Exclusive: Australian streamer Stan has today unveiled a 25-strong slate, adding scripted titles from Matchbox Pictures and the producers behind Colin From Accounts, acquisitions from the UK and U.S. and a new version of Drag Race to its ranks.
Content from the likes of All3Media, AMC, Banijay, the BBC, Fremantle, ITV, Lionsgate, Universal Internatational Studios, Paramount, Sony and Warner Bros Discovery is on the slate, which was showcased at the iconic Sydney Opera House as Stan’s latest salvo in Australia’s competitive streaming market.
Among the key scripted originals is Critical Incident, a psychological crime thriller from Matchbox, the Australian production subsidiary of Universal Studio Group-owned Universal International Studios. Written by Sarah Bassiuoni (The Secrets She Keeps), it recently completed production in Western Sydney, with major production investment from Screen Australia.
The six-part show depicts life in the Western suburbs of Sydney and delves into the complex...
Content from the likes of All3Media, AMC, Banijay, the BBC, Fremantle, ITV, Lionsgate, Universal Internatational Studios, Paramount, Sony and Warner Bros Discovery is on the slate, which was showcased at the iconic Sydney Opera House as Stan’s latest salvo in Australia’s competitive streaming market.
Among the key scripted originals is Critical Incident, a psychological crime thriller from Matchbox, the Australian production subsidiary of Universal Studio Group-owned Universal International Studios. Written by Sarah Bassiuoni (The Secrets She Keeps), it recently completed production in Western Sydney, with major production investment from Screen Australia.
The six-part show depicts life in the Western suburbs of Sydney and delves into the complex...
- 3/12/2024
- by Jesse Whittock
- Deadline Film + TV
Toby Nalbandian and Greg Schmidt.
Financing feature films is going to be even harder after the pandemic, prompting Truant Pictures’ Toby Nalbandian and Greg Schmidt to offer some practical advice to genre filmmakers.
In a nutshell: Come up with compelling ideas for contained films on low budgets without sacrificing quality. Try to stick to a budget of $3 million, which could be scaled up to $8 million if Netflix or other international players come on board.
The founders of Animal Logic’s genre film and TV production arm surveyed the state of the industry yesterday in an Australians in Film webinar moderated by Krista Carpenter.
The La-based firm is developing 10 features and two TV series and is in the process of financing four of those projects, Nalbandian tells If.
Schmidt, who learned his craft from horror-master Wes Craven and filmmaker Lawrence Kasdan, offered this advice: “Make the most contained, low budget, compelling film you can,...
Financing feature films is going to be even harder after the pandemic, prompting Truant Pictures’ Toby Nalbandian and Greg Schmidt to offer some practical advice to genre filmmakers.
In a nutshell: Come up with compelling ideas for contained films on low budgets without sacrificing quality. Try to stick to a budget of $3 million, which could be scaled up to $8 million if Netflix or other international players come on board.
The founders of Animal Logic’s genre film and TV production arm surveyed the state of the industry yesterday in an Australians in Film webinar moderated by Krista Carpenter.
The La-based firm is developing 10 features and two TV series and is in the process of financing four of those projects, Nalbandian tells If.
Schmidt, who learned his craft from horror-master Wes Craven and filmmaker Lawrence Kasdan, offered this advice: “Make the most contained, low budget, compelling film you can,...
- 4/16/2020
- by The IF Team
- IF.com.au
Truant Pictures development and production executives Toby Nalbandian and Greg Schmidt.
Animal Logic Entertainment’s live-action genre arm Truant Pictures has selected three finalists for its screenplay competition, designed to uncover emerging writing talent in the realms of horror, sci-fi and thriller.
The finalists, chosen from hundreds of submissions, are reported by Truant to “exhibit a unique voice, strong craft and a compelling command of their genre.”
The finalists are:
David Willing & Beth King (Vic) – The Surrogate
When single mother Natalia gives birth despite not being pregnant, she discovers the ghost of a missing child is hell-bent on destroying her family.
Jonathon Green & Anthony O’Connor (Nsw) – Emma After
A ghost girl falls in love with the living boy she’s meant to haunt away.
D.J. McPherson (Vic) – His Name Is Jeremiah
A damaged teen girl from a remote Australian town struggles to adjust when her violent mother is released from jail.
Animal Logic Entertainment’s live-action genre arm Truant Pictures has selected three finalists for its screenplay competition, designed to uncover emerging writing talent in the realms of horror, sci-fi and thriller.
The finalists, chosen from hundreds of submissions, are reported by Truant to “exhibit a unique voice, strong craft and a compelling command of their genre.”
The finalists are:
David Willing & Beth King (Vic) – The Surrogate
When single mother Natalia gives birth despite not being pregnant, she discovers the ghost of a missing child is hell-bent on destroying her family.
Jonathon Green & Anthony O’Connor (Nsw) – Emma After
A ghost girl falls in love with the living boy she’s meant to haunt away.
D.J. McPherson (Vic) – His Name Is Jeremiah
A damaged teen girl from a remote Australian town struggles to adjust when her violent mother is released from jail.
- 11/17/2019
- by jkeast
- IF.com.au
The Victorian government.s 2015-2016 budget provides $4.9 million in new funding for the State.s screen sector.
That includes $3.5 million for Film Victoria.s investment, development and skills programs. In addition, $1.4 million goes to the Melbourne International Film Festival Premiere Fund, the Indian Film Festival of Melbourne and a new Chinese Film Festival in Melbourne.
The increase in screen funding is part of a creative industries package of $202 million which the Andrews government says is the largest since 2009-2010.
.The injection of $3.5 million into Film Victoria.s investment, development and skills programs will allow this agency to continue its support of Victorian screen businesses and practitioners across all platforms to innovate and excel at home and abroad,. CEO Jenni Tosi tells If.
.The additional $1.4 million for screen culture will enable the Melbourne International Film Festival to continue to secure the worldwide premiere of Victorian projects whilst the ongoing support of...
That includes $3.5 million for Film Victoria.s investment, development and skills programs. In addition, $1.4 million goes to the Melbourne International Film Festival Premiere Fund, the Indian Film Festival of Melbourne and a new Chinese Film Festival in Melbourne.
The increase in screen funding is part of a creative industries package of $202 million which the Andrews government says is the largest since 2009-2010.
.The injection of $3.5 million into Film Victoria.s investment, development and skills programs will allow this agency to continue its support of Victorian screen businesses and practitioners across all platforms to innovate and excel at home and abroad,. CEO Jenni Tosi tells If.
.The additional $1.4 million for screen culture will enable the Melbourne International Film Festival to continue to secure the worldwide premiere of Victorian projects whilst the ongoing support of...
- 5/5/2015
- by Don Groves
- IF.com.au
The Victorian government.s 2015-2016 budget provides $4.9 million in funding for the State.s screen sector.
That includes $3.5 million for Film Victoria.s investment, development and skills programs. In addition, $1.4 million goes to the Melbourne International Film Festival Premiere Fund, the Indian Film Festival of Melbourne and a new Chinese Film Festival in Melbourne.
The funding level is unchanged from the previous year's budget although the government. says it's part of a creative industries package of $202 million, the largest since 2009-2010.
.The injection of $3.5 million into Film Victoria.s investment, development and skills programs will allow this agency to continue its support of Victorian screen businesses and practitioners across all platforms to innovate and excel at home and abroad,. CEO Jenni Tosi tells If.
.The additional $1.4 million for screen culture will enable the Melbourne International Film Festival to continue to secure the worldwide premiere of Victorian projects whilst the ongoing...
That includes $3.5 million for Film Victoria.s investment, development and skills programs. In addition, $1.4 million goes to the Melbourne International Film Festival Premiere Fund, the Indian Film Festival of Melbourne and a new Chinese Film Festival in Melbourne.
The funding level is unchanged from the previous year's budget although the government. says it's part of a creative industries package of $202 million, the largest since 2009-2010.
.The injection of $3.5 million into Film Victoria.s investment, development and skills programs will allow this agency to continue its support of Victorian screen businesses and practitioners across all platforms to innovate and excel at home and abroad,. CEO Jenni Tosi tells If.
.The additional $1.4 million for screen culture will enable the Melbourne International Film Festival to continue to secure the worldwide premiere of Victorian projects whilst the ongoing...
- 5/5/2015
- by Don Groves
- IF.com.au
The Victorian government.s 2015-2016 budget provides $4.9 million in funding for the State.s screen sector.
That includes $3.5 million for Film Victoria.s investment, development and skills programs.
In addition, $1.4 million goes to the Melbourne International Film Festival Premiere Fund, the Indian Film Festival of Melbourne and a new Chinese Film Festival in Melbourne.
The government says that.s the largest allocation to the creative industries since 2009-2010, part of a creative industries package of $202 million.
Projects supported by Film Victoria directly spend more than $150 million in the State each year and provide more than 7,000 jobs.
In other Victorian news, Lee Matthews will work at the Cannes Film Festival Market from May 13-22 May in the Arclight Films booth. Matthews produced the short film Emo, (the musical), which screened in competition at the 2014 Berlin International Film Festival, and he was an associate producer on first-time feature director Ben Plazzer's comedy The Heckler.
That includes $3.5 million for Film Victoria.s investment, development and skills programs.
In addition, $1.4 million goes to the Melbourne International Film Festival Premiere Fund, the Indian Film Festival of Melbourne and a new Chinese Film Festival in Melbourne.
The government says that.s the largest allocation to the creative industries since 2009-2010, part of a creative industries package of $202 million.
Projects supported by Film Victoria directly spend more than $150 million in the State each year and provide more than 7,000 jobs.
In other Victorian news, Lee Matthews will work at the Cannes Film Festival Market from May 13-22 May in the Arclight Films booth. Matthews produced the short film Emo, (the musical), which screened in competition at the 2014 Berlin International Film Festival, and he was an associate producer on first-time feature director Ben Plazzer's comedy The Heckler.
- 5/5/2015
- by Don Groves
- IF.com.au
Political thriller The Code took the major Awgie award as well as the trophy for best original miniseries at the Australian Writers. Guild awards on Friday night.
The six-hour series, which premieres on ABC on September 21, is written by Blake Ayshford, Shelley Birse and Justin Monjo and produced by Playmaker Media. The major Awgie recognises the best of the night's winners across stage, screen, new media and radio.
The feature film award went to Adelaide writer Matthew Cormack for his first debut feature 52 Tuesdays, the gender-bending drama hailed as .bold and structurally adventurous..
Winner of the best documentary prize was Sally McKenzie for A Woman.s Journey Into Sex.
Andrew Knight was rewarded for his script for Essential Media and Entertainment.s telemovie The Broken Shore, adapted from the Peter Temple novel. Writer/director Peter Duncan won best TV series script for Essential.s Rake.
Niki Aken and Felicity Packard...
The six-hour series, which premieres on ABC on September 21, is written by Blake Ayshford, Shelley Birse and Justin Monjo and produced by Playmaker Media. The major Awgie recognises the best of the night's winners across stage, screen, new media and radio.
The feature film award went to Adelaide writer Matthew Cormack for his first debut feature 52 Tuesdays, the gender-bending drama hailed as .bold and structurally adventurous..
Winner of the best documentary prize was Sally McKenzie for A Woman.s Journey Into Sex.
Andrew Knight was rewarded for his script for Essential Media and Entertainment.s telemovie The Broken Shore, adapted from the Peter Temple novel. Writer/director Peter Duncan won best TV series script for Essential.s Rake.
Niki Aken and Felicity Packard...
- 9/5/2014
- by Don Groves
- IF.com.au
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