Melbourne: Australia’s best film sales market
The renewal of Melbourne’s 37 Degrees South film market’s partnership with London’s Production Finance Market is offering local film-makers an opportunity like no other says Ed Gibbs, in an opinion piece that first appeared in Encore.
Among the more vital aspects of any film market is how producers, sales agents and financiers can engage, do business, talk shop and, one hopes, get projects up and running.
Earlier this year, in Berlin, Film London announced the renewal of a partnership that will see its Production Finance Market (PFM) offer Australian producers the opportunity to do business with the international market during the London Film Festival. Three key Australian players will be selected from the 37 Degrees South film market, run by the Melbourne International Film Festival (MIFF), and flown over to pitch.
In return, MIFF hosts a series of talks by Adrian Wootton, the chief executive of Film London and the British Film Commission adding cultural weight to its festival program.
“Opportunity for producers to prove their worth” “opportunity to sit at the table with the big boys”
Same old stance (well and truly on the back foot) by those who think they know the way the truth and the light. .
What about an opportunity for the British (and other) inverters to invest in Australian films? What about an opportunity to open new relationships with Australian film makers, writers, photographers, art departments and …who are those other people?….er..Oh yes.. actors.
What about an opportunity for the investors from other places to seek Australian theatrical and artistic investment projects?
We have been stooping to satisfy others for around 80 years, seeking approval and muttering phrases like “Not bad for a local film” “Blockbuster Hollywood style movie ” and at the same time, waving goodbye to film makers, actors, writers etc as they leave, many having had little success at home, to live and work, at first in the UK, now in the US and UK, and actually basking in their glory and proudly claiming them as our own from afar.
Stop looking overseas for approval. Start making Australian films. Start sharing theatrical and cinematic ideas, start investing in the arts and start making a statement that will turn the worlds attention.
Well may one hope to “get projects up and running” we have been trying for decades and here we are in 2013 still marking time.
If only it was that simple. Financing non-studio pictures is incredibly difficult — and is getting increasingly more so. Aus film relies on international investment for a variety of reasons — and the PFM exchange program remains incredibly valuable.
For the record, this year’s PFM recipients are: David Parker, Leanne Tonkes and Tim Sanders from New Zealand. Congratulations to you all.
I should also stress that a significant number of international film financiers (50 in total) were in attendance at the Melbourne film market, so there is indeed a two-way arrangement. Sadly, at the time of going to press, the festival was unable to provide any current data, despite repeated requests in the weeks leading up to the market.
Respectful reply to Ed Gibbs.
I agree that it is not simple, but “that” simple is perhaps a misreading of my intent.
The term “Australian films” covers a wide range of artistic endeavor, and though it includes them, it does not warmly embrace the dodgy ones or the “comic book” efforts.
Film making is a collaborative exercise, but it is an artistic exercise, not a corporate one or a producers playground, any more than it is a writers, an actors or a directors.
It is interesting to reflect that Sir Don Bradman did not have the benefit of the Australian institute of sport, neither did he have a campaign to raise millions of dollars; he did practice with a golf ball and stump though and by hitting a ball against a water tank , and he did play Australian test cricket; in fact, he played it better than anyone else.