Common Ground Opportunities for Australian screen partnerships in Asia © Screen Australia 2013 CONTENTS ISBN: 978-1-920998-26-4

INTRODUCTION 1

The text in this report is released subject to KEY FINDINGS 2 a Creative Commons BY licence (Licence). This means, in summary, that you may MAPPING CURRENT ACTIVITY 3 reproduce, transmit and distribute the text, provided that you do not do so for Attitudes and experiences 4 commercial purposes, and provided Success factors 5 that you attribute the text as extracted from Common Ground: Opportunities for Opportunities 6 Australian screen partnerships in Asia, Screen Australia, 2013. You must not alter, Challenges 8 transform or build upon the text in this publication. Your rights under the Licence WHERE TO NOW? 10 are in addition to any fair dealing rights Recommendations 11 which you have under the Copyright Act 1968 (Cwlth). TERRITORY PROFILES 12 For further terms of the Licence, please see http://creativecommons.org/licenses/ Mainland China 13 by-nc-nd/3.0/. You are not licensed to Republic of Korea 16 distribute any still photographs or videos contained in this document without the Malaysia 18 prior permission of Screen Australia. Singapore 20 Front cover image: Serangoon Road Indonesia, India, Japan, Thailand 22

APPENDIX – Current engagement and support mechanisms 26

METHODOLOGY 28

ABBREVIATIONS & ACRONYMS IBC

NOTES IBC Introduction

Australia is in the process of discovering new ways to work with neighbouring countries across Asia. Our evolving economic and cultural engagement with the region has seen an expansion of opportunities for collaboration across different sectors, and the Australian screen production industry is already beginning to take advantage of this.

Screen industries in Asia are expanding However, it is also important that screen due to the growing maturity of the sector producers have access to knowledge about and a desire to open up their markets. territory- and sector-specific opportunities, The Dragon Pearl PricewaterhouseCoopers predicts that and advice on how to best form and maintain the filmed entertainment market in the regional networks and partnerships. Asia-Pacific will expand at a 2.6 per cent To this end, Screen Australia has undertaken compound annual rate from $21.6 billion research to better understand how Australian 1 in 2012 to $24.6 billion in 2017. A growing screen businesses have been working in middle class is creating new audiences and the Asian marketplace and identify areas of leading to increasing popularity of platforms further collaboration. The resultant report such as cable television as well as high draws together insights from producers, uptake of social media. broadcasters, financiers and screen agencies This report highlights the benefits that can from across Australia and the Asian region. flow from a genuinely collaborative approach The research focuses on eight territories: to our relationships with Asian partners and China, Republic of Korea (South Korea), markets. Australia has some key advantages Malaysia, Singapore, Thailand, Indonesia, on this front: we are liked and trusted, our India and Japan. These territories skills are valued, we are seen as having were chosen as they have had existing affinity with the region and we create stories relationships with Australian screen with international appeal. industries over the past five years that Australia already has some important we can learn from, such as production common ground with Asian territories. The partnerships, location shooting and content movement of people, ideas and cultural sales.2 products across national boundaries is a Best estimates indicate that the value of defining characteristic of today’s world, and audiovisual (and related services) exports there is considerable potential to capitalise to the focus countries has been around on shared experiences stemming from $50 million per year over the last three years, historical events and the migration of people which represents around a quarter to a third to and from Australia. New patterns in of Australia’s total audiovisual exports for immigration are bringing new relationships, those years. That’s not too bad considering especially with Asia. Cultural and business that English-speaking territories are likely to exchange is now ubiquitous in contemporary be the strongest market for our content, but societies and economies. Screen content is there’s certainly room for improvement. an important element of this exchange, and Common Ground describes recent activity, Australia already has a screen presence new developments and the factors for in the region through co-productions, success evident to date, as well as outlining partnerships and sales, as well as through some key challenges and areas of greatest broadcast platforms such as the Australia potential for expanding on this base. It Network. also contains a set of recommendations The push to strengthen relationships for government agencies and the broader between Australian and Asian region industry, including advice for producers businesses is supported by the Australian seeking to work in the region. Government through a range of measures.

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 1 Key findings

Common Ground explores Australia’s current engagement with the screen production sector across the Asian region – our similarities, our points of difference, what is working well and what we can do to improve our business relationships.

The following major findings emerged from the research: y Several territories are undergoing rapid expansion and development of their screen industries, so the opportunities for collaboration with Australia are likely to change significantly over the next five years. Now is the time for the Australian screen industries to strengthen ties, formalise co-production arrangements and develop our knowledge of working together in order to foster and maintain mutually beneficial relationships into the future. y Government has an important role in facilitating an environment of trust and fostering relationships. y Successful collaborations with Asian partners require significant investment from both sides and producers need to commit considerable time and money. y Australian screen producers are generally perceived within the screen industries across Asia as professional, likeable and trustworthy with a level of affinity with the region. y Co-creating stories for both markets from the early development stages or concentrating on content that is universal (such as science, technology and shared history) is key to success in Asian markets. y China, South Korea, Malaysia and Singapore currently offer significant opportunity to Australian screen businesses, with India, Indonesia, Japan and Thailand holding great potential for the future. An overwhelming theme that emerged was the importance of Kakadu genuine collaboration: this will underpin all success. Productive business relationships require a basis in mutual respect, the exchange of ideas and practices, and a genuine engagement with difference.

2 Mapping current activity

The past five years have seen the expansion of the To attempt a co-production in Asia, global marketplace. Some Australian screen production you need to be well capitalised. We companies have capitalised on this trend by focusing calculate you need around $300–500k increasingly on Asian markets and establishing mutually to properly develop, finance and bring beneficial working relationships. a co-production to close. This research seeks to tap into the experience of these Since it’s expensive and time- companies, their partners and other key stakeholders consuming to put together a co- across the region to provide insights into the current production, emotion and cost really environment as well future opportunities and how to make drive you to want it to work. However, the most of them. at the pointy end of the process pressure may be put on you to The analysis is based on: compromise your deal. y interviews with 31 Australian producers, agencies and Irrespective of the emotion or cost, organisations with experience working with the focus you have to always be pragmatic and territories be able to walk away in your longer- y interviews with 27 producers, agencies and organisations term best interests. in the focus territories Mario Andreacchio, AMPCO Films, y a survey of 51 Australian production companies that have Australia had projects involving the focus territories in the past five years.

Percentage of Australian producer survey respondents who had done business with each territory

0–20% 21–40% 41–60% 61–80% Sth Korea 17% China 63%

Japan 29%

India 34%

Thailand 20%

Singapore 49% Malaysia 24%

Indonesia 27%

Source: Australian producer survey: N=51

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 3 Attitudes and experiences

I like Australians and The study explored the perceived strengths ATTRIBUTES OF THE AUSTRALIAN I trust them. of the Australian industry in engaging with SCREEN PRODUCTION INDUSTRY Asia and why stakeholders across the focus Harry Cu, SAMG Animation, countries have chosen to work with or would Creative and technical skills Korea consider working with Australian partners. The Australian screen industry has capacity The following factors were consistently cited: for quality storytelling, design and other I tell them you don’t need to go creative aspects of screen production. ATTRIBUTES OF AUSTRALIA Australia has a good track record of to Hollywood. Go to Australia. production in high-quality series and is well They have the Producer Offset Shared history and Asian diaspora positioned to handle scale of production. and they are just as good as communities in Australia Australia’s post, digital and visual effects sector is regarded across the region as being Hollywood. Both local producers and overseas interviewees saw Australia’s shared history world class. Chua Chye Seng, IFS, with Asian countries and the experiences of Singapore Professionalism and international Asian Australian individuals and communities best practice as a rich source of story content with The Australian screen industry has Screen Australia was great the potential to appeal to audiences in Australia and the focus countries. Interest a reputation in the region for being at Asian Side of the Doc and in prominent Asian Australians, for example, highly professional. Australia is seen as got people excited; we felt like is demonstrated by the sales of content representing international best practice featuring personalities such as Kylie Kwong in a number of areas including production producers were excited about management and production accounting. the possibility of working (My China, Simply Magic), Poh Leong (Poh’s Kitchen) and Luke Nguyen (Luke with us. Experience creating content for Nguyen’s Vietnam). international markets Nandita Solomon, Apparat, Malaysia Geography Australian producers’ experience in creating Both local producers and overseas content for international markets is highly interviewees commented that Australia’s regarded, especially for children’s content. Australian producers know what natural landscape makes it an attractive Companies in the region stated that Australia has good connections to international international broadcasters want. location for production shoots. The similarity of time zones makes us part of Asia and easy distribution networks, and that working with Nandita Solomon, Apparat, to deal with. Australian partners could help propel their Malaysia content into markets beyond the region. Government support Existing relationships and track Government support mechanisms for the record screen industry in Australia were described by overseas interviewees as reliable and well Where overseas interviewees had worked organised. Local producers noted that the with Australian partners, they stated that Producer Offset gives Australian producers they would work with those companies again. the ability to bring some investment to the table. Local producers also considered that the stability of government in Australia is reassuring for Asian partners.

Current support mechanisms

A number of support mechanisms are already in place aimed at boosting cultural and commercial exchange across the film, television and digital content industries. Such support includes overarching government policy levers such as the Australian Government’s push to build engagement with Asia, Australia’s international co-production program and Austrade’s business support for the creative industries in emerging markets. It extends to Screen Australia’s work to build relationships with its regional counterparts, which sits alongside the support of the Australian state screen agencies and the broadcasters, travel grants administered by both the Commonwealth and state governments, and state agency-led initiatives for producers wishing to bolster their presence in key territories. See also: ‘Current engagement and support mechanisms’ on page 26.

4 Success factors

‘Bait 3D’ is an official Australia– Singapore co-production between Pictures in Paradise, Story Bridge Films, Arclight Films International and Singapore’s Black Magic Design, supported by Screen Australia, Screen Queensland and the MDA. The film also had significant investment from China’s Yunnan Film Group and Enlight Pictures, which distributed Bait 3D in China. Additional scenes were shot in Beijing for the Chinese theatrical release version, which went on to gross over US $20m at the box office in China. Arclight’s Gary Hamilton is currently developing a subsequent project with Chinese co-producers. Bait 3D

The factors contributing to successful y participating in a delegation led by a screen Asian region interviewees affirmed that it engagement between Australia and the focus agency. was easier to do business with Australian countries were explored from the perspective Asian region interviewees also emphasised companies which had a presence in the of both Australian producers and Asian region that a government presence or endorsement country or the region and that visits in person partners. gave them confidence in Australian from senior executives were appreciated as a producers. sign of commitment to the partnership. Track record Content matters Attendance at regional Australian producers cited having already and international markets successfully completed a project with a The experience of local producers indicated Several Asian region interviewees stated partner or investor in that country as a key that the content must be relevant to that connections made at international contributor to success. Once trust has been audiences in the investing market. Partners markets and summits had formed the basis developed and an individual has a proven consider the ability to sell into their own for partnerships with Australian companies. ability to work in the territories and navigate market as a significant priority, as well as the MIPCOM and MIPTV were frequently cited the different systems, new opportunities can possibility of content deals with distributors as events where they could connect with the emerge. and Asia-centric broadcasters such as HBO Asia and Discovery Asia. Australian screen industry. Credibility through presence The exception to this was Singapore. Markets and industry events in the region of government Australian interviewees described that were highlighted as vital platforms In the absence of prior completed work, Singaporean partners as having a willingness for interacting with potential international the presence of government is an effective to invest in projects that did not have partners included: Asian Animation Summit, component of building credibility and trust in significant local relevance or interest, Asian Side of the Doc, Screen Singapore/ Asia. Australian interviewees noted that this perhaps because of the limited size of the Asian Television Forum, Busan International was particularly useful in the early stages Singaporean market. Film Festival/Asian Project Market, Hong of building a relationship and often involved Kong Film Market, FICCI Frames and Goa government-to-government interactions. Investment in a region and Film Bazaar (see box page 27). relationship is a long-term prospect Survey respondents and local interviewees The Australian public broadcasters agreed described the following types of government Visiting a prospective partner is a vital that regional and international markets presence as being effective when establishing component of building and securing played a crucial role in gathering audiences relationships: relationships. However, in order to build the for Australian content and highlighting credibility mentioned above as well as secure Australian talent to potential partners. y attendance or introduction by an Australian a fair position in a negotiation, local producers Government minister at a meeting interviewed consistently noted the time and y attendance by a senior representative of a cost involved in establishing the relationship. state or federal screen body

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 5 Opportunities

The best way to get Asian China, Malaysia and Singapore were identified likely co-financers. Investment was seen as partners on board is to present by interviewed Australian producers as an opportunity by 52 per cent of surveyed currently offering the greatest potential for producers; in this case, China and Singapore a compelling project ... Once screen partnerships. The survey confirmed were seen as offering the greatest potential. they get a toe in the Offset they this, showing that expectations of increasing There are also opportunities for Australian will become comfortable with it revenue were highest for China, followed by producers to access alternative sources Singapore, then Malaysia. quickly. of finance. For example, Singapore’s IFS The following factors were cited as driving Capital has cashflowed the Producer Offset Chua Chye Seng, IFS, expectations of growth: for Australian feature films. As awareness Singapore and experience of the Producer Offset in the Financing and investment region grows, it is likely that opportunities to Australian content that is Local producers and regional stakeholders access Offset cashflow finance will expand. universal could work well regarded the substantial government support for co-produced and/or foreign productions Co-productions in Korea. offered by some territories as a key driver 58 per cent of surveyed Australian Kenny Kihyung Bae, KBS, of engagement between Australia and producers perceived official and unofficial South Korea neighbouring screen industries. In addition, co-productions with at least one of the focus government–private co-ventures and state- countries as opportunities for their business, run enterprises are providing significant particularly China, Malaysia and Singapore. capital to film and television projects Some identified opportunities around involving foreign partners in some countries. official co-productions for countries with no Co-financing was the most commonly cited formal arrangements with Australia, mainly perceived opportunity amongst the surveyed those for which negotiations are currently producers, with 60 per cent considering at underway (Malaysia, India and South Korea). least one of the focus countries as a source Asian region interviewees asserted that of potential co-financing. China, Singapore companies previously known for providing and Malaysia in particular were seen as inexpensive production services are now

Revenue expectations

Australian producers’ expectations of increasing revenue from the Asian region were highest for Mainland China, followed by Singapore, then Malaysia. Sth Korea Japan Overall expectations of revenue China expansion LEAST GREATEST India

Level of expansion expected (proportion of responses) Thailand Contract Expand Stay the same significantly

Expand Singapore

Malaysia

Indonesia

Source: Australian producer survey: N=43

6 looking for a more meaningful role in the professional development opportunities the region, through subject matter, setting, development of intellectual property in makes Australia an attractive partner for people or perspectives. their international collaborations. As these companies in the region, as well as building a Documentary content that speaks to companies develop capacity and expand solid basis for further collaboration. international audiences, such as wildlife or their talent pool, co-production relationships science programs, is also in demand. The and shared creative control will become Increasing international focus among Asian screen industries market for television documentaries about more important for effective partnerships science is particularly strong in China, in these territories. Collaborating with co- All Asian region interviewees stated Singapore, Japan, South Korea and Thailand. production partners in the early stages of that their industries had become more Overall, 52 per cent of local producers script development provides creative as well internationally focused in the past five years. surveyed considered pre-sales or sales of as commercial benefits; co-development of The flow of finance, talent and content has completed programs to the focus countries stories gives projects a greater likelihood of intensified both within the Asian region as an opportunity for their business, with appealing to audiences in both countries. and across Asian, European and US screen China and Japan rating particularly highly. industries. Many producers, broadcasters and Mentoring and professional other stakeholders in the focus countries are New media markets development actively looking for international partners for The media industries in many of the focus The in-depth interviews with local producers co-production, co-financing and distribution. countries are undergoing rapid change, and Asian region stakeholders revealed opening up new opportunities for the that Australia’s large pool of established Content that appeals to audiences in distribution of content and access to new screen businesses and experienced the region audiences. talent was an advantage in any potential It became apparent through interviews with collaboration. There is an opportunity for the Australian and international broadcasters The rapidly expanding middle class in many established Australian screen businesses that a range of Australian television content of the focus territories means that audiences and practitioners to mentor emerging sells well into the region, including children’s have more disposable income to spend on practitioners such as producers, writers, animation, documentary and factual/lifestyle entertainment. In addition, youth audiences editors and production managers from screen content. Australian content often performs in many of the focus countries are highly industries in the region that are undergoing well if it has a connection to the country or engaged with social media, providing a rapid expansion and development. Providing conduit to engage this demographic.

Perceived opportunities for screen production businesses in Asia, by territory

No. of responses China India Indonesia Japan Malaysia Singapore Sth Korea Thailand 1 5 10 Co-financing 15 18 Official co-productions

Unofficial co-productions

Presales/sales

Investment

Co-ventures

Our content appeals to this market Access to other international markets

Less expensive production or post-production services

Quality of production or post-production services Income from production or post-production services

Source: Australian producer survey; ranked according to number of respondents who mentioned the opportunity for at least one of the focus countries. N=48

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 7 Challenges

There is a lack of familiarity The study explored the challenges or the lack of a market for their content as with each other. The first obstacles to greater engagement through an obstacle to greater engagement. Japan in-depth interviews with both local producers and India rated highest as countries where collaborative project usually and Asian region stakeholders, as well as the local producers did not consider there to be will come across some producer survey. a market for their content. Interestingly, difficulties due to unfamiliarity Japan also ranked highly as a country Difficulty establishing business offering opportunities for presales or sales of with each other. relationships completed programs, suggesting that local Sue Hu, Rare Media, Difficulty establishing business relationships producers have a firm understanding of the China was the most commonly cited obstacle types of content that are suitable for this among the producers surveyed. Responses market. were reasonably consistent across the Local and Asian region broadcasters One of the challenges for focus countries: South Korea and Thailand and sales agents interviewed by Screen Australian-based independent had the highest rate of perceived difficulty Australia have indicated that markets producers like WTFN is being in establishing business relationships at 47 in the focus countries are increasingly per cent, and Malaysia the lowest at 34 per able to convert opportunity opening up to international content. Asian cent. Local interviewees commented on the region interviewees considered Australian with the (understandable) need for trust to be developed over sustained documentary, lifestyle and children’s content discrepancies in television periods of time, with many in-person visits as having the greatest potential in their required. production budgets between respective markets. From both the local and Asian region two territories. interviews it emerged that the majority of Lack of co-production treaties We’ve had strong interest business relationships had initially been Australia currently has co-production from broadcasters in Malaysia, formed through participation in a delegation, arrangements with 11 countries, but just two or attendance at relevant regional festivals of these are in Asia: China for feature-length China and India for a range of and markets. Following this, a major factor productions only (theatrical or telemovies) series but the difficulty we’ve was to demonstrate commitment to the and Singapore for feature film and television. had as new players into those relationship by visiting each other’s offices. Among the surveyed producers, the lack of markets is how to meet price This is resource-intensive and takes time to a co-production treaty was perceived to be develop. most relevant in relation to engaging with the expectation against what an Japanese screen industry, with 30 per cent of hour of factual television costs Lack of financial resources to pursue producers considering this to be an obstacle. opportunities us to make. In follow-up interviews with local producers Local producers emphasised that a large part it was noted that the lack of access to Ben Ulm, WTFN, of the difficulty in establishing relationships Australia rebates made available through the presence was due to limited financial resources and of a treaty limited their ability to contribute the need to focus on a relatively small slate finances into a production. Although no Information about the of production. 41 per cent of local producers figure was able to be established for the surveyed cited a lack of financial resources Australian industry is crucial number of projects that have stalled or not to pursue opportunities in the focus countries been taken to market due to the lack of for co-operation. as an obstacle to greater engagement. The co-production treaties with Asian countries, Sue Hu, Rare Media, costs of several trips, accommodation and the perspectives shared indicated that China other services such as translators create opportunities continue to be missed. However a significant barrier, effectively limiting the at the same time, some producers and SPAA number of partners they are working with at suggested that co-productions would not suit any one time. all projects. Suitability of content for markets Local broadcasters pointed out that official co-production status allowed for shared Interviews with both Australian producers creative control with Asian region partners and overseas broadcasters and distributors where content needed to conform to noted that uniquely Australian content did local content requirements on Australian not carry any particular advantages or appeal television. In these cases, the absence for Asian markets. of a co-production treaty means that Moreover, it was acknowledged by local collaboration is restricted to a production producers and Asian region interviewees services outsourcing arrangement with alike that some types of Australian content regional partners. would not appeal to audiences in the focus countries. 33 per cent of producers perceived

8 The degree to which Asian region Overseas interviewees acknowledged the y The time to approve changes or receive interviewees considered the absence of prevalence of piracy, but stated that working a completion certificate directly impacts a co-production treaty an obstacle to with local partners in the focus countries can the producer’s profit but also hinders the engaging with the Australian screen industry help mitigate the potential impact, because of relationship with the overseas party. varied. For some interviewees who had their knowledge of how to derive value from Overseas interviewees stated that many limited access to government support for their own market. companies in the Asian region were not co-productions in their country, official Discrepancy in budget levels used to having a completion guarantor co-production status was seen primarily and that the complex legal documentation as something that would assist Australian Producers described challenges in both required by Australian productions could be partners to raise finance, without necessarily negotiating and delivering on productions in a disincentive to work with Australia. making a difference to their own ability to do some Asian countries due to the differences so. For others, official co-production status in expectations of production budgets. Variety of licensing arrangements was important in ensuring that a project Local interviewees described vast differences could meet local content requirements for Complexity of Australia’s film financing mechanisms in licence fees paid for their content across cinemas or broadcast channels. Asian countries, reflecting factors such as The local producers interviewed mentioned Piracy population size, distribution methods and the following factors as adding to the uptake of services such as IPTV. Overseas Although local producers considered piracy complexity of negotiations: interviewees revealed that television to be a major barrier to the success of y The Australian co-production points licence fees across the region can be much content in Asia, it varied greatly across the system (in place to ensure equal lower than those offered by Australian focus countries in terms of being considered contributions from partner nations in broadcasters. an obstacle. Japan, Singapore and South official co-productions) is more complex Overseas interviewees involved in animation Korea were rated as piracy concerns by less than the systems from other countries. production in Malaysia and Indonesia noted than 10 per cent of survey respondents. y Some Australian completion guarantors that revenue derived from broadcasters Piracy was perceived to be the largest require co-producers to provide their is only a small percentage of their total obstacle in China, and was also noted as a financial contribution up front (impractical revenue, as much as 90 per cent of which concern in India, Indonesia and Malaysia. in nations with high borrowing rates). comes from licensing and merchandise sales.

Perceived challenges for screen production businesses in Asia, by territory

No. of responses China India Indonesia Japan Malaysia Singapore Sth Korea Thailand 1 5 Difficulty establishing 10 business relationships/ 15 No business relationships 18 Lack of financial resources to pursue

Lack of knowledge/expertise within the business

Piracy

Censorship

There is no current market for our content

Lack of a co-production treaty Already have established relationships with other territories/ focussing on other territories

Haven't considered it

Source: Australian producer survey; ranked according to number of respondents who mentioned the obstacle for at least one of the focus countries. N=45

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 9 Where to now?

The research suggests that the groundwork for a working together for the whole lifespan of a project from its creative development to productive working relationship is already laid but that final release. It also means acknowledging there may be roadblocks along the way, such we can do much to strengthen these ties. as discrepancies in budgets and licence fees, and different working styles, but that these Australian screen practitioners are helped can be overcome. by the fact that they are considered to be Differences in the ways we do business, professional, friendly and reliable and have a the types of content we seek and the scale good rapport with their neighbours across the of budgets and licence fees can create Asian region. At the same time, government challenges, but there is genuine enthusiasm support and backing continues to be and willingness within the Australian sector instrumental in allowing these relationships and across the region to work together. to grow. Attendance at markets in the region This also highlights why it’s important that facilitates connections and producers are Australian screen agencies and businesses encouraged to attend if they are looking to increase their Asian capability and cultural build partnerships. A proven track record competence in order to bridge these in collaboration is, however, invaluable for differences. potential partners. Content that is universal, such as science, Regional markets and forums such as technology or light entertainment, creates the Asian Animation Summit, Asian Side opportunities. Producers who look to points of the Doc and the Australia-China Film of shared interest rather than focusing on Industry Forum, complemented by the points of difference will succeed and we have many significant international film festivals, seen this in the success of co-productions continue to be vital as spaces enabling face- such as The Coral Triangle, Bait 3D and to-face meetings. Up until now there has not The Story of Australia. been an equivalent forum in Australia that Ongoing opportunities for collaboration encourages producers from across the Asia- are essential if links across the region are Pacific to network with Australian producers. to grow. This will encourage skill sharing It is timely then that we consider options between companies and build capacity. to facilitate these links, such as a screen Supporting frameworks also need to be put agency–hosted market for producers and in place to ensure this level of exchange and broadcasters across the region. This would collaboration continue into the future. showcase Australia’s screen production Co-production treaties provide this support facilities as well as provide a formal outlet by being a formalised agreement that rests for the sharing of information and experience upon creative and financial contributions between Australian agencies and their made by both parties in equal measure. regional counterparts. Common Ground highlights the many Beyond the importance of personal factors that need to be considered when connections, Australian producers are mapping the state of play between the aided by Australian Government support Australian screen sector and its Asia-Pacific mechanisms which are generally seen as counterparts. As the screen industries reliable and well organised once they are globally build their capabilities and adapt understood. For the unfamiliar, however, to the international marketplace, it is crucial these systems can seem onerous and there that Australia takes steps now to cement is space for Screen Australia to improve our links with our neighbours in order to enjoy resources to better explain how things work. productive relationships and create business A strong theme from the research was opportunities. the recognition that, like all working relationships, a successful partnership requires investment from both sides to thrive. Producers need to be prepared to commit time and money to make it work. This means

Hoopla Doopla

10 Recommendations

Government agencies can make Local screen industry guilds and And for their part, Australian an important contribution by associations have a role in assisting screen businesses who want to facilitating relationships and creating their members to increase their be successful in this space should: environments of trust, clarity and Asian capability and expand their y build their Asian capability and cultural credibility that support Australian networks. They should: adaptability, including Asian language skills where possible producers to do business. They y provide opportunities for members who should: have worked successfully in the Asian y invest in relationships through regular region to share their experiences and face-to-face meetings and attending y strengthen government-to-government knowledge via platforms such as annual international markets relationships with Asian region conferences counterparts y work with their partners from a project’s y expand relationships with screen guilds or inception: successful projects stem from y continue to provide information and other organisations in the region to enhance successful partnerships resources on the Australian production information sharing between Australian y endeavour to provide professional community and its supporting systems and Asian screen industries including the Producer Offset development, mentoring or skills sharing y explore opportunities for their members to opportunities to emerging practitioners y continue to lead targeted delegations meet with screen practitioners from the in partner companies in Asia during and ensure a government presence at Asian region via partnerships with cultural development or production of content. international markets in the region or industry organisations, for example y lend support to Australia’s international partnerships with film festivals. co-production program y encourage and support visits from agency representatives and screen Hoopla Doopla delegations from the Asian region and their engagement with the Australian screen industry y hold a biennial networking event, hosted by Screen Australia and state screen agencies y encourage skill sharing across the region through regular collaboration, exchange and internships within production sector businesses y develop Asian capability and cultural competence within agencies y develop and resource, in consultation with industry, targeted initiatives that increase screen development and production opportunities between Australian and Asian production companies.

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 11 Territory profiles

Taking into account the characteristics of 46 per cent of the local producers surveyed on a project-by-project basis. However, their respective screen industries, local saw opportunities for their business in government-to-government screen agency producers’ perspectives and discussions with Malaysia. Most commonly cited were and industry engagement is growing as part broadcasters, producers and other screen production partnerships and co-financing of a co-ordinated and sustained approach to industry players in the region, China, South as well as less expensive production or seek out business opportunities. Korea, Malaysia and Singapore have been post production services. The substantial Thailand, for example, will now host the identified as territories currently offering incentives introduced by the Malaysian 2nd Asian Animation Summit, and the significant opportunity to Australian screen Government are a key driver of these Software Industry Promotion Agency (SIPA), businesses. expectations. a Thai government agency supporting the 69 per cent of local producers surveyed South Korea ranked lower amongst local development and growth of the animation saw opportunity in China, due in large part producers surveyed in terms of perceived industry, is sponsoring the event. Indonesia to the size and rapid growth of the market. opportunity with 27 per cent seeing continues to be a partner of interest to The interviews revealed that a number opportunity in this country. The strength of Australia and the groundwork is already of Australian production companies have the South Korean screen industry as well as being laid to establish relationships. already dedicated resources into expanding the established government-to-government Japan ranked third highest as a country their relationships and presence in China. ties between the two countries suggest, offering opportunities for Australian screen Singapore was ranked second for opportunity however, that there is considerable unrealised businesses, mainly due to the perceived by the local producers surveyed, with 67 per potential for collaboration between the potential for pre-sales and sales of cent seeing potential for engagement with Australian and South Korean screen completed programs. Local documentary their business. With a co-production treaty industries. producers in particular reported success in place for both feature films and television Opportunities also exist in Thailand, selling programs to Japan and expected to productions and strong government support Indonesia, India and Japan and in the continue to do so. via the MDA, Singapore is seen as offering long term it is likely that the Australian co-financing, investment and co-production screen production industry will see greater opportunities. Singapore ranked equal highest involvement with these countries. Currently, with China as a territory offering access to collaboration between Australia and other international markets. entities in these territories tends to occur

The Dragon Pearl

12 Mainland China

significant opportunities for greater exchange SNAPSHOT between the two industries.

No. screens 13,118 (2012)3 Existing ties between the Chinese and Australian screen industries include the Total box office US$2.7 billion (2012)3 Australia–China co-production treaty, which entered into force in 2008. The treaty Domestic box office share 48% (Chinese language films, 2012)3 only applies to feature film production, No. of domestic films released in cinemas 231 (2012)4 and there have been three films made as official China–Australia co-productions Local content regulation – cinema Yes since 2008: 33 Postcards, The Dragon Pearl Local content regulation – television Yes and Children of the Silk Road. There are a number of China–Australia feature films in 4 Number of domestic films produced 745 (2012) development, including The Gold Road, a TV households 386,641,000 (2010)5 co-production between Australia’s AMPCO Films and China’s Shandong Film and TV Pay TV households 188,164,000 (2010)5 Media Group. Broadband households 122,421,000 (2010)5 Australian companies have produced documentaries for the Chinese broadcast market. Canberra-based Bearcage Film’s Australian producers’ perspectives y Several US studios have made significant series The Story of Australia, commissioned y 47 per cent of local producers surveyed investments in the Chinese film production by CCTV9 and broadcast in China in August derived revenue from the Chinese market. industry in recent years, including 2013, is a prominent example. Australian Legendary Pictures, which established companies are also producing lifestyle y 43 per cent of local producers expected production company Legendary East to programming such as cooking and travel their revenue from China to expand; produce large-budget Chinese movies in series for the Chinese provincial broadcast 27 per cent expected it to expand partnership with state-run enterprise China market. significantly. Film Group, and Relativity Media, which has Australian company Beyond Screen y The factors most commonly perceived as invested in Chinese production company Production has co-produced two children’s opportunities by the surveyed local SkyLand Film and Television Cultural series with CCTV in recent years: Hoopla producers were official and unofficial Development Ltd. Doopla, a live action preschool series co-productions, co- financing, presales Cooperation between the Chinese and South supported by CCTV and ABC; and Quest, a and investment.. Korean screen industries is accelerating factual program shot in China and Australia. y The most commonly cited obstacles to across a range of business activities including Australian companies have provided PDV 8 pursuing greater engagement with the co-productions. 2013 saw the release of services for large-budget Chinese feature Chinese screen industry were piracy, China–Korea 3D film Mr Go in both territories. films. censorship and a lack of financial resources Major South Korean studio CJ Entertainment Recent Australian films released theatrically to pursue opportunities. recently secured investment from China Film in China include Bait 3D and The Great Group and private studio Pegasus & Taihe Gatsby. Recent developments Entertainment for sci-fi feature The Fist. The y Online video streaming services in China two Chinese companies will contribute 30 have seen rapid consumer uptake and per cent of the budget, amounting to US$20 OPPORTUNITIES 9 revenue growth in recent years. Intense million. China’s SAPPRFT and South Korea’s Government links with the Chinese competition between services has seen Ministry of Culture, Sports and Tourism have screen industry: Screen Australia and licence fees increase exponentially, signed a memorandum of understanding and other government agencies or government- including for foreign TV drama; in addition announced plans to progress towards a full supported bodies such as DFAT, Austrade, services have started creating original co-production treaty. Ausfilm and the ABC have relationships content to distinguish themselves from with the Chinese screen industry and are 6 Current engagement their competitors. committed to building on these relationships There are numerous links between the y 2013 has been an extremely successful into the future. In addition many of the Chinese screen industry and Australia, year for Chinese films at the domestic box state screen agencies reported informal including government-to-government links office. In the first six months of the year relationships with state-owned enterprises, and production partnerships across a range local films pulled in 63 per cent of the box government agencies and CCTV. Instances of of screen content forms. The Chinese office, compared to a 36 per cent share in government bodies facilitating business with screen industry is expanding rapidly across the first half of 2012.7 China include the Australia China Film Forum production and distribution, presenting and Screen Australia delegations to markets.

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 13 Investment in relationships: A number of Australian production companies have invested significant resources into their relationships with the Chinese screen industry including regular travel to the country. Participants in recent Australian delegations to China have reported ongoing discussions with contacts made through the delegation. This activity lays the groundwork for meaningful and successful collaboration. Documentary: There is a large appetite for documentary content with high production values in China and Chinese broadcasters and distributors are seeking to commission and acquire foreign documentaries. CCTV is very interested in working with international partners, as are many provincial broadcasters. Broadcasters are looking for documentaries on a wide range of subject matter including migration history, nature, science and modern living. Documentaries about or with a connection to Chinese subject matter are The Story of Australia popular with buyers. Interviewees based in China stated that Australia has a reputation for high-quality documentary and factual production. More than 20 million viewers in China Chinese entities that had worked with Australian companies reported positive for The Story of Australia experiences. Private investment: There is a large amount The Story of Australia is the first Bearcage Films was the winner of the of private investment in the screen industry documentary co-production between Small to Medium Organisation category in China. The survey of local producers an Australian company, Canberra- at the inaugural Australian Arts in Asia reveals that Australian productions have based Bearcage, and Chinese national Awards for their work with CCTV9 on benefited from private investment from documentary channel CCTV9. The Story of Australia. The broadcast Chinese sources. The Story of Australia was initiated premiere on CCTV9 in September 2013 Online video streaming services: Chinese to celebrate the 40th Anniversary of attracted 21.2 million viewers. online video streaming services can offer diplomatic relations between the People’s The program also caught the attention a wider variety of television content than Republic of China and Australia. The of the Chinese President, Xi Jinping, who broadcast channels. Many of these services six-part series travels around the country commented to Prime Minister Tony Abbott license foreign content including drama exploring Australia’s flora and fauna, during his visit in October 2013 that The series from the US and UK. The audience industry and innovation, Indigenous Story of Australia, the very first Australia– for foreign drama is niche, but tends to be culture and heritage, agriculture and China documentary co-production, was wealthy and urban – a demographic that geographic diversity. The Story of very popular on television. He went on to advertisers are keen to reach. Popular Australia also focuses on the lives of say we should tell more good Chinese and foreign series on online video services Australians and Chinese who represent Australian stories to deepen the mutual include Downtown Abbey and The Walking the contemporary relationship between understanding and friendly relations Dead.10 the two countries and their cultural and between the two countries. The leading online video services in China community engagement. are: Youku Tudou, LeT V, QQ Video, and iQiyi. Children’s content: ABC Children’s Television and the CCTV children’s channel CCTV14 have a strong relationship and are currently in production on their first co-produced project, preschool series Hoopla Doopla, produced by Beyond Screen Production. The Australian Children’s Television Foundation provided script

14 development investment to the project and stated that one of the challenges was not We have had an office in China will distribute the series worldwide on behalf knowing where to find information about for over 10 years with significant of the Australian and Chinese partners. Australian production companies and their time invested in creating a true A large number of animation production capabilities. companies in China are rapidly building Some Australian producers reported that presence with the flow-on effect capacity and could be potential production there is still more work to be done in raising of enabling our production partners. awareness of the Producer Offset in China. business to grow globally. Others stated that the mechanism of the Markets and festivals: Major international The broadcast market in markets and festivals in China, such as Offset can be difficult to explain to Chinese the Shanghai International Film Festival partners as it is distinct from Chinese China is large and varied, with (SIFF) and the Sichuan TV Festival, provide government investment incentives. a huge appetite for domestic platforms for Australian producers to The three Australia–China feature film programming. International establish relationships, promote their content co-productions released to date have been and attract investment. SIFF is one of the relatively low profile. The box office success factual programming like natural largest film festivals in East Asia and is of Bait 3D in China has, however, gone some history, travel and science has accredited by the International Federation way to raising the profile of Australia–China proved popular. Large brands are of Film Producers Associations (FIAPF). feature film collaborations. While Bait is not a also seeking to partner in factual In addition to a screening program, SIFF Chinese co-production, it did involve Chinese features industry forums, a film financing investors and a second project (originally Bait programming. market and awards, including the Golden 2 but retitled Deep Water) is in development Sue Clothier, Goblet Award for best film and Asian New with Chinese co-producers. The success of Managing Director Northern Pictures, Talent Award. The Sichuan TV Festival, Sanctum 3D and The Great Gatsby at the Australia which includes the international ‘Golden Chinese box office has also drawn attention Panda’ awards as well as a television market, to the Australian screen industry. is hosted by SAPPRFT and the Sichuan Capacity to co-produce and due diligence: Audience tastes and co-production Provincial People’s Government. There are a large number of production approval process: Local producers noted companies in China; however, only companies that the joint development of scripts is CHALLENGES that are accredited by SAPPRFT are able particularly important when working with Lack of awareness or experience of the to co-produce with a foreign partner. It is Chinese co-production partners on feature Australian screen industry: Interviewees essential that Chinese partners are properly films as SAPPRFT has to assess scripts based in China who had had no contact or accredited with the appropriate bodies with before principal photography can commence limited involvement with Australian partners equivalent terms of trade. on a co-production. Late changes to the script to meet censorship requirements can unravel the storyline and impact on the quality of the content. Local producers The Story of Australia reported that approaching Chinese partners with a completed script is less likely to attract interest than presenting projects where co-development is on offer.

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 15 Republic of Korea

Summit do exist, and there are opportunities SNAPSHOT for the Australian screen industry to leverage existing relationships to stimulate greater 11 No. of screens 1,974 (2011) collaboration between the two industries. Total box office US$1.21 billion (2012)12 Screen Australia has been working with the Busan International Film Festival (BIFF) Domestic box office share 58.8% (2012)12 and the concurrent Asian Project Market for No. of domestic films released in cinemas 174 (2012)12 around eight years, hosting programmers from the festival as well as providing travel Local content regulation – cinema Yes support for selected Australian filmmakers. Local content regulation – television Yes In 2013, Australian project End of Animal was one of 30 official project selections for Number of domestic films produced [Not available] the project market. Screen Australia works TV households 16,595,00013 with the Australia-Korea Foundation and the Embassy in their work with BIFF. South Korean national broadcaster KBS is Australian producers’ perspectives for South Korean films comes from the a member of the ABU alongside the ABC y 20 per cent of surveyed local producers box office take, due to a relatively small and SBS. KBS has acquired a number of derived revenue from the South Korean home entertainment market. In 2012 Australian documentaries in recent years market. the DVD market in South Korea totalled including ABC and SBS documentaries and US$35 million and the digital film market content from Australian distributors. y 27 per cent of local producers expected totalled approximately US$150 million, their revenue from South Korea to expand; A range of South Korean productions have according to IHS Screen Digest.15 8 per cent expected it to expand done location shooting in Australia, including significantly y KOFIC recently introduced a location feature film A Million, which was set in the incentive for foreign feature films and Australian desert, and vampire movie Thirst y The factors most commonly perceived television drama production. KOFIC offers (Park Chan Wook). as opportunities by the surveyed local a cash grant of up to 30 per cent on foreign producers were the appeal of their content production expenditure incurred for goods OPPORTUNITIES to the South Korean market, presales/sales and services in South Korea, with a cap of and co-productions. 2.6 billion KRW (approx US$2.6 million).16 South Korean Government support: The y The most commonly cited obstacles South Korean Government provides holistic y In 2013 renowned South Korean director to pursuing greater engagement with support for the screen industry through Bong Joon-Ho released his first English the South Korean screen industry were direct investment in production, development language film, Snowpiercer. The sci-fi difficulty establishing relationships, lack of initiatives, a location incentive and support thriller is based on the French graphic financial resources to pursue opportunities for export activities. The two national screen novel Le Transperceneige and features an and lack of knowledge/expertise within agencies are KOFIC and KOCCA. There is international cast including Song Kang their business. also strong regulatory support for the local Ho, Tilda Swinton and Chris Evans. With a industry including a screen quota for local budget of over US$40 million, Recent developments Snowpiercer films in cinemas and local content regulation is the most expensive South Korean film y The IPTV market in South Korea has for broadcast television. ever made.17 Snowpiercer has attracted developed rapidly over the last five years. over 9 million admissions at the South International expansion: KOFIC has According to the Korea Digital Media Korean box office and has been sold to announced its intention to focus on Association, South Korea reached 7 million 167 territories.18 The Weinstein Co. has supporting the South Korean screen industry IPTV subscribers in 2013.14 The growth of acquired rights to the film in the US, to engage more with international partners. the South Korean IPTV market, which is Canada, the UK, Australia, New Zealand KOFIC has supported the international one of the largest in the world, has been and South Africa. expansion of the screen industry via a assisted by the country’s high broadband co-production development fund, business penetration and fast Internet speeds. Current engagement matching events and establishing a Film y The box office share for domestic films has Production partnerships with South Business Centre in Beijing, amongst other 19 been growing steadily over the past four Korea have been limited to date. However, initiatives. years, rising from 42 per cent in 2008 to important ties such as the Asian Animation 58 per cent in 2012. 90 per cent of revenue

16 South Korean movie studios are reaching out firms. The Visual Content Funds work as sub- production partners as it is difficult to raise internationally, engaging in co-production and investors serving a significant role as financial production budgets from the domestic co-financing deals with partners from the investors in South Korean film productions. market alone. The Producer Offset as US, China, Japan and elsewhere, in order to Generally, they cover up to 40 per cent of well as broadcaster licence fees make achieve greater revenue from international the production costs. KOFIC invests about Australia an attractive partner for animated distribution. US$8.9 million per year to stabilise the South co-productions. In addition, Australian At the same time foreign movie studios in Korean film industry.20 animation producers’ experience in creating particular US and Chinese companies are Animation: South Korea is the world’s fourth content for international markets and increasingly investing significant amounts in largest animation producer, with over 500 access to global distribution networks is the South Korean film industry. animation studios employing approximately highly valued. Feature film:There is a large amount of 86,000 animation professionals.21 In 2013, Documentary: South Korean public private investment in the South Korean over 90 per cent of animation production broadcasters Korean Broadcasting System film production industry, for example in South Korea comprised fee-for-service and Educational Broadcasting System from entertainment companies that are for foreign studios. However, the number of and commercial broadcaster MBC are integrated with production and distribution original projects produced by South Korean increasingly reaching out to international divisions. Two of these vertically integrated animation studios is rising.21 The South co-production partners, presenting entertainment companies, CJ Entertainment Korean animation industry is highly regarded opportunities for the Australian documentary and Lotte Entertainment, also have a stake in for the quality of its animation and its talent and factual production sector. cinema exhibition, running multiplex theatre pool. The South Korean and Australian chains. Telecommunications conglomerates The South Korean Government supports the documentary sectors have begun to establish such as SK Broadband and KT have begun production of original animation in a number relationships. Events such as Asian Side of making significant investments in film of ways including a local broadcast content the Doc and INPUT as well as MIPCOM productions in order to acquire satellite quota, direct investment via KOCCA and the and MIPTV have been essential platforms broadcast and IPTV rights.20 Asian Animation Summit. to exchange ideas and discuss content and KOFIC fosters private investment in film The increase in original South Korean product with broadcasters. A representative production via the Cinema Fund, which animation productions offers an opportunity from KBS also attended the Australian provides seed money to various Visual for Australian producers seeking to co- International Documentary Conference Content Funds managed by venture capital produce animated projects. South Korean in 2013. studios are seeking international co- CHALLENGES Established industry: The success of the South Korean screen industry has made it an attractive production partner or investment proposition for foreign companies. The presence of Hollywood studios and Korea’s growing ties with the Chinese screen industry as well as other countries means that Australian producers seeking to collaborate with South Korean partners face a lot of competition.

Kakadu

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 17 Malaysia

In the documentary sector, Queensland/NSW SNAPSHOT company Wild Fury and Malaysia’s Apparat have collaborated on the three-part series No. of screens 754 (2012)22 The Coral Triangle, produced for ZDF and Total box office US$185 million (2012)22 Arte and supported by screen agencies in Australia and Malaysia. Domestic box office share 16% (2012)22 As well as production partnerships, No. of domestic films released in cinemas 76 (2012)22 Malaysian subscription broadcaster Astro has acquired Australian content, primarily Local content regulation – cinema Yes documentary, factual and children’s Local content regulation – television Yes programs. However, there is a low level of awareness of recent Australian content in Number of domestic films produced Not available Malaysia. Domestic film average budget US$494,000 (2012)22 OPPORTUNITIES TV households 5,063,00023 Financing: Malaysian Government support Pay TV households 3,221,00023 for the screen industry presents significant Broadband households 1,959,60023 opportunities for the Australian screen industry. The newly introduced 30 per cent rebate will enhance the financial contribution that Malaysian companies bring Australian producers’ perspectives features five stages of various sizes, two to production partnerships. In addition, TV studios and post-production facilities y 20 per cent of surveyed local producers there is a dedicated co-production fund including editing rooms and screening derived revenue from the Malaysian administered by MDEC, MAC3 Co-Pro Fund, theatres. market. designed to help innovative and progressive y 50 per cent of local producers expected y In 2013 the Malaysian Government local companies to co-produce animation and their revenue from South Korea to expand; introduced a 30 per cent rebate on game development projects with reputable 7 per cent expected it to expand Qualifying Malaysian Production international partners. The absence of a co- significantly. Expenditure for film and television production treaty does not prohibit Malaysian production and post-production. The rebate y The factors most commonly perceived producers working with Australian partners can be accessed by domestic and foreign from accessing this fund. as opportunities by the local producers productions. The minimum expenditure Private–public partnerships such as surveyed were co-productions, co-financing threshold for domestic productions is Ideate Media, a co-venture between media and less expensive production or post- approximately A$800,000 for feature films company Astro and Malaysian Government production services. and A$64,000 per episode for television investment arm Khazanah Nasionaland, also y The most commonly cited obstacles to productions. Foreign productions must offer financing opportunities for Australian pursuing greater engagement with the spend approximately A$1,700,000 for producers working with Malaysian partners. Malaysian screen industry were difficulty feature films and A$130,000 per episode establishing relationships, lack of financial for television productions. Pinewood Iskandar Malaysia Studios: resources to pursue opportunities and The technologically advanced studio lack of knowledge/expertise within their Current engagement infrastructure at PIMS, combined with the business. The longest standing ties between the 30 per cent rebate, makes Malaysia a cost- Malaysian and Australian screen industries effective location to undertake studio shoots Recent developments are in the animation sector. There is potential for Australian productions. y Pinewood Iskandar Malaysia Studios for the Malaysian Government’s support for Looking for international partners: (PIMS) opened in 2013. PIMS was jointly the screen industry to bolster connections The Malaysian screen industry is actively financed by Pinewood Studios Groups with the Australian industry across various looking to work with international partners, and the investment arm of the Malaysian sectors. particularly in the animation production Government, Khazanah Nasional Berhad. Collaborations on animated series include sector. The studio was built to serve Malaysian Flea-Bitten, produced by Vision Animation and regional screen productions as well (Malaysia) and Moody Street Kids (Australia) as international productions. PIMS, which for Channel Nine, and CJ the DJ, also cost approximately US$120 million to build, produced by Vision Animation and Kapow Pictures (Australia) for the ABC and Nickelodeon.

18 Mentoring opportunities: The Malaysian Government is supporting the domestic screen industry to increase in size and ambition and to transition from primarily creating content for the domestic market to creating content with international appeal. The Australian screen industry’s experience in this area is highly regarded by Malaysian screen industry companies and presents opportunities for the Australian screen industry to provide training and mentoring to Malaysian screen practitioners.

CHALLENGES Discrepancy in budgets: The average budget for Malaysian film and television projects is much lower than the average budget for an Australian production, particularly for television projects. However, the Malaysian Government has encouraged The Coral Triangle local producers to work with larger budgets by setting the minimum expenditure threshold for the 30 per cent rebate on domestic productions at a higher level than would usually be spent on a Malaysian Documentary The Coral Triangle project. The discrepancy in budget levels is partly offset by the lower cost of production explores mutually relevant in Malaysia. subject matter

Three-part documentary series The Coral The Coral Triangle was supported by Triangle is an unofficial Australia–Malaysia Screen NSW and Malaysia’s FINAS and co-production. The program follows an was co-produced by Tina Dalton of Wild expedition around the Coral Triangle Fury Productions and Nandita Solomon of marine area, which includes the waters Apparat Productions. The production also of Indonesia, Malaysia, the Philippines, utilised the services of Malaysian company Papua New Guinea, Timor Leste and the Scubazoo, which specialises in underwater Solomon Islands, to document the beauty photography. The Coral Triangle will be and biological importance of the area. broadcast by ZDF/Arte and Discovery Asia. The series is presented by prominent The Coral Triangle was the first production Flea-bitten Australian divers and shark experts partnership between Wild Fury and Ron and Valerie Taylor. Apparat. The two companies are in joint Malaysian writers need to development on a subsequent project. develop the skills to tell Malaysian stories in a universally appealing way. Australia has good screenwriting skills and could play a role in training ... Kamil Othman, MDEC, Malaysia

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 19 Singapore

OPPORTUNITIES SNAPSHOT Many Australian production companies No. of screens 200 (2012)24 are already realising the benefits of partnering with Singaporean companies. Total box office US$150.8m (2011)25 The Singaporean screen industry has Domestic box office share 5% (2011)26 developed rapidly over the past 10 years and will continue to build talent and expertise. Local content regulation – cinema No There will be ongoing opportunities for Local content regulation – Television No production partnerships for Australian producers including official and unofficial 27 Number of domestic films produced 15 (2011) co-productions, especially in the animation TV households 1,154,00028 sector. Government support: The MDA provides Pay TV households 818,00028 strong support for Singaporean production Broadband households 1,209,00028 companies working with international partners. Singaporean companies are eligible for grants of up to 40 per cent of the Australian producers’ perspectives Current engagement Singapore spend on a television, film, game or interactive media production. To encourage y 43 per cent of surveyed local producers The Australian and Singaporean screen a sustained pipeline of projects, MDA offers derived revenue from the Singaporean industries have strong ties across various a further grant of up to 10 per cent of the market. sectors. The relationship between the two Singapore spend of a Singaporean company’s industries has been spurred by the Australia– y 56 per cent of local producer expected their current project for its next project. revenue from Singapore to expand; Singapore co-production agreement, which Regional hub: The regional headquarters of 9 per cent expected it to expand came into force in 2008, and the Media a number of international broadcasters and significantly Development Authority’s active approach to supporting the local industry to work with media companies are located in Singapore, y The factors most commonly perceived international partners. including HBO Asia and Discovery Networks as opportunities by the local producers Asia-Pacific. surveyed were co-financing, official co- Television drama series Serangoon Road is a major collaborative project between the productions, the appeal of their content to CHALLENGES the Singaporean market and co-ventures. two countries, with significant investment from the MDA and ScreenWest. The series is y The most commonly cited obstacles to Small broadcast market: Singapore has being broadcast in Australia by the ABC and pursuing greater engagement with the a small broadcast market and Singaporean throughout the region by HBO Asia. Singaporean screen industry were lack of broadcasters offer low licence fees. financial resources to pursue opportunities, In the feature film sector, IFS Capital Mediacorp is Singapore’s only free-to-air difficulty establishing relationships and has cashflowed the Producer Offset for licensee, operating seven free-to-air channels lack of knowledge/expertise within their Australian feature films, and there has been in the four official languages of Singapore. business. one feature film co-production, Bait 3D. The subscription TV market comprises There have been a number of official and two nationwide licensees: StarHub, which Recent developments unofficial animation co-productions including operates the country’s only cable TV service, Screen Singapore, a film market and Guess How Much I Love You, Zigby and Milly and SingNet, which offers IPTV channels. convention, and the Asian Television Forum Molly. Live action children’s series A Gurls and Market are now held in conjunction with Wurld also had Australian and Singaporean each other. The inaugural Screen Singapore partners. was held in 2011 and combined with the more established Asian Television Forum and Market in 2012. In addition to the market, the dual event features conferences, networking events and screenings.

20 Serangoon Road

Deep engagement from both partners in TV drama Serangoon Road

Serangoon Road is an Australia–Singapore Series creator Paul Barron told Singaporean television drama co-production produced by film magazine F***, “The co-production Great Western Entertainment and Infinite I think has helped everybody because we’ve Frameworks. Set in 1960s Singapore, it tells been able to bring together two things: the story of Australian-born Sam Callaghan one is the creative resources – the creative (Don Hany), who is approached by his resources of Singapore and acting resources neighbour Patricia (Joan Chen) to help keep from across the region, and our creative her recently murdered husband’s private resources and then we [were] frankly able detective agency afloat. to bring together the money.” * Deep creative and financial input came from Serangoon Road was recognised at the both Singapore and Australia, with cast and inaugural Australian Arts in Asia Awards, crew also drawn from other parts of the winning the Digital and Film award as well region. Serangoon Road was shot at Infinity as nominations in several other categories. Studios on Indonesia’s Batam Island and The series went to air throughout the region at iconic locations in Singapore, with post- on HBO Asia and in Australia on the ABC in production undertaken in Perth and Sydney. September 2013. It was supported by Singapore’s MDA and ScreenWest, with broadcasters ABC and HBO Asia and distributor Content Television also investing.

* Paul Barron interviewed by Jedd Jong, 2013, ‘On the Road: Serangoon Road Set Visit’, F*** Magazine. March 2013

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 21 Indonesia

The Australian screen production SNAPSHOT industry has seen examples of successful collaboration with No. of screens 675 (2012)29 Indonesia, India, Japan and Total box office US$150m30 Thailand over the course of many No. of domestic films released in cinemas 90 (2012)31 years, and there is potential to Local content regulation – cinema No expand the nature and scope of these relationships. Local content regulation – television No 32 Engagement between Australia Number of domestic films produced 80-90 and the Japanese and Indian TV households 41,871,000 screen industries has been limited Pay TV households 1,226,000 by the strong domestic focus of Broadband households 1,898,200 these markets. However, there are indications that Japan and The Australian screen sector’s engagement of action film The Raid, which had a budget of India are increasingly opening with Indonesia to date has been primarily US$1.1 million and grossed over US$4 million up to international production through location shoots in Indonesia, for the at the US box office alone, has raised the partnerships and foreign content. most part comprising documentary projects international profile of the Indonesian film addressing Indonesian subject matter. production sector. 34 A sequel to The Raid is Thailand has a depth of screen The Bali Film Commission has assisted a currently in production, and Screen Gems, a production talent and a growing number of Australian productions to shoot subsidiary of Sony Pictures, has acquired the screen sector that is benefitting in Bali including an upcoming observational remake rights. documentary series about Australians living The Indonesian market is currently ‘under from increased government 33 in Bali and documentary The Coral Triangle. screened’ with only 696 screens for over activity in terms of promoting Australian drama projects that have shot in 242 million people. However, investment in and supporting the Thai industry. Indonesia include Serangoon Road, which the theatrical exhibition sector is growing. used Infinity Studio on Batam Island, and Indonesia’s screen industry is set An expanding number of screens combined Australia–Germany co-production At World’s with a growing middle class signal potential for significant expansion to serve End. for major growth in the feature film market in its huge population and growing Several trends in the Indonesian screen Indonesia. middleclass. sector point to opportunities for greater For the documentary sector the shared engagement. In the animation sector there With a coordinated and sustained history and ties between Indonesia has been significant government investment and Australia, explored in Australian approach, these territories will in vocational training and Indonesia offers an documentaries such as Indonesia Calling: become increasingly important for economy of scale for Australian productions. Joris Ivens in Australia and Bali High Wedding, Training and information exchange including the Australian screen production provide a fertile source of screen stories. sharing of Australian skills and expertise The proximity of Western Australia and industry. would be valued by the Indonesian sector. the Northern Territory to Indonesia is an The scale and ambition of Indonesian feature advantage for their local screen industries. films is increasing, evidenced by the growing There was some discussion late last year number of Indonesian projects doing location of the establishment of an Indonesian Film shoots in Australia. However, there remains Council, independent of government, to a large disparity between the average budget review film policy and establish support of an Indonesian feature and an Australian programs for local film. Screen Australia is feature. Indonesia consistently produces not aware of any further progression on this 80–90 feature films annually, without issue to date. government investment. The recent success

22 India

SNAPSHOT

No. of screens Approx. 10,00035 Total box office US$1.4 billion36 Domestic box office share 91.5% (2012)37 Local content regulation – cinema No Local content regulation – television No Number of domestic films produced 1602 (2012)38 TV households 143,216,00039 Pay TV households 102,445,00039 Broadband households 11,464,70039

A significant point of connect between the India and Australia do not currently have a Australian and Indian screen industries is co-production treaty, although negotiations location shooting; a consistent number of are underway. The lack of a co-production Working with Indian feature films are undertaking location treaty presents a challenge for Australian shoots in Australia. Recent Australian producers raising finance for a co-production India on children’s projects shot in India include feature films with India as they may not be able to Save Your Legs and The Waiting City and access government funding. There is little animation documentary series Dumb, Drunk and Racist. government investment in the Indian film Buzz Bumble An example of collaboration between the two industry, so official co-production status industries is Tasmania-based Blue Rocket would not necessarily help Indian producers Tasmania-based company Blue Rocket and Indian studio Criya’s work on animated raise finance. and Indian production company Criya children’s series including the upcoming While India has a very strong domestic have partnered to produce preschool Buzz Bumble; pre-production is performed production industry, there are opportunities animation series Buzz Bumble (currently in Tasmania while production is undertaken for Australian content to reach Indian in production). The project is supported in India. audiences. For example horror film by Screen Tasmania and is the first FICCI Frames and the Goa Film Bazaar Black Water performed well in the home co-production between a Tasmanian provide important platforms for Australian entertainment market (creature features and an Indian company. The Tasmanian producers to establish relationships with the were popular at the time) and Australian Government has announced that the Indian screen industry. There has been an television programs including Addicted production is expected to create 28 local annual Australian presence at FICCI Frames and Packed to the Rafters have aired on jobs and inject $2.3 million into the local and Goa Film Bazaar since their inception, subscription television. The growing number economy.* including delegations supported by Screen of arthouse cinemas and the proliferation of Buzz Bumble follows the misadventures Australia. SPAA and Ausfilm have also television channels following the switch to of a ‘not too smart’ performing bee supported industry events in India. digital transmission will provide opportunities named Buzz Bumble and his troupe of for Australian content to reach niche bee grade actors as they attempt to audiences in India. perform a comedy musical variety show. The series will be broadcast in Australia on the Nine Network and sold internationally by Bejuba Entertainment in Los Angeles.

* Lara Giddings, 2013, Tassie screen company in partnership with India, www.premier.tas.gov.au/ media_room/media_releases/tassie_screen_ company_in_partnership_with_india

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 23 Japan

Recent Australian documentaries aired SNAPSHOT by Japan’s public broadcaster include Miss Nikki and the Tiger Girls, Dancing 40 No. of screens 3,290 (2012) with Dictators and Possum Wars. ABC Total box office US$2.5 billion (2012)41 Commercial reports that sales of broadcast content to Japan are diversifying, including Domestic box office share 65.7% (2012)42 sales of Australian lifestyle programs to the No. of domestic films released in cinemas 554 (2012)42 territory. Documentary co-production or co- Local content regulation – cinema No financing is one area with potential for Local content regulation – television No greater collaboration between Australia and Japan. One platform for facilitating 43 TV households 46,583,000 business between the two industries is the Pay TV households 33,137,00043 Tokyo TV Forum, which held its inaugural event in 2011. The forum was established Broadband households 34,096,90043 to provide a platform for Japanese documentary producers to pitch projects to potential international partners including Exchange between the Australian We share a similar cultural co-production partners. The Japanese and Japanese screen industries has background as countries stakeholders interviewed for this report primarily centred on location shooting stated that documentary subject matter living in the Asia-Pacific. and acquisition of completed programs, that would be of interest to Japanese with crews and content flowing in both The recent two (Australian) audiences or co-production partners directions. One of the reasons for the titles we bought for World includes content that focuses on countries limited engagement between the two in the Asia-Pacific, environment issues and Documentary are both industries is that the Japanese screen energy issues. related to Myanmar, and as industry has traditionally been primarily it clearly shows, we have the focused on the domestic market. However, For feature film producers, the Japanese the Japanese screen industry is becoming film market TIFFCOM, run in conjunction same regional interests, and more internationally focused. with the Tokyo International Film Festival, holds an annual forum to facilitate co- Australia is strong in special In the past sales of Australian broadcast productions with Japanese partner, access to this region. content to Japan have predominantly TIFFCOM Co-Pro Connection. Sayumi Horie, NHK, been involved documentary programs. Japan

Serangoon Road Miss Nikki and the Tiger Girls

24 Thailand

SNAPSHOT

No. of screens Approx. 80044 Total box office US$152.6 million (2011)45 Domestic box office share 37.5% (2008)45 Local content regulation – cinema No Local content regulation – television No Number of domestic films produced 53 (2011)45 TV households 15,560,00046 Pay TV households 1,315,00046 Broadband households 2,716,40046

A number of Australian documentaries have Thai audiences and Australian pop singers shot in Thailand as well as some Australian such as Kylie Minogue have large fan bases. feature films. Beyond this, there has been Despite the limited engagement to date, limited exchange between the Australian there are opportunities for partnerships and Thai screen industries and there is a low between the two industries. The Thai level of awareness of Australian content industry has a large talent pool and strong in Thailand. A recent exception is Junior ties with neighbouring screen industries. The MasterChef Thailand, which premiered on main obstacle to greater engagement is the Thai television this year and has proved a hit lack of established relationships between the with audiences. Junior MasterChef Thailand is Australian and Thai screen industries. The based on the Australian format, produced by upcoming Asian Animation Summit in Phuket FremantleMedia Australia. is an opportunity for the Australian and Thai While Australian content is not well known animation sectors to form relationships in Thailand, Australian actors such as Nicole and for further government-to-government Kidman and Hugh Jackman are popular with contact to broaden the relationship.

Miss Nikki and the Tiger Girls

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 25 Appendix

Current engagement and support mechanisms

Co-productions Government agency relationships More than half the Australian producers The Australian International Co-production As the Australian Government’s key screen surveyed for the Common Ground report said Program facilitates cultural exchange industry support agency, Screen Australia they had received assistance from Screen and strengthens diplomatic ties between has relationships with other government Australia to undertake activities in the focus countries with the objective of opening agencies across the region, including: countries, with almost as many also receiving assistance from the state agencies. up new markets for Australian films and y Singapore’s Media Development Authority increasing the diversity of films brought (MDA) Coupled with its support for producers to Australia. The program also reduces to attend international markets, Screen y the Korean Creative Content Agency the financial risk for Australian producers Australia publishes Doing Business with (KOCCA) through the sharing of equity investment Australia, a resource for international between countries, thus encouraging the y Malaysia’s Multimedia Development producers considering working in Australia production of high-quality work. Corporation (MDEC) and National Film or with Australian screen practitioners. Development Corporation (FINAS) Australia holds film co-production treaties Marketing collateral providing details with Singapore and China. Under these y China’s State Administration of Press, of companies and their projects is also agreements, in place since 2008, Australia Publications, Radio, Film and Television produced for each market, summit or has co-produced three feature films worth (SAPPRFT), the China Film Co-Production country delegation visit. This complements $45 million with China and five projects Corporation and the Shanghai Film Group. the networking and matchmaking events organised by Screen Australia for Australian worth $45 million with Singapore. These These relationships have been strengthened producers looking to work with Asian region include Bait 3D and Children of the Silk Road, over time, with Screen Australia hosting partners. as well as the television drama Serangoon visits from delegations to Australia as well Road, currently screening on the ABC. as taking Australian delegations overseas. National broadcasters: Negotiations for audiovisual co-production For example, representatives from MDEC and the ABC and SBS FINAS have visited Screen Australia twice treaties with Malaysia, India and the Republic Australia’s public broadcasters are pro- over the past year and SAPPRFT has visited of Korea are also underway. actively building their relationships with every two years. Cultural diplomacy and trade broadcasters across the Asia-Pacific. The initiatives Screen Australia funding ABC was one of the initiators of the Asian programs and resources Animation Summit. Both broadcasters Screen Australia and the Department of continue to strengthen ties in the region by Enterprise Asia is a recent initiative of Foreign Affairs and Trade continue to work regularly attending markets such as the Screen Australia to promote business- closely together to enhance Australia’s Asian Side of the Doc. By doing so, they are to-business links in the region by leading presence in foreign markets. One recent enabling opportunities for co-commissioning and supporting delegations of Australian example is the program of co-funded travel while raising awareness of Australian content producers to key Asian markets. The grants to the Asian Animation Summit in through their sales and marketing divisions. December 2013 (see ’Events in the Asian program aims to benefit companies entering region’ page 27). This is in addition to other new growth markets in the Asian region The Australia Network is also taking an travel support programs offered by Screen by creating opportunities to gain detailed active role in facilitating partnerships in the Australia. insights into government requirements, region. incentives, marketplace engagement, content Screen Australia also seeks to strengthen the Other agencies and business approaches. profile of Australian film and television under Ausfilm plays a role in building relationships Screen Australia also provides travel grants the umbrella of the Australia International across the region through its advocacy for for producers to attend leading festivals Cultural Council’s (AICC) ‘focus countries’ the Australian production sector in order to and markets across the region, including program. Recent countries have included attract inbound productions to Australia. the Busan International Film Festival and China (2010), Republic of Korea (2011), India Ausfilm representatives have attended the the Asian Project Market in South Korea, (2012) and Vietnam (2013). Indonesia is the Singapore TV Forum/Screen Singapore and and the annual Asian Animation Summit, to focus country in 2014. the agency was a partner in the Australia be held in Thailand this year. Such forums Austrade, through its business support China Film Industry Forum. enable producers to increase recognition of program, offers creative businesses such as their product, thus building their track record State screen agencies support producers those in the screen sector, services to enter with potential partners, whilst the presence to develop their businesses and seek out international markets. of screen agencies reinforces government opportunities to work across the region support in this area. where appropriate. This support includes travel grants of generally up to $5,000 to producers to attend international festivals

26 EVENTS IN THE ASIAN REGION

and markets. Whilst eligible events differ Some of the many major the Summit’s presentation FICCI Frames: FICCI from state to state, examples of some events film events and markets program. AAS aims to Frames is the largest media include the Asia TV Forum/Screen Singapore, attended by Australian facilitate international and entertainment conference FICCI Frames (India), Busan International producers in the Asian financing and co-production in Asia. Held annually in region are: connections for projects from Mumbai, India, and organised Film Festival, and the Hiroshima Animation Australia China Film the region. by the Federation of Indian festival (Japan). State agencies have also Chambers of Commerce provided mentor support for less experienced Industry Forum (ACFIF): Asian Side of the Doc: An initiative of the Australian Asian Side of the Doc is a (FICCI), it, it is a three-day producers on delegations. Embassy in Beijing, the development, sales and global convention covering Some state agencies have piloted programs inaugural ACFIF was held networking event that brings the media and entertainment: aimed particularly at strengthening ties during the year of cultural together documentary film, broadcast (TV and radio), digital entertainment, between Australia and Asia. For example: exchange with China (Imagine producers, distributors, Australia) in 2010, with broadcasters and government animation, gaming and y ScreenWest ran a Cross-Media successive forums held in from across the Asia- visual effects. It offers a Development Initiative with MDA which April 2012 and June 2013. Pacific and beyond with good snapshot of the Indian encouraged Western Australian and Screen Australia worked a particular emphasis on industry, with well over 2,000 Singaporean production companies to closely with the Embassy, creating a marketplace Indian and foreign delegates co-develop visual narrative concepts for state and federal agencies that services and reflects attending each year. emerging new media channels including and key Australian and the needs of the region. In Hiroshima Animation interactive television, web and mobile Chinese industry guilds 2013, 500 delegates from Festival: Established in devices. and organisations to stage 42 countries attended the 1985, HIAF is a competitive two days of networking, event in Kuala Lumpur, biennial festival focusing on y The Film Victoria-funded Victoria/India information sessions and considerably more than the progressing animation in the Co-production initiative aimed to foster business meetings for a previous year. Australian Asia and Pan-Pacific regions. relationships and encourage co-production delegation of Australian production company Wild Each year, it screens 1,200 or joint venture partnerships between the producers. Fury participated in the Docs titles over a five-day period. Victorian and Indian film and television Outcomes from the forum in Progress Showcase with its Goa Film Bazaar: Organised industries. Funding was initially provided included the establishment three-part series The Coral annually alongside the Triangle, a co-production to a delegation of producers to attend of tangible partnerships International Film Festival resulting in documentary with the Malaysian Apparat of India (IFFI) at the Goa the FICCI Frames Conference in March Productions and supported 2012 and this was followed by funding to and feature co-productions Marriott Resort, the Goa Film and the Australia-China by FINAS. Screen Australia Bazaar is a significant event those producers who found an Indian- Screen Alliance. The gave a keynote presentation on the South Asian calendar, based production partner to develop a forum continues to be a in the government sidebar, a where delegates buy, sell, co-production. Film Victoria also supports successful example of inter- gathering of representatives exhibit and pitch their content. the annual Indian Film Festival Melbourne, governmental and industry from government agencies Six hundred and thirty-five which hosts prominent Indian filmmakers collaboration providing across the region to delegates from across 40 and screen professionals and provides valuable opportunities to discuss opportunities for countries attended the 2011 collaboration. master classes, in addition to its screening Australian producers to pitch Goa Film Bazaar with country program. co-production projects as Busan International delegations from Canada and well as develop relationships Film Festival: The Busan Israel. Further support is provided by the Asia with potential co-producing International Film Festival Hong Kong Filmart: More Pacific Screen Academy (APSA), a body partners. is an annual 10-day film than 1,000 trade buyers from established in 2008 to promote the cinematic Asian Animation Summit festival that began in 1996. over 40 countries and regions excellence and cultural diversity of the Asia (AAS): The AAS is an It is now one of the largest meet at Filmart annually Pacific region, as well as encourage dialogue, annual event designed to film festivals in Asia with to develop partnerships, collaboration and business opportunities showcase Asia’s strongest an audience of more than conduct business deals and for the region’s filmmakers. The annual Asia animated projects looking for 220,000 in 2012.The festival discuss latest market trends. is complemented by the Pacific Screen Awards is APSA’s principal investors and partners, and to Filmart has evolved from stimulate co-production and Asian Film Market which is a market on film/television activity, and the awards are growing in a key marketplace for Asian brand awareness and prestige each year co-financing of animation in programs to a comprehensive, the region. It is an initiative film business, hosting 181 one-stop marketplace for the with a membership of over 600 members of Australia’s ABC TV and companies from 32 countries entertainment industry, from from 69 countries and increasing each year Screen Australia, Korea’s in 2012. pre-production to production by around 100. Through the sidebar events KOCCA, Malaysia’s MDeC and post-production services it holds alongside the awards ceremony and Singapore’s MDA. Each and hardware. Running and other activities throughout the year, of these countries’ screen alongside Filmart is the co- APSA is expanding its relationship with agencies will provide financial production market, the Hong production companies from Australia and its support for producers whose Kong–Asia Film Financing international partners. projects are selected to join Forum.

Common Ground – Opportunities for Australian screen partnerships in Asia 2013 | Screen Australia 27 METHODOLOGY ORGANISATIONS INTERVIEWED FOR THIS REPORT

Screen Australia commissioned PwC to survey Australia Malaysia Indonesia Australian production businesses with experience ABC Multimedia Development Castle Productions working with the region in the last five years. ABC Commercial Corporation (MDeC) Maxima Films The list of businesses was compiled by Screen National Film Development Australia using information from our production Asia Pacific Screen Academy South Korea Corporation (FINAS) databases. Surveyed producers were asked Australian Directors’ Guild Korea Creative Content about the nature and scope of their current Pinewood Iskandar Malaysia SBS Agency (KOCCA) engagement in the region, what they perceived Ideate Media Korean Broadcasting System as the opportunities and challenges presented by Australia Network Astro Shaw (KBS) each territory as well as the amount of revenue ScreenWest currently derived from each of the focus countries Apparat Productions SAMG Animation Screen Territory as a proportion of their total income and revenue Al Jazeera Asia Pacific Japan expectations for the next three years. PwC Screen Queensland China Nippon Hõsõ Kyõkai (NHK) conducted follow up interviews with a select Screen ACT CCTV9 Tokyo Docs number of producers identified as having specific Film Victoria experience with one or more of the focus countries China Film Co-production to discuss their experience in-depth. Screen NSW Corporation Screen Australia interviewed industry players Screen Producers’ Shanghai Media Group Association of Australia from across the focus countries including Rare Media representatives from screen agencies, Screen Tasmania broadcasters, production companies and other State Administration South Australia Film of Press, Publications, industry organisations. The interviews assisted Corporation Screen Australia to identity opportunities for Radio, Film and Television greater engagement with the focus countries Ausfilm (SAPPRFT) across a range of screen production sectors. Austrade India Regional interviewees were asked about their Temple Casting National Film Development experiences working with Australian partners and Money Penny Corporation their perception of the strengths of the Australian screen industry, as well as any obstacles to Media Entertainment and Celebrity Films working with Australian partners, the market for Arts Alliance FICCI Frames Australian content in their territory and industry AMPCO Films AETN18 Media Private trends in their territory. Bearcage Limited Screen Australia also interviewed Australian Beyond Thailand broadcasters, screen agencies and other relevant Thai Animation and local stakeholders to enhance our understanding Chocolate Liberation Front Computer Graphics of the current level of interaction with the region Essential Media Association and support for producers to engage with the focus Flame Distribution countries. National Federation of Thai Great Western Film Associations Entertainment Singapore Northern Pictures IFS Singapore Portal Pictures Media Development SLR Productions Authority (MDA) Wild Fury WTFN

28 ABBREVIATIONS & ACRONYMS NOTES

ABC Australian Broadcasting 1. PwC, Outlook Australian Entertainment and Media 20. KOFIC, Korea Shooting Guide Report 2013-2017, 2013 Corporation 21. Research & Markets, 2013, ‘Animation Industry in ABU Asia Pacific Broadcasting Union 2. Based on a review of Screen Australia production South Korea: Strategies, Trends & Opportunities databases 2013 – 90% Outsourced from Foreign Animation ACFIF Australia China Film Industry 3. Screen Daily, 2013, ‘China Box Office Roundup: China Studios’, http://online.wsj.com/article/PR- Forum becomes world’s second biggest market’ CO-20130529-912275.html ACTF Australian Children’s Television 4. EntGroup, China Film Industry Report 2012–13 22. FINAS, Industry: Malaysian Film Data Foundation http://www.finas.gov.my/index.php?mod=industry&su 5. TBI Yearbook 2012 b=filemmalaysia APSA Asia Pacific Screen Academy 6. Zhu, Verne, 2013, ‘New Media Copyright Royalties May 23. TBI Yearbook 2012 CCTV China Central Television Exceed ¥3 Billion’, EntGroup, http://english.entgroup. cn/news_detail.aspx?id=1845 24. Singapore Film Commission, 2012, Facts & Figures, DFAT Department of Foreign Affairs http://www.smf.sg/SingaporeMediaCity/SFC/Pages/ and Trade 7. Brzeski, Patrick & Clarence Tsui, 2013, ‘China Box FactsFigures.aspx Office Up 36 Percent to $1.79 Billion in First Half FINAS National Film Development of 2013’, The Hollywood Reporter http://www. 25. Screen Digest, 2012, ‘Worldwide Cinema Exhibition’, Corporation, Malaysia hollywoodreporter.com/news/china-box-office- August Issue IPTV Internet Protocol Television up-36-583085 26. Singapore Film Commission, 2012, Facts & Figures, http://www.smf.sg/SingaporeMediaCity/SFC/Pages/ KBS Korean Broadcasting System 8. Yecies, Brian, 2013, ‘Fusion Cinema in China: Korea contributions to the local palette’, Asian Creative FactsFigures.aspx KOCCA Korean Creative Content Agency Transformations http://www.creativetransformations. 27. Screen Digest, 2012, ‘World Film Production 2011’, KOFIC Korean Film Council asia/2012/10/fusion-cinema-in-china-korean- January Issue contributions-to-the-local-palette/ MBC Munhwa Broadcasting 28. TBI Yearbook 2012 9. Lee Hyo-won, 2013, ‘CJ E&M Unveils Largest-Ever 29. Motion Picture Association Asia Pacific Corporation Korea-China Co-Production’, The Hollywood Reporter http://mpa-i.org/index.php/news/film_and_television_ http://www.hollywoodreporter.com/news/cj-e-m- MDA Media Development Authority, industry_contributes_usd845.1_million_to_ unveils-largest-569728 Singapore indonesias_eco/Select%20date... 10. Brzeski, Patrick, 2013, ‘Chinese Online Video MDeC Multimedia Development 30. Independent Film & Television Alliance, IFTA Giant Youku Tudou Acquires 33 US TV Series’, The Corporation, Malaysia Marketplace Review – Indonesia, 2013 Hollywood Reporter http://www.hollywoodreporter. NHK Nippon Hõsõ Kyõkai (Japan com/news/youku-tudou-acquires-33-us-431529 & 31. Jakarta Globe, 2013, ‘Nurturing Local Film Industry’s Broadcasting Corporation) THR Staff, 2013, ‘Study: British TV Dramas Gaining Potential’ http://www.thejakartaglobe.com/features/ Traction Among Chinese Elite’, The Hollywood nurturing-local-film-industrys-potential/ PDV Post, Digital and Visual Effects Reporter, http://www.hollywoodreporter.com/news/ 32. IFTA Marketplace Review, 2013, Indonesia PIMS Pinewood Iskandar Malaysia study-british-tv-dramas-gaining-580510 33. Bali Film Commission website Studios 11. KOFIC News, ‘Cinema numbers even out in 2011’, 34. Box Office Mojo, ‘The Raid: Redemption’ http://www. http://www.koreanfilm.or.kr SAPPRFT State Administration of Press, boxofficemojo.com/movies/?id=raid.htm Publications, Radio, Film and 12. KOFIC ‘KOFIC Releases Annual Report on Korean 35. FICCI-KPMG, Indian Media and Entertainment Film Industry Results for 2012’ http://www. Television, China (previously Industry Report 2013 known as SARFT) koreanfilm.or.kr/jsp/news/kofic_news.jsp?blbdComCd =601007&seq=1559&mode=VIEW 36. Motion Picture Association of America, 2012 SBS Special Broadcasting Service Theatrical Market Statistics 13. TBI Yearbook 2012 37. FICCI-KPMG, Indian Media and Entertainment 14. Choi In-jeong, 2013, ‘IPTV subscribers surpass 7m Industry Report 2013 mark’, The Korea Herald, http://www.koreaherald. com/view.php?ud=20130506000802 38. Central Board of Film Certification 15. Fritz, Ben & Jeyup S. Kwaak, 2013, ‘Hollywood’s New 39. TBI Yearbook 2012 Screen Test’, Wall Street Journal, http://online.wsj. 40. Motion Picture Producers Association of Japan com/article/SB100014241278873238365045785525 41. Marché du Film, Focus 2013 – World Film Market 21772173386.html Trends 16. http://www.koreanfilm.or.kr/jsp/coProduction/ 42. Motion Picture Producers Association of Japan locIncentive.jsp 43. TBI Yearbook 2012 17. Tae Sang-joon, 2013, ‘Snowpiercer tops the box office’, KOFIC, http://www.koreanfilm.or.kr/jsp/news/news.js 44. The Nation, 2013, ‘Major looks to region via JVs’ p?blbdComCd=601006&seq=2608&mode=VIEW http://www.nationmultimedia.com/business/Major- looks-to-region-via-JVs-30209093.html 18. Frater, Patrick, 2013, ‘Snowpiercer Triumphs Atop Korean Box Office’, Variety, http://variety.com/2013/ 45. Marché du Film, Focus 2013 – World Film Market film/international/snowpiercer-triumphs-atop-korean- Trends box-office-1200576876/ 46. TBI Yearbook 2012 19. Lee, Claire, 2012, ‘KOFIC to support 33 Korean- foreign joint productions in 2012’, The Korea Herald, http://www.koreaherald.com/view. php?ud=20120207001055 www.screenaustralia.gov.au