Screen Producers Australia (Spa) has announced the program for next month’s Screen Forever conference, which will be held entirely online.
Comprising 40 sessions and 120 speakers across three days, the event will feature three ‘tracks’ designed to help delegates customise their experience.
Spa CEO Matthew Deaner, who announced the digital-only format last week, says the schedule should provide ample opportunity for industry to reconnect and fuel business momentum.
“After such an unprecedented year I am proud to launch the program for our conference’s 35th iteration, bringing together creative workers from all stages of the production life cycle to further the reach of Australian stories and dissect the issues we collectively face in a post-pandemic era.”
Of the three tracks that make up the conference, ‘Business’ will include representatives from the ABC, Sbs, Seven, 10, Stan, Netflix, Amazon, and Discovery assembling for a Meet the Buyers session.
There will also be insights...
Comprising 40 sessions and 120 speakers across three days, the event will feature three ‘tracks’ designed to help delegates customise their experience.
Spa CEO Matthew Deaner, who announced the digital-only format last week, says the schedule should provide ample opportunity for industry to reconnect and fuel business momentum.
“After such an unprecedented year I am proud to launch the program for our conference’s 35th iteration, bringing together creative workers from all stages of the production life cycle to further the reach of Australian stories and dissect the issues we collectively face in a post-pandemic era.”
Of the three tracks that make up the conference, ‘Business’ will include representatives from the ABC, Sbs, Seven, 10, Stan, Netflix, Amazon, and Discovery assembling for a Meet the Buyers session.
There will also be insights...
- 1/22/2021
- by Sean Slatter
- IF.com.au
Sandra Sdraulig..
Critical to the ongoing growth of the screen sector is supporting leadership roles for women, says the Natalie Miller Fellowship.s Sandra Sdraulig.
Chair of the Adelaide Film Festival and former Film Victoria CEO, Sdraulig heads the Nmf's Brilliant Careers Leadership Program, which kicks off today with a conference at Melbourne.s Rmit University. Funded through Screen Australia.s Gender Matters, it aims to arm women with leadership skills.
.If you.re ignoring untapped creative talent, and leadership potential of women, then you.re really underutilising an incredibly skilled workforce,. Sdraulig told If..
.There is no question that there are a lot of very skilled women in a lot of different areas in the industry. Part of the issue is they.re not getting access to either making films or occupying key decision-making positions within their organisations...
The effect goes beyond employment statistics: those who get the chance...
Critical to the ongoing growth of the screen sector is supporting leadership roles for women, says the Natalie Miller Fellowship.s Sandra Sdraulig.
Chair of the Adelaide Film Festival and former Film Victoria CEO, Sdraulig heads the Nmf's Brilliant Careers Leadership Program, which kicks off today with a conference at Melbourne.s Rmit University. Funded through Screen Australia.s Gender Matters, it aims to arm women with leadership skills.
.If you.re ignoring untapped creative talent, and leadership potential of women, then you.re really underutilising an incredibly skilled workforce,. Sdraulig told If..
.There is no question that there are a lot of very skilled women in a lot of different areas in the industry. Part of the issue is they.re not getting access to either making films or occupying key decision-making positions within their organisations...
The effect goes beyond employment statistics: those who get the chance...
- 2/23/2017
- by Jackie Keast
- IF.com.au
The 58 recipients of Screen Australia's Gender Matters: Brilliant Stories and Brilliant Careers.funding, designed to address.the gender imbalance.in the screen industry, have been unveiled..
$3 million.will be shared.among 45 female-helmed film, TV and online projects and 13 career boosting initiatives. The announcement marked the largest cohort of projects funded in a single.day in Screen Australia's history. ..
Screen Australia started the Gender Matters program.late last year in response to the industry.s gender inequity.in key creative roles..In film, women make up around 32 per cent of producers, 23 per cent of writers and 16 per cent of directors. .
Screen Australia chief operating officer Fiona Cameron said Gender Matters was unashamedly providing .express lane. access to female business ideas and stories...
.The funding boost provided by Screen Australia has been a game-changer, providing the industry with an opportunity to get behind some very commercial and creative prospects. It.s now time for action,...
$3 million.will be shared.among 45 female-helmed film, TV and online projects and 13 career boosting initiatives. The announcement marked the largest cohort of projects funded in a single.day in Screen Australia's history. ..
Screen Australia started the Gender Matters program.late last year in response to the industry.s gender inequity.in key creative roles..In film, women make up around 32 per cent of producers, 23 per cent of writers and 16 per cent of directors. .
Screen Australia chief operating officer Fiona Cameron said Gender Matters was unashamedly providing .express lane. access to female business ideas and stories...
.The funding boost provided by Screen Australia has been a game-changer, providing the industry with an opportunity to get behind some very commercial and creative prospects. It.s now time for action,...
- 7/12/2016
- by Jackie Keast
- IF.com.au
Sophie Lowe in Rachel Ward's Beautiful Kate.
Screen Australia has received 452 applications - the most applications ever received for any funding program - for Brilliant Stories and Brilliant Careers, the two programs announced last December under the Gender Matters initiative..
334 female-led creative teams applied for Brilliant Stories, according to a Screen Australia statement..
Successful applicants for Brilliant Stories will receive up to $100,000 for feature films; up to $50,000 for teams to develop an inventive concept into a scripted television series of any genre or budget size; and up to $50,000 for scripted online and interactive projects.
The Brilliant Careers fund is for proposals of up to $250,000 that generate sustainable careers in the screen industry for women; identify gaps in career development pathways for female creatives; and support slates of projects and businesses that connect content to audiences..
118 companies from all around Australia applied for this program, Screen Australia said.
.Screen Australia...
Screen Australia has received 452 applications - the most applications ever received for any funding program - for Brilliant Stories and Brilliant Careers, the two programs announced last December under the Gender Matters initiative..
334 female-led creative teams applied for Brilliant Stories, according to a Screen Australia statement..
Successful applicants for Brilliant Stories will receive up to $100,000 for feature films; up to $50,000 for teams to develop an inventive concept into a scripted television series of any genre or budget size; and up to $50,000 for scripted online and interactive projects.
The Brilliant Careers fund is for proposals of up to $250,000 that generate sustainable careers in the screen industry for women; identify gaps in career development pathways for female creatives; and support slates of projects and businesses that connect content to audiences..
118 companies from all around Australia applied for this program, Screen Australia said.
.Screen Australia...
- 4/13/2016
- by Staff Writer
- IF.com.au
Tim Phillips.
Tim Phillips has been appointed the new Head of the Producer Offset and Co-Production Unit at Screen Australia.
Phillips has previously worked as a senior investment manager for feature films and television, managing Screen Australia.s involvement in The Dressmaker, Oddball, Paper Planes, Blinky Bill, That Sugar Film and Red Dog, and series including Molly, Miss Fisher.s Murder Mysteries, Nowhere Boys, Dance Academy and the upcoming Tomorrow When the War Began.
Most recently he was the senior manager of the Interactive and Multiplatform team in Melbourne, managing Screen Australia.s funding programs activities for online drama, as well as contributing to organisational strategy and content for digital platforms.
Prior to Screen Australia, Phillips was the legal and business affairs manager at the Australian Children's Television Foundation (Actf).
.Tim is an excellent candidate for the important role of heading up the Producer Offset and Co-Production Unit", Screen Australia COO Fiona Cameron said.
Tim Phillips has been appointed the new Head of the Producer Offset and Co-Production Unit at Screen Australia.
Phillips has previously worked as a senior investment manager for feature films and television, managing Screen Australia.s involvement in The Dressmaker, Oddball, Paper Planes, Blinky Bill, That Sugar Film and Red Dog, and series including Molly, Miss Fisher.s Murder Mysteries, Nowhere Boys, Dance Academy and the upcoming Tomorrow When the War Began.
Most recently he was the senior manager of the Interactive and Multiplatform team in Melbourne, managing Screen Australia.s funding programs activities for online drama, as well as contributing to organisational strategy and content for digital platforms.
Prior to Screen Australia, Phillips was the legal and business affairs manager at the Australian Children's Television Foundation (Actf).
.Tim is an excellent candidate for the important role of heading up the Producer Offset and Co-Production Unit", Screen Australia COO Fiona Cameron said.
- 3/23/2016
- by Staff Writer
- IF.com.au
Screen Australia CEO, Graeme Mason.
.
Screen Australia has launched two new funding programs as part of its $5 million three-year plan to address gender equity in the Australian screen industry.
The Brilliant Careers and Brilliant Stories programs are the latest initiatives from Screen Australia's Gender Matters push, which was launched in December 2015.
Gender Matters aims to ensure that Screen Australia production funding is targeted to creative teams (writer, producer, director and protagonist) that are at least 50 per cent female by 2018 year end..
The Brilliant Careers program is open to open to companies, industry organisations and guilds for proposals of up to $250,000.
The proposals should generate sustainable careers in the screen industry for women and identify gaps in career development pathways for female creatives; and support slates of projects and businesses that connect content to audiences.
Brilliant Stories is for projects that satisfy the .Three Tick Test..
This means that three...
.
Screen Australia has launched two new funding programs as part of its $5 million three-year plan to address gender equity in the Australian screen industry.
The Brilliant Careers and Brilliant Stories programs are the latest initiatives from Screen Australia's Gender Matters push, which was launched in December 2015.
Gender Matters aims to ensure that Screen Australia production funding is targeted to creative teams (writer, producer, director and protagonist) that are at least 50 per cent female by 2018 year end..
The Brilliant Careers program is open to open to companies, industry organisations and guilds for proposals of up to $250,000.
The proposals should generate sustainable careers in the screen industry for women and identify gaps in career development pathways for female creatives; and support slates of projects and businesses that connect content to audiences.
Brilliant Stories is for projects that satisfy the .Three Tick Test..
This means that three...
- 1/28/2016
- by Brian Karlovsky
- IF.com.au
ABC and Screen Australia are providing more than $200,000 to fund four six-by-five minute web series under a new initiative - Art Bites..
States and territories nationally have pledged support for the initiative, including Film Victoria, Screen Queensland, Screen Tasmania, Screen Territory, ScreenWest and the South Australian Film Corporation committing additional support to emerging filmmakers from their respective states.
The web series that will premiere on the new ABC Arts channel on iview..
In addition, each project selected will have the mentoring support from a digital Arts commissioning editor and an investment development manager appointed by ABC and Screen Australia.
ABC director of television, Richard Finlayson, said he was thrilled to be partnering with Screen Australia and the State agencies on the initiative which has been designed to make arts content more accessible and foster the next generation of Australian filmmakers nationally..
Screen Australia.s Chief Operating Officer, Fiona Cameron, said...
States and territories nationally have pledged support for the initiative, including Film Victoria, Screen Queensland, Screen Tasmania, Screen Territory, ScreenWest and the South Australian Film Corporation committing additional support to emerging filmmakers from their respective states.
The web series that will premiere on the new ABC Arts channel on iview..
In addition, each project selected will have the mentoring support from a digital Arts commissioning editor and an investment development manager appointed by ABC and Screen Australia.
ABC director of television, Richard Finlayson, said he was thrilled to be partnering with Screen Australia and the State agencies on the initiative which has been designed to make arts content more accessible and foster the next generation of Australian filmmakers nationally..
Screen Australia.s Chief Operating Officer, Fiona Cameron, said...
- 12/3/2015
- by Staff Writer
- IF.com.au
Screen Australia and Nitv are seeking submissions for a new slate of documentaries to be made in the lead up to the proposed 2017 Referendum on Constitutional Recognition.
This series of documentaries will examine the place of Aboriginal and Torres Strait Islander Peoples in Australia today.
It is an opportunity for filmmakers with compelling ideas of national interest to lead quality and in-depth discussions..
2017 also marks the 50th anniversary of the 1967 .Yes Vote. referendum and the 25th anniversary of the Mabo Native Title High Court decision..
The series will be broadcast on both Sbs and Nitv, showcasing the filmmaking excellence and landmark storytelling of Australia.s leading Indigenous and Torres Strait Islander filmmakers.
Tanya Denning-Orman, Nitv Channel Manager, said that the creative responses to the referendum would reflect the diversity of stories and voices in Australia..
.Australia is in the midst of a national conversation about the place of Aboriginal and Torres Strait Islander peoples,...
This series of documentaries will examine the place of Aboriginal and Torres Strait Islander Peoples in Australia today.
It is an opportunity for filmmakers with compelling ideas of national interest to lead quality and in-depth discussions..
2017 also marks the 50th anniversary of the 1967 .Yes Vote. referendum and the 25th anniversary of the Mabo Native Title High Court decision..
The series will be broadcast on both Sbs and Nitv, showcasing the filmmaking excellence and landmark storytelling of Australia.s leading Indigenous and Torres Strait Islander filmmakers.
Tanya Denning-Orman, Nitv Channel Manager, said that the creative responses to the referendum would reflect the diversity of stories and voices in Australia..
.Australia is in the midst of a national conversation about the place of Aboriginal and Torres Strait Islander peoples,...
- 11/16/2015
- by Staff Writer
- IF.com.au
Screen Australia recouped just $2.2 million from its investments in feature films, $2.5 million from TV sales and $500,000 from documentaries in 2014/2015.
The agency.s annual report revealed total income of $102 million and a deficit of $2.84 million, which was in line with the $3 million deficit previously approved by the Finance Minister.
After budget cuts which saw the head count reduced by 10 per cent, operating costs were cut by 10.9 per cent to $17.2 million.
Total recoupment of production investment for the financial year was $6.2 million, of which $900,000 was returned to producers under the legacy agencies. producer revenue entitlement scheme and the revenue reversion policy.
Of the net recoupment, $1.8 million (35 per cent) came from Australia and $3.5 million from international sales.. Investment in children.s programming recouped $800,000 while adult TV returned $1.7 million.
As the report notes, documentary funding has largely been provided as grants since 2010.
By contrast in the previous fiscal year, Screen Australia recouped $6.8 million including $2.1 million from features,...
The agency.s annual report revealed total income of $102 million and a deficit of $2.84 million, which was in line with the $3 million deficit previously approved by the Finance Minister.
After budget cuts which saw the head count reduced by 10 per cent, operating costs were cut by 10.9 per cent to $17.2 million.
Total recoupment of production investment for the financial year was $6.2 million, of which $900,000 was returned to producers under the legacy agencies. producer revenue entitlement scheme and the revenue reversion policy.
Of the net recoupment, $1.8 million (35 per cent) came from Australia and $3.5 million from international sales.. Investment in children.s programming recouped $800,000 while adult TV returned $1.7 million.
As the report notes, documentary funding has largely been provided as grants since 2010.
By contrast in the previous fiscal year, Screen Australia recouped $6.8 million including $2.1 million from features,...
- 11/5/2015
- by Don Groves
- IF.com.au
Screen Producers Australia will host a presentation of ABC.s flagship program Q&A at this year's Screen Forever conference in Melbourne..
In a keynote opener for the conference, Q&A host Tom Ballard will lead a specialist panel into the future of media content and the rapidly changing landscape facing Australian and international producers, featuring questions from Australia.s top producers.
The session will be helmed .by Q&A executive producer, Peter McEvoy, and will include audience interaction and a real time Twitter feed.
It is designed for the Screen Forever audience of producers, distributors, financiers and media executives, as well as international guests.
The panel will give their views and opinions in response to selected questions from the audience, made up exclusively of Screen Forever delegates..
Confirmed panelists for Q&A include: Dana Brunetti, president, Trigger Street Productions: Fiona Cameron, chief operating officer, Screen Australia; Holly Hines,...
In a keynote opener for the conference, Q&A host Tom Ballard will lead a specialist panel into the future of media content and the rapidly changing landscape facing Australian and international producers, featuring questions from Australia.s top producers.
The session will be helmed .by Q&A executive producer, Peter McEvoy, and will include audience interaction and a real time Twitter feed.
It is designed for the Screen Forever audience of producers, distributors, financiers and media executives, as well as international guests.
The panel will give their views and opinions in response to selected questions from the audience, made up exclusively of Screen Forever delegates..
Confirmed panelists for Q&A include: Dana Brunetti, president, Trigger Street Productions: Fiona Cameron, chief operating officer, Screen Australia; Holly Hines,...
- 11/4/2015
- by Inside Film Correspondent
- IF.com.au
The Australian Directors Guild (Adg) has formally proposed a quota for 50 per of the projects which get Screen Australia production funding to be directed by women.
The Guild is calling on state screen agencies and the ABC to support the initiative, first flagged earlier this month by its affirmative action sub-committee whose members include Gillian Armstrong and Megan Simpson Huberman..
In response, Screen Australia COO Fiona Cameron tells If the agency is investigating options for addressing issues of gender balance in the screen industry, with a policy paper to go to the next board meeting in late November.
"Analysis to date has shown that Screen Australia.s support for projects with women in key creative roles has been allocated in very close correlation to the number of projects coming in with women in these positions," she said.
"We see strong female representation at the early career stages of feature films,...
The Guild is calling on state screen agencies and the ABC to support the initiative, first flagged earlier this month by its affirmative action sub-committee whose members include Gillian Armstrong and Megan Simpson Huberman..
In response, Screen Australia COO Fiona Cameron tells If the agency is investigating options for addressing issues of gender balance in the screen industry, with a policy paper to go to the next board meeting in late November.
"Analysis to date has shown that Screen Australia.s support for projects with women in key creative roles has been allocated in very close correlation to the number of projects coming in with women in these positions," she said.
"We see strong female representation at the early career stages of feature films,...
- 10/26/2015
- by Don Groves
- IF.com.au
Screen Australia has foreshadowed a more stringent approach to investing in children.s drama in light of the paltry viewing figures for programs aired on the commercial free-to-air networks. digital channels.
Head of production Sally Caplan cited Mako Mermaids, which attracted 200,000 viewers when the. first 15 episodes aired at 4 pm on Fridays on Network Ten.s primary channel in 2013.
Following the change in legislation allowing children.s programs broadcast on the multi-channels, Ten moved the show to 8 am Fridays on Eleven,. drawing just 21,000, which improved. to 41,000 after it was shifted to Sundays at 11 am.
The agency invested $2.9 million in the series, Caplan told a Screen Australia forum in Sydney on Tuesday evening. Jonathan M. Shiff Productions produced a second series and Netflix acquired the rights to both seasons for multiple territories...
Caplan said .we have to rethink. that level of investment which is not justified given the ratings on the multi-channels.
Head of production Sally Caplan cited Mako Mermaids, which attracted 200,000 viewers when the. first 15 episodes aired at 4 pm on Fridays on Network Ten.s primary channel in 2013.
Following the change in legislation allowing children.s programs broadcast on the multi-channels, Ten moved the show to 8 am Fridays on Eleven,. drawing just 21,000, which improved. to 41,000 after it was shifted to Sundays at 11 am.
The agency invested $2.9 million in the series, Caplan told a Screen Australia forum in Sydney on Tuesday evening. Jonathan M. Shiff Productions produced a second series and Netflix acquired the rights to both seasons for multiple territories...
Caplan said .we have to rethink. that level of investment which is not justified given the ratings on the multi-channels.
- 7/28/2015
- by Don Groves
- IF.com.au
Australian guilds are worried about the threat to Australian drama on free-to-air television as audiences continue to migrate to on-demand services.
The Australian Directors Guild is calling for the 10% quota on Foxtel.s drama channels to be applied to VOD and Svod platforms.
That would entail changes to the copyright act, which the government is proposing to amend to facilitate the blocking of pirated web sites and to require ISPs to send up to three warning notices to customers suspected of repeatedly downloading content illegally.
Adg CEO Kingston Anderson tells If, .The question is, .How is Australian content going to survive in this new world?. There is no clear road map yet but changing the copyright act will be the key. We need to work with government to come up with new policies..
Anderson said the issue of how to protect Australian storytelling is being discussed by all the major guilds including Screen Producers Australia,...
The Australian Directors Guild is calling for the 10% quota on Foxtel.s drama channels to be applied to VOD and Svod platforms.
That would entail changes to the copyright act, which the government is proposing to amend to facilitate the blocking of pirated web sites and to require ISPs to send up to three warning notices to customers suspected of repeatedly downloading content illegally.
Adg CEO Kingston Anderson tells If, .The question is, .How is Australian content going to survive in this new world?. There is no clear road map yet but changing the copyright act will be the key. We need to work with government to come up with new policies..
Anderson said the issue of how to protect Australian storytelling is being discussed by all the major guilds including Screen Producers Australia,...
- 4/27/2015
- by Don Groves
- IF.com.au
Australian YouTube stars pitched their wares at the Mip Digital Screenings in Cannes last week, leading to some meetings with high-powered online executives.
The presentations by John Luc, Derek Muller, Natalie Tran, Nick Boshier and Connor Van Vuuren were organised by Screen Australia, which has funded 50 online content creators whose works have had an estimated 1 billion views.
Screen Australia COO Fiona Cameron tells If the Aussies .made their mark. in the presentation, which she described as a little risqué, adding, .It did cut through..
Cameron said there were follow-up meetings with .some heavy hitters. which she is sure will lead to further opportunities for the online stars.
Van Vuuren and Boshier met with reps of the the UK's Comedy Central to explore ideas of co-producing a second series of their comedy Soul Mates; another possibility is a co-pro with the Us...
Australia has more than 50 YouTube channels, of which 12 have more than one million subscribers.
The presentations by John Luc, Derek Muller, Natalie Tran, Nick Boshier and Connor Van Vuuren were organised by Screen Australia, which has funded 50 online content creators whose works have had an estimated 1 billion views.
Screen Australia COO Fiona Cameron tells If the Aussies .made their mark. in the presentation, which she described as a little risqué, adding, .It did cut through..
Cameron said there were follow-up meetings with .some heavy hitters. which she is sure will lead to further opportunities for the online stars.
Van Vuuren and Boshier met with reps of the the UK's Comedy Central to explore ideas of co-producing a second series of their comedy Soul Mates; another possibility is a co-pro with the Us...
Australia has more than 50 YouTube channels, of which 12 have more than one million subscribers.
- 4/23/2015
- by Don Groves
- IF.com.au
Worldwide more movies than ever are being produced and they have never been more accessible on multiple platforms - but this .commoditisation. means the perceived value of films has dropped.
So what can be done to restore the value of films at a time when endemic piracy suggests many people aren.t willing to pay for what they can get for free and they don.t regard file-sharing as theft?
That conundrum was debated at a forum in Sydney on Tuesday afternoon entitled 'Stories Valued: Audience and revenue in the new distribution landscape,' hosted by Screen Australia, Screen Nsw and the IP Awareness Foundation (Ipaf).
There are no simple solutions but plenty of ideas and proposals were floated by producers, distributors and one VOD platform.
UK screen industry consultant Pete Buckingham told the several hundred attendees the .cinema system and value chain. are under pressure right across Europe, and,...
So what can be done to restore the value of films at a time when endemic piracy suggests many people aren.t willing to pay for what they can get for free and they don.t regard file-sharing as theft?
That conundrum was debated at a forum in Sydney on Tuesday afternoon entitled 'Stories Valued: Audience and revenue in the new distribution landscape,' hosted by Screen Australia, Screen Nsw and the IP Awareness Foundation (Ipaf).
There are no simple solutions but plenty of ideas and proposals were floated by producers, distributors and one VOD platform.
UK screen industry consultant Pete Buckingham told the several hundred attendees the .cinema system and value chain. are under pressure right across Europe, and,...
- 3/10/2015
- by Don Groves
- IF.com.au
Funding for three distribution projects, animation company Bogan and several creators of the very-popular-online Bondi Hipsters brand are among the recipients of Us$2.73m ($3.5m) from Screen Australia.
Sydney-based comedy brothers Christiaan and Connor Van Vuuren and their collaborators have produced 150 pieces of irreverent content, built a subscriber base of 50,000 on their YouTube channel and added a raft of characters and stories to their Bondi Hipsters brand for the ABC TV series Soul Mates – all in four years.
“Now we won’t have to wait for the weekend when people are free (to film),” they joked. Instead they’ll employ more writers, partner with others having success online, and develop and produce content faster across all platforms, working alongside development manager Chloe Rickard.
Kiwi Assassins: The Musical is one of the feature concepts covered by the deal. Kiwi Assassins are secret agents in Australia – one storyline has them kidnapping a young Russell Crowe and returning him to...
Sydney-based comedy brothers Christiaan and Connor Van Vuuren and their collaborators have produced 150 pieces of irreverent content, built a subscriber base of 50,000 on their YouTube channel and added a raft of characters and stories to their Bondi Hipsters brand for the ABC TV series Soul Mates – all in four years.
“Now we won’t have to wait for the weekend when people are free (to film),” they joked. Instead they’ll employ more writers, partner with others having success online, and develop and produce content faster across all platforms, working alongside development manager Chloe Rickard.
Kiwi Assassins: The Musical is one of the feature concepts covered by the deal. Kiwi Assassins are secret agents in Australia – one storyline has them kidnapping a young Russell Crowe and returning him to...
- 3/6/2015
- by Sandy.George@me.com (Sandy George)
- ScreenDaily
Screen Australia will fund the direct-to-digital release of up to four low-budget films in a pilot scheme over the next two years.
The initiative is part of $3.2 million in funding for 10 production companies and organisations under the agency.s new Enterprise Industry program announced today.
The scheme will entail each film having event screenings at selected cinemas and being released the same day on iTunes and all other electronic platforms.
Screen Australia will fund the marketing costs, which COO Fiona Cameron estimates will be between $300,000 and $500,000.
.Some low budget films need to be accessible and to find their audiences immediately,. Cameron tells If. .It.s a good place for Screen Australia to explore because there is considerable risk. We want to see if this is a commercial proposition for certain other films..
The event screenings- which may mean four-walling cinemas- will guarantee each project qualifies for the 40% producer offset. Those...
The initiative is part of $3.2 million in funding for 10 production companies and organisations under the agency.s new Enterprise Industry program announced today.
The scheme will entail each film having event screenings at selected cinemas and being released the same day on iTunes and all other electronic platforms.
Screen Australia will fund the marketing costs, which COO Fiona Cameron estimates will be between $300,000 and $500,000.
.Some low budget films need to be accessible and to find their audiences immediately,. Cameron tells If. .It.s a good place for Screen Australia to explore because there is considerable risk. We want to see if this is a commercial proposition for certain other films..
The event screenings- which may mean four-walling cinemas- will guarantee each project qualifies for the 40% producer offset. Those...
- 3/4/2015
- by Don Groves
- IF.com.au
Screen Australia has announced it will sign an Mou on co-production with the Korean Film Council (Kofic) Oct 4 at the Busan International Film Festival (Biff).
Screen Australia and Kofic, signing on behalf of the Korean Communications Commission (Kcc), will put the Co-production Arrangement into place after the Korean-Australian Free Trade Agreement, with its annex on audio-visual co-production, is passed.
Screen Australia COO Fiona Cameron said ahead of the Mou signing: “This agreement will ready us to accept applications as soon as the Free-Trade Agreement comes into force, which will permit immediate commencement of official co-productions between the two countries.
“Australia is a great partner, used to working collaboratively. This new step will present some fantastic opportunities especially in children’s animation.”
Biff (Oct 2-11) will screen four Australian films including Robert Connolly’s Paper Planes and Tania Chambers’ Kill Me Three Times.
Director/producer Robert Connolly said: “Paper Planes was made with a significant creative and financial...
Screen Australia and Kofic, signing on behalf of the Korean Communications Commission (Kcc), will put the Co-production Arrangement into place after the Korean-Australian Free Trade Agreement, with its annex on audio-visual co-production, is passed.
Screen Australia COO Fiona Cameron said ahead of the Mou signing: “This agreement will ready us to accept applications as soon as the Free-Trade Agreement comes into force, which will permit immediate commencement of official co-productions between the two countries.
“Australia is a great partner, used to working collaboratively. This new step will present some fantastic opportunities especially in children’s animation.”
Biff (Oct 2-11) will screen four Australian films including Robert Connolly’s Paper Planes and Tania Chambers’ Kill Me Three Times.
Director/producer Robert Connolly said: “Paper Planes was made with a significant creative and financial...
- 10/2/2014
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Screen Australia today announced investment of nearly. $965,000 for three films and a feature documentary, estimated to generate more than $6.8 million of production.
Fiona Cameron, Screen Australia.s chief operating officer, said, .This round we have backed a diverse collection of projects that promises audiences an amusing, informative and imaginative experience with innovative narratives and vivid characters..
Funding was allocated to Madman Productions for the feature A Month of Sundays from writer/director Matthew Saville (Felony, Noise, The Slap, Cloudstreet) and producers Nick Batzias and Kirsty Stark.
The film follows real estate agent Frank Mollard (played by Anthony Lapaglia), whose life takes an unexpected turn when he receives a call from his dead mother, sending him on a journey of redemption.
WildBear Entertainment will receive completion funding for Electric Boogaloo: The Wild Untold Story of Cannon Films, Mark Hartley's doco about movie-obsessed immigrant cousins, Yoram Globus and the late Menahem Golan,...
Fiona Cameron, Screen Australia.s chief operating officer, said, .This round we have backed a diverse collection of projects that promises audiences an amusing, informative and imaginative experience with innovative narratives and vivid characters..
Funding was allocated to Madman Productions for the feature A Month of Sundays from writer/director Matthew Saville (Felony, Noise, The Slap, Cloudstreet) and producers Nick Batzias and Kirsty Stark.
The film follows real estate agent Frank Mollard (played by Anthony Lapaglia), whose life takes an unexpected turn when he receives a call from his dead mother, sending him on a journey of redemption.
WildBear Entertainment will receive completion funding for Electric Boogaloo: The Wild Untold Story of Cannon Films, Mark Hartley's doco about movie-obsessed immigrant cousins, Yoram Globus and the late Menahem Golan,...
- 9/5/2014
- by Staff writer
- IF.com.au
While there is no immediate threat to local content rules the profusion of on-demand services may render quotas irrelevant and Australian broadcasters could be forced by economic pressures to commission less expensive local drama.
That troubling scenario was put forward by media and entertainment lawyer Ian Robertson at the Astra pay-tv conference in Sydney on Thursday.
Speaking in a panel on content funding, the Holding Redlich partner criticised the federal government for cutting the budgets of Screen Australia, the ABC and Sbs.
.The case for direct subsidy and quotas for Australian drama and docos and proper funding of the public broadcasters is as strong, if not stronger, than it.s ever been,. said Robertson, a former deputy chair of Screen Australia. .It.s very disappointing that the federal government is moving in the opposite direction..
Robertson and fellow panel members Screentime CEO Bob Campbell and Foxtel director of programming Ross...
That troubling scenario was put forward by media and entertainment lawyer Ian Robertson at the Astra pay-tv conference in Sydney on Thursday.
Speaking in a panel on content funding, the Holding Redlich partner criticised the federal government for cutting the budgets of Screen Australia, the ABC and Sbs.
.The case for direct subsidy and quotas for Australian drama and docos and proper funding of the public broadcasters is as strong, if not stronger, than it.s ever been,. said Robertson, a former deputy chair of Screen Australia. .It.s very disappointing that the federal government is moving in the opposite direction..
Robertson and fellow panel members Screentime CEO Bob Campbell and Foxtel director of programming Ross...
- 9/4/2014
- by Don Groves
- IF.com.au
Screen Australia's Enterprise Program has demonstrably been a major success in helping businesses become more sustainable in the past five years- so will the agency allocate more funds to the program for the next five years?
That was one of many questions from the audience at a forum hosted by Screen Australia.s CEO Graeme Mason and COO Fiona Cameron in Sydney on Monday afternoon.
Mason sidestepped that question but expressed a willingness to consider all options and to work closely with the industry to devise an optimum model for the Enterprise Program.
On a broader level, Mason told producers: .We want to work with you in different ways.. Restating elements of his speech at the Screen Forever conference, he said the agency would have to turn down 90% of the pitches for funding due to the volume of applications.
But he stressed .no. would not always mean .drop dead,...
That was one of many questions from the audience at a forum hosted by Screen Australia.s CEO Graeme Mason and COO Fiona Cameron in Sydney on Monday afternoon.
Mason sidestepped that question but expressed a willingness to consider all options and to work closely with the industry to devise an optimum model for the Enterprise Program.
On a broader level, Mason told producers: .We want to work with you in different ways.. Restating elements of his speech at the Screen Forever conference, he said the agency would have to turn down 90% of the pitches for funding due to the volume of applications.
But he stressed .no. would not always mean .drop dead,...
- 12/16/2013
- by Don Groves
- IF.com.au
Screen Australia's Enterprise Program has been deemed a success, with the $19.5 million allocated to 29 production companies over five years resulting in increased profitablity, sustainability and income..
Speaking at the Screen Forever Conference in Melbourne this morning, .Screen Australia.s Chief Operating Officer Fiona Cameron discussed the results of a survey conducted in order to analyse the success of the Enterprise Program. The survey looked at the business sustainability measures of 16 companies funded in the first two rounds of the Enterprise program, in 2009 and 2010.
Although admitting the Program is only a "small part of the pie" in terms of Screen Australia funding, Cameron went onto reveal a number of encouraging statistics, such as 94 per cent of companies that received Enterprise funding were consistently active in production over the last three years, compared to 40 per cent for the wider production industry surveyed in 2010..
The survey also revealed that of the companies that received enterprise funding,...
Speaking at the Screen Forever Conference in Melbourne this morning, .Screen Australia.s Chief Operating Officer Fiona Cameron discussed the results of a survey conducted in order to analyse the success of the Enterprise Program. The survey looked at the business sustainability measures of 16 companies funded in the first two rounds of the Enterprise program, in 2009 and 2010.
Although admitting the Program is only a "small part of the pie" in terms of Screen Australia funding, Cameron went onto reveal a number of encouraging statistics, such as 94 per cent of companies that received Enterprise funding were consistently active in production over the last three years, compared to 40 per cent for the wider production industry surveyed in 2010..
The survey also revealed that of the companies that received enterprise funding,...
- 11/19/2013
- by Emily Blatchford
- IF.com.au
Google's YouTube and Screen Australia are bankrolling a new $400,000 fund to support the creation of online content.
The funds will be divided among four or five producers/artists. Applications for the Skip Ahead program will open on November 11 via Screen Australia.s website.
The successful applicants will also receive a trip to work at the YouTube Space in either Los Angeles, Tokyo or London in 2014.
The timing of the announcement of Google's first commissioning in Australia is curious, just two days after Seven West Media CEO Tim Worner and Ten Network CEO Hamish McLennan accused the company of "gaming" the tax system by paying minimal income tax.
Worner said the Internet giant is "raiding our revenue and they're doing it under different conditions to the ones that we're playing under."
McLennan said: "If we all agree that we're playing fair, I think it's wrong that you've got a technology company...
The funds will be divided among four or five producers/artists. Applications for the Skip Ahead program will open on November 11 via Screen Australia.s website.
The successful applicants will also receive a trip to work at the YouTube Space in either Los Angeles, Tokyo or London in 2014.
The timing of the announcement of Google's first commissioning in Australia is curious, just two days after Seven West Media CEO Tim Worner and Ten Network CEO Hamish McLennan accused the company of "gaming" the tax system by paying minimal income tax.
Worner said the Internet giant is "raiding our revenue and they're doing it under different conditions to the ones that we're playing under."
McLennan said: "If we all agree that we're playing fair, I think it's wrong that you've got a technology company...
- 10/31/2013
- by Don Groves
- IF.com.au
Australian film and video production revenues reached $2.2 billion while the post sector plummeted to $330 million last year. Out of the combined revenues of $2.5 billion, those businesses. total operating profit before tax was just $178 million. Those are the headline numbers from the first survey of the Australian screen production sector in five years conducted by the Australian Bureau of Statistics. The results were released Tuesday at Screen Australia.s Jobs, Dollars, Hearts and Minds conference in Canberra. The production industry.s revenue was up 38% since the last survey in 2006/07 while total employment in that sector expanded by 23% to 13,414. The post industry.s turnover was down by 25% on 2006/07 and employment contracted by 21% to 2,346. Nearly $93 million was generated from visual effects work provided to other businesses and nearly $66 million came from animation services. . While the production volume looks healthy, the Abs report shows news and current affairs programs accounted for 36,500 hours of commercial TV programming last year,...
- 6/18/2013
- by Don Groves
- IF.com.au
.
Ruth Harley may or may not be reappointed as chief executive of Screen Australia but the agency is losing two senior executives. Head of production investment Ross Matthews and head of development Martha Coleman plan to step down.
Matthews joined Screen Australia as senior investment manager after spending eight years with its predecessor, the Film Finance Corporation. He.s held his current post since January 2009. In 30 years as a producer, co-producer and executive producer his credits include the films Kick, Fast Talking, Australian Dream, Waiting, Short Changed and Heatwave and the TV series Correlli.
Coleman worked in the UK for seven years as head of development at Icon Entertainment International, head of creative affairs at Material Entertainment and as a consultant producer. At Material Entertainment she was executive producer on the UK box office hit Run Fat Boy, Run, which starred Simon Pegg, Thandie Newton and Hank Azaria.
She returned...
Ruth Harley may or may not be reappointed as chief executive of Screen Australia but the agency is losing two senior executives. Head of production investment Ross Matthews and head of development Martha Coleman plan to step down.
Matthews joined Screen Australia as senior investment manager after spending eight years with its predecessor, the Film Finance Corporation. He.s held his current post since January 2009. In 30 years as a producer, co-producer and executive producer his credits include the films Kick, Fast Talking, Australian Dream, Waiting, Short Changed and Heatwave and the TV series Correlli.
Coleman worked in the UK for seven years as head of development at Icon Entertainment International, head of creative affairs at Material Entertainment and as a consultant producer. At Material Entertainment she was executive producer on the UK box office hit Run Fat Boy, Run, which starred Simon Pegg, Thandie Newton and Hank Azaria.
She returned...
- 5/25/2013
- by Don Groves
- IF.com.au
Ruth Harley may or may not be reappointed as chief executive of Screen Australia but the agency is losing two senior executives. Head of production investment Ross Matthews and head of development Martha Coleman have told colleagues they plan to step down.
Matthews joined Screen Australia as senior investment manager after spending eight years with its predecessor, the Film Finance Corporation. He.s held his current post since January 2009. In 30 years as a producer, co-producer and executive producer his credits include the films Kick, Fast Talking, Australian Dream, Waiting, Short Changed and Heatwave and the TV series Correlli.
Coleman worked in the UK for seven years as head of development at Icon Entertainment International, head of creative affairs at Material Entertainment and as a consultant producer. At Material Entertainment she was executive producer on the UK box office hit Run Fat Boy, Run, which starred Simon Pegg, Thandie Newton and Hank Azaria.
Matthews joined Screen Australia as senior investment manager after spending eight years with its predecessor, the Film Finance Corporation. He.s held his current post since January 2009. In 30 years as a producer, co-producer and executive producer his credits include the films Kick, Fast Talking, Australian Dream, Waiting, Short Changed and Heatwave and the TV series Correlli.
Coleman worked in the UK for seven years as head of development at Icon Entertainment International, head of creative affairs at Material Entertainment and as a consultant producer. At Material Entertainment she was executive producer on the UK box office hit Run Fat Boy, Run, which starred Simon Pegg, Thandie Newton and Hank Azaria.
- 5/25/2013
- by Don Groves
- IF.com.au
Screen Australia has released draft guidelines which outline how it will spend $30 million allocated to the interactive games and multi-platform screen sector.
The draft guidelines (which are open for comment until March 1) also cover the Federal Government's recently announced $20 million Interactive Games Fund.
.Games are growing faster than any other entertainment sector and Australian developers have had extraordinary global cut through as demonstrated by the success of home-grown games such as Real Racing, Fruit Ninja and La Noire,. Screen Australia chief operating officer, Fiona Cameron, said in a statement.
"The pressure facing the industry is job migration and falling foreign investment. These programs released in draft today go a long way towards realising a strong and sustainable Australian games development sector, to ensure we tap into the huge global appetite for interactive entertainment..
The funding plan for the first 12 months will result in:
$4.5 million allocated to Games Production (supporting games...
The draft guidelines (which are open for comment until March 1) also cover the Federal Government's recently announced $20 million Interactive Games Fund.
.Games are growing faster than any other entertainment sector and Australian developers have had extraordinary global cut through as demonstrated by the success of home-grown games such as Real Racing, Fruit Ninja and La Noire,. Screen Australia chief operating officer, Fiona Cameron, said in a statement.
"The pressure facing the industry is job migration and falling foreign investment. These programs released in draft today go a long way towards realising a strong and sustainable Australian games development sector, to ensure we tap into the huge global appetite for interactive entertainment..
The funding plan for the first 12 months will result in:
$4.5 million allocated to Games Production (supporting games...
- 2/14/2013
- by Brendan Swift
- IF.com.au
Metro Screen will host a debate about online piracy on Wednesday 7 November. The panel will include film critic Marc Fennell, Lori Flekser, executive director of the Intellectual Property Awareness Foundation, Adrianne Pecotic, CEO of the Independent Cinema Association of Australia, Tim Parsons COO of Quickflix and Rodney Serkwoski, founder of the Pirate Party Australia.
The debate will be moderated by Carolyn Dalton, executive director of Policy Australia.
The announcement:
As Harvey Weinstein declared in his keynote speech last week at the London BFI Film Festival “One of the great problems that our industry faces is piracy and piracy on the internet.” Metro Screen, the Nsw film, TV and digital media industry hub is hosting an industry debate Wednesday 7 November, 6.30 – 8.00pm at the Chauvel Cinema in Paddington. Each speaker will have 5 minutes to speak to the proposition: That all content should be made available to everyone, everywhere, immediately. Speakers include a...
The debate will be moderated by Carolyn Dalton, executive director of Policy Australia.
The announcement:
As Harvey Weinstein declared in his keynote speech last week at the London BFI Film Festival “One of the great problems that our industry faces is piracy and piracy on the internet.” Metro Screen, the Nsw film, TV and digital media industry hub is hosting an industry debate Wednesday 7 November, 6.30 – 8.00pm at the Chauvel Cinema in Paddington. Each speaker will have 5 minutes to speak to the proposition: That all content should be made available to everyone, everywhere, immediately. Speakers include a...
- 10/21/2012
- by Colin Delaney
- Encore Magazine
James Ricketson
Screen Australia's Ruth Harley
Screen Australia has filed a formal defence to allegations by veteran film-maker James Ricketson that he has been defamed.
According to the legal document filed at the Supreme Court of Nsw, Screen Australia CEO Ruth Harley and COO Fiona Cameron will appear to defend the claims.
According to Ricketson’s claims, Screen Australia has not provided a good enough reason from banning him from talking to the funding body.
Ricketson wants Screen Australia to produce documents that demonstrate how he has, as Sa’s CEO Ruth Harley has stated in a letter to the film-maker, “harassed, intimidated or placed staff at risk”.
Ricketson is suing for a token $1 in compensation.
Screen Australia declined to comment.
Screen Australia's Ruth Harley
Screen Australia has filed a formal defence to allegations by veteran film-maker James Ricketson that he has been defamed.
According to the legal document filed at the Supreme Court of Nsw, Screen Australia CEO Ruth Harley and COO Fiona Cameron will appear to defend the claims.
According to Ricketson’s claims, Screen Australia has not provided a good enough reason from banning him from talking to the funding body.
Ricketson wants Screen Australia to produce documents that demonstrate how he has, as Sa’s CEO Ruth Harley has stated in a letter to the film-maker, “harassed, intimidated or placed staff at risk”.
Ricketson is suing for a token $1 in compensation.
Screen Australia declined to comment.
- 8/17/2012
- by Robin Hicks
- Encore Magazine
Australian film-maker James Ricketson is taking court proceedings against Screen Australia in the Supreme Court of Nsw.
Ricketson claims that Screen Australia has not provided a good enough reason from banning him from talking to the funding body – which it did in May.
Ricketson wants Screen Australia to produce documents that show how he has, as Sa’s CEO Ruth Harley has stated in a letter to Ricketson, “harassed, intimidated or placed staff at risk”.
Ricketson, who is suing for $1 in compensation, believes he has done nothing wrong.
Three claims made by Ricketson in legal documents allege:
1. On or about 12 November 2010, Fiona Cameron, COO of Screen Australia showed other staff at Screen Australia a letter which suggests that the plaintiff came away from a meeting with senior executives at Screen Australia believing that he had been successful in engaging in an action that was in contravention of Screen Australia guidelines,...
Ricketson claims that Screen Australia has not provided a good enough reason from banning him from talking to the funding body – which it did in May.
Ricketson wants Screen Australia to produce documents that show how he has, as Sa’s CEO Ruth Harley has stated in a letter to Ricketson, “harassed, intimidated or placed staff at risk”.
Ricketson, who is suing for $1 in compensation, believes he has done nothing wrong.
Three claims made by Ricketson in legal documents allege:
1. On or about 12 November 2010, Fiona Cameron, COO of Screen Australia showed other staff at Screen Australia a letter which suggests that the plaintiff came away from a meeting with senior executives at Screen Australia believing that he had been successful in engaging in an action that was in contravention of Screen Australia guidelines,...
- 7/19/2012
- by Robin Hicks
- Encore Magazine
By 2013, if things go to plan, all funding applications to Screen Australia will have to be submitted via the Screen Australia website.
The move is effectively the final stage of building one single government agency -- and all its required systems -- out of three: the Film Finance Corporation, the Australian Film Commission and Film Australia.
.We are nearly four years old and, ultimately, we aim to go online with all applications but that is a very big technological leap,. said Screen Australian chief operating officer Fiona Cameron. Her hope is that the system will be up and running by year end.
Two teams are now in place that are integral to receiving and processing applications in a streamlined fashion . and also undertaking the legals around the successful applicants -- with the program operations team headed by Charlotte Seymour and the contract management team by Martien Coucke. Each team includes five or six people.
The move is effectively the final stage of building one single government agency -- and all its required systems -- out of three: the Film Finance Corporation, the Australian Film Commission and Film Australia.
.We are nearly four years old and, ultimately, we aim to go online with all applications but that is a very big technological leap,. said Screen Australian chief operating officer Fiona Cameron. Her hope is that the system will be up and running by year end.
Two teams are now in place that are integral to receiving and processing applications in a streamlined fashion . and also undertaking the legals around the successful applicants -- with the program operations team headed by Charlotte Seymour and the contract management team by Martien Coucke. Each team includes five or six people.
- 4/19/2012
- by Sandy George
- IF.com.au
Australian films grossed just 3.9 per cent of the total takings at the 2011 box office, new statistics reveal.
The 3.9 per cent . $42.9 million . from 44 local titles is down on the previous year's figures of $50.6 million (4.5 per cent, 41 titles)..
Feel-good family film Red Dog was largely responsible for the result ($21.3 million) in a year that saw audiences hand over $1.09 billion at cinema complexes.
Distributor Roadshow opened Red Dog on 245 screens in early-August before word-of-mouth kicked in. It posted increasing box office receipts and eventually rose to a maximum of 271 screens five weeks later.
Other popular local films included Oranges and Sunshine and Sanctum (which, with a worldwide gross of more than $US100 million, is now in the top 10 Australian films in overseas territories list).
Screen Australia.s acting chief executive, Fiona Cameron, praised the local achievements . particularly Bob Connolly/Sophie Raymond's feature documentary Mrs. Carey.s Concert, which raked in more than...
The 3.9 per cent . $42.9 million . from 44 local titles is down on the previous year's figures of $50.6 million (4.5 per cent, 41 titles)..
Feel-good family film Red Dog was largely responsible for the result ($21.3 million) in a year that saw audiences hand over $1.09 billion at cinema complexes.
Distributor Roadshow opened Red Dog on 245 screens in early-August before word-of-mouth kicked in. It posted increasing box office receipts and eventually rose to a maximum of 271 screens five weeks later.
Other popular local films included Oranges and Sunshine and Sanctum (which, with a worldwide gross of more than $US100 million, is now in the top 10 Australian films in overseas territories list).
Screen Australia.s acting chief executive, Fiona Cameron, praised the local achievements . particularly Bob Connolly/Sophie Raymond's feature documentary Mrs. Carey.s Concert, which raked in more than...
- 1/23/2012
- by Sam Dallas
- IF.com.au
A delegation of Australian film and TV creators is today visiting Canberra to promote the importance of local content.
Directors Gillian Armstrong and Stephan Elliott and actress and AFI board member Sigrid Thornton will argue the importance for local content on Australian screens in light of the Government’s convergence review.
Fiona Cameron, Screen Australia’s chief operating officer told Encore: “We’re meeting with government members, the coalition and greens. We will have representatives from the Prime Minister’s office and representatives for ministers Crean and Conroy as well as representatives from the shadow communications and shadow arts departments and a bevy of backbenchers.
“We want to remind politicians of the importance of screen culture. It’s a way of life that’s hard to measure but with the survey out today, it’s a good time to do so as there’s the convergence review and cultural policy discussion paper.
Directors Gillian Armstrong and Stephan Elliott and actress and AFI board member Sigrid Thornton will argue the importance for local content on Australian screens in light of the Government’s convergence review.
Fiona Cameron, Screen Australia’s chief operating officer told Encore: “We’re meeting with government members, the coalition and greens. We will have representatives from the Prime Minister’s office and representatives for ministers Crean and Conroy as well as representatives from the shadow communications and shadow arts departments and a bevy of backbenchers.
“We want to remind politicians of the importance of screen culture. It’s a way of life that’s hard to measure but with the survey out today, it’s a good time to do so as there’s the convergence review and cultural policy discussion paper.
- 11/2/2011
- by Colin Delaney
- Encore Magazine
The court appeal by Beyond Productions regarding the level of significant local content to acquire the Producer Offset for their production Taboo, has been discontinued, it has been announced by a statement from Screen Australia.
Taboo was the first production to be denied by Screen Australia and the tax authority on the grounds of lacking significant Australian material. They were also the first to appeal the ruling in both the Administrative Appeals Tribunal and the Federal Court.
An agreement was reached between the two parties but remains confidential.
Screen Australia’s Sac test reviews the following:
- The subject matter of the film
- The place where the film was made
- The nationalities and places of residence of those who made the film
- The details of production expenditure, and
- Any other matters that Screen Australia considers to be relevant.
In an Encore article in the May issue,...
Taboo was the first production to be denied by Screen Australia and the tax authority on the grounds of lacking significant Australian material. They were also the first to appeal the ruling in both the Administrative Appeals Tribunal and the Federal Court.
An agreement was reached between the two parties but remains confidential.
Screen Australia’s Sac test reviews the following:
- The subject matter of the film
- The place where the film was made
- The nationalities and places of residence of those who made the film
- The details of production expenditure, and
- Any other matters that Screen Australia considers to be relevant.
In an Encore article in the May issue,...
- 9/7/2011
- by Colin Delaney
- Encore Magazine
Screen Australia has today released the Federal Government’s convergence review, ‘Convergence 2011: Australian Content State of Play’ which revealed Australian local content was diluted by international products across the digital, multi-channel networks.
Since 2008, the hours of foreign content on free-to-air (Fta) television have increased 154 per cent greatly outstripping the growth in Australian content at 59 per cent.
Commercial free-to-air broadcasters are still the most significant investor in Australian screen stories and their main channels screen above the quota of 55 per cent Australian content required by the Australian Content Standard. When including the digital multi-channels however, where there is no content requirement, there is significantly less Australian content.
When including the commercial network’s multi channels Australian content accounts for 35 per cent of hours and 33.7 per cent of audience.
Drama-only makes up 7.8 per cent of hours and 9 per cent of audience share. However, Us drama-only accounts for a whopping 81 per cent...
Since 2008, the hours of foreign content on free-to-air (Fta) television have increased 154 per cent greatly outstripping the growth in Australian content at 59 per cent.
Commercial free-to-air broadcasters are still the most significant investor in Australian screen stories and their main channels screen above the quota of 55 per cent Australian content required by the Australian Content Standard. When including the digital multi-channels however, where there is no content requirement, there is significantly less Australian content.
When including the commercial network’s multi channels Australian content accounts for 35 per cent of hours and 33.7 per cent of audience.
Drama-only makes up 7.8 per cent of hours and 9 per cent of audience share. However, Us drama-only accounts for a whopping 81 per cent...
- 8/25/2011
- by Colin Delaney
- Encore Magazine
Drift, a drama set in the surfing world, will star Sam Worthington The Avatar actor returns Down Under to star in the Screen Australia financed film which is co-directed by Morgan O'Neill and Ben Not. "The unique combination of surfing and performance expertise gives 'Drift' the potential to be the first character-driven action movie set in the surfing world since Kathryn Bigelow's 'Point Break,'" said Screen Australia's Fiona Cameron. The agency also announced aside from Drift, that they had invested in Catriona McKenzie's Satellite Boy. Worthington's other recent credits include The Debt with Helen Mirren as well as the reboot of Clash of the Titans and Terminator Salvation. He's also in Ami Canaan Mann's The Fields with Chloe Moretz, Jeffrey Dean Morgan and Stephen Graham...
- 3/16/2011
- Upcoming-Movies.com
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