The Korean Industry Looks Beyond It's Borders

Below is an interview I had with Sandy George of SBS Film blogs, which was published around November in response to KOFIC's announcement of its plans for developing the Korean film industry. While I was speculating, I hope you find it interesting! You can read the original article here

Korea’s film expansion could 
flow through to Australia

04 November 2011 | Interview By Sandy George
A new 'mega-studio' in Korea looks to increase the country's international co-productions.

Artistic Director of the Korean Film Festival in Australia (KOFFIA), Kieran Tully, believes the ambitious new plan to expand the size of the South Korean film industry by 25% by 2013 can only be good for his festival and for building bridges between the Australian and Korean industries, and between Korean films and Australian audiences. “With a goal to be world class and to focus on supporting creative content, then this plan is surely a benefit for the films we can select for our film festival, film night or library database,” said Tully, who works out of the Korean Cultural Office in Sydney.

You're Terminated: Story Development

(Note: An edited version of this post was previously submitted for my AFTRS Screen Culture course, Development Task, March 2010) 

To start off the new course that is the Graduate Certificate in Screen Culture at AFTRS, we began by discussing the topic of Development. An area often under thought and under explored in the Australian industry, the creators of the course specifically placed it as the first subject for the year. This instilled in our minds the importance of the general basis of the idea for a film. As is you cant sell a 27 word concept for the film, how can you sell the film itself?

I had previously explored these story development concepts in the Cracking Yarns scriptwriting course I undertook with Allen Palmer, now a lecturer at AFTRS. In this course we discussed screenwriting in much greater detail, but again Allen also stressed the most important element to a good script, the basic concept of it. Whether it be high-concept (a story easily described by a succinct statement) or something more in depth, the importance of these 27 precious words should not be understated. They should be referenced throughout the entire production, to identify what the film is actually about and what it is trying to say.

 Arnold made a big impression