Wednesday, April 25, 2018

OA FILM NEWS - Pilè selected for the (Oscar qualifying) 2018 St Kilda Film Festival!

Great news - our film Pilè is screening at the 2018 St Kilda Film Festival!

Congratulations to our writer/director Tony Radevski, and our amazing cast and crew. 

Our session is Saturday, 26 May 2018, 2:00PM - 3:30PM, and we'll be there to represent the film. Feel free to come and say hello. 

More details:

Wednesday, April 11, 2018

OA FILM NEWS - '12.12.12' screening in the 22nd Kansas City Film Festival

More good news for '12.12.12'!

This week, our collaborator James Crisp (writer/director) will be there in person to present 12.12.12 at the festival. We're sending supercharged good vibes from Australia for a great screening!

Full details at:

Monday, March 12, 2018

OA FILM NEWS - '12.12.12' has it's LA premiere!

Our LA screening of '12.12.12' is officially done. Thanks to the Firstglance Film Festival and our partners at Choppy Productions for making this possible. Some photos from our time here are below:

Saturday, January 20, 2018

OA FILMS NEWS - 12.12.12 selected for Firstglance Film Festival, Los Angeles!

Our latest collaboration with Choppy Productions (James Crisp) has been selected for the respected Firstglance Film Festival, in Los Angeles. Named one of the 'Top Rated Film Festivals' on Film Freeway, and one of the “50 Film Festivals Worth the Entry Fee” by Movie Maker Magazine, we are looking forward to being there as '12.12.12' makes its debut.

Thanks to our wonderful production team and supporters who made '12.12.12' possible!

Sunday, December 17, 2017

OA FILMS NEWS - a LONG overdue update...

So much has been happening here at Opening Act Films, we've simply not had the time to talk about it. Fishing, rather than talking about fish, so to speak.

So, for the curious of heart about what we've been up to, here are the highlights for 2017 at Opening Act Films:

 - In early January, our film 'Dedo' screened at the Oscar-accredited film festival, Flickerfest (LINK)
 - Then, in late January, 'Dedo' had its broadcast premiere on the ABC in Australia (LINK)
 - Keeping rolling in January, we announced the completion of our film '12.12.12' (LINK)
 - By April, it was time for the cast and crew screening of our new film 'Pilè'
 - Our founder, Pete Ireland, had his 35th birthday in June, around the same time we were informed our film 'Pilè' had been pre-selected for the Venice Film Festival. A huge honour, despite the fact we didn't eventually make the final festival selection.
 - In July, we were thrilled to be selected for Screen Australia funding and development of our long form concept (in collaboration with our friend Tony Radevski at Runtime Pictures) 'Risen' (LINK)
 - Shortly after, in September, we received word that our film 'Pilè' had been selected for the 24th Oldenburg International Film Festival, described as 'Top Five Film Festivals worldwide' by the Ultimate Festival Guide, voted one of the '25 Coolest Film Festivals in the World' by Moviemaker Magazine, and labelled 'the German Sundance' by the Hollywood Reporter (LINK)
 - In October, 'Pilè' screened at the 12th Annual Macedonian Film Festival in Toronto, Canada
 - Also in October, we rolled into production on a five day shoot for the 'Risen' short film/pilot.
 - In November we started assembling a brilliant cast for our new project 'Romp' (in collaboration with our friend Tonnette Stanford) (LINK)
 - Then, in December we were delighted to hear 'Pilè' has been selected for the Oscar-accredited short film festival, Flickerfest, screening on Sunday 14 January, 2018. (LINK)

It's been an incredible year of highs and lows. Thanks to every one of our collaborators and supporters for making 2017 a true creative adventure.

Wednesday, February 01, 2017

OA FILMS NEWS - poking our head above water for the first time since 2015

My goodness, where has the time gone?

The last time we gave you news from Opening Act Films, Donald Trump wasn't yet president. What a time to be alive.

So, to get you up to speed, here are the highlights for what our 2016 looked like at Opening Act Films:

 - In March, we held the cast and crew screening for our new film, 'Dedo', which SBS Radio also attended (LINK)
 - In early April, we started production on our new film '12.12.12'
 - Also in April, I was interviewed in the Western Weekender newspaper about our new film '12.12.12' (LINK)
 - Still in April, our film 'Chip' was selected for 58th Rochester International Film Festival in Rochester, New York. For the festival I was interviewed on NPR Rochester radio (LINK)
 - Upon returning from the U.S. we launched a successful crowdfunding campaign for our new film 'Pilè' which eventually raised $16K
 - In June, our friend and collaborator on 'Dedo' and 'Pilè', Tony Radevski, was interviewed by SBS Radio about our two films (LINK)
 - From August, we started pre-production on 'Pilè', including the difficult task of finding a regional location
 - In October, we held the cast and crew screening for '12.12.12', which was a roaring success
 - Later in October, we had a three day, intense, location-based film shoot for 'Pilè' in the Wolgan Valley
 - Finally, in December, we were excited to find out 'Dedo' had been selected for the Oscar-accredited short film festival, Flickerfest. (LINK)

All told, between shooting two films, a U.S. trip for a film festival, and life in general, 2016 was seismic in proportions.

Our sincerest gratitude to all of our collaborators, friends and supporters, for helping Opening Act Films thrive in 2016.

Sunday, June 12, 2016


Some home truths for you.

In 2016, the Government of New South Wales has allocated $1.6 billion for sporting stadium refurbishments.

'That allocation will include $350 million for a new stadium at Parramatta, $450 million for a refurbishment of Allianz Stadium and $700 million to turn ANZ Stadium into a permanent 75,000-seat rectangular stadium.'

Around the same time, the same Government announced that an additional $20 million would be set-aside for screen production in NSW. The idea, as the Government spokesperson puts it, is to ask:

"Why can't we make the next Star Wars episode here?...Why can't we bring Game of Thrones here?"

For reference, 'Star Wars: The Force Awakens' cost $306 million to make. 'Game of Thrones: Season 6' cost $100 million to make.

But yes, we'll secure all of that with an extra $20 million in the bank. Right.

There is a broader question at issue here, however.

The announcement of an extra $20 million in funding for the screen arts is cause for celebration, no doubt. But to have the funds instantly committed to the competitive pursuit of attracting productions we don't own the rights to; and therefore won't profit from?

A cigarette to my helium balloon.

"But these international productions will mean jobs for our film and TV industry technicians!"

(SIDE NOTE: it's always funny to hear conservative politicians justify giving public money to Hollywood studios because it will create jobs. Something about the glamour of the film business suddenly turns right-wing public servants into socialists.)

I could rejoinder this broad, economic brush-stroke of 'job creation' with a long analysis of the cost-benefit of these international film/TV production cash subsidies.

I really could.

But such a long-winded analysis is unnecessary. Throwing huge wads of taxpayer money at billionaire entertainment corporations so they (temporarily) hire our film workers, then leave and reap the rewards of owning the IP, doesn't pass a basic common sense test. It would be like China paying Apple to set-up an iPhone sweat-shop for 6 months.

So, I will leave you instead, with the simple notion that the black-box "positivity" accounting involved in these large 'one-off' international film and TV production subsidies, is dubious at best.

You may be wondering then, how does a sports stadium become prioritised in the public consciousness, over the screen arts, to the tune of 17 times more funding in this particular case?

I am too.

Is it because sports are events that generate so much revenue and public benefit?

Well, if that were the case, it would only strengthen the argument that the Arts are not receiving their fair share of the pie. Or, as one writer put it:

'More than 18 million Australians buy tickets to live shows every year. That’s more than attend all sport in this nation. By this statistic, sport is for elitists and the arts are for everyone.'

The funding deficit is not logical, then. It's idealogical. The home truth I promised you, it lives here:

Art has no right to exist.

Of course I want art to exist. We all do.

Art, unequivocally, is the glue that holds our bonds of civilisation together.

But still, be it dance, or film, or writing, or painting - whatever your cultural vice may be - art has no right to exist.

Art needs angels. It must be spoken for. Willed into being.

Either spawned through the harmonised chorus of your desire, and the skill of artist who's work moves your dial...

...or extinguished, by the collective silence, roughly the size of a crowded sports stadium.

I just have to shake my head at the state of affairs sometimes. Despite all that we know and love, what kind of society are we building here?

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