Big and Little Films

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Big and Little Films
PO Box 1271
St Kilda South Vic 3182
p. 03 9527 8299
f. 03 9527 8266

 

Big and Little Films is a dynamic and diverse film and television production company, based in Melbourne, Australia. It is a subsidiary of Matchbox Pictures

This was its official website, created to promote their TV dramas, documentaries and films.
Content is from the site's 2007 -2010 archived pages and other review sources.

And then in 2010 this notice appeared on the website:
Thank you for visiting the Big and Little Films website. As of January 1, 2010, all of Big and Little Films' production operations will be carried out by it’s parent company, Matchbox Pictures. Please visit the Matchbox Pictures website for details: www.matchboxpictures.com/.

 

 

At Big and Little Films, we believe:
• That there are many audiences, and all of them deserve to be respected.
• That years of process is as important as minutes of product.
• That making something should be an act of generosity.
• That filmmakers create culture as well as entertainment but culture is only transmitted when it is seen.
• That in a world of scarcity, a film has to be worth the resources it takes to make it.
• That greed is the enemy.
• That you should only work with people you would want to have dinner with.

 

 

About Us

Michael McMahon and Tony Ayres have positioned Big and Little Films Pty Ltd as one of Australia’s most exciting independent production companies working in feature films, documentary and television drama. Between them, they have written, directed and produced films which have won prestigious awards both in Australia and internationally. Along the way, the company has forged strong working relationships with many of the key players in the Australian and International film and television industries.

The strength of Big and Little Films is that the company is a genuine and committed creative partnership between a writer/script editor/director and a lawyer/producer. This complementary range of skills gives the company the capacity to generate attractive ideas, develop these ideas into high quality scripts and place these projects into diverse sectors of the market.

In 2008, the company continues to develop and finance its ambitious slate of feature films, documentaries and television projects for the Australian and International markets, working with some of Australia’s most talented writers and directors.

In 2008 Big and Little Films joined forces with Chapman Pictures, Panckhurst Productions and Cicada Films to form Matchbox Pictures, an umbrella rights, management and sales company. Follow us on Twitter

We also run an on-site editing facility, Un-Cut Pictures Pty Ltd.

 

OF INTEREST

 

 

 

2007

 

2008

 

The Bogans and Brenda Hean

Watch BOGAN PRIDE, Monday nights at 9.00 pm on SBS
If you like the show, you'll love The Bogan Diaries - a week by week, blow by blow insight into the making of Bogan Pride, and our hilarious “Behind the scenes” documentary where Rebel discovers exactly what the rest of the cast think of her...

And our environmental murder mystery documentary, Whatever Happened to Brenda Hean? has been released nationally, with screenings in Hobart, Melbourne, Castlemaine, Canberra and Launceston in the coming weeks.

 

2009

Lou

Drama | 90 mins | HD | IN PRODUCTION

Rejected by her father, a young girl finds love through a dangerous game with her Alzheimic grandfather.

Just as suddenly as Lou’s father walked out of her life, her grandfather tangos in – bringing chaos to the council house Lou shares with her mother and sisters. Doyle, who has Alzheimer’s Disease, confuses 11-year-old Lou with his former wife. Lou plays along, using Doyle to gain power over her mother. But instead of power, Lou finds love.

Writer/Director Belinda Chayko
Producers Michael McMahon, Tony Ayres, Helen Bowden
Script Editor Tony Ayres
Cast John Hurt, Emily Barclay

Genre Drama
Target Audience Age 25+, Arthouse
Status Shoot early 2009; deliver late 2009
Finance Development - Australian Film Commission, NSW Film and Television Office
Production - Screen Australia, NSW Film and Television Office, Film Victoria, South Australian Film Commission, Matchbox Pictures
Sales and Distribution International Sales - Bankside Films, Australian distribution - Kojo Pictures

 

Reviews

Touching
3/17
Sandra J USA

Lou can now be seen on Netflix. I just caught it recently when I was looking for films that had John Hurt in them. With his recent death I was feeling a bit nostalgic. When Lou popped up in the list, I decided to try it. It was not a film I was familiar with. I go old school when watching movies at home.

 

I made pop corn, poured a glass of lemonade and put on my new glasses that I had picked up at the optometrist earlier in the day. I mention the new glasses because they made such a huge difference seeing at a distance. I hadn't realized how compromised I was. I really appreciated the cinematography having lived in Australia for a number of years. There were parts in the film that were charming, nuanced and internal. John Hurt, as usual was amazing, but Lilly Bell-Tindlay really was exceptional. I completely related to Lou's acceptance of Doyle's condition and found the discussion over the confusion caused by the large number of Batman T shirts touching and funny. I have a grandparent with alzheimer's so the story emotionally touched a bit closer than usual.

 

IMDb

Sweet but not sugary
8/10
Author: brimon28 from Canberra, Australia
19 June 2010

This is one very 'different' film. The pre-publicity prepares one for a tough hour-and-a-bit. It starts slow, and one wonders whether the story can be told in the short time left. We have a family, short of a dad, living on the border of Queensland and New South Wales. It's sugarcane country, backed by Mount Warning, the conspicuous mountain named by James Cook in 1770. The family is poor economically, but strong in spirit. We are introduced to the three girls, eldest 12, early in a line-up. This line-up is repeated from time to time and at the finish of the film. The girls are obedient, which makes them, perhaps, less than normal. But mother preserves the family's functionality with discipline against great odds. The odds seem greatest when the family is stuck with the grandfather, suffering with Alzheimers. It is obvious that Lou, the eldest girl, is to be the leader in the drama, and Doyle, the declining elder, is her foil. Does this work? Well, there's an old stage rule: never appear with children or dogs. The children win hands down with the mother appearing to be helpless. Doyle finishes up happy, and Lou, resilient in her youth, recovers from her disappointment. The cinematography is lovely, with rock-steady camera work, but not relying too heavily on the magnificent landscape of the Tweed Valley. Yes, a filmmaker can tell a story in under an hour-and-a-half!

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Thought-provoking Aussie charmer
9/10
Author: greguki from Australia
17 June 2010

 

This is an Australian film of great depth. The simplicity can be deceptive but like all great writing the trick is to say enough without saying too much. The combination of the writing and the acting synergistically magnifies the impact of what could seem to those on a steady diet of blockbusters a slow film. On an obviously tight budget sometimes so much can be delivered. By relying on good acting,writing, direction an impact can be had which exceeds that of the 100 million dollar epic. In digging deeper, director Belinda Chayko calls us as an audience to also give more. This is a giving which is rewarded. after watching the film last night, the questions were still rattling away the next day as I write this. John Hurt really is fabulous as Doyle, while Lilly Bell-Tindlay is in danger of stealing the show. If you like beautiful images, you are in for a treat as the Tweed Valley is shown to it's best advantage. While I know that this will not be the sort of movie for everyone, I do know that it left my life just a bit richer.

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Pleasant, small movie about family and relationships.
Author: TxMike from Houston, Tx, USA, Earth
14 June 2012

 

*** This review may contain spoilers ***

The revelation within this movie is first-time actress, young Lily Bell Tindley in the title role of Lou (short for Louise). She is a natural and her face captures the camera like few can. Mature for her age she reminded me of American actress Monica Potter, who also reminds me of Julia Roberts. My wife said Lily Bell reminded her of Emma Roberts, who of course is the niece of Julia Roberts. Anyway if she gets a chance to continue with an acting career she can become very successful.

Set in Australia, Lou is the oldest of three daughters, 11 and about to be 12, and her single mom is only 27. We don't get much of a back-story except that their dad left, they don't know him, and they struggle to pay the rent.

As it turns out John Hurt (approaching 70 during filming) as Doyle is the grandfather, in a care facility, because he has early stages of dementia. He needs a place to stay temporarily and he is "placed" in their home. (As an American I don't understand how this works in Australia, but never mind.) While the arrangement is far from ideal, Lou seems to start to become attached to Doyle, more than anything because he is a father (or grandfather) figure she never had.

Things get complicated when Doyle begins to call Lou "Annie", his deceased wife. In fact at one point Doyle regresses to his younger days and actually proposes to "Annie." Lou seems to take him seriously when he says "I love you" and she even fantasizes about them going away.

It is all handled very well, the delicate story of an older man fading from reality and a young girl about to grow into a young woman learning about real life.

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Nice Film That Ends Well
8/10
Author: brickyardbrad from United States
1 June 2011

 

I enjoyed this Australian film starring the always-terrific John Hurt. It seemed like a more realistic portrait of a modern family than what you see in a majority of Hollywood films today. Lily Bell-Tindley plays Lou and is definitely a young actress to watch. Wonderful character portrayal and her eyes tell the story. Her intensity and talent reminds me of a current actress like Chloe Grace Moretz. This DVD will be coming to the United States on July 19, 2011 from Monarch Home Entertainment. Although the story takes place in Australian cane country, I believe the family situation is very relatable to American audiences. The subject matter deals with a family member with Alzheimers, but is not a completely depressing journey and ends well. Kudos to John Hurt for another fine performance. I recommend this film.

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Nice snapshot of a step towards growing up.
8/10
Author: (BRCanberra) from Australia
20 June 2010

 

*** This review may contain spoilers ***

I think the film had a reasonably balanced set of messages with enough curly tidbits to take a few elements away and dissect over a coffee or two with friends. I found the portrayal of a struggling family group seemed very plausible and I especially loved the imagery and memories of a coastal sugar-cane town captured for the backdrop. In a couple of the scenes I'm not entirely convinced by Ms Barclay's performance as Lou's mother, but the rather poignant scene of the 4 "young" girls together on the beach towards the ending gels with one of the aspects that all of them (including Rhia) are still growing up together. Some nicely placed humour underpins parts of the character development and overall it seems a good plate of mind-food with hooks for many embattled parents. I agree with another reviewer that John Hurt's performance was great, he didn't overdo the illness symptoms to make Doyle too cheesy to be believed, and the audience at my session delighted in many of the childhood antics portrayed by the younger actors. Definitely good work by Lily-Bell Tindley as the memorable Lou.
Was the above review useful to you?

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Touching Drama From Down Under
7/10
Author: Rich Wright
21 November 2013

 

Getting the portrayal of an Alzheimer's disease sufferer on screen is very difficult, as the disease can manifest itself in so many ways and the writer could be accused of milking it for comedic value if they're not careful. Some of John Hurt's antics in Lou sometimes verge on the edge of this territory, but thanks to his skill as an actor we are able to be convinced his unseemly outbursts are part of his condition, so the issue of insensitivity never arises. His ultimate triumph is getting ME to like him, as when he was foisted on this single mother of three children at the start just before Christmas (he's her estranged husband's father) and given the eldest daughter Lou's bedroom, my reaction was more or less the same as Lou's... NOT FAIR and GET RID OF HIM.

But, through a combination of his idiosyncratic behaviour and his seafaring stories, he is able to win her (and me) over, although the relationship becomes slightly worrying when he mistakes this 11 year old for his long-gone WIFE, and proposes to her. Fortunately, Lou takes it all in good grace and even wears the ring he gives her, but (understandably) her mum is slightly worries at this turn of events and forces her child to 'break it off'. This sparks a violent outburst from the afflicted old man, and an even deeper wedge being driven between mother and daughter. Lou decides to do a runner with her grandpa, but looking after a dementia sufferer on the road is harder than you think...

Alternating between humour and pathos, it features great performances from everyone, especially the very prettily named Lily Bell Tindley as the toughest pre-teen you'll ever likely to meet (Though in this kind of family, that trait is probably a necessity). As mentioned, John Hurt is completely disarming as the completely random but good-hearted pensioner, and his friendship with Lily's character forms the crux of the story. Reality has to set in eventually though, and when it is eventually time to say goodbye, we feel the people in the film have learned something, and we at home have too. Edutainment indeed... 7/10

 

PROJECTS

» Feature

    Frankenstein *
   You're My World *
   The Home Song Stories
   Lou *
   The Actresses *
   Geography *
   The Carrier *

» Documentary

    War Crime Trials *
   Two Men and Two Babies
   Whatever Happened To Brenda Hean?
   Anatomy
   The Next Nicole *
   6 Days in a Leaky Boat *
   Pretending *

» Television

    Parole *
   Bogan Pride
   Saved
   Semi-Detached *

» Archive

   Call Me Mum
   Wildness
   Cosenza Vecchia
   Thomson of Arnhem Land
   Sadness
   China Dolls
   Mrs. Craddock's Complaint
   Arse
   Exposed
   Double Trouble
   Cruel Youth

* in development

 

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More Background On BigAndLittleFilms.com

 

BigAndLittleFilms.com is the online presence of Big and Little Films, a renowned Melbourne-based Australian production company distinguished for its creative depth, cultural engagement, and social relevance. For over two decades, the company has produced award-winning feature films, documentaries, and television dramas that have shaped Australia’s screen narrative and resonated with international audiences. This comprehensive article delves deeply into ownership, leadership, company goals, history, production highlights, critical acclaim, audience reach, cultural significance, and broader industry impact—providing readers with a full understanding of Big and Little Films and its website.

Ownership and Leadership

Big and Little Films was founded by Michael McMahon and Tony Ayres, fusing two distinctive skill sets: McMahon’s legal and producing acumen, and Ayres’ narrative and directorial expertise. Their collaboration established the company’s solid reputation in the industry, attracting awards and recognition for bold, heartfelt storytelling and social consciousness.

• Michael McMahon serves as Managing Director and Executive Producer, steering the company’s creative and operational direction.

• Tony Ayres, its co-founder, helped craft its foundational values and later launched Tony Ayres Productions, further contributing to Australia’s television and film landscape.

• The company maintains partnerships and nurtures new talent, notably with Development Executive Vee Shi.

In 2008, the company became a founding partner within the Matchbox Pictures group, joining Chapman Pictures, Panckhurst Productions, and Cicada Films. This alliance paved the way for new projects, global collaborations, and eventually a connection with international conglomerate NBCUniversal, which became Matchbox’s owner in 2014. McMahon eventually returned to lead Big and Little Films independently.

Location and Industry Proximity

Situated in St Kilda South, Melbourne, Big and Little Films operates from the heart of one of Australia’s most creative districts. This strategic location affords direct access to local talent, vibrant arts communities, national cultural events (such as the Melbourne International Film Festival), and key industry stakeholders.

Melbourne’s long-standing reputation as a cultural and cinematic hub supports the company’s ease of collaboration with writers, directors, and technical experts across Australia. This proximity further cements Big and Little Films’ role in shaping regional and national creative trends.

Mission, Values, and Goals

Big and Little Films is rooted in a set of profound guiding principles:

• Every audience deserves respect and authenticity.

• The creative process is as significant as the finished product—a film’s journey shapes its impact.

• Filmmaking is viewed as an act of generosity and cultural exchange, not mere commerce.

• Ethical collaborations and mentorship are foundational—creators choose to “work with people you would want to have dinner with.”

• Projects must justify the investment of talent, time, and finances, reflecting genuine artistic and societal benefit.

This approach led to a company culture marked by thoughtful risk-taking in storytelling, inclusivity, and the production of works with lasting relevance.

Historical Evolution and Company Development

Founded in 1998, Big and Little Films set out as an ambitious independent company, immediately recognized for its creative energy and vision. Through the late 2000s, the company’s works garnered critical and commercial attention for their daring content and emotional truth. Joining forces with noted industry partners in 2008, it evolved into a key member of Matchbox Pictures, increasing its capabilities and the scale of its projects.

In 2010, following its absorption into Matchbox, some production activities shifted under the new umbrella, with Big and Little Films maintaining a distinct identity and ongoing creative ventures. The company also managed its own editing suite, Un-Cut Pictures Pty Ltd, allowing for self-sufficient post-production.

From 2019, McMahon refocused efforts on original Big and Little Films projects, education, and mentorship, underscoring the company’s enduring legacy and influence.

Production Highlights and Portfolio

Big and Little Films is distinguished by a slate of features, documentaries, and dramas that blend bold creativity, emotional resonance, and social relevance.

Major Works

The Home Song Stories (2007)

• An epic family drama exploring migration, cultural dislocation, and family bonds. The protagonist, Rose, is a glamorous Shanghai singer struggling for survival in Australia with her children.

• Acclaimed for honesty and emotional depth, the film earned the Script Award at the NSW Premier’s Literary Awards and remains a touchstone of Asian-Australian storytelling.

Saved (2009)

• An acclaimed telemovie chronicling the journey of an Australian woman who advocates for an Iranian refugee, exploring identity, attraction, and social justice.

• Won the Australian Writers Guild Award for Best Writing in an Original Telemovie and the Australian Directors Guild Award for Best Achievement in Directing.

Lou (2010)

• A heartfelt drama focused on family relationships and the impact of Alzheimer’s, starring John Hurt, Emily Barclay, and Lily Bell-Tindley.

• Receives consistent praise for its sensitive portrayal of illness, nuanced performances, and vivid atmospheric storytelling.

Other Notable Works

• Two Men and Two Babies: The story of a gay couple navigating surrogacy in the US.

• Muscle: A documentary examining strength, physical fragility, and the deep impact of illness.

• Skin: A provocative film exploring art, the body, and mortality through the lens of tattooist Ex de Medici and Geoff Ostling.

• Geography, Mrs Craddock’s Complaint, Anatomy, The Next Nicole, War Crime Trials, Double Trouble, Pretending, Call Me Mum, Bogan Pride, whatever happened to Brenda Hean?, Semi-Detached, Wildness, Parole, Arse Exposed, Cruel Youth, and China Dolls.

Each production is marked by thematic ambition, rigorous script development, and strong performances, often featuring a balance of emerging and established talent, with international reach and local relevance.

Critical Reception and Media Coverage

Big and Little Films achieved widespread recognition for its courageous subject matter, emotional honesty, and storytelling skill.

• Reviews for Lou highlight its “reasonably balanced set of messages,” “great performance” by John Hurt, and its sensitive depiction of childhood and family trauma.

• The Home Song Stories is praised for its intimate exploration of cultural heritage, migration, and universal themes of familial love and loss.

• Saved stands out for its “superb contributions” to the conversation on refugees and human rights in contemporary Australia.

The company’s works have screened at major film festivals—most notably the Melbourne International Film Festival, Sydney Film Festival, and have been carried by national broadcasters including SBS and ABC. Coverage by local and international film magazines, arts journals, and online review platforms further cemented its impact.

Awards, Distinctions, and Accolades

Big and Little Films productions have earned significant industry recognition:

• NSW Premier’s Literary Award (The Home Song Stories)

• Australian Writers Guild Award (Saved)

• Australian Directors Guild Award (Saved)

• Screen Producers Australia Lifetime Achievement Award (Michael McMahon, 2018)

The quality and ambition of the company’s work consistently attracts nominations at prominent competitions and festivals, cementing its reputation for both artistic merit and cultural value.

Audience and Public Reach

Targeting an audience that values emotionally complex, character-driven narratives, Big and Little Films connects with viewers interested in realism, multiculturalism, and social justice. Its reach spans film festival attendees, educators, critics, and international viewers seeking authentic Australian perspectives.

Community engagement extends to arts training, mentorship, and participation in media education—making the company not just a producer but an integral part of Australia’s creative ecosystem.

Cultural and Social Significance

Big and Little Films’ works contribute significantly to dialogues about migration, identity, family, and justice.

• Their films broaden representation of the Asian-Australian experience and help interrogate attitudes around displacement, generational change, and diversity.

• Documentaries and dramas serve as teaching tools and cultural artifacts, promoting social understanding and empathy.

• By focusing on social realism, ethical filmmaking, and collaboration, Big and Little Films embodies a model for ethical and socially responsible film production.

The company has been integral to the Australian cinematic movement that brings marginalized voices, complex truths, and multicultural realities to mainstream attention. It offers layered depictions of “Australianness” that excite viewers and justify public and private investment in local film production.

Details, Insights, and Industry Connections

Big and Little Films maintains strong relationships with funding bodies such as Film Victoria, Screen Australia, and various international sales agents. This strategic engagement ensures access to financing, talent, and global audiences.

Inside the company, creativity is cultivated through rigorous development processes, mentorship programs, and ongoing collaboration with writers, editors, and legal experts. Its editing suite, Un-Cut Pictures Pty Ltd, adds technical capacity and self-sufficiency.

Known For

The company’s reputation rests on:

• Thoughtful, daring dramas and well-crafted documentaries.

• Deep dives into multicultural, regional, and social issues.

• Partnerships with outstanding creative professionals.

• Ethical practices and generous collaborations.

• Setting a gold standard for Australian independent film in both process and product.

Legacy and Future Impact

While production activities shifted under Matchbox and NBCUniversal, Big and Little Films remains active in developing, educating, and inspiring new screen talent. Its legacy is felt in the works of Michael McMahon, Tony Ayres, and affiliated creatives; its films continue to be screened, taught, and discussed as exemplars of culturally meaningful filmmaking.

BigAndLittleFilms.com, through its content and archives, serves as an ongoing resource and inspiration for filmmakers, students, and audiences, preserving a lineage of works that enrich Australian and global screen culture.

Conclusion

Big and Little Films is much more than a production company—it is a beacon of creativity, social awareness, cultural representation, and ethical collaboration. Its website introduces and archives productions that not only entertain but tell essential stories, inspire empathy, and foster a vibrant, inclusive film culture that defines what it means to be truly “Australian” on screen.

 

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