Show Notes
In the feature film lifecycle, buyers and distributors are a major partner in building your pathway to market and audiences.
Screen Australia Head of Market & Audience Rakel Tansley joins us as we talk with Bankside Films Sophie Green, Todd Brown and Roadshow Films Edwina Waddy about working with buyers and distributors, what tools and materials you need to be globally competitive, the assets that make buyers and audiences sit up and take notice, and how audience data can inform your market strategy.
In this new Audience In/Sight series, we get the lowdown on the latest trends, data and insights from industry to shape new strategies in the attention ecosystem from those in the know.
More from Screen Australia Podcast
Do Australians value local screen and games content? The simple answer is yes. But the way we show our appreciation is more nuanced and unexpected.
From puzzle apps to MMPG, Australians love gaming — and word of mouth from peers, YouTube and socials are the major touchpoints for discovery. Like the screen industry, audience is key and a vital part of building global reach for every studio.
Horror is having a moment, and so is creator Ben Jenkins with the recent release of the cosmic horror, crime drama The Killings at Parrish Station. Like creators of horror hits across the globe like Get Out, Weapons, Talk to Me, and more recently Obsession and Backrooms, Jenkins started in comedy. "Horrible things sometimes happen to quite funny people. […] People are naturally funny, even when bad things are happening to them," hey says. "And that, to me, is drama."
The relationship between the games and screen sectors has never been closer, and with the Aussie games industry generating over $608.5 million in revenue, games storytelling is hitting a new boss level.
Start the year right with the latest Marketplace intel from Screen Australia Head of Market and Audience Rakel Tansley. Throughout the podcast, Tansley gives insight into how the Screen Australia Market and Audience team collates investment data and deal terms to provide an overview of the domestic and global marketplace, including how the data is interpreted to identify trends and develop publicly available resources for producers and filmmakers. She also discusses the rise of direct-to-audience and the microdrama, the importance of retaining IP and non-exclusive terms, the big genre and format hitters from MIPCOM (cozy crime or family co-viewing, anyone?), filling the gaps in your finance plan, and the top ten territories buying Australian content.