DOCSLIB.ORG

Matthew Loads Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Matthew Loads Thesis Australian Webisodes 2010-2014: Extending Narrative and Promoting Television Drama Online Matthew Loads Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy 2021 Department of Media and Communication School of Arts, Social Sciences and Humanities Faculty of Health, Arts and Design Swinburne University of Technology 1 Abstract This thesis analyses webisode production in Australian television drama. It defines webisodes as short-form original video texts connected to a television program and produced for an online audience. They emerged as a form of video content in the mid-1990s and are currently recognised as a component of multi-platform television in Australia. Their creation reveals important emerging trends in the Australian screen industry. The study examines the production processes that shape these texts, and how webisodes contribute to the history of Australian television by reflecting larger changes in drama production. Through a consideration of both formal practices and storytelling conventions, the thesis employs Elana Levine’s five modes of production as its core methodological framework. Developed to examine the production of the soap opera General Hospital (1963-), this thesis adapts a framework established for pre-internet network television in North America to the production process that shaped Australian webisodes from 2010 to 2014, a period where webisode production solidified. Four webisode case studies directly linked to TV drama programs are explored—Network Ten’s Offspring (2010-2018) and Secrets and Lies (AU, 2014), SBS’s Danger 5 (2012-2015), and the ABC production of Nowhere Boys (2013- 2019). Findings are based on interviews with 27 production personnel and visits to production sets, and the detailed examination of trade press, industry and government reports. This thesis demonstrates how various processes shape the production of webisodes, in particular institutional forces, access to resources and the individual drives and career trajectories of personnel. Webisodes also benefit both industry professionals and audiences, providing a space for creative experimentation and opening up industry pathways, while at the same time extending the narrative worlds of traditional programming to enable audiences to experience expanded character, plot and setting associated with the anchor program, adding to their pleasure and commitment to that production by engaging them across multiple platforms. In the period covered by this study, Australian drama production was undergoing a significant transformation. By analysing webisode production during this era in a wider context, this thesis reveals important elements of the ways the television industry responded to those changes on both an industrial and creative level, extending the parameters of previous webisode studies that have largely focused on textual analysis and transmedia theories. 2 Acknowledgements My supervisors Jock Given and Julian Thomas have given me amazing insights, guidance and support as a scholar and as a professional person, thank you. I’m especially grateful to Joy Chia, Paul Atkinson, Brett Hutchins and Tessa Dwyer for support and feedback throughout the process. I would like to thank Elizabeth Loads for support and motivating me throughout this period. Editor Alexandra Heller-Nicholas provided copyediting and proofreading services according to the university-endorsed national ‘Guidelines for editing research theses’. 3 Some of the preliminary work for this thesis has been published as: Loads, M 2014, ‘Transmedia television drama: Proliferation and promotion of extended stories online’, Media International Australia, vol. 153, no.1, pp.41-52. 4 Declaration The examinable outcome: 1. contains no material which has been accepted for the award to the candidate of any other degree or diploma, except where due reference is made in the text of the examinable outcome; 2. to the best of the candidate’s knowledge contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome; and 3. where the work is based on joint research or publications, discloses the relative contributions of the respective workers or authors. Signed: Matthew Loads Date: 22 July 2020 5 Table of Contents Table of Contents Abstract ..................................................................................................................................................... 2 Acknowledgements ....................................................................................................................... 3 Declaration ................................................................................................................................... 5 Table of Contents ........................................................................................................................... 6 List of Figures and Tables ............................................................................................................... 8 Chapter One: Introduction ........................................................................................................................ 9 Defining Webisodes ..................................................................................................................... 13 Text Selection: Why These Webisodes? ........................................................................................ 28 Chapter Two: Critically Approaching Webisodes ................................................................................... 31 Levine’s Method .......................................................................................................................... 31 Transmedia and Webisodes ......................................................................................................... 36 Beyond Network Television: Netflix, YouTube and Webisode Production ....................................... 40 The Structure of this Thesis .......................................................................................................... 48 Chapter three: Danger-5: The Diamond Girls chasing Italian Spiderman .............................................. 53 Danger-5: Chasing the Youth Demographic Through Offbeat Comedy ........................................... 57 Production Constraints................................................................................................................. 60 The Production Environment ........................................................................................................ 64 Production Routine and Practices ................................................................................................. 66 Production of Character and Story ................................................................................................ 67 The Audience in Production .......................................................................................................... 70 Discussion and Conclusion ............................................................................................................ 73 Chapter four: Offspring: A Flagship Show With Fledgling Ancillary Texts .............................................. 77 Network Ten: An Innovative Latecomer ........................................................................................ 79 Network Ten and Drama .............................................................................................................. 80 Production Constraints................................................................................................................. 83 Production Environment .............................................................................................................. 86 Production Routine and Practices ................................................................................................. 88 Production of Character and Stories ............................................................................................. 91 The Audience in Production .......................................................................................................... 94 Discussion and Conclusion ............................................................................................................ 99 Chapter five: Nowhere Boys – ABCME, Matchbox Pictures, and Webisode Audience Engagement ... 102 Matchbox Pictures: Television for Global and Local Markets. ...................................................... 111 6 Production Constraints............................................................................................................... 116 Production Environment ............................................................................................................ 120 Production Routines and Practices ............................................................................................. 122 Production of Story .................................................................................................................... 123 Audience in Production .............................................................................................................. 125 Discussion and Conclusion .......................................................................................................... 126 Chapter 6: Secrets & Lies: Working Globally, Thinking Locally ............................................................. 130 Production
Load more

Recommended publications
  • A Production Process for Developing a Web Series, Snaptv
    California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 12-2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV Toebey T. Caldwell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, Playwriting Commons, and the Television Commons Recommended Citation Caldwell, Toebey T., "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV" (2017). Electronic Theses, Projects, and Dissertations. 588. https://scholarworks.lib.csusb.edu/etd/588 This Project is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Film Theory and Media Production by Toebey Ty Caldwell December 2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino by Toebey Ty Caldwell December 2017 Approved by: Kathryn Ervin, Committee Chair, Theatre Arts Andre Harrington, Theatre Arts C. Rod Metts, Communication Studies © 2017 Toebey Ty Caldwell ABSTRACT My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”.
    [Show full text]
  • Watching Television with Friends: Tween Girls' Inclusion Of
    WATCHING TELEVISION WITH FRIENDS: TWEEN GIRLS’ INCLUSION OF TELEVISUAL MATERIAL IN FRIENDSHIP by CYNTHIA MICHIELLE MAURER A dissertation submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Childhood Studies written under the direction of Daniel Thomas Cook and approved by ______________________________ Daniel T. Cook ______________________________ Anna Beresin ______________________________ Todd Wolfson Camden, New Jersey May 2016 ABSTRACT Watching Television with Friends: Tween Girls’ Inclusion of Televisual Material in Friendship By CYNTHIA MICHIELLE MAURER Dissertation Director: Daniel Thomas Cook This qualitative work examines the role of tween live-action television shows in the friendships of four tween girls, providing insight into the use of televisual material in peer interactions. Over the course of one year and with the use of a video camera, I recorded, observed, hung out and watched television with the girls in the informal setting of a friend’s house. I found that friendship informs and filters understandings and use of tween television in daily conversations with friends. Using Erving Goffman’s theory of facework as a starting point, I introduce a new theoretical framework called friendship work to locate, examine, and understand how friendship is enacted on a granular level. Friendship work considers how an individual positions herself for her own needs before acknowledging the needs of her friends, and is concerned with both emotive effort and social impact. Through group television viewings, participation in television themed games, and the creation of webisodes, the girls strengthen, maintain, and diminish previously established bonds.
    [Show full text]
  • Jan-Mar 2002 High Bandwidth
    I N T H I S I S S U E So You Want It In HD One on One makes the transition to 24P HD Peak Experience HD is up to the challenge with this indie feature N A T P E 2 0 0 2 The Mavericks of Multi-Camera 24P Production “The familiar look and feel of HDW-F900 HDCAM 24P CineAlta™ High Definition camcorder. The digital movie camera.* motion picture film are here.” — GEORGE LUCAS If you want to see a movie pro get future,” says Chuck Barbee, the We shot Star Wars: Episode II excited, ask George Lucas, Chuck director of photography. “The in 61 days in 5 countries in the Barbee, or Mike Figgis about Sony whole process was surprisingly Digital Electronic Cinematography. good. And compared to film, raw rain and desert heat averaging Each is using Sony tools to explore tape stock costs next to noth- new creative possibilities. 36 setups per day without a ing. This really lowers the cost “Star Wars: Episode II is our last giant of getting it in the can, which single camera problem. We have DVW-790WS Digital Betacam® camcorder. step toward Digital Cinema,” says means that more projects The gold standard found the picture quality of the in Widescreen George Lucas, describing his decision can get made.” Standard Definition. to shoot principal photography 24P Digital HD system to be with Panavision-modified Sony Mike Figgis challenges our most indistinguishable from film. HDCAM® 24P camcorders. “The basic conventions of narrative in familiar look and feel of motion Timecode, the movie that follows – George Lucas and picture film are present in this four simultaneous storylines in Rick McCallum digital 24P system.
    [Show full text]
  • Drama Report 2013/2014
    Drama Report Production of feature films and TV drama in Australia 2013/14 Highlights $837 million total production expenditure Up 11 per cent on last year 35 Australian features $297 million Up 18 per cent on last year 49 Australian TV dramas $343 million Down 8 per cent on last year 26 foreign projects $197 million Up 50 per cent on last year Producer Offset total value $137 million © Screen Australia 2014 ISBN: 978-1-920998-29-5 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2013/14. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/ licenses/by-nc-nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover image: The Code Contents Key terms 4 OVERVIEW 5 ALL DRAMA PRODUCTION 6 AUSTRALIAN FEATURE SLATE – DOMESTIC AND CO-PRODUCTION TITLES 8 Feature budget ranges 8 Sources of finance for Australian features 9 AUSTRALIAN TV DRAMA SLATE – DOMESTIC AND CO-PRODUCTION TITLES 10 Programs for adults 12 Programs for children 13 Sources of finance for Australian TV drama 14 FOREIGN PRODUCTION 15 Features 15 TV drama 15 DRAMA PRODUCTION BY LOCATION 16 Expenditure by state 16 Location of production company 17 TITLES IN THE 2013/14 SLATE 18 PDV SERVICES – FOR FEATURES AND TV DRAMA PRODUCTION 21 METHODOLOGY 25 ABOUT THE REPORT activity in Australia and the Offset’s Australia.
    [Show full text]
  • LKT Matt Loads
    Transmedia Television Drama: Proliferation and promotion of extended stories online Matthew Loads Monash University [email protected] Abstract Transmedia storytelling associated with television drama has existed online for more than sixteen years. For most of its existence, this material has been dominated by texts associated with the promotion of television series. This additional material has made inroads into prime- time television and most high-rating television drama productions have established an online presence. This study concentrates on additional content that is available online in relation to all Australian drama productions and some international drama productions in a five-month period. This paper asks what additional material in particular exists, finds out the prevalence of promotional material in comparison to storytelling and seeks to discover if any distinct categories of television drama productions provide more transmedia texts than others. A significant amount of additional material was discovered to feature promotion over storytelling. Differences in approach to this type of storytelling can be seen between public, free-to-air commercial and subscription broadcasters. 1 Introduction According to Henry Jenkins transmedia is “a technique of telling stories across multiple platforms and formats, with each element making distinctive contributions to…the story world” (Jenkins, 2006a: 334). By using different media formats, transmedia creates “entry points” through which consumers can become immersed (Rose, 2011: 3) in a narrative. Transmedia storytelling has been implemented to increase connections with audiences for video games, films, comic books and television (Consalvo, 2003: 322). This paper presents a pilot study that uncovers evidence of television drama production following this approach in recent programming.
    [Show full text]
  • Gabrielle Mckinlay
    GABRIELLE MCKINLAY ( (04)19 675 006 * [email protected] PRODUCER/DIRECTOR/WRITER With a proven track record in the Film and TV industry, I exhibit an "up for anything” attitude, an excellent eye for detail and a great ability to work well under pressure. I possess the knowledge and skills that is gained through experience and provide new and creative solutions to any problems or issues that a production may face. I am conscientious, hard working and have a sunny disposition. Forever passionate about the journey that is Film and TV Production, I am always eager to find challenging roles that utilize my talents and skill set. KEY SKILLS ASSESSMENT Production 4 Controlling budget and allocating resources. 4 Building and developing a network of contacts. 4 Shooter/Producer & Producer/Director 4 Location sourcing/scouting/permits as required. 4 Talent sourcing & casting. 4 Troubleshooting as required. 4 Fantastic eye for detail 4 Excellent Communication Skills 4 Great Creative Vision Communication 4 Utilises the computer programs Microsoft Word, Excel and MYOB. PROFESSIONAL EXPERIENCE Producer Credits ITV 2017 ‘Keeping Australia Safe’• Observational Documentary • Story - Self-Defence • Executive Producer - Elle Gibbons • Training in Post-Producing ITV 2017 (TBA Working Title) • Pilot for Observational Documentary Series • Producer/Director of Sizzle Reel-Teaser BAY FILMS 2015 ‘The Closet’ Pilot for Reality Television Series • Producer/Co-Director RUBY SNOW FILMS ‘All Or Nothing’ Pilot for Comedy Television Series • Producer/Director 2015 AMVI 2012 ‘Share A Lunch’ TVC • Salvation Army • Directed by Lucy Hayes • Producer JDTV Worked with ‘Jewellery Direct Television’ (on Channel 9’s Shopping Channel & TVSN) • Producer/Director • Vision Switcher Roles.
    [Show full text]
  • Film Victoria Australia Disclosure of Payments 2015/16
    DISCLOSURE OF PAYMENTS The following is a list of payments made in the 2015/16 financial year and may in some cases represent only a portion of the full amount committed to projects, businesses or people through our funding programs. PROJECT PAYEE PAYMENTS 2015/16 SCREEN INDUSTRY PROGRAMS PROJECT INVESTMENT Assigned Production Investment 8MMM Aboriginal Radio 8MMM Productions Pty Ltd 5,250 After the Wave Supernova Productions Pty Ltd 1,275 Ali’s Wedding Ali’s Wedding Productions Pty Ltd 232,000 Berlin Syndrome Aquarius Films Pty Ltd and Berlin Syndrome Productions Pty Ltd 350,000 Conviction DD & B Productions Pty Ltd 39,381 Dance Academy The Comeback Dance Academy The Comeback Productions Pty Ltd and 75,000 Open Channel Co-operative Ltd* Deception By Design Jonnie & Kate Films Pty Ltd 25,000 Digilante Check Point Media Pty Ltd 12,800 DNA Nation DNA Films Pty Ltd 37,500 Dogstar Christmas In Space Media World Pictures (D3) Pty Ltd 60,000 Downriver Downriver Productions Pty Ltd 44,000 Earth Story ES Productions PTY LTD 75,000 Ecco Homo Ghost Pictures Pty Ltd 14,000 Emo (The Musical) Emo Productions Pty Ltd and Open Channel Co-operative Ltd* 147,200 Fancy Boy FBTV Productions Pty Ltd and Open Channel Co-operative Ltd* 120,000 First Contact Season Two First Contact Productions Pty Ltd 50,000 Gurrumul Elcho Dreaming 6 Seasons Productions Pty Ltd 25,000 Holding The Man HTM Film Holdings Pty Ltd 3,000 House Husbands Season Five Playmaker HH5 SPV Pty Ltd and Open Channel 175,000 Co-operative Ltd* House Husbands Series Four Playmaker HH4 SPV Pty
    [Show full text]
  • HOW to BUILD an AUDIENCE for YOUR WEB SERIES: Market, Motivate and Mobilize
    HOW TO BUILD AN AUDIENCE FOR YOUR WEB SERIES: Market, Motivate and Mobilize Julie Giles A Publication of the Independent Production Fund How to Build an Audience for Your Web Series: Market, Motivate and Mobilize Publication date May 2011 Written by: Julie Giles www.greenhatdigital.com Editor: Andra Sheffer Graphic Design/Layout: Helen Prancic Version 1.0 © Copyright 2011 Independent Production Fund All right reserved. No part of this book may be reproduced or transmitted in any form or by an means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Contact [email protected] Notice of Liability. The information in this book is distributed on an “as is” basis, without warranty. While every precaution has been taken in the preparation of this book, neither the author nor the publisher shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or any materials or products described therein. National Library of Canada Cataloguing in Publication Data Main entry under title: How to Build an Audience for your Web Series: Market, Motivate and Mobilize Issued also in French under title: Comment bâtir un auditoire pour une websérie: Commercialiser, Motiver, Mobiliser. ISBN 978-0-9876748-0-7 Published in Canada by: Independent Production Fund 2 Carlton St., Suite 1709 4200, boul Saint-Laurent, Bureau 503 Toronto, Ontario M5B 1J3 Montréal, Québec H2W 2R2 [email protected]
    [Show full text]
  • Dissertation Von J
    Web-TV. Entstehungsgeschichte, Begriffe, Ästhetik Vom Fachbereich II (Kulturwissenschaften und Ästhetische Kommunikation) der Universität Hildes- heim zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) angenommene Dissertation von Jennifer Ahl geboren am 18.06.1983 in Salzgitter-Bad Gutachter: Professor Doktor Hans-Otto Hügel Tag der mündlichen Prüfung: 15. Mai 2013 Inhaltsverzeichnis 1 „Fernsehen war gestern?“ – Einführung .................................................................... 5 1.1 Eingrenzung des Themas .......................................................................................................... 7 1.2 Vorgehen und Zielsetzung ....................................................................................................... 11 1.2.1 Die ästhetische Perspektive ............................................................................................ 11 1.2.2 Struktur der Arbeit und Darstellung der Thesen .............................................................. 13 2 „How will we know ,television’ when we see it?“ – Kriterien zur Bestimmung von Fernsehartigkeit im World Wide Web .......................................................................16 2.1 Mediale Struktur ....................................................................................................................... 18 2.1.1 Programmfluss versus Hypertext..................................................................................... 18 2.1.2 Serialität als Strukturprinzip ............................................................................................
    [Show full text]
  • Fiscal Year 2019 Annual Financial Report 13DEC201905470521 UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
    6JAN201605190975 Fiscal Year 2019 Annual Financial Report 13DEC201905470521 UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended September 28, 2019 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from __________ to __________. Commission File Number 001-38842 Delaware 83-0940635 State or Other Jurisdiction of I.R.S. Employer Identification Incorporation or Organization 500 South Buena Vista Street Burbank, California 91521 Address of Principal Executive Offices and Zip Code (818) 560-1000 Registrant’s Telephone Number, Including Area Code Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common Stock, $0.01 par value DIS New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None. Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • Paper Planes
    r¡roNsGA[]E Presenfs '*' 'sil\ n$lft it0 . il !illtì $ ' mtit io toui lu otl ttrnini Tru iÊlÉ,ñ.Ñ-'!.ffi It AT ilÌSr l01l D0t'|',T SrlCCÌ[D, Flt. tL) À6AtN IN CINEMAS 23RD OCTOEER PAPER PLANES Directed by: Roberl Connolly Storring: Ed Oxenbould Sqm Worthington Dovid Wenhom Cert: U Run Time: 97 Mins For odditionol publicity moteriols ond ortwork, pleose visit www.lgukpublicity.co.uk For further press informotion pleose contoct: I :l:1 tl ¡n .¡r"¡l ?e, PREMIERi {. .l 1.r,.¡ Mike Hird/Edwin Hoyfron/Jock Wiggs 1¿1; + 44 20 72928330 [email protected] ONE LINE SYNOPSIS An imaginative family film about a young Australian boy's passion for flight and his challenge to compete in the SØodd Paper Plane Championships in Japan. ONE PARAGRAPH SYNOPSIS Paper Planes is a family film that tells the story of a young Australian boy's passion for flight and his journey to compete in the wodd paper plane championships in Japan. Eleven-yeat-old Dylan meets the junior Japanese champion Kimi in the national pâper plane championships in Sydney, Australia. They develop a close bond, challenging each other to create a plaLr're that has never been seen before. Directed by one of Australia's leading filmmakers Robert Connolly, the fìlm is set in iconic locations, with engaging characters and a powerful story of friendship between two countries. It stars globally renowned cast including Sam ìØorthington (Auatar, Cla:h of tlte Titanr), and Ed Oxenbould (I)isney's Alexander and the Terrible, Horrible, No Cood, Very Bad Dajt) RUNNING TIME: 96 minutes
    [Show full text]
  • Angus Sampson
    ANGUS SAMPSON FILM NEXT GOAL WINS Role: Angus Bendleton Dir: Taika Waititi, Fox Searchlight Pictures 2021 WINCHESTER Role: John Hansen Dir: Spierig Brothers, Blacklab Entertainment 2018 BENJI Role: Titus Dir: Brendan Camp, Blumhouse Productions 2018 INSIDIOUS: THE LAST KEY Role: Tucker Dir: Adam Robitel, Blumhouse Productions 2018 INSIDIOUS: CHAPTER 3 Role: Tucker Dir: Leigh Whannell, Blumhouse Productions 2015 MAD MAX: FURY ROAD Role: Organic Mechanic Dir: George Miller, Warner Bros 2015 NOW ADD HONEY Role: Mick Croyston Dir: Wayne Hope, Gristmill 2015 THE MULE Role: Ray Jenkins Dir: Tony Mahony & Angus Sampson, XLRator Media 2014 INSIDIOUS: CHAPTER 2 Role: Tucker Dir: James Wan, Blumhouse Productions 2013 BLINDER Role: Franky Dir: Richard Gray, Revival Film Company 2013 100 BLOODY ACRES Role: Lindsay Morgan Dir: Cameron & Colin Cairnes, Music Box Films 2012 TENDER (Short) Role: Max Dir: Jessica Redenbach, Hunter Productions 2011 LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE Role: Jutt Dir: Zach Snyder, Warner Bros 2010 INSIDIOUS Role: Tucker Dir: James Wan, Blumhouse Productions 2010 SUMMER CODA Role: Franky Dir: Richard Gray, Revival Film Co. 2010 POP (Short) Role: Father Dir: Tobias Anderson, Stockholm Film Company 2010 CELESTIAL AVENUE Role: Ah Gong Dir: Colin & Cameron Cairnes, Reflux Entertainment 2009 THE WAKE Role: Jonathan Dir: Gemma Lee, Renegade Films 2009 THE LAST SUPPER Role: Judas Written & Directed by Angus Sampson, 4Cows Production 2009 WHERE THE WILD THINGS ARE Role: The Bull Dir: Spike Jonze, More Rice / Playtone, Warner
    [Show full text]