Australia should forget about modelling its film and TV industry on the Us or UK. Soon they’ll be following our lead claims Lee Zachariah.
It’s a rite of passage for any budding film and television wannabe and every self-important media commentator to point at the enduring successes of the Us and UK industries, and – with a tremor of incredulity at how nobody has thought of this before – suggest that Australia simply does what they do.
Why, they ask, does it always feel like we’re starting from square one? Why is the ABC not a brand like the BBC? Why don’t we have a local movie studio that could lure all of those big stars back home? Why am I the first person to think of this?
Naturally, we have moments of glory. Wolf Creek 2: The Legend of Mick’s Torso Collection has just entered production.
It’s a rite of passage for any budding film and television wannabe and every self-important media commentator to point at the enduring successes of the Us and UK industries, and – with a tremor of incredulity at how nobody has thought of this before – suggest that Australia simply does what they do.
Why, they ask, does it always feel like we’re starting from square one? Why is the ABC not a brand like the BBC? Why don’t we have a local movie studio that could lure all of those big stars back home? Why am I the first person to think of this?
Naturally, we have moments of glory. Wolf Creek 2: The Legend of Mick’s Torso Collection has just entered production.
- 2/10/2013
- by mumbrellahouse
- Encore Magazine
From the advertising dollars to the ratings rivalry – television’s earliest timeslot is big business. Brooke Hemphill sets her alarm and goes on set to find out the perfect recipe for making breakfast TV.
It’s after midnight on a Thursday evening in Sydney’s Cbd. The streets are largely deserted as the final day of the working week looms. While the nine to five set are safely tucked up in bed, in the heart of the city, Seven’s Martin Place studio is quiet, although never sleeping. Several journalists staff the newsroom on the first level and one flight of stairs above, two producers work the overnight shift for Seven’s market-leading breakfast program, Sunrise. Soon they will be joined by line producer David ‘Dougie’ Walters who is about to begin his day.
At a time when hospitality workers and university students contemplate calling it a night, Walters is at his desk.
It’s after midnight on a Thursday evening in Sydney’s Cbd. The streets are largely deserted as the final day of the working week looms. While the nine to five set are safely tucked up in bed, in the heart of the city, Seven’s Martin Place studio is quiet, although never sleeping. Several journalists staff the newsroom on the first level and one flight of stairs above, two producers work the overnight shift for Seven’s market-leading breakfast program, Sunrise. Soon they will be joined by line producer David ‘Dougie’ Walters who is about to begin his day.
At a time when hospitality workers and university students contemplate calling it a night, Walters is at his desk.
- 2/22/2012
- by Brooke Hemphill
- Encore Magazine
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