The cofounders behind The Reset Collective, discuss their strategy and why the changes brought on by COVID-19 have only enhanced their belief in their vision
Blighted by cinema closures and production freezes, film studios the world over have been pushed into survival mode by the unprecedented strains of the novel coronavirus crisis. Australian film company The Reset Collective would appear to be on an opposite trajectory: The startup production and distribution banner officially began business on May 6, right in the midst of the pandemic.
In their early discussions about the new venture, Gooder and Garner had seized on the idea that technological and generational changes had left the film distribution business in desperate need of "a structural reset." But through our own business models, Lisa and I had both noticed the decline of the Australian market. Home entertainment had been immune for a long time, but it was suddenly hit hard a couple of years ago. Australian distributors were much more shy and reticent to pre-buy, because their business models no longer supported it. The kinds of films that were successful in cinema now had to hit the bullseye — all of the changes we are seeing everywhere had arrived.
Of course, now, distribution is in a very different place. We've got fewer, smaller windows. We have a more finite amount of time within which to create value. Therefore, value proposition for an audience becomes the key thing.
Garner: I think part of the challenge for drama is that people really want to be told what they're watching, and feel confident that what it says on the tin is what it is, you know? There is so much content available to people. I see myself at nighttime scrolling through stuff, looking for something to stand out to me. Until you have the awards, standing out in a vivid way can be a difficult proposition for some drama.
Garner: There's a good amount of older, finished films still hanging around. As we're just starting out, we're looking for projects that are completed and high-quality enough that they have a ready audience. I've actually been surprised thus far with the projects I have seen ahead of the Cannes virtual market — there's been some really good stuff.
We have a partner, Debbie Gray at Genesius, who has some content that would be perfectly suited as U.K.-Australia co-productions, for example. Coproductions between the U.K., Australia and New Zealand are fairly common, because often the stories make sense and you can easily pull the components together. So, that's the second phase, owning more content and creating IP, but building it around the core distribution model.
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