Tag Archives: Paul Bennett

Biopic boom

True-life stories of the famous and infamous continue to win commissions in Australia – but for how long? DQ investigates.

Australian TV dramas inspired by real people, living and dead, have been consistently popular with audiences over the past four or five years – but is that boom about to bust?

Although four biographically based miniseries are in the can or due to go into production this year, and another has already gone to air, some producers and broadcasters believe the cycle is exhausting itself. Others still see plenty of potential for the genre.

Mark Fennessy

“The biopic genre is tired and the subject matter is running thin,” says Endemol Shine Australia (ESA) CEO Mark Fennessy, whose firm produced the top-rating minis Never Tear Us Apart: The Untold Story of INXS, Catching Milat and Peter Allen: Not the Boy Next Door for the Seven Network and Brock for Network Ten.

“In recent times we’ve seen a definite trend towards more contemporary subjects where the primary audience has an emotional connection – often to their younger days,” Fennessy continues. “As often happens in Australia, everyone quickly jumps on the bandwagon and so it’s largely eating itself now.”

Australia’s Nine Network has ridden the true-life wave with CJZ’s House of Hancock, Southern Star Entertainment’s Howzat: Kerry Packer’s War and, less successfully, the FremantleMedia Australia (FMA) telepic Schapelle, about the conviction of Schapelle Coby for drug trafficking – which came off second best against the INXS mini. Later this year Nine will launch CJZ’s House of Bond, the rags-to-riches-to-rags tale of the late Alan Bond, the flamboyant English immigrant who helped engineer Australia’s famous America’s Cup yacht race victory, bought the Nine network from Kerry Packer and was later declared bankrupt, convicted of fraud
and imprisoned.

“The challenge with biopics is to find a subject matter with broad audience appeal, a riveting story and contemporary relevance,” says Andy Ryan, Nine’s co-head of drama. “But there is definitely a limit to the genre.”

CJZ MD Nick Murray contends shows such as House of Bond go much further than linear biopics. “It’s the rise and fall of the house of Bond – the influence of both wives, the business advisors and Bond’s ability to talk or con people and banks into doing what he wanted. What on earth motivated them all?” he says.

House of Bond tells the rags-to-riches-to-rags tale of the late Alan Bond

Ryan concurs: “House of Bond is very much like the man himself – colourful, outrageous and always entertaining. Bond’s life was a roller coaster of excitement and emotion, and we think we’ve captured that in the drama.”

Rebecca Heap, head of programming and digital at Australian pubcaster the ABC, sees a bright future for drama based on real people: “Audiences love Australian stories, and bios have the ability to capture our imagination on two levels – telling the story of the subject and the story of our society at that point in time. There will continue to be room for well-written and well-executed stories about extraordinary Australians, both famous and infamous.”

The ABC has commissioned The Easybeats from Sony-owned Playmaker Media, the saga of five young immigrants who met in a Sydney migrant hostel in 1964 and went on to create Australia’s first truly international rock group. On paper, the project may have seemed more suited to a commercial network, but Heap says: “The Easybeats is a great Australian success story with a killer soundtrack. What’s not to love? It maps the beginning of a new Australian identity, one that places us on the world music stage and celebrates the role of diversity in getting us there, making it a perfect fit for
the ABC.”

Peter Allen: Not the Boy Next Door centres on the Australian singer-songwriter and entertainer

FMA director of drama Jo Porter says: “We are in the midst of a cycle of biopics that reflects the appetite of audiences to celebrate significant individuals who have helped define how Australians feel about themselves both locally and globally. We would consider another biopic; the challenge is they need to also have international audience resonance to get the support of distribution.”

Porter oversaw the production of Hoges (pictured top), the saga of Paul Hogan, the former Sydney Harbour Bridge worker who found fame and fortune as the host of his own TV show and as the creator and star of the Crocodile Dundee movies. The two-parter, which featured Josh Lawson as Hogan, Ryan Corr as his manager/on-air sidekick John ‘Strop’ Cornell and Justine Clarke as Noelene Hogan, screened on Seven in February, winning its 21.00 and 20.30 timeslots, each drawing a consolidated audience of 1.5 million – but the broadcaster was hoping for more. “I don’t put the numbers in the fail category, more the underwhelming category. You can’t win them all,” says Angus Ross, Seven’s director of network programming.

Distributor FremantleMedia International is an investor in Hoges and will sell the project internationally. Porter says: “We’re so pleased international buyers who loved our larrikin hero in Crocodile Dundee will have the chance to see the story behind the man.”

Catching Milat focuses on backpacker murderer Ivan Milat

Perhaps reflecting a limited pool of subjects, Nine originally intended to commission minis on Hogan (from ESA) and Olivia Newton-John (Screentime), but Seven got in first on both occasions.

Seven’s Newton-John drama is produced by FMA and directed by Shawn Seet. It stars Delta Goodrem as the actor and singer who blazed a trail in Hollywood as the star of Grease and Xanadu, recording five number-one hits and winning four Grammy Awards.

“We are delighted with the strength of Shawn Seet’s creative vision and realisation of this story. It’s fantastic to celebrate a female Australian legend,” says Porter.

Seven has also commissioned Banijay-owned Screentime to produce Warnie, which will explore the paradox of former champion cricketer Shane Warne, widely regarded as the most admired, criticised and publicised Australian sportsman of the modern era.

Matt Ford (creator of Playmaker Media’s ABC drama Hiding) is writing the scripts and Kerrie Mainwaring will produce with investment from Screen Australia and Film Victoria.

“Warnie’s story is not only the story of one of the world’s greatest cricketers but his off-field antics have kept tabloids in business for years. He is so compelling on and off the field, you can’t look away,” Ross says.

Richard Roxburgh as Roger Rogerson in Blue Murder

In a similar vein, true-crime dramas have long been reliable ratings performers, most notably Screentime’s Underbelly franchise, which started on Nine in 2008. The latest iteration, Underbelly Files: Chopper, will tell the story of Mark ‘Chopper’ Read, one of Australia’s most notorious gangsters. Read, whose exploits were dramatised in the 2000 Australian movie Chopper, starring Eric Bana, died from liver cancer in 2013, aged 58.

ESA, meanwhile, has produced Blue Murder: Killer Cop, which stars Richard Roxburgh as notorious former detective Roger Rogerson, now serving a life sentence for the murder of a drug dealer. A sequel to Blue Murder, which aired on the ABC in 1995, it will premiere on Seven this autumn.

Toni Collette, Matt Nable, Dan Wyllie, Emma Booth, Justin Smith, Damian Walshe-Howling, Steve Le Marquand, Aaron Pedersen and Aaron Jeffery co-star in the show. It has been directed by Michael Jenkins and executive produced by John Edwards, who collaborated on the original series.

Ross says: “The powerful performances will give a no-holds-barred look at the downfall of Roger Rogerson. It is not for the faint-hearted.”

Opinions are divided over whether producers need the co-operation of their subjects – an issue that flared when billionaire Gina Rinehart sued Nine and CJZ, claiming the 2015 drama House of Hancock defamed her.

The programme focused on the feud between the late Lang Hancock (played by Sam Neill), his wife Rose Lacson (Peta Sergeant) and his daughter Gina (Mandy McElhinney).

The case was settled out of court in February, with Nine agreeing not to rebroadcast or stream the show and the broadcaster and producers publicly apologising to Rinehart and her family for any hurt or offence caused by the broadcast and its promotion.

Despite that, Murray says: “Personally, I think these stories are told better without the co-operation of the subjects. Imagine how different House of Hancock would have been if Gina Rinehart had script approval.”

CJZ head of drama Paul Bennett adds: “We do a huge amount of research on these productions and talk to as many people as we can, including the subjects if they are open to it. However, it is not essential at all to have their co-operation; in fact, having them on board has the potential to skew the process, as it can tend to make the piece more of a love letter to the subject rather than a more honest and probing investigation of their lives and what makes them tick.”

Newton-John was supportive of FMA’s mini, while Hoges’ producers obtained permission from Hogan and Cornell to recreate scenes from their TV shows and films. Both savvy businessmen, they own all rights to their content.

ESA’s Fennessy says: “If the subject is still living, it’s absolutely preferable to have their endorsement and support. If the subject is deceased, it’s just as important to have such from immediate family or the estate.”

While subjects who are internationally known are an advantage for producers in securing international distribution, this isn’t critical to the funding process. According to Ross, having a name who can help offshore sales is a bonus but that does not make or break the viability of a project, based on the current funding model.

However, Endemol Shine International CEO Cathy Payne notes that bios’ international potential hinges on their relevance to international audiences.

Crime sagas such as Catching Milat often travel more successfully than generic stories, she says, while Peter Allen: Not the Boy Next Door struggled because Allen is not widely known outside Australia, despite his 1981 Academy Award for the theme song to the movie Arthur, his brief marriage to Liza Minnelli and the Broadway hit The Boy from Oz, which starred Hugh Jackman.

While biopics have the potential to be big hits at home and abroad, finding a star name or story worthy of the television treatment is the key to success – but the reliance on public awareness or curiosity over the topic may also prove to be the limitation for the genre.

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TV drama faces dilemma down under

ABC miniseries success The Secret River
ABC miniseries success The Secret River

Each year, Screen Australia releases a detailed report that analyses feature film and TV production levels in Australia. Entitled Drama Report, the 2014/15 edition came out last week.

When all elements are combined, the market is in pretty good shape. Total expenditure for the year in question was A$837m (US$597m), down just 1% on the previous year’s record high, and there is a positive trend in terms of inward investment.

All told, 16 foreign projects came to the country in 2014/15, generating a record expenditure of A$418m. These included the latest Pirates of the Caribbean movie, underlining the fact that the country can be relied on to deliver superb quality.

But the situation in domestically produced TV drama isn’t looking so good. According to Screen Australia, total spend on TV drama in 2014/15 was down 13% year-on-year to A$299m. And the situation is worse if you strip out children’s drama, which actually saw an increase last year.

Nine Network's hit House of Hancock was also a miniseries
Nine’s hit House of Hancock was also a miniseries

Looking specifically at adult drama titles, the decline is 19% – from A$291m to A$235m. Onscreen, this translated into 34 adult titles and 401 hours of production, compared with 40 titles and 472 hours last year and a 2012/13 peak of 40 titles and 502 hours.

The figures are a reminder that the ‘golden age of drama’ doesn’t benefit everyone in the value chain equally.

Explaining the figures, Screen Australia chief executive Graeme Mason said domestic drama is “very expensive to produce, especially when weighed against the cost of cheap American imports. With competition in subscription VoD further fragmenting audiences, government incentives to produce local content will be more important than ever.”

An additional problem for Australian TV producers is that the “cheap American imports” referred to by Mason actually rate pretty well down under. One of the key consequences of this is that domestic broadcasters tend to look abroad for longer-running series and ask the local production community to focus more on miniseries and shorter runs.

Glitch has been renewed by ABC
Glitch has been renewed by ABC

There are exceptions, of course, such as long-running soaps Home & Away and Neighbours, but it’s notable that the most popular domestic dramas of the past year have been miniseries like Catching Milat, Peter Allen: Not the Boy Next Door, House of Hancock and The Secret River.

Even Glitch, recently renewed by ABC, comes in batches of only six. All of the above are excellent shows that may earn their producers awards and acclaim, but it’s not easy to run a drama production business on the back of miniseries and serials.

The extent of the problem for Aussie producers is further underlined when you look at how reliant domestic drama funding is on public sources. According to Screen Australia, a significant share of funding comes from public broadcaster ABC, Screen Australia itself, state agencies and a refundable tax rebate known as the Producer Offset.

Goalpost Pictures and Pukeko Pictures are coproducing Cleverman
Goalpost Pictures and Pukeko Pictures are coproducing Cleverman

Commercial free-to-air networks provided only A$93m (across 21 titles) during the year in question – “the group’s lowest contribution to the slate since 2005/06.”

In other words, the health of the domestic drama business going forward will require continued goodwill from politicians.

It’s not all doom and gloom, however. The fact that Australian writers and producers have the craft and creativity to make great drama is clearly a blessing. And there are new trends emerging that may support the sector.

While the ABC, Seven and Ten Networks have been the biggest supporters of scripted production, public network SBS recently aired its first home-grown drama in two years (four-parter The Principal). Nine Network also used its Upfront presentation last week to say that it will be increasing its spend on local content significantly in the next three years.

Pay TV hit The Kettering Incident
Pay TV hit The Kettering Incident

Having recently ended an output deal with Warner Bros, it has invested some of the freed-up money in titles like Hide & Seek, an espionage thriller from Matchbox Pictures, and House of Bond, a miniseries about the colourful entrepreneur Alan Bond. Produced by Paul Bennett (House of Hancock), House of Bond is exactly the kind of project that is likely to set Nine’s ratings alight (for a day or two).

Screen Australia also cites new areas of activity that might support Aussie drama producers into the future. “Subscription TV had a very strong year with The Kettering Incident, Open Slather and A Place To Call Home. This year’s slate also featured four series made for broadcaster catch-up or subscription VoD services: Fresh Blood Pilot Season, SBS Comedy Runway, No Activity and Plank.”

Not to be overlooked either is the contribution from foreign investors, which presumably includes international distributors looking to pick up global rights to shows. Although Screen Australia’s 2014/15 figure of A$54m was down on the previous year, it’s still a potent reminder that Aussie shows have the ability to work well in a number of foreign TV markets.

Similarly, the state-supported body also picked out a trend towards international coproduction, with activity up “on last year and the five-year average.” While a lot of this is down to kids’ drama coproduction, Screen Australia said this was “the fourth consecutive year with at least one adult TV drama coproduction in the slate,” in this case Cleverman, a partnership between Goalpost Pictures in Australia and Pukeko Pictures in New Zealand.

A new season of ABC thriller The Code is on its way
A new season of ABC thriller The Code is on its way

Cleverman, which will air on ABC in 2016, is an interesting project that was launched to the international market at Mipcom last month. A six-hour sci-fi genre series, it has been picked up in the US by Sundance TV and is being distributed worldwide by Red Arrow International. If it does well, it will provide the kind of creative and business model that may help Australian producers ease the financial pressures they currently face.

In the meantime, what have Aussie viewers got to look forward to? Aside from shows like Cleverman, Hide & Seek and the next run of Glitch, Seven has just unveiled plans for Molly, Wanted and The Secret Daughter. The first two are miniseries, but the latter is a 10-parter from Screentime that will be distributed by Banijay International.

Also coming up is a new series of ABC thriller The Code, which did well at home and overseas. Ten has struggled with drama recently, with titles like Wonderland and Party Tricks failing to hold on to viewers (it announced on October 26 that Wonderland has been cancelled after three seasons). Perhaps that is why it has announced a sixth season of Offspring, its most popular drama in recent years.

Offspring was rested for a year, with some fans fearing it might never come back. But with Ten anxious for a drama hit, reviving the show clearly makes sense. As yet it’s not clear what else Ten is planning in terms of drama.

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