screen-australia

Netflix swoops on world rights to Martin Freeman zombie movie

EXCLUSIVE: Streaming platform in multi-million dollar deal for Cargo from The Babadook producers.

Netflix has taken world rights to Martin Freeman zombie movie Cargo, in what is understood to be a multi-million dollar deal.

The film, from the producers of The Babadook, will be the first Australian film to sit under Netflix’s Originals banner.

The SVoD giant, which declined to comment on the acquisition, swooped on the film after seeing a three-minute promo.

CAA, UTA and Bankside Films represented the filmmakers in the deal with Ian Bricke negotiating on behalf of Netflix.

Yolanda Ramke and Ben Howling’s debut, based on their short film which garnered 12 millions views online, charts the story of a father, played by The Hobbit and Sherlock star Freeman, who is stranded in rural Australia with only 48 hours to find a new home for his baby daughter, after being infected in the wake of a violent pandemic.

Freeman, who will be seen in the forthcoming Marvel film, The Black Panther, stars alongside Anthony Hayes, Susie Porter, Caren Pistorius, David Gulpilil and newcomer Simone Landers who completes the cast.

Screenplay was also written by Ramke.

Currently in post-production, the film is produced by The Babadook producers Kristina Ceyton and Samantha Jennings of Australia’s Causeway Films, together with Russell Ackerman and John Schoenfelder of Addictive Pictures and Mark Patterson.

Executive producers include Ian Kirk, Jeff Harrison, Fergus Grady, Craig Deeker, Ian Dawson, Phil Hunt and Compton Ross.

Umbrella Entertainment will handle rights outside of the Netflix SVoD window in Australia.

The film is financed by Screen Australia in association with South Australian Film Corporation, Screen NSW and Head Gear Films/Metrol Technology with Bankside Films handling international sales.

Filmmakers Ramke and Howling commented: “I think the great hope of all filmmakers is that their film will find an audience. More than that, the right audience. Netflix’s distribution model is both global in scale whilst also being incredibly innovative and viewer-specific. It’s quite an honour to be launching our first feature under this highly respected banner, and to be the first Australian Netflix Original feature.”

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“…a modern family house that’s designed as a glass pavilion clad in sliding hardwood screens. the rectangular residence opens up to the world around it with views of the bush, ocean, and sky. by designing it as an elongated rectangle that’s only one room deep, all the rooms can benefit from the cross ventilation, natural light, and views of the Pacific Ocean…”

The Tinbeerwah House by Teeland Architects

Conference News

Hi all! Just wanted to let you know that my paper on Clexa fans has been accepted for the Screen Studies Australia and Aotearoa New Zealand conference at Monash University! I’ll be going down to Melbourne in November to talk queer female fandom, queer time and all things Clexa 🙌🏽

The conference theme is ‘The Uses of Cinema’ and I will be discussing the ways in which Lexa’s death provides insight into contemporary queer fan experience. My abstract can be found below:

‘Feeling Backward’: Temporality and Queer Female Fandom

After the death of a popular lesbian character on the television series, The 100 (2014–), Twitter user Heather Hogan commented, ‘Straight TV writers will never understand how they can inflict time-traveling wounds that hurt us as scared gay children all over again’ (2016). Against the backdrop of the extension of marriage and adoption rights to gays and lesbians, this television death acts as a locus around which to explore the political and social dimensions of queer audience experience. Focusing on the fans of the same-sex couple, Clarke and Lexa (the “Clexa fans”) my research explores the temporality of fan experience and these “time-traveling wounds”. Drawing on queer theory, I aim to explore the ways in which Clexa fans experience a sense of temporal dislocation and inhabit queer time—a lingering in the past, a sense of delay in the present, and a yearning for a queer futurity. I propose to merge abstractions of queer theory with television studies and the ethnographic focus of fan scholarship through interviews with fans, which I will also explore within a documentary film. As a recent media event, this queer character death affords an opportunity to analyse the contemporary political, social and affective dimensions of time within queer fan experience.

References:

The 100, 2014-present, television program, CW, Burbank.

Hogan, H. 2016, ‘Straight TV writers will never understand how they can inflict time-traveling wounds that hurt us as scared gay children all over again’, Twitter post, 4 March, viewed 5 March 2016 <https://twitter.com/theheatherhogan/status/705814487786512384>

Watch on buddaimond.tumblr.com

Austrialia’s Channel 9 Today’s Show with Robert Pattinson

#Transcript of narrative & Rob’s quotes in bold.

He’s one of Hollywood’s most talented and bankable actors having starred in two of the world’s most successful franchises. Making his debut at Hogwarts then starring in the five Twilight firms which grossed around 4 billion dollars at the global box office. And he’s got plenty more to come, including his new movie “Good Time”. Let’s check in with Robert Pattinson.

He’s english born and best known for his acting. But he started out as a model. Robert’s first big break came when he was cast as Cedric Diggory in “Harry Potter and the Goblet of Fire”. Then he became an overnight superstar, cast in the “Twilight” series playing the world’s favourite vampire, Edward Cullen. Perhaps determined to prove that he’s more than just a “cold one”, he since starred in a variety of far more intense movies; Bel Ami, Cosmopolis, and the australian drama The Rover. He’s got a true story adventure “The Lost City of Z” out very soon, and now what could be his most challenging role yet, the american crime drama “Good Time”.    

Rob plays Connie, a bank robber trying to get his brother out of jail after a heist goes wrong. It’s written and directed by Josh Safdie. Rob: “Me and Josh just loved the TV show “Cops” and it was pretty much my favourite TV show for ages. And when I did the first meeting (with Josh), we just wanna do basically a really extended episode of Cops.”

And he enjoyed roughing out for the role. Rob: “I think one of the main reasons because we were shooting on the street so much, that you realised that, if you are shooting a movie, most people would be curious of what a movie looks like. But if you all look like a bunch of  mess the entire time; every single person in the crew was not only absolutely exhausted from spending 20 hours a day filming all the time, we were just covered in red dye and just looking complete degenerate… No one wants to be involved in that. Even if you’ve got a camera there, they’re like “oh…yeah I am not going to stop and look””

Robert reckoned that he doesn’t mind dressing down a little with his own personal style. “We didn’t have any expectations to start with,” And he’s also not set high expectations in his career, despite his phenomenal success.

“Because I wasn’t aiming for some kind of global mono-maniacal domination whatever at any point in my life, it’s easy. I have seen all the Twilight movies, and all the movies that I’ve done, they’re just all movies to me that I am trying to learn something out of …trying to get better. They’re just part of the same journey for me. Yeah, my life hasn’t really changed so much at all. I am only doing any of these stuff to make movies. And THAT’S IT”

Good Time hits the big screen in Australia on Oct 12 2017.

anonymous asked:

What is interesting with the Boy George's timing is that he is about to hit tv screens in Australia as a new judge on The Voice.

Ah. And there is the reason for the Ziam. Very interesting he chose to highlight Ziam over Larry. And The Voice, the bane of Cowell/XF’s existence, and lovers of solo Zaynie and show solo Harry “debuted” on. Very interesting.