London, Nov 22 (Ians) The England and Wales Cricket Board (Ecb) on Tuesday appointed former England and Sussex all-rounder Luke Wright as England men’s selector, joining the group responsible for picking national men’s squads.
Wright has ended his playing career with Sussex and will start his role as England Men’s Selector ahead of the 2023 season. He is currently coaching with Auckland Cricket and will finish his time there before starting the England Selector role at the end of March, ready for the start of the English season.
Wright will input into all England men’s squads and team selections from the senior red- and white-ball teams to Lions and Young Lions. He will share responsibility for selection with coaches and captains of the red and white ball teams, England men’s Managing Director Rob Key, Performance Director Mo Bobat and Player ID Lead David Court.
“Once he takes up the role,...
Wright has ended his playing career with Sussex and will start his role as England Men’s Selector ahead of the 2023 season. He is currently coaching with Auckland Cricket and will finish his time there before starting the England Selector role at the end of March, ready for the start of the English season.
Wright will input into all England men’s squads and team selections from the senior red- and white-ball teams to Lions and Young Lions. He will share responsibility for selection with coaches and captains of the red and white ball teams, England men’s Managing Director Rob Key, Performance Director Mo Bobat and Player ID Lead David Court.
“Once he takes up the role,...
- 11/22/2022
- by Glamsham Bureau
- GlamSham
The public broadcasters have been accused of neglecting single documentaries, resulting in a lack of diversity in stories.
And the ABC.s so-called .lock out. policy which deters some filmmakers from applying for Screen Australia funding was deemed unfair.
.There are no permanent slots for Australian documentary programs, either series or one-offs, on either of our public broadcasters,. writer/producer/director Trevor Graham told a seminar at the Australia Directors Guild conference on Thursday.
.The ABC takes the view that Screen Australia investment funds are for ABC Factual prime time, not for programs commissioned by ABC Arts or by Religion and Ethics,. said Graham, who co-founded Yarra Bank Films in 1983.
.The ABC has instituted what many producers call the Lock Out. Producers making projects for TV Arts and Religion and Ethics are told they will only be given a presale on the condition they do not approach Screen Australia for funding,...
And the ABC.s so-called .lock out. policy which deters some filmmakers from applying for Screen Australia funding was deemed unfair.
.There are no permanent slots for Australian documentary programs, either series or one-offs, on either of our public broadcasters,. writer/producer/director Trevor Graham told a seminar at the Australia Directors Guild conference on Thursday.
.The ABC takes the view that Screen Australia investment funds are for ABC Factual prime time, not for programs commissioned by ABC Arts or by Religion and Ethics,. said Graham, who co-founded Yarra Bank Films in 1983.
.The ABC has instituted what many producers call the Lock Out. Producers making projects for TV Arts and Religion and Ethics are told they will only be given a presale on the condition they do not approach Screen Australia for funding,...
- 11/7/2013
- by Don Groves
- IF.com.au
For those who couldn’t attend the Spaa forums this week, we have the full Sydney presentation and Q&A session.
Part 2, David Court explains Spaa’s Producer Distributor Film Fund in detail.
Part 3, Brian Rosen presents three different models for films financed through Spaa’s proposed Producer Distributor Film Fund, and David Court explains the advantages of the fund for producers, distributors and Government.
Part 4, Q&A
Part 5, Q&A
Click here to view the PowerPoint presentation – including the slides for different funding models.
Part 2, David Court explains Spaa’s Producer Distributor Film Fund in detail.
Part 3, Brian Rosen presents three different models for films financed through Spaa’s proposed Producer Distributor Film Fund, and David Court explains the advantages of the fund for producers, distributors and Government.
Part 4, Q&A
Part 5, Q&A
Click here to view the PowerPoint presentation – including the slides for different funding models.
- 5/5/2011
- by Miguel Gonzalez
- Encore Magazine
According to the president of the Screen Producers Association of Australia, Antony I. Ginnane, the lack of investment in mid-range films and the subsequent brain drain of creative talent means that Australia is subsidising the work of Us studios.
“Films like Wasted on the Young, Griff the Invisible and Red Hill have turbo-charged the careers of their creators. Talent is being forced to move to the Us, so Australia’s taxpayer is funding ‘research and development’ of talent for Us studios,” said Ginnane.
Ginnane spoke at today’s Sydney session about Spaa’s proposed Producer Distributor Film Fund. Providing an historical context for the fund, he explained that the success of Australia’s film industry in the 1930s and 1970s was based on distributors acting as creative/financial partners from inception.
“Since then, we’ve had exceptional years, but most years we struggle to get five percent of the local box office,...
“Films like Wasted on the Young, Griff the Invisible and Red Hill have turbo-charged the careers of their creators. Talent is being forced to move to the Us, so Australia’s taxpayer is funding ‘research and development’ of talent for Us studios,” said Ginnane.
Ginnane spoke at today’s Sydney session about Spaa’s proposed Producer Distributor Film Fund. Providing an historical context for the fund, he explained that the success of Australia’s film industry in the 1930s and 1970s was based on distributors acting as creative/financial partners from inception.
“Since then, we’ve had exceptional years, but most years we struggle to get five percent of the local box office,...
- 5/4/2011
- by Miguel Gonzalez
- Encore Magazine
Questioned by Labour MP David Parker at a Parliamentary select committee, New Zealand Film Commission chairwoman Patsy Reddy said she did not believe last year’s independent review of the Nzfc – conducted by Peter jackson and the director of the Aftrs Centre for Screen Business, David Court – was right.
“The tone of the comments clearly indicates that a very real problem exists between the commission and its client base, this is not only a lack of trust it would appear that both sides have lost respect for the other,” said Parker, but Reddy replied she doesn’t “believe that that is the situation, and we’ve been told by many that that may have been the situation but it is not the case now.”
Jackson’s report indicated that some practitioners “feel the Commission is a barrier to their filmmaking aspirations”.
According to The New Zealand Herald, Reddy said some...
“The tone of the comments clearly indicates that a very real problem exists between the commission and its client base, this is not only a lack of trust it would appear that both sides have lost respect for the other,” said Parker, but Reddy replied she doesn’t “believe that that is the situation, and we’ve been told by many that that may have been the situation but it is not the case now.”
Jackson’s report indicated that some practitioners “feel the Commission is a barrier to their filmmaking aspirations”.
According to The New Zealand Herald, Reddy said some...
- 3/10/2011
- by Miguel Gonzalez
- Encore Magazine
Everybody knows there is no exact formula to raise the funds necessary to produce a film or television program, but it doesn’t hurt to ask those who have done it successfully, using both traditional and new methods.
(note from the editor: this article was originally published in the November issue of Encore, before Screen Australia released the Drama Production Report for 2009/10)
According to the most recent National Survey of Feature Film and TV Drama Production, in 2008/09 thirteen features were financed mainly by film/TV industry sources (including cash flow against the Producer Offset); 11 were financed “substantially” by Screen Australia, State agencies and the Adelaide/Melbourne festival funds; seven (including three co-productions) were financed mainly from foreign sources; and one was financed mainly from private sources. Private investment dropped from $40m in 2007/08 to $5m in 2008/09, mainly due to the disappearance of the 10Ba model.
Under Screen Australia’s revised Terms of Trade,...
(note from the editor: this article was originally published in the November issue of Encore, before Screen Australia released the Drama Production Report for 2009/10)
According to the most recent National Survey of Feature Film and TV Drama Production, in 2008/09 thirteen features were financed mainly by film/TV industry sources (including cash flow against the Producer Offset); 11 were financed “substantially” by Screen Australia, State agencies and the Adelaide/Melbourne festival funds; seven (including three co-productions) were financed mainly from foreign sources; and one was financed mainly from private sources. Private investment dropped from $40m in 2007/08 to $5m in 2008/09, mainly due to the disappearance of the 10Ba model.
Under Screen Australia’s revised Terms of Trade,...
- 12/16/2010
- by Miguel Gonzalez
- Encore Magazine
According to Second Hand Wedding director Paul Murphy, his 2008 hit New Zealand comedy – released in Australia last week by Potential Films – is yet to make a profit.
“Due to great DVD and airline sales we have managed to climb from 30 percent (cinema income) to around 60 percent recoupment, which has been distributed proportionately to investors – including deferred payments to cast and crew. As successful as the film is considered, it has still failed to make a profit as yet,” Murphy told Encore.
Murphy said that due to the way the income is distributed, Garage Sale Productions only receives approximately 15 percent of the box office intake.
“The film made around Nz$1.9m, so approximately $280,000 came back to the filmmakers. It was shot on a production budget of around $200,000 and received a post grant of $700,000 from the New Zealand Film Commission for a total budget of around $900,000,” he explained.
About his experience working...
“Due to great DVD and airline sales we have managed to climb from 30 percent (cinema income) to around 60 percent recoupment, which has been distributed proportionately to investors – including deferred payments to cast and crew. As successful as the film is considered, it has still failed to make a profit as yet,” Murphy told Encore.
Murphy said that due to the way the income is distributed, Garage Sale Productions only receives approximately 15 percent of the box office intake.
“The film made around Nz$1.9m, so approximately $280,000 came back to the filmmakers. It was shot on a production budget of around $200,000 and received a post grant of $700,000 from the New Zealand Film Commission for a total budget of around $900,000,” he explained.
About his experience working...
- 8/3/2010
- by Miguel Gonzalez
- Encore Magazine
Peter Jackson and Aftrs Centre for Screen Business director David Court have delivered a report of their review of the New Zealand Film Commission to Arts Culture and Heritage Minister Christopher Finlayson.
Nzfc board chair Patsy Reddy said she was “concerned” because the report indicated that some practitioners feel the Commission is a barrier to their filmmaking aspirations, while the reporters recommended the Nz Government to pay “close attention” to Australia’s changes to incentives because “we do often compete for the same offshore productions”.
“An ‘us and them’ attitude; this was the most common concern, referenced by the majority of people we spoke to. They described the Commission as essentially an adversary,” said Jackson and Court in the report.
“It’s a tough position we’re in – there’s never enough money to go around. But we believe we can do better. We have already been talking to filmmakers...
Nzfc board chair Patsy Reddy said she was “concerned” because the report indicated that some practitioners feel the Commission is a barrier to their filmmaking aspirations, while the reporters recommended the Nz Government to pay “close attention” to Australia’s changes to incentives because “we do often compete for the same offshore productions”.
“An ‘us and them’ attitude; this was the most common concern, referenced by the majority of people we spoke to. They described the Commission as essentially an adversary,” said Jackson and Court in the report.
“It’s a tough position we’re in – there’s never enough money to go around. But we believe we can do better. We have already been talking to filmmakers...
- 7/1/2010
- by Miguel Gonzalez
- Encore Magazine
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