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INDUSTRY PERSPECTIVES

Picture Partnership
CO-PRODUCTIONS AND THE AUSTRALIAN SCREEN INDUSTRIES

CO-PRODUCTIONS ARE, BY NOW, ESTABLISHED COGS IN THE AUSTRALIAN-CINEMA MACHINE, EVEN
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SPEAKS TO SEVERAL INDUSTRY INSIDERS TO SCOPE OUT THE BENEFITS AND DRAWBACKS OF SUCH
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$XVWUDOLD GLGQpW HQWHU LQWR DQ\ LQWHUQDWLRQDO FR SURGXFWLRQV compared to a typical Aussie feature that may do well domesti
until 1986, when we signed a memorandum of understanding cally but subsequently has to rethink and drastically rebrand in
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compared to others across the world. As our burgeoning Traditionally, Australia’s domestic market has been tough
industry started to catch the world’s gaze during our golden IRU ĺOPPDNHUV :H KDYH D VKULQNLQJ JRYHUQPHQW IXQGLQJ SRRO
era in the 1970s and 1980s, creatives overseas displayed – be it from state or federal agencies – and audiences for local
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ing Australian stories – albeit with bigger budgets and greater ,Q OLJKW RI DOO RI WKLV LQWHUQDWLRQDO FR SURGXFWLRQV RIIHU D
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domestically – there have been many others that didn’t take
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shot at two markets, which they wouldn’t normally get domesti funding from China and premiered at the Venice Film Festival.
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tive budgets and bigger crews. Put simply, they offer strength in marketed properly. It was just tossed out. I was a bit down in
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RXWZDUGV WR WKH UHVW RI WKH ZRUOG DQG VR WKHLU FRQWHQW ZLOO UHĻHFW to marketing that was much more aggressive and unasham
this. This means they are better set up to attain a global reach edly more focused on the spectacular:

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Opposite, clockwise from top left: The Railway Man; Guardians of LNTSGR UHCDN RBQDDMR VHSG SRTM@LHR GTFD RSTCHN VHSG SGD AHF-
THEŭ4OMB; Maya the Bee Movie; The Tree; "AIT $; A Few Less Men FDRS A@BJFQNTMC XNT UD DUDQ RDDM ( C V@KJ NTS @MC kQDVNQJR

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