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KEYNOTE ADDRESS
Alex Graham
Anatomy of an Industry
Pact is the UK trade association that represents and promotes the commercial interests of independent feature film, television, animation and interactive media companies. A highly effective lobbying organisation, it has regular and constructive dialogues with government, regulators, public agencies and opinion formers on all issues affecting its members and contributes to key public policy debates on the media industry, both in the UK and in Europe.
Pact negotiates terms of trade with all public service broadcasters in the UK and supports members in their business dealings with cable and satellite channels. It also lobbies for a properly structured and funded UK film industry and maintains close contact with the Film Council and other relevant film organisations and government departments.
Alex will address issues the Australian industry is facing using his experience, in the UK, as Chair of Pact and as an independent producer.
END NOTE
Ross Kauffman
Can Documentaries Change the World?
Oscar winning Born into Brothels tells the tale of a group of kids, ages 10-14, who are children of prostitutes in Calcutta's red-light district. It documents co-director Zana Briski's attempt to try to empower these children, through the art of photography, and follows their lives with their mothers for several years.
Besides winning an Oscar, Born into Brothels won the Sundance Audience Award in 2004 and prizes at several other festivals. Not only has this documentary changed the lives of these children, Zana Briski's organization “Kids with Cameras” is also busy establishing similar programs in Cairo, Haiti, and Israel.
Co-director Ross Kauffman talks with Richard Kuipers about what way and on what level this documentary might have changed society.
MASTER CLASSES
It's the Flow Not the Show
Rudy Buttignol
Understanding how a television network's branding strategy determines what programs get the “greenlight”, the great prime-time berth and the heavy promotion.
In the highly competitive world of television, networks try and stay ahead of the pack by employing various programming strategies. Some networks build on the status quo, others change their branding to better differentiate their service. Networks also completely rebuild their brands by changing the programming mix in order to attract a different demographic.
In this Masterclass, producers (and aspiring programmers) will learn how television schedules are structured and how this determines the programs that are commissioned, co-produced, pre-bought or acquired. They will also learn why some programs get the great time slot and the heavy promotion, while other deserving programs do not.
A case study of a successful, public service network, TV Ontario, will be the primary tool of instruction for this highly interactive (lots of Q&A) workshop.
Producing in Asia
James Gibbons and Vikram Channa, Discovery Networks Asia, take us to Asia and back.
An insight into two key markets in Asia:
Singapore, because it plays a unique role in championing documentaries in Asia.
China, because of the potential it represents today.
Through case studies, Discovery Networks Asia shares some of the creative challenges it has faced in the region. By using examples of the shows produced out of Asia the audience will be taken through the complex world of funding, co-financing and co-productions in the Asia region in general and in Singapore and China in particular.
Selling Docs from Malmö
Swedish producer/director Fredrik Gertten explains how he manages to keep his Malmö shop running.
Producer Fredrik Gertten founded WG Film in 1994 in order to produce author driven documentaries. As it is virtually impossible to fully finance an ambitious documentary film in Sweden, especially when you are based in far away Malmö, Fredrik decided to become active in the international co-financing world. In order to find International funding for his projects, Fredrik travels throughout the year to pitch at the documentary markets in Amsterdam, Toronto, Barcelona, Malaga, Thessaloniki and Reyjkavik.
The results have been beyond his expectations. At this moment his documentaries have been sold to over 40 broadcasters in 25 countries.
The edit starts during the shoot
Editing and story telling in factual entertainment by Michael Waldman, Series Producer/Director of Operatunity, Musicality and Ballet Changed My Life: Ballet Hoo!
"This is one of those rare occasions when television acts as a genuine force for good."
- David Chater about Ballet Changed My Life: Ballet Hoo!, The Times, 20 September 2006.
PANELS AND DISCUSSIONS
The great debate
Is government agency delivery of public funds stifling Australia's content creation industry?
Broadcasters want to commission exciting, world-class factual programs for Australian audiences. Producers want to deliver exciting programs for Australian audiences and to run sustainable businesses. Funding bodies want to support a strong, active and vibrant content creation industry. The Australian Government is considering whether the existing mechanisms of support for the industry are effective. How can public funds be delivered to enable the economic growth of the Australian content creation industry? Following Alex Graham's keynote speech about the remarkable growth in British production at a time that the Australian industry is in decline, this will be a provocative, timely and informative debate between key industry players. A panel of international experts will judge the debate, and an audience vote will determine the people's choice of winner.
Presentation; National Indigenous Television
The most exciting news in Australian broadcasting in the past few years has been the founding of the National Indigenous Television Channel (NITV). Only incorporated on the first of December last year and planning a soft launch in May this year, NITV, will present the plans, the ambition and the people behind the channel. AIDC welcomes the team bringing NITV to our screens.
Knock knock - who's there?
Case Studies on the rocky road to running a business and financing your programs. The broadcaster wants your program. Now you need to finance it. This session looks at three cases where the process of getting financed has been exceedingly challenging. The producers of the British and Australian versions of Who Do You Think You Are, Cuttlefish, The Brainy Bunch and Helicopters are Alex Graham, Brian Beaton, Margie Bryant, Gisela Kauffman, Carsten Orlt, and Mark Chapman. They explain where things got difficult and examine if there are alternative ways to work. What would have enabled the producers in each of these case studies to operate more effectively?
Social impact; fiction or documentary?
Ten Canoes from Rolf de Heer is the first Australian feature film shot entirely in an indigenous language. It is set a long time ago, before the coming of the Balanda, as white people are known here.
Together with Molly Reynolds and Tania Nehme, de Heer also directed The Balanda and The Bark Canoes, a 52 minute “Making of”. In this documentary de Heer explains how he came to be collaborating with the Ramingining community. With a cast of non-actors, who would largely invent the story as they went, Ten Canoes was highly improvisational filmmaking.
In this conversation Rolf de Heer discusses with Dr. Paolo Cherchi Usai which genre, documentary or fiction, is most suitable for social filmmaking, using his experiences from his latest film and documentary.
The Robin Anderson Inquiry: Investigation into the mental state of the documentary maker
The Robin Anderson Keynote speech was introduced at the 2003 AIDC as an homage to one of Australia's greatest documentary filmmakers, Robin Anderson. The keynote traditionally touches on the state of documentary making in Australia and the rest of the world.
As part of the 20th anniversary celebrations, the Robin Anderson Keynote speech has been replaced by the Robin Anderson Inquiry; an investigation into the mental state of the documentary maker or, what motivates them to keep making films?
Big ideas, small budgets
TV can still cut it when it comes to tackling the big issues of the day but whilst producers all over the world are asked to do more for less, small budgets don't necessarily mean small ideas. Stuart Menzies (Head of Documentaries, ABC TV) asks Kevin Dawson (RTÉ), Ellen Windemuth (Off the Fence) and Jan Younghusband (Channel 4) to showcase a range of recent 'big idea, small budget' films and to share the secrets of their success
Perspective on alternative voices
A platform to explore the need to make work which breaks genuine new ground:
The boundaries of Australian documentary form and content are increasingly being pushed by people working outside traditional funding structures. Who are these film makers? What are they trying to say?
This is not a session about “how to get your film made even if the Broadcasters don't give you the money”, this is about the creative and cultural imperatives of truly independent film making.
Factuality: the flavor of format television
Format television and factual entertainment have grown to adulthood. Programs like Who Do You Think You Are and Operatunity stand out because of the quality and investigative well researched approach. What are the secrets behind a great format and how hard is it to sell them. Do public broadcasters dislike formats? Can formats travel? What is the economic value of intellectual property on a global market?
Constructing a cross media production
Cross-media production is both a technical and editorial challenge. The issues become even more complex when you consider the varied deployment strategies, formal and informal educational requirements, rights clearances, and the inevitable tension of coordinating priorities between separate creative teams and production schedules. So how do you produce innovative, immersive and compelling cross media projects? Hear about the distribution challenges, storytelling opportunities, and the lessons learned from leaders in this field.
ABC new content policy
"Opinion"? "Topical and Factual"? There are new content categories in the ABC Television's Editorial Policy but what does it all mean for filmmakers? Find out from Michael Ward (Head of Policy and Administration), Kylie Burke (Policy Advisor), Courtney Gibson (Head of Arts, Entertainment & Comedy) and Stuart Menzies (Head of Documentaries). ABC commissioners and policy makers discuss the implications of the new content guidelines.
Does my arts look big in this?
Beyond behind-the-scenes docs, post panel shows and out the other side of Operatunity: These TV formats cast long shadows and continue to provide templates that have been crafted into new arts programs. But where to now for innovation in arts TV? How far are broadcasters prepared to push the boat out in terms of form and content? How does the advent of digital delivery enable us to think differently about creating and distributing arts content? What kinds of arts programming do people want to see; what kinds of arts programs do people want to make, and what kind of screen content do artists want to collaborate on?
SBSi meet and greet
SBS Independent (SBSi) has a successful history of collaborating with independent documentary producers to create outstanding television that reflects Australia's rich cultural diversity. SBSi is now commissioning a wider range of work than ever before from gutsy, innovative and analytical ideas, to popular factual entertainment series. Meet the new General Manager of SBSi, Ned Lander, and the Documentary and Factual Commissioning Editors and hear their vision for the future commissioning of quality documentary and factual entertainment programs.
Natural history filmmaking in an urbanised World
As the natural world becomes more alienated from the lives of urban residents, it also becomes more fascinating. Through channels like National Geographic and Discovery Channel, people learn new ways of interacting with nature. As a form of educational entertainment natural history is brought home to people. What are the ethics of Natural History Filmmaking and how far does the responsibility of a broadcaster go in getting its audience committed to reconnect with nature.
Who owns our history?
Fair use policies for the use of archives and copyright protected intellectual property in documentary filmmaking. The 21st century will be the best documented century so far. But will we ever be able to see the footage? Most of it lies tucked away in archives protected by copyrights. When it comes to written history, the internet made it possible to share and compile information so that the sum of bits becomes a knowledge base. Online encyclopedia Wikipedia is an example of the power of sharing information. The Creative Archive Project has combined the visual archives of the BBC, Channel 4, major British universities and the catalogue of stock footage sales company ITN Source and made the material available for the public for non-commercial usage. The question for a society that relies more and more on visual evidence is; who owns our history?
Documentary Australia presentation
Documentary Australia is a new philanthropic initiative, which aims to attract private money to the documentary industry.
Its focus is to educate and encourage philanthropy in the area of documentary production and to inform private foundations, charities and filmmakers of the benefits of working together. This presentation is a soft launch of a comprehensive website and three main guides for users of the site.
In the USA over 1,000 private foundations grant approximately US$4 billion to media every year. With the right tax incentives in Australia there is a significant pool of funds from private foundations and individuals that could be released into the funding of documentaries.
There are approximately 1,500 trusts and foundations in Australia which give over half a billion dollars in estimated donations each year to health, education, the environment, social welfare, indigenous issues and the arts.
Foundations need to see that documentaries are an extension of grant making activities, and can leverage the effectiveness of them. Filmmakers will be encouraged to shift their thinking towards new partnerships with foundations and targeted audiences for their stories.
In 2007 Documentary Australia will be organizing seminars for private foundations and individual donors as well as seminars for the documentary sector to help bridge the two
Go mentor!
Do you need a guide, teacher, collaborator, advisor, counsellor or guru? Documentary filmmaking involves a process of life-long learning and, no matter how much experience you have, you may still need a mentor to take you to the next level.
This session explores the mentor relationship and what both parties need from each other to make it work. We will highlight and interrogate some of the existing mentor schemes and look at some not so well known options.
Two new initiatives will be announced plus the launch of a new national Mentor Billboard.
Marketing cinema docs
According to the Australian Film Commission, on average seven Australian documentaries were released each year in Australian cinemas between 1988 and 2005. Over this same period four titles were released in the UK and 12 in the US. Clearly, to have your documentary shown in the cinemas is something just a few directors will accomplish. What does a filmmaker have to do to get their doc on the big screen? How do you market and distribute your documentary into a theatrical release? Filmmakers, distributors and exhibitors will share their experiences, ideas, tricks and expectations.
DocAgora 07
The first occasion the international documentary scene talks further about new ways to finance creative documentaries and alternative voices through other revenue schemes besides broadcast. The first DocAgora was held in Amsterdam during IDFA on November 30, 2006. Future meetings are scheduled during AIDC and Hot Docs in Toronto.
Versioning for the international market
More facts! No, more emotion! More pace! No, more local insight! Oh and more Americans! In TV, can one size fit all? Not if you intend to produce for the international market it can't. So come and hear how to squeeze the budget, tighten the schedule, re-cut the rushes and generally negotiate your way through several versions of your own beloved film. The nitty gritty will be revealed by a team who together recently turned-out four versions of the ambitious feature doc Bom Bali to satisfy the demands of Network Ten, Sky (UK), Discovery USA and Discovery Asia.
Podlove
Podlove is a ground breaking media package. It combines five avant-garde documentary films of five minutes duration, with an advanced interactive website www.sbs.com.au/podlove to explore the impact of digital communications on our relationships. Whether it's between strangers, friends, lovers or family members, Podlove discovers how communication technologies have added to, or detracted from our lives. Each short film utilises digital technology and hybrid content to maximise the storytelling and aesthetic qualities of the work. The Podlove series was initiated by the Australian Film Commission (AFC) and SBS Independent (SBSi) to encourage and extend digital content production in innovative ways, and provide a stepping-stone and platform for emerging filmmakers to work with broadcasters and create cross-platform content. SBSi and the AFC, together with the Series Producer, and some of the Podlove directors, will present several episodes of the series, explore the online component and discuss their strategies for working with each other. Expect a vibrant verbal interchange! A second series initiative, Podlove2, will be announced at this session.
French kiss
The French discovered the West coast first, in the year 2004 to be precise.
That year AIDC hosted a delegation of French producers in Fremantle. Some productive collaborations grew from that visit and the results are near delivery now. Now is a good moment for a mid-term evaluation. Does the Memorandum of Understanding work? Are there cultural obstructions? Can Australians keep doing it with the French?
The Chinese broadcasting system
The Chinese market represents a huge potential. With a growing population of 1.3 billion, the number of households is mesmerizing. But who are the broadcasters in China? What are their mandates? What are the content requirements for Chinese channels? What are the chances for content producers outside of China to venture in to this unexplored market? This session shines a light on the Chinese broadcast system.
Science for dummies
A science doc craft session to put a little substance in your style….
What the hell's happening to the science documentary and TV?
All these gorgeous exciting new, popular, user-generated and viewer-friendly formats, lots of explosions and action- and precious little science!
In this session, some of the world's top science commissioners and indies will lock horns to debate whether accessibility has to be at the cost of difficult science, and share the secrets of their craft: how we can exploit modern formats (including new media) to tell our science stories- whatever they are.
What science, how? Is there a bottom line of what constitutes quality science - or do we go with the flow of popular consumption - if it's too hard for them, it's too hard for us?
Why do we do science docs? What's the point? And how do we deliver popular science that means something…?
Interactive documentaries, a web design case study
We've all heard about the astonishing success of YouTube, MySpace and Google Video but how do you create a website that gives the internet audience a truly interactive experience at the same time as servicing the needs of broadcasters, distributors and producers. This session is a case study of the steps involved in constructing a website to complement, enhance and drive a TV series about young people who are trying to make the world a better place. unfcuktheworld.com has been designed by Australia's leading post house, Digital Pictures on behalf of the new Australian company 360 Degree Films.
How to reach the changing educational market
This session will explore the nexus between documentary and education. How do teachers access and use learning resources, including documentaries? How do documentary producers plan to meet the needs of this audience? Can an income be sourced from this market? Where do multimedia producers fit in?
National and international perspectives will be represented, with input from those already successfully tapping into this market.
MARKETS & SALES OFFICE ACTIVITIES
AIDC Sales Office
AIDC's sales office provides facilities to delegates who want to meet buyers or potential business partners. The facilities include; matchmaking, meeting spaces and viewing equipment. All market activities are coordinated through the Sales Office. Market activities include; DOCUmart, MeetMarket, Pitch Competitions and Videotheque. At the Sales Office you can also apply for a meeting with one of the consultants.
The Australian DOCUmart is a one-day pitching session where independent producers from around the world can pitch their documentary ideas to a panel of international broadcasters and investors.
The intent of the DOCUmart is to assist in securing investment deals that pave the way to getting these programs into production.
Over the day, up to 18 short-listed projects with an international focus will be pitched in front of an audience of leading international and Australian commissioning editors, broadcasters, potential co-production partners, distributors, funding bodies, program buyers, financiers, and new media commissioners.
DOCUmart gives independent producers a unique opportunity to gather market intelligence by observing the panel comment on the pitched projects
Each pitch will be a maximum of seven minutes, followed by eight minutes of questions and discussion from the panel of judges.
One-on-one meetings between filmmakers of specially selected projects and international and local buyers. MeetMarket, in its second year, is an opportunity to pitch projects and to develop relationships.
Buyers choose meetings with their most preferred projects after viewing written and filmed pitch materials online. Viewing by the international buyers and commissioning editors takes place before the Conference. The filmmakers too chose their preferred meetings from a list of attending buyers. All meeting schedules are advised before the Conference. The filmmakers have access to a pitch training session prior to the Conference.
MeetMarket is an initiative of the Australian Film Commission and the AIDC. It is open to all documentary makers and projects, from feature documentaries and television series to specialised genres.
For the fourth consecutive year, ABC TV's Arts, Entertainment & Comedy Department is proud to present an Arts Documentary Pitching Competition at the AIDC. In 2007 ABC TV has joined forces with Channel 4 Arts and Performance to finance the development of a documentary arts project to the value of AUD $20,000.
ABC TV and Channel 4 called for treatments for a one-hour arts documentary or documentary series for primetime slots. ABC TV and Channel 4 are interested in innovative formats for arts programming.
So come along and support your colleague filmmakers as panellists Amanda Duthie from the ABC and Jan Younghusband from Channel 4 put them through their paces in what will be a revealing interrogation.
SBS Independent and the Australian Film Commission will finance the development of a documentary series to the value of AUD $20,000 in this year's Pitch Competition. They have short listed a number of concept stage short series proposals with a focus on gutsy, innovative and appealing series that creatively reflect the SBS charter and put younger faces on screen.
Series will vary from entertainment which makes you laugh to more confronting, analytical or essayistic work. Applicants were also encouraged to put forward ideas with organic potential to attract and build online communities.
With just eight minutes for filmmakers to pitch their series it is sure to be a lively event! Each pitch will be followed by ten minutes of questions from the panel.
A pitching competition for teenagers, aged 12-17
Document Your World is a groundbreaking youth media initiative to unearth the filmmakers of the future.
From country towns to camel farms, vineyards to suburban beaches, opal fields to concrete jungles, young people will have the chance to document the world around them. An ABC jtv junior development package will be made available to the winner.
Their visions are bound to challenge old school documentary form and practice, but can they win over the commissioning editors and convince them to finance a short documentary? After all it is a pitch as all other pitches. No favours done, all industry rules apply!
The teams will enrol in tallstoreez productionz' award winning youth media training project, Directing the Hero.
It is important to acknowledge that teenagers are stakeholders in a diverse media landscape. Accessibility to digital devices and the Internet, with web-based platforms that allow online content sharing, have turned them into content producers and broadcasters.
Given access to the equipment and professional mentor support they can not only deliver broadcast television but also push the boundaries!
This initiative is developed with the support of South Australian Government through Arts SA Healthy Initiatives, Australian Children's Television Foundation, Country Arts SA, AIDC 2007, Australian Festival for Young People aka Come Out 2007 and tallstoreez productionz.
Who is who at AIDC
Commissioning Editors and Buyers introduce themselves, their channels and their program mandates briefly. Who are they? What are they looking for? What are they not looking for?
This is a perfect opportunity to gather the market intelligence that will benefit you well throughout the course of the conference and after.
Barbara Truyen and Susan MacKinnon will moderate this session. They will also provide you with a few tips and tricks on how to conduct your ‘hallway' pitch.