Latest news with #localproductions
Daily Mail
15-06-2025
- Entertainment
- Daily Mail
Heading to Hollywood! Kyly Clarke makes shock career change as she sets her sights on international fame
Kyly Clarke is turning the page on a new chapter – and it's taking her straight back to the beginning. The former TV host, model and businesswoman is making a surprise return to acting, decades after landing her first commercial role as a child. Now 43, the mum-of-one is diving head-first into the world of film and television, embracing what she calls her 'Kyly 2.50' era – a nod to her reinvention and growth. 'I started acting at a very young age,' Kyly told the Sunday Telegraph this week. After years spent building businesses and raising her daughter Kelsey Lee, 10, whom she shares with ex-husband Michael Clarke, the Sydney-based star has joined leading agency Chic Talent Management. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. Her passion for storytelling is what's pulling her back to the screen, with Kyly open to a wide range of roles across local and international productions. 'Funnily enough I was one of the casting director's "options" for the reporter role in the feature film I Know What You Did Last Summer,' she shared. 'I would love to work on both Australian and international productions. I would love to appear in a feature film' Kyly continued. 'It would be great to work on the set of NCIS: Sydney. Or even those Christmas movies which come out of Canada. I am leaving the door completely wide open to all opportunities.' Kyly said the past few years were about putting her daughter first, but she now feels the timing is right to focus on her own creative path again. 'I really think over the last five years, I've put Kelsey Lee first,' she said. Kyly previously explored a career in dance and modelling and has also recently worked in interior design and property development. But she stumbled across her love of art when she struggled to find a piece for her bedroom and is now trying to live out her childhood dreams of being an artist. Kyly has been pursuing her passion for art in recent years and has revealed how her new career has helped to 'heal' her. She gave an insight into the emotional process of creating her artwork after being selected to show her work at the The Other Art Fair last year. 'It was a really beautiful healing process,' Clarke told the Daily Telegraph. 'I was finding me through that process and starting to understand and realise what it was I wanted in my life.' Kyly, who is the ex-wife of cricketer Michael Clarke, told how art helps her to 'shut out' the outside world and give her full focus to what she is working on. 'That is when a hobby like this, that can become a part of your career and your life, is really exciting because I guess it shuts out the outside world for those moments that you're creating and that is really special,' she added. Kyly admitted her work getting selected for The Other Art Fair, which runs at the White Bay Cruise Terminal, was huge validation for her as an industry rookie. 'I know I still have so much to learn, so many pieces that I want to create, and I will take time to perfect that and I am OK with that,' Kyly said.
RNZ News
10-06-2025
- Entertainment
- RNZ News
30 with Guyon Espiner: Netflix 'doesn't need us' or our 'silly' levy
Dame Julie, a founding force in reality TV and an internationally successful format producer, is the latest guest on RNZ's multimedia talk show 30 with Guyon Espiner . She is critical of proposals suggested by industry groups and the government that would compel global streamers to invest more in local productions or face bans. More focus needs go on funding ideas and formats that will garner international success, she says. People should not "stand around and whine, or do silly things like threatening Netflix - 'If you don't make more local productions, we'll turn you off in this country.' You can imagine the public reaction to that." Christie, whose production company Touchdown helped define and export iconic shows like Treasure Island and Game of Two Halves , said New Zealand needs to be more realistic about its size and global influence. "Netflix doesn't need us," she says, dismissing suggestions that a levy on streaming giants would fix the problem. "And who's going to decide what's made with that revenue? Netflix. I just don't think it will work." Instead, the country should focus on producing globally appealing content in genres where New Zealand can compete - particularly in unscripted formats and documentaries. "True crime is the biggest genre in the world … and we're not making it, because you usually can't get it publicly funded," she says. "As a result, we're not making what the world wants." NZ On Air has become too narrowly focused on funding projects that meet too specific cultural criteria, often at the expense of international interest. "The number one thing you have to have to get funded by New Zealand on Air is to reflect our cultural identity. Now, what is our cultural identity now?" Highlighting her experience producing a docu-series about Auckland's Football Club, Forever FC, Christie says: "If you go to Auckland FC, it's very different [to NZ On Air criteria]. It's 20 immigrant families within one team. I think that we have to really open up about what we think our culture is." New Zealand's small population, while a challenge, could be turned into a strength if the industry embraced creating distinctively local stories and tailoring them for international sale. "We're belly-gazing, basically," she says. "We don't think, 'If I adjust this show by 20%, I might be able to sell it to Australia or a smaller American channel.'" NZ On Air needs to adapt to the new global content environment and stop treating cultural identity and commercial potential as mutually exclusive. "There should be a massive tick if you've got international viability in anything," she says. Christie welcomes the increase in screen production rebates announced in the Budget, but says we should be aiming higher. "It's working in bringing film production into New Zealand. That provides jobs. The problem is, it's working for wages," she says. "It is less than half the cost to make shows here than most places in the world. "We should be taking huge advantage of that, while creating our own IP … creating things we own." New Zealand used to have a stronger international outlook, but the industry has become bogged down in local funding battles, Christie says. "We were leading the world in creating formats in the early 2000s. Now we just don't do it because we're all scrambling to get that little bit of New Zealand On Air money." * Watch the full interview with Dame Julie Christie on 30 With Guyon Espiner . Subscribe to the podcast feed now to get every episode of 30 on your phone when it lands: On Spotify On iHeartRadio On Apple podcasts
RNZ News
10-06-2025
- Entertainment
- RNZ News
Netflix 'doesn't need us' or our 'silly' idea for a levy, says Dame Julie Christie
Dame Julie, a founding force in reality TV and an internationally successful format producer, is the latest guest on RNZ's multimedia talk show 30 with Guyon Espiner . She is critical of proposals suggested by industry groups and the government that would compel global streamers to invest more in local productions or face bans. More focus needs go on funding ideas and formats that will garner international success, she says. People should not "stand around and whine, or do silly things like threatening Netflix - 'If you don't make more local productions, we'll turn you off in this country.' You can imagine the public reaction to that." Christie, whose production company Touchdown helped define and export iconic shows like Treasure Island and Game of Two Halves , said New Zealand needs to be more realistic about its size and global influence. "Netflix doesn't need us," she says, dismissing suggestions that a levy on streaming giants would fix the problem. "And who's going to decide what's made with that revenue? Netflix. I just don't think it will work." Instead, the country should focus on producing globally appealing content in genres where New Zealand can compete - particularly in unscripted formats and documentaries. "True crime is the biggest genre in the world … and we're not making it, because you usually can't get it publicly funded," she says. "As a result, we're not making what the world wants." NZ On Air has become too narrowly focused on funding projects that meet too specific cultural criteria, often at the expense of international interest. "The number one thing you have to have to get funded by New Zealand on Air is to reflect our cultural identity. Now, what is our cultural identity now?" Highlighting her experience producing a docu-series about Auckland's Football Club, Forever FC, Christie says: "If you go to Auckland FC, it's very different [to NZ On Air criteria]. It's 20 immigrant families within one team. I think that we have to really open up about what we think our culture is." New Zealand's small population, while a challenge, could be turned into a strength if the industry embraced creating distinctively local stories and tailoring them for international sale. "We're belly-gazing, basically," she says. "We don't think, 'If I adjust this show by 20%, I might be able to sell it to Australia or a smaller American channel.'" NZ On Air needs to adapt to the new global content environment and stop treating cultural identity and commercial potential as mutually exclusive. "There should be a massive tick if you've got international viability in anything," she says. Christie welcomes the increase in screen production rebates announced in the Budget, but says we should be aiming higher. "It's working in bringing film production into New Zealand. That provides jobs. The problem is, it's working for wages," she says. "It is less than half the cost to make shows here than most places in the world. "We should be taking huge advantage of that, while creating our own IP … creating things we own." New Zealand used to have a stronger international outlook, but the industry has become bogged down in local funding battles, Christie says. "We were leading the world in creating formats in the early 2000s. Now we just don't do it because we're all scrambling to get that little bit of New Zealand On Air money." * Watch the full interview with Dame Julie Christie on 30 With Guyon Espiner . Subscribe to the podcast feed now to get every episode of 30 on your phone when it lands: On Spotify On iHeartRadio On Apple podcasts
