filmmaker I was saddened to see that Encore magazine published his letter.

I have over the past three years like hundreds of other filmmakers had nothing less than outstanding support and assistance at Cannes and other film and television markets around the world from the wonderful team at Screen Australia and also from the state representatives in attendance.

It seems from David’s letter he did not make Screen Australia aware of his plan to attend the market and with close to 300 Australians in attendance, I think it is unrealistic to presume they would automatically know who he was and what his goals where whilst in Cannes.

Most attending producers and directors contact Screen Australia to inform them of their attendance, their projects and their purpose for attending the Marche Du Film. Screen Australia invited all those planning to attend to get in touch in their E Bulletin on 25th of March. Screen Australia also produces a booklet entitled “Producers in Cannes” which David doesn’t seem to be in, so he either doesn’t get the newsletter or didn’t think this was a worthwhile exercise.

When I advised Screen Australia of my attendance it was explained to me this year there were a number of events and not all Australians were going to be invited to all of them but by informing Screen Australia of my plans I had a good chance I’d be invited to the events most relevant to me. It seems David neglected to do this preparation.

While attracting offshore production is something all federal and state agencies include in their raison d’être while at markets (this is more the role of Ausfilm), I believe the primary purpose is to attract investment in Australian projects and filmmakers and I can say, without question, they do a brilliant job at this. There is an opportunity for filmmakers to provide brochures for their projects and with the large number of visitors to the office (and by the way, EVERYONE knows where Screen Australia is) this exposure is invaluable.

I have met filmmakers from other countries who are jealous of the resources and support of our federal agency. Personally I would much prefer to discuss my projects over a glass of rose with one of the the best views in Cannes than in a bunker at the Palais.

Those at Screen Australia have always been available to help – I dropped by myself at midday today to ask for advice and by 4.45 was sitting down with three experienced staff who quickly answered all my questions.

It seems with a little more research, David may have been able to make better use of the opportunities Screen Australia provides and I would encourage him and other filmmakers to do this next year.

Best

Leanne Tonkes
Producer

I am with David 100% (as usual)
once we had an international investor willing to put in $100million to Oz production but could not find support anywhere!!! He went to another country…
In fact a project we had a few yrs back, we thought was approved for funding was actually rejected by the final reader as unsuitable for funding as it would be “just an expensive showreel for all involved” (a period piece 1935) so a few hours after we were told NO that same person who got it rejected asked if his company could produce it wtf? – its rejected as not good enough BUT good enough to make under his name!!! huh?
Quite frankly we gave up a long time ago on any government support & have never gone for funding again for anything – yet…
Go David for saying what so many of us are thinking & telling it like it is!
Maybe someone will start listening to us independents who are actually out there making films while trying not to starve!!!

Screen Australia and its predecessor incarnations only support those that got funding from them or from the FFC (who stole your copyright, unless you are an FFC board menber).

In the real world of filmmaking, the reason you search for a Distributor and Completion Guarantor during Development is they are your support.

John, Screen Australia (like Cinemedia) are staffed by public servants, not professional filmmakers, otherwise you’d be dealing with the likes of George Miller on the board (& they rejected him).

Cannes bases their decisions and preference on quality of product alone. For an Aussie filmmaker to expect that the Cannes organisers to know who they are is ego in the extreme.

Mandy, that “Reader” who canned the script, Blind Freddy could see it was deliberate sabotage. He or she would’ve got the funds from the investor to produce it–as dumb as they are.

This, by no means, tells you to give up. It means hone your craft to the most advanced technologies, and don’t listen to screenwriting teachers, so deep in apathy themselves that they use the classroom as a political stage to show you there’s no use persuing filmmaking.

If you make it (fantastic), they will come!

.

Thank you Leanne for putting a different spin on things. Your experiences with
Screen Australia are quite positive and it’s hoped David Gould will get to read what you have written so it may be able to assist him. You’ve certainly helped me see them a little differently.

Without a shadow of a doubt, I also believe that Encore did the right thing by publishing David’s piece or else its a gross reflection of political correctness which creative people should never fall prone to and should be able to deal with. And besides, by they publishing the piece, it’s readers are alot more aware with information that the likes of yourself have been able to provide.

It’s a little disturbing to find that you have been saddened by the published piece, although it did not directly offend any one particular individual – but was more a rightful opinion of his general attitude towards a major funding agency that probably doesnt market itself right – which seems to be a major problem with Australian film funding agencies.

Thank you Encore and equally thank you Leanne or else I’d have been clueless to Screen Australia’s positive achievements or your positive experience in approach or displaying the right attitude
Cheers

Whinging Australians and whinging Australian filmmakers (aspiring?) at that!
Makes great copy!
Pity its crap.
Guys (& girls) its easy to criticize, and particularly easy to criticize, government agencies performing the thankless task of trying to be all things to all people.

I started in the film industry 22 years ago and came from outside the industry. I knew no one and had done nothing and so I DO understand the position of the complainants, but I do not agree with them (in my first year i slept in a car).

Taking on some of the points made directly – access to the Screen Australia/distributor function – I know the distributors and they WILL attend if they are meeting producers and filmmakers THEY feel are relevant to them and they WILL NOT attend if they are being approached by all and sundry. There are Screen Australia functions where all Australians are welcome and then there are select functions which are set up differently and appropriately.

The Screen Australia office – rather than being poky and badly positioned, is big enough, well resourced and well positioned. Seasoned Cannes attendees will validate that having a “booth” with some of the other country representatives, while more visible to the general public in Cannes, is not best placed to attract serious filmmakers. I feel grateful and even a bit guilty that the Australian taxpayer pays for the venue we already have as it is QUITE big and TOO nice as it is. Furthermore, Australia has had a presence at this particular location for more than twenty years and that level of continuity is very important in the often fluctuating and less than reliable world scene.

I was a no one and worked hard and made films and then became recognised and then got invited. What is wrong with that?

Additionally the office is there to support, provide a meeting venue, internet access, maybe some advice – but i see some producers expect the government agency to actually do their job as producer – set up meetings, directly make contacts etc. I would neither expect, nor even want, government people to do this.

In summary, it is fact that the office is well positioned and has well served its purpose for Australia for more than twenty years – through the good times – the years of “Strictly”, “Muriel’s”, “Priscilla”, “The Piano” – and the leaner years. Why we have good years and lean years is clearly related to the films WE the filmmakers make, not the position of a goddamn office or access for neophytes to functions.

Finally the criticism is particularly inappropriate in the context of the hard work put in by the individuals who set up and staff the office. They work tirelessly every year and i have always found them incredibly accommodating (even when i was a no one!).

Filmmaking is hard. Its meant to be. Setting up financing and distribution internationally is hard. Its meant to be. One should not take out one’s frustrations on individuals or the position of an office. And if one does have valid concerns, these should be taken up with agency directly, or the guilds or the Screen Producers Association of Australia.

regards,

Jonathan Shteinman
Producer

Hi David, I’m a Writer/Director from Perth, Western Australia. It seems we are both in Cannes on common ground as I also have my first short film ‘TRIGGER’ in the Short Film Corner. We should catch up for a drink before the end of the festival!?

Anyway… sorry to hear of your frustration with Screen Australia. This post caught my attention, specifically your comments on Screen Australia’s Office/presence in Cannes. As a young/new Director, I don’t feel sufficiently clued up on the state of the Australian Film Industry (from a Producers POV) to comment. However, as a 23yr old first-time Director who has traveled to Cannes by myself… so far, my interactions with Screen Australia have proved pleasant and greatly assisting. I realise that you may have a range of goals to achieve during your time at Cannes that may differ slightly from my own… This could have something to do with our different experiences thus far. Although clearly, we’re all here to try and leverage or kick start our careers and build momentum towards future projects. I haven’t spent a great deal of time in the market section of the festival so I can’t comment in regards to that either.

However, I’ve really enjoyed using the Screen Australia office as a base… I mean they’ve, provided us with a quality and comfortable environment to hold meetings/chill out/work… with free wi-fi, laptops, printer, a screening room and one heck of an amazing view of the water front… it’s located in close proximity to the festival hub… there’s a big ‘Screen Australia’ banner hanging from the balcony for everyone to see… being in Cannes for the first time, I found it much easier to find than I would have thought… and in regards to the elevator issue, just use the second elevator a meter to your right – it goes to the 8th floor. I’ve also been provided with a ‘goodie-bag’ providing a range of informative booklets and other materials. I will admit ignorance to the way other countries have been catered for… but I have been pretty impressed with the Screen Australia Office. I’ve also attended a number of events held at the Screen Australia office and found them to be immensely enlightening and fantastic opportunities for networking… not to mention getting a free feed and a few drinks!

Sure, the Australian film industry certainly has kinks that must be ironed out… it’s far from a perfect system… I am not responding to your comments on those issues. But based purely only my experiences specifically in Cannes over the last week and a half, I feel valued and supported by both ScreenWest and Screen Australia.

ACMI’s Head of Film Programs Richard Sowada penned this entry on the ACMI Blog in response to the criticism of Screen Australia:
http://blog.acmi.net.au/index......at-cannes/

Congratulations to David on being “able to achieve all this without the slightest assistance from Screen Australia”. According to the SA website they gave you $90,000 to make your short film ‘Awaken’. Clearly there is an error, and you should get in touch with their web team asap.

Producers in this country are funded by the tax payer to attend overseas film markets. Where on earth else would that sort of financial support be available to private enterprise? However, big problermo is that the film funding bodies in this country have got their heads so far up their backsides that they insist on supporting a small clique of talentless hacks (producers and directors) that have shown they haven’t got what it takes and yet continue to receive support. They need to look outside the box. How embarrassing it all is.

Film makers have to be practical, Australia is only a tiny percentage of the world market. Films need to ne promoted around the world and complaining of lack of exposure have only themselves to blame.

My film news and review program “PREMIERE:THE MOVIE SCENE” is in it’s 4th year of production (158 episodes and counting). I dearly would like to have Australian film production news, b-roll and trailer content but have almost given up due to a lack of interest from producers.

My program is seen in numerous countries around the world and is translated into several languages. The show is usually full of Hollywood, Bollywood and film festival content, but would love to promote Aussie film and tv so if you want exposure in Europe, Middle East and other countries (and airlines). send your trailers and promotional material to me.

Andrew Thomson
Producer Director
Astro Media Pty Ltd

To Leanne Tonkes,

How disappointed I was to read your disregard for a fellow filmmaker having such a terrible experience with Screen Australia and telling him that if he bothered to actually notify Screen Australia of his attendence that maybe they could have done something etc etc etc bla bla. You then said that you made it clear to screen australia that you were attending????? That’s not surprising Leanne when you were funded by Screen Australia to go (as it states on your webpage) and in fact no wonder you are such a great voice for Screen Australia / Film Victoria as it seems you and your company have only ever done things with funding from both of them.

I find your comments typical of the Screen Australia moto “Kick a man when his down” mentality. David, unfortunately you’re going to have to do the hard yards if you want to survive. I was funded nearly $2Million dollars only to be given no support for my own investment or that of the Screen Australia I have to pay back for over 3 and a bit years.

Rely on your own wants and needs to tell unique stories and if you do get funding or support from Screen Australia then do as Leane has done and follow like sheep so that you get more…. or do as I do and get out there and let your ability to make good films and attract great audiences sell you. Screen Australia won’t ever do that and to be honest won’t ever want to now that you’ve spoken up. Join the other 25,000 filmmakers in this country that have the balls to make films because you love the art but remember that it’s a film business. If they aren’t willing to help facilitate a business that they invested in then what hope have you got to convince them otherwise.

Go out and do what you love mate. No-one can take that away from you. Also put me in charge for one year at Screen Australia and I could turn our industry into something really special. Where investors actually have a chance to see money back and our audiences don’t laugh out loud when they are told to support an industry that doesn’t support itself. I support this industry by standing up and saying it how it is. I also pay my cast and crew more than normal. I also laugh when those that slag you off for wanting answers do what they are doing here.

Stay true to you and find a path on your own. There is a lot more to it. Your audience is out there so go get them. My webpage has had over 13,000,000 hits on it in the last year and a bit. None of which comes from Screen Australia or Film Victoria webpage tracking. What does that tell you??

Matt Norman – NOT THE BLACK SHEEP THAT FOLLOWS BUT THE BLACK SHEEP THAT IS.

The biggest problem is that there are so many great filmmakers in Australia and only a very small amount of funds to go around. Instead of bagging the government agencies all the time how about focusing on the REAL ISSUE OF FILM PIRACY. Once we have good money flowing to the distributors again then maybe we can get good pre-sales to make our films. The industry is slowly dying from a cancer that is eating away at the heart. EVERYONE SHOULD GET OFF THEIR BACKSIDES AND DO SOMETHING ABOUT THIS! And to all those film industry people (crew and others) that buy pirate copies in Bali and downloading hundreds of illegal films – you are the ones to blame when you have no more work.