Screen Australia.s revamped P&A fund is supporting the theatrical release of three Australian films.
The distributors of Last Cab to Darwin (Icon), The Dressmaker (Universal) and Blinky Bill: The Movie (Studiocanal) are getting a total of $1 million.
Those are non-recourse loans, which means the agency expects to be repaid if the films recoup their release costs but will wipe off the debt if they do not.
However producers and distributors who may be keen to access the revolving fund should know that only $2 million or so is available per year, depending on the rate of returns. Hence only one or two more films are likely to benefit from sizable P&A support this financial year.
On July 1 the fund was renamed P&A Plus and the guidelines were tweaked to be less prescriptive and to make clearer provision to support films that take an alternative distribution path.
The distributors of Last Cab to Darwin (Icon), The Dressmaker (Universal) and Blinky Bill: The Movie (Studiocanal) are getting a total of $1 million.
Those are non-recourse loans, which means the agency expects to be repaid if the films recoup their release costs but will wipe off the debt if they do not.
However producers and distributors who may be keen to access the revolving fund should know that only $2 million or so is available per year, depending on the rate of returns. Hence only one or two more films are likely to benefit from sizable P&A support this financial year.
On July 1 the fund was renamed P&A Plus and the guidelines were tweaked to be less prescriptive and to make clearer provision to support films that take an alternative distribution path.
- 8/19/2015
- by Don Groves
- IF.com.au
Twelve Australian films have been released in Us cinemas this year led by Mad Max: Fury Road, which has raked in $147.5 million but is fast running out of gas and may finish with a bit more than $150 million.
That brings the action-adventure.s global total to $US357 million, including South Korea.s $30 million, the UK.s $27.1 million, France.s $16.7 million, Russia.s $13.7 million, Brazil.s $10.9 million, Germany.s $9.5 million, Mexico.s $8 million and Japan.s $6 million in 10 days.
In Australia George Miller.s film has grossed a fine $21.4 million. Village Roadshow Pictures has declined to comment on the prospects of a sequel.
The Water Diviner conjured up nearly $4.2 million in the Us, part of a worldwide haul of $35.4 million, which includes Turkey.s $6.1 million, Spain.s $2.7 million, the UK.s skimpy. $2 million and Italy.s $1.2 million..
Russell Crowe's drama misfired in France and Germany, earning $620,000 and $308,000 respectively, according to Rentrak.
That brings the action-adventure.s global total to $US357 million, including South Korea.s $30 million, the UK.s $27.1 million, France.s $16.7 million, Russia.s $13.7 million, Brazil.s $10.9 million, Germany.s $9.5 million, Mexico.s $8 million and Japan.s $6 million in 10 days.
In Australia George Miller.s film has grossed a fine $21.4 million. Village Roadshow Pictures has declined to comment on the prospects of a sequel.
The Water Diviner conjured up nearly $4.2 million in the Us, part of a worldwide haul of $35.4 million, which includes Turkey.s $6.1 million, Spain.s $2.7 million, the UK.s skimpy. $2 million and Italy.s $1.2 million..
Russell Crowe's drama misfired in France and Germany, earning $620,000 and $308,000 respectively, according to Rentrak.
- 7/2/2015
- by Don Groves
- IF.com.au
Seven Australian films have been released in Us cinemas this year led by The Water Diviner, which has grossed a decent $US2.5 million in 12 days on 320 screens.
The other six titles all had limited theatrical exposure as a platform for VOD and DVD sales. Predestination, for example, premiered in January on 20 screens and earned $68,372.
Not so with George Miller's Mad Max: Fury Road, which Warner Bros. is launching on May 15 (May 14 in Australia) after the Cannes Film Festival premiere..
A little-heralded success is Genevieve Bailey's I Am Eleven, which has had a staggered roll-out since last September and amassed $301,000 so far, including nearly $100,000 this calendar year.. In Australia the feature doc has grossed an admirable $330,000.
However most other producers contacted by If have not yet been given B.O. figures and digital sales results from the Us distributors, which could suggest tardy reporting practices.
Magnolia launched Kriv Stenders...
The other six titles all had limited theatrical exposure as a platform for VOD and DVD sales. Predestination, for example, premiered in January on 20 screens and earned $68,372.
Not so with George Miller's Mad Max: Fury Road, which Warner Bros. is launching on May 15 (May 14 in Australia) after the Cannes Film Festival premiere..
A little-heralded success is Genevieve Bailey's I Am Eleven, which has had a staggered roll-out since last September and amassed $301,000 so far, including nearly $100,000 this calendar year.. In Australia the feature doc has grossed an admirable $330,000.
However most other producers contacted by If have not yet been given B.O. figures and digital sales results from the Us distributors, which could suggest tardy reporting practices.
Magnolia launched Kriv Stenders...
- 5/7/2015
- by Don Groves
- IF.com.au
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week […]
The post This Week In Trailers: I Am Eleven, We The Economy, Showrunners, Ambition, Spandau Ballet: Soul Boys of the Western World appeared first on /Film.
The post This Week In Trailers: I Am Eleven, We The Economy, Showrunners, Ambition, Spandau Ballet: Soul Boys of the Western World appeared first on /Film.
- 10/4/2014
- by Christopher Stipp
- Slash Film
After platforming at four cinemas in New York and Los Angeles John Curran.s Tracks expanded to 28 screens in the Us last weekend.
The 3-day gross was $US70,951 for a per-screen average of $2,534, bringing the 10-day cume to $103,098.
That.s not a great result for the Weinstein Co., which originally intended to launch the Outback adventure starring Mia Wasikowska as .camel girl. Robyn Davidson in May.
Tracks underlines how tough it can be for Australian films to crack the mainstream Us market, while deals for a limited theatrical release or straight to DVD and VOD are becoming more common.
John V. Soto.s The Reckoning is taking the latter path with a simultaneous VOD and DVD launch in the Us and Canada on October 28 via Anchor Bay Entertainment.
.A theatrical release in North America would require a substantial P&A commitment that is better spent pushing the VOD release,. said Soto,...
The 3-day gross was $US70,951 for a per-screen average of $2,534, bringing the 10-day cume to $103,098.
That.s not a great result for the Weinstein Co., which originally intended to launch the Outback adventure starring Mia Wasikowska as .camel girl. Robyn Davidson in May.
Tracks underlines how tough it can be for Australian films to crack the mainstream Us market, while deals for a limited theatrical release or straight to DVD and VOD are becoming more common.
John V. Soto.s The Reckoning is taking the latter path with a simultaneous VOD and DVD launch in the Us and Canada on October 28 via Anchor Bay Entertainment.
.A theatrical release in North America would require a substantial P&A commitment that is better spent pushing the VOD release,. said Soto,...
- 9/29/2014
- by Don Groves
- IF.com.au
The upcoming weekend boasts an onslaught of new Specialty titles vying for audiences. In all likelihood, however, many will have a short big screen life as the fall’s awards contenders ramp up and crowd others out. Five of this week’s dozen-plus newcomers are spotlighted here with Fox Searchlight’s The Drop edging on a wide release. The feature starring Tom Hardy, Noomi Rapace and James Gandolfini will bow in over 800 theaters. TWC’s The Disappearance Of Eleanor Rigby also joins the fray with a platform release. The film also has two accompanying titles told from the perspective of its two main characters, which will be released in more limited runs in October. Magnolia will open its thriller Honeymoon in a day and date release while Dada Films’ Swearnet: The Movie breaks a movie record with the most F-bombs ever. And Cohen Media Group’s My Old Lady bowed Wednesday in limited release.
- 9/11/2014
- by Brian Brooks
- Deadline
Here's how an 11-year-old French girl describes the future. "There are flying cars, dogs who eat screws and batteries, and aliens have captured the world," she gushes. But then she slows, thinks harder, folds her arms, kicks her legs in their black leggings. Inspiration strikes: "And every human being has a huge house, and human beings don't have to do anything because the robots do everything." Her forecast is paranoid and utopian, imaginative and shopworn, a goony improvisation and possibly revelatory in the manner of play-therapy. Rather than explore it, or ask a follow-up, director/interviewer Genevieve Bailey just cuts away, to another kid elsewhere in the world, talking about wanting to grow up to be an actress. Bailey's I Am Eleven travels the world,...
- 9/10/2014
- Village Voice
Genevieve Bailey.s documentary I Am Eleven will play in multiple Us cities starting next month, among the widest releases in that market for an Australian title.
The Melbourne-based Diy filmmaker has signed deals with a theatrical distributor and an on-demand cinema platform which will make the film available progressively throughout the Us.
.We.re aiming big in the Us so it took a lot of time to work out the right partners,. Bailey told If.
New York-based International Film Circuit has booked the film into the AMC Theatres circuit, launching in Gotham on September 12 followed by a staggered roll-out in Los Angeles, San Francisco, Boston, Chicago and Washington DC, before a national expansion. The progressive release will enable Bailey to host Q&A screenings and arrange publicity in the key cities.
Separately the distributor is dating the film in art houses in cities including New York, Los Angeles and Chicago.
The Melbourne-based Diy filmmaker has signed deals with a theatrical distributor and an on-demand cinema platform which will make the film available progressively throughout the Us.
.We.re aiming big in the Us so it took a lot of time to work out the right partners,. Bailey told If.
New York-based International Film Circuit has booked the film into the AMC Theatres circuit, launching in Gotham on September 12 followed by a staggered roll-out in Los Angeles, San Francisco, Boston, Chicago and Washington DC, before a national expansion. The progressive release will enable Bailey to host Q&A screenings and arrange publicity in the key cities.
Separately the distributor is dating the film in art houses in cities including New York, Los Angeles and Chicago.
- 8/12/2014
- by Don Groves
- IF.com.au
Gathr Films has announced that the acquisition of both a theatrical and On Demand the distribution rights for the documentaries "The Return to Homs" and "Penton: The John Penton Story" as well as the On Demand rights for "I Am Eleven," another documentary feature. "The Return to Homs," which won the Sundance 2014 World Cinema Grand Jury Prize, was filmed over the course of three years in Homs, Syria and follows the story of two young men who must make difficult life choices in their turbulent country. The film was directed by Talal Derki and will be released in Los Angeles on June 13 and New York on July 7. "Penton: The John Penton Story" is a documentary film narrated by Lyle Lovett that takes a look at the life and career of the motorcycle legend. It will be released On Demand in Kansas City, Indianapolis, Boston, and Detroit starting June 23. More cities will follow.
- 6/11/2014
- by Eric Eidelstein
- Indiewire
The chorus of voices calling for an end to the traditional, rigid release windows in Australia keeps getting louder.
Distribution consultant Thomas Mai today described the 120-day gap between theatrical and home entertainment as .obnoxious,. observing, it .doesn.t work anymore..
Mai was speaking at a panel entitled The Director as Distributor at the Australian Directors Guild conference, where the virtues of self-distribution were extolled. The panel was moderated by researcher/writer Laura Carroll Harris, whose essay Not at a Cinema Near You: Australia.s film distribution problem, has just been published by Currency Press.
Launching the essay on Thursday night, entertainment lawyer Ian Robertson backed Harris. argument that Australians must find new ways of reaching audiences. .The current system of distributing Australian-financed feature films is substantially broken, and I know that savvy and experienced Australian film makers are aware of this and are preparing for the new world ahead,...
Distribution consultant Thomas Mai today described the 120-day gap between theatrical and home entertainment as .obnoxious,. observing, it .doesn.t work anymore..
Mai was speaking at a panel entitled The Director as Distributor at the Australian Directors Guild conference, where the virtues of self-distribution were extolled. The panel was moderated by researcher/writer Laura Carroll Harris, whose essay Not at a Cinema Near You: Australia.s film distribution problem, has just been published by Currency Press.
Launching the essay on Thursday night, entertainment lawyer Ian Robertson backed Harris. argument that Australians must find new ways of reaching audiences. .The current system of distributing Australian-financed feature films is substantially broken, and I know that savvy and experienced Australian film makers are aware of this and are preparing for the new world ahead,...
- 11/8/2013
- by Don Groves
- IF.com.au
The chorus of voices calling for an end to the traditional, rigid release windows in Australia keeps getting louder.
Distribution consultant Thomas Mai today described the 120-day gap between theatrical and home entertainment as .obnoxious,. observing, it .doesn.t work anymore..
Mai was speaking at a panel entitled The Director as Distributor at the Australian Directors Guild conference, where the virtues of self-distribution were extolled. The panel was moderated by researcher/writer Laura Carroll Harris, whose essay Not at a Cinema Near You: Australia.s film distribution problem, has just been published by Currency Press.
Launching the essay on Thursday night, entertainment lawyer Ian Robertson backed Harris. argument that Australians must find new ways of reaching audiences. .The current system of distributing Australian-financed feature films is substantially broken, and I know that savvy and experienced Australian film makers are aware of this and are preparing for the new world ahead,...
Distribution consultant Thomas Mai today described the 120-day gap between theatrical and home entertainment as .obnoxious,. observing, it .doesn.t work anymore..
Mai was speaking at a panel entitled The Director as Distributor at the Australian Directors Guild conference, where the virtues of self-distribution were extolled. The panel was moderated by researcher/writer Laura Carroll Harris, whose essay Not at a Cinema Near You: Australia.s film distribution problem, has just been published by Currency Press.
Launching the essay on Thursday night, entertainment lawyer Ian Robertson backed Harris. argument that Australians must find new ways of reaching audiences. .The current system of distributing Australian-financed feature films is substantially broken, and I know that savvy and experienced Australian film makers are aware of this and are preparing for the new world ahead,...
- 11/8/2013
- by Don Groves
- IF.com.au
There is nothing inherently wrong with Australian films but for many, conventional theatrical release isn.t the answer, according to a new study of the film industry.
Not at a Cinema Near You: Australia.s film distribution problem makes a compelling case for the traditional structures to be abandoned. In its place, it proposes Australian films would be released in a variety of ways including, on occasions, simultaneously in cinemas and on DVD and Video-on-Demand, plus self-organised screenings outside the multiplex/art-house circuits.
The essay.s author Laura Carroll Harris argues that instead of requiring local films to have an Australian theatrical distributor as a pre-requisite for the producer offset, the definition of market attachment should be expanded to include DVD, Video-on-Demand and non-theatrical, alternative distribution. By this means, she says, .the distribution of small-budget releases would be diversified in circuits to which viewers are gravitating..
Most of these ideas...
Not at a Cinema Near You: Australia.s film distribution problem makes a compelling case for the traditional structures to be abandoned. In its place, it proposes Australian films would be released in a variety of ways including, on occasions, simultaneously in cinemas and on DVD and Video-on-Demand, plus self-organised screenings outside the multiplex/art-house circuits.
The essay.s author Laura Carroll Harris argues that instead of requiring local films to have an Australian theatrical distributor as a pre-requisite for the producer offset, the definition of market attachment should be expanded to include DVD, Video-on-Demand and non-theatrical, alternative distribution. By this means, she says, .the distribution of small-budget releases would be diversified in circuits to which viewers are gravitating..
Most of these ideas...
- 10/23/2013
- by Don Groves
- IF.com.au
Interview Cameron K McEwan 27 Aug 2013 - 06:46
Cameron chats to Doctor Who documentary maker Chris Chapman about animating The Ice Warriors, missing episodes, and much more...
I caught up with Doctor Who DVD documentary maker and BAFTA nominated director Chris Chapman to chat about his animated reconstruction of The Ice Warriors, which is now available on DVD (details here) and his career so far in the world of Who documentaries.
How did you get involved in the animation of the missing episodes of The Ice Warriors?
I've been a Doctor Who fan since I was a kid. And first I became a producer of documentaries and so I thought, 'Well, why aren't I making Doctor Who documentaries?' I got in touch with Dan Hall at the classic Doctor Who range and said, 'Please let me do Doctor Who documentaries,' and he said yes. And then I made Doctor Who documentaries,...
Cameron chats to Doctor Who documentary maker Chris Chapman about animating The Ice Warriors, missing episodes, and much more...
I caught up with Doctor Who DVD documentary maker and BAFTA nominated director Chris Chapman to chat about his animated reconstruction of The Ice Warriors, which is now available on DVD (details here) and his career so far in the world of Who documentaries.
How did you get involved in the animation of the missing episodes of The Ice Warriors?
I've been a Doctor Who fan since I was a kid. And first I became a producer of documentaries and so I thought, 'Well, why aren't I making Doctor Who documentaries?' I got in touch with Dan Hall at the classic Doctor Who range and said, 'Please let me do Doctor Who documentaries,' and he said yes. And then I made Doctor Who documentaries,...
- 8/26/2013
- by louisamellor
- Den of Geek
In 2005, Genevieve Bailey was a journalist working at a Melbourne newspaper, encountering .bad. news stories on a daily basis. Against this backdrop, and in the wake of a series of personal crises, she began to conceive creating a positive story to cheer up audiences, as well as herself. .I had been in a serious car accident and through a lot of physical pain,. she recalls. .Recovering from that, my dad then passed away from cancer, so I wanted to make a change. I wanted to make something positive.. I am Eleven opens with just such positivity. .I thought back to my favourite age of life,. the documentary.s narrator intones, .And why I loved it so much. When the world feels big in a good way and at our feet. .For me, that was when I was eleven.. Having dealt with young people during her time as a fiction writer,...
- 6/13/2013
- by Inside Film Correspondent
- IF.com.au
Ivan Sen.s new film Mystery Road, which will open the Sydney Film Festival, is bypassing the established theatrical distributors in a rare departure from the usual distribution model.
Producer David Jowsey and writer-director Sen have decided to release the murder mystery on August 15 via Dark Matter, a company they own with Michael Wrenn.
The rationale: If the film turns a profit, that will go to the filmmakers, not the distributor. The producers are paying for the marketing costs, avoiding the standard 25%-30% fee charged by distributors..
They.ve hired the Melbourne-based Backlot Studios to negotiate terms with exhibitors for a flat fee. Distribution veteran Alan Finney is a consultant and Tracey Mair is coordinating the national marketing and publicity campaign.
The film stars Aaron Pedersen as an Aboriginal cop, Detective Jay Swan, who's called on to investigate the murder of a young Indigenous girl and realises a serial killer is at work.
Producer David Jowsey and writer-director Sen have decided to release the murder mystery on August 15 via Dark Matter, a company they own with Michael Wrenn.
The rationale: If the film turns a profit, that will go to the filmmakers, not the distributor. The producers are paying for the marketing costs, avoiding the standard 25%-30% fee charged by distributors..
They.ve hired the Melbourne-based Backlot Studios to negotiate terms with exhibitors for a flat fee. Distribution veteran Alan Finney is a consultant and Tracey Mair is coordinating the national marketing and publicity campaign.
The film stars Aaron Pedersen as an Aboriginal cop, Detective Jay Swan, who's called on to investigate the murder of a young Indigenous girl and realises a serial killer is at work.
- 6/3/2013
- by Don Groves
- IF.com.au
Wayne Blair
In this roundup from the Encore and Mumbrella Annual, we take a look at the top film and television directors in 2012.
1. Wayne Blair
Wayne Blair’s feature directing debut The Sapphires premiered at Cannes this year before being snapped up by Us production guru Harvey Weinstein. It went on to become the highest grossing Australian film of 2012. Blair also flexed his directing muscle on indigenous series Redfern Now. In 2013 he’ll work on the show’s second series as well as The Gods of Wheat Street, another indigenous drama for the ABC.
2. Glendyn Ivin
From Southern Star’s stable, Glendyn Ivin’s claustrophobic telemovie Beaconsfield rated 1.6m for Nine while his direction of Ten’s Puberty Blues was well received. The series has been picked up for a second season.
3. Peter Ots
Nine’s hugely successful The Voice, which wiped the shiny floor with competitor Australia’s Got Talent this year,...
In this roundup from the Encore and Mumbrella Annual, we take a look at the top film and television directors in 2012.
1. Wayne Blair
Wayne Blair’s feature directing debut The Sapphires premiered at Cannes this year before being snapped up by Us production guru Harvey Weinstein. It went on to become the highest grossing Australian film of 2012. Blair also flexed his directing muscle on indigenous series Redfern Now. In 2013 he’ll work on the show’s second series as well as The Gods of Wheat Street, another indigenous drama for the ABC.
2. Glendyn Ivin
From Southern Star’s stable, Glendyn Ivin’s claustrophobic telemovie Beaconsfield rated 1.6m for Nine while his direction of Ten’s Puberty Blues was well received. The series has been picked up for a second season.
3. Peter Ots
Nine’s hugely successful The Voice, which wiped the shiny floor with competitor Australia’s Got Talent this year,...
- 1/4/2013
- by Luke
- Encore Magazine
Local documentary Paul Kelly: Stories of Me has continued its strong box office performance, topping the limited release chart in its second weekend after grossing more than $93,000.
The film, which premiered at the 2012 Melbourne International Film Festival, follows the life and career of singer-songwriter Paul Kelly. This weekend's special event screenings grossed $93,961 over seven screens, for an impressive $13,423 screen average.
It has been a strong year for Australian feature documentaries. Storm Surfers 3D has grossed more than $650,000 so far (placing it in eighth position on the top 10 all-time box office list for Australian feature docos) while I Am Eleven has taken more than $300,000. Last year, Mrs Carey's Concert became just the fourth Australian documentary to break the $1 million mark at cinemas.
Among other Australian releases, drama Hail opened on two screens and grossed $5648.
Australian Films at the Box Office 2012...
The film, which premiered at the 2012 Melbourne International Film Festival, follows the life and career of singer-songwriter Paul Kelly. This weekend's special event screenings grossed $93,961 over seven screens, for an impressive $13,423 screen average.
It has been a strong year for Australian feature documentaries. Storm Surfers 3D has grossed more than $650,000 so far (placing it in eighth position on the top 10 all-time box office list for Australian feature docos) while I Am Eleven has taken more than $300,000. Last year, Mrs Carey's Concert became just the fourth Australian documentary to break the $1 million mark at cinemas.
Among other Australian releases, drama Hail opened on two screens and grossed $5648.
Australian Films at the Box Office 2012...
- 10/30/2012
- by Brendan Swift
- IF.com.au
Australian sharksploitation film Bait has struggled to find an audience at local cinemas in its opening weekend at the box office.
Directed by Kimble Rendall and distributed by Paramount, the 3D film about a group of customers stranded in a shopping mall after a tsunami strikes, only to be harassed by a great white shark, was filmed in the Village Roadshow Studios on the Gold Coast.
The film took $365,000 according to the Motion Picture Distributors Association of Australia.
Made for an estimated $20m, the film opened across 283 screens for a $1,290 screen average in tenth spot in the top 20 films this week.
However, reviews for the film have been positive and the film opens after screening in official selection at the 69th Venice International Film Festival earlier this month.
It stars A Few Best Men’s Xavier Samuel, Nip Tuck’s Julian McMahon, Home and Away’s Sharni Vinson, Puberty Blues’ Dan Wylie and Tomorrow,...
Directed by Kimble Rendall and distributed by Paramount, the 3D film about a group of customers stranded in a shopping mall after a tsunami strikes, only to be harassed by a great white shark, was filmed in the Village Roadshow Studios on the Gold Coast.
The film took $365,000 according to the Motion Picture Distributors Association of Australia.
Made for an estimated $20m, the film opened across 283 screens for a $1,290 screen average in tenth spot in the top 20 films this week.
However, reviews for the film have been positive and the film opens after screening in official selection at the 69th Venice International Film Festival earlier this month.
It stars A Few Best Men’s Xavier Samuel, Nip Tuck’s Julian McMahon, Home and Away’s Sharni Vinson, Puberty Blues’ Dan Wylie and Tomorrow,...
- 9/24/2012
- by Colin Delaney
- Encore Magazine
Beasts of the Southern Wild: big debut
Kath & Kim’s film has added another $1m to its box office earnings taking the comedy to nearly $4m.
In its second weekend at the Australian box office, Kath & Kimderella took $1.095m over the weekend, according to the Motion Picture Distributors Association of Australia.
Distributed by Roadshow Films, the film stayed across all 285 screens it opened on last week, to average $3,842 per screen. The film has now taken $3.896m.
Meanwhile, Sydney and Melbourne Film Festival favourite Beasts of the Southern Wild took a $5,000 screen average on its opening weekend.
Topping the box office this week is Madagascar 3: Europe’s Most Wanted. The animated film distributed by Paramount took $3.957m. Across 525 screens, the film took a $7,538 screen average.
Also opening this week, The Watch, a comedy with Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade distributed by Fox was second...
Kath & Kim’s film has added another $1m to its box office earnings taking the comedy to nearly $4m.
In its second weekend at the Australian box office, Kath & Kimderella took $1.095m over the weekend, according to the Motion Picture Distributors Association of Australia.
Distributed by Roadshow Films, the film stayed across all 285 screens it opened on last week, to average $3,842 per screen. The film has now taken $3.896m.
Meanwhile, Sydney and Melbourne Film Festival favourite Beasts of the Southern Wild took a $5,000 screen average on its opening weekend.
Topping the box office this week is Madagascar 3: Europe’s Most Wanted. The animated film distributed by Paramount took $3.957m. Across 525 screens, the film took a $7,538 screen average.
Also opening this week, The Watch, a comedy with Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade distributed by Fox was second...
- 9/17/2012
- by Colin Delaney
- Encore Magazine
Over-the-top action film The Expendables 2 has had a strong showing for distributor Roadshow Films in its opening weekend at the Australian box office.
The film took a hefty $10,734 screen average across 276 screens, for a $2.963m total.
Directed by Simon West, the British director is scheduled to helm Australian film Dust and Glory, written by Robert Galinsky and currently in pre-production.
The action film stars a cast of the best of the 1980s and 90s action heroes including Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Dolph Lundgren, Jean Claude Van Damme and Chuck Norris as well as Australian actor Liam Hemsworth.
Also opening this weekend was the twee, teen love story, Moonrise Kingdom, directed by Wes Anderson and distributed by Universal. Taking $394,000 across just 57 screens, the film which opened this year’s Cannes Film Festival averaged a respectable $6,909.
A 3D version of Finding Nemo was also released at the weekend and...
The film took a hefty $10,734 screen average across 276 screens, for a $2.963m total.
Directed by Simon West, the British director is scheduled to helm Australian film Dust and Glory, written by Robert Galinsky and currently in pre-production.
The action film stars a cast of the best of the 1980s and 90s action heroes including Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Dolph Lundgren, Jean Claude Van Damme and Chuck Norris as well as Australian actor Liam Hemsworth.
Also opening this weekend was the twee, teen love story, Moonrise Kingdom, directed by Wes Anderson and distributed by Universal. Taking $394,000 across just 57 screens, the film which opened this year’s Cannes Film Festival averaged a respectable $6,909.
A 3D version of Finding Nemo was also released at the weekend and...
- 9/3/2012
- by Colin Delaney
- Encore Magazine
Local comedy The Sapphires has become the highest grossing Australian film at the box office this year.
The Hopscotch-distributed film has now grossed $8.41 million, just passing the $8.23 million posted by Happy Feet Two in 2012. (While Happy Feet Two grossed $10.69 million in total, part of that tally was attributed to 2011 because the film was released on December 26.)
The Sapphires, set during the Vietnam War when four talented singers from an Aboriginal mission in Victoria were discovered by an unlikely talent scout, was shown across 279 screens in its third week at cinemas, grossing $2.01 million. That figure represented a 27 per cent drop on the previous week although its screen average remained solid at $7226.
At the recent Australian International Movie Convention on the Gold Coast, Hopscotch managing director Troy Lum said the film could reach $15-20 million at the box office if it continued to be supported by exhibitors over the next several weeks.
The Hopscotch-distributed film has now grossed $8.41 million, just passing the $8.23 million posted by Happy Feet Two in 2012. (While Happy Feet Two grossed $10.69 million in total, part of that tally was attributed to 2011 because the film was released on December 26.)
The Sapphires, set during the Vietnam War when four talented singers from an Aboriginal mission in Victoria were discovered by an unlikely talent scout, was shown across 279 screens in its third week at cinemas, grossing $2.01 million. That figure represented a 27 per cent drop on the previous week although its screen average remained solid at $7226.
At the recent Australian International Movie Convention on the Gold Coast, Hopscotch managing director Troy Lum said the film could reach $15-20 million at the box office if it continued to be supported by exhibitors over the next several weeks.
- 8/30/2012
- by Brendan Swift
- IF.com.au
The remake of the 1990 action sci-fi film Total Recall has opened well at the top of the box office over the weekend.
The film, directed by Len Wiseman and starring Colin Farrell took $2.337m.
Distributed by Sony Pictures it averaged $6,916 across 338 screens, according to the Motion Picture Distributors Association of Australia.
The plot is based on a the Philip K.Dick story We Can Remember It for You Wholesale.
Also in its opening weekend, Hope Springs, distributed by Roadshow and starring Tommy Lee Jones and Meryl Streep and directed by David Frankel, took $1.167m.
Opening across 273 screens, the film averaged $4278 per screen.
Australian film The Sapphires, distributed by Hopscotch/eOne added another $1.444m to its total box office over the weekend. Across 279 screens the film averaged $5,178.
The film, in its third week now, has a box office total of $7.841m.
Two Australian documentaries are in theatre release.
Storm Surfers 3D: The Movie,...
The film, directed by Len Wiseman and starring Colin Farrell took $2.337m.
Distributed by Sony Pictures it averaged $6,916 across 338 screens, according to the Motion Picture Distributors Association of Australia.
The plot is based on a the Philip K.Dick story We Can Remember It for You Wholesale.
Also in its opening weekend, Hope Springs, distributed by Roadshow and starring Tommy Lee Jones and Meryl Streep and directed by David Frankel, took $1.167m.
Opening across 273 screens, the film averaged $4278 per screen.
Australian film The Sapphires, distributed by Hopscotch/eOne added another $1.444m to its total box office over the weekend. Across 279 screens the film averaged $5,178.
The film, in its third week now, has a box office total of $7.841m.
Two Australian documentaries are in theatre release.
Storm Surfers 3D: The Movie,...
- 8/28/2012
- by Colin Delaney
- Encore Magazine
Aussie film The Sapphires added almost another $2m to its total at the box office over the weekend.
The comedy musical about an all-girl, Indigenous film, distributed by eOne/Hopscotch, took $1.964m in its second weekend.
Across the 280 screens, the film had a screen average of $7,017.The film, directed by Wayne Blair and produced by Rosemary Blight and Kyle Du Fresne for Goalpost Films has now taken $5.599m in total at the box office, after a first weekend taking of $2.3m.
The film was second to The Bourne Legacy, distributed by Universal, in its first week of release.
Fourth in the Jason Bourne series, but without Jason Bourne, it took $4.2m across 435 screens for a $9,655 average.
Australian 3D surf film Storm Surfers 3D The Movie, distributed by Madman and now in its second week, took $45,378 across just four screens.
Averaging a hefty $11,345 per screen the film, directed by Chris Nelius...
The comedy musical about an all-girl, Indigenous film, distributed by eOne/Hopscotch, took $1.964m in its second weekend.
Across the 280 screens, the film had a screen average of $7,017.The film, directed by Wayne Blair and produced by Rosemary Blight and Kyle Du Fresne for Goalpost Films has now taken $5.599m in total at the box office, after a first weekend taking of $2.3m.
The film was second to The Bourne Legacy, distributed by Universal, in its first week of release.
Fourth in the Jason Bourne series, but without Jason Bourne, it took $4.2m across 435 screens for a $9,655 average.
Australian 3D surf film Storm Surfers 3D The Movie, distributed by Madman and now in its second week, took $45,378 across just four screens.
Averaging a hefty $11,345 per screen the film, directed by Chris Nelius...
- 8/20/2012
- by Colin Delaney
- Encore Magazine
New Australian film The Sapphires has had a strong debut at the box office, taking the highest opening weekend by an Australian film this year.
The film, distributed by Hopscotch/eOne has grossed $2.34m at the most recent count, with figures being finalised, according to the Motion Picture Distributors Association of Australia.
The Sapphires took a respectable screen average of $8387 across 279 screens.
The film’s cumulative total, including sneak previews bumps the film up to $2.59m.
Directed by Wayne Blair and produced by Rosemary Blight and Kylie Du Fresne, and written by Tony Briggs and Keith Thompson the film is about an all-girl Indigenous soul group going to Vietnam to entertain the troops.
It beat out previous 2012 Australian top film A Few Best Men which opened in January with $1.8m.
The Sapphires beat the Will Ferrell and Zack Galifianakis film The Campaign, distributed by Warner Bros, also in its opening weekend.
The film, distributed by Hopscotch/eOne has grossed $2.34m at the most recent count, with figures being finalised, according to the Motion Picture Distributors Association of Australia.
The Sapphires took a respectable screen average of $8387 across 279 screens.
The film’s cumulative total, including sneak previews bumps the film up to $2.59m.
Directed by Wayne Blair and produced by Rosemary Blight and Kylie Du Fresne, and written by Tony Briggs and Keith Thompson the film is about an all-girl Indigenous soul group going to Vietnam to entertain the troops.
It beat out previous 2012 Australian top film A Few Best Men which opened in January with $1.8m.
The Sapphires beat the Will Ferrell and Zack Galifianakis film The Campaign, distributed by Warner Bros, also in its opening weekend.
- 8/13/2012
- by Colin Delaney
- Encore Magazine
The Dark Knight Rises remains the top film in the country after three weeks in theatrical release.
The batman film, distributed by Warner Bros, took $4.266m in its third weekend across 619 screens for a $6,893 screen average.
However, despite its continued strength, The Dark Knight Rises hasn’t been able to top The Avengers in a three-week comparison with the Batman film on $33.047m and The Avengers on $39.033m.
In their respective opening weekends, The Dark Knight Rises was the fourth highest grossing film of all time in its opening weekend, while the Avengers was eighth. Over the first week tally, The Avengers was third highest grossing film and The Dark Knight Rises was tenth.
The Avengers currently sits at 53.339m all time box office, in third spot behind Titanic in second on 57.650, and Avatar on the massive 115.577m.
In this week’s major releases, dance film Step Up 4: Miami Heat,...
The batman film, distributed by Warner Bros, took $4.266m in its third weekend across 619 screens for a $6,893 screen average.
However, despite its continued strength, The Dark Knight Rises hasn’t been able to top The Avengers in a three-week comparison with the Batman film on $33.047m and The Avengers on $39.033m.
In their respective opening weekends, The Dark Knight Rises was the fourth highest grossing film of all time in its opening weekend, while the Avengers was eighth. Over the first week tally, The Avengers was third highest grossing film and The Dark Knight Rises was tenth.
The Avengers currently sits at 53.339m all time box office, in third spot behind Titanic in second on 57.650, and Avatar on the massive 115.577m.
In this week’s major releases, dance film Step Up 4: Miami Heat,...
- 8/7/2012
- by Colin Delaney
- Encore Magazine
The Dark Knight Rises grossed another $4.26 million at the Australian box office over the weekend, pushing its tally above the $33 million mark.
The Christopher Nolan-directed film was shown across 619 screens, posting a screen average of $6893. It has now grossed $US354 million in the Us and $US378 million around the world. Nolan's first Batman film, Batman Begins, grossed $15.78 million in Australia in 2005 while The Dark Knight grossed $46.09 million.
Other strong performers over the weekend included stripper film Magic Mike ($2.51 million across 333 screens, dropping just 34 per cent in its second weekend), Step Up 4: Miami Heat (which opened with $1.8 million across 370 screens) and Abraham Lincoln: Vampire Hunter (which opened with $1.12 million across 366 screens). Animated comedy Ted rounded out the top five with almost $1.05 million across 274 screens and has now grossed $32.77 million in total..
Among Australian fare, comedy Not Suitable For Children ($24,095 across 21 screens in its fourth weekend) and documentary I Am Eleven...
The Christopher Nolan-directed film was shown across 619 screens, posting a screen average of $6893. It has now grossed $US354 million in the Us and $US378 million around the world. Nolan's first Batman film, Batman Begins, grossed $15.78 million in Australia in 2005 while The Dark Knight grossed $46.09 million.
Other strong performers over the weekend included stripper film Magic Mike ($2.51 million across 333 screens, dropping just 34 per cent in its second weekend), Step Up 4: Miami Heat (which opened with $1.8 million across 370 screens) and Abraham Lincoln: Vampire Hunter (which opened with $1.12 million across 366 screens). Animated comedy Ted rounded out the top five with almost $1.05 million across 274 screens and has now grossed $32.77 million in total..
Among Australian fare, comedy Not Suitable For Children ($24,095 across 21 screens in its fourth weekend) and documentary I Am Eleven...
- 8/6/2012
- by Brendan Swift
- IF.com.au
Steven Soderbergh’s new film Magic Mike opened strongly as The Dark Knight Rises held on to top spot in its second weekend at the Australian box office.
Soderbergh’s film, about a team of male strippers, took a screen average of $11,505 across 332 screens, for a $3.819m opening weekend.
Distributed by Roadshow, Magic Mike stars Matthew McConaughey, Channing Tatum and Olivia Munn.
The super-hero film, directed by Christopher Nolan and distributed by Warner Bros through Roadshow, added another $7.412m to gross to $26.707m locally, and maintained the 628 screens it opened across last week, for a $11,804 screen average.
Australian film Not Suitable For Children, distributed by Icon, took another $45,000 in its third week across 38 screens for a $1,194 average. The film has taken $421,510 to date.
Local documentary I Am Eleven, distributed by Proud Mother Pictures and in its fourth week, took $31, 452 across 14 screens for a $2,247 average.
Rolf de Heer’s The King is Dead,...
Soderbergh’s film, about a team of male strippers, took a screen average of $11,505 across 332 screens, for a $3.819m opening weekend.
Distributed by Roadshow, Magic Mike stars Matthew McConaughey, Channing Tatum and Olivia Munn.
The super-hero film, directed by Christopher Nolan and distributed by Warner Bros through Roadshow, added another $7.412m to gross to $26.707m locally, and maintained the 628 screens it opened across last week, for a $11,804 screen average.
Australian film Not Suitable For Children, distributed by Icon, took another $45,000 in its third week across 38 screens for a $1,194 average. The film has taken $421,510 to date.
Local documentary I Am Eleven, distributed by Proud Mother Pictures and in its fourth week, took $31, 452 across 14 screens for a $2,247 average.
Rolf de Heer’s The King is Dead,...
- 7/30/2012
- by Colin Delaney
- Encore Magazine
New Batman film The Dark Knight Rises has smashed box office records for this year, beating The Avengers.
Distributed by Roadshow Films, the film took $15.1m this weekend, added to its opening day numbers of $3.5m.
Australian audiences were not put off by the tragedy in Colorado over the weekend, when a man opened fire on cinema goers watching the film.
The film also came in at the number four spot for highest opening weekend in Australian box office history, according to the Motion Picture Distributors Association of Australia.
It is behind Harry Potter and the Deathly Hallows Part 2 in first position, Twilight Saga: New Moon in second position and Harry Potter and the Deathly Hallows: Part 1 in third.
The Avengers has been bumped to 9th place on the ladder.
Opening across 628 screens, the film took a massive $24,048 screen average.
The film is also the highest grossing film ever at Sydney’s Imax,...
Distributed by Roadshow Films, the film took $15.1m this weekend, added to its opening day numbers of $3.5m.
Australian audiences were not put off by the tragedy in Colorado over the weekend, when a man opened fire on cinema goers watching the film.
The film also came in at the number four spot for highest opening weekend in Australian box office history, according to the Motion Picture Distributors Association of Australia.
It is behind Harry Potter and the Deathly Hallows Part 2 in first position, Twilight Saga: New Moon in second position and Harry Potter and the Deathly Hallows: Part 1 in third.
The Avengers has been bumped to 9th place on the ladder.
Opening across 628 screens, the film took a massive $24,048 screen average.
The film is also the highest grossing film ever at Sydney’s Imax,...
- 7/24/2012
- by Colin Delaney
- Encore Magazine
The Dark Knight Rises has posted the fourth biggest opening weekend in local box office history.
The latest film in the Batman franchise grossed $15.1 million at Australian cinemas, trailing the final two Harry Potter films and The Twilight Saga: New Moon on the all-time list (see table below). The previous biggest opening weekend this year was The Avengers ($13.28 million).
The Dark Knight Rises, the third Batman film directed by Christopher Nolan, was shown on 628 screens, delivering an impressive screen average of $24,048.
The release of the box office data was delayed at the request of the film's distributor Warner Bros. A massacre at a Colorado screening of The Dark Knight Rises killed 12 people and wounded 58 over the weekend.
The film has already grossed more than $US160 million in the Us since its release on July 20, and more than $US88 million in foreign territories, according to Box Office Mojo.
Among other local mainstream releases,...
The latest film in the Batman franchise grossed $15.1 million at Australian cinemas, trailing the final two Harry Potter films and The Twilight Saga: New Moon on the all-time list (see table below). The previous biggest opening weekend this year was The Avengers ($13.28 million).
The Dark Knight Rises, the third Batman film directed by Christopher Nolan, was shown on 628 screens, delivering an impressive screen average of $24,048.
The release of the box office data was delayed at the request of the film's distributor Warner Bros. A massacre at a Colorado screening of The Dark Knight Rises killed 12 people and wounded 58 over the weekend.
The film has already grossed more than $US160 million in the Us since its release on July 20, and more than $US88 million in foreign territories, according to Box Office Mojo.
Among other local mainstream releases,...
- 7/23/2012
- by Brendan Swift
- IF.com.au
Everyone has had the experience of walking into the wrong theatre at the cinemas. You.ve got your popcorn and take your seat. You.re filled with nervous excitement as you anticipate spending the next two hours engrossed in Pride and Prejudice. The curtains open and to your horror you find yourself confronted with an alien running a talon through a screaming scientist. You may have a similar experience at a number of film festivals where your expectations aren.t exactly met in, well, the way you expected.
.
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The Bayside Film Festival in Victoria is a festival .by and for young people., serving visual offerings of .local content in the context of international story-telling.. It.s surprising then, not to mention ironic, that on opening night audiences will watch a German documentary whose principle characters are between the ages of 80-100.
What relevance could it possibly hold for Australian youth?...
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.
The Bayside Film Festival in Victoria is a festival .by and for young people., serving visual offerings of .local content in the context of international story-telling.. It.s surprising then, not to mention ironic, that on opening night audiences will watch a German documentary whose principle characters are between the ages of 80-100.
What relevance could it possibly hold for Australian youth?...
- 7/23/2012
- by Candace Wise
- IF.com.au
An Australian documentary has added more screens to its release after a successful run at Melbourne’s Cinema Nova and Perth’s Luna Paradiso.
I Am Eleven, by film-maker Genevieve Bailey featuring eleven year olds from 15 countries speaking about issues close to their heart, has topped the box office at Cinema Nova two weeks running.
The film, which has taken $70,000 across the two screens, will jump to 18 screens, ten of which were confirmed just this week.
Bailey said: “I am Eleven has been my passion for nearly seven years. I always felt that audiences young and old would connect with this life-affirming film. It’s exciting to see the promising results at the box office for our very Diy home-grown yet international film. It feels like I Am Eleven is the little doco that could.”
Natalie Miller, managing partner at Cinema Nova said: “I Am Eleven has been an outstanding success at the Nova.
I Am Eleven, by film-maker Genevieve Bailey featuring eleven year olds from 15 countries speaking about issues close to their heart, has topped the box office at Cinema Nova two weeks running.
The film, which has taken $70,000 across the two screens, will jump to 18 screens, ten of which were confirmed just this week.
Bailey said: “I am Eleven has been my passion for nearly seven years. I always felt that audiences young and old would connect with this life-affirming film. It’s exciting to see the promising results at the box office for our very Diy home-grown yet international film. It feels like I Am Eleven is the little doco that could.”
Natalie Miller, managing partner at Cinema Nova said: “I Am Eleven has been an outstanding success at the Nova.
- 7/20/2012
- by Colin Delaney
- Encore Magazine
Best director Stenders
Australian box office hit Red Dog dominated tonight’s If Awards picking up seven trophies, including the major categories of best feature, best director for Kriv Stenders and best actor for Josh Lucas.
The winners:
Best Feature Film
Red Dog
Director: Kriv Stenders
Best Direction
Red Dog
Kriv Stenders
Producer: Nelson Woss & Julie Ryan
Best Actor
Josh Lucas
Red Dog
Best Actress
Emily Watson Oranges and Sunshine
Best Script
Red Dog
Daniel Taplitz
Best Cinematography
Red Dog
Geoff Hall
Best Box Office Achievement
Red Dog
Best Music
Red Dog
Cezary Skubiszewski
Best Music Video
Magic by Olivia Newton-John and Wacci
Director: Dan Murphy
Producer: Wacci
Best Short Documentary
Umoja: No Men Allowed
Director: Elizabeth Tadic
Producer: Elizabeth Tadic & Selene Alcock
Best Sound
Legend of the Guardians: The Owls of Ga’Hoole
Wayne Pashley, Polly McKimm, Derryn Pasquill, Fabian Sanjurjo
Best Short Film
Whenthe Wind Changes
Director: Alethea Jones...
Australian box office hit Red Dog dominated tonight’s If Awards picking up seven trophies, including the major categories of best feature, best director for Kriv Stenders and best actor for Josh Lucas.
The winners:
Best Feature Film
Red Dog
Director: Kriv Stenders
Best Direction
Red Dog
Kriv Stenders
Producer: Nelson Woss & Julie Ryan
Best Actor
Josh Lucas
Red Dog
Best Actress
Emily Watson Oranges and Sunshine
Best Script
Red Dog
Daniel Taplitz
Best Cinematography
Red Dog
Geoff Hall
Best Box Office Achievement
Red Dog
Best Music
Red Dog
Cezary Skubiszewski
Best Music Video
Magic by Olivia Newton-John and Wacci
Director: Dan Murphy
Producer: Wacci
Best Short Documentary
Umoja: No Men Allowed
Director: Elizabeth Tadic
Producer: Elizabeth Tadic & Selene Alcock
Best Sound
Legend of the Guardians: The Owls of Ga’Hoole
Wayne Pashley, Polly McKimm, Derryn Pasquill, Fabian Sanjurjo
Best Short Film
Whenthe Wind Changes
Director: Alethea Jones...
- 11/16/2011
- by Tim Burrowes
- Encore Magazine
Red Dog, Oranges and Sunshine, Face to Face and The Eye of the Storm have received nominations for Best Feature Film at this year’s If Awards.
Red Dog won the most nominations, appearing in nine categories, with Oranges and Sunshine nominated in eight and Face to Face in six categories.
Nominated in the Best Direction category is Michael Rymer for Face to Face, Kriv Stenders for Red Dog and Justin Kurzel for Snowtown while Best Script nominees are Michael Rymer for Face to Face, Rona Munro for Oranges and Sunshine and Daniel Taplitz for Red Dog.
Best Documentary nominees are Mrs Carey’s Concert directed by Bob Connolly, I Am Eleven directed by Genevieve Bailey and Orchids: My Intersex Adventure directed by Phoebe Hart.
With its strong ensemble cast the Face to Face actors are up against David Wenham for Oranges and Sunshine, Josh Lucas for Red Dog and...
Red Dog won the most nominations, appearing in nine categories, with Oranges and Sunshine nominated in eight and Face to Face in six categories.
Nominated in the Best Direction category is Michael Rymer for Face to Face, Kriv Stenders for Red Dog and Justin Kurzel for Snowtown while Best Script nominees are Michael Rymer for Face to Face, Rona Munro for Oranges and Sunshine and Daniel Taplitz for Red Dog.
Best Documentary nominees are Mrs Carey’s Concert directed by Bob Connolly, I Am Eleven directed by Genevieve Bailey and Orchids: My Intersex Adventure directed by Phoebe Hart.
With its strong ensemble cast the Face to Face actors are up against David Wenham for Oranges and Sunshine, Josh Lucas for Red Dog and...
- 10/11/2011
- by Colin Delaney
- Encore Magazine
Back in 2003, at the Melbourne International Film Festival, young Australian filmmaker Genevieve Bailey remembers being captivated by a screening of Jeffrey Blitz's Oscar-nominated documentary, Spellbound. The film follows eight young contenders, of varied ethnicity and social status, competing at the top annual Spelling Bee in the Us. Gripping, funny and poignant, the film was a critical hit when it was released, and really struck a chord with Bailey, who cites it as a large part of the inspiration behind her documentary, I Am Eleven, which is appropriately set to premiere at the Melbourne International Film Festival.
- 7/12/2011
- FilmInk.com.au
Twenty-nine-year-old indie Melbourne filmmaker, Genevieve Bailey, has taken on a truly international project. Her upcoming documentary I Am Eleven is a cultural, interpersonal and multi-lingual study of the world through the eyes of those who are about to inherit it. Filmed in 15 countries and 12 languages, eleven-year-olds express their personal views on everything from world politics to love, from music to terrorism, from families to insecurities. .I set out to explore an age I remembered so fondly,. Bailey told If, .a cusp where you are starting to really know yourself, who you are, what makes you tick, what you are passionate about. .With the world changing so fast and technology and the media being so available to so many kids these days I wondered,...
- 5/30/2011
- by Milana Vulovic
- IF.com.au
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