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Palace dazzles PDF Print E-mail
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Tuesday, 31 March 2009 06:52

Still from RAZZLE DAZZLE Benjamin Zeccola is the third generation of the Zeccola dynasty to make the big screen his life. His grandfather Giovanni opened a little cinema in the Italian village of Muro Lucano just after the second world war. In the 60s, his father Antonio and uncle Franco opened the Metropolitan Cinema, where they showed Italian language films, in Melbourne. When it struggled financially, Antonio turned his attention to a slightly different and ultimately successful path – bringing alternative ‘art house’ (then effectively foreign subtitled) films to Australia. He bought the Art Deco Palace Cinema in Bourke Street, Melbourne, and it was a success. Benjamin now heads up its distribution arm. His older brother Antony looks after the DVD home entertainment business.

Late last year, the company bought its 20th cinema.

In that time, the Palace audience has changed a great deal. The average age of its movie club member is now 42, up from 30.

While Benjamin says some of the company’s cinemas in Victoria appeal to young kids as well – namely Balwyn and Dendy Brighton – there is a ‘funky, Indy crowd that don’t attend cinemas as much as they used to’.

‘There’s a lot more competition for a younger audience ...who are more plugged in with the internet, watching television series, buying downloads,’ he says.
But Benjamin is optimistic this audience will turn to the cinema one day.

‘The proliferation of DVD and Pay TV and home entertainment is a good thing for creating a future audience. It gives people a great love of film. But it’s not much of a date, to go home [laughs]. It’s a great way to watch a film but it’s not as good as when you take someone out and go and enjoy it in a crowd at the cinema. No matter how good the home entertainment technology gets, you can’t deck out your home with the same equipment that we use in cinemas.

‘We’ve evolved our cinema going experience to be much more in line with what an adult expects from an entertainment experience. Adults expect a more luxurious approach – more comfortable seats, and of course state of the art sound. But as well as that we have licensed bars in most of our cinemas, and you can go and grab a fine Australian wine or a premium Australian beer – or even an international beer.’

Benjamin says Palace is keen to continue growing and has plans to open a new cinema in Adelaide in 2008. There are plans for other cinemas as well, although he remains tight-lipped about their location.

On the distribution front, the Zeccolas have just celebrated the success of Australian mockumentary RAZZLE DAZZLE and eagerly anticipate the opening in June of Sundance Festival hit CLUBLAND.

The company has supported in excess of 27 Australian films over the past few decades, including iconic Australian films LANTANA, CHOPPER and JAPANESE STORY. Benjamin said Palace’s support, which normally takes the form of an upfront distribution guarantee and then a marketing campaign (which often runs into six figures or more), probably peaked in 2006, when it released seven local films in which it had invested.

‘We don’t intend to be releasing that many Australian films each year. We’d be happier with three or four Australian films per year.’

In 2006, TEN CANOES was the best performer among those seven films. It earned just under three million in Australia.

RAZZLE DAZZLE opened in Australia on 15 March and when THE HARD COPY spoke with Benjamin, had passed the A$1 million mark in just over two weeks.
In a first for an Australian film, RAZZLE DAZZLE was released simultaneously by Palace in its cinemas and by the Australian Film Commission in eight regional cinemas on the same day, through its Regional Digital Screen Network.

The RDSN officially kicked off with a live satellite broadcast from Sydney of the hugely successful Sony Tropfest 2007 short film festival. RAZZLE DAZZLE was then screened in digital cinemas in Port Augusta, Yarram, Hervey Bay, Devonport, Katherine, Wagga Wagga, Singleton and Albany.

‘There were about seventy-eight 35mm prints,’ explains Benjamin. ‘[In contrast] through the RSDN, the film comes off a high quality hard disk and run through a server through a digital projector on to the screen. The projection quality is very, very good.’

However, he believes the regional cinemas may have dragged down the screen average because ‘they’re not locations that would normally take as much as a city location’.

Shortly after RAZZLE DAZZLE’s release, school holidays loomed and Benjamin said he expected stiff competition from Hollywood film TEENAGE MUTANT NINJA TURTLES and MR BEAN’S HOLIDAY.

‘We hope to hold on through the holidays, but the competition from the Hollywood studios is immense. It’s hard to maintain a presence in the cinema. So there’s challenges ahead, but we think the film will be on for some weeks to come. We’re hoping to cruise to two million dollars at the box office.’

CLUBLAND with Brenda Blethyn, Khan Chittenden from DANGEROUS and up and coming Australian actress Emma Booth is Palace’s next Australian feature.
‘It’s starting to generate quite a bit of buzz. It screened at Sundance where Warner Brothers Independent bought it for about five million Australian dollars. And that’s a massive sale to America.’

When asked whether he has inherited a finely tuned radar for what makes a successful film, Benjamin says ‘When you’re immersed in it, you develop a gut feeling for what’s going to work and what might not.

‘You’re guided by your own tastes and those of your colleagues. We’ve got a terrific team of dedicated people here who watch four or five films a week. When you’re watching four or five films a week and seeing how they’re going, you do develop a sensibility for how they’re going to perform.’

Palace once called for scripts on its web site. It no longer does.

‘We just don’t have enough people to read all of them. And by unsolicited we mean, if there’s no introduction from someone that we know. So if there’s a director who we know who says, “Hey, have a look at this,” or a producer that’s got a script who we know is capable of delivering the film ... we’re still looking at films. I mean I encourage people to keep on writing scripts and to find producers or find backers who’ll help them. But we just don’t have the resources to read dozens of scripts each week.’

In response to media reports, particularly prevalent last year, that Australian film industry was in dire straits, Benjamin says, ‘The business is cyclical. And you can’t look at it in one 12 month period. You can’t even look at it in a 24 month period. You have to look at it in five and 10 year cycles. And in five years in Australia we’ll make somewhere between 50 and 100 films. And if you’re making 100 films there’ll probably be 10 great ones. The odds are the same all over the world. To us it’s just a natural ebb and flow of an industry as complicated as the film industry.’

Benjamin says there’s no market for cinema like Australia anywhere else in the world.

‘We have throughout Australia a really strong network of quality cinemas. And it’s not repeated in America. It’s not repeated in the United Kingdom. They’re more like the old fashioned cinemas over there. And they’re very much more aimed at kids or young teenagers. So I think Australia is quite unique by virtue of the fact that it’s got such dedicated film lovers and cinema operators here.’

 
The secret to self distribution PDF Print E-mail
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Tuesday, 31 March 2009 06:52

Australian producer Rhonda Byrne used the ‘secret’ to make THE SECRET and to sell more than 250,000 copies of the DVD online without a major distribution partner. What is the secret to her success?

Every year, SPAA Fringe patron Peter Broderick sings the praises of self-distribution and every year, profiles a small number of films that have been successfully distributed without a conventional theatrical release. This year, THE SECRET was one of those films. Broderick told delegates how the film was launched online on 26 March this year and by the end of April more than 20,000 copies of the DVD had been sold. By the end of October, he said 250,000 DVDs had been sold.

The launch followed an international viral marketing campaign resulting in THE SECRET database numbering 100,000s of viewers across the globe.

Even more fascinating is that fact that the production company behind THE SECRET, Prime Time Productions, was the first Australian company to premiere a full-length pay-per-view feature film on the web.

Prime Time Productions teamed up with Vividas to deliver full screen, broadcast quality pictures and sound direct to computers. Using this technology, viewers can pause, skip backwards and forwards and exit and return later to finish viewing the movie, all for the cost of US$4.95.

‘Feedback from the viewers of THE SECRET has been incredibly positive and moving,’ says Prime Time Productions’s principal Rhonda Byrne.

‘And the viewing technology is simple and delivers terrific, high quality images. For most viewers, watching this video will be just like switching on a TV... except the viewer chooses when to watch.’

According to Broderick, more than 90 per cent of those who watch the online version buy the DVD, which costs US$29.95 (although there are discounts for bulk purchases).

The irony is that, although Prime Time Productions is an Australian company, Australian residents (along with those in New Zealand and Papua New Guinea) are as yet unable to watch the film online or buy the DVD. In Australia, this is because of a deal with the Nine Network that gives them an ‘exclusive hold on it until 31 December 2006’ says THE SECRET publicist John Stellar, who is based in California.

‘As soon as they broadcast it OR the clock strikes 1/01/07, THE SECRET will be available for distribution nationwide in Australia,’ he says.

Prime Time has set up US offices in Los Angeles and Chicago to undertake the marketing of THE SECRET on the web.

The online marketing tools are sophisticated, including opt-in newsletter subscriptions, RSS feeds, an automatic ‘Share THE SECRET’ email service which makes it easy for people to promote the film by ‘word of mouth’ to their friends, and code that web site owners can copy and paste to automatically display banners and other graphics that link to THE SECRET video preview page.

All this buzz online has generated interest amongst the mainstream media in the United States. THE SECRET has been featured twice on CNN’s LARRY KING LIVE, EXTRA (NBC) and THE ELLEN DEGENERES SHOW.

‘There have been a number of screenings in the US at several independent film festivals, churches, other community groups and corporations,’ says Stellar.

‘THE SECRET’s white hot buzz is all due to people sharing with their friends and family on every continent.

‘To date, there’s no plan for a TV broadcast or theatrical release in the US.’

THE SECRET was created and executive produced by Rhonda Byrne, who is a former producer of the DON LANE SHOW, LOGIE AWARDS, WORLD’S GREATEST COMMERCIALS, MARRY ME, SENSING MURDER and other television special events. Byrne launched Prime Time in 1994, after working as a senior producer for the Nine Network. But, 10 years later, she experienced a succession of traumatic events in her personal and professional life, culminating in the death of her father.

Then she read a book called The Science of Getting Rich and discovered the ‘secret’ that she says continues to transform her life. She immediately put into practice what she learned and used this secret to make THE SECRET.

Over a two-month period Byrne read hundreds of books written by and about people who also understood the secret, including Plato, Da Vinci, Galileo, Napoleon, Hugo, Beethoven, Lincoln, Edison, Einstein and Carnegie.

Contrary to what she had previously thought, she discovered that there were people who were aware of this information. Actually, there were lots of the them, and they included some of the world’s greatest living scientists, philosophers and authors.

‘Around the world, different fragments of the secret were being offered, to anyone that would listen. All that was needed was someone to pull all of the pieces together.’

The day that the Prime Time Productions team arrived in the US to film the ‘living masters’ of the secret, they had only one interview lined up. In a matter of a few weeks, the team filmed a total of 52 interviews. Wherever they went, more and more people would emerge.

Byrne and her team spoke with those in the fields of business, economics, medicine, psychology, history, theology and science. Byrne calls this people – and some 25 are featured in her film – the ‘teachers’.

Dr Denis Waitley used various aspects of the ‘secret’ to train Olympic athletes and Apollo astronauts. Best selling authors and philosophers who understand the secret include Bob Proctor, Michael Bernard Beckwith, Jack Canfield, Lisa Nichols, John Assaraf, James Ray and Dr Joe Vitale.

Byrne says Bob Proctor, in particular, is a ‘living legend’. He was, however, initially difficult to track down but was visiting Aspen for the first time in his life, when the production crew were in town, and said that ‘the universe had brought him there’.

Doctors in the fields of medicine and quantum physics explain the science behind the ‘secret’.

Byrne’s thesis is that the secret is 4000 years old (originating in the ‘Emerald Tablet’, the earliest hint of it) but until recently has been known only to a fortunate few.

‘It has been discovered, coveted, suppressed, hidden, lost and recovered. Fragments of the secret have been found in the oral traditions, in literature, in religions and philosophies throughout the centuries. For the first time, all the pieces of the secret come together in an incredible revelation, which are life transforming for all who experience it.’

Byrne herself used the secret to make THE SECRET. She says that as her company began production, ‘as if by magic’, the perfect people to make THE SECRET began to appear in her life.

‘Suddenly the office was filled with people, all working to complete the most ambitious project any of them had worked on. And without fail, each person needed for the team materialised exactly when he or she was needed. Every single person was taught the secret and together worked in total joy as they prepared this message for people worldwide.’

The message that Byrne and her team, including producer Paul Harrington, director Drew Heriot and production manager Glenda Bell, synthesised into the multi-million dollar feature length film is that one’s thoughts and feelings will manifest, according to the universal ‘law of attraction’. This includes living in the ‘eternal moment of now’, when there is no time and there is no space.

The film features interviews, dramatic recreation, historical re-enactment, comedy, animation, graphic design and CGI. It presents instances of eradicating disease, acquiring massive wealth, overcoming obstacles and achieving what many would regard as the impossible.

Because the secret helped Byrne turn around her life and make the film, she agreed in the final stages of editing to appear in the opening scenes.

‘I had no intentions of appearing in it at all,’ she says. ‘I really like getting up on a Sunday morning and nobody recognising me.’

Everyone who appeared in THE SECRET, however, repeatedly told Byrne that it was her calling – the secret behind THE SECRET is Rhonda’s story.

The very frank DVD commentary reveals in more detail how the secret was used to create THE SECRET.

The summary in the ‘special features’ section of the DVD includes a concise explanation of the science behind the law of attraction.

The web site profiles the 25 teachers featuring in the film, with audio narrative.

Find out more by visiting www.thesecret.tv

Download this article as PDF.

 
E-cinema update PDF Print E-mail
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Tuesday, 31 March 2009 06:51
Box office numbers are falling. Significantly fewer Australian films make it to the big screen. But many independent filmmakers are optimistic about the potential of digital cinema to give them opportunities to re-connect with and find new audiences - in new venues. Download the article in Adobe Acrobat.
 
Has DVD killed cinema? PDF Print E-mail
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Tuesday, 31 March 2009 06:50

 

Brisbane-based company Magna Pacific was one of the first companies to move into DVD distribution in Australia and today it is the largest independent DVD distributor in the country, posting a $9.25 million profit last financial year. Kerry Sunderland speaks with executive chairman Leon Coningham about the current state of the industry, the future of this $1.2 billion sector and his advice for independent producers. Download article as PDF.

 

 
Caught the bug yet? PDF Print E-mail
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Tuesday, 31 March 2009 06:49

Screen grab from Get a MacVery few of us have escaped the tentacles of viral marketing, also known as viral video distribution. But, for the first time, the audience has complete control. So what’s it like for those who make viral videos and those who send them off into cyberspace, hoping that the first few people who receive will like them enough to pass them on?

Download the article in Adobe Acrobat.

 

The Chaser viral campaign

(Suppose I should do a language warning...)

 



Other sites to visit

Keren Flavell's AFTRS course on viral marketing - http://myregistration.aftrs.edu.au/sr.cfm?v=e168w1

Star Wars Kid - watch the original video on one of 400,000 web sites - just try Google

Subservient chicken - www.subservientchicken.com

iFilm Viral Video - www.ifilm.com/viralvideo

YouTube - www.youtube.com

Apple vs Mac - http://www.apple.com/getamac/

The McPASSION - http://www.themcpassion.com/

The spoof Citreon ad - http://xania.org/article.php/citroen

X-Bam's Space 1889 Flash promo for www.gamesbreakout.com - www.x-bam.com

Viral Factory - www.viralfactory.com

Carlton's Big Ad - www.thebigad.com.au

A good story in Ad Week about SUBSERVIENT CHICKEN - http://www.adweek.com/aw/national/article_display.jsp?vnu_content_id=1000828049

 
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