Metro Australia — January 2018

http://www.metromagazine.com.au | © ATOM | Metro Magazine 195• 41

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one of the nicest, most generous people I have ever met. We
became very good friends, and he became a mentor in a lot of
ways. He would talk about everything, from old stories to how
he achieved particular effects. Then he got me over to work with
him on the'NAAHSVHULHV +H QHYHU VKRW GLJLWDO RU ' EHIRUH3GD
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a really good opportunity to contribute to the technology side
while he was able to contribute his artistic side. He would’ve
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was super supportive and also very supportive of our own
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of ‘episodes’ and make it into a feature, that would be a way to
actually get it done and leverage the Producer Offset. That was
sort of the impetus for doing that. But I have the novel, and I
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and what happens afterwards.

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of depth in the novel than in the series as it is mapped out at the

moment. It’s just a different medium to communicate often quite

complex things.

CB: A lot of our core audience don’t really care about the details

if they take you out of the story. But there’s a lot more to the

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ideally, I’d love to do a series because then you can have four

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year and have a really sustainable, ongoing industry. That’s the

key, I think, to building sustainable production: to have projects

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ployed and build infrastructure as you go along. By that scale,

you get better value and things will begin to look better for the

same budget because you don’t have to reinvent the wheel

every time you make a new project.

http://www.bwomovie.com

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BBC Cultureas well asSFX,SciFiNowandTotal Filmmagazines.

He regularly pens celebratory retrospective features on classic and

cult cinema of yesteryear, and news stories on emerging Australian

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'HRVDARHSD HR http://www.oliverpfeiffer.com.au>.m

Endnotes

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The local market is very small,
so I think you either decide
to do something unashamedly
Australian or it’s got to appeal to
an international market ... We
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that can sell internationally even
if you don’t have big stars in it.’
—CHÉ BAKER
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