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Red Dune Films Pty Ltd
ABN 63 111 801 006
Suite 312, 3 The Promenade
Chiswick, NSW 2046
Australia
Tel: +61 2 8005 0141
Tel: +1 310 928 1507
Fax: +61 2 9712 5072
mwalsh@reddunefilms.com
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Media Release
20 October 2009
MISSING MARKETING SPELLS MINOR FOR OZ FILMS
The bulk of contemporary Australian films are not the types the majority of Australian (or
international) audiences will pay to see, and filmmakers are not in tune with what consumers
and audiences want, claims producer and consumer marketer Martin Walsh.
The problem is the marketing is either being miss-targeted and or insufficient or left too late.
The upshot is an inhibited release through limited screens and an underdone distribution
outcome for filmmakers largely focused on only securing a “traditional” theatrical and video
release.
Walsh cites Balibo as a great example – a well made and performed film that should have
connected and appealed to audiences more than it has but “fell to earth” commercially.
“I am not saying that Australia doesn't make great films, I think we have some of the finest
filmmakers and artists in the world and that we have made some brilliant films,” says Walsh, a
veteran marketing executive with senior roles at Microsoft, BMG and News Ltd to his credit,
and who is producing the Bruce Beresford-directed Battle of Long Tan movie.
Walsh is also leading two digital marketing sessions at the annual conference of the Screen
Producers Association of Australia (SPAA) at the Westin Hotel in Sydney on 17-20 November.
“Australian films should and can make money domestically and internationally, but aren’t. They
are simply not resonating with audiences. And there are four main reasons, in my view.
“First, the filmmakers fundamentally didn't care whether or not the film reached a significant
audience. Secondly, they produced a film that fell short of the expectations of the intended
audience. Thirdly, they produced a film that would have met the expectations of the intended
audience, but they either marketed it poorly, to the wrong audience, or left it too late – or all of
the above.
“And fourthly, the filmmakers failed to develop and or optimise their distribution plan according
to where and how their intended audience consumes content and the reality of the distribution
opportunities available for their particular film based on its strengths and weaknesses.”
Walsh says it is sad, frustrating and a salient lesson when Australian produced films like
Disgrace, $9.99, The Proposition, Romulus My Father, Balibo and Beautiful Kate - to
name a few - fail to make a meaningful dent at the Australian (or overseas) Box Office even
with critical acclaim and seemingly favourable reviews.
“By any logical definition, for a film to be ’successful’ it would need to break even or make some
kind of return to exhibitors, distributors, filmmakers and any investors, whether they are
government or private,” he comments.
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“Well, it seems that audiences and the reasons why they pay to go and see films are in some
ways irrelevant to the vast majority of filmmakers in Australia. If this statement is wrong then
why are we not producing films with better box office returns?”
Walsh says the 21 Australian films released in Australia in 2008 captured just 3.8 per cent
($35.5million) of the total Australian box office - down from 4 per cent on the figure for 2007.
Indeed, had it not been for the box office success of Australia ($26.5 million), the figure would
have been a record low share of the Australian box office last year.
And the situation is not exactly going gangbusters in 2009. The 30 Australian films released
recently, with a combined production budget of approximately $108million, have generated only
$26.1million at the box office (as at 19 October) but one film, Mao’s Last Dancer already
represents 34% of the entire total. See: Table 1.
“As a marketer and filmmaker myself, I feel that Australian filmmakers are not being
responsible or realistic if they keep thinking that their job is simply to make a movie (build it and
then trust that audiences will come).
“Filmmakers (and film agency assessors) need to ensure they understand who the audience for
their film is, why audiences watch movies and build the paths and bridges to get the audiences
to their film.
“Ironically, every step in filmmaking is a collaborative effort and this should be no different when
it comes to distribution and marketing the film. Sadly, and all too often it seems that the
audience is considered an afterthought and the primary effort is put only into the craft.”
One of the other key problems is very few “Australian” films are getting a moderate to wide
release, argues Walsh. There are 1,980 screens in Australia as at February 2009.
Beautiful Kate opened on only 29 screens and has taken only $1.4 million after ten weeks;
Balibo opened on only 23 screens and has taken only $1.2 million after nine weeks, Van
Dieman's Land opened on only nine screens and has taken only $161,000 in three weeks and
$9.99 opened on only eight screens and has taken in only $47,520 in four weeks.
Occasionally there are exceptions to the rule of opening with a wide release for example
Samson & Delila, which originally opened on 12 screens but expanded to around 40 screens,
has taken $3.2 million after 22 weeks and films like Lost in Translation premiered on just 23
theatres in the USA and then mushroomed to 882 theatres at its peak taking in around
USD$120 million at the box office.
“There are small glimmers of hope, but unlike the films mentioned above the following films
were supported with extensive marketing investments and had more broadly appealing
storylines so they got a wide release in Australia,” Walsh adds.
“Mao’s Last Dancer opened on approximately 266 screens across Australia and took $4.3
million in its first week - a whopping screen average of $16,300; and the recent Paul Hogan film
Charlie & Boots opened on around 113 screens and has taken around $3.6 million after seven
weeks.
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“Contrast, international movies, which were on just about everywhere with Australian film
releases - District 9 (187 screens), Harry Potter (510), Ice Age (422) and Transformers (457
screens).”
Walsh says ploys such as releasing a trailer 4-6 weeks before a film’s release or launching a
website 30-45 days prior to release which is typical for Australian films, is almost a complete
waste of money.
“You cannot build a 'groundswell' of interest 30-45 days out from a film’s release. And, even
when Australian films do utilise digital marketing elements like social media, they have no
strategy,” he argues.
“All we see is the usual focus on tools and networks like a Facebook and MySpace fan page; a
Twitter account and basic website with a synopsis and trailer - this is not a strategy.
“In addition, most of these pages and social network accounts simply remain static without any
real insight into the story behind the film, the filmmakers or anything else. They also take time
and need cultivating and like a movie you cannot simply build it and expect people and fans to
come.
“You need to inspire the conversation and interest (usually through advertising and videos), but
you also need to keep energising the groundswell and conversations to keep up momentum.
You need to think of TV, Radio, Print and Outdoor advertising as a contact strategy to get
potential eyeballs into your engagement channels/tactics.
“Special or exclusive content also needs to be given to fans across these networks on a regular
basis and importantly the 'filmmakers' must engage with the fans.
“Social media by any definition is about engagement and interaction, and treating the digital
channels/networks simply like newspaper advertisements is a waste of time and money. For
example a Twitter account is not an RSS feed!
“If marketing mavens want to reach younger moviegoers when promoting their films, they need
to embrace social networks and digital marketing or risk being ignored.”
Walsh’s sessions at this year’s 2009 SPAA Conference titled - Making Movies that
Make Money: Begin with the Audience in Mind – Part I & II will include two of
Hollywood’s leading digital/new media marketers - Gordon Paddison, Principal,
Stradella Road and former Executive Vice- President New Media, New Line Pictures
(District 9, Lord of The Rings trilogy, Sex and The City, Snakes on a Plane, Austin
Powers) and Stephanie Bohn, Director of Worldwide Marketing, Digital Distribution
Warner Bros (The Dark Knight, Sex and the City, Hangover, Harry Potter).
Media contact Martin Walsh on 0438 417143
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Table 1: Australian Films at the Australian Box Office
NEWS 
