Australia’s new audience... Who’s watching you tonight? and how to capture it Australia’s new audience... and how to capture it!

Acknowledgements Front cover colour photograph courtesy of participants at an Information Update seminar at the Over 50s Association Published by the Office of Senior Victorians, Rural and Regional Health and Aged Care Services Division Victorian Government Department of Human Services Melbourne, Victoria 2002

ISBN 0731159918 Also published on the Office of Senior Victorians Website at www.seniors.vic.gov.au

Copyright State of Victoria Foreword Contents The images the media use to represent older people So much of what we see on our screens in Australia comes from the Introduction 4 in our community clearly affect the way we feel United States and this research shows that young and middle age peo- about growing older. They also critically affect the ple dominate. It seems that as characters age they simply disappear The Grey Dollar: perception younger people have of older people from our screens. A Consumer Profile 5 and their role in society. What we are finding is actually a fadeout of older people - of images of Hearing the Message: People, of all ages want to see themselves and their older people. And of those older characters we do see, most lack the What Older People Want 6 lives reflected on screen in ways which are realistic status, value and effectiveness of younger characters with whom they and meaningful. Older people are represented in all share the screen. The Grey Viewer Demographics 8 strata of society today - in the workforce, (both paid and unpaid), as family members, as educators and learners. So, not only are older people under-represented, they are often frozen in Advertising: a timewarp of misleading and obsolete images. The Possibilities 10 Older age has the same richness and joy, sadness and disappointments of any other age yet media images have a tendency to compartmentalise On American television, characters 60 years and older account for only New Opportunities for the Film and older age as if it’s a discrete part of life, separate and different from any 5.6 per cent of the TV population and half of these are younger than 65. Television Industry 12 other prior stage of life. If we look for characters older than 65 we find they make up only 2.8 per cent of prime time, about one fifth of their true proportion of the Creative Opportunities 14 Today there are very few roles for older people in film and television. American population. And, of the roles that we do see, there is often a great disparity between What Works 16 the image we see on our screens and the reality of older people’s lives However the purpose of this document is not to cast judgement on the as we know them. film and television industry but to open up discussion on the wealth of A Conversation with Morgan Freeman 18 opportunities which will flow from being more inclusive of older people All of us will age. in programming. Act Your Age: Age Futures in Broadcasting Speaker In developing "Who’s Watching You Tonight – Australia’s new audience The Victorian Government and the Office of Senior Victorians intends to Profiles 20 and how to capture It" the Victorian Government is not looking to the demonstrate that achieving age balance in broadcasting is not only the industry to develop and/or define programs as "older people’s programs". right thing to do, it makes good business sense as well. Further Reading and Research 23

We are simply looking to broaden the range of media images to Over the next few months I look forward to working with the Australian include people of all ages - to represent the reality of life and society in film and television industry and to providing information which the indus- Australia today. try can use as a basis for judgement and decisions about policies and programming which are both representative and democratic. The under-representation of older people in the media is not a problem which is confined to Australian made productions.

In America, research by the Screen Actors Guild, which represents 96,000 performers nationwide, looked at characters on prime time and daytime television and discovered that characters (in defiance of the demographics of the viewing audience) were actually getting younger. Hon Christine Campbell, Minister for Senior Victorians

Australia's new audience 3 Introduction

Baby boomers were the first Like every other Western nation, Targeting an older audience does might change and influence the The key note speaker was Jean- generation to embrace television. Australia’s population is ageing. not mean dull and lifeless pro- way the industry responds to an Marc Segati, Managing Director, The Baby Boomers are beginning gramming. Older people want to older audience. Senioragency International to swell the ranks of the over 55 see themselves represented in film Senioragency is a leading interna- cohort. While many Baby Boomers and television as they are in life – The forum addressed cultural tional advertising agency which are starting to consider retirement, people who are active and living stereotypes and constructive ways targets its entire business to the others will choose to remain in the diverse and fulfilling lives. to attract the ageing Baby over 55 market. Senioragency’s workforce. Of those that do retire, Boomers as an emerging market. headquarters are in Paris with many will do so with substantial Older people are often represent- agencies in the United Kingdom, superannuation packages. ed in advertising and on the In one of the sessions What Works Germany, Belgium, France, screen as inconsequential and and Why a panel of creative Holland, Oslo and Luxembourg. This new wave of older people will secondary to the role of younger industry professionals (including Their progressive campaigns have challenge the way we have tradi- characters. Yet age-diverse pro- scriptwriters, actors, producers not only challenged traditional tionally thought about growing gramming can be original, cre- and casting agents) talked about notions of ageing, but have suc- older. Baby Boomers were the first ative and fresh as the success of successful projects involving older cessfully capitalised on the steady generation to embrace television programs such as Sea Change people and their experiences. growth of the seniors’ market. and are voracious consumers of and has shown. What are the creative possibilities? new technology, travel, books and Where do the ideas come from? The ideas, advice and challenges homewares. If anyone is going to ensure that Who supports creative script raised at the forum, and pursued seniors are taken seriously in this ideas that are about older people? further through this publication, Australia’s commercial television society, it will be the Baby Boomers. will interest anyone in the industry networks currently see the 18 to Their entry into retirement might In another session, As the Baby who is keen to implement age 39 cohort as their prime target. mark the moment when Australian Boomers Boom, a panel of indus- diverse programming. Networks compete for the same society begins to venerate old age. try decision makers addressed the slice of the pie in the belief that question of Australia’s shifting Within this publication are this cohort attracts the maximum Hugh Mackay, Social Researcher demographic and the impact it will excerpts and quotes from some of advertising revenue. However we have on Australia’s film and televi- those presentations and discus- are starting to see a shift as adver- The Department of Human Services sion industry. How is this going to sions of participants at the Act tisers begin to grasp the potential began researching the issue of affect programming? How is Your Age: Age Futures in of targeting the growing audience age diverse programming with a advertising currently targeting the Broadcasting forum. The publica- of older people. The commercial forum held in Melbourne in 2000. over 55 cohort? Will advertisers tion also includes examples of potential of the ‘grey dollar’ is continue to choose television if recent films which showcase the becoming too powerful to be Called Act Your Age: Age Futures programming does not reach this talents of older people and an ignored but there will need to be in Broadcasting, the forum attract- market? Will they look elsewhere to interview with older actor, Morgan appropriate programming. ed many professional film makers capture the lucrative ‘grey dollar’? Freeman. and television industry profession- als who were keen to hear how Australia’s ageing population

4 Australia's new audience The Grey Dollar: A Consumer Profile Most of us are living longer Many will make the most of more turned 50 so start thinking about According to the Access Advertisers are certainly aware of time to undertake activities such your death – that’s the kind of Economics Report Population the changing demographics. and healthier lives. Future as recreation, cultural pursuits, vol- advertising they receive in general Ageing and The Economy the Certainly I think it is the beginning older generations of untary work and further education. and the kind of programs. nature of the product market in of a ground swell. It is advertis- Australia will change dramatically ing’s job to be ahead of the gener- Australians will be better For many people, older age is At Senioragency, we have been in the coming decade as our pop- al population. It is also the role of characterised by emotional, physi- trained little by little to improve our ulation ages. The spending power advertising to target people, not educated, will have a longer cal and mental well being. The communication, to understand of mature consumers, sometimes just on the basis of age, but on working life and idea of ageing being a time of what seniors need – what they called the "silver market" is already the basis of their interests, on what dependency does not reflect how expect, what they say and not huge but ten years from now the we call ‘bio-graphics’ and ‘doer- will continue to lead most older people feel about what we think they say. silver market will go platinum. graphics.’ So, that means having a increasingly active lives as themselves or about life. very thorough understanding of When you want to talk to seniors, Today the over 55’s account for 21 trends, of the complexities of the they grow older. We all know that nearly 50 per market to seniors, the first two per cent of Australia’s population, population – recognising that even cent of all populations in all devel- things you have to keep in mind but head up households that own the over 55 group is certainly not oped countries will be 50 plus in are ‘common sense’ and empathy. a remarkable 39 per cent of the one homogeneous mass. less than 30 years. That is true for If you don’t care and understand nation’s household wealth, 54 per Australia like it is for Japan, for the your market you will not come up cent of the nation’s financial Certainly, among the over 55s we United States, for Canada and for with an offer which meets their assets and account for 25 per have people with exactly the same all countries of Western Europe. demands whatever the age group. cent of all disposable income. The interests as 20 year olds…the We know that the 21st Century will The new generation that’s about to spending of mature consumers biggest growth market with the be the first century ever, in all of turn 55 were born after the war over the next 10 years, will, even Internet is in the 55 plus bracket. history, to be dominated by seniors. and they will be very different and allowing for inflation, grow by a It is advertising’s job to know will behave very differently to cur- marked 61 per cent – double the these things. In Europe, Australia and the rent seniors. national average of 32 per cent. United States, seniors represent at Lesley Brydon, Executive least 50 per cent of the wealth of Jean-Marc Segati, Managing Access Economics reports that Director, Advertising Federation of each of these countries. However, Director, Senioragency Australia is about to enter the era Australia in terms of advertising 95 per cent International of the "discretionary consumer". is dedicated to the under 50s. And The key feature of spending by what are the five per cent of adver- mature consumers is that relatively tisements remaining? – dental fixa- little of it is promised away as tives and products for inconti- mortgage payments, school fees nence or dependency. You’ve and the like.

Australia's new audience 5 Hearing the Message: What Older People Want

Older people want what They want to live life to the full You see the only people who are Who are the Baby Boomers? Are and they want to remain involved not positive about growing older they the kind of people who will everyone else in the in the community. are younger people. We don’t ask spend their whole lives sitting in community wants Ðto be that we be the heroes and hero- front of the telly, sleeping because Seniors are also highly discerning ines, but we do ask that we be the program does not interest included and to have choice. consumers: after all, they’ve had included, that you don’t ignore us them? No. They are the rock ‘n roll years of experience. and that you acknowledge there is generation. They dream about a level of society out there that is travelling, they dream about going But most of all, seniors want to be very involved and very important. back to the opera and they dream portrayed realistically. Of course, about going back to the movies. disabilities, sensory loss and Recently, I asked a group of older The Baby Boomer generation is chronic illness increase with age, people what they wanted from the the movie generation. They dream but are not inevitable conditions of fashion industry. One of them of buying an expensive car. growing older. stood up and said ‘sexy undies’ another said ‘two piece bathers They dream about positive things In comedy the older person, if that fit our figures.’ Both comments and this is why senior marketing included at all, is often depicted as were greeted with great applause can make money. irritable, dependent and childlike. because we saw it as a breaking In drama the older person is often down of that barrier that is so often There is one company that under- there as a token, expendable char- expressed – that we are a sexless stands the power of senior market- acter and is rarely depicted as generation waiting to die. ing. They understand what being vital to the plot. Most people ‘branch loyalty’ means and under- feel 15 years younger than their Well I have got news for you! stand that senior oriented com- chronological age and don’t mercials work for them. They also respond to out-dated stereotypes. Older people certainly do not feel understand which generation is that they are here waiting to die. their generation. Coca-Cola under- Older people feel that they’re here stands one very simple thing – the to live. We are here and feel the generation that is the Coke gener- same as you do. ation are seniors. People started drinking Coke in 1945. Their inter- Val French, Chairperson, Older generational advertising says they People Speak Out, Queensland are the choice of all generations.

Jean-Marc Segati, Managing Director, Senioragency International

6 Australia's new audience Innocence

Julia Blake & Terry Norris

Photograph courtesy of Sharmill Films

Australia's new audience 7 The Grey Viewer

We know that older viewers However, it may well be that fewer The commercial networks aim for Then when GP tired (and I can ‘grey viewers’ watch comedy and the demographic that is 18 to 39, say that because I created the are loyal viewers. Ratings data TV soaps simply because they regardless of the buying power of show), the audience – that is older tells us they prefer ‘quality’ don’t see themselves included. the ‘grey dollar’. The perception is audiences – drifted from the ABC that this is the demographic you to the commercial channels who drama, documentaries and People over 55 years of age repre- want. The ABC’s main audience is were making better drama like sent a potential viewing audience the over 50 audience. What they Blue Heelers, Water Rats and current affairs to other shows. of a million people in Australia. do is actually honour their audi- Halifax. ence by reflecting them within Yet, if a program ‘skews old’ it is their programs, whereas what the Sue Masters, Former Commissioning considered a failure because of commercial networks do is actual- Editor, ABC TV Drama (now with the misconception that older peo- ly look for a demographic they Channel 10) ple are not a cashed-up consumer don’t have. group. Commercial networks AC Nielson, Australian TV Trends rarely pay any attention to the Ros Tatarka, Former Producer of 2001 found that adults over the viewing patterns of people over Something in the air age of 55 are the heaviest users of 55, referred to in the industry as television, averaging 4 hours and the ‘55 to dead’ demographic. I think the perception among the 18 minutes of viewing per day in networks is that the 18 to 39 cohort metropolitan markets, while young Age-diverse programming simply has buying power, which is why so adults and youth are the lightest refers to programs which involve much of drama is geared towards users of the medium, averaging people of all ages, thereby appeal- that, especially when it is prime about two and a half hours per ing to a broad audience. Programs time drama. But I think that the day. Between 1991 and 2000, tel- like Sea Change and Blue Heelers ‘grey dollar’ is out there and a lot evision viewing by older people are good examples. However it is of noise should be made about it. has increased slightly, offsetting a important to remember that older modest decline in usage by those people, although interested in see- Jan Russ, Casting Director under 24. ing themselves portrayed well on the screen, remain interested in The older audience has been the the lives of younger generations heart and soul of our viewing and, as well. even in the 80s when the ABC was making about 17 hours of drama across all ages and ideas; the 65-plus audience was the most loyal. In the 90s, with the advent of GP and Police Rescue, ABC drama was working very well on the network.

8 Australia's new audience Children Teens People People People People All 5Ð12 13Ð17 16Ð24 25Ð39 40Ð54 55+ people 1991 2 hr 39 min 2 hr 44 min 2 hr 46 min 3 hr 11 min 3 hr 2 min 4 hr ¡21 min 3 hr 13 min 1995 2 hr 34 min 2 hr 29 min 2 hr 20 min 3 hr 4 min 3 hr 15 min 4 hr 19 min 3 hr 10 min 1997 2 hr 31 min 2 hr 40 min 2 hr 23 min 3 hr 4 min 3 hr 20 min 4 hr 24 min 3 hr 13 min 1998 2 hr 30 min 2 hr 40 min 2 hr 27 min 3 hr 17 min 4 hr 23 min 3 hr 14 min 3 hr 14 min 1999 2 hr 28 min 2 hr 34 min 2 hr 22 min 3 hr 12 min 3 hr 13 min 4 hr 15 min 3 hr 11 min 2000 2 hr 26 min 2 hr 39 min 2 hr 15 min 3 hr 15 min 3 hr 18 min 4 hr 18 min 3 hr 13 min

Source: AC Nielsen, Australian TV Trends 2001 Notes: Based on averages of the five mainland capital cities. Television viewing levels in regional markets is typically slightly higher than in metropolitan markets.

Australia's new audience 9 Advertising: The Possibilities

Once the advertising industry The question that fascinates me is According to Jean-Marc Segati of "A real senior marketing ad is not "We worked with them on their – can those of us who work in the Senioragency International there an ad that necessarily writes in new campaign. The new cream, recognises that Australia’s movie industry actually develop are many reasons why advertisers bigger typeface. In this case it is which was dedicated to women seniors are a profitable market the skills to market to older peo- might choose to ignore the older an ad saying ‘well, all your life you aged 50 and over, was called ple? When you get a very broad cohort. He claims it is as much to had to have a company car, a big Nivea Vital and it has been the it will be ready to explore new audience, you increase the prof- do with our own attitude toward car, a space wagon or whatever most successful cream launched itability of a film – not just the box growing older as it is with market- for your children. A car you hated. in the history of advertising – for and innovative advertising office, but when it goes to video ing perceptions that equates the Now finally there is nobody who is one simple reason. For the first opportunities. and when it goes to television. older cohort with decline and frailty. going to complain about you buy- time ever in the history of advertis- What I think we have to do in the ing a Porsche – so do it. Please ing, they used a woman who was film industry is learn how to attract "We always think that ‘older’ is yourself – have fun" 50 to sell an anti-wrinkle cream! an older audience. someone older than ourselves Women who saw her picture whether we are 40, 50 or 60. If we "Senior marketing is all about that. found that she was creditable Part of the problem is that the peo- start to think about our own age- The problem at the moment is that and they would like to look like ple making the key decisions in ing and how we would like to be when people think of seniors they her and it worked. marketing motion pictures are all treated as an older member of think Alzheimer’s and death and 30. Not only don’t they know how society then we can begin to think nursing homes. But this is only for "You can survey for years about to appeal to an older audience, more responsively about what four per cent of the senior popula- the senior cohort, but the day it they are not interested because older people want and how they tion. The other 96 per cent think will start paying back is the day they don’t recognise that they want to be represented in the about personal projects and the you start to act on what you have exist. When they see a film that media. The following story demon- time to do them and they have the learned." has an appeal for an older audi- strates this point. money to do them. They think pos- ence it is immediately labelled as itively – just like we do. uncommercial – not difficult, not a "The average age of people buy- challenge, not a potentially reward- ing Porsches in Europe is 57 yet "One of our clients is Beiersdorf ing financial experience as well as the age of the people shown in who make a very famous face an emotional and storytelling expe- Porsche advertising is 20. Do you cream called Nivea. They wanted rience. What I think we have to do know many people of 20 who to launch a new brand for senior in the industry is recognise the drive a Porsche? The time women because they discovered commercial potential of the market Porsche decides finally to show an that women between 40 and and develop the skills of how to ad to someone who is 60 and they 75 buy 80 per cent of women’s reach those people. show an old guy saying now you cosmetics. can finally drive a secure Porsche Alan Finney, Managing Director, because we have put in double air Vice President, Buena Vista bags and now it is driving slower International (Australia) …no! no! no!

10 Australia's new audience Dalkeith

Lill Goon, Mary Harvey, Nance

Jeffrey and Sally.

Photograph courtesy of The Age

Australia's new audience 11 New Opportunities for the Film and Television Industry

Daytime television is a Similarly, cinemas are under patro- I just don’t see a lot of groups of What I would suggest that the European strategies for targeting nised during the day and non-holi- 12 or more over 55s at the Jam industry do is this…if you go to the older markets have seen advertis- particular area where day periods. Developing market- Factory at the weekend. Maybe it’s multiplexes in the day there is no ing agencies block-buying up to programming can be ing strategies that recognise that because the product isn’t there? one there. What I would argue the two hours of morning television in seniors have the time and money Older viewers are more discerning industry should do is say ‘gee, we which to run their clients’ cam- developed strongly to target to view programming in off-peak whilst the kids will go along and it could make money by targeting paign in. timeslots would be of commercial really doesn’t matter what’s on. specifically those older audiences, an older audience. value to the industry. Movies become just a part of a getting them in at an economic It is not true that people don’t very broad experience. rate, during the day and include watch television during the day- Cinemas are designed to cater for them in the social experience of time. The fact is that there are a predominantly youth market. The Alan Finney, Managing Director, the multicomplex. people watching daytime televi- cinema complex is a place where Vice President, Buena Vista sion and they are predominantly teenagers can choose from a vari- International (Australia) Alan Finney, Managing Director, seniors because they are at home ety of popular films and, if there is Vice President, Buena Vista – it is as simple as that. We have time to kill before the film begins, Groups of older people will want International (Australia) developed advertising campaigns there are a variety of other activities to go to the movies on a regular in Europe especially for daytime to keep them occupied. Cinema basis with their friends if there are Similarly, daytime television has an television and they are very cost complexes are often in a shopping films that interest them and if the opportunity to attract a new range effective and successful. mall, or close to major shopping cinema environment encourages of advertisers. strips. Sometimes, the social activi- them to. I will explain why. We advertising ty involved in cinema going creates I think we have a cartel of com- people have been trained for an environment that doesn’t invite, Research by Val Morgan and Co mercial stations that basically years to develop television com- or appeal to older people. (Aust) Pty Ltd/Roy Morgan copy what the other does and I mercials in 30 seconds, 15 sec- Research Centre, revealed that think a lot of them are missing out onds and now suddenly we have Children have a terrific motivation while cinema attendance was most on opportunities, particularly with the luxury to do two minutes. This to get out of their home – their popular among young people, 51 daytime television, when they is wonderful. We have also been parents! And I think that one of the per cent of those aged 50 and have got virtually a captive audi- able to lease advertising on a marvellous things that guarantee over had been to the cinema in the ence of retired people at home yearly basis. the fact that young people will go previous 12 months. The research who they are not catering to. to the movies is that, no matter also showed that since 1994, cine- We have created ‘infomercials’ what you have in the home, ma goers over 50 have been Sue Masters, Former Commissioning which can last six to seven min- whether it be a wall-size screen, going to the movies more frequent- Editor, ABC TV Drama (now with utes. You can say a lot about surround sound, or the Internet, ly than those aged 35-49. This may Channel 10). insurance in six minutes and sen- you’ve still got your parents there be due to the recent growth in iors are discerning and like this to escape from and, of course special seniors’ offers on certain type of detail. your parents do, in most cases, days and to the generosity of the give you disposable income! cinema’s offering gold coin admis- Jean-Marc Segati, Managing sion during Senior Citizens Week. Director, Senioragency International

12 Australia's new audience The Road Home (2000)

Directed by Zhang Yimou.

Photograph courtesy of Columbia

TriStar Film Distribution International

Silk Screen Collection.

Australia's new audience 13 Creative Opportunities

Programming that is more Older people are interested in all One of the benefits of doing serial filmmaker and animator whose film She remarked that her previous facets of creative drama and they television is that often a serial will Uncle, an animation about an roles as an older woman rarely inclusive of older people does prefer drama that is inclusive of represent a community. In older man, has received interna- mirrored her life, or the lives of not mean a proliferation of them and gives older characters Something in the Air it’s Emu tional acclaim and awards. older people she knew. significant roles. We can see this in Springs and the community itself programs focusing on older some current Australian productions. has a broad spectrum of people, "How could a person in their mid- "It’s a shame because there are a so you automatically have the abili- 20s possibly write about the lot of people out there who are people or the ‘greying down’ Sea Change, Something in the ty built in to represent all the peo- involved experience of getting fighting fit and sophisticated and of programming. Air, Time and Tide all have older ple that make up a community that older? My answer is that I write dress well. Time and Tide was an actors in their cast and good includes old people, young people what I know from the heart. I never exception. Other roles are often strong story lines. Innocence, a and all the people in between. write about someone because of characters that are dowdy – film by Paul Cox – a beautiful love their age, because they are older, dowdily dressed in flat heel shoes story about two people who redis- Ros Tatarka, Former Producer of because they are an easy target, or fluffy slippers and you had your cover each other in later life after Something in the air full of comic potential. hair screwed up in funny hats and years of separation – stars Julia carry string bags. Blake and . A good example of age-diverse "I avoid stereotyping. Instead I try programming was the much loved to find humour and warmth in the "My character Dorothy in Time and What else can be done? I believe ABC series Sea Change, which idiosyncrasies of a person – what Tide I loved because she was so grass roots opinion can help gave significant roles to a whole makes them real, believable, diverse and she was an absolute change our culture and, if the range of characters, both young unique and ultimately, what makes bitch. She was a flirt. I had about audiences are there, the program and old. Sea Change was some- them human. four different levels to develop in makers, networks and advertisers thing of an exception. Usually the this character and it was tremen- will listen because people will be older characters we see in drama "If you write well, then creative dously rewarding." voting (sedentarily in this case) lack the status, value and effec- ageist stereotypes and clichés with their bums on seats. tiveness of younger characters should not become an issue. I Continued work for Australian with whom they share the screen. don’t write about older people for actors has never been easy. Julie Marlow, Former Director, younger people, or vice versa, I However, we know that the situa- Industry Development and Overseas production also poses a always try and write about people tion gets decidedly more difficult Investment, Film Victoria problem for Australian broadcast- – full stop". once you cross the 40 year thresh- ers. A majority of our television old and particularly difficult if you I think the key is digging beneath product comes from the United Adam Elliot Film are a woman. The ‘grey-out’ of and looking at the many layers that States and program supply dic- Maker/Administrator meaningful roles for older charac- make up a human being no matter tates the nature of what we see. ters ignores the range of creative what age they are. I think that’s the If age-diverse drama is not being The late June Salter spoke of her possibilities for drama. The key to the character and to a good made in the US, Australian net- experience as an older actor in Australian film and television representation on the screen. works can’t buy it. the ABC production of Time and industry has invested in a wealth Tide and reflected that this was a of talent over the years and failure It is often said the film and televi- rare opportunity to play a com- to capitalise on that investment is a sion industry is a youth driven plex, multi-faceted character. Her loss for the industry, for actors of industry. Adam Elliot is a young role as Dorothy in this telemovie all ages and for the viewing public. stepped outside the stereotype.

14 Australia's new audience Contemporary film making can be In America, characters 60 years The ‘grey-out’ of meaningful roles It’s not just a question of there not sexist and is often an uncaring and older counted for only 5.6 per for older characters ignores the being enough roles for older peo- system where the age scrap heap cent of popular television and half range of creative possibilities for ple, it is also a question of there for women gets lower each year. of these were younger than 65. drama, including mentoring. not being enough roles for gay It’s wrong that female actors of the Characters older than 65 make up people and people with a disabili- calibre of and Susan only 2.8 per cent of prime time, According to Ros Tatarka, produc- ty. Somewhere diversity is stopped Sarandon have to content them- about one fifth their true proportion er of Something in the Air, older and never gets through. I actually selves these days to screen roles of the population. actors play a significant role in the think that writers and producers in where their impossible fate is to industry in passing on their knowl- film as well as in television are get cancer and die. Therefore, in under-utilising our edge, acting as mentors to the looking for the interesting charac- older talent we are not valuing next generation of actors and ters that reflect the society we live Older people are often seen as their experience and the opportu- improving the quality of dramatic in. I think there is a very limited either victims or burdens. Very nities for our younger performers talent we have in Australia. scope of perceptions about what rarely is this group shown as con- to learn from their experience. constitutes an audience and what temporary people with forward Older actor’s skills should be "With , Ann Phelan and people will like. thinking attitudes. It is as if the viewed as a premium asset to the Kate Fitzpatrick – a terrific group mind atrophies as well as the industry on all levels, from educa- of experienced actors – the Jon Stephens, Script Writer body in this type of popular repre- tion through to commercial pro- younger team did actually enjoy sentation. And woe betide any duction. learning from them. There was a older person who alludes to a full real sense of ‘yes, we are a little and active sex life – incredulity One of the problems we have in bit in awe of those of you who and bad jokes usually follow. this country, that I think is just so have this level of experience." tragic, is that, unlike our sporting Julie Marlow, Former Director, stars, our great actors struggle to I think the experience that the Industry Development and make a living. Many of them drop older people bring to the younger Investment, Film Victoria out because there are just not the ones is very important. I know work opportunities to sustain when I was working with older However, this is not a problem them. I don’t believe there is performers, it was a tremendous confined to Australian production. enough drama being made and experience, but the whole role has Recent research by the Screen there are not enough opportunities reversed and the younger ones Actors Guild in America looked at for actors, writers, performers are getting the main leading roles. characters in prime time and day- and crew. The younger ones are no longer time television and discovered that learning and gleaning from the characters, in defiance of the Sue Masters, Former Commissioning older performers and it’s a really demographics of the viewing audi- Editor, ABC TV Drama (now with sad state of affairs. ence, were getting younger. Channel 10) Jan Russ, Casting Director

Australia's new audience 15 What Works

Innocence won the best film Some Australian success stories The Australian play Mysteries, The multi-award winning series Some overseas success stories The Victorian film also won the written by Daniel Keene and which depicted active adventurers In 1996 Ry Cooder went to Cuba at Montreal and Taormina audience-vote prizes in Toronto, directed by Ariette Taylor has abroad picked up the Victorian and gathered together some of Film Festivals. Melbourne, and at the three female roles and all of them Government sponsored 2001 the greatest (and oldest) names in Brisbane Film Festivals. are for older women. Stars of the United Nations Media Peace Award the history of Cuban music to col- Melbourne actor Terry Norris said play Evelyn Krape and Monica for Positive Images of Older People, laborate on an album. The album of the film ‘It says something Maughan are enthusiastic about as well as a national award. Steve The Buena Vista Social Club went about the human condition and it their roles as two older women said that the film’s older characters on to sell millions of copies world- really does take the audience on who share a suicide pact. Krape challenged conventions and stereo- wide and won a Grammy in 1998. an emotional journey.’ (The Age says the play has a terrific plot types of ageing. In 1998 Ry Cooder returned to Today 6 December, 2000) ‘One of and voices her distaste of what Cuba to record a solo album of the director’s finest achieve- she calls ‘drawing room’ comedy, Alan Hopgood’s acclaimed play, Ibrahim Ferrer and acclaimed ments…a profound mediation on preferring as she does something The Carer has now been pro- director, Wim Wenders went with love, life and morality that alone experimental and daring. In an duced on video with funding from him with a small film crew inspired justifies why we still make films in interview with Larissa Dubecki the Victorian Government. ‘The by the characters he met and their this country.’ (Lynden Barber The both women lamented the lack of Carer takes its audience through a music. The result was a touching Australian) Paul Cox says he did- roles for women ‘over a certain roller coaster ride of emotional and energetic tribute which fol- n’t deliberately set out to make a age.’ (The Sunday Age 25 reality recognisable to people who lows the music from Havana to film that was an antidote to an February, 2001) have Alzheimer’s or care for some- Amsterdam and their appearance ageist society and film culture but one with the condition. at Carnegie Hall. Seventy-two year he wanted to say that it is point- The enduring theme of the old Ibrahim Ferrer said ‘I’m living less to live without love and com- Victorian movie Dalkeith is that The Primelife Corporation pur- the dream of my youth in the body passion. (The Age December 23, older people, unleashed, are chased time on Channel 31 and of an old man and I want another 2000). Cox says ‘It is pathetic that capable of much more than they now provides eight hours of hit album.’ older people are not portrayed on are expected or allowed to do. senior’s-focussed television from screen having physical relation- The film is based on the true story 8am to 4pm Monday to Friday. Central Station was the winner of ships. To think people stop having of nursing home residents in Primelife’s Chief Executive Officer, the Best Foreign Language Film at sex when they get older is stupid.’ Traralgon who were rejuvenated Ted Sent, said he ‘believes senior the Golden Globe Awards. The (The City Weekly December 21- by racing a greyhound they were citizens have long been the neg- movie’s success rests largely on 27, 2000) given. According to producer lected television demographic’. the shoulders of 69 year old John Chase people of all ages find ‘There’s four million-odd actress, Fernanda Montenegro and the movie an absolute delight. Australians over the age of 55 who her unsentimental relationship with still have 30-plus years to look for- 10 year old Vincius de Oliveira. The impetus for Grey Voyagers ward to’ (The Age Green Guide 7 came from the reaction to Steve December, 2000). The program- Westh’s highly acclaimed series ming slot called Renaissance Grey Nomads, which was Television is broadcast throughout screened in Australia in 1997 and Australia and New Zealand. subsequently around the world.

16 Australia's new audience The film Chocolat has picked up Not only did the brilliant Mike heartland. Alvin (Richard many awards including Best Leigh film Secrets and Lies win Farnsworth) shares his many years Supporting Actress which was the Palme D’Or for best film at of wisdom with the diverse charac- won by Judi Dench for her role as Cannes in 1996 as well as a host ters he meets on his journey. the crusty old lady who develops of other awards, actress Brenda a strong friendship with the whim- Blethyn won the Academy Award In The Age Epicure Necia Hall sical Vianne (Juliette Binoche) and for Best Actress. While all the per- wrote ‘Yes, Jamie Oliver is a sen- is reunited with her grandson. formances are stunning, Blethyn’s sation but it takes more than Recently, on turning 40, Binoche performance is powerful, com- youthful energy and talent to make said ‘It will be strange for me as pelling and thoroughly convincing great television. What you need, an actress, but there are different in her role as Cynthia. even in a cooking show – espe- ways to be seductive.’ In an inter- cially in a cooking show – is char- view with Stephanie Bunbury A star studded cast of veteran acter. Which is why our vote goes Binoche claimed ‘I’m more con- actors – Maggie Smith, Judi to the wonderfully dissipated, tart scious now of what is happening Dench, Tessa Pritchard, Lily tongued, dry-witted duo, the Two in someone else’s mind or heart, Tomlinson and Cher – appear as Fat Ladies. Of course they could whatever. The more time goes on, delightful, eccentric and strong cook and teach but that was the more I feel compassion for willed ladies confronting life in almost beside the point.’ (The Age people…’(The Sunday Age, Florence as World War II Epicure 12 December, 200). February 25, 2001) descends in Tea with Mussolini.

Gods and Monsters, a film about Writer and director of The genuine friendship that spans the Contender, Rod Lurie maintains generations, won the 1999 that the greatest performances by Independent Spirit Awards for women are by older women – Best Feature, Best Male Lead (Sir Anne Bancroft, Kathy Bates for Ian McKellen), Best Supporting example – ‘it’s a matter of charac- Female (Lyn Redgrave) and Best ters having a life experience that Screenplay Nomination. makes them interesting.’ (The Age 6 March, 2001) ‘I made my last two films Not One Less and The Road Home as a ‘…One of the most beautiful reaction against the current ten- American pictures in recent mem- dencies in Chinese cinema, ory, a laid back toned curiosity against the logic of the market. I piece that’s brimming with unex- wanted them to be simple, imme- pected emotion’ (Culture Vulture). diate and anchored in In The Straight Story Director reality…they address the viewer David Lynch recalls one man’s with real feelings and emotions.’ journey across the American Zhang Yimou.

Australia's new audience 17 They Still Need Him, They Still Feed Him, Now He’s 64

By Jim Schembri The Age With a face, a set of teeth and a In Along Came a Spider Freeman like my movie. Right. Fine. I know head of hair that belies his age, plays Dr Alex Cross, reprising the why’. It’s a cop-out. You can Film Writer Morgan Freeman has never role he played in the hugely suc- always fall back on that. It solves been happier. cessful 1997 thriller Kiss the Girls. all the problems."

In Melbourne yesterday to promote He is happy to be described as a Freeman has long held that if a his new film Along Came a Spider late bloomer and sees his career minority is unhappy with its repre- and attend the film festival’s open- as "Blooming away. Amazing. At sentation in Hollywood, they ing, Freeman was in good spirits the age of 64 things seem not to should go and make something. about the state of his career. be able to be better. Having done "I believe that you have to be in this movie and getting a reaction charge of your own life." It began on TV in 1971 on the from a lot of people that it is even educational children’s show The better than the first outing is very That is not to say Freeman does Electric Company, where he gave encouraging for all involved." not see troubles in Hollywood. lessons on how to read. However, it did not shift into high gear until "It also means to someone like me "We find change difficult," he says, he was 50, with the 1987 film that it’s not over yet! Things couldn’t "and what needs to change in the Street Smart. In it he played a be better. I’m getting the calls. My thinking is star power, because pimp called Fast Black, a role that salary level is really acceptable to a lot of good work, a lot of good earned him the first of three Oscar me. Three years ago my wife and I possibilities, don’t get up for that nominations. Freeman has since finally finished building our dream reason." "We can’t get a star for the been nominated for The house and five years ago I built project’, that sort of thing. But we Shawshank Redemption (1994) my last boat. My kids’ lives have all know that the bottom line is that and Driving Miss Daisy (1989). His caught hold. I’m a happy pappy. stars don’t make things happen. role as a detective opposite Brad Things could hardly be better." They don’t make movies success- Pitt in the serial killer thriller Seven ful. Movies make stars successful. also earnt Freeman wide acclaim. Unlike some prominent black actors, such as Wesley Snipes and Samuel L. Jackson, Freeman does not believe race is a matter for undue concern in Hollywood.

"I think in general it’s a non-issue. I think that if any of us today chose to accuse Hollywood of racism we would do better to look at ourselves, because what is it after all? A mindset. I can say ‘so you don’t

18 Australia's new audience Morgan Freeman

Photograph courtesy of the Herald

and Weekly Times

Australia's new audience 19 Act Your Age: Age Futures in Broadcasting

THE PLAYERS Panel 2: As the Baby Boomers Boom

Hosted by Vivian Schenker Sue Masters Then Commissioning Editor, ABC TV Drama, Currently Head of Drama Channel 10 Opening Speakers: Craig Collie Manager, TV Production, SBS Val French Chairperson,Older People Speak Out Alan Finney Managing Director, Vice President, Buena Vista Adam Elliot Film Maker / Administrator (Uncle) International (Australia)

Panel: What Works and Why Lesley Brydon Executive Director, Advertising Federation of Australia

June Salter Actress (Time and Tide) Died 17 September 2001 Keynote Speakers

Jan Russ Casting Director, Grundy Organisation Julie Marlow Then Director, Industry Development and Investment, Film Victoria Jon Stephens Script Writer (Blue Heelers, ) Jean-Marc Segati Managing Director Senioragency International, Ros Tatarka Then Producer (Something in the Air, Good Guys Brussels. Bad Guys) Act your age: Age futures in broadcasting was held in Melbourne in 2000

20 Australia's new audience Speaker Profiles Jan Russ Jan Russ has been a casting director and assistant pro- ducer with Grundy Organisations for 17 years. In that Vivian Schenker Vivian Schenker began her working career in 1979 at time, she has worked on almost everything including the ABC, working as a journalist in radio and televi- shows such as Boney, Prisoner, Australia’s Most Wanted sion. In 1985 she joined SBS, first on SBS World News, and Neighbours. Before joining Grundy’s Jan was a then Tonight and later, Dateline. She then became host casting assistant for and worked of SBS one-hour, national current affairs program, on Carson’s Law, and All the Rivers Run. Insight and is currently host of the ABC Radio National Breakfast program. Jon Stephens Jon Stephens began his career in the ABC children’s department, producing, writing and directing for Val French Val French is the Founder and Chairperson of Older drama, documentaries, quiz and variety programs. People Speak Out in Queensland. Older People Speak Since then he has created several television concepts, Out is a voluntary, non-profit organisation whose mem- written the award winning feature films Mull and The bers are committed professionals. Val was instrumental Silver Brumby, worked as story editor on several series in the development of the Commonwealth Media and and has written dozens of popular shows. He is cur- Advertising Awards that recognise professional com- rently writing for Blue Heelers and Neighbours. munications in the media and advertising industry for excellence in the positive portrayal of senior Australians. Ros Tatarka Ros Tatarka began her career in the film and television industry as production co-ordinator on the television Adam Elliot Adam Elliot is one of Australia’s most respected and series Prisoner. Since then she has worked in a variety recognised animators. He has won dozens of prizes of roles across a broad spectrum of the industry, with a and awards worldwide for his trilogy Uncle, Cousin core focus on television drama. Her more recent work and Brother, including an Academy Award short listing includes Halifax and Good Guys / Bad Guys (for which in 1998 for Uncle. she won an AFI award) and co-production of Something in the Air. June Salter June Salter was a multi-award winning actress with an illustrious career spanning more than four decades. Sue Masters Sue Masters is one of Australia’s most successful tele- She began her career in the golden days of Australian vision producers. Sue was the Commissioning Editor, radio in the early 50s, closely followed by theatre work. ABC TV Drama and has worked in the Australian Since then she appeared in numerous shows on stage industry as a writer, script editor and producer of tele- and screen and for television. Miss Salter has vision drama. Her successes include A Difficult appeared in virtually every major television series in Woman, Wildside and Sea Change. Sue is currently Australia. June Salter’s illustrious career came to an Head of Drama at Channel 10. end with her death on 17 September 2001.

Australia's new audience 21 Speaker Profiles continued

Craig Collie Craig Collie began working in the Australian television Julie Marlow Julie Marlow former Director, Industry Development industry as a film editor for the ABC. He became a and Investment at Cinemedia and has more than 20 producer principally of science documentaries and years experience in the film and television industry. has also worked in current affairs on Four Corners and She has been a writer, script editor, script reader and on drama in Home and Patrol Boat. He is now assessor for Beyond, the Australian Film Commission Manager, TV Production, SBS and is responsible for a and the Film Finance Corporation. She is currently an number of locally produced programs such as The independant producer. Movie Show. Since 1997, she has been a consultant for VARA in the Alan Finney Alan Finney became involved with the Australian film Netherlands, a Dutch public broadcaster. She is also cur- and television industry during the early 1960s. In 1971, rently a member of the Screen Producers Association working for Roadshow, Alan brought the movie Stork to Council as one of two feature film councillors. their attention. Alan champions local production and is passionate about Australian film. He is currently Jean-Marc Segati Jean-Marc Segati has a strong background in adver- Managing Director, Vice President, Buena Vista tising and direct marketing and is currently the International (Australia). General Manager of Senioragency International in Belgium. Senioragency have their headquarters in Lesley Brydon Lesley Brydon is the Executive Director, Advertising Paris and are active in the United Kingdom, Germany, Federation of Australia (AFA), managing the business Belgium, France, Holland and Luxembourg. interests of companies. AFA members range from major international agencies to small and medium Australian companies involved in all areas of market- ing and communications including Internet advertising. Prior to her role at AFA, Lesley owned and operated her own public relations consultancy.

22 Australia's new audience Further Reading and Research

Accounting for Tastes: Australian Everyday Cultures, Tony Bennett, Michael Emmison, John Frow, Cambridge University Press, 1999

Generations: Baby Boomers, Their Parents and Their Children, Hugh Mackay, Pan Macmillan, Australia, 1997

Mature Audiences, Karen E Riggs, Cambridge University Press, 1998

Not Over the Hill: Just Enjoying the View: A Close-Up Look at the Seniors Market for Tourism in Australia, Australian States and Territories Seniors Card Programs, 1999

Population Ageing and the Economy, Access Economics, 2001

Turning Point, Hugh Mackay, Pan Macmillan, Australia, 1999

www.senioragency.com

Australia's new audience 23 Published by the Office of Senior Victorians, Rural and Regional Health and Aged Care Services Division Victorian Government Department of Human Services Melbourne, Victoria 2002

ISBN 0731159918 Also published on the Office of Senior Victorians Website at www.seniors.vic.gov.au

Copyright State of Victoria