Screen Australia presents

Brilliant Careers Symposium

Wednesday 24 February 2016 Art Gallery New South Wales Session Program

9:05am Welcome Fiona Cameron Chief Operating Officer, Screen Australia 9:10am Keynote Jane Caro Author and Media Commentator

9:45am Session 1 Deal Making: Mastering the Hard Skills presented by Lauren Hillier, Generate

Whether it’s closing a deal with investors, or negotiating royalty payments or hammering out a sale of a business, business success requires a range of ‘hard skills’: negotiation, deal brokering, self promotion and realising your own expertise. Some find these skills challenging, but there are other screen professionals who have excelled in these areas time and time again. In this panel discussion, we ask them to share their secrets, talk about their own journeys of self development and offer insights into how mastering the hard skills can pay off for you.

Rebecca Blurton Indigenous Women in Business Megan Brownlow PriceWaterhouseCoopers Peter Jetnetsky Context Media Julian Morrow Giant Drawf Joanna Werner Werner Film Production

10:45am Break Morning Tea

11:15am Session 2 Mind the Gap: Entrepreneurial Thinking - Your Key To Funding Success moderated by Justine Flynn, Buster Productions

In the current landscape, creative organisations are using a combination of clever collaborations, strategic partnerships and lateral thinking to increase their chances of success in applying to funding bodies or other potential investors. Our panellists will provide useful insights and explore a range of ideas that could help you to distinguish your funding application from the pack.

Jennifer Collins Screentime Richard Harris Screen Australia Michaela Ledwidge Mod Productions Patricia Powell-Hughes EP Australia Greer Simpkin Bunya Productions Session Program

12:15pm Break Tea Break

12:30pm Session 3 Nuts & Bolts Business Plans presented by Untangled Octopus

A business plan is a universal tool used to provide a framework for your business strategies, and to engage with potential stakeholders. Your Business Plan is an opportunity to set out the concepts, products, and services that you want to develop and consider how you will go about doing so. In this session we run through the key elements of planning for screen businesses, and provide you with some tools that you can use during your planning activities.

Ian Murray Untangled Octopus

1:30pm Session 4 Screen Australia’s Brilliant Careers Program

Sally Caplan, Head of Production, and Nerida Moore, Senior Development Executive will talk about the Gender Matters Initiatives and answer questions from the audience.

Sally Caplan Head of Production Nerida Moore Senior Development Executive

2:00pm Conclusion Speakers

Author and Media Commentator Jane is an author, novelist, journalist, broadcaster, columnist, advertising writer and social commentator, and together with her husband they are beef producer and timber grower. She has published eight books, including two novels and her memoir “Plain Speaking Jane” was released in September 2015. She is currently working on ‘Just Flesh & Blood’ the third and final book in the Elizabeth Tudor trilogy which will be published in 2017. A regular on Agony, Q&A, The Drum, Sunrise & Weekend Sunrise, she appears in the media often. In 2013 she co- created, co-produced (with Amanda Armstrong) and presented a 6 part radio series for ABC Life Matters - ‘For Better, For Worse’. The series was so successful it is now a 5 part TV series for ABC Compass. She will be producing another special Jane Caro series for Compass in 2016 “Fathers & Daughters, Mothers & Sons”. She writes regular columns for ‘Sunday Life’ and ‘Leadership Matters’.

Managing Director, Indigenous Women in Business Rebecca is a business consultant living in Melbourne. She is currently working on two start-ups of her own. Having previously managed and coordinated Indigenous employment initiatives and economic development programs, she’s passionate about equality and Indigenous self-determination. Rebecca hopes to make an impact in Australia on closing the gap for women and Indigenous people.

Rebecca Blurton

Principal, PriceWaterhouseCoopers Megan is a media and entertainment industry specialist at PwC where she performs strategy, due diligence, forecasting, and market analysis work for clients. She has over 20 years’ experience in media and marketing ranging from producing television and radio programs to designing cross-media strategies – both content and advertising – for online and traditional media properties. Megan is the Australian editor of PwC’s annual market-leading publication: The Australian Entertainment & Media Outlook which provides forecasts and commentary on eleven media segments covering advertising and consumer spending. The Outlook receives extensive media coverage and is utilized by government agencies, industry participants and the business community for strategic planning and forecasting. Megan Megan provides private briefings to clients and industry on the health and future of Brownlow Australia’s media. Speakers

Chief Operating Officer, Screen Australia Fiona joined Screen Australia at its inception, 1 July 2008, as Executive Director, Strategy and Operations. Prior to this, Fiona was a General Manager with DMG Radio Australia, responsible for launching the new radio brand Nova in Melbourne. Fiona has worked across state and federal government in portfolios as varied as education, regional development and communications. Fiona has been a Director of the Australian Film Television and Radio School (AFTRS) and Commercial Radio Australia.

Fiona Cameron

Head of Production, Screen Australia Sally has over 25 years of international experience in the screen production industry. She is a highly respected and seasoned senior executive whose roles have covered all aspects of financing, development, acquisition, production and distribution. Sally began her career as a solicitor specialising in entertainment law. In her most recent role as Managing Director of Entertainment One (EOne), she oversaw its international film sales operations out of the UK. Before joining EOne, Sally headed the Premiere Fund of the UK Film Council for five years, where she was responsible for funding and overseeing the production from script stage of over 45 films, including titles such as The King’s Speech, Miss Potter and Salmon Fishing in the Yemen. Prior to joining the UK Film Council, Sally was President of Sally Caplan Icon Film Distribution UK and held senior acquisition, distribution and production positions at Icon Film Distribution, Momentum Pictures and Universal Pictures International.

Head of Non-Fiction, Screentime Jennifer is one of Australia’s leading television executives with a career spanning 25 years. In her role as Head of Non-Fiction at Screentime, she brings a wealth of factual and entertainment production expertise. Currently she oversees a slate of programs that include Stop Laughing...this is serious, Flying Miners, Outback ER, Felicity’s Mental Mission, How Not To Behave, RBT and Village Vets. Jennifer previously held the positions of Head of Entetainment and Head of Factual at the ABC where she developed, commissioned and oversaw numerous highly acclaimed series across television and multiplatform.

Jennifer Collins Speakers

Writer/Producer, Buster Productions Justine has worked in the film and television industry for over eighteen years in both the independent and broadcast sectors. Justine has held senior executive roles including: Manager of Development at ABC Commercial; Manager of Factual and Entertainment Development at ABC TV; and both Executive Producer and Acquisitions Manager for Nickelodeon. Justine has created a strong reputation as a director, creator and producer. In recent years she has collaborated with some of Australia’s most dynamic film and television companies to facilitate creative audits and develop new projects. This year Random House Publishing will release Justine’s first children’s book. Justine Flynn

Head of Business & Audience, Screen Australia Richard was previously CEO of the South Australian Film Corporation (SAFC). There, he created FilmLab, the development program which nurtured a new generation of South Australian talent. He also oversaw the construction of Adelaide Studios. Richard also has held positions as Executive Director of the Australian Directors Guild, policy positions at the Screen Producers Association of Australia and AFTRS. He has taught media policy at the University of Sydney and is the author of Film in the Age of Digital Distribution. In 2007, Variety labelled him one of 20 global film executives to watch and in 2010 he was listed as one of Encore’s ‘Power 50’. Richard Harris

Client Director, Generate Lauren is a chartered accountant with a creative arts degree. Working in the arts made it clear that accounting was the career path where she could best help creatives to make a living from doing what they love. In her six years at Generate, Lauren has worked with individuals and businesses in film, television, music, marketing and theatre, across taxation, structuring and business planning. She gets most enjoyment out of teaching clients how to better understand the financial aspects of their businesses by explaining concepts without accounting jargon. Of particular interest to Lauren is taxation across international borders, and she is currently studying a Masters of Taxation (International) at UNSW. She is on the board of Australian Screen Directors Authorship Collecting Society. Lauren Hillier Speakers

Co-Founder and Managing Director, Context Media Peter is a Senior Media Executive with 25+ years experience in broadcast media working for leading Australian free-to-air and subscription television networks. In 2014 as a start-up, Context Media established itself via production consultancies identifying and developing a number of reality, factual and branded entertainment projects for Network TEN and NRL. Peter has an extensive experience in development and commissioning comedy and drama series. As the GM of Content Strategy & Executive in Charge of Production for Pay TV venture, Movie Network Channels, he was responsible for the selection and commissioning of in excess of $45 million in production between 2007 and 2013. Peter was also Executive Producer of Movie Network Channel’s $13M multiplatform drama project Peter Jetnetsky CONSPIRACY 365. Prior to joining the Movie Network Channels, Peter was Head of Program Marketing at Seven Network.

Director, Mod Productions Michela is an artist and director redefining the space between cinema and games. In 2004 she won a NESTA Invention award for ‘remixable film’, which outlines her vision for playful storytelling and digital culture and continues to underpin her artistic practice. She is co-founder of studio Mod and has been both the creative and technical lead on numerous productions. Michela has been an Internet pioneer since the early 1990s, creating the first website in NSW and setting up the National Library of Australia’s first web service, before designing and producing on some of the largest Internet productions in Europe. She is the current Vice President, Digital, of the Australian Directors Guild. Michela Ledwidge

Senior Development Executive, Screen Australia As Senior Development Executive, Nerida manages the development team working across script, online and talent development programs and is currently helming the Gender Matters Initiative. She also works across production investment. Prior to Screen Australia, Nerida was the Senior Development and Production Executive at Screen NSW and ran the production investment fund, the story development fund and Screen NSW’s suite of professional development programs including Aurora and the Emerging Filmmaker Fund.

Nerida Moore Speakers

Co-Founder & Managing Director, Giant Dwarf Co-founder of satirical media empire and joke production company Giant Dwarf, Julian’s work in the field of public nuisance includes TV programs The Election Chaser, CNNNN, The Chaser’s War on Everything, , The Unbelievable Truth and . In 2012 and 2013 Julian lowered standards at ABC Radio National as host of Friday Drive. He now splits his time between TV work that prevents younger more talented people getting a start and managing Giant Dwarf’s talent agency, which leeches off young talented people who do get a start. Julian also helped his Chaser colleagues lose an unprecedented amount of money as the driving force behind the creation of the team’s live venue, Giant Dwarf. Due to the unavailability of several respected Julian Morrow media commentators, in 2009 he was invited to give the Andrew Olle Media Lecture, an experience he then debased by creating The 16th Inaugural Chaser Lecture given by Bassem Youssef.

Co-Founder, Untangled Octopus Ian co-founded Untangled Octopus, Australia’s premier creative industries advisory firm, in 2012. He is an experienced, hands-on media expert who has had senior executive roles in both public and private businesses including COO of the branded content business Brand New Media and COO of the television production company Freehand Productions. He is an experienced, hands-on media expert who has had senior executive roles in both public and private businesses. Ian advises many of Australia’s top television production, music, design, advertising, and entertainment companies.

Ian Murray

Managing Director, EP Australia Patricia Powell-Hughes is the Managing Director of EP Australia, the leading executive search and recruitment firm for TV, media and entertainment. Patricia has led the team at EP for 17 years and has become a highly connected industry powerhouse, responsible for head hunting the best and brightest talents for Australian and international media organisations. Patricia regularly advises top TV & media companies as they navigate complex organisational changes such as revitalising team structures and retaining talent. Patricia also advises and mentors women working in television and media on career development, salary negotiation and leadership. Patricia Powell-Hughes Executive Producer, Bunya Productions Greer Simpkin joined Bunya Productions in March 2015 and is currently producing the Ivan Sen feature Goldstone and is an Executive Producer on the Rachel Perkins feature Jasper Jones. Greer is also producing the documentary The Shadowland for ABC TV, directed by Kaye Harrison. Prior to joining Bunya, Greer was Deputy Head of Fiction at ABC Television for 5 years. Greer was instrumental in commissioning a large slate of new dramas and narrative comedies including The Code, The Slap, Rake, The Time of Our Lives, Paper Giants, Cliffy, Jack Irish, Please Like Me, Upper Middle Bogan, Devil’s Dust, Miss Fisher, Dr Blake and Mabo. As well as overseeing the entire TV Fiction slate alongside Head of Fiction, Carole Sklan, Greer was an Executive Producer of The Code, Hiding, Greer Simpkin Parer’s War, Serangoon Road and The Secret River. Greer has also worked as a Production Executive at the ABC, working across many genres including Drama, Comedy, Factual, Documentary and Multiplatform. Before joining the ABC, Greer lived and worked in the UK.

Executive Producer, Werner Film Productions Joanna is a two time Emmy Nominated, AFI, AACTA and multi Logie award win- ning producer. Joanna is the Executive Producer, Producer and Co-Creator of the acclaimed and highly awarded teen drama series Dance Academy which was the first production for her company Werner Film Productions. In 2015 Joanna was the Executive Producer, Producer and Co-Creator on the AACTA Award winning teen series Ready For This, a co-venture between Werner Film Productions and Blackfella Films.Joanna is currently producing Secret City a 6 x 1 hour political thriller for Foxtel and Matchbox in Association with Werner Film Productions.

Joanna Werner p. +61 (2) 9383 4580 e. [email protected] generate.com.au

Top tips on deal making From Generate, experts in creative and innovative businesses

Running a creative business is full We’ve organised our tips in each of those stages. But there’s of unique challenges. But there’s an overriding theme through all of them: preparation. also a set of challenges common to 1. Initiation all businesses. One of them is deal making, and it’s a skill all creatives a. Be clear about the outcome you want before you should learn to master, because it’s approach the other side. You should have some idea of three things: an ongoing aspect of their careers. i. Your ideal outcome ii. Your compromise outcome Having good deal making skills is crucial to commercial iii. Your deal breaker: the point beyond which you will success. Getting a good deal across the line can bring not go financial, creative and personal rewards. Striking a bad deal can mean just the opposite, and can be an albatross around b. Spend time working out what the other side needs out of your business’s neck for many years to come. the deal. Once you understand that, you can then work out how to get what you want by giving them what they Deal making isn’t a skill set everyone has. And creatives need. What is their ideal outcome, ` compromise can often feel out of their depth when faced with that outcome and deal breaker? moment when they have to negotiate for what they want. c. Know thy numbers – forecast the revenue and costs We’ve put together this checklist of tips to keep in mind associated with your idea before making your approach. when making deals. The process of making a deal falls into If it’s the sale or purchase of business, get an three stages: independent valuation and review it carefully. ü Initiation d. If a deal is not mutually beneficial, you face an uphill ü Negotiation battle. Be clear about why your position is a good ü Closing outcome for all. p. +61 (2) 9383 4580 e. [email protected] generate.com.au

e. If you’re too desperate or too demanding, think again 3. Closing about trying to strike a deal. Any deal that is one sided will always have a short lifespan and is unlikely to be a. You may have sought professional advice during the rewarding or renewed. negotiation period. But if you haven’t, getting it now is crucial. Always get professional advice before agreeing to 2. Negotiation anything. Your lawyers and accountants can save you a lot of grief later if you engage them before you sign on the a. Go into your negotiation period remembering that bottom line. all deals involve each party getting something by giving something up. b. If you’re going to be the minority stakeholder in any deal, make sure you understand the implications, and what rights b. Be honest and speak your mind. If there’s ever a time to you have and don’t have. do so, it’s now. c. Deals often have long term implications – make sure you know what they are. Your advisers can help explain the c. Ideally, there should be goodwill on both sides. Any implications of such things as deferred compensation of negotiation where one party is trying to screw down the set KPIs, key man clauses, clawbacks, warranties etc. other rarely ends up well for either. d. Check the numbers are as agreed. Then double check them. d. Good deals are usually done in a very short timeframe. Do what you can to not let it drag on. Reply promptly to e. Never be afraid to go with your gut. If it doesn’t feel right, all communications. Keep up the momentum. maybe it isn’t. Go back and check everything.

e. Know the person you’re negotiating with. What are they f. Remember that until the deal is signed, there is no point in are trying to achieve? What sort of personality are they? time when it is too late to withdraw or go back to the What’s the best strategy for negotiation with them? The drawing board. more information you have, the better. g. When it’s all said and done, don’t let your agreement sit f. Don’t be too swayed by your instant reaction to any neglected in a cupboard. Keep reviewing it to ensure suggestion by the other side, good or bad. Although you everything’s going according to plan, and raise your may initially be outraged or offended (or even flattered concerns promptly with the other parties. and delighted) by something said by the person you’re negotiating with, take a deep breath and give yourself h. Finally, take some time to reflect on the process. What time to process it. There may be something of value to were the lessons learnt? Write them down and keep them take out of even the most unexpected contribution. for next time.

g. During this stage, it’s wise to seek advice from third parties; people with your best interests in mind, but who have nothing personally to gain from the deal. These people can offer useful perspectives. But don’t canvas too many; a plethora of opinions can lead to confusion. Want more help?

h. You can also consider having someone negotiate with There’s a growing library of useful business you, or for you. Having people take on these roles is and financial advice on the Generate useful if you feel too emotionally attached to the subject blog: generate.com.au/blog. And feel free matter. But never leave it all to your advisers. Always make to give us a call to discuss your specific sure that you can communicate directly with the other side if circumstances on (02) 9383 4580. it feels unnecessarily bogged down (you still have the option of doing this with your advisers by your side). We’d love to help.

i. You must be prepared to walk away if necessary. Remember what your deal breaker is. Top Ten Takeaways

1. Analyse this Understand what your challenges and opportunities are. Undertake some form of SWOT analysis that demonstrates you know where you are positioned and why and how you think you might move forward

2. Audit your assets What are your hard (cash, facilities) and soft (skills, relationships) assets

3. Partner Up Think about what other people you need to make your project, business or career progress. Being able to demonstrate partners and champions for your idea, and potential collaborations, makes a big difference to an application.

4. Show me the money Show what other money, outside Screen Australia’s funding, is being brought to the table.

5. What are the market realities? Clearly outline the market that you are moving into, and fully appraise both the challenges and opportunities available.

6. Show me, don’t tell me Being able to demonstrate something about you or your project can enhance your application significantly. If you can show that you have already trialled something in the realm that you are proposing, this kind of proof of concept can be extremely helpful. Use the video pitch creatively, in order to demonstrate the tone of what you are proposing or to complement the information in the written application.

7. Why me? Why are you better than anyone else in the industry (or outside it) to deliver this proposal?

8. What is the long game? What is the potential long term sustainability of the proposal? Is the aim for it to become self-financing in the longer term? Perhaps it is simply a short term project, but be clear about this.

9. Don’t blow smoke Be aware of your strengths, weaknesses, both in terms of your business but also in terms of your background and career. Where are there holes? Do not over-reach in terms of your background and skills set. It is better to demonstrate that you know your strengths and weaknesses, that you plan to partner up where necessary and that you have set out a plan to get to where you are going. 10. Think about the tax payer This is tax payer’s money, so don’t always apply for the highest amount. Assess your plan in regards to what it should cost and what value it will genuinely have, and then ask for what you need to make it happen.

Business Plan Outline

1. Executive Summary

2. Context

Background

Market Analysis • PEST • SWOT • SWOT Action Plan

Competitor Analysis

3. Your Idea • USP(s) • Opportunity • Target Markets • Revenues & Costs

4. Demonstrate Capability • Operations • Resourcing • Management

5. Sales & Marketing

6. Investment requirements • Use of funds

7. Financial Metrics • Profit & Loss • Balance Sheet • Cashflow

PEST Analysis Template

Client: ______

Political Economic

Social Technological

PEST Cheat Sheet

Political Economic ecological/environmental home economy current legislation economy trends future legislation overseas economies international legislation general taxation regulatory bodies and processes taxation specific to product/services government policies seasonality issues government term and change market/trade cycles trading policies specific industry factors funding, grants and initiatives market routes trends home market pressure- groups distribution trends international pressure - groups customer/end-user drivers wars and conflicts interest/ exchange rates international trade and monetary issues

Social Technological lifestyle trends competing technology demographics development consumer attitudes and opinions research funding media views associated/dependent technologies law changes affecting social factors replacement technology/solutions brand, company, technology image maturity of technology consumer buying patterns manufacturing maturity and capacity fashion and role models information and communications major events and influences consumer buying mechanisms/technology buying access and trends technology legislation ethnic/religious factors innovation potential advertising and publicity technology access ethical issues licensing, patents intellectual property issues global communications

SWOT Analysis Template

Topic: ______

Examples Strengths Weaknesses

Capabilities? Competitive advantages? Reputation, presence and reach? USP's (unique selling propositions)? Resources, Assets, People? Experience, knowledge, data? Financials, Cashflow? Marketing capabilities? Timeframes, deadlines and pressures? Innovation? Location and geographical? Price, value, quality? Processes, systems, strucutres? Technology, IT? Cultural, attitudinal, behavioural? Philosophy and values? Morale, commitment, leadership? Communication?

Examples Opportunities Threats

Market developments? Competitors' strenghts / weaknesses? Industry or lifestyle trends? Technology development and innovation? Global influences? Politicial / legislative effects? Demand / Supply? New markets, vertical, horizontal? Niche target markets? Geographical, export, import? New USP's? Tactics: eg, surprise, major contracts? Business and product development? Information and research? Partnerships, agencies, distribution? Volumes, production, economies? Environmental effects? Key contracts / partners / HR?

SWOT ACTIONS Template

Topic: ______

Strengths / Opportunities: Obvious Priorities Weaknesses / Opportunities: Attractive Options

Strengths / Threats: Easily Defended Weaknesses / Threats: High Risk