Rachel Griffiths (I) - News Poster


CinefestOZ names festival ambassadors

Sophia Forrest, Alex Williams and Travis Jeffery

Sophia Forrest, Alex Williams and Travis Jeffery — all graduates of the Western Australian Academy of Performing Arts – will be the ambassadors for this year’s CinefestOZ Film Festival.

CinefestOZ Chair Helen Shervington said: “Sophia, Alex and Travis are all incredibly talented professionals and we are proud to once again be welcoming them to the South West for an immersive five-day film experience this year as CinefestOZ ambassadors.

“Having Wa-trained gems like Sophia, Alex and Travis at the forefront of CinefestOZ is a testament to the incredible growth and burgeoning talent within the Australian film industry.”

Sophia graduated from Waapa in 2016 and went on to tour internationally with the theatre productions Les Liaisons Dangereuses and Coriolanus.

Her film credits include Rachel GriffithsRide Like a Girl, which will screen at the festival, Reaching the Distance and Aquaman.

Since graduating from Waapa in 2011, Williams
See full article at IF.com.au »

Australia Makes Progress on Gender Equality in Film and TV

  • Variety
Screen Australia, Australia’s federal film and TV funding body, has made sufficient progress in furthering gender equality that it has set more ambitious targets.

The organization has exceeded its long-term Gender Matters key performance indicator, with 56% of projects receiving production funding having at least half of the key creative roles occupied by women, based on a three-year average. The Kpi was set in December 2015, and originally aimed for 50%. The Kpi considered the key creative roles of writer, director, producer, and in the case of narrative content (drama), the protagonist.

The new target is to have 50% of the key creatives across all projects that receive Screen Australia development and production funding to be women, measured across a three-year-average. For the new Kpi, the key creatives are directors, writers and producers and the tracking period is 2019/20 to 2021/22. From August 2020, the agency will also publish the headcount breakdown of key creative roles for feature drama,
See full article at Variety »

Screen Australia hits long-term Gender Matters target and sets new Kpi

Ride Like A Girl’, which received development funding via Gender Matters: Brilliant Stories.

Back in December 2015, Screen Australia set itself a three-year target: by the end of the 2018-19 financial year, at least 50 per cent of projects to receive production funding should be from female-led creative teams.

At the same time, the agency rolled out a $5 million suite of initiatives under the umbrella ‘Gender Matters’. Each was designed to redress gender inequity more broadly: a female-led story development fund, Brilliant Stories; female-focused business support, Brilliant Careers; Better Deals, a matched distribution guarantee for the marketing of female-led films; and an attachment scheme for women.

Screen Australia also adjusted its assessment criteria, expressly noting that the gender of a project’s team may influence its funding decisions.

Three years on, and Screen Australia has exceeded its target. Fifty-six (56) per cent of projects funded over the last three years were considered ‘female-led’; that is the writer,
See full article at IF.com.au »

Rose Riley sets her sights on Hollywood

Rose Riley (L) and Emma Harvie in ‘Diary of an Uber Driver.’

Rose Riley is getting ready to have her first crack at Hollywood amid the most successful year of her career since graduating from Waapa in 2013.

This week the actor is heading to the Us for the first time for meetings with producers, casting directors and other players set up by her Us agent, Authentic Talent & Literary Management’s Jessica Morgulis.

Rose met Morgulis when the agent visited Sydney, arranged by her Oz rep United Management, before she started work in Stateless, the six-part ABC drama about four strangers in an immigration detention centre in the Australian desert, co-created by Cate Blanchett, Tony Ayres and Elise McCredie.

“I will always be very passionate about Australian stories and Australian cinema, TV and theatre but working overseas would be a total dream; ideally I will find a balance,” she tells If.
See full article at IF.com.au »

Rachel Perkins’ ‘Black Bitch’ to premiere in Toronto

‘Black Bitch’ (Photo credit: John Platt).

The first two episodes of Blackfella FilmsABC political drama Black Bitch will have their world premiere in the Primetime program at the Toronto International Film Festival.

Directed by Rachel Perkins and starring Rachel Griffiths as Australia’s embattled Prime Minister Rachel Anderson and Deborah Mailman as her rival Alex Irving, it’s one of six series from around the world in the line-up.

Perkins said: “News of our acceptance into Toronto, particularly given our series is one of the few chosen from the world, is a high point and a huge relief. Screening at Toronto is also special on a very personal level. It marks the 20th year of my collaboration with Deborah Mailman.

“My career has been built around her prodigious talent and I look forward to following our leading lady onto the red carpet.”

Among the other world premieres will be HBO’s Mrs.
See full article at IF.com.au »

Toronto Film Festival: TV Slate Includes ‘Mrs. Fletcher’, ‘Briarpatch’ World Premieres; International Rising Stars Set

  • Deadline
The Toronto Film Festival has unveiled its lineup for this year’s Primetime program, a total of six TV series from around the world including the world premieres of HBO’s Mrs. Fletcher starring Kathryn Hahn, USA Network’s Briarpatch starring Rosario Dawson, and Facebook Watch’s Limetown based on the crime podcast and starring Jessica Biel and Stanley Tucci.

Also in the mix are three international series with political themes: Australia’s Black Bitch, starring Deborah Mailman and Rachel Griffiths at the Aussie prime minister; French drama Savages, about an Arabic candidate for the France presidency; and the Czech Republic’s The Sleepers which follows a woman (Táňa Pauhofová) and her political dissident husband after they flee 1977 communist Czechoslovakia. (See full lineup details below.)

Each screening in the Primetime sidebar will be followed by an onstage Q&a with members of the creative team, the festival said Thursday.

See full article at Deadline »

Tiff Primetime Lineup: ‘Mrs. Fletcher,’ ‘Briarpatch,’ ‘Limetown’ Lead 2019 TV Lineup

With less than a month until the Toronto International Film Festival, the annual gathering has unveiled some intriguing TV entries in its 2019 schedule.

As part of the fifth incarnation of Tiff’s Primetime section, the festival announced a half-dozen series that will join this year’s lineup. The headliner for 2019 is HBO’s “Mrs. Fletcher,” the latest TV effort from Tom Perrotta based on one of novels. Featuring a pilot directed by Nicole Holofcener, the series stars Kathryn Hahn as Eve Fletcher, in search of fulfillment while her son looks for the same during his first year at college.

After making a Tiff splash at last year’s fest with “Sorry for Your Loss,” Facebook Watch is returning with another high-profile title. “Limetown,” starring Jessica Biel and Stanley Tucci, is adapted from the scripted podcast of the same name, a fictional spin on a mysterious true-crime investigation. Rounding out the U.
See full article at Indiewire »

Rosario Dawson crime drama ‘Briarpatch’, Nicole Holofcener’s ‘Mrs Fletcher’ to screen in Tiff's TV strand

Tiff Industry Conference to hear from Brian Grazer and Ron Howard, Fernando Meirelles.

World premieres of crime drama Briarpatch starring Rosario Dawson and Nicole Holofcener’s empty nest drama Mrs Fletcher are among six series to screen in Toronto International Film Festival’s (Tiff) Primetime television line-up.

Tiff brass also announced on Thursday (Aug 15) the Tiff Industry Conference line-up, as well as the four international Tiff Rising Stars, each of whom stars in at least one of the festival’s selections this year.


Five of the Primetime series, nearly two-thirds of which are created and directed by women, will
See full article at ScreenDaily »

10 Best Asian Movies Popular in Australia

Hollywood seems to be the most significant film industry in the world, but the Asian movie industry has been blossoming with content over the years. Blockbuster films like ‘The Raid’ (2011) or ‘Train to Busan’ (2016) are trendy among the Asian entertainment industry. The popularity of such movies has not been locally bound; they have gained recognition and mainstream success with Australian audiences, and even the Americans and Europeans. The traditional classics of K-Drama, Anime, even Manga Comic Series are thriving all over the world today.

As it is, major Hollywood films pursue to film their scenes in Asia, specifically China. This is evidence of the appealing new market, the Asian film market. Some time ago, in a banquet held in Shanghai with actors Sam Neill and Rachel Griffiths and the Chinese filmmakers in presence, an Asia International Engagement Program was launched. Their meeting includes launching a new best Asian film award
See full article at AsianMoviePulse »

Australian films July scorecard: Unhealthy reliance on top titles

Danger Close: The Battle of Long Tan.’

The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.

The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.

The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.

That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.

Surveying the challenges facing the indie film business, Transmission FilmsAndrew Mackie tells If:
See full article at IF.com.au »

Could Emilia Clarke (‘Game of Thrones’) win Emmy for her category switch just like Allison Janney (‘The West Wing’)?

Could Emilia Clarke (‘Game of Thrones’) win Emmy for her category switch just like Allison Janney (‘The West Wing’)?
Switching between lead and supporting categories from year to year at the Emmys is relatively uncommon, but it has been known to happen, and now Emilia Clarke is trying her luck as a lead actress for “Game of Thrones.” After three supporting nominations, she entered the race as a lead in 2018, but was snubbed. She tried again this year, though, and made the cut. Will her promotion pay off like it did for Allison Janney (“The West Wing”) almost two decades ago?

Janney played White House press secretary C.J. Cregg on “The West Wing” and won Best Drama Supporting Actress on her first two tries (2000-2001). Then she jumped up into the lead category and she won that too — twice. So it can be advantageous to move up and stretch your legs in a different category.

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But not always.
See full article at Gold Derby »

‘Killing Eve’ just ended a 17-year dry spell in drama actress with Emmy bids for Both Sandra Oh and Jodie Comer

‘Killing Eve’ just ended a 17-year dry spell in drama actress with Emmy bids for Both Sandra Oh and Jodie Comer
Killing Eve” made a killing with Tuesday’s Primetime Emmy Awards nominations with nine total. Two of those are for Sandra Oh and Jodie Comer in Best Drama Actress, marking the first time since 2002 that a show produced double nominations in the category.

Oh, who last year became the first nominee of Asian descent in the category, and Comer are up against Emilia Clarke (“Game of Thrones”), Viola Davis (“How to Get Away with Murder”), Laura Linney (“Ozark”) and Mandy Moore (“This Is Us”).

The last duo to make the cut were Frances Conroy and Rachel Griffiths from “Six Feet Under.” They lost to Allison Janney, who upgraded to lead that year after back-to-back wins in supporting for “The West Wing.” For the three years before that, “The Sopranos” co-stars Edie Falco and Lorraine Bracco competed against each other in lead, with the former winning twice in 1999 and 2001.

See 2019 Emmy
See full article at Gold Derby »

Australian films Bo mid-year scorecard: ‘Top End Wedding’ takes the lead

Wayne Blair and Miranda Tapsell on the set of ‘Top End Wedding’.

Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.

At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.

That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.

So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.

Exhibitors are optimistic about the outlook for the rest of the year,
See full article at IF.com.au »

Hollywood Flashback: 'Six Feet Under' Finale Won an Emmy for Age Makeup in 2005

Hollywood Flashback: 'Six Feet Under' Finale Won an Emmy for Age Makeup in 2005
The series finale of Game of Thrones inspired much debate over the proper way to end a beloved TV show. Few could argue that an earlier HBO drama, Six Feet Under, didn't stick the landing.

"Everyone's Waiting" first aired Aug. 21, 2005, and was written and directed by Six Feet creator Alan Ball. He opted to break with tradition and open the show not with a death, but a birth — of a baby daughter to Brenda (Rachel Griffiths) and Nate Fisher (Peter Krause), who had died of a brain hemorrhage in the third-to-last episode. And Ball ended it with ...
See full article at The Hollywood Reporter »

‘The Hunting’, ‘Frayed’ to premiere at Series Mania Melbourne

The Hunting’ (Photo: Nat Rogers).

Closer Productions’ The Hunting and Guesswork Television/Merman Television’s Frayed will premiere at Series Mania Melbourne in early July.

Headlining this year’s event, which is held with the support of Acmi and Film Victoria, is Jessica Jones creator and showrunner Melissa Rosenberg, who will appear in conversation.

Rosenberg will also speak at the industry day, alongside screenwriter Luke Davies; Foxtel director of television Brian Walsh; Series Mania creative director Francois-Pier Pelinard-Lambert and actor, director and producer Rachel Griffiths.

Commissioned by Sbs, The Hunting is a four-part drama set in Adelaide that explores the lives of four teenagers, their teachers and families as they deal with the fallout of a nude teen photo scandal. Toplined by Asher Keddie and Richard Roxburgh, the ensemble cast also includes Sam Reid, Jessica De Gouw, Luca Sardelis, Yazeed Daher, Pamela Rabe, Leah Vandenberg, Rodney Afif, Sachin Joab, Elena Carapetis,
See full article at IF.com.au »

Huw Higginson enjoys venturing to the dark side

Huw Higginson.

Huw Higginson often plays admirable, upstanding characters but sometimes he gets more of a kick out of tackling villains.

In the past year the English-born actor has portrayed a brutish magistrate in Jennifer Kent’s The Nightingale and a serial killer truck driver in Playmaker Media’s Mandarin series Chosen directed by Tony Tilse.

He played more nuanced characters including the abandoned husband and father of Miranda Tapsell’s bride-to-be in Wayne Blair’s Top End Wedding; a lawyer who represents the family of a missing priest (Sam Reid) in Lingo Pictures/Foxtel’s drama Lambs of God; and a wealthy gentleman who sends his ward to boarding school in Fremantle/Foxtel’s Picnic at Hanging Rock.

“Unpleasant characters are often more interesting to play,” says the actor who played the well-meaning Constable George Garfield in The Bill for 10 years. “You have to try to find something to
See full article at IF.com.au »

Australian films May Bo scorecard: Modest tally but very bright outlook


Five months into the year, 18 Australian films and feature docs released in cinemas since the start of the year, plus holdovers, have racked up a modest $14.3 million.

That compares with $37.6 million generated in the same period last year, led by Peter Rabbit’s $26.4 million, Breath’s $3.6 million in four weeks (finishing with $4.6 million) and Sweet Country’s $2 million.

Shawn Seet’s Storm Boy is the top title with nearly $5 million, a creditable result. But almost certainly that would have been rather higher if Sony Pictures had been able to use Geoffrey Rush in the publicity campaign.

Wayne Blair’s Top End Wedding has grossed $4.7 million through Sunday, its sixth weekend, and could finish with $5.5 million.

Anthony Maras’ Hotel Mumbai collected $3.3 million, knee-capped by the dreadful co-incidence of opening on the same weekend as the Christchurch massacre.

Damon Gameau’s 2040 has earned $568,000 after its second weekend and, buoyed by word-of-mouth, distributor
See full article at IF.com.au »

Anthony Hayes relishes working on both sides of the camera

Anthony Hayes in ‘Danger Close: The Battle of Long Tan’.

Anthony Hayes has been acting since he was nine. While there is no danger of him giving up that stellar career, for the present he is concentrating more on his other passions: writing and directing.

In the past five or six years he has been in the fortunate position of choosing roles he really wanted to do – in the movies Cargo, War Machine and The Light Between Oceans and TV’s Mystery Road and Seven Types of Ambiguity – rather than just for a pay cheque.

Now his primary focus is writing and directing, starting with Gold, a thriller in which he will co-star with Sam Worthington about two guys who discover the world’s biggest gold nugget in the Australian desert. After that he hopes to make Stingray, a crime thriller he wrote and was set to direct in 2016 until the financing fell through.
See full article at IF.com.au »

Thornton, Perkins, Walker win at Adg Awards

Warwick Thornton and Sam Neill on the set of ‘Sweet Country’.

Warwick Thornton took home the top gong at last night’s Australian Directors’ Guild (Adg) Awards for outback Western Sweet Country.

It joins a slew of other prizes for the film, which follows an Aboriginal stockman who a kills white station owner in self-defence, including the Venice Film Festival Special Jury Prize, the Toronto International Film Festival Platform Prize, and six Aacta Awards, including Best Film and Best Direction.

Competing against Thornton for Best Direction in a Feature Film (budget $1 million or over) were Joel Edgerton for Boy Erased, Anthony Maras for Hotel Mumbai, and Garth Davis for Mary Magdelene.

The Adg Awards were held at Sydney’s City Recital Hall, with presenters including Rachel Griffiths, Claudia Karvan, Bryan Brown and Rachel Ward.

This year also saw the guild divide the feature film category for the first time, introducing
See full article at IF.com.au »

Sally Riley outlines the kind of shows the ABC is seeking

Jolene Anderson and Remy Hii in ‘Harrow’ 2.

Here’s a shout-out to producers: The ABC is keen to find another genre series to fill a gap as Matchbox PicturesGlitch comes to its conclusion after three seasons.

The pubcaster is also looking for a multi-generational relationship drama, comedies for Wednesday nights and shows with diverse casts and creatives across all genres.

It is less interested in programs set in small country towns and procedural crime series, particularly with the second series of Hoodlum Entertainment’s Harrow premiering on May 12 and the second season of Bunya ProductionsMystery Road due to shoot later this year in Broome.

That’s the word from ABC head of scripted production Sally Riley. She hopes the funding for her domain – drama, comedy and Indigenous content – for the next financial year will not be less than the last couple of years, despite the federal government-imposed three-year $83.7 million funding cut.
See full article at IF.com.au »
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