SCREEN

PRODUCTION
 Cover
Mad Max: Fury Road
Image courtesy of Kennedy Miller Mitchell

This page
Joan Chen in Serangoon Road.
Courtesy of Serangoon Road Productions Pty Ltd.

Facing page
Willem Dafoe and Sam Neill in The Hunter.
Courtesy Porchlight Films Pty Ltd.
Photographer Matt Nettheim

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Publication date: November 2016

2 SCREEN PRODUCTION
AN AWARD-
WINNING
EXPERIENCE

SCREEN PRODUCTION 3
 INTRODUCTION Screen production is a global industry. As audiences increasingly watch
INDUSTRY movies and television programs at a time and on a platform of their choosing,
OVERVIEW producers are responding by creating high-quality content that works all
around the world - stories that keep local preferences in mind but can cross
INDUSTRY
STRENGTHS international and cultural boundaries.
WORKING WITH These shifts in production and
distribution are creating global
In high-end television drama, children’s
programs, documentaries and web
On top of all that, Australia possesses
an unsurpassed diversity of production
THE AUSTRALIAN opportunities, and the Australian industry series, Australian production companies locations, from urban to rural, beaches
INDUSTRY is well placed to contribute. and creative talent are making their
mark, from the BAFTA award-nominated
to mountains, desert to the tropics and
everything in between.
Some of the world’s most
CASE STUDIES
Top of the Lake and International
recognisable faces are Australian: This industry capability statement
Emmy® award-winning Nowhere
Hugh Jackman (X-Men series, provides an overview of Australian
Boys, to London Film Festival Best
PRODUCTION The Wolverine), Nicole Kidman
(Eyes Wide Shut, The Hours, Australia),
Documentary Sherpa: Trouble on Everest
capability in the screen production
industry, including examples of some
CENTRES AROUND Cate Blanchett (Blue Jasmine, Carol),
and Mighty Car Mods, a top-performing
do-it-yourself auto show on YouTube.
of the many companies with

AUSTRALIA Russell Crowe (Gladiator, A Beautiful

Mind), Geoffrey Rush (Pirates of the With strong support from Australian
specialist expertise.
Talk to your local Austrade representative
Caribbean), Chris Hemsworth (Thor) and governments at national, state and local
MAKING Liam Hemsworth (The Hunger Games). levels, the industry has developed a
for more tailored advice and information

CONNECTIONS
about connecting and partnering with
depth of experience and a sophisticated
The recognition extends behind the the industry.
filmmaking infrastructure that makes it an
camera as well. Australian directors such
ideal partner or service provider.
as Peter Weir (Master and Commander:
The Far Side of the World), Bruce Australian crews are world-class and
Beresford (Driving Miss Daisy) and its studios have hosted productions
Philip Noyce (Patriot Games) have been including The Matrix, Mission Impossible
acclaimed for their work on Hollywood and Pirates of the Carribean, while the
films for decades. Australian talent has vibrant post-production, digital and
also attracted international finance to visual effects (PDV) sector is behind the
local films such as George Miller’s Mad success of some of Hollywood’s biggest
Max series, Jane Campion’s The Piano, blockbusters, from The LEGO® Movie to
Baz Luhrmann’s The Great Gatsby, the X-Men: Days of Future Past.
Spierig brothers’ Predestination and Alex
Proyas’ Knowing.
4 SCREEN PRODUCTION
 Sherpa. Renan Ozturk filming Sherpas training. Courtesy Felix Media

SCREEN PRODUCTION
5
 INTRODUCTION Australia’s screen production industry is acclaimed around the world.
INDUSTRY Experienced production companies and talented creatives are at its
OVERVIEW core, supported by sophisticated filmmaking infrastructure, skilled
production services and generous financial incentives. The industry is
INDUSTRY
STRENGTHS also renowned as a global partner, with comprehensive distribution
networks. It’s a winning combination.
WORKING WITH
THE AUSTRALIAN
INDUSTRY
CASE STUDIES
PRODUCTION
CENTRES AROUND
AUSTRALIA
MAKING
CONNECTIONS

6 SCREEN PRODUCTION
AT A GLANCE

AUSTRALIAN CREATIVE & EXPERIENCED

TALENT Page 8
INTERNATIONAL
INDUSTRY - FEATURE FILMS & TV SERIES
- CHILDREN’S PROGRAMS
- DOCUMENTARIES
INDUSTRY
- DIGITAL / INTERACTIVE

PRODUCTIVE
PARTNERSHIPS Page 14

- OFFICIAL CO-PRODUCTIONS
- UNOFFICIAL PARTNERSHIPS

ATTRACTIVE
INCENTIVES Page 16

- PRODUCER OFFSET
- LOCATION OFFSET & PDV OFFSET
- STATE INCENTIVES

WORLD-CLASS
INFRASTRUCTURE Page 18

- STUDIOS
- PRODUCTION SERVICES
- POST-PRODUCTION & VFX

DIVERSE
LOCATIONS Page 22

SCREEN PRODUCTION 7
 INTRODUCTION TALENT AND Australians are in demand for international
productions as well. After working with
Studios) was shot in Indonesia and
Singapore with post-production in Perth

INDUSTRY EXPERIENCE star Michael Fassbender on the critically

acclaimed Macbeth, Australian Justin
and Sydney, and was nominated in seven
categories at the 2014 Asian Television
OVERVIEW The engine room for Australian screen
production is an industry of around
Kurzel (Snowtown, Macbeth) was chosen
to direct the highly anticipated big screen
Awards.8

2,500 creative businesses working Goalpost Pictures’ sci-fi drama

INDUSTRY across a range of content: feature films,
adaptation of game franchise Assassin’s
Creed in 2016.4
Cleverman, a co-production with New

STRENGTHS television drama, children’s progamming,

documentary, light entertainment, news, There are more than 300 currently
Zealand’s Pukeko Pictures, generated
significant attention after its premiere at
active feature film producers in Australia the Berlin International Film Festival. It
WORKING WITH sport and advertising. Free-to-air and
subscription broadcasters also produce (around 70 with at least three feature was one of six television series from
THE AUSTRALIAN content in-house as well as contributing credits), 190 directors and 250 writers.5
This talent, as well as key creative
all over the world invited to the festival
in recognition of television’s ascendancy
INDUSTRY to production budgets of commissioned
programs.1 and technical crew, works across both as a platform for new drama.
Australian and international production.
CASE STUDIES Feature films
Averaged over a five-year period,
Television series
“Whether it’s just
PRODUCTION around 50 feature films are produced More than 450 hours of local Australian
television drama are made each year a sound stage and
CENTRES AROUND in Australia each year. This comprises
30 Australian films, three co-productions (not counting programs for children)
a great technical
AUSTRALIA under formal treaty arrangements, and with an average annual production
17 international productions – with a total expenditure of $274 million. An additional
crew you’re after,
MAKING production spend in Australia of $390 $21 million is spent each year by foreign
million annually. In 2014-15, the latest TV productions in Australia.6 or a production
CONNECTIONS films from the Pirates of the Caribbean High-quality Australian series such as
partner and a whole
and LEGO® franchises drove foreign the BAFTA-nominated Top of the Lake
spend to a record high of $397 million.2 (See-Saw Films), and the stylish period
series Miss Fisher’s Murder Mysteries
range of talent
Australians regularly win international
awards for feature film work, across (Every Cloud Productions) have found and relationships,
Australia is a really
cinematography, production design, international success. Almost 2.4 million
editing, music and sound as well as viewers watched the debut episode
writing, directing and producing. Most of FremantleMedia’s prison drama
Wentworth on the UK’s Channel 5 in
fantastic place to
recently, eight Australians took out
Academy Awards® in five categories 2014, nearly doubling the timeslot’s usual
audience.7
make a movie.”
for their work on Mad Max: Fury Road,
Emile Sherman, Producer, The
with the film’s English costume designer Drama series Serangoon Road, an King’s Speech, Tracks, Top of the
winning a sixth. The film was nominated Australia-Singapore co-production (Great Lake, and the forthcoming Lion9
in a total of 10 categories.3 Western Entertainment and Infinite
8 SCREEN PRODUCTION
 The outback roadhouse in Wolf Creek. Courtesy Screentime Pty Ltd

SCREEN PRODUCTION
9
 INTRODUCTION Offbeat Australian comedies like Wilfred
(Renegade Films), A Moody Christmas
Children’s programs Australia’s Flying Bark; and the pre-
school animated series Sydney Sailboat,
Australia has a strong international
(Jungleboys), The Strange Calls from Essential Media and Entertainment
INDUSTRY (Hoodlum) and Laid (Porchlight Films),
reputation for children’s drama, both live
(see case study page 34).
OVERVIEW
action and animation, and Australian
have been reproduced for international
producers’ experience in creating More than 100 hours of children’s drama
audiences, as have dramas like Rake
children’s content for international are made each year in Australia, with an
INDUSTRY (Essential Media and Entertainment)
and The Slap (Matchbox Pictures).
markets is highly regarded. average annual production expenditure

STRENGTHS Laid producer Liz Watts attributes the Teen drama Nowhere Boys, produced
of $274 million. This includes 29 hours
made as official co-productions.14
demand for Australian formats to the by Matchbox Pictures for the Australian
WORKING WITH people behind them. Looking at the bulk Broadcasting Corporation, is seen all
over the world. Series 2 won Best Kids
THE AUSTRALIAN
of the successful comedy formats, Watts
said “they’re all very different comedies Series at the 4th International Emmy®
INDUSTRY and they’re made by really interesting
creatives”.10
Awards in April 2016. Earlier the same
year, the program took out Best Non-

CASE STUDIES The US remake of ABC2 comedy The

Animated or Mixed Series in the Tweens/
Teens category at Kidscreen in Miami,
Strange Calls is being produced for the
and the Banff World Media Festival
PRODUCTION NBC network by the show’s Australian
producers, Hoodlum’s Tracey Robertson
Rockie Award for Youth Fiction.13
CENTRES AROUND and Nathan Mayfield11, who also From Sydney’s Sticky Pictures comes
AUSTRALIA executive produced the US version
of their crime mystery drama Secrets
Me & My Monsters, a distinctive
live-action comedy that stars human

MAKING and Lies.12 actors and three monster puppets

developed by the world-renowned
CONNECTIONS Jim Henson’s Creature Shop™. It was
made as a co-production with Tiger
Aspect Productions and the Jim Henson
Company (UK) for BBC, Network Ten,
Nickelodeon (Australia) and ZDF (see
case study page 35).
Other examples of effective international
collaborations are Hoopla Doopla!,
produced by The Content Agency and
Beyond Productions for the Australian
Broadcasting Corporation and China’s
CCTV; the animated series Heidi, an
Australia-France co-production from

10 SCREEN PRODUCTION
 The LEGO® Movie. © Warner Bros. Ent./Village Roadshow Pictures/The LEGO Group

SCREEN PRODUCTION
11
 INTRODUCTION Documentaries out of Australia. More recently, Jennifer
Peedom’s feature documentary Sherpa:
to 60 million views on YouTube, making
it Australia’s most successful web series
Australia produces, on average, around
Trouble on Everest (Felix Media) took out launched that year. Another hit series,
INDUSTRY 360 hours of documentary programs per
year – 72 per cent made by independent
the London Film Festival prize for best The Katering Show, not only reeled in
OVERVIEW production companies and the rest in-
documentary. the audiences, but found national and
international acclaim, winning awards at
house by broadcasters. Digital and interactive
INDUSTRY These programs rate well with local Australian companies have a strong
both the Online Video Awards Australia
and New York Television Festival.17
STRENGTHS audiences, but the small size of the local track record in interactive and
Australia also has a dynamic and
market means Australian documentary multi-platform screen production.
sophisticated game development
WORKING WITH makers are also experienced in
international distribution and working
Brisbane-based Hoodlum, for example, industry, with experience in developing
THE AUSTRALIAN directly with broadcasters around the
has pioneered new pathways for
entertainment across film, TV, online and
and marketing products for the largest
game publishers in the world. See
INDUSTRY world. WTFN’s Bondi Vet, for example,
is aired in 20 countries, including the
social media with innovative extensions Austrade’s Industry Capability Report:
of hit international TV series, such as Digital Games for more information.
CASE STUDIES
US15, while WildBear’s feature-length
[Link], an alternative reality
documentary Big Red: Kangaroo King,
game for the hit US series Lost, and
made for the National Geographic
PRODUCTION channel, won the Gold Panda award
The Bourne Legacy online experience
Operation Intel. The company won
CENTRES AROUND at the 2015 Sichuan TV Festival.
WildBear also produced the series The
an International Emmy® Award for
AUSTRALIA War That Changed The World: The
Primeval Evolved, an online experience
that extended the stories, world and
Rise of Modern China, in partnership
MAKING
characters of ITV’s Primeval Season 3,
with China’s CCTV10 (see case study
and a BAFTA for Spooks Interactive,
CONNECTIONS page 33). History, nature and science
documentaries work particularly well
an online narrative adventure that took
audiences inside the world of the BBC
internationally. Northern Pictures’ Kakadu
spy drama Spooks. Hoodlum’s online
and Life on the Reef are other award-
extension for Australian series Dance
winning examples.
Academy took out the Kidscreen Award
Creative factual storytelling is a particular for Best Television Companion Site in
strength of Australian documentary both 2012 and 2013.16
makers. CJZ’s Go Back to Where You
At the other end of the scale, Australians
Came From (SBS) won an International
have gained the attention of viewers
Emmy® Award in 2013 and the 2012
across the globe for their innovative and
Rose d’Or as the best television program
hilarious online web content. In 2015,
in any genre, and is now the most
cult online video creators RackaRacka
awarded factual program ever to come
released Versus, which attracted close

12 SCREEN PRODUCTION
 Avengers: Age of Ultron. © Marvel Studios

SCREEN PRODUCTION
13
 INTRODUCTION PRODUCTIVE are currently being negotiated or finalised
with India, Denmark and Malaysia.18
Canada or the UK (see Sticky Pictures
case study page 35).

INDUSTRY PARTNERSHIPS One hundred and sixty-one official co- More information about the official
productions have gone into production co-production program is available from
OVERVIEW As a relatively small market, Australia is
experienced in working with industries in since the program began, mostly feature Screen Australia, the government
other countries through co-productions. films. France (with 32 projects made), agency that administers the program
INDUSTRY These may be: the UK (43) and Canada (56) have had (see page 39).

STRENGTHS • u
 nofficial partnerships between
agreements with Australia for more than
20 years and represent the highest level
Even where an official co-production
production companies, or between is not an option, Australian companies
of activity. Among Australia’s newest
WORKING WITH a production company and an partner countries there have been five co-
can be great partners in creating screen
content aimed at the international
THE AUSTRALIAN international broadcaster or distributor,
with mutually beneficial deal terms, or
productions with Singapore and four films
under the treaty with China, which only
market, as demonstrated by WildBear’s
INDUSTRY • o
 fficial co-productions (screenaustralia. covers feature films.19
documentary The War That Changed
the World: The Making of a New China
[Link]/coproductions) satisfying the
CASE STUDIES Chinese-Australian feature film Nest is (case study page 33) and Essential Media
requirements of formal agreements
due for completion in 2017 (see case and Entertainment’s children’s animation
between countries.
study page 32), while Australian director Sydney Sailboat (case study page 34).
PRODUCTION Working with and in Australia allows a Pauline Chan has been developing her
Donna Andrews, Sticky Pictures CEO
CENTRES AROUND production to draw on some of the world’s
best actors, directors and crews, as well
Mandarin-language romantic comedy My
Extraordinary Wedding as a co-production
(case study page 35), says the Australian
AUSTRALIA as tap into the skills and networks of well- with China. Chan and producer Deidre
industry in general has a strong reputation,
which makes it an appealing partner. “In
connected Australian producers. Partnering Kitcher formed the joint venture company
MAKING with an Australian company through an addition to being able to bring to the table
Opal Films International specifically to
official co-production can also give access some attractive tax offset packages, an
CONNECTIONS to the Producer Offset incentive (see
make co-productions, particularly with
China.20
Australian production company can access
Australian creative talent. We have a huge
‘Attractive incentives’, page 16).
Official co-productions recently made number of talented and experienced
Australia has co-production treaty for television include the Australia- script writers with international experience,
arrangements with Canada, China, Singapore mini-series Serangoon Road we have renowned directors, voice
Germany, Italy, Ireland, Israel, Korea, (Great Western Entertainment and Infinite actors, storyboard artists, character and
Singapore, South Africa and the Studios), which was shot in Indonesia and background designers, and we have world-
United Kingdom, and memoranda of Singapore with post-production in Perth class post-production facilities.”
understanding with France and New and Sydney, and the Australia-Canada
Zealand. Each co-production arrangement documentary JFK: The Smoking Gun (CJZ
is negotiated separately and they are not and Muse Entertainment). A significant
uniform, although there are commonalities amount of children’s programming is
between the arrangements. Agreements also made as co-productions, often with

14 SCREEN PRODUCTION
Essie Davis as Phryne Fisher in Miss Fisher’s Murder Mysteries. Courtesy of Every Cloud Productions. Photographer Ben King

“At its core, the

industry remains
a relationship
business where
global partners are
essential.”
Matthew Deaner, Chief Executive,
Screen Producers Australia21

SCREEN PRODUCTION 15
 INTRODUCTION ATTRACTIVE • L
 arge-budget offshore productions
that don’t have significant Australian

INDUSTRY INCENTIVES content can apply for the Location

Offset, which is worth 16.5 per cent
OVERVIEW At the national level, the Australian
Government offers producers attractive
of qualifying Australian production
expenditure.
rebates on the cost of film and television
INDUSTRY projects made in Australia. Not all
These three mutually exclusive offsets
comprise the Australian Screen
STRENGTHS expenditure qualifies, but accessing one
of these incentives can make a significant
Production Incentive, claimed as a
tax rebate to the producer through the
WORKING WITH difference to financing a project.
Australian taxation system once the

THE AUSTRALIAN • O
 fficial co-productions and projects
that can demonstrate ‘significant
project is completed. There is no cap on
the rebate amount received.
INDUSTRY Australian content’ can apply for
the Producer Offset, which gives
CASE STUDIES the Australian producer access to a Screen Australia (see page 39)
rebate worth 40 per cent of qualifying administers the Producer Offset.

PRODUCTION
Australian production expenditure for Department of Communications
feature films and 20 per cent for non- and the Arts (see page 39)
CENTRES AROUND features (such as television drama or administers the PDV and
AUSTRALIA documentary).
• P
 roductions that meet a minimum
Location offsets.
Key eligibility criteria and benefits
MAKING
expenditure threshold can apply for of each offset are summarised on
the PDV Offset, which is worth 30
CONNECTIONS
pages 40–41.
per cent of qualifying expenditure in
Australia on post-production, digital State and territory governments
and visual effects (PDV), whether the also offer incentives, which can
production shoots in Australia or not. be claimed on top of any national
The PDV Offset is particularly attractive incentive. For an overview, see
to animated productions, or those with ‘Around the states’, pages 42–46.
a strong post or VFX component.

16 SCREEN PRODUCTION
 The Law Family in The Family Law. Courtesy of Matchbox Pictures

SCREEN PRODUCTION
17
 INTRODUCTION WORLD-CLASS • A
 delaide Studios, in South Australia,
was launched in 2011. Operated by the
effects.24 “Australia has A-level talent in
every department of the post-production

INDUSTRY INFRASTRUCTURE South Australian Government, it has

hosted feature film The Babadook, the
process, from shooting through colour-
grading,” Aaron Dowling, Senior Vice-
OVERVIEW Production services new Wolf Creek TV series, Deadline
Gallipoli and Anzac Girls.
President of Feature Post-Production at
20th Century Fox, told Ausfilm in October
There are four main studio complexes

INDUSTRY around the country, and their credits In outback NSW, Broken Hill Studios 2015.25
speak for themselves (for more details see offers a distinctive facility utilising a huge
STRENGTHS ‘Around the states’, pages 42–46): abandoned power station in a unique
High-speed internet can facilitate remote
partnerships. Foley artist John Simpson, for
geographical location. Western Australia’s example, creates foley tracks for films from
WORKING WITH
• In Sydney, Fox Studios has hosted
Bunbury, 175km south of Perth, is The Hobbit to The Adventures of TinTin
such films such as Ridley Scott’s
THE AUSTRALIAN Alien: Covenant; The Wolverine and
establishing itself as a creative cluster, with
production company Vue Group planning
from his studio in the South Australian
desert26, while Sydney’s Trackdown
INDUSTRY X-Men Origins: Wolverine; Unbroken;
Superman Returns; Star Wars II & III;
to develop a studio and training facility scoring stage offers composers the ability
in the area in conjunction with China’s to plug themselves in remotely to hear an
The Matrix trilogy; Mission Impossible
CASE STUDIES II, as well as The Great Gatsby,
Shanghai Hippo Animation.22 A range of
smaller operations around Australia also
orchestra record their composition.
Australia and Moulin Rouge! Australia is particularly well known for its
cater for the needs of small to medium
PRODUCTION • O
 n Queensland’s Gold Coast, Village productions. animation and visual effects (VFX). Sydney

CENTRES AROUND Roadshow studios specialises in

water-themed productions, with Skilled crew are available in all states,
company Animal Logic, for example, was
responsible for the animation on Warner
AUSTRALIA credits including Thor: Ragnarok, Kong: including highly experienced production Bros’ successful The LEGO® Movie and
Skull Island, Pirates of the Caribbean: managers and fixers who can help with is now working on LEGO® Batman and
MAKING Dead Men Tell No Tales, San Andreas, setting up a production in Australia.
Australia represents international best
Ninjago, while its VFX division has taken

CONNECTIONS The Chronicles of Narnia: The Voyage on a large component of the effects for
of the Dawn Treader and Sanctum. practice in a number of areas including Ridley Scott’s Alien: Covenant (see case
Marvel’s Thor: Ragnarok was the production management and production study page 36). Adelaide company Rising
first production to use the studio’s accounting.23 Sun Pictures provided Oscar®-nominated
new ‘super-stage’, the largest in the Post-production and visual PDV services for X-Men: Days of Future
southern hemisphere at 40,000 effects services Past and has also contributed significantly
square feet, opened in May 2016. to X-Men: Apocalypse, while visual effects
There are more than 360 businesses and animation studio Iloura created the
• A
 t Melbourne’s Docklands studios,
around Australia delivering distinctive characters for Ted, Ted 2
productions have included
post-production, digital and visual effects and The SpongeBob Movie. Iloura was
Childhood’s End, The King’s Daughter
(PDV) services across picture and sound nominated for an Academy Award® for
(aka The Moon and the Sun), Knowing,
post including editing, design, music its VFX work on Mad Max: Fury Road.
The Pacific, Killer Elite, Don’t Be Afraid
composition and scoring, as well as
of the Dark, Where the Wild Things
animation, character generation and visual
Are, and I, Frankenstein.

18 SCREEN PRODUCTION
 Tim Minchin with camera operator, in a boat on location for The Secret River. Courtesy Ruby Entertainment

SCREEN PRODUCTION
19
 INTRODUCTION Academy Award® for
technical achievement
“Language can
INDUSTRY At the 2010 Scientific and Technical
Academy Awards, Sydney developer Alan obviously be a
OVERVIEW Rogers, along with Rising Sun Pictures co-
founder Tony Clark, and Neil Wilson and challenge on set,
INDUSTRY Rory McGregor of Rising Sun Research
but really, it’s all
STRENGTHS (now Cospective) received an Academy
Award® for Technical Achievement for their about relationships,
development of motion picture software
WORKING WITH cineSync. CineSync is a tool for remote building trust,
THE AUSTRALIAN collaboration allowing post-production
understanding
INDUSTRY
teams with members all over the world to
share visual effects material. Collaborators
can see exactly the same thing, no matter
everyone’s
CASE STUDIES where they are. expectations – then
PRODUCTION
Available through Wilson and McGregor’s
Adelaide-based company Cospective,
the ‘language of
CENTRES AROUND cineSync cites major film studios from
20th Century Fox to Warner Brothers,
film’ takes over.”
AUSTRALIA Marvel and Industrial Light and Magic Kimble Rendall, Director, Australia-
as users. Its list of credits includes Harry China co-production Nest

MAKING Potter, Spiderman, Batman, Superman, Iron

CONNECTIONS Man, Avatar and Inception. 27

20 SCREEN PRODUCTION
 Two kids bike ride in The Dragon Pearl. Courtesy of AMPCO Studios Pty Ltd

SCREEN PRODUCTION
21
 INTRODUCTION DIVERSE LOCATIONS to San Francisco up in Brisbane; we used
elements of the Gold Coast areas… It
looked to Australia and found what they
needed, shooting for six days in NSW

INDUSTRY AND TEMPERATE really helped a movie like ours that spans
a big travel distance.”28 More recently,
in 2015 at Maitland and Parramatta jails,
coordinated by Sydney’s Birdcage Films.31
OVERVIEW CLIMATES the tropical jungle locations accessible
Epic Chinese film Mountains May Depart,
from Village Roadshow studios were so
Australia’s geography offers landscapes from director Jia Zhangke, features
INDUSTRY
attractive to Kong: Skull Island, they were
from deserts to snowfields, mountains to Western Australia: shots of Perth’s Kings
written into the script, according to Screen
STRENGTHS beaches, forests to farmland. Its urban
environments can be found depicted
Queensland CEO Tracey Vieira.29
Park, the Wellington Street station and
suburbs either side of the Perth-to-
on film as New York, Tokyo, Miami, Paris, Mel Gibson’s World War II drama Hacksaw Fremantle train line. “The shoot just grew
WORKING WITH London, San Francisco, Los Angeles, and Ridge is set during the Battle of Okinawa, and grew,” Alan Lindsay from Vue Group

THE AUSTRALIAN even the futuristic cityscape of The Matrix. but the Japanese island of Okinawa wasn’t
suitable for filming due to its remoteness
told The West Australian in September
2015. “We were supposed to film for just
INDUSTRY The country’s weather is temperate
year round in most locations, even
and the fact that it was extensively rebuilt four days, then it went to eight and then
after the war. Looking for an escarpment finally 12.” A local crew of 65 put together
CASE STUDIES though patterns vary across the states.
The timezone is similar to Asia, making
to match Okinawa, the production
considered New Zealand and Hawaii, but
by Vue Group was joined by Jia and 62
Chinese actors and technicians.32
collaboration easy, and the time difference
PRODUCTION with the US and Europe can also be used
eventually chose locations south-west of
Sydney and regional NSW near Goulburn.
Online location finder tools are available

CENTRES AROUND to advantage.

The film shot on location and at Fox
through each state government film
agency. See ‘Around the states’, pages
AUSTRALIA When US blockbuster San Andreas shot
on Queensland’s Gold Coast in 2015,
Studios in Sydney in 2015-16.30
42–46.
Celebrated young Singaporean filmmaker
MAKING
Executive Producer Rob Cowan was
Boo Junfeng needed jail interiors and
impressed by the diversity of locations
CONNECTIONS
exteriors for his second feature, the drama
available, saying “we could get into
Apprentice. As it wasn’t possible to film in
farmland very quickly; we were able to
a jail in Singapore, the production team
shoot in a city that matched somewhat

22 SCREEN PRODUCTION
 “I can’t think of
anywhere else in
the world where it’s
as easy to film – and
then you’ve got the
most extraordinary
locations and the
most amazing
Australia’s Great Barrier Reef, from Life on the Reef. Courtesy of Northern Pictures

light… and you’ve

got all those
aspects within the
one country.”
Cate Blanchett33

SCREEN PRODUCTION 23
 INTRODUCTION DEVELOPMENT: Eligibility for the Producer Offset means
the Australian producer can contribute
• L
 ists of Australian producers, writers
and directors earning more than

INDUSTRY PARTNERSHIPS, guaranteed government funding. This is

worth up to 40 per cent of production
US$20 million at the global box office
– published in Screen Australia’s
OVERVIEW CO-PRODUCTIONS expenditure for a feature film, or 20 per Doing Business with Australia guide

AND CO-FINANCING
cent for other projects. The project may [Link]/business/

INDUSTRY Key benefits

also be eligible for funding from Screen
Australia and state government agencies.
• A
 wards for Australian screen content.
Browse the lists and find production
STRENGTHS • C
 ollaborate with Australian creative
See ‘Incentives summary’ page 41. details in the Screen Guide database
Resources [Link]/festivals-and-
WORKING WITH talent. Australia’s award-winning
screen storytellers have a lot to offer, Investigate Australia’s official
awards

THE AUSTRALIAN and collaboration from the beginning co-production program

• C
 ontact Australia’s professional
associations for producers, writers and
INDUSTRY not only makes for a better project,
but can also create professional • G
 uidelines, statistics, partner countries, directors:
development opportunities as well. titles lists Australian Writers’ Guild [Link]
CASE STUDIES • M
 ake mutually relevant content for
[Link]/coproductions Australian Directors Guild [Link]

domestic markets. Working together • D

 oing Business with Australia guide • S
 creen Producers Australia
PRODUCTION on the development of a screen [Link]/business/ [Link]

CENTRES AROUND project can ensure it meets the needs

of both production partners.
Browse online resources and

AUSTRALIA
organisations for potential partners
• E
 nhance international distribution. • T
 he Screen Guide. Search for titles
Australian producers, directors and
MAKING writers have experience, expertise
and check out who made them
[Link]/the-screen-guide
CONNECTIONS and extensive international contacts
in some of the world’s most significant
• A
 ustralia on Screen website. Explore
information on Australians who have
markets.
attended international film festivals
• A
 ccess Australian government and markets each year. For example,
incentives. The Producer Offset the Cannes section of the site profiles
applies to projects that are: a range of Australian feature producers
- an official co-production, or and distributors, or you can browse
- a partnership at development producers who attended major
stage that results in a project with television markets like MIPCOM
‘significant Australian content’. and MIPTV
[Link]

24 SCREEN PRODUCTION
 Mad Max: Fury Road. Image courtesy of Kennedy Miller Mitchell

SCREEN PRODUCTION
25
 INTRODUCTION Connect with Australians • Key international markets:
- Each year Australian producers
-S
 tay in touch by subscribing to
Ausfilm and Screen Australia
• In Australia:
newsletters – see ‘Making
INDUSTRY - At Screen Forever, Screen Producers
attend Cannes Film Market, Toronto,
European Film Market (Berlin), connections’, page 48.
OVERVIEW Australia’s annual conference,
November each year.
MIPTV, MIPCOM, Hot Docs, Sunny
Side of the Doc, Asian Side of the
One of the largest congregations of
INDUSTRY screen industry professionals in the
Doc, World Congress of Science
and Factual Producers, Kidscreen,
STRENGTHS Southern Hemisphere and attended
by the who’s who in Australian
Asian Animation Summit, Asian
Television Forum, Asian Project
WORKING WITH
screen business. This includes
Market, Hong Kong Film Market,
the International Partnerships
THE AUSTRALIAN Market (IPM), a selective event
FICCI Frames and Goa Film Bazaar.
Screen Australia supports Australian
INDUSTRY matching Australian producers with
international businesses interested
producers at many of these markets,
[Link] provides
in co-venture and co-production
CASE STUDIES opportunities
information on who’s attending
[Link] - Ausfilm Week in Los Angeles is held

PRODUCTION - At the Australian International

annually in October for Australian
screen production businesses. It
CENTRES AROUND Documentary Conference, February/ comprises a program of business
AUSTRALIA March each year. The Asia-Pacific’s
premier event for documentary,
development networking events,
industry meetings and seminars, with
specialist factual and unscripted
MAKING
the intention of bringing production
entertainment to Australia
CONNECTIONS [Link] [Link]/what-we-do/events
- At Ausfilm’s Australian Familiarisation - Special delegations of Australian
Program for international filmmakers screen producers or businesses are
wanting to learn more about organised each year. For example,
Australia’s locations, sound stages, Ausfilm and Screen Australia have
VFX studios and post facilities. partnered on the China Australia
This inbound program is open to Film Industry Exchange program of
all filmmakers through an roundtable meetings and networking
application process. events for the last seven years, and
info@[Link] four Australian production companies
were invited by the Korean Trade
Commission to attend Korea’s
Cartoon Connection 2016

26 SCREEN PRODUCTION
 Training and development opportunities
Partnerships and co-productions can provide great
learning opportunities – for both partners. There are also
formal education and training institutions in Australia that
accept international students.
 he Australian Film, Television and Radio School
T
(AFTRS) is Australia’s national screen arts and broadcast
educational institution, located in Sydney.
[Link]
Other well-known tertiary-level film schools include:
• S
 winburne University of Technology in Melbourne
[Link]/study/find-a-course/film-television/
• V
 ictorian College of the Arts (VCA) at the University
of Melbourne
[Link]/
• G
 riffith Film School, at Griffith University in south-east
Queensland
[Link]/visual-creative-arts/queensland-college-art/
studios/griffith-film-school
Portrait from Dragon Pearl. Courtesy of AMPCO Studios Pty Ltd

A range of private colleges also offer training in film and

television production.
The Australian Government’s ‘Study in Australia’ website
provides a range of resources for international students.
See [Link]

SCREEN PRODUCTION 27
 INTRODUCTION PRODUCTION: Resources • L
 ocal incentives, see ‘Around the states’
page pages 42-46.
Explore online location and
INDUSTRY MAKING IT IN production services directories Connect with Australians

OVERVIEW AUSTRALIA • A
 usfilm offers a locations overview and • A
 usfilm is a good place to start
directory of its members [Link]/why-film-in-australia/
Whether a project has been developed in
INDUSTRY
[Link]/why-film-in-australia/ • C
 ontact the staff of state government
conjunction with an Australian partner, or
work-with-the-best/ agencies. They have an interest in
STRENGTHS the producer just wants to take advantage
of Australia’s film-friendly production • S
 tate government screen agencies attracting production to their state, and
environment, making it in Australia can generally provide both location and will often provide customised advice
WORKING WITH be a rewarding experience, from pre- production services directories. See and support to supplement their

THE AUSTRALIAN production all the way to the final cut. ‘Around the states’ pages 42-46
• T
 he Production Book is an industry
online directories, especially if you’re
planning to spend a significant amount
INDUSTRY Key benefits
directory covering both locations and in their locations
• F
 ind all the right locations. Few services • U
 tilise local talent. Experienced
CASE STUDIES countries offer such location diversity [Link] Australian line producers, production
managers, post-production supervisors
in combination with professional • E
 ncore Directory provides a
PRODUCTION infrastructure and lifestyle benefits comprehensive subscription-based and fixers can help pull it all together

CENTRES AROUND • W
 ork with the best. Australian directory of production services • C
 ontact Australia’s screen industry
production companies, production [Link] guilds and professional associations
AUSTRALIA managers and talented local crews
Investigate incentives
See ‘Making connections’, page 48.
are professional, experienced and

MAKING responsive to the needs of each project • P

 roducer Offset (official co-productions

CONNECTIONS • C
 ome for the post-production talent.
Whether you shoot in Australia or not,
and projects with ‘significant Australian
content’ only), see ‘Incentives “I know people say
work with award-winning Australian VFX summary’ page 40
Guidelines, statistics, supporting
‘oh, it was great…’
houses, editors, composers and more
• T ake advantage of financial incentives.
material: but honestly, this
[Link]/producer_offset
Depending on how much you’re
spending and where, you can access
Doing Business with Australia guide: was as smooth a
state government incentives as well as
[Link]/business/
• L
 ocation and PDV Offsets, see
process as a feature
one of the national offsets (see pages
40-41). The 30 per cent PDV Offset ‘Incentives summary’ page 41 film could be.”
can make a big difference to animation [Link]/funding-and-support/tax- Lori J. Nelson, Co-producer/VFX
projects or those with a significant rebates-film-and-television-producers Producer, The Spongebob Movie:
visual effects component. Sponge out of Water34

28 SCREEN PRODUCTION
 Cleverman (Season One) L-R Stef Dawson (Ash), Rob Collins (Waruu), Hunter Page-Lochard (Koen), Iain Glen (Slade),
Tyson Towney (Djukara), Courtesy: Goalpost Pictures Australia, Photographer: LIsa Tomasetti

SCREEN PRODUCTION
29
 INTRODUCTION SALES AND Did you know?

INDUSTRY DISTRIBUTION: • A
 ustralia produced the world’s first • International features and TV

OVERVIEW Australian content for international

audiences
feature-length film – 1906’s The
Story of the Kelly Gang.35
drama productions spent $418
million in Australia in 2014/15
and co-productions with
INDUSTRY Key benefits • A
 ustralian filmmakers have been
nominated for Academy Awards® Australian companies spent a
STRENGTHS • A
 ccess new release Australian films
and TV content
every year since 1992, with a further $21 million.40
record eight Australians taking • A
 ustralia’s national government

WORKING WITH • L
 icense a distinctive Australian format
for a new market
home an Oscar® in five categories
at the 2015 Awards.36
provided rebates worth an
estimated $69.4 million to films
THE AUSTRALIAN • P
 ick up classics from Australia’s • A
 ustralia is no. 3 in the world and TV drama certified for the
INDUSTRY extensive back catalogue in terms of cinema admissions Location and PDV Offsets in
2014/15. Most rebates went to
Resources per capita. Even though it has

CASE STUDIES a relatively small population international projects, many of

• L
 ook out for new Australian content at (ranked 56 in the world)37, its which would have benefited from
international markets cinema box office is the 10th state incentives as well.41
PRODUCTION [Link] largest in the world.38 • A
 ustralia is a diverse multicultural
CENTRES AROUND • S
 earch for titles you’re interested in • S
 creen production activity worth nation. 43 per cent of the country’s

AUSTRALIA and check out who made them around $3 billion was generated population was either born
[Link]/the- by Australian production and overseas or has at least one parent
screen-guide post-production businesses in who was born overseas. Although
MAKING • B
 rowse lists of awards and festival 2011/12, including $540 million the official language is English,

CONNECTIONS screenings for Australian titles, and find

production details in the Screen Guide
for feature films and $2 billion for
television programs.39
around 19 per cent speak another
language at home.42
database
[Link]/festivals-
and-awards
• C
 ontact distributors and sales agents
in your territory

30 SCREEN PRODUCTION
 Ali’s Wedding. Courtesy of Matchbox Pictures.

SCREEN PRODUCTION
31
 Feature Film
Nest, Arclight Films, Darclight, Easternlight
Australia’s Arclight Films has partnered Nest was primarily shot at Village
with China’s Loongs United Investment Roadshow Studios on the Gold Coast,
Company Ltd to make Australian director with VFX created by Cutting Edge and
Kimble Rendall’s 3D horror/thriller Nest. the Oscar®-nominated Rising Sun Pictures
Rendall previously directed Bait 3D, an (X-Men: Days of Future Past, The Great
Australia-Singapore co-production that Gatsby). The film was due to shoot
took over US$25 million at the Chinese additional footage in China in mid-2016.
box office in 2012. Nest is the largest
Kimble Rendall was looking forward to
China-Australia co-production to date, and
filming on location in China again, after his
stars Chinese megastar Li Bingbing (also
experience with Bait 3D. “I loved working
a producer), as well as Kellan Lutz, Kelsey
with the Chinese… I like their input, their
Grammer and Australia’s Shane Jacobson.
ideas, their vision – and their domestic
“Local Chinese films rarely penetrate the marketing is extraordinary.”45 Nest is due
international market,” says Arclight CEO to release in mid-2017, with Darclight,
Gary Hamilton. “Their greatest chance the genre-driven label of Arclight Films,
of wide international releases lies in handling worldwide sales.
partnering with Western companies to
Arclight has formed a new division,
create powerful and solid international
Chinalight, specifically to co-develop,
co-productions.”43 Gary sees Australia as
co-finance and co-produce Australian-
an ideal partner. “In addition to our long
Chinese feature films, drawing on the
collaborative history, we offer great financial
contacts, experience and networks
incentives that allow films to cover the
established by its Asian arm, Easternlight.
majority of their budgets from Australia
Arclight also announced a co-venture with
and China, putting less pressure on the
China’s Huace Group in 2015, to develop,
international marketplace, and providing
finance and produce a slate of high-
producers more creative freedom.”44
concept international co-productions.46
[Link]
Nest. Courtesy of Nest Film Sleeping Otters Productions Pty Ltd

32 SCREEN PRODUCTION
Documentary
The War That Changed the World, WildBear Entertainment
Australian production company WildBear international sales connections but also our
Entertainment has built partnerships in China documentary storytelling skills.” WildBear
over many years. “It’s about listening as much developed the editorial storyline and worked
as ‘pitching’,” says CEO Michael Tear. collaboratively with the Chinese, sharing
concepts and building confidence.
His first production for China was The Story
of Australia, a six-part series for documentary Launching the program in Sydney in 2016,
channel CCTV9 in 2012. Other projects Kan Zhaojiang, general director of CCTV10,
include the series We Are Young (aka noted “what we are most pleased about
Student Swap) with Chinese production is that our high level of involvement has
company LIC for CCTV2, which tracked four delivered a unique film, one that mixes a
Australian high-school students in China, and distinctive Chinese voice with international
four Chinese students in Australia. We Are sensibilities, to ensure a pivotal time in
Young reportedly reached an audience of our history is told accurately and in an
over 270 million in China. informative and compelling manner”.
In 2016, WildBear completed a landmark The series was broadcast on CCTV and on
project in partnership with CCTV10. The War FOXTEL’s History Channel in Australia. Both
That Changed the World: The Making of a WildBear and CCTV10 will share in revenue
New China is a two-part historical series from international sales, which are being
about China’s experience of World War handled in Europe by Wild Thring Media, and
II, in particular the conflict between China in Asia by Angelina Wang, CCTV’s manager
and Japan, and how that war gave rise to of international sales.
modern China. [Link]
“They wanted to work with us to help them
bring this story to the international market,”
says Michael Tear. “This involved not just our

The War That Changed the World. Courtesy of WildBear Entertainment

SCREEN PRODUCTION 33
 Children’s Programming
Sydney Sailboat, Essential Media and Entertainment
Essential Media and Entertainment’s Sydney Raydar UK are handling licensing and
Sailboat is an animated pre-school series merchandising outside Australia. “We’re
produced in partnership with Malaysia’s having a lot of conversations around toy
Ideate Media, Telegael Ireland, and Lemon development, so we’re excited about those,
Sky Games and Animation of Malaysia. along with other licence and merchandise
possibilities” said Carmel.
Commissioned by Australia’s national public
broadcaster, ABC, it premiered in Australia in The series director is Steve Trenbirth, and
March 2015 and rapidly became one of ABC concept creator is Gareth Eden-Styche of
KIDS top performers, viewed by more than 50 Shambles Communications. The project was
per cent of the available pre-school audience. developed and produced in association with
the ABC and Screen NSW.
The series launched in the US in September
after being picked up by NBC Kids Essential Media and Entertainment is one
Sprout!, and in March 2016 was bought by of Australia’s leading producers of screen
Sony Pictures Television for its UK-based content for both local and international
pre-school channel Tiny Pop in a deal audiences. Headquartered in Sydney,
encompassing all broadcast rights in the UK, Essential also maintains offices in Brisbane,
South Africa and 50 other territories. A sale to Los Angeles and Toronto. International
Hulu US has also been announced, with more partners include BBC, National Geographic,
sales pending in Asia. PBS, Discovery Networks, Sundance, History
Channel, Arte, Netflix and Fox Network.
Series Producer and Head of Family
Entertainment Carmel Travers said Essential Recent successes include award-winning
was “thrilled that young children in these drama series Rake and Jack Irish, the natural
new territories will discover Sydney Sailboat history series Australia: The Time Travellers
and are confident that audiences will engage Guide and lifestyle hits Gourmet Farmer and
enthusiastically with the universal characters Shane Delia’s Spice Journey.
and storylines”. [Link]

Sydney Sailboat. Courtesy of Essential Media and Entertainment

34 SCREEN PRODUCTION
Children’s Programming
Co-production success, Sticky Pictures
Sticky Pictures, a Sydney-based production in 2013. Animated comedy Pirate Express
company specialising in children’s was co-produced with Canada’s Atomic
programming, has made many successful Cartoons, and aired on Channel Nine’s GO!
co-productions. Awarded Children’s TV in July 2015 and Teletoon in Canada.
Producer of the Year by Screen Producers
Sticky’s latest animated series, Winston
Australia in 2011, the company is headed
Steinburger & Sir Dudley Ding Dong, is an
by Donna Andrews and Stu Connolly. Their
official Australia-Canada co-production with
programs have sold to more than 100
eOne Family (Canada) for ABC and Teletoon,
countries.
due to launch in September 2016. “It’s a
Since it was established over a decade ago, fast-paced, high-energy animated comedy
Sticky has formed close partnerships with about a space kid, his crazy cat and a highly-
international production companies as well strung alien,” says Stu Connolly. “It’s bursting
as broadcasters. It has produced a number with colour, adventure and snappy dialogue,
of long-form series, including perennial and we hope it will prove a hit with kids
favourite Pearlie (co-produced with Canada’s worldwide.”
Nelvana Studios) and live action comedy
“A number of our shows have sold into
Me & My Monsters (made in partnership
Asia – in particular the animated series
with Tiger Aspect Productions and the Jim
Pearlie based on Wendy Harmer’s books
Henson Company [UK] for broadcasters BBC,
of the same name, and The Dukes of
Network Ten, Nickelodeon and ZDF).
Bröxstônia, which was co-commissioned by
Other Sticky projects include three seasons Cartoon Network Asia,” says Felicity Abbott,
of the animated series Dukes of Bröxstônia, Sticky’s Production Manager. “We see
airing on ABC3 and Cartoon Network Asia, definite potential for further growth in Asian
which was selected for Annecy Animation partnerships.”
Festival and named Children’s TV Production [Link]
of the Year by Screen Producers Australia

Me & My Monsters. Copyright 2010 Tiger Aspect Productions/The Jim Henson Company/Sticky Pictures Pty Ltd

SCREEN PRODUCTION 35
 Animation and Visual Effects
Animal Logic. The magic-makers.
With over 25 years experience, Animal Logic Brown supervised the company’s slate of
Studios (ALS) is one of the world’s most over 600 shots for The Great Gatsby, which
highly regarded digital production studios, took a team of 175 artists over 18 months to
creating award-winning design, animation produce. In painstaking detail they recreated
and visual effects for the film and television iconic locations such as 1920s Times Square,
industries. Long Island and Manhattan.
Some of its credits include The LEGO® Marvel’s VFX Supervisor, Chris Townsend
Movie, Avengers: Age of Ultron, Insurgent, (Avengers: Age of Ultron), is a fan, saying
The Divergent Series: Allegiant, Walking with “Animal Logic is incredibly skilled at creating
Dinosaurs: The Movie, The Great Gatsby, things you’ve never seen before. They’re very
The Matrix, Legend of the Guardians: The aware of storytelling and the fluidity of the
Owls of Ga’Hoole, 300, Happy Feet and cut and the way things change constantly in
House of Flying Daggers. Mid-2016 saw the Marvel’s world.”48
Sydney studio in production on animated
In 2015, Animal Logic expanded its
features The LEGO® Batman Movie (2017)
operations into Vancouver, opening a second
and The LEGO® Ninjago Movie (2017), as
animation studio. The newly established
well as visual FX for Guardians of the Galaxy:
Animal Logic Vancouver is an exclusive
Volume 2 (2017) and Alien: Covenant (2017).
partnership with Warner Bros. It’s part of
Animal Logic’s award-winning VFX an initial three-picture deal to make The
Supervisor Andy Brown credits Australians’ LEGO® Movie sequel (2019) and two yet
success to their can-do attitude and adds, to be announced animated features, with a
“we’re adaptable, we’re very creative and keen eye to collaborating on other animated
we’re competitive”.47 projects in the future.
[Link]

The LEGO® Movie. © Warner Bros. Ent./Village Roadshow Pictures/The LEGO Group

36 SCREEN PRODUCTION
 Nowhere Boys Series 2. Courtesy of Matchbox Pictures

SCREEN PRODUCTION
37
 INTRODUCTION PRODUCTION CENTRES AROUND AUSTRALIA
INDUSTRY
OVERVIEW DARWIN

INDUSTRY
STRENGTHS
WORKING WITH
THE AUSTRALIAN NORTHERN
TERRITORY
INDUSTRY
CASE STUDIES ALICE QUEENSLAND
SPRINGS
PRODUCTION WESTERN
CENTRES AROUND AUSTRALIA
BRISBANE

AUSTRALIA GOLD COAST

SOUTH VILLAGE

MAKING BROKEN HILL ROADSHOW

AUSTRALIA STUDIOS STUDIOS

CONNECTIONS PERTH NEW SOUTH

WALES
BUNBURY SYDNEY
ADELAIDE FOX
ADELAIDE CANBERRA STUDIOS
STUDIOS AUSTRALIA

VICTORIA MELBOURNE
DOCKLANDS
STUDIOS

TASMANIA
HOBART

38 SCREEN PRODUCTION
KEY NATIONAL Stay in touch:
• News subscriptions screenaustralia.
GOVERNMENT-INDUSTRY PROFESSIONAL
PARTNERSHIP ORGANISATIONS
ORGANISATIONS [Link]/sa/about-us/subscribe-to-
Organisations representing Australian
newsletters AUSFILM
GOVERNMENT AGENCIES • Social media [Link]/Screen- A partnership between the production
producers, writers, directors and other
screen practitioners are useful sources of
SCREEN AUSTRALIA Australia | [Link]/ScreenAustralia services industry and government,
information and contacts, as are umbrella
Ausfilm is the organisation for facilitating
With headquarters in Sydney and an DEPARTMENT OF organisations for cinema distributors and
international screen production in Australia.
office in Melbourne, Screen Australia COMMUNICATIONS AND THE ARTS broadcasters. A full listing is available
Its members comprise Australia’s federal
is the Australian Government agency Based in Canberra, the Australian under ‘Making connections’ page 48.
and state government agencies, the major
responsible for providing funds and Government’s Department of studio complexes, production service
other support for the nation’s film and Communications and the Arts develops providers and leading post, visual effects
television industry. Direct funding is and administers the Australian and sound/music studios. Ausfilm has
only available to Australian projects Government’s programs and policies offices in Sydney at Fox Studios and in Los
and official co-productions, but the supporting Australia’s cultural industries, Angeles, USA.
international production community can including film and television production.
benefit from a range of other services Go to [Link] for:
Go to the [Link] website for:
and online resources. • a
 n overview of the benefits of Australia
• a
 pplications and guidelines for the as a production destination
Go to the Screen Australia website for:
Location Offset or the PDV Offset
• d
 etailed information about the • member directory
[Link]/funding-and-support/tax-
Producer Offset and Australia’s rebates-film-and-television-producers • location photo gallery.
international co-production program, Contact Ausfilm for:
• a
 pplications for the Foreign Actor
both of which are administered by the
Certification scheme (for screen • a
 dvice about all aspects of filming in
agency
performers entering Australia to work Australia, or completing post-production/
[Link]/producer_offset
on film and television productions) music or sound production
[Link]/coproductions
[Link]/publications/guidelines- • referrals to Australian creative talent,
• s tatistics and information resources entry-australia-foreign-actors-purpose- technical and producing personnel
about the Australian screen industry employment-film-and-television-
[Link]/fact-finders • information on immigration and import
productions
regulations and procedures
• T
 he Screen Guide – an online • e
 nquiries about potential new co-
database of thousands of Australian • e
 vents and publications profiling
production partner countries
films and television programs, Australian production talent.
[Link]/what-we-do/screen/
including key creatives, production australian-international-co-production- Stay in touch:
companies and sales contacts program. • N
 ews [Link]/our-channel/
[Link]/the-screen- subscribe/
guide
• S
 ocial media [Link]/ausfilm |
[Link]/ausfilm

SCREEN PRODUCTION 39
 INTRODUCTION INCENTIVES
INDUSTRY SUMMARY
OVERVIEW PROGRAM ELIGIBILITY BENEFIT
OFFICIAL CO-PRODUCTION
INDUSTRY
• T
 here must be a formal Arrangement • E
 ligible for the Producer Offset (see
Screen Australia is the Australian (treaty or memorandum of below)
STRENGTHS Competent Authority administering the
official co-production program
understanding) in place between
Australia and the partner country
• P
 roduction is treated as ‘Australian
content’ for the purpose of TV quotas
WORKING WITH [Link]/coproductions • S
 creen Australia and the partner • E
 ligible for Screen Australia and state

THE AUSTRALIAN
country Competent Authority must agency support as an ‘Australian’
approve the film as an official co- production.
INDUSTRY production under the terms of the
relevant Arrangement.

CASE STUDIES NATIONAL INCENTIVES

[mutually exclusive – only one may be claimed]
ELIGIBILITY BENEFIT

PRODUCTION PRODUCER OFFSET

Administered by Screen Australia
• M
 ust be an official co-production (see
above)
• R
 efundable tax offset that means
the Australian producer can bring
CENTRES AROUND [Link]/producer_offset OR guaranteed finance to the production,
AUSTRALIA Must meet a significant Australian
content (SAC) test if not an official co-
worth up to:
-4
 0% of qualifying Australian
MAKING production production expenditure (QAPE) for

CONNECTIONS
• M
 ust meet minimum expenditure feature films
thresholds, and minimum format -2
 0% of QAPE for other content
lengths, depending on the type of (Offset is claimed by the Australian
project producer via an Australian
• M
 ust meet requirements for public applicant company)
release, including theatrical release for
• E
 ligible for Screen Australia and state
the 40% offset for feature films.
agency support as an Australian
Applicant must be an Australian
production.
resident company under Australian
taxation law.

40 SCREEN PRODUCTION
NATIONAL INCENTIVES ELIGIBILITY BENEFIT
[mutually exclusive – only one may be claimed]
POST, DIGITAL AND VISUAL EFFECTS • M
 ust meet minimum Qualifying • R
 efundable tax offset of 30% of
(PDV) OFFSET Australian Production Expenditure QAPE on Australian PDV services.
Administered by the Department of (QAPE) threshold of $500,000 on PDV
Communications and the Arts services
[Link]/funding-and-support/tax- • No requirement for Australian content
rebates-film-and-television-producers
• N
 o requirement to be an official co-
production
• A
 pplicant must be an Australian
resident company under Australian
taxation law or a foreign company with
an Australian Business Number (ABN)
that is operating with a permanent
establishment in Australia.
LOCATION OFFSET • M
 ust meet minimum QAPE threshold • R
 efundable tax offset of 16.5%
Administered by the Department of of $15,000,000 of QAPE.
Communications and the Arts • No requirement for Australian content
[Link]/funding-and-support/tax-
• N
 o requirement to be an official co-
rebates-film-and-television-producers
production
• A
 pplicant must be an Australian
resident company under Australian
taxation law or a foreign company with
an Australian Business Number (ABN)
that is operating with a permanent
establishment in Australia.
STATE INCENTIVES ELIGIBILITY BENEFIT
PRODUCTION ATTRACTION  equire production expenditure in the • Various cash and facility deals as well
• R
INCENTIVES state; minimum expenditure thresholds as payroll exemptions and production
Various state government agencies. and other criteria may apply. support
For further information, see the state • C
 an be accessed in addition to one
listings on pages 42–46 in this report. of the national incentives.

SCREEN PRODUCTION 41
 INTRODUCTION AROUND THE STATES Fox Studios, Sydney

INDUSTRY NEW SOUTH WALES (NSW) Located close to the Sydney CBD, airport and city beaches, Fox Studios is

OVERVIEW There are around 1,400 screen

production businesses and 200
one of the largest end-to-end production facilities in the southern hemisphere,
accommodating full length feature films, television, special events, commercials,
music videos, still shoots and a variety of other projects.
INDUSTRY
post-production businesses in NSW,
accounting for more than half the The eight sound stages include two MEGA stages, ranging from 705sqm
STRENGTHS companies in the sector.49 (7,586sft) to 3,535sqm (38,000sft) and an interior water tank. The stages are
Main centre: Sydney (state capital) – supported by production offices, construction workshops, catering, make-up and
WORKING WITH a UNESCO ‘city of film’ art department facilities, screening rooms, storage, parking and 24-hour security.

THE AUSTRALIAN [Link]/business/city-

spaces/filming
The complex contains a creative community of more than 60 screen production

INDUSTRY State government agency:

businesses covering lighting, visual effects, music and sound post-production,
cyclorama, equipment rental, editing, event production, film distribution,
marketing and more. The studios also offer a suite of production services
CASE STUDIES
Screen NSW
[Link] including government liaison, rebate and incentive facilitation, production
budgeting and scheduling, assistance with casting and crewing, immigration
PRODUCTION Incentives: support, and production accounting, payroll and legal services.

CENTRES AROUND • N
 SW Film & Television Industry
Attraction Program (FIAP): generally
Production credits include: Alien: Covenant; The Wolverine and X-Men Origins:

AUSTRALIA
Wolverine; Unbroken; Superman Returns; Star Wars II & III; The Matrix trilogy;
in the range of 4-5 per cent of Mission Impossible II, as well as The Great Gatsby, Australia and Moulin Rouge!.
the Qualifying NSW Production
[Link]
MAKING Expenditure, depending on the project
Broken Hill Studios, far western NSW
CONNECTIONS • New $20 million ‘Made in NSW’ fund
announced June 2016 The town of Broken Hill, in far western NSW, has a rich filming history that has
[Link]/funding/incentives/ featured in films such as Wake In Fright, Priscilla Queen of the Desert, Mission
MADE+IN+NSW+%E2%80%93+INTE Impossible II and Mad Max II.
RNATIONAL+FOOTLOOSE+PRODUC
TION+ Opened in 2011, Broken Hill Studios were formally known as the Central Power
Station and contain atmospheric buildings including two enormous, cathedral-
Other support: Location Scouts and
like former power generating stations. The site covers around 2.5 hectares.
Inbounds Program; ReelScout locations
Station B was the first section to be redeveloped and is now the 5th largest
directory.
studio in Australia: 2230 square meters and 14 meters high; 3 phase power
Events: Sydney Film Festival (June each supply with ancillary areas including catering and wardrobe facilities
year); Vivid Sydney (May-June). [Link]/film-broken-hill

42 SCREEN PRODUCTION
VICTORIA Other support: Assistance with location
breakdowns and surveys, accessing Docklands Studios, Melbourne
Around 600 screen production production personnel, as well as
businesses and 126 post-production travel and working information. Online Five minutes from the CBD, Docklands Studios is a purpose-built studio
businesses have offices in Victoria.50 locations gallery and crew directory. complex comprising five state-of-the-art sound stages ranging in size from 743
square meters (8,000 square feet) to 2,323 square meters (25,000 square
The state produces more than half of Events: Melbourne International Film feet). Each stage houses production support facilities, including make-up,
Australia’s television drama, including Festival and 37° South Market (July/ dressing rooms and storage. The upper floors house self-contained production
the recent international success August), Australian International offices. The stages are supported by a 6,680 square meters (69,448 square
stories Miss Fisher’s Murder Mysteries Documentary Conference (Feb/March), feet) warehouse building containing construction workshops and storage.
and Wentworth, as well as US-based Screen Producers Australia – Screen
productions such as NBCU miniseries Forever Conference (November). Studio facilities can accommodate production teams and art departments
Childhood’s End and Hunters, and the with or without stage hire.
third season of HBO’s The Leftovers. Production credits include Childhood’s End, The King’s Daughter (aka The
Main centre: Melbourne (state capital) Moon and the Sun), I, Frankenstein, Knowing, The Pacific, Killer Elite, Don’t Be
Afraid of the Dark and Where the Wild Things Are.
State government agency: Film Victoria
[Link]/choose-victoria [Link]

Incentives:
• P
 roduction Investment Attraction Fund
(PIAF) cash rebate on a minimum
production $3.5 million and/or post-
production/VFX spend of $1 million.
Low-budget international productions
may also be eligible under certain
conditions.
• R
 egional Location Assistance Fund
(RLAF) to encourage filming in areas
outside Melbourne’s metropolitan area.
Projects must shoot five or more days
in regional Victoria to be eligible to
apply for this fund, which assists by
offsetting some of the incurred costs
when filming in regional areas such as
accommodation and travel.

SCREEN PRODUCTION 43
 INTRODUCTION QUEENSLAND • Incentive Grant up to $100,000 based
on regional spend and employment Village Roadshow Studios,
Around 250 screen production opportunities
INDUSTRY
Gold Coast
businesses and 34 post-production
• P
 DV incentive capped at $250,000 for
OVERVIEW businesses have offices in Queensland.51 Based at Oxenford on the Gold
a minimum PDV spend of $500,000 in
Coast, Village Roadshow Studios
State capital: Brisbane Queensland
currently comprise nine sound
INDUSTRY Main centre: City of Gold Coast [Link]/production/ stages, including Australia’s

STRENGTHS 80 per cent of Queensland crew live

production-attraction biggest, at 40,000 square feet.
There are three water tanks
and work in the Gold Coast region. The City of Gold Coast also offers a Film
(including the largest purpose-
WORKING WITH film-friendly city council offers financial Assistance Program independent of
incentives provided through Screen built film water tank in Australia),
THE AUSTRALIAN incentives and support throughout
production. Australia and Screen Queensland. production offices, editing suites,

INDUSTRY State government agency: Screen

Assistance depends on factors such
as production duration and economic
wardrobe, makeup, construction
workshops, paint and carpentry
Queensland [Link] shops.
CASE STUDIES
impact, and caps depend on value of
Incentives: Screen Queensland production undertaken on the Gold Coast, The studios also offer a support
offers a Production Attraction Program from $30,000 (for spend $1.5-3 million) to network of onsite tenants that
PRODUCTION for projects with a minimum $3.5 million $100,000 (for spend over $25 million) can provide lighting, cameras,
CENTRES AROUND Queensland Production Expenditure [Link] freight, travel, accommodation,

AUSTRALIA
(QPE): Other support: Screen Queensland casting, training, post production
online directory of crew and head and production services.
• production
 grant based on anticipated
creatives, facilities and locations. Also
MAKING QPE, engagement of Queensland
practitioners, and/or creation of available as an iPhone app.
Production credits include: Thor:
Ragnarok, Kong: Skull Island,
CONNECTIONS infrastructure in Queensland Events: Asia Pacific Screen Awards Pirates of the Caribbean: Dead
• location and scouting assistance (November), Brisbane Asia-Pacific Men Tell No Tales, Nest, San
based on anticipated QPE Film Festival (November), Australian Andreas, The Chronicles of
International Movie Convention Narnia: The Voyage of the Dawn
• state payroll tax rebate
(October). Treader, and Sanctum.
• Regional Statewide
[Link]

44 SCREEN PRODUCTION
SOUTH AUSTRALIA
Adelaide Studios, Adelaide SA
Around 90 screen production businesses
and 12 post-production businesses have Adelaide Studios is a creative hub of screen businesses as well as a screen
offices in South Australia.52 production facility owned by the state government of South Australia and
operated by the state’s screen agency, the South Australian Film Corporation.
Main centre: Adelaide (state capital)
Located 20 minutes from Adelaide’s International Airport and five minutes from
Government agency: South Australian Adelaide’s CBD, the studios comprise a purpose-built production facility which
Film Corporation (SAFC) has been operating since 2011. The complex caters for combined location/
[Link]/filming-in-sa studio shoots or provides a production base for full location shoots.
Incentives: Available case by case to Facilities include: two sound stages (1000 square meters/400 square meters);
projects produced wholly or substantially Dolby Premier 7.1 Mixing Theatre, ADR/Foley Studio, 100-seat screening
within the state, employing South theatre, full suite of production offices.
Australian crew, and providing significant
economic benefits to the state. Funding Support can be provided at every stage: pre-production, principal photography
is capped and linked to qualifying and post-production, with a particular specialisation in post sound.
production expenditure, with further Credits include feature films The Babadook and A Month of Sundays, and the
direct benefits available for producers new Wolf Creek TV series, as well as Deadline Gallipoli and Anzac Girls.
working with a South Australian co-
production partner and utilising the [Link]/adelaide-studios/
Adelaide Studios’ sound stages. State
payroll tax exemption for eligible
productions. Post-production grant of up
to 10 per cent of SA post spend capped
at $150,000, for projects with minimum
SA post spend of $250,000.
Other support: Scouting support to
long-form productions based on stage
of development and estimated South
Australian spend. Location galleries
available on request.
Events: Adelaide Film Festival (every
two years; next is 2017).

SCREEN PRODUCTION 45
 INTRODUCTION WESTERN AUSTRALIA TASMANIA NORTHERN TERRITORY
Around 130 screen production Several production companies are based The vast Northern Territory offers a range
INDUSTRY businesses and 18 post-production in Australia’s island state, which features of spectacular locations.

OVERVIEW businesses have offices in Western

Australia.53
diverse landscapes and production
location opportunities in a compact
Main centres: Darwin (territory capital),
Alice Springs. Alice Springs is a historic
environment.
INDUSTRY Main centres: Perth (state capital);
south-west (Bunbury) Main centre: Hobart (state capital)
town in the heart of Australia’s vast
desert interior, which contrasts with
STRENGTHS Government agency: ScreenWest Government agency: Screen Tasmania
the modern tropical capital of Darwin,
close to Asia and surrounded by pristine
WORKING WITH
[Link] [Link]
coastline.

THE AUSTRALIAN Incentives: Assessed case by case.

New $16 million Regional Film Fund
Incentives: Funding for projects that
demonstrate the potential to benefit
Government agency: Screen Territory

INDUSTRY supporting national and international Tasmania’s screen industry. Each fund
(located in Alice Springs)
[Link]
feature films, high-end television series has different eligibility criteria but will
CASE STUDIES and documentaries that shoot in the
regions of WA
generally require evidence of a genuine
creative or business partnership with a
Support: Contact Screen Territory for
assistance with finding locations, location
[Link]/film-in-wa/ Tasmanian applicant. scouts, and sourcing crew and any
PRODUCTION incentives/wa-regional-film-fund/ other general enquiries about bringing a
CENTRES AROUND
Other support: Screen Tasmania
production to the Northern Territory.
Other support: Location liaison and can help with crew, accommodation,
AUSTRALIA scouting assistance; online register of equipment, catering and most
location managers; locations gallery; importantly, local knowledge. It can also

MAKING filming in WA resources. provide details for casting agents, local

authorities regarding permits, weather
CONNECTIONS Events: Revelation Perth International
Film Festival (July); CinéfestOZ (August;
conditions and much more.
all films shown at CinéfestOZ have either
an Australian or French link).

46 SCREEN PRODUCTION
AUSTRALIAN CAPITAL
TERRITORY
The city of Canberra, Australia’s Walter
Burley Griffin–designed capital, is
located within the ACT, four hours drive
from Sydney and seven hours from
Melbourne.
Government agency: ScreenACT,
the ACT Office of Film, Television
& Digital Media. The ACT Screen
Industry Association (ACTSAI) delivers
ScreenACT on behalf of the ACT
Government.
[Link]
Support: Provides assistance to visiting
productions to connect them with the
right location and production support
from the local industry.

Pirate Express. Copyright 2013 Atomic Cartoons (Pirate1) Inc and Sticky Pictures Pty Ltd
 INTRODUCTION WATCH SUBSCRIBE AND FOLLOW BROWSE
• ‘Australia’s world class talent’, Screen • Ausfilm news • F
 or screenings and producer
INDUSTRY Australia, March 2015 [Link]/our-channel/subscribe/ delegations at upcoming markets and

OVERVIEW [Link]/2015/03/17/
australias-world-class-talent/
[Link]/ausfilm | [Link]/
ausfilm
festivals
[Link]

INDUSTRY • Ausfilm showreels

[Link]/our-channel/
• S
 creen Australia news
[Link]
• F
 or an overview of ‘doing business
with Australia’
STRENGTHS about-us/subscribe-to-newsletters [Link]/business
[Link]/Screen-Australia | • F
 or information about Australian films
WORKING WITH [Link]/ScreenAustralia and television programs

THE AUSTRALIAN • S
 creen Hub – daily news, jobs and
reviews service for film, television and
[Link]/the-screen-
guide
INDUSTRY multimedia professionals • A
 ustralia’s national archive of screen
[Link] and sound
CASE STUDIES • inside film – news for screen content [Link]
professionals

PRODUCTION [Link]

CENTRES AROUND • M
 umbrella – ‘everything under the
media & marketing umbrella’
AUSTRALIA [Link]

MAKING
CONNECTIONS

48 SCREEN PRODUCTION
GET TO KNOW THE TALENT • A
 ustralian Guild of Screen Composers DISTRIBUTION AND • S
 pecial Broadcasting Service. National
(AGSC) [Link] public broadcaster with a special
Professional organisations and guilds
• A
 ustralian Screen Editors Guild (ASE)
BROADCASTING multicultural charter
• S
 creen Producers Australia (SPA). [Link] • M
 otion Picture Distributors Association [Link] (commissioning and
Membership includes production of Australia (MPDAA). A non-profit acquisitions: [Link]/article/107818/
• A
 ustralian Production Design Guild
businesses, emerging producers, organisation which undertakes the get-my-program-on-sbs)
(APDG) [Link]
service providers across all types collection of film exhibition information • A
 ustralian Communications and Media
Australian awards
of screen content; organises annual relating to box-office, admissions and Authority. Australia’s communications
Screen Forever conference • A
 ustralian Academy of Cinema and admission prices, theatres, release and media regulator
[Link] Television Arts [Link] details, censorship classifications, and [Link]
• A
 ustralian Directors Guild (ADG). • A
 sia Pacific Screen Awards more, in order to provide meaningful
Represents the interests of film, [Link] statistics on the film industry in
television and digital media directors, Australia
documentary makers and animators; [Link]
annual ADG Awards • A
 ustralian Home Entertainment
[Link]/ Distributors Association (AHEDA).
• A
 ustralian Writers’ Guild (AWG). Represents the Australian film and TV
Represents writers for stage, screen home entertainment industry, covering
and radio; annual AWGIE Awards both packaged goods (DVD and Blu-
[Link] ray Disc) and digital content
[Link]/
• M
 edia, Entertainment and Arts
Alliance (MEAA). Represents creative • F
 reeTV Australia. Industry body which
professionals, including screen represents Australia’s commercial free-
technicians and crew from costume to-air television licensees
designers and make-up artists to [Link]/
sound engineers, as well as actors, • A
 STRA – Subscription Media
journalists and musicians Australia. Peak body representing
[Link] and [Link]/imports the subscription media industry in
• A
 ustralian Cinematographers Society Australia
(ACS) [Link] [Link]/
• A
 ustralian Broadcasting Corporation.
Australia’s national public broadcaster
[Link] (commissioning and
acquistions: [Link]/tv/independent/ )

SCREEN PRODUCTION 49
 REFERENCES 6. S
 creen Australia, The Drama 12. Deadline, Adaptation Of Australian 20. ‘Beijing Film Market popular with
Report 2014/15, pages 11 and 16. Series ‘Secrets & Lies’ Gets 10-Episode Australian producers’ Screen Daily,
1. ABS,
 Film, Television and Digital [Link]/fact-finders/ Series Commitment At ABC. deadline. 15 April 2015. [Link]
Games, Cat. No. 8679.0 , 2011–12; reports-and-key-issues/reports- com/2013/10/adaptation-of-australian- com/[Link]
page 6. [Link]/ausstats/abs@.nsf/ and-discussion-papers/drama- series-secrets-lies-gets-10-episode- 21. IF, More players confirmed for
mf/8679.0 report-2014-2015 series-commitment-at-abc-with-aaron- International Partnership Market. [Link].
2. S
 creen Australia, The Drama 7. T
 he Australian, Third series for kaplan-producing-617145/; accessed au/2015/09/14/article/More-players-
Report 2014/15, pages 6 and 16. Foxtel’s ratings-winner Wentworth. April 2016 confirmed-for-International-Partnership-
[Link]/getmedia/ [Link]/business/ 13. IF, Nowhere Boys nabs International Market/[Link]; accessed
d6eb0e91-9267-4f0d-8c05- media/third-series-for-foxtels- Emmy award. [Link] June 2016
cc2794279f79/Drama-report-14-15. ratingswinner-wentworth/story- au/2016/04/06/article/Nowhere-Boys- 22. Yahoo News, Asian Hollywood in
pdf?ext=.pdf e6frg996-1226812937206; nabs-International-Emmy-award/ Bunbury. [Link]/thewest/
3. S
 creen Australia, Academy accessed June 2016 [Link]; accessed June entertainment/a/25381948/chinese-
Awards® nominations and awards. 8. A
 sian Television Awards. asiantvawards. 2016 filmmaker-to-build-studio-and-training-
[Link]/festivals-and- com/winners/2014-winners/; accessed 14. Screen Australia, The Drama Report facility-in-bunbury/; accessed June
awards/academy-awards-nominations- May 2016 2014/15, page 11. [Link]. 2016
and-awards/2010-current; accessed [Link]/fact-finders/reports-and-key-
9. Q
 uoted in video ‘Australia’s world 23. Common Ground, Screen Australia
May 2016 issues/reports-and-discussion-papers/
class talent’, Screen Australia, March 2013, page 4. [Link]/
4. C
 ollider, ‘Assassin’s Creed’: Michael 2015. [Link]/2015/03/17/ drama-report-2014-2015 fact-finders/reports-and-key-issues/
Fassbender on the New Animus and australias-world-class-talent 15. Daily Telegraph, Our shows are a hit reports-and-discussion-papers/
How the Franchise Is Like ‘Star Wars’. all over the world. October 2011. common-ground
10. Mumbrella, Aussie TV formats make it
[Link]/assassins-creed-michael- [Link]/our-shows-
big abroad. [Link]/aussie- 24. ABS, Film, Television and Digital
fassbender-interview/; accessed June are-a-hit-all-over-the-world/story-
tv-formats-make-big-abroad-191623; Games, Cat. No. 8679.0, 2011–12;
2016 e6freuy9-1226162000112; accessed
accessed May 2016 page 6. [Link]/ausstats/abs@.nsf/
5. B
 ased on analysis of Australian feature May 2016 mf/8679.0
11. S
 ydney Morning Herald, Australian
films made over the five years to 16. Hoodlum. [Link]/projects;
actors streak into the lead as 25. ‘Post it in Australia’, Sandy George, in
June 2014. [Link]/ accessed June 2016
Hollywood casts TV pilot season. Ausfilm: The Post and Sound Issue,
fact-finders/people-and-businesses/
[Link]/entertainment/tv-and- 17. T
 he Screen Blog, ‘Loved 2015? October 2015. page 16
screen-practitioners/feature-filmmakers/
radio/australian-actors-streak-into- Wait until 2016’. thescreenblog. 26. ABC, Inside the desert studio of an
experience
the-lead-as-hollywood-casts-tv- com/2015/12/23/loved-2015-wait-2016/; Australian Foley star. [Link]/
pilot-season-20150228-13r6mq. accessed June 2016 radionational/programs/offtrack/inside-
html#ixzz48mQaiuC5; accessed 18. Screen Australia, Co-production the-desert-studio-of-an-australian-foley-
April 2016 program. As of May 2016. artist/5929890; accessed June 2016
[Link]/coproductions
19. ibid

50 SCREEN PRODUCTION
27. Sydney Morning Herald, Aussie geeks 37. CIA, The World Factbook. 2015. cia. 44. ibid
win big at Oscars. [Link] and gov/library/publications/resources/the- 45. Interview with Kimble Rendall, 14 June The Australian Trade and
[Link]/technology/sci-tech/ world-factbook/geos/[Link]; accessed 2016 Investment Commission –
aussie-geeks-win-big-at-oscars- April 2016 Austrade – contributes to
46. Variety, China’s Huace Signs Deal
[Link] 38. Screen Australia, World rankings: Australia’s economic prosperity
With Michael Uslan, $300 Million
28. Quoted in [Link] Number of feature films produced Pact With Arclight. [Link]/2015/ by helping Australian businesses,
watch?v=hipPWOlc27E; YouTube, July and key cinema data, 2008–2014. film/asia/huace-signs-deal-with- education institutions, tourism
2014 [Link]/fact-finders/ michael-uslan-300-million-pact-with- operators, governments and
29. Location International 2016, page 118. international-context/world-rankings/ arclight-1201601068/; accessed May citizens as they:
Boutique Editions UK. [Link] feature-films-and-cinemas; accessed 2016 • develop international markets
lionsdailynews/docs/loc2016_turner_lr May 2016
47. Australia Unlimited, The Aussies • w
 in productive foreign
30. ibid 39. Total of $2,974.1m; ABS, Film, Television Behind World’s Biggest Blockbusters. direct investment
and Digital Games, Cat. No. 8679.0, [Link]/design/
31. Interview with Associate Producer, • promote international education
2011–12; page 4. [Link]/ the-aussies-behind-worlds-biggest-
Rachel Higgins, 6 April 2016. • strengthen Australia’s tourism
ausstats/abs@.nsf/mf/8679.0 blockbusters#[Link];
32. Yahoo News, Bunbury on China’s industry
40. Screen Australia, The Drama first published on 28 February and
big screen. [Link] • seek consular and passport
Report 2014/15, page 6. [Link] updated 3 March 2014
com/thewest/regional/south- services.
[Link]/fact-finders/ 48. FX Guide, May 2015,‘Casting the
west/a/29440060/bunbury-on-china-s-
reports-and-key-issues/reports- Austrade helps companies around
big-screen/; accessed June 2016 Vendors on Avengers’. [Link]/
and-discussion-papers/drama- the world to identify and take up
featured/casting-the-vendors-on-
33. ‘Quoted in video ‘Australia’s world class report-2014-2015 investment opportunities in Australia
avengers/
talent’, Screen Australia, March 2015. as well as to source Australian goods
41. Attorney-General’s Department 49. ABS, Film, Television and Digital
[Link] and services.
Annual Report 2014/15. [Link]. Games, Cat. No. 8679.0 , 2011–12.
australias-world-class-talent/
au/Publications/AnnualReports/14-15/ Our assistance includes:
[Link]/ausstats/abs@.nsf/
34. Working hard, dreaming big’, Anna Pages/Part5-Appendixes/appendix-5. mf/8679.0 • p
 roviding insight on Australian
Hilderbrandt, in Ausfilm: The Post and aspx capabilities
Sound Issue, October 2015, page 25 50. Screen Australia, Explore ABS Data.
42. ABS, Reflecting a Nation: Stories from [Link]/fact-finders/ • identifying potential investment
35. National Film and Sound Archive of the 2011 Census, Cat. no. 2071.0, people-and-businesses/production- projects and strategic alliance
Australia. [Link]/collection/ 2012–2013. [Link]/ausstats/abs@. businesses/data-visualisations#/ partners
film/story-kelly-gang/; accessed May nsf/mf/2071.0 locations • h
 elping you to identify and contact
2016
43. Don Groves, ‘The China Connection’, 51. ibid Australian suppliers.
36. Screen Australia, Academy The Screen Blog, Screen Australia,
52. ibid W [Link]
Awards® nominations and awards. 2 March 2016. thescreenblog.
[Link]/festivals-and- 53. ibid. E info@[Link]
com/2016/03/02/the-china-connection-
awards/academy-awards-nominations- australia-china-co-production
and-awards/2010-current; accessed
May 2016

SCREEN PRODUCTION 51
 [Link]

The Great Gatsby. © Warner Bros./Village Roadshow Films (BVI) Ltd