Category Archives: Film

Film news with a particular orientation towards Australia.

Hollywood Targeted by Chinese Hackers

At least one Burbank studio has been hacked, experts say, and piracy is rampant in
“a culture of copying.”

6:00 AM PST 3/7/2013 by Tim Appelo – THR

Have Chinese hackers invaded Hollywood’s computers, as they have the systems of
Facebook, Apple, The New York Times and more than 100 other major Western
entities? While some studio sources say no, cybersecurity experts tell THR another
story.

“Yes, absolutely,” says cyber-espionage expert Dmitri Alperovitch, former vp threat
research at McAfee and co-founder of CrowdStrike. “I know of major Hollywood
studios that have worked on distribution rights and other negotiations with Chinese
companies and have been hacked before those negotiations had been completed
because the Chinese wanted their negotiation playbook. The other side knows exactly
what they’re planning to do and will cheat and get their way in the negotiation.” Continue reading Hollywood Targeted by Chinese Hackers

What’s Behind the Dismal Winter at the US Box Office

What’s Behind the Dismal Winter at the US Box Office

5:00 AM PST 3/6/2013 by Pamela McClintock – THR

Theater stocks slide and grosses drop 15 percent as “Jack the Giant Slayer” leads a
season of discontent and a glut of grim action flops leaves few studios unscathed.

When Bryan Singer sat down at his computer in mid-January and read Internet
comments criticizing a new Warner Bros. poster for his big-budget epic Jack the
Giant Slayer, he fumed. He didn’t care for the cartoonish image of the film’s stars
brandishing swords and standing around a swirling beanstalk. So Singer complained
on Twitter. “Sorry for these crappy airbrushed images,” he wrote Jan. 16, irking
Warners’ powerful marketing head Sue Kroll. “They do the film no justice. I’m proud
of the film & our great test scores.” An insider confesses, “Bryan felt like he had to
apologize to his fans.”

The dust-up points to a long and fraught process culminating with the low $27.2
million North American debut of Jack the Giant Slayer during the March 1-to-3
weekend, the latest in a string of dismal 2013 domestic releases. Revenue and
attendance both are down a steep 15 percent from the same period in 2012, wiping
away gains made last year. Jack might have cost far more than any of the other
misses, but in assessing the carnage, there’s a collective sense that Hollywood is
misjudging the moviegoing audience and piling too many of the same types of movies
on top of one another. Continue reading What’s Behind the Dismal Winter at the US Box Office

2012 box office figures in Australia

From Screen Daily:

Australian box office up on 2011; down on 2010

28 January, 2013 | By

The people of Australia spent $1,173.2m (A$1,125.5m) on cinema tickets in 2012, a 2.8% increase on the previous year but about $7.6m (A$7.3m) less than they spent in a record-breaking 2010.

 It is the third consecutive year that annual revenues have exceeded $1bn.

The Motion Picture Distributors Association of Australia (MPDAA) released the figures but, as usual, chose not to estimate admission numbers so early in the year.

It is likely that 85 to 90 million tickets were sold – the population is 22.9 million.

The five films that lead the pack in 2012 all grossed more than $30m:

  • The Avengers (Walt Disney);
  • Skyfall (Sony Pictures);
  • The Dark Knight Rises (Warner Bros);
  • Ted (Universal);
  • The Hunger Games (Roadshow).

The next five all exceeded $20m:

  • The Twilight Saga: Breaking Dawn – Part 2 (Hoyts/StudioCanal);
  • Ice Age 4: Continental Drift (Fox);
  • Madagascar 3: Europe’s Most Wanted (Paramount);
  • The Best Exotic Marigold Hotel (Fox);
  • Sherlock Holmes: A Game Of Shadows (Roadshow).

“Clearly 2012 benefitted from a tremendous mix of commercial and highly entertaining movies and consumers continue to demonstrate strong support for the timeless and unique appeal of going to the cinema,” said Marc Wooldridge, chair of the MPDAA, in a statement.

The managing director at Twentieth Century Fox Australia also said that Australia boasts some of the best cinemas in the world and a night at the movies continues to provide “a tremendous, good value, out-of-home experience”.

Of the 548 films (421 were new releases) that earned some money in 2012:

  • 231 (42.2%) were from the US
  • 63 (11.5%) from the UK
  • 43 (7.8%) from Australia
  • 211 from other countries.

According to government agency Screen Australia, the amount spent on tickets to the 43 Australian films was $49.8m (A$47.9m), which represented 4.3% of the total gross, and a few million dollars more than the five-year average.

The annual domestic share has not been higher than 5% for the past 10 years and no higher than 10% for the past 25 years.

The top grossing Australian film, The Sapphires, grossed $15.1m (A$14.5m). The others in the top five were Happy Feet Two, Kimderella, A Few Best Men and Mental.

Australia has 1,995 cinema screens and the MPDAA estimates that 72% of them are now converted to digital. Of these, 57% are 3D capable.

Wooldridge also noted that Australian exhibitors lead the world, on a per capita basis, on the number of screens accessible to disabled audiences.

Film Vic Script Lab

From the Film Vic Industry News:

Thoughts from the Feature Film Script Lab

We love supporting writers to develop their craft and create great stories for the screen. Last week we ran a Feature Film Script Lab for Victorian practitioners to develop their projects with the help of local and international mentors including John Sayles, Maggie Renzi and Joe Forte.

Eight projects were selected for development from 75 expressions of interest, and as participants returned to their daily lives we asked them to send us their two favourite things about the lab. Here’s what some of them had to say: Continue reading Film Vic Script Lab

Local filmmakers catch onto crowdfunding

Financing films using crowd funding is growing in Australia. It is hard to get
money for a feature if you have not yet made one.

Last week about 100 people gathered in a small studio in inner city Sydney to listen
to Andrew Masterson read excerpts from his novel The Second Coming. Director
David Barker and producer Angie Fielder also talked during the evening about how
they intended to make the 2001 Ned Kelly Crime Fiction Award winner into a film
noir murder mystery, and introduced actress Sarah Snook, who is set to be the film’s
femme fatale.

The Second Coming is about a man who believes he is Jesus and has to clear his
name after he becomes the prime suspect in a murder. It is hoped that the film
version will go into production in 2013.

Continue reading Local filmmakers catch onto crowdfunding

‘Taut thriller’: Assange movie highlights teen struggle

IT IS a story full of complexity and trauma, and largely unknown to a wider audience who view its subject as merely a publisher of classified military intelligence. Yet the teenage years of Julian Assange – now the subject of a gripping film – will again stir vigorous debate.
Underground, the latest political thriller from writer-director Robert Connolly – which had its world premiere at the Toronto International Film Festival on Saturday night – homes in on Assange’s troubled upbringing, in an effort to make sense of his present predicament. The embattled WikiLeaks founder, currently holed up behind the walls of the Ecuadorian embassy in London, remains fearful of being extradited to the US for publishing the leaks.
“I knew a lot about the current situation, but had very little knowledge of that period in history,” says Connolly, whose previous political thrillers include Balibo and The Bank (which also both screened in Toronto). “It was something of a revelation to me.”

Continue reading ‘Taut thriller’: Assange movie highlights teen struggle

Variety reviews ‘Underground: The Julian Assange Story’, at the Toronto Film Festival

Straightforward and effective, “Underground” is a made-for-TV biopic about WikiLeaks founder Julian Assange’s formative years as a teenage hacker in Australia. Helmer-scribe Robert Connolly (“The Bank,” “Balibo”), an Oz filmmaker with a genuine and consistent social conscience, does an excellent job of dramatizing Assange’s unconventional background and his coming of age during a time of political activism and technological innovation, albeit taking artistic license with incidents, characters and timelines. Guaranteed to be one of the smallscreen events of the year when it preems on Network Ten Down Under, this timely, strongly thesped drama reps quality material for fests and broadcast outlets worldwide.

Continue reading Variety reviews ‘Underground: The Julian Assange Story’, at the Toronto Film Festival

Don’t Call Her Muriel – Toni Collette

Toni Collette reunites with Muriel’s Wedding director P J Hogan to make Mental.
From working-class Sydney to Sunset Boulevard is quite a journey, but Toni Collette has made it look easy. Amanda Hooton meets the instinctive actor and hands-on mother who has taken the “t” out of can’t.

You can tell Toni Collette is a celebrity because of her hair. It’s blonde (art, not nature) and thick, and it has an excellent kink in it, swinging over her forehead and brushing her cheekbone. Even when celebrities shave their heads – as Collette has done on more than one occasion – you just know the great hair is there, waiting to spring forth again upon an astonished world.

Continue reading Don’t Call Her Muriel – Toni Collette

Worst Box Office slump in a decade

Worst Box Office slump in a decade as Hollywood loses golden touch

Analysts blame a surfeit of sequels and remakes

Hollywood has suffered its worst weekend at the American box office since the immediate aftermath of the 9/11 terror attacks, with analysts blaming a surfeit of sequels and remakes for deterring audiences.

Initial estimates suggested the entire gross takings for cinemas in North America would be around $US65 million ($A62.8 million) last weekend, down 20 per cent from the same period a year ago.

In September 2001, takings on one weekend fell to just $US59.7 million ($A57.7 million).
The results were so bad that the best-performing movie in America, measured in terms of revenue per screen, was Raiders of the Lost Ark, first released in 1981. It was shown on re-release on 267 screens last weekend and took in $US1.7 million ($A1.6 million), at an average $US6460 ($A6244) per screen.

No single film grossed more than $US10 million over the weekend. The nearest was The Possession, a horror story with no big stars, that took just $US9.5 million ($A9.18 million).
The Words, which stars Bradley Cooper, was savaged by critics and disappointed at the box office.

Other major releases also disappointed. The Words, starring Bradley Cooper, one of Hollywood’s most in-demand leading men, was savaged by critics as “boring” and “turgid”, while The Cold Light of Day, an action film starring the British actor Henry Cavill, Bruce Willis and Sigourney Weaver, also flopped badly after costing $US20 million ($A19.3 million) to make. It was described by The New York Times as a “catastrophe worth noting only for the presence of its name cast.” The Labour Day weekend, which has just passed, is traditionally slow for cinemas, but this year attendances sank to levels which shocked studio executives.

It capped a disappointing season for Hollywood, which had expected its biggest ever summer. In a still troubled economy, executives were reluctant to take risks on original concepts and relied heavily on a series of big-budget action films and superhero sequels.
The result was the lowest summer movie attendance in 20 years. The number of tickets sold fell to 532 million, down 4 per cent from summer 2011.

Two films that were successful – The Avengers and The Dark Knight Rises, a Batman film – accounted for almost a quarter of the entire box office return in North America. Before the summer even began, the Disney studio had been forced to incur a $US200 million ($A193 million) writedown over its science-fiction flop, John Carter, in March.

Paul Dergarabedian, a box office analyst at Hollywood.com, said: “It is pretty scary when the top movie comes in at only $9.5 million. On paper, the summer of 2012 looked like a clear record-breaker. But the audience is what makes and breaks the summer, and they didn’t come out in the numbers we expected for a lot of these films.”

Factors contributing to the slump included the Olympics on TV. The mass shooting in which 12 people were killed at a screening of The Dark Knight Rises in Colorado in July also put people off. But neither factor was believed to have had a major impact on attendance.

Nick Allen, Los Angeles – Telegraph – September 11, 2012

Feature Films from the Spierig Brothers, Rolf De Heer and Greg Mclean greenlit

Screen Australia today announced $5.5 million investment in three new feature
projects triggering over $17 million in production.

Predestination is a new film noir, science fiction, crime thriller from writer/director
brothers Michael and Peter Spierig (Daybreakers) about the life of a temporal agent
who has to recruit his younger self to pursue the one criminal who has for a lifetime
eluded him. Produced by Paddy McDonald and Tim McGahan, the film is based on
the short story by revered sci-fi author Robert A Heinlein.

Veteran Australian filmmaker Rolf de Heer’s Charlie’s Country has also been
approved for investment. Rolf de Heer will once again collaborate with one of
Australia’s greatest actors David Gulpilil (The Tracker). Produced by Nils Erik
Nielsen and Peter Djigirr, the film is an uplifting tragi-comic portrait of one man’s
struggle to define himself as an Aboriginal in modern Australia.

Screen Australia also confirmed its commitment to the horror feature Wolf Creek 2
from director Greg McLean. The film is written by McLean and Aaron Sterns and
produced by Helen Leake, Greg McLean and Steve Topic.

“These three diverse feature projects supported by Screen Australia today come from
some of the most exciting filmmaking teams in Australia,” said Screen Australia’s
Chief Executive Ruth Harley.

“Predestination is a strong script which will be executed by a proven and talented
team passionate about the sci-fi genre.

“Charlie’s Country continues a tradition of Rolf de Heer’s previous films The Tracker
and Ten Canoes which combines cultural significance with commercial and critical
potential.

“The long-awaited return of the mad killer Mick Taylor in the sequel to Wolf Creek
comes from an experienced team which can take advantage of the significant pre-
existing market awareness both in Australia and overseas,” concluded Dr Harley.

CHARLIE’S COUNTRY

Vertigo Productions Pty Ltd
Producers Nils Erik Nielsen, Peter Djigirr
Writer/Director Rolf de Heer
International Sales Fandango Portobello
Australian Distributor Hopscotch
Cast David Gulpilil
Synopsis Rolf de Heer and David Gulpilil collaborate to create a tragi-comic
portrait of Charlie’s struggle to understand how he should define himself as an
Aboriginal in modern Australia.

PREDESTINATION

Wolfhound Pictures/Blacklab Entertainment
Producers Paddy McDonald, Tim McGahan
Writer/Directors Michael Spierig, Peter Spierig
International Sales Arclight Films
Australian Distributor Pinnacle Films
Synopsis Chronicles the life of a temporal agent who on his final assignment must
recruit his younger self, while pursuing the one criminal that has eluded him
throughout time.

WOLF CREEK 2

Emu Creek Pictures Pty Ltd
Producer/Writer/Director Greg McLean
Producers Helen Leake, Steve Topic
Writer Aaron Sterns
International Sales Arclight Films
Australian Distributor Roadshow Films
Synopsis The outback once again becomes a place of mind-bending horror, action
and suspense as another unwitting backpacker becomes prey for crazed, serial-killing
pig-shooter, Mick Taylor.

Screen Australia: Thursday 6 September 2012

Aaddendum:

He terrified audiences with his depraved take on Ivan Milat-style serial killer Mick
Taylor back in 2005. Now, after one false start and a funding fall-out, Aussie actor
John Jarratt is finally set to reprise the role that helped make Wolf Creek one of
Australia’s most successful horror flicks, reports the Daily Telegraph. So far, Jarratt
is the only actor cast in the sequel and the actor told Confidential yesterday he is
ready to transform back into his blood-thirsty alter ego, saying the script penned by
writer director Greg McLean is “just as scary” as the original. “It’s the sort of stuff
horror buffs really want,” said Jarratt, who had recently wrapped a small part in
Quentin Tarantino’s upcoming Django Unchained.