Screen Australia

[JohnsonTV]

Screen Australia and Network 10 announce production funding for six projects through First Facts: First Nations Factual Showcase

L-R: Brooke Collard, Tace Stevens, Kieran Satour, Jack Steele, Marlikka Perdrisat, Kimberley Benjamin, Shari Hutchison, Tyson Mowarin, Jodie Bell, Luke Riches, Daniel Riches.

Screen Australia’s First Nations Department and Network 10 have selected six projects to receive up to $70,000 of production funding through the First Facts: First Nations Factual Showcase for Aboriginal and Torres Strait Islander documentary filmmakers.

Launched in February, this initiative is aimed at providing emerging and mid-career filmmakers with opportunities to develop 10-minute documentaries for Network 10. After participating in a workshop in June to develop their projects, six teams have been selected to now move into production. The final documentaries will air on 10 Play and Network 10’s social media channels in early 2025.

Screen Australia’s Head of First Nations Angela Bates said, “This exciting collaboration with Network 10 underscores our commitment to the growth of First Nations content and key creatives in this industry. We are proud to support this inspiring mix of projects which will showcase our rich cultural heritage and authentic stories to Network 10’s audiences.”

Daniel Monaghan, Senior Vice President Content and Programming, Paramount Australia and New Zealand (ANZ), parent company for Network 10 said, “We’re thrilled to see these projects move into production that explore contemporary life and traditional cultural practices for First Nations people across Australia. The documentaries highlight universal themes but from the unique perspective of First Nations creatives and we’re delighted to support and amplify these voices and stories for Australian audiences to enjoy.”

The projects funded for production are:

Anangu Way: This documentary follows Keenan and his father Lydon, who, while they are related, live very different lives. Keenan lives in the city, while Lydon lives Anangu way, out bush. Keenan must travel 14 hours from Perth to Tjuntjuntjara, to sit down with his father to make a woomera, a traditional spear thrower. Keenan will be taken through Country he hasn’t walked since he was six years old. Reconnecting with his wider family, he will be fully immersed in his father’s culture, in their combined efforts to create the woomera. Writing/directing Anangu Way is daughter and sister of Lydon and Keenan, Tace Stevens (Limbo, To Be Silent), with Brooke Collard (Aboriginal Warrior, Yokai) attached as producer.

Burabura: A love letter to the Australian bush that captures the essence of its beauty and serenity in every frame. Following an unnamed character on their quest for peace and solitude, Burabura takes audiences on a visual journey through the bustling streets of modern life and into the heart of the Australian bush – reminding us that sometimes, the best way to reconnect with ourselves is by disconnecting from the world around us and the greatest adventures are the ones that take us back to our roots. Burabura is written and directed by Tyson Mowarin and produced by Robyn Marais, whose credits include Connection to Country.

Firekeepers “Flames of Renewal: Fighting for Cultural Survival”: This documentary follows the journey of a Wiradjuri community attempting to reintroduce traditional cultural burning practices to their land as they face numerous challenges and oppositions from landowners, local governments, financial pressures and erratic climate shifts. Firekeepers explores the importance of First Nations land care practices and the struggles of bringing back cultural practices. Writing/directing is Jack Steele (UNHEARD), with Kieran Satour (Through The Fire), Genevieve Grieves (First Australians) and Andrea Distefano (Weather) attached as producers.

Joonba: Over two thousand kilometres away from Western Australia’s Capital City, the Elders of Kupungarri celebrate through Joonba - songs gifted through dreams and maintained over generations. Performed by the children to ensure they are practised throughout and over multiple lifetimes, this documentary follows three of the lead dancers and provides an insight into their connection to the Joonba. Marlikka Perdrisat (Babanil) is attached as writer/director/producer, with Anna Kaplan (2040) and Jayde Harding (Inconceivable) also producing and Damon Gameau (Rachel’s Farm) executive producing.

Life After Footy: From the mountain peak of professional Australian sport to the reality of life after, this documentary follows Indigenous dual premiership AFL player Lewis Jetta on what it’s like to ride the wave of professional sport and continue living life the best way he can. Life After Footy delivers an insight from Jetta’s personal perspective and how he is managing to integrate back into a somewhat normal life. This documentary is from writer/director/producers Daniel and Luke Riches (KGB, Struggling Songlines, Lost Diamonds) and producer Jodie Bell (The Lost Crystal of Jessica’s Room).

Re-imagining Our Futures: Nyikina and Jabirr Jabirr woman, Kalinda (Gal) Palmer has experienced the ways in which health systems have challenged her through birth and motherhood. Inspired by conversations and learnings from her Elders, Gal dreams of a future where she, her family and community can have sovereignty over birthing, ceremonies and tradition - a future where she can bring new life into the world, on Country, in a way that she has always imagined. Re-imagining Our Futures is from writer/director Kimberley Benjamin (Back to Nature) and producer Shari Hutchison (Tee Ken Ng).

The First Nations Department production funding blocklines are available here and here.

This First Facts production funding is supported by Screen NSW, Screen Territory and Screenwest.

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DEIRDRE BRENNAN APPOINTED AS NEW SCREEN AUSTRALIA CEO

Screen Australia is pleased to announce the appointment of Deirdre Brennan as Chief Executive Officer, starting 8 January 2024.

Deirdre has extensive experience as an executive in the domestic and international screen sector, most recently as Chief Operating Officer of WildBrain, a global independent media entertainment company spanning content production, distribution, brands and licensing.

Previously, Deirdre worked at BBC Worldwide Australia as the Director of Television, General Manager and Director of Content. Her former roles include Head of Children’s Television at the ABC TV and General Manager of Universal Kids at NBC Universal.

Screen Australia’s Chair Nicholas Moore said, “We are delighted to welcome Deirdre to Screen Australia at this pivotal time for the Australian screen industry. The Board was extremely impressed by Deirdre’s wealth of experience and we look forward to the positive impact she will make during her time in the role. This appointment represents a remarkable opportunity to expand our capacity to tell Australian stories and connect with international audiences in new ways."

Deirdre Brennan said, “I am excited to return to Australia to lead such an important organisation, focusing on building a sustainable future for the creative industry amidst evolving technologies, competitive pressures and expanding platforms. Screen Australia’s mission is very clear and I will strive to be a passionate advocate and partner for our creators, storytellers and emerging talent.”

Deirdre will formally commence as CEO from 8 January 2024, taking over the reins from Graeme Mason, who is departing the agency in early November after a decade in the role.

On outgoing CEO Graeme Mason’s departure, Nicholas Moore said, “As we welcome Deirdre, we bid farewell to Graeme after his remarkable 10-year tenure as CEO of Screen Australia. Since 2013, Graeme has led the agency through a period of rapid change and the sector has been strengthened by his dedication, passion and leadership. On behalf of the Board and the Screen Australia team, I would like to express my profound gratitude to Graeme, and I congratulate him on all that he has achieved.”

[JohnsonTV]

Screen Australia Drama Report: Record 213 theatrical and TV titles produced...

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DRAMA REPORT 2022/23: $2.34 BILLION SPENT IN AUSTRALIA FROM 213 PRODUCTIONS

NCIS: Sydney , The New Boy , Ginger and the Vegesaurs .

Screen Australia’s 33rd annual Drama Report released today shows the second highest expenditure ever on scripted screen production in Australia, with $2.34 billion spent across a record 213 titles in 2022/23. Despite being slightly down (4%) on last year’s record expenditure, which saw $2.43 billion spent across 171 drama productions, this is significantly above the 5-year average.

Screen Australia CEO Graeme Mason said, “We’re proud to report the second highest drama spend ever in Australia. It has been remarkable witnessing the unprecedented surge in production in Australia in recent years and the 2022/23 Drama Report highlights another stellar year for drama production in Australia.”

Australian titles made up $1.13 billion of total spend. Although expenditure by Australian subscription TV and Subscription Video on Demand (SVOD) has decreased this year, growth in Free-to-Air (FTA) TV and Broadcaster Video-On-Demand (BVOD) has helped to offset those declines to deliver the second highest Australian expenditure on record. Spend on children’s drama across TV and VOD platforms also increased from last year, but has not returned to previous highs. Expenditure on Australian theatrical features declined from last year’s record high, driven by fewer big-budget titles.

“This year’s Drama Report showcases the dynamic landscape of drama, with significant expenditure coming from a number of different categories. A record Australian PDV spend and continued spend from subscription TV and SVOD titles, such as the upcoming Heartbreak High series 2, High Country and Prosper, and an increase in Australian FTA TV and BVOD spend, coming from titles such as Total Control series 3, RFDS series 2 and While the Men are Away have helped to deliver a fantastic result. We have also seen TV and VOD titles such as Neighbours exploring new hybrid distribution models, releasing on both FTA and SVOD platforms in a short window,” Mason said.

2022/23 also saw record expenditure in Australia from foreign titles ($1.22 billion, up from $904 million in 2021/22). In particular, this was driven by record expenditure from foreign titles shooting in Australia ($809 million), an increase of 83% from 2021/22 and another year of significant spend from foreign titles conducting Post, Digital and Visual effects work (PDV) in Australia.

“Big-budget foreign productions like The Fall Guy and The Kingdom of the Planet of the Apes that shoot in Australia have incredible flow-on benefits for local businesses, communities and the broader economy, and allow local cast and crew to acquire experience and new skills. Further, the international demand for our PDV expertise reflects the confidence of global companies in our talent and technology,” Mason continued.

FIGURE 1: TOTAL EXPENDITURE IN AUSTRALIA ($M)

New South Wales set a new record for the third year running, with over $1.3 billion in expenditure in 2022/23, accounting for 56% of the national total. Queensland also set a new record, with total expenditure of $581 million, 23% above last year. Victoria, South Australia and Western Australia all saw declines with spend falling 45%, 52% and 9% respectively. Combined spend in the Australian Capital Territory, Northern Territory and Tasmania declined to $4 million in 2022/23.

“It’s fantastic to see New South Wales and Queensland continue to go from strength to strength. Like any industry, the demand for production and post-production services and particular filming locations, will understandably come in ebbs and flows. What’s important is these results illustrate that the states and territories are generating significant activity domestically and are establishing themselves as premier destinations for foreign projects.”

FIGURE 2: SPEND BY LOCATION ($M)

“There’s no denying, our screen practitioners and businesses continue to punch above their weight both domestically and on the international stage. As we look to the future, we need to ensure that we stay on top of our game – by working together with industry and the state and territory agencies to foster the skilled workforce this level of production critically needs,” Mason said.

AUSTRALIAN THEATRICAL FEATURE FILMS DECLINE FROM LAST YEAR’S RECORD

Australian theatrical features saw total expenditure of $363 million in 2022/23, a 54% decrease in spending since 2021/22, and 17% below the 5-year average. This drop can be attributed to having fewer big-budget theatrical features, with only one big-budget title in 2022/23. In contrast, the previous year’s record-high spending was driven by several big-budget features such as Furiosa, Foe, and Better Man.

2022/23 theatrical features included Limbo, The New Boy, and The Royal Hotel.

AUSTRALIAN GENERAL TV AND VOD DRAMA SEES CONTINUED HIGH EXPENDITURE OVERALL

The $680 million of expenditure in 2022/23 was slightly (2%) up on last year’s result. This category is made up of three sub-categories:

• Australian general Free-to-air (FTA) TV and Broadcaster Video-on-Demand (BVOD) drama
• Australian general subscription TV and Subscription Video-on-Demand (SVOD)
• Australian general Advertising-based Video-On-Demand (AVOD), Transactional Video-On-Demand (TVOD), and other online content.

FIGURE 14: AUSTRALIA GENERAL TV AND VOD DRAMA - SPEND ($M)

AUSTRALIAN GENERAL FTA TV AND BVOD DRAMA GROWS FOR THIRD CONSECUTIVE YEAR

This segment encompasses drama content designed for family and adult audiences, initially released on FTA television channels such as ABC, NITV, SBS, Seven, Nine, and 10, or their respective online platforms like ABC iview, SBS On Demand, 7plus, 9Now, and 10 play.

Australian general FTA TV and BVOD expenditure increased by 26% in 2022/23. This growth was driven by a significant uptick in the number of titles (up by 21%), hours (up by 16%) and average cost-per-hour (up by 9%). In particular, this strong performance was driven by series and serials, such as Home and Away (Seven), Neighbours (10), In Limbo and Mother and Son (ABC).

Other titles included mini-series such as Total Control series 3 (ABC) and Paper Dolls (10), and single-episode titles such as Night Bloomers (SBS).

AUSTRALIAN GENERAL SUBSCRIPTION TV AND SVOD DRAMA EXPERIENCES ANOTHER YEAR OF HIGH SPEND

This category encompasses drama content tailored for family and adult audiences, initially released on subscription TV platforms like Foxtel, Foxtel Now, Foxtel Go, and other Foxtel services, or subscription VOD platforms including Amazon Prime, Binge, Disney+, Netflix, Paramount+, and Stan.

In 2022/23, expenditure on Australian general subscription TV and SVOD drama experienced an 11% decline from the record high of the previous year, however it remains the largest category of spend within Australian TV and VOD. The year saw a higher concentration of big-budget titles than previous years, with seven out of 21 SVOD titles having budgets in excess of $20 million, in contrast to eight out of 30 titles in 2021/22. Stan held the largest single share of total titles and total hours in this category (38% and 33%, respectively), consistent with last year’s trend.

Titles included CAUGHT* and Wolf Like Me series 2 (Stan), Heartbreak High series 2 (Netflix) and NCIS: Sydney (Paramount+).

AUSTRALIAN GENERAL AVOD, TVOD, AND ONLINE DRAMA GROWS SIGNIFICANTLY

This category includes drama content aimed at family and adult audiences, initially released on an array of free platforms like AVOD services such as Facebook, Instagram, TikTok, and YouTube, TVOD platforms like iTunes, and various emerging online services.

Australian general AVOD, TVOD and other online drama experienced significant growth across most key indicators. Spend increased by 74% since 2021/22 (from $3 million to $5 million), increasing to 61% above the 5-year average. This was driven by a doubling of the number of titles (12 to 24), and an almost tripling of hours produced (11 to 29).

Titles included Counter Girls (YouTube) and Monologue (Facebook/YouTube/Instagram).

AUSTRALIAN CHILDREN’S TV AND VOD DRAMA SEES GROWTH IN EXPENDITURE, DRIVEN BY LIVE-ACTION TITLES

Australian children’s TV and VOD expenditure reached $81 million compared to $67 million in 2021/22 and a 5-year average of $74 million. This increase in spending was primarily driven by live-action productions, including titles like Beep and Mort series 2, F.A.N.G, The PM’s Daughter series 2 (ABC), Rock Island Mysteries series 2 (10), and Surviving Summer series 2 (Netflix).

The ABC continues to commission the majority of this slate, accounting for nine out of the 12 titles that entered production, with support from Screen Australia, which contributed finance to ten titles. The Australian Children’s Television Foundation (ACTF) supported four titles.

In the last five years, the ABC’s share of all children’s TV and VOD titles has increased from 45% to 75%. The growth in the ABC’s share of titles has been driven by fewer overall children’s titles, which can be attributed to declines in the number of children’s titles commissioned by commercial FTA broadcasters.

RECORD-BREAKING YEAR FOR FOREIGN PRODUCTIONS SHOOTING IN AUSTRALIA

The record total foreign spend ($1.22 billion) in 2022/23 was driven largely by record expenditure from foreign titles shooting in Australia. These foreign shoot titles spent $809 million, an all-time record and 83% above the previous year. This record foreign shoot spend was largely accounted for by a handful of big-budget theatrical features, including The Fall Guy, Godzilla x Kong: The New Empire and Kingdom of the Planet of the Apes.

AUSTRALIA’S PDV SECTOR HIT RECORD NUMBERS

To provide a sense of the ongoing business activity of PDV companies in a given financial year, the PDV Services section of the Drama Report uses a different data timeline to the rest of the report. In this section, a project’s total PDV spend is reported as it occurs, rather than attributing the whole amount to the year in which work commenced. The data cannot be compared to results presented in other sections of the Drama Report.

Total PDV expenditure reached $714 million in 2022/23, a new record, up 21% from the previous year and 60% above the 5-year average. This can be attributed to growth in PDV spend from both Australian titles and foreign PDV-only titles. In particular, Australian titles spent $269 million on PDV, a 34% boost from the prior year and 44% above the 5-year average. Australian titles that conducted PDV work included Wolf Like Me series 2 and Boy Swallows Universe. Foreign PDV-only projects spent $407 million, a 26% increase from the previous year and 87% above the 5-year average. Foreign PDV-only titles included Ant-Man and the Wasp: Quantumania and the Magician’s Elephant. Foreign shoot titles spent $39 million on PDV, a slight dip from the previous year.

ABOUT THE DATA

The Drama Report uses data from industry to provide an overview of the production of local and foreign feature, television, VOD and children’s drama titles, as well as PDV activity. All production expenditure is allocated to the year in which principal photography began. PDV employs a secondary method of analysis, which is outlined in the PDV section below, and in the report. ‘Drama’ refers to scripted narratives of any genre. Titles in the report are categorised according to the platform they were first released on.

Read the full Drama Report here

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According to:

Streaming giants cut spending on Australian dramas by $47m ahead of incoming...

The amount spent on Australian dramas by streaming companies including Netflix, Foxtel and Disney+ has fallen by 11% or $47m ahead of the federal government’s promised introduction of local content obligations in the new year.

Last financial year, the streamers contributed $398m of the total $680m spent on TV drama programs, defined as scripted narratives of any genre, according to Screen Australia’s annual drama report. That was down $47m on the previous 12 months.

The free-to-air broadcasters, which now prioritise reality programs and sport over drama, spent $277m, up from $219m last year.

Most of the commercial TV drama hours comes from long-running series Home and Away and Neighbours. But free-to-air titles include the ABC’s Total Control, Seven’s Royal Flying Doctor Service, Nine’s Warnie and Ten’s Paper Dolls.

[JohnsonTV]

Spend Declines on Australian Stories

Screen Producers Australia (SPA) today welcomed the release of the 2022/23 Screen Australia Drama Report, the annual tabulation of expenditure on drama titles in Australia, a long-running marker about part of the industry’s overall health. Although noted with concern the marker of an overall decline in expenditure on Australian stories.

“The activity in the screen industry that these figures point to is great news on one level, but the deeper you look at the figures and know more of the challenges behind the scenes, the more troubling the overall trends are for Australian audiences wanting to see authentic Australian stories on different screens,” SPA CEO Matt Deaner said.

“We are particularly concerned about the overall decline in expenditure on Australian stories, noting that spending on Australian drama is down from $1,528m to $1,125m – and is now less than 50% of the overall drama spend for 2022-23 (last year it was 63%).

“Meanwhile, spending on foreign drama (TV and VOD drama and features) has gone from $904m last year to $1,220m this year, or from 37% of the total drama spend to now 52% of total drama spend.

“There’s no doubt many factors driving this changing mix from spending on Australian drama to increased foreign drama, including a significant drop in Australian feature film spend, but we know that these high figures for foreign spend are subject to global trends and many factors outside of Australia’s control.

“Next year we can expect the investment figures to indicate falls in foreign titles reflecting the negative effects of a decline in activity caused by the USA actors and to a lesser extent writers strikes.

“Continuing investments in Australian content by streaming services are welcome in their own right and as a stabilising measure and represent slightly less but overall similar levels of activity from the previous financial year.

"These are investments made in the context of the continuing conversations between the Australian Government and industry stakeholders to bring certainty of investment in Australian stories from streaming services, which was the promise to audiences and industry from our new National Cultural Policy Revive.

“However, our overall concern is that without oversight to protect rights and intellectual property consistent with key international screen territories and in other Australian industries that are oligopsony structures (such as the grocery industry), Australia is at risk of limiting itself to being a service industry for the international market.

"This is because even with investment in Australian titles, there is an increasing lack of ownership and control of our own intellectual property which is a clear pathway to losing our ability to generate our own stories and being able to benefit economically and culturally from their creation.

"These problems need urgent Government attention and the trend is highly troubling for the future of our industry.

“The Drama Report figures mask what is an increasing wealth transfer away from our creative industry caused by unchecked market behaviours in commissioning, the worse being from global streamers.

“We are pleased to see a slight increase in drama investment appearing on commercial free-to-air but we are again concerned that this is coming off too low a bar. Also worrying is that all broadcasters and streamers continue to turn their back on Australian child audiences with the ABC the only commissioner making a significant effort to invest in Australian children’s stories.

"It’s remarkable that the ABC, even with a limited budget, now invests in an astounding 75% of children’s content – carrying an unreasonable ongoing load here. Five years ago this investment was 45%.

“It’s vital that the Australian Government include measures to ensure increased children’s content in its regulation of streaming services and to address a now overdue review of what is clearly a weak and ineffective points system for commercial broadcasters at a time when these businesses are being publicly supported by forthcoming new regulations on prominence and anti-siphoning, but doing very little in return.

“This can’t continue to be a one-way street,” said Mr Deaner.

[TC25]

Fantastic appointment.

[JohnsonTV]

Graeme Mason exit interview: What’s next for departing Screen Australia boss?

[JohnsonTV]

Screen Australia announces $900,000 in development funding for 31 projects -...

[JohnsonTV]

Richard Huddleston to be Screen Australia's next head of documentary - IF...

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SCREEN AUSTRALIA AND YOUTUBE AUSTRALIA LAUNCH SKIP AHEAD 9

Screen Australia and YouTube Australia have opened applications for the ninth edition of Skip Ahead, helping Australian YouTube creators develop their storytelling skills, and grow their creative ambition and production value.

This year’s initiative will allocate up to $120,000 for up to four YouTube projects, inviting both scripted and documentary applications. In 2024, for the first time, Skip Ahead will seek to support at least one project aimed at a children’s audience to premiere on YouTube Kids.

Screen Australia’s CEO Deirdre Brennan said, “YouTube is home to incredible, contemporary Australian storytellers. We’ve seen the impact Skip Ahead has on careers, as well as the global recognition these projects can achieve. We’re thrilled to continue our innovative partnership with YouTube, creating a significant opportunity for local creators to expand their skills, reach new audiences and showcase their creativity to the broader industry.”

Ed Miles, Director YouTube Australia & New Zealand said, “YouTube is incredibly proud of the partnership we’ve built with Screen Australia over the last 10 years, and the opportunities the Skip Ahead initiative opens up for local talent. We’re excited to see which formidable YouTube creators will join the ranks in 2024, to watch their unique and powerful stories become a reality, and to help surface them to audiences around the world.”

Since 2014, Skip Ahead has supported 39 teams with over $5.1 million for skills development. Past recipients include RackaRacka (Talk to Me), Superwog, Lyanna Kea, Julian O’Shea, Wengie, Beau Miles, Aunty Donna and Tibees, many of whom have successfully moved across television and film production.

Danny and Michael Philippou of RackaRacka, funded through Skip Ahead in 2016, debuted their feature film Talk to Me to the world last year to significant success. The film became one of A24’s highest grossing global hits at the North American box office in 2023, bringing in over USD $93.3 million at the worldwide box office. The film also won eight gongs at the 2024 AACTA Awards, including Best Film, Best Director for Danny and Michael Philippou and Best Lead Actress for Sophie Wilde.

Creative team Aunty Donna, also supported through Skip Ahead, built on the success of their project 1999 to create long-form series Aunty Donna’s Big Ol’ House of Fun for Netflix and Aunty Donna’s Coffee Café for the ABC. Superwog’s pilot landed comedy duo and brothers Theodore and Nathan Saiddena a fully commissioned ABC TV series; Over and Out, created by Adele Vuko and Christiaan Van Vuuren, was awarded Best Short Form Series at Canneseries 2019; and Jenny Zhou’s Celebration Nation was nominated for an AACTA Award in 2021.

Skip Ahead supported documentary projects have also seen considerable success with online audiences on YouTube with Bad River from Beau Miles reaching over 3 million views, Quantum Experiments at Home from Looking Glass Universe reaching over 2 million, and Small Footprint scoring over 1 million viewers to date.

Applications for Skip Ahead are open to content creators who have either a current YouTube channel or channels with substantial existing subscriber bases and/or content that has achieved a minimum of 1 million views. For full eligibility requirements please click here.

Successful applicants will also participate in a workshop to be held in Sydney (the week of 22 July 2024) and receive ongoing skills and development support, in addition to production funding for their project. For teams based outside of Sydney, travel and accommodation support will be provided for up to three team members per project.

Applications close at 5pm AEDT Thursday, 21 March 2024. Apply here.

For information about online funding available outside of Skip Ahead click here.

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MICHAEL EBEID AM APPOINTED AS NEW SCREEN AUSTRALIA CHAIR

The Hon. Minister for the Arts, Tony Burke today announced the appointment of Mr Michael Ebeid AM as the new Chair of the Screen Australia Board, and the reappointment of Ms Megan Brownlow as Deputy Chair.

Michael Ebeid AM will take over from outgoing Chair Nicholas Moore AO whose third term ends on 30 March 2024.

Michael was initially appointed to the Screen Australia Board on 14 July 2023 and brings to the role extensive experience from the media, technology, and telecommunications sectors.

He was previously the Chief Executive Officer and Managing Director of SBS, Group Executive at Telstra and in 2017 was made a Member of the Order of Australia for significant service to the broadcast media and multicultural affairs. Michael is currently a non-executive director of the Sydney Opera House and BAI Communications.

Incoming Chair of Screen Australia Michael Ebeid AM said, “I’m honoured and excited to Chair Screen Australia as we navigate the dynamic landscape of evolving audience behaviour, shifting consumption trends and the multifaceted challenges confronting the screen and production industry to ensure it continues to thrive.

As content and technology increasingly intersect, Screen Australia plays a vital role in the health of our screen sector, not just in nurturing local talent, but also in ensuring Australian stories and culture are preserved through compelling productions that resonate with both Australian and international audiences.

Looking ahead, I am dedicated to playing a key role in supporting the growth and development of the Australian screen industry, which not only contributes substantially to our economy but also serves as a cultural ambassador on the global stage. Aligned with the government’s vision outlined in the National Cultural policy, Revive, Screen Australia stands as a crucial pillar in realising that vision, and I am eager to contribute to its ongoing success,” Ebeid said.

Screen Australia CEO Deirdre Brennan said, “I’m delighted to welcome Michael as our new Chair, he brings a wealth of experience and expertise to further support the Australian screen industry. The Executive team look forward to working with Michael to provide continued leadership and vision for the organisation. With Michael’s extensive experience in media and technology, his dedication to Australian storytelling will continue the rich culture of innovation and investment in the Australian screen sector.

On behalf of the Board and the Screen Australia team, our sincere thanks go to Nicholas Moore for his dedication and contribution as Chair. Nicholas has supported the agency through nine years of a constantly evolving industry, and has overseen significant investment in Australian stories,” Brennan said.

Michael will formally commence as Chair on 31 March 2024 for a three-year term.

Megan Brownlow (Deputy Chair) has been reappointed to the Board for two years.

Screen Australia’s eight-member Board includes Michael Ebeid AM (incoming Chair), Megan Brownlow (Deputy Chair), Marta Dusseldorp, Sacha Horler, Helen Leake AM, Deborah Mailman AM, Nicholas Pickard, Pallavi Sharda.

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SCREEN AUSTRALIA ANNOUNCES OVER $810,000 IN DEVELOPMENT FUNDING FOR 29 PROJECTS

Screen Australia has announced 23 feature films and six television dramas that will share in over $810,000 of story development funding.

Among the funded projects is Willy, the latest animation series from Ludo Studio, the production company behind world-wide phenomenon Bluey; family feature film The Last Tiger about the remarkable friendship between 12-year-old girl Pippa and an injured thylacine pup; and horror/comedy feature The Black Talons written by Maria Lewis and directed by Shari Sebbens, the star of Jon Bell’s upcoming psychological horror, The Moogai, which recently had its world premiere at the 2024 Sundance Film Festival.

Included in this slate are 19 projects that have been supported through the Generate Fund and 10 through the Premium Fund.

Screen Australia Head of Development Bobby Romia said, “We’re absolutely thrilled to be supporting such a diverse array of TV drama and feature film projects in this latest development slate. All of these projects are driven by teams deeply connected to the content they’re creating, opening up new avenues for creative expression whilst championing new voices to tell their unique stories. Screen Australia will be following each of their development journeys closely.”

For the complete list of development funding approvals refer to television and feature film breakdowns.

[JohnsonTV]

'It’s important that we’re a trusted organisation': Screen Australia CEO...

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SCREEN AUSTRALIA AND VICSCREEN LAUNCH NEW SCREEN CAREERS INITIATIVE

LTR Denise Eriksen, Esther Coleman Hawkins, Caroline Pitcher, Ken Crouch and Fiona Gilroy. Photo Credit: Daniel Mahon

Screen Australia and VicScreen have unveiled a bold new initiative to address skills shortages in the Australian screen industry. Over the next four years, the agencies will provide a combined $1.4 million to support Screen Careers, which will be based out of Melbourne.

Screen Careers will deliver tailored, industry-led training programs and skills development opportunities for below-the-line crew across Australia, leveraging partnerships with ScreenSkills UK, BFI and BAFTA.

For aspiring screen practitioners, including school leavers, TAFE and university students, Screen Careers will serve as a gateway into the screen industry, providing essential foundational training. For established professionals, Screen Careers will offer lifelong career support, enabling individuals to progress and grow their careers within their respective fields through in-person workshops and e-learning programs.

Media Mentors Co-Founders Denise Eriksen and Esther Coleman-Hawkins will lead Screen Careers, alongside the ABC’s Head of Content Chris Oliver Taylor who has been appointed as the inaugural Chair. Joining them are Fiona Gilroy as Head of Business Development and Communications and Megan Mohell as Chief Operating Officer.

Federal Minister for the Arts, Tony Burke said, “We always talk about screen being one of the main ways that our stories are told to each other and to the world. I want one of those stories to be jobs. Not just jobs for the people who are on screen, but all the people around them who make it happen.”

Victorian Minister for Creative Industries Colin Brooks said, “The screen industry is growing and the Victorian Government is proud to back Screen Careers which will expand our highly skilled screen workforce, creating jobs for Victorians for years to come. By being headquartered in Victoria the initiative will create a pipeline of job-ready local screen practitioners, fuel production and confirm Victoria’s status as a global screen powerhouse.”

Screen Australia CEO Deirdre Brennan said, “Screen Careers marks an exciting advancement, as we strive to develop a highly skilled workforce to meet the demands of Australia’s screen sector. This new initiative will address skills shortages by supporting crew at all stages of their careers, driving sustainability for our industry on a national scale.

VicScreen CEO Caroline Pitcher said, “Industry has told us that more below-the-line skills and training is needed as a matter of urgency and we are proud to be leading the charge in addressing this strategic need through our partnership with Screen Careers and Screen Australia. This multi-faceted initiative will deliver real results for Victoria’s screen industry and kickstart sustainable and successful careers for the next generation of below-the-line practitioners right here in Victoria.”

Screen Careers CEO, Esther Coleman-Hawkins said, “Screen Careers represents a significant investment in nurturing talent and fostering a robust pipeline of skilled professionals to meet the evolving demands of the industry. We’re committed to providing essential training and lifelong support to below-the-line crew, ensuring a steady influx of skilled professionals into the industry.”

For more information and updates on Screen Careers, please visit www.screencareers.com.au.

To find out more about Screen Australia’s suite of Industry Development initiatives, please visit: Initiatives - Industry development - Funding and Support - Screen Australia

To find out more about VicScreen’s suite of Industry Development initiatives please visit: vicscreen.vic.gov.au/funding/skills-development/

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SCREEN AUSTRALIA IS PLEASED TO ANNOUNCE THE APPOINTMENT OF GRAINNE BRUNSDON AS CHIEF OPERATING OFFICER

Grainne Brunsdon steps into the Chief Operating Officer (COO) role from her current position within Screen Australia as Director of Content, where she has led production investment and development, distribution support, and business initiatives across Australian screen content over the last two years.

With more than 25 years’ experience, Grainne is a strategic leader in the creative industries who has held senior leadership roles in the screen sector, international arts and culture as well as tertiary education with TAFE and UNSW. Prior to joining Screen Australia in 2022, Grainne was the Head of Screen NSW, where she oversaw the state’s investment in the screen sector including production incentives and industry development, supporting NSW productions through the COVID-19 lockdowns.

Grainne was Director of Arts Investment, Engagement and Development at Create NSW where she was instrumental in the introduction of the 50:50 by 2020 initiative addressing gender parity in the screen industry, and Screenability NSW initiative, which provided opportunities for practitioners with disability.

While at Screen NSW, Grainne also worked as Head of Strategy, Partnerships and Industry Development and Manager of Stakeholder Relations and Industry Development. She has experience managing funding programs and targeted initiatives across arts, screen and culture in addition to overseeing the designation of Sydney as a UNESCO City of Film, and representing the global film cities on the UNESCO Creative Cities Network Steering Group.

Screen Australia’s CEO Deirdre Brennan said, “Grainne brings a depth of experience to the role of Chief Operating Officer. She has proven herself to be an exceptional leader who is passionate about Australian storytelling in all its forms. I believe that her experience will be instrumental in helping deliver Screen Australia’s vision and evolving strategic priorities, working with the team to make a significant and holistic contribution to the screen industry.”

On accepting the Chief Operating Officer position, Grainne Brunsdon said, “I’m thrilled to be stepping into the role of COO as Screen Australia enters an exciting new chapter. My passion for supporting Australian creative talent has played a significant role in my career and I’m looking forward to helping lead the agency in its next phase of growth.”

Grainne succeeds Michael Brealey, who departed the agency in December 2023 after five years in the role and will officially commence as COO on 1 April 2024.

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SCREEN AUSTRALIA ANNOUNCES OVER $2.3 MILLION FOR NINE DOCUMENTARIES

Screen Australia has announced nine documentaries that will share in over $2.3 million of production funding.

Among the projects is Our Medicine, an NITV series that follows First Nations professionals working on the medical front-line as they try to achieve better health outcomes for Aboriginal and Torres Strait Islander patients and communities; The Kimberley explores the extraordinary animals who inhabit the region and the passionate individuals working to protect its unique biodiversity; Second to None documents the journey of elite female cycling team, Lidl-Trek, as they compete in the illustrious Tour de France Femmes 2023; and The Colleano Heart about the Colleanos, an Indigenous family and self-made entertainers of circus, who escaped oppression and racism to rise to the upper echelons of the world’s vaudeville and circus.

Angela Bates, Head of First Nations at Screen Australia said, “Our Medicine shines a light on First Nations medical practitioners, and frontline health workers who play a critical role in caring for, and healing Indigenous patients through Western medicine – balanced with individual social, emotional and wellbeing needs. This program also explores a new model that incorporates ancient traditional practices to help address the low life expectancy in our communities, and the many barriers our mob face in the health system. It’s an important and timely series and one we are proud to support.”

Screen Australia’s Head of Documentary Richard Huddleston said, “This slate reflects our determination to support Australian filmmakers who want to tell stories from not just within our nation but further afield; whether it be exploring the brilliant mind of John Clarke, escaping to the majestic Kimberley, interrogating the inner workings of our jury system, following an epic tradition in Mongolia or fighting for the Papua New Guinean environment. They all push boundaries, play with form and reflect the rich, wide range of storytelling approaches we have in the Australian documentary community.”

THE PROJECT FUNDED THROUGH THE FIRST NATIONS DEPARTMENT IS:

• Our Medicine: A 6 x 30-minute documentary series for NITV following First Nations professionals working on the medical front-line as they try to achieve better health outcomes for Aboriginal and Torres Strait Islander patients and communities. The series examines how these professionals navigate the medical system with their culture and identity at the forefront and look at the strategies necessary to close the unacceptable gap between Indigenous and non-Indigenous health outcomes. Attached is series director Kimberley Benjamin (Family Rules), co-director Karla Hart (Yokayi Footy, Family Rules) and post director Jeremy Thomson, with Karla Hart and Sam Bodhi Field of Our Law producing. It has received major production investment from NITV with support from Screenwest, Lotterywest and the WA Regional Screen Fund.

THE PROJECT FUNDED THROUGH THE COMMISSIONED PROGRAM IS:

• The Jury Project: From Northern Pictures, The Jury Project is a four-part series for SBS that puts the jury system on trial and explores the challenges and intricacies of the justice system. The Jury Project is directed by Tosca Looby and executive produced by Karina Holden, whose credits include Asking For It and See What You Made Me Do. It has received major production investment from SBS.

THE PROJECTS FUNDED THROUGH THE PRODUCER PROGRAM ARE:

• When the Front Fell Off: This feature-length documentary is an intimate tribute to the life and work of one of the world’s greatest satirists, John Clarke, told through the eyes of his daughter, Lorin. When the Front Fell Off is a unique look at a very funny man and lifts the lid on a treasure trove of archival material, and personal stories revealing the creative, often hilarious and sometimes not quite as funny struggles and successes of John Clarke. Directing is Lorin Clarke and producing is Richard Keddie (Ride Like a Girl, Oddball, Hawke). It is financed in association with the Melbourne International Film Festival (MIFF) Premiere Fund, VicScreen, Soundfirm and Rialto Distribution, who are also distributing locally.
• Guardians of the River: A 90-minute documentary that charts the journey of Papua New Guinean activist Manu Peni and his people as they launch an urgent mission to protect the Sepik River from an enormous, nearby mine. In Guardians of the River, audiences will witness Project Sepik’s work on the ground as they build a powerful indigenous grassroots movement to resist the mine on their own terms, using traditional decision-making structures. The film is written and directed by Lachlan McLeod (Clean) and Matasila Freshwater (Vai). It is produced by Kerry Warkia (The Legend of Baron To’a), David Elliot-Jones (Clean), Maria Tanner (The Feijoa Club) and Emmanuel Peni, with Chris Kamen (Franklin) executive producing. Guardians of the River is financed in association with the Pacific Islanders in Communications, The Post Lounge and VicScreen, with support from the Shark Island Foundation and the Three Springs Foundation.
• Sand Roads: This 90-minute film documents the journey of three Sydney boys in their twenties, Valerio, Jamie and Ted, as they set off in 2010 on a great adventure crossing Europe, Africa and Australia on quad-bikes, as an initiation to their adulthood, self-filming their epic journey. But tragically, while in Malawi, a car overwhelms one of the quads and Valerio dies. Weaving archive footage with contemporary interviews, Sand Roads is a story of resilience and remembrance – showing how healthily accepting grief and paying heed to loss can heal. Sand Roads is from writer/director Gabriele Gianni (Notes on Stone), writer/director Lorenzo Conte (The Era of Giants) and writer Vittoria Pasquini. Michael Wrenn (Audrey) from Invisible Republic, Sally Browning (Muster Dogs) from Emerald Films and Alessandro Borrelli (Chef Antonio’s Recipes for Revolution) from La Sarraz Pictures are producing. It is financed in association with Ministry of Culture Italy, with support from Lazio Film Fund.
• Second to None: A three-part series for Eurosport and DocPlay that follows the journey of elite female cycling team, Lidl-Trek, as they compete in the illustrious Tour de France Femmes 2023. After years of riding in the shadow of men, Second to None shines a spotlight on how the team has banded together, overcome the lows, and ridden the highs to show the world that no mountains are high enough when immersed in the heart of their passion. Second to None is an original concept created by Sweetshop & Green with Sonia Dauger (The Blues: Another Story of France) and Renée Mao (A Beginner’s Guide to Grief) attached as directors. Gal Greenspan and Alice Burgin of The Defenders and Fabrice Estève (Order of the Occult) are producing. It is financed by United King in association with VicScreen and co-producer Yuzu Productions.
• The Colleano Heart: A 90-minute documentary about the Colleanos, an Indigenous family and self-made entertainers of circus, who miraculously escaped oppression and racism to rise to the upper echelons of the world’s vaudeville and circus, until the next generation of Colleanos knew nothing of their Aboriginal heritage. Generations later, American-born, octogenarian Molly Colleano O’Donnell meets Australian family historian Deb Hescott who helps Molly build a bridge across the oceans on a quest to reclaim identity, connect to ancestors and unearth family secrets - breaking the cycle of the Hidden Generation and reigniting The Colleano Heart. A contemporary story of a family’s quest to unravel their history in Australia, The Colleano Heart is written and directed by Pauline Clague (Maralinga: The Anangu Story) and written by Ljudan Michaelis-Thorpe. The film is executive produced by Alan Erson and Michael Tear and produced by Bettina Dalton, whose credits include Every Little Thing, Playing With Sharks and Rachel’s Farm. The Colleano Heart is financed in association with the Adelaide Film Festival Investment Fund, with support from Screen Canberra. Local distribution will be by Umbrella Entertainment, with WildBear International managing international sales.
• The Iron Winter: A 90-minute documentary providing insight into the rituals and traditions of herders in Mongolia’s Tsaikhir Valley who, on the eve of every winter, would assemble thousands of the community’s horses into a giant herd - travelling vast distances in search of pastures. The Iron Winter will document these young herders as they battle one of Mongolia’s most devastating winters on record, testing friendship and faith in a fight to keep the herd alive, and preserve an ancient way of life. The film is from writer/director Kasimir Burgess (Franklin) and writer Ed Cavanough, with Morgan Wright (Puzzle Box) and Ben Golotta (Lean) of Repeater Productions, Chris Kamen (Franklin) and Enebish Sengemugaa attached as producers. It is financed in association with the Melbourne International Film Festival (MIFF) Premiere Fund and VicScreen, with development support from VicScreen and the South Australian Film Corporation.
• The Kimberley: A 3 x 58-minute series for the ABC covering the land that defies time – a 400,000 square kilometre stretch in the North-Western corner of Australia containing sprawling savannas, towering gorges, rivers, tropical coastlines and desert. This natural history series captures never-before-seen animal sequences as it explores a year in the lives of the unique wildlife that calls the Kimberley home, and follows the missions of the Aboriginal custodians and passionate experts working to save the incredible biodiversity of the region. From the team behind Australia’s Wild Odyssey, The Kimberley is directed, written and produced by Nick Robinson, written and produced by Peta Ayers and produced by Electra Manikakis, with Mark Coles Smith of Keeping Hope and Mystery Road: Origin also writing and producing. It is financed with support from the ABC. The series will also broadcast internationally on Love Nature and Arte. Blue Ant Studios will manage international sales.

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SCREEN AUSTRALIA AND DYNAMIC TELEVISION ANNOUNCE NEW SCRIPTED INITIATIVE

Savage River

Screen Australia and Los Angeles-based television powerhouse, Dynamic Television have launched the Dynamic Television Scripted Initiative. This innovative program will fund the development of up to four standout scripted television projects, helping to position them for global success as they move into production.

Dynamic Television (Drops of God, Ginny & Georgia, Savage River) is known for its global approach to drama and is seeking to collaborate with Australia’s leading writers and producers. The initiative will focus on serial and procedural dramas including innovative, high-concept ideas, memorable characters, and emotional narratives that target mainstream audiences.

COO of Screen Australia Grainne Brunsdon said, “This initiative represents a significant opportunity for Australian stories to captivate audiences around the world. Our collaboration with Dynamic Television underscores our commitment to nurturing local talent and amplifying the unique voice of Australian storytelling to a global audience.”

Managing Partner of Dynamic TV Dan March said, “When considering how to allocate resources and have a positive impact on Australian drama, we realised Screen Australia is the perfect partner. We are all excited to facilitate new stories from the terrifically talented writers and producers down under.”

The initiative offers an exciting opportunity for Australian creatives, with one project to be selected in each of the four rounds. Applicants are invited to propose projects with a total development budget of up to $100,000 with Screen Australia and Dynamic Television each contributing 50 per cent of the funds. Selected projects will benefit from Dynamic Television’s option for financing and distribution, under terms to be mutually agreed upon.

Eligibility extends to Australian production companies that comply with Screen Australia’s Terms of Trade and have a one-hour per episode television drama project. This project should have a pilot script and a series outline and be free from any market attachments or existing development deals. A broad range of genres including crime, suspense, thriller, family, dramedies, and romance are eligible.

In line with Screen Australia’s dedication to fostering local talent, the initiative will exclusively fund Australian creatives and the Australian components of the development budget. Dynamic Television will closely collaborate with successful applicants, providing valuable feedback to ensure projects are finely tuned for the international marketplace.

For full details on the application process, eligibility criteria, and funding specifics, please refer to the full guidelines linked here.

WEBINAR

Applicants are strongly encouraged to attend the webinar hosted by Screen Australia’s Acting Head of Scripted, Lucy Hill with guest speakers Carrie Stein, President, Global Scripted Television and Dan March, Managing Partner at Dynamic Television. The session will introduce Dynamic Television to the Australian industry, provide insight into the specifics of the initiative and tips for compelling applications, followed by a Q&A.

• Date: Tuesday 30 April 2024
• Time: 9 – 10am AEST
• Register: Click here
• Accessibility: An Auslan interpreter can be made available for the webinar. If you would like to discuss this or other accessibility requirements, please contact dramaproduction@screenaustralia.gov.au or call 1800 507 901.
• A recording of this webinar will be made available on the Screen Australia website soon after.