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Ausfilm recently sat down with Trackdown’s General Manager Elaine Beckett over a pink donut and coffee to chat about what Trackdown is working on and the collaborative process they offer filmmakers…

Ausfilm: What does Trackdown offer to filmmakers?
Elaine: Trackdown is a complete audio and post-production service company, offering everything from sound design, ADR, music supervision (including licensing & creative), music editorial, scoring and mixing. We also do project coordination for audio and music services. Within the Trackdown studio we offer dry hire suites which allows us to service production offices & post-production offices comprising visual effects through to editorial.

Ausfilm: Tell me about Trackdown, what is the company’s history?
Elaine: Trackdown started from humble beginnings with two guys, a band and an available garage. In the early days of the 80’s we were a 4-track recording studio rented out by local bands at the time like INXS and Midnight Oil. As the business grew the studio diversified into both a music recording and an audio film and television post-production facility. In the early 2000’s we set up shop on the Fox Studios Australia lot and we have been recording, scoring and editing on local and large-scale international feature films and television series ever since.

Ausfilm: What has Trackdown worked on recently?
Elaine: We completed the score for Columbia Pictures’ The Shallows starring Blake Livley, and have just wrapped audio, music, licensing and recording for an upcoming Aussie feature called Safe Neighborhood, directed by Chris Peckover. In the past few years, we have had the pleasure of working with some amazing directors and producers on large scale feature films such as Gods of Egypt, The LEGO® Movie, Walking With Dinosaurs 3D, The Great Gatsby, Bait 3D, Happy Feet 2, and Knowing.


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Ausfilm: How does Trackdown work with its clients on creating the perfect score?
Elaine: Each score is a unique and collaborative process which requires Trackdown’s services in a multitude of ways. We tailor our services to meet each production’s needs. Everything from temp music edits, to prepping material and music supervision where we work to come up with creative choices for source music in order to deliver a soundtrack that enhances the overall cinematic experience for audiences.

Ausfilm: What is one of the most memorable productions you have worked on, and why?
Elaine: Probably the most memorable, just because it’s different, was the dialogue recordings we did for George Miller’s Happy Feet 2. George wanted to record the cast as an ensemble, commonly with animations they usually put each actor in a booth and record them individually, but George wanted to have the actors all on set working together. So, we transformed the Trackdown scoring stage into the largest recording booth that has ever been used in Australia! This involved turning our very ‘live’ room into a very ‘dead’ room. Utilising the space of our scoring stage allowed us to have the ensemble cast in the studio with all the camera crew they required as well as the directorial and support staff. As a result, the cast were able to have the most collaborate dialogue recording situation possible. It was also a nice change for the Trackdown team as we are normally in post and this time we were in production.

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Ausfilm: What is most rewarding for theTrackdown team when working on a project?
Elaine: The most rewarding thing about working on any project is collaborating with our industry colleagues to deliver on a creative brief. There is always a journey involved in doing that, you go through the ups and downs together as a team, but the reward of having that final product at the end of the day is an amazing feeling for the team.

Ausfilm: What’s up next for Trackdown?
Elaine: All good things…we are currently working on some large scale feature films, which are very exciting (which we can’t announce yet). We are also in early stages of production on a music based feature film, which means we get to start at the head of production before they have even started shooting in order to prepare the onset playback material!

What to know more about Trackdown?
Elaine Beckett
+61 2 8353 2765

or visit



Ben Young’s debut feature film Hounds of Love has been selected to screen at the Venice International Film Festival. The film received funding through Screenwest’s West Coast Visions program, and will have its World Premiere at Venice Days – the equivalent to the Cannes Director’s Fortnight. Produced by Melissa Kelly (Factor 30 Films) and featuring Emma Booth, Ashleigh Cummings and Stephen Curry, the film is one of the first feature films to be developed, filmed and post-produced entirely in WA.

It attracted international recognition when it was pitched at the European Film Market in Berlin last year, and its selection for Venice Days is a coup for the local film industry, and a testament to the talent development programs implemented by Screenwest.

The project participated in the Screenwest script and talent development initiatives Feature Navigator and eQuinoxe. Screen Australia also provided funding for the film. It’s set for release in early 2017 with Urban Distribution International (UDI) handling sales and Label managing Australian distribution.

Venice International Film Festival runs from August 31 to September 10, 2016 and is the oldest film festival in the world.  Regarded as one of the top three feature film festivals in the world (alongside Cannes and Berlin), Venice prides itself on having discovered a balance between a festival committed to showing films for the market, and one dedicated to showing films that reveal truly independent visions. Hounds of Love is the second WA film to be accepted at Venice, with Looking for Grace in the Official Selection in 2015.



Screen Queensland announced its support of the second season of Australian series The Family Law.

The Family Law is a six-part half-hour series created by critically acclaimed writer Benjamin Law and based on his memoir of the same name about his experience growing up in Queensland. It is has been developed and produced by Matchbox Pictures (The Slap,Deadline Gallipoli, Maximum Choppage) and supported by Screen Queensland in association with Screen Australia and SBS.

The Family Law will create 70 jobs for Queenslanders and spend approximately $1.9 million in the state including post-production.

The first season of The Family Law, adapted from Law’s hit memoir of the same name, enjoyed great success in 2016 reaching a total of 1.8 million unique viewers across SBS and repeats on SBS 2 with an average national audience of 417,000 across the series.

The Family Law is a coming-of-age story told through the eyes of teenager Benjamin as he navigates growing up amidst the chaos of his dysfunctional family. Set on Queensland’s Sunshine Coast, it gives a vivid glimpse into the world of Benjamin’s hilarious and heart-warming Chinese-Australian family.

The Family Law season two is written by Benjamin Law, Kirsty Fisher and Lawrence Leung and directed by Ben Chessell alongside Sophie Miller.  The series is executive produced by SBS’s Sue Masters, and Matchbox Pictures’ Tony Ayres and Debbie Lee, produced by Julie Eckersley and Sophie Miller, and co-produced by Andy Walker.


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Writer/Producer Megan Doneman has been awarded the inaugural Greg Coote Scholarship, established by Screen Queensland and Australians in Film, with a prize of $30,000 to support her placement on hit US television show NCIS: Los Angeles.

The scholarship, launched by actor Hugh Jackman in 2014, aims to create opportunities for experienced screen industry creatives with a passion for television drama and to develop Queensland’s pool of talent.

Megan will be mentored by high-profile executive producer Shane Brennan, creator ofNCIS: Los Angeles (CBS), in the Los Angeles writers’ room for the next series of the top-rating show.

Megan was selected after a competitive search of Queensland’s creative talent. She honed her storytelling skills over a decade working in the editing department on Hollywood films including King Kong, The Lord of the Rings trilogy and Babe 2.

Her first independent film, which she wrote, directed and produced, was Yes Madam, Sir – narrated by Helen Mirren – and premiered to critical acclaim as an official selection at the Toronto International Film Festival in 2010.

She is currently working on a slate of feature film scripts – including a dramatisation of Yes Madam, Sir – and television series Hades, based on an award-winning book series.

The Scholarship reflects the spirit of Greg Coote’s legacy as someone always willing to open doors for fellow Australians in the United States.

“In line with the mission of Australians in Film, to provide career development pathways for rising Australian stars, this Scholarship will help Megan gain invaluable experience, knowledge and skills to develop her distinct voice and inform her work as a writer,” said Kate Marks, President of Australians in Film.  “Australians in Film is excited and proud to be associated with this Scholarship and the continuing legacy of one of Australia’s most prolific screen industry practitioners.”

“I’m delighted to be involved in this initiative,” said Shane Brennan, Executive Producer, “Greg Coote was a great friend and mentor going back to when we first worked together in the 1990s. When I moved to Los Angeles to work, Greg was always there with advice and wise counsel. I can think of no better memorial for Greg than this scholarship and I look forward to mentoring Megan as she begins her Hollywood odyssey.”

Australian writer and producer Shane Brennan is one of the most successful television drama producers in America. In 2007 he was the first Australian writer to become the show runner of a U.S. network television drama series when he took over as Executive Producer on the CBS series NCIS which went on to become the number one scripted drama on network television and is now entering its 13th season.

Brennan created the hit spin-off NCIS: Los Angeles, which became the number two scripted drama on network television and is now in its seventh season. Brennan has his own production company in Hollywood, with numerous projects in development. His other credits include King & Maxwell (Creator-Executive Producer); One Tree Hill (Co-Executive Producer); CSI: Miami (Supervising Producer); and Summerland (Supervising Producer).



The long-awaited release of Paul Feig’s Ghostbusters, rebooted with a cast of new characters, hit Australian cinema screens on 14 July, taking out top spot at the box office on its opening weekend.

The Sony Pictures Entertainment feature film includes a package of VFX work produced by Iloura, one of the world-class visual effects companies located in Sydney and Victoria and an Ausfilm member.

With work led by Melbourne based VFX Supervisor Glenn Melenhorst and VFX Producer Ineke Majoor, alongside peers based in Sydney, the Iloura team completed 500 shots for the film, focused on look development for and creation of, ghostly characters.

Pete Travers, Sony Studios’ VFX Supervisor for Ghostbusters, praised the creativity and technical proficiency of the team, “Iloura played such a strong role in the design of our ghosts. Glenn and his team made it easy on us, defining the look of our ghostly beings like Gertrude, the Rock Concert Ghost and the Mirror Ghouls.”

Iloura’s work on Ghostbusters is the latest credit in a string of high-profile projects out of Victoria, including Mad Max: Fury Road, Gods of Egypt, The SpongeBob Movie: Sponge Out of Water, and most recently, work on the epic battle sequence in Game of Thrones episode ‘Battle of the Bastards’, which received an Emmy nomination for Outstanding Special Visual Effects for Iloura’s Glenn Melenhorst.

Film Victoria CEO, Jenni Tosi said, “Competitive incentives provided by Film Victoria, the high-calibre of creative artists and technicians working at Iloura and their demonstrated track record in VFX on international productions, were key factors in bringing the work to Melbourne, creating around 50 local employment opportunities.”

For more information on Victoria’s production incentives and production businesses, contact Joe Brinkmann, Manager – Incentives and Investments or visit



Legendary movie action hero Jackie Chan will star in and produce his next blockbuster film Bleeding Steel in New South Wales, the first film announced under the NSW Government’s $20 million Made in NSW fund.

This is the first time Jackie Chan has filmed in Australia for almost 20 years.The production will pump more than $20 million into the local economy and support local film industry professionals, including stunt, safety and rigging crews, by providing them with the opportunity to work on a film alongside one of the world’s leading action heroes.

Bleeding Steel will be the biggest budget Chinese film to ever shoot in Australia and will cast 40 NSW actors and dozens of local extras as well as create 200 production jobs.

Mr. Chan will discuss his work and iconic films at an ‘In Conversation’ event on 6 August at the Sydney Opera House, in association with Screen NSW.

Heyi Pictures and Village Roadshow Pictures Asia, the China production arm of the Village Roadshow Group, are co-producing Bleeding Steel.

Photo Credit: James Morgan


Screen Shot 2016-07-25 at 5.26.14 PMClick play to watch VFX breakdowns from Rising Sun Pictures’ episode here ^

For the finale of season six of HBO’s smash-hit Game of Thrones, Rising Sun Pictures faced a formidable challenge: replicate the sprawling city of King’s Landing and its central shrine, the Great Sept of Baelor, and then burn them to the ground in a magical, green-hued inferno.


New to the Game of Thrones production team, RSP created visual effects for several episodes of the show’s recently concluded sixth season. Most of the work centered on King’s Landing and the Sept as artists produced photo-realistic CG set extensions and architectural enhancements that were blended with location footage to create the luxurious, walled city overlooking the sea.


“King’s Landing is based on Dubrovnik, a Croatian city on the Adriatic that has many beautiful, medieval buildings,” recalls VFX Producer Richard Thwaites. “A lot of our early work involved wide views of the city, as well as internal and external views of the Sept (which is based on Fort Manoel in the Maltese town of Gżira).” For several of those shots, artists also filled city environments with animated digital crowds, representing members of a religious cult led by the High Sparrow.

The goal throughout was not only to match the look of the practical locations, but to do so in a way that appeared thoroughly real. “Game of Thrones is a fantasy, but the aesthetic is highly realistic,” explains VFX Supervisor Hubert Maston. “The realism carries through in the design, the weight and dimension of the architecture and the atmosphere of the environments.”


In the season finale, the Great Sept of Baelor and a large portion of King’s Landing is destroyed as the widowed Queen Cersei Lannister exacts revenge on her rivals. A store of wildfire below the Sept ignites, causing an explosion that fills its tunnels with flames. The blast brings down statues of the city’s seven kings. Everyone inside the building is killed and the Sept collapses. Nearby structures are also engulfed in the inferno.


“One reason that the scene is so shocking is that it seems so real,” says Thwaites. “The explosion happens from inside out and seems so powerful that you believe it can take out everything in its surroundings.”

Achieving that level of realism was made more difficult by the wildfire’s signature green hue. “The fire you are used to seeing is a mix of very hot colors…orange, yellow, bright red,” explains Maston. “When you turn it green, it doesn’t seem so hot. We had to completely reimagine it to create fire that looks like fire and yet not like fire at the same time. We remapped the light, color and texture and, through trial and error, came up with a look that is both aesthetically pleasing and convincing.”

The explosion also causes the demise of the High Sparrow. Flames bursting through the Sept’s mosaic floor, incinerating him. “It’s a fully digital replacement,” notes Thwaites. “It has muscle, skin, bones and internal organs…all of which blow up in just a few frames.”

“The fire works its way through his body in layers,” Maston adds. “You see his skin peeling off and bones breaking off. It was pretty gruesome but a key moment for the final episode in the season.”

The initial airing of the finale drew the largest audience in the show’s history. Rising Sun Pictures did its part to ensure loyal fans had plenty to marvel at.


Screen Shot 2016-07-05 at 1.13.05 PM 2Click play to watch VFX breakdowns from Iloura’s episode here ^

Deluxe’s Australian animation and visual effects studio Iloura delivered a significant suite of work for the recent ‘Battle of the Bastards’ episode of HBO’s tentpole series Game of Thrones. Working on the epic battle sequence for the Season 6, Episode 9 crescendo, Iloura’s team of visual artists used a mix of VFX and hand-crafted animation techniques to realise the vision for the bloody showdown.

Iloura’s work was led by VFX Supervisor Glenn Melenhorst on the pivotal sequences that bring to a head the heated feud that had been brewing between hero Jon Snow and his army of Wildlings, and the Boltons, led by Snow’s nemesis Ramsay Bolton.

The battle required many photorealistic horse and rider collisions, 3,000-strong armies, a mix of close-ups featuring live-action and CG humans and animals and massive crowd simulations, as well as hundreds of assets – CG armoury, weapons, flags, saddlery, body parts, and environmental assets such as blood, mud, smoke, fire and mist. Iloura was selected to work on the episode after presenting the show’s VFX Producer and Supervisor, Steve Kullback and Joe Bauer, with a series of tests presenting photoreal CG horses and riders colliding with other horses, rendered from various points of view. With Games of Thrones’ huge fan base, its exceptional production values and the scrutiny that is placed on the VFX across the series, it was essential that Iloura prove its strength via its rigging and muscle pipeline and the robustness of its animation team.

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“Battle of Bastards is shocking in its audacity,” said HBO’s VFX Producer for Game of Thrones Steve Kullback. “More shocking still that we pulled it off and so much credit for that goes to Iloura. We are up close and personal in this battle with CG horses and collisions right in front of the lens and we constantly needed to review Iloura’s shots side by side with the photography because it was hard to remember and even harder to see the difference between what was shot and what was added. Amazing.”


To meet the animation challenges, Iloura’s artists researched and reviewed video references of horse behaviour in scenarios such as steeple chases, jousting, racing and associated accidents to garner an accurate representation to achieve the shots. Witness cams of horses captured on set proved to be valuable resources for the animation team as they provided multiple angles of reference for the same actions. Further, Iloura tapped its large library of animated clips to quickly assemble a blocking pass for shots, which became the foundation for animation that ended up on screen. Overall, the animation work consisted of motion capture, rotomation and key frame for horses as well as soldiers, building into a library of custom interactions and motion behaviours that could be used for both close-up shots as well as crowd shots built in Massive.


The initial brief was for the Wildling and Bolton armies to face off and then collide, but once production began, it became increasingly apparent that more complexity would be required. Each army comprised smaller factions with custom armour, weapons, flags, banners, saddles, bridles etc. Further, every asset needed a clean, pre-battle version as well as a muddy version, a bloodied version and a very-muddy-very-bloody variant.


To achieve the high-density shots and photoreal quality required, Iloura revamped its pipeline considerably and integrated systems. Its internal publishing tool ‘BOSS’ was improved to help with the number of assets, animation publishes and traffic going through the pipeline; Massive was integrated into the render and shading pipeline, and large sections were re-engineered to allow for more control and flexibility, with the pipeline moving completely to Alembic with rigging, animation and lighting achieved in Maya, FX in Houdini and compositing in Nuke using deep pixel compositing.

Game of Thrones ‘Battle of the Bastards’ episode aired in the US on June 19 on HBO.

Iloura’s VFX Supervisor Glenn Melenhorst, was recognised with a nomination for Outstanding Special Visual Effects for Game of Thrones ‘Battle of the Bastards’ episode. Awards will be announced on 18 September 2016.


Ausfilm welcomes Curious to its membership community.

With offices in Sydney, Los Angeles, Singapore and Auckland, Curious is a full-service production company that offers premium facilitation. Established 15 years ago, Curious continues its innovative, passionate and dedicated operations as one of the key production companies in the Asia Pacific region where it also represents a top echelon of award-winning commercial directors.

The company maintains a unique location bank having produced quality films across short and long form on location all over Australia. It has ongoing working relationships with all relevant guilds and unions and provides streamlined services for permits, accounting and immigration. Curious is well resourced and delivers expertise in action and risk assessment. Its productions – many of which have enjoyed showcases across the world’s premiere film festivals including Cannes, Venice, Sundance and SXSW – are distinguished by first class crews working with high profile local and international talent that also encompasses animals and non-actors.

The company has been recognised at some of the world’s most prestigious awards festivals including the Cannes Film Festival, Cannes Lions, D&AD, ADC, Clios, One Show, NYF Award, Axis, Spikes, AdFest and Young Guns.

Curious is a participating member of SPA, SPADA, CPC and is proud to be the region’s first CarboNZero production company.

Click here to see Curious’s amazing work in their showreel.

Find out more about Curious at



Recently well known Western Australian producer, colleague and friend of ScreenWest, Brian Beaton, died suddenly at the age of 67.

Brian was a well-respected local documentary maker who had a long and successful career in the screen industry and will be missed by all of those who had the opportunity to work with him.

Culture and the Arts Minister John Day said Mr Beaton made a substantial contribution to the industry, ” Brian was a wonderful storyteller and created a successful local production company. His career spanned more than 35 years and he was acknowledged by his peers through various accolades. Brian was an exceptional talent and he will be sadly missed by the screen industry.”

Brian and his business partner, Celia Tait, worked together to develop and successfully produce many projects including seven seasons of Who Do You Think You Are?, Saving Andrew Mallard, Shaun Micallef’s Stairway to Heaven, The Dreamhouse and Desperately Seeking Sheila.

A creative and also pragmatic person Brian held many varying roles in the industry. Besides being an Executive Producer at Artemis he also worked as a Producer, Director and Writer in previous roles.

Brian also contributed to the screen industry nationally by his advocacy and professional work with SPAA, ScreenWest and the Australian International Documentary Conference (AIDC).

He also won a string of awards, including SPAA Documentary Producer of the Year – 2012, SPAA Independent Documentary Producer – 2002 and was recognised as providing an Outstanding Contribution to the Western Australian Screen Industry in the Western Australian Screen Awards in 2002.

ScreenWest would like to acknowledge Brian’s contribution to Artemis and to the Western Australian screen industry. We would also like to extend our sincere wishes and condolences to Brian’s family, friends and colleagues and Western Australian industry, who will miss his insight, humour and practical approach to life and his work.


China INbound

Ausfilm in partnership with the Australian Embassy Beijing and Village Roadshow Pictures Asia (VRPA) recently welcomed a delegation of leading Chinese filmmakers to Sydney for their first stop on an Industry Familiarisation Tour of Australian locations, Australia’s four major studio complexes, screen services companies, post and sound production facilities and visual effects studios across six states.

Screen NSW, Screen Queensland, Film Victoria, Screen West, the South Australian Film Corporation and Screen Tasmania are also supporting the tour and will showcase their states through assistance with location scouting, and facilitation of introductions to leading Australian screen businesses.

The delegation’s trip to Australia is intended to build links between Chinese and Australian government screen agencies such as Screen Australia and both countries’ screen industries to encourage more Australia-China feature film co-productions, and attract Chinese feature film productions to film and complete their post-production and visual effects in Australia.

This initiative follows on from the successful inaugural familiarisation program held last year with companies from Sparkle Roll Media, InjoFilms, Ruddy Morgan and Hero Films and is a result of the six-year collaboration between Ausfilm and the Australian Embassy in Beijing, built through the now-annual Australia-China Film Industry Exchange.

The initiative is once again being co-sponsored by Village Roadshow Pictures Asia, with Ellen Eliasoph, President & CEO of VRPA, joining the tour in Australia.

Debra Richards, CEO of Ausfilm said that whilst there are already Australian screen businesses and producers working with Chinese filmmakers “we would like to see business and creative opportunities increase between our two countries and this familiarisation program aims to facilitate this. Filmmakers from Village Roadshow Pictures Asia, Perfect World Pictures, Tang Media Capital, Heyi Pictures and one of China’s leading screenwriters, and representatives of award-winning Chinese Director, Zhang Yimou’s production company all have exciting projects that are seeking potential Australian locations or post-production and visual effects services.”

“It’s our great privilege and pleasure to serve as a bridge between the leading filmmakers of China and Australia” remarked Ellen Eliasoph. “Remarkable results are achieved when the creative talents and craftsmen of the two industries join together on film and television projects.”


Otto Mug shot Xavier Samuel photo by Suzy Wood_sm

Australia’s leading post-production facility DDP Studios has delivered The Death and Life of Otto Bloom to premiere at the 65th Melbourne International Film Festival’s opening night.

The feature debut of Melbourne writer-director Cris Jones, stars Xavier Samuel as a man who experiences time in reverse. The script required different time periods to be represented through interviews, dramatisations and archival footage.

“This was a technically ambitious film to make given the diversity of media utilised in the production process. It was both a treat and a challenge for the team to manage and work with retro media like Super 8 and analogue” says DDP General Manager Caroline Pitcher.

DDP provided seamless technical solutions to manage complexities of mixing differing frame, rates, formats and standards. DDP’s full post-production services included pre-visualisation testing, workflow design and in-house dailies with colour management. The film was graded on Autodesk’s Lustre in DDP’s premier theatre by highly credentialed Colourist Ian Letcher. DI Mastering was completed by DDP’s online extraordinaire John Kerron.

“We are thrilled once again to have undertaken the post-production on another film premiering at MIFF’s opening night. This is testament to our unsurpassed expertise in post production in this country,” says Caroline.

As well as Otto Bloom, DDP also provided post-production for Joe Cinque’s Consultation andOn Richard’s Side, both screening at this year’s MIFF. DDP has had a long-standing relationship with MIFF spanning decades. Titles from 2015 included Holding the Man, directed by Neil Armfield and produced by Kylie Du Fresne; Force of Destiny, written and directed by the late and esteemed Paul Cox. As well as Downriver; the debut feature written and directed by Grant  Scicluna; Sucker; documentary Putuparri and the Rainmakers and short film Ernie Biscuit.

MIFF runs from July 28th to August 14th and the trailer for The Death and Life of Otto Bloom can be viewed here 


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Feature Film Bad Blood has wrapped after three weeks of principal photography shooting across locations around Adelaide and the picturesque Adelaide Hills. Principal photography commenced early June and wrapped on Friday June 24.

Bad Blood, a suspense thriller is directed by David Pulbrook, stars Adelaide’s Xavier Samuel (Love & Friendship, The Twilight Saga: Breaking Dawn Part 2) and is being produced by Antony I. Ginnane and David Lightfoot. It will also utilise Adelaide Studios for sound mixing.

Image: behind the scenes in Adelaide CBD.


A psychological thriller about two female friends will become the first feature film produced in partnership between Australian streaming company, Stan and Screen Queensland.

Premier and Minister for the Arts Annastacia Palaszczuk announced The Second, produced by Queensland creative team, would have its $1 million production budget fully funded by Screen Queensland.

“The Queensland Originals Fully Funded Features with Stan program is an Australian-first and is part of our charge to lead Australia in innovative screen content production,” the Premier said.

The Second will receive an ‘event’ theatrical and festival release and exclusive subscription video on demand (Australian SVOD) distribution through Stan,” the Premier said.

Mairi Cameron will direct with Stephen Lance as writer/producer and Leanne Tonkes as producer.

The deal was announced at the Cannes Film Festival.

Nick Forward, Stan’s Chief Content Officer, said the streaming service was continuing to increase its output of original content, and was delighted to announce The Second as its first feature film.

“The success of No Activity and Wolf Creek have shown the audience demand for high-quality Australian productions and we are excited to be working with the best creative talent in the country to bring more Stan Originals to the screen,” he said.

“We’re delighted to be working with our partners at Screen Queensland in this exciting initiative. Congratulations to Stephen, Mairi and Leanne, and we look forward to working with them to bring their vision to life.”

Over the past eight months, four Queensland teams have been intensively developing a feature project from concept with a development team that included New York-based independent producers Amy Hobby and Anne Hubbell of Tangerine Entertainment alongside SQ and Stan.

The project will enter production in the second half of 2016.



The Queensland Premiere of Ivan Sen’s contemporary western thriller, Goldstone, recently took place in Brisbane with a sold-out festival screening event including a Q&A with Ivan Sen and lead actor Aaron Pedersen supported by the Brisbane Asia Pacific Film Festival and Palace Barracks Cinemas.

Goldstone, shot in Middleton, two hours west of Winton, spent over $2 million in Queensland and gave an economic boost to the local outback communities around the Middleton region.

Screen Queensland CEO Tracey Vieira said ‘The film provided many benefits to our local film community with employment and skills development opportunities for our technicians and creative talent including Aaron Fa’Aoso who was a producer attachment as well as actor on the film.

Goldstone is written, directed and composed by Queensland filmmaker Ivan Sen (Beneath the Clouds, Yellow Fella, Mystery Road) and is produced by David Jowsey (Mystery Road,Toomelah) and Greer Simpkin (Executive Producer The Code, The Secret River.)

Goldstone is a Bunya Productions film presented by Screen Australia and Screen Queensland and will be distributed in Australia and New Zealand by Transmission Films, with international sales by Arclight Films. The film is also In Competition for the 10th Asia Pacific Screen Awards. Goldstone opens in cinemas 7 July.



Lynette Wallworth, who this month won The Sydney UNESCO City of Film Award, has been selected as one of the first NSW based practitioners to take up residence at Charlie’s – a dedicated work and networking space in Hollywood for Australian filmmakers.

Lynette, who received $10,000 as the inaugural winner of the award in addition to the residency at Charlie’s, was selected for her talents and imagination to showcase the stories of some of the world’s most unacknowledged, yet inspiring communities both here and internationally.

The Award forms part of Sydney’s international undertakings as a City of Film within the UNESCO Creative Cities Network (UCCN), which was created by UNESCO in 2004 and includes 116 cities globally that promote cooperation and creativity as a strategic factor for sustainable urban development.

Lynette’s most recent work, the VR film Collisions, which tells the story of Nyari Morgan who witnessed an atomic test in the South Australian outback in the 1950’s as his first contact with western culture, premiered at the World Economic Forum in Davos before screening at Sundance and most recently at the Comprehensive Test Ban Treaty meetings at the UN in Vienna.

Learn more about Lynette here

Media Release here



As anticipation builds for director Mel Gibson’s Hacksaw Ridge, Lionsgate/Summit recently announced the film will have a wide release in the US, planned for November 4, 2016.

Last year Sydney, Fox Studios Australia and regional NSW were the primary filming locations for Hacksaw Ridge. Mel Gibson returned to Sydney this month, as a guest of the Sydney Film Festival, to discuss his role in the Australian premiere of Blood Father and to talk about Hacksaw Ridge.

Gibson shared, in conversation with the audience, that they had recently tested Hacksaw Ridge in the States and it “went through the roof”.

Hacksaw Ridge is the true story of conscientious objector Desmond Doss who, in Okinawa during the bloodiest battle of WWII, saved 75 men without firing a gun. Believing that the war was just, but killing was nevertheless wrong, he was the only American soldier in WWII to fight on the front lines without a weapon. Doss single-handedly evacuated the wounded near enemy lines, braved fire while tending to soldiers, and was wounded by a grenade and hit by snipers. He is the only conscientious objector to ever win the US Medal of Honor.

The WWII tale stars Andrew Garfield, Sam Worthington, Luke Bracey, Teresa Palmer, Hugo Weaving, Rachel Griffiths and Vince Vaughn.

Hacksaw Ridge will be distributed in Australia by Icon Film Distribution, with IM Global handling international sales.


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The third and final season of star-studded HBO drama series The Leftovers will shoot on location in Melbourne and in purpose-built sets at Docklands Studios Melbourne made possible through attractive production incentives provided by Film Victoria and the Victorian Government.

Created by Damon Lindelof and Tom Perrotta The Leftovers explores a world in shock and the lives that are changed forever when 140 million people inexplicably vanish. In the second series, the show expanded on the original concept of ‘The Rapture’ that was explored in Perrotta’s bestselling novel of the same name, while the third series finds the Garveys drawn to Australia.

Produced for HBO by White Rabbit in association with Warner Bros. Television, The Leftovers will commence shooting in June 2016 and will feature a range of unique Victorian locations, which are at the heart of the final season.

The production is also using the world-class production facilities at Docklands Studios Melbourne, with sets now under construction on two sound stages.

Access to evocative locations and film studios was a critical consideration for The Leftovers Showrunner Damon Lindelof when selecting a filming location for season three.

“The great television shows that we aspire to all have one thing in common — an undeniable and confident sense of place. The Wire and Baltimore, Friday Night Lights and Dillon, Breaking Bad and Albuquerque.

We have always wanted The Leftovers to have a beginning, middle and end and for the audience to experience each of those chapters as distinct in and of itself.  So we left behind the cold, bleak, depressing winter of New York in season one for the warm, spiritual energy of Texas in season two.

Where to next?  We’ve known for a while that wherever we ended up would have to be someplace strange and mysterious and funny and off-kilter, someplace both unpredictable and inevitable. [So] we’re going to Australia. The Leftovers are headed down under. We’re immensely grateful for the opportunity to try something that looks and feels different from the preceding season as we bring our story to its conclusion.”

The Leftovers season three cast headed to Melbourne include Justin Theroux, Carrie Coon, Amy Brenneman, Kevin Carroll, Christopher Eccleston, Scott Glenn, Lindsay Duncan, Regina King, JovanAdepo, Janel Moloney, Margaret Qualley, Jasmin Savoy-Brown, Liv Tyler, and Chris Zylka.

It’s the second time American entertainment powerhouses HBO and Warner Bros. have chosen Victoria as a filming location: Warner Bros. chose Victoria to film its visually stunning feature Where the Wild Things Are, and HBO selected Victoria as the backdrop to its award-winning 10 part television miniseries, The Pacific; and both productions filmed scenes on specially created sets at Docklands Studios Melbourne.

The Leftovers is created by Damon Lindelof and Tom Perrotta; executive produced by Lindelof, Perrotta, Mimi Leder, Tom Spezialy, Gene Kelly, Peter Berg and Sarah Aubrey.

For more information on Victoria’s production incentives and filming locations contact:
Joe Brinkmann, Manager – Incentives and Investments or visit 

For more information about filming at Docklands Studios Melbourne contact:
Rod Allan, Chief Executive Officer or visit

Image credit: Justin Theroux as Kevin Garvey, Carrie Coon as Nora Durst. Photo: Van Redin/HBO


Courtney Gibson, CEO of ScreenNSW

Courtney Gibson, CEO of ScreenNSW

Ausfilm sat down and spoke with Courtney Gibson, CEO of Screen NSW who is in Los Angeles this week, following the NSW Government’s announcement of an additional $20m in funding to Screen NSW over two years to attract domestic and international production to the State.  The ‘Made in NSW’ fund trebles the amount of money Screen NSW has to invest in production over the next two years.

Courtney Gibson was appointed in late 2015 as CEO of Screen NSW, the funding body which serves the state that’s home to 60% of Australia’s production companies. A senior Australian media executive with a background in TV commissioning and production, Courtney has served in roles including Executive Head of Content Creation at ABC TV, Head of Arts, Entertainment and Comedy at ABC TV, Programming Production Executive at the Nine Network, Director of Programmes at Endemol Australia and Commissioning Editor in Documentary at SBS TV.

What does the $20m ‘Made in NSW’ mean for production in NSW?

This new fund of $20m over two years (2016/17 – 2017/18) is a strategic decision by the NSW Government to invest in major Australian TV drama and to attract international film and TV. The fund will also free up Screen NSW’s recurring funding to invest in more local feature film production, as well as alternative platform content and new technologies.

The fund will invest in Australian TV drama to be made in NSW that has the potential to travel internationally and to reach new audiences, and the production of new internationally financed films and television, including co-productions.

What kind of television projects is Screen NSW looking to fund?

We will be looking to support TV drama, both series and mini-series, with the potential for returning series, the potential to sell internationally, which will be shown on prime time Australian television – either free to air or subscription channels and online platforms – and that is a landmark, event, must- see television that people will talk about.

What does the ‘Made in NSW’ fund mean for NSW’s ability to attract ‘footloose’ production?

The fund gives us the opportunity to aggressively pursue international productions.  We know NSW has cast, crew, facilities and services, including our PDV providers, that are among the world’s best and this new funding makes us even more competitive.
International productions bring tremendous economic value to the State as well significant benefits to our location industry, including opportunities to showcase and develop our crews and talent as well as infrastructure and facilities.

On this trip to LA it is my intention to forge significant relationships for the long haul, to attract significant production to NSW to the benefit of partners on both sides of the Pacific.

You are overseeing an energetic period of change and renewal at Screen NSW. What are some of your key priorities, outside the focus of the ‘Made in NSW’ fund?

We led the way as the first Australian screen agency to set a gender target of 50:50 by the year 2020 – an equal gender split  of writers, directors and producers across our suite of content funding programs and we have made it our priority to provide more funding and create more opportunities for other underrepresented groups including indigenous practitioners, those from culturally and linguistically diverse backgrounds, practitioners with disabilities and LGBTQI content creators. Ensuring a plurality of voices and perspectives is critical to delivering rich content from our sector.

Partnerships and exploration of new technologies are vital to making sure Screen NSW screen practitioners can take advantage of opportunities developing in our industry both here and internationally.

We’ve created 360 Vision, a Virtual Reality development program, in partnership with the ABC, Screen Australia, Event Cinemas and AFTRS.  This kicked off with a truly inspiring one-day lab earlier this month where speakers included the inimitable writer, director, producer Rose Troche (The L Word, Go Fish) who has spent recent years developing pioneering VR works. Other international presenters were Ana Serrano, Chief Digital Officer at the Canadian Film Centre and Founder of CFC Media Lab, Gabo Arora, Senior Advisor and Filmmaker at the United Nations (UN) and Barry Pousman, Co-Founder, CEO of Variable Labs and a Chief Digital Strategist at the UN.

We are now calling for submissions for Virtual Reality content across all genres, with up to six projects selected for further development under the banner of 360 Vision.

We’ve also launched our 360 Vision Virtual Reality app. Developed by Triggar VR, the 360 Vision app is compatible with Apple and Android and available to download from app stores, with new content uploaded every week.

What are some of the partnerships you’ve been working on?

Partnerships are all about leveraging opportunity for NSW screen creatives. We have just announced a new three-year joint initiative with ABC TV Arts to fund one new feature length arts documentary each year. The documentary will have its world premiere each year at the Sydney Film Festival prior to screening on ABC TV.

As part of our drive for gender equity, we have developed She Shoots, a program to address the overwhelming gender disparity in commercial unscripted television camera and sound departments.  This is a partnership between AFTRS, Screen NSW, Women NSW and Executive Women’s Television Group, a group of NSW-based senior women from production companies and broadcasters, who have come together to tackle gender bias in the screen industry.

This group of NSW women came together when they heard about our gender target and decided they wanted to do something about pro-active. As with our funding, delivering results in our industry is about levering other support and working together.

We have been working with TV comedy production companies to fund attachments for women writers as we know there is woeful representation of women in comedy writing rooms.  It’s been this way since the advent of television and until you just decide to hire female writers as a priority, nothing is going to change.

As a Government agency, we are uniquely positioned to insist we make decisions around prioritising projects that create equity of opportunity for women. Otherwise, all we are doing about it as an industry globally is just talking about it and running temporary initiatives which come and go but which don’t move the needle on what is a systemic problem. The only way to change things is to just start making different decisions. And at Screen NSW we are doing that. And we’re not making second best decisions or investing in anything but superstrong productions either.  We make sure that equal representation is front of our mind when we make decisions about what we are going to fund and what we are not going to fund.  If we don’t operate on this basis, nothing will change.

Gender equity, and diverse representation more broadly won’t happen unless we work together as an industry – we can’t meet our gender target unless industry comes with us. And we are going to meet that target.

What are the opportunities for co-productions with NSW and what other incentives are available for producers bringing their projects to NSW?

In addition, to support from Screen NSW, producers can access Australian Federal Government incentives.   The Producer Offset is available to producers of Australian film and television projects – including qualifying co-productions. With 40% offset for features, it’s one of the most attractive offsets in the world. The Australian Federal Government provides an incentive for larger budget foreign films which film in Australia. The Location Offset is applied at a fixed rate of 16.5% of qualifying Australian expenditure on a film project and is available to productions with an Australian spend of more than AU$15 million. The Australian Federal Government PDV Offset also provides a 30% rebate to projects that spend at least AU$500,000 on post, digital and VFX works in Australia, regardless of whether the production was shot in Australia.

What’s filming in NSW right now?

There are a number of big TV drama series in production at the moment, including Jane Campion’s Top of the Lake 2, with Elisabeth Moss and Gwendoline Christie Doctor Doctor from Essential Media, Cleverman series 2 from Goalpost Pictures (series 1 is currently screening on Sundance TV), Bond, about the infamous winner of the America’s Cup in 1985, Alan Bond; Deep Water, a true crime drama from Blackfella Films with Noah Taylor and Yael Stone.

There‘s also the feature Dance Academy: The Comeback, which will also shoot in NYC, The LEGO Batman Movie in production at Animal Logic, Ridley Scott’s Alien: Covenant and the final touches are being made to Mel Gibson’s Hacksaw Ridge, which will be released later this year.


Jason Perini_Resized

Sydney writer, director, producer, actor, Jason Perini has just returned from a whirlwind production after winning Jameson First Shot Competition where he filmed with Kevin Spacey’s Trigger Street Productions’ in L.A. He directed and produced his short film with Maggie Gyllenhaal as the star.

Screen NSW interviewed Jason to find out about his experience and learn about his winning film idea.

Read the full interview here

For more about Jason check out the below links. /actor/showcast/Jason-Perini


The DArkness_Resized

KOJO has had a busy start to the first half of 2016 delivering Hollywood feature film The Darkness for Blumhouse and Universal and the Stan Original Series Wolf Creek for Screentime.

The Darkness was produced by the prolific Jason Blum along with Greg McLean and Bianca Martino from Emu Creek Pictures. McLean also directed the thriller/horror starring Kevin Bacon and Radha Mitchell.

KOJO worked on both picture and sound post-production, including Australian editorial facilitation, sound post, DI, VFXand delivery. With KOJO’s Executive Director and VFX Supervisor Marty Peppertravelling to the US to supervise the shoot and dailies workflow from LA, before bringing the film back to our Adelaide studio for completion.

KOJO worked on over 200 shots from CGI simulations and creature augmentation to full green screen compositing and environment replacements.  KOJO were also intrinsically involved in the design of the reoccurring symbolic imagery used as a key VFX element in the film.

“We have collaborated with Greg for over a decade now on many of his feature projects,The Darkness presented a great opportunity to support him in the US during the shoot and then finish in Australia” said VFX Supervisor Marty Pepper.

The Darkness was released in the US on Friday 13th May.  The trailer can be seen here

The Wolf Creek TV series is one of the first Ultra High Def series to be delivered in Australia for Screentime. KOJO looked after the online and grade and completed over 125 VFX shots across the 6-part drama. The gritty realism of the horror called for everything from CG knives, fire and blood simulation through to set extension and matte painting to help tell this high stakes mission of revenge. All of which were finished at 2160p.

“Working at this resolution for any size project is a challenge; Wolf Creek was the perfect storm of fresh technology mixed with stunning locations and classic story telling, it was fast, furious and good fun.”

KOJO have had a long history with the Wolf Creek franchise having worked on the original feature with creator and director Greg McLean in 2005 and again on the sequel Wolf Creek 2 in 2013.

The series is available on STAN now. View the trailer here!

Check out more of KOJO’s work on their website



Rising Sun Pictures has, once again, delivered a standout sequence for the latest incarnation of the X-Men series, X-Men: Apocalypse. Quicksilver is receiving rave reviews with fans increasingly excited at the cutting edge visual effects.

The RSP team had the pleasure of working with the legendary John Dykstra, Matt Sloan, Blondel Aidoo and William Martlettto deliver the visual effects, and the great support of 20th Century Fox SVP, Todd Isroelit.

RSP has also marked a very significant milestone this month, turning 21 on May 11.

ImageX-Men: Apocalypse, 20th Century Fox


Top of the Lake_NSW_Resized

Filming is underway in Sydney on Top of the Lake: 2 China Girl. Elisabeth Moss (Truth, Mad Men) is reprising her Golden Globe® winning role in BBC and See-Saw Films’ second series of the Emmy® and Golden Globe® nominated Top of the Lake, and is joined by Gwendoline Christie (Game of Thrones, Star Wars: The Force Awakens).

Also joining the cast for season 2 is David Dencik (Tinker Tailor Soldier Spy, The Girl With the Dragon Tattoo), Alice Englert (Beautiful Creatures, Jonathan Strange, and Mr Norrell) and Ewen Leslie (The Daughter).

The critically acclaimed mini-series will once again be directed by Oscar® winner Jane Campion (Bright Star, The Piano), along with new co-director Ariel Kleiman (Partisan).

Campion and Gerard Lee also return as co-writers of the second season.Top of the Lake is produced by Philippa Campbell (Rain,Top of the Lake season 1) and Libby Sharpe (Jewboy).  Executive producers are Campion with See-Saw’s Emile Sherman, Iain Canning (The King’s Speech, Shame) and Jamie Laurenson, alongside Lucy Richer for the BBC.

Top of the Lake season 2 is produced by See-Saw Films for BBC Two in co-production with SundanceTV in the U.S., BBC First and Foxtel in Australia, and in association with Hulu in the U.S., ARTE in France and BBC Worldwide. The series will premiere on BBC Two in the UK in 2017 with six one-hour episodes.

SundanceTV will have the exclusive U.S. premiere of all episodes of season 2 on its network in 2017. Hulu and Sundance will have VOD day after air, and Hulu will have the exclusive subscription streaming rights to the entire series in the U.S. BBC First will broadcast in Australia on pay TV platform Foxtel. BBC UKTV will screen the series in New Zealand. Arte is also back on board and will air the series in France.

Image: Top Of The Lake Series 1, Elisabeth Moss



ABC TV and SundanceTV have announced that the drama series Cleverman will launch in the United States on SundanceTV on Wednesday, June 1 at 10/9c and in Australia on ABC and ABC iView on Thursday, June 2 9.30pm. The series, one of six series to be selected for the 2016 Berlin Film Festival, will also screen on BBC Three in the UK.

Set in the near future, Cleverman is a startlingly original drama rooted in Aboriginal mythology. The series depicts a deeply conflicted and anxious society, fearful of a minority group endowed with extraordinary physical traits, living among them. One young man – ‘The Cleverman’ – struggles with his own power and the responsibility to unite this divided world, but he must first overcome a deep estrangement with his older brother. The series is based on an original concept by Ryan Griffen.

Cleverman features an ensemble cast led by award-winning actor Iain Glen (Game of Thrones), Golden Globe® nominee Frances O’Connor (The Missing), Deborah Mailman (The Sapphires), Hunter Page-Lochard (The Sapphires), Rob Collins and Stef Dawson (The Hunger Games). Wayne Blair, director of the Australian box office hit The Sapphires and upcoming film Septembers of Shiraz, is lead director, with acclaimed director, writer, actress and performer Leah Purcell also directing.

The series is produced by Goalpost Pictures Australia and New Zealand’s Pukeko Pictures for ABC TV Australia in co-production with SundanceTV and Red Arrow International, with the assistance of Screen Australia, Screen NSW and the New Zealand Screen Production Grant. Red Arrow International distributes Cleverman worldwide.



Queensland, Australia’s northern most state is continuing the back-to-back run of productions with feature film Jungle wrapping in mid-May as Marvel’s Thor: Ragnarok went into pre-production at Village Roadshow Studios and mini-series Hoges went into pre-production in Brisbane.

Jungle is a psychological thriller based on Yossi Ghinsberg’s memoir about his trip to the Amazon and stars Daniel Radcliffe. Australian director Greg McLean has brought the script to screen with Arclight Films packaging the film and handling worldwide sales.

Hoges is based on the life story of Paul Hogan, best known in the USA for his portrayal ofCrocodile Dundee. The series will air on Channel Seven in Australia and is being produced by FremantleMedia.

Thor: Ragnarok will be the first film to utilise the 40,000 square foot sound stage at Village Roadshow Studios that officially opened on May 27, 2016. With the new stage, Village Roadshow has become the largest sound stage facility in the country.

Other films which have recently completed shoots in Queensland include Sony’s The Shallowsstarring Blake Lively which completed significant water shots in the almost 13,000 square foot outdoor tank. It is one of three water tanks in the complex.

Legendary Pictures, Kong: Skull Island also utilised the studios as well as the dense jungle that is in close proximity to the stage complex. They undertook a complex build inside the sound stages as well as filming across a diverse range of locations on the Gold Coast.

Dangerous spiders buried for 2000 years will come to life in Nest, which was another recent international co-production to shoot in Queensland. The Arclight Films production was written and directed by Kimble Rendall and stars Li Bingbing (Transformers: Age of Extinction), Kellan Lutz and Kelsey Grammar.

Queensland offers a range of incentives to attract production as well as post, digital and visual effects. A deep pool of crew, actors and facilities make filming in Queensland world-class.


Wolf Creek TV

The Wolf Creek TV series, filmed entirely in South Australia and at the Adelaide Studios, has been breaking viewing records since it’s release on May 12.

According to a report in The Australian it has clocked up more than 500,000 views in the first four days on Stan (Australian SVOD), with 40,000 subscribers watching the entire six episodes.

Wolf Creek has broken all of our viewing records, and more than doubled our next best series,” Stan chief executive Mike ­Sneesby said, in comparison to Better Call Saul and Billions in their first four days of release.



Reserved for interstate and international inbounds, the South Australian Film Corporation (SAFC) offers scouting support to long form productions upon application and based on the production’s stage of development and its estimated South Australian spend.

Scouting assistance may include covering costs associated with on-ground travel including vehicle hire, accommodation, flights, and the contracting of a local Location Manager by the SAFC.

Find out how to apply here :


Samual Xavier_Resized

Feature film Bad Blood has commenced pre-production at Adelaide Studios, with principal photography to commence June 6th. Bad Blood stars Adelaide-raised Xavier Samuel (The Twilight Saga: Eclipse, Fury, Frankenstein). Samuel returns to Adelaide for his first South Australian based film since his debut appearance in the highly acclaimed 2:37.

Bad Blood, a suspense thriller to be directed by David Pulbrook, will be shot entirely in South Australia,  with filming to take place in various locations in the Adelaide Hills and the City. Produced by South Australian David Lightfoot, Bad Blood will utilise Adelaide Studios for post-production edit and sound production.


The largest sound stage in the southern hemisphere will shortly be unveiled at Village Roadshow Studios at Oxenford on the Gold Coast.

Sound Stage 9  is a world-class venue which has been sound-proofed and equipped with current industry standard facilities including air conditioning, extraction fans, steel grids and catwalks. Sound Stage 9 has an overall surface area of 4000sqm, is 80m (262 feet) in length, has a width of 47m (154 feet) and is 18m (59 feet) high.

With the addition of Sound Stage 9 to existing facilities including the Southern Hemisphere’s largest water-tank, Village Roadshow Studios has cemented its position as one of Australia’s premier filming locations.

Village Roadshow Studios President Lynne Benzie said Sound Stage 9 will provide an ongoing legacy for the Gold Coast as an all-purpose venue as well as enhancing the Film and Television industry in Queensland both domestically and internationally.


Our friends at the AACTAs are running a great event with Australian writer-director ‪Jocelyn Moorhouse. Jocelyn has worked with some of the world’s biggest names in film, and you can hear first-hand at the AACTA’s In Conversation event with ‪#‎VividSydney.

Jocelyn’s most recent film, The Dressmaker received five ‪AACTAs, and quickly became one of the top 10 most successful films of all time at the Australian box office.

Tickets are open to the general public ($20 plus booking fee) and AFI | AACTA members ($10 plus booking fee).

Moorhouse also directed Proof, marking one of Hugo Weaving’s early starring roles, and produced Muriel’s Wedding, drawing international attention to the talents of Toni Collette and Rachel Griffiths.

Moorhouse’s international films include How to Make an American Quilt and A Thousand Acres.

Don’t miss this insightful, informative and honest conversation about filmmaking and what it takes to be an award-winning director. Get tickets here.



In April, the Ausfilm Los Angeles team headed to the AFCI Locations and Global Finance Show in Burbank, California.

This year the event provided expanded opportunities for the industry to meet with producers and financiers interested in investing in foreign markets with the introduction of the Global Finance Show. Over 130 exhibitors and over 3,000 attendees this year comprising 1,081 Producers; 1,046 Studio Employees; 684 Other Guild Members (WGA, LMDA, DGA etc).

The Ausfilm team were inundated with enquiries at the MAKE IT IN AUSTRALIA booth promoting Australia’s locations, incentives and screen industry capabilities.

Ausfilm’s Client Liaison Executive, Michelle Sandoval was invited to speak at an AFCI webinar series entitled “Global Financing in the Modern World” sponsored by Variety 411, in partnership with the Producers Guild of America, AFCI and Entertainment Partners.

Register to listen to the Webinar here.


Di Giorgiutti is the Executive Producer of Features at Luma Pictures, a VFX studio that creates beautiful art and technology for film, commercials and content, located in Melbourne and Los Angeles.

Prior to Luma, Di was with Marvel Studios where she was VFX Producer on Ant-Man in addition to a long list of credits . She was also a key player on a little film called The Matrix.

Di is a big deal in the VFX world and is a key player for the vision that ends up on screen.

Learn more about this fantastic Aussie native who got her start in the crazy world of VFX, plus insider info from the industry, and what it was like being on set in the Outback, along with torrential rain storms,crocodiles, snakes, and long, lonely desolate drives, all to bring the world some of the most incredible VFX. Read the interview here.


cutting edge


Cutting Edge has wrapped on Misha Green and Joe Pokaski’s television series, Underground, now airing on WGN. As the sole VFX vendor, Cutting Edge created 1850’s Georgia; complete with steam trains, set extensions, flaming cotton fields and all of the violence of the day.

The “Big House” and the slave quarters were filmed on two locations, then edited together as neighbouring areas. On occasion, VFX would need to stitch the sites together, sometimes compositing filmed elements, and other times also using 3D models of the huts that made up the slave village, as well as trees and fences. The end result was an ideal location and an authentic step back in time.

With much of the action happening out in the cotton fields Cutting Edge was required to take a small area of cotton plant props, thicken them out and then extend them into fields. Those same fields were then turned into an inferno as part of the escape run scene, and their smoking
after-math was built in 3D.

Underground captures a time of conflict and the violence of the era featured heavily – from threats with white hot branding irons; to whip lashes dripping blood; old-fashioned shotgun flares and hangings. Every trick in the book was required, from simple wire removals to CG fluid simulations of blood, to removing makeup wounds and animating them back in to maximize the brutality.

“We’ve completed much more playful work for Sony Television with their Powers superhero series for PSN. Underground presented a different challenge entirely, where our VFX needed to be in the background, supporting the story without drawing attention,” said Cutting Edge VFX Supervisor, Rangi Sutton.

“The fact that we’re extending the cotton fields, for example, should not ever occur to the audience. With production covering off the foreground with potted plants, we had to flesh out the shot cotton elements and extend them off into distant fields – which was a real challenge for layering, lighting and matching depth-of-field.”

Check out the Underground trailer here.

Check out more of Cutting Edge’s work on their website 




Rising Sun Pictures has a busy couple of months, with the team’s work showcasing in the upcoming The Legend of Tarzan, X-Men: Apocalypse, and Game of Thrones Season 6.

RSP has also teamed up with Fox, WCRS and VFX Supervisor Kathy Siegel to produce the X-Men inspired Sky Broadband spot. The team once again had to stop time as Quicksilver darts around a room in the X-Mansion, this time with Cyclops, Beast and Nightcrawler.

The RSP site has also been updated with a number of breakdowns, including the digital environment and FX work on Pan.

For more information, visit


Fox Studios Australia continues to be a destination of choice for film and television production in Australia.

Currently hosting Ridley Scott’s Alien: Covenant, Jane Campion’s Top of the Lake Season 2: China Girl and The Voice Australia. Fox Studios is the largest end-to-end film and television production facility in the southern hemisphere, located in the heart of Sydney and only 15 minutes from the airport.

The studios has over 160,000 sqft / 14,864 sqm of production support facilities, comprised of 8 state of the art sound stages, including 2 mega stages and television studios, ranging from 8,000 sqft / 743sqm  to 42,000 sqft / 3,902 sqm, along with an interior tank and external water facilities nearby.

The facilities are supported by a range of production accommodation including offices, hair and make-up rooms, greenrooms and dressing rooms, construction, art department and wardrobe workshops, storage facilities, meeting rooms and screening cinemas.

Providing an efficient solution, Fox Studios is also Australia’s film and television production hub, home to over 70 support businesses specialising in production, legal and financial services, lighting and camera equipment hire, casting, props, SFX, VFX, editing, music scoring and sound design.

The studios are comprised of purpose built stages and heritage buildings and backlot areas, including a supplementary 75 acre / 30 ha backlot adjacent to the Studios. Stunning and diverse urban, tropical, mountainous, arid and alpine locations are also within reasonable proximity.

Rick McCallum, Producer Star Wars Ep IIand III says, “It’s not like any other studio in the world. It wasn’t built originally as a studio. It has a really nice, interesting feel to it. It’s right in the middle of the city.” Francios Audouy, Production Designer The Wolverine, says, “We did several weeks of photography in Sydney at Fox Studios, where we took advantage of the world class stages, that are absolutely phenomenal”.

The versatility of what the studios and Sydney has to offer is reflected in Unbroken, doubling as the Berlin Olympics and a Japanese war camp, to contemporary Manhattan in Truth, 1920’s Long Island and New York in The Great Gatsby, Canada, Tokyo and Nagasaki in The Wolverine and WWII Okinawa in Hacksaw Ridge.

Fox Studios also offers a full suite of production services including management of government rebates and incentives, production management, legal, accounting and payroll services and immigration support. Fox Studios Australia can tailor a solution to meet the needs of any production.

Recent credits include Hacksaw Ridge, Gods of Egypt, Truth, Unbroken, Mad Max: Fury Road, The Water Diviner and The LEGO® Movie.

Lynda Carruthers
Head of Production Services
P: +61 2 9383 4035



Deluxe’s DDP Studios in South Melbourne has launched new sound mixing suites with associated sound edit and design suites. With facilities based in Sydney and Melbourne DDP Studios offers complete integration with Data Management, Picture, Sound Post and VFX.

The DDP Sound Melbourne team is led by the internationally credited Sound Designer, Paul Pirola and includes experienced Senior Mixer, Andrew Neil.

Adding sound to DDP’s traditional picture post-production offering gives clients access to best-in-class talent and world-class technical infrastructure to deliver high-quality end-to-end post-production all under the one roof.

DDP Melbourne’s sound teams credits include Truth (Cate Blanchett), Australian features The Pack, Oddball, 2:22, and Pawno. They are currently working on Science Fiction Volume 1 for Shane Abbess.

Other recent television credits include: Hunters, a highly conceptual television series for the NBCUniversal and Syfy cable network, produced by The Walking Dead’s Gale Anne Hurd; The Beautiful Lie, a major television series shot and completed in Victoria by renowned Australian drama producers John Edwards and Imogen Banks; Tomorrow When the War Began, an Australian drama television series based on the Tomorrow series by John Marsden, currently screening on ABC3.

DDP sound in Melbourne works hand-in-hand with StageOne Sound in Sydney. Boasting a huge 10-metre screen, this 1500 cubic metre stage is Australia’s premier mixing solution. The StageOne team is made up of multi-award winning Sound Supervisor Will Ward, Sam Hayward, Glenn Humphries and Sam Gain Emery.

Image: Paul Pirola and Andrew Neil at DDP Studios

For more information, please visit
Or contact Caroline Pitcher and Ian Anderson
1300 337 287



Screen Queensland is proud to announce its support of season two of Snake Boss following the global success of the first series airing in Australia on Discovery Network’s Animal Planet and sold internationally as Snake Sheila to 170 countries around the world.

Snake Boss is being co-produced by WildBear Entertainment and Flickchicks. Other investors include Discovery Network’s Animal Planet, one of the world’s leading factual brands.

‘We were thrilled to watch the success of the first series of Snake Boss and see how it connected with a global audience,’ said SQ CEO, Tracey Vieira. ‘The reason for its popularity is because Snake Boss is more than a series about catching snakes. It celebrates our unique way of life here in Queensland, our climate, our beautiful city and our stories too. Julia Baker is a real talent and the entire team has created a fun and upbeat series we are proud to support.’

SQ is providing production investment funding into the 10-part, half-hour factual television series being filmed in Brisbane, the Gold Coast, Sunshine Coast and Ipswich areas. Snake Boss takes viewers into the backyards and businesses of Queenslanders introducing snakes and some snake wary members of the community to a worldwide audience.

‘WildBear is delighted to see this Queensland co-production featuring all Queensland talent, crew and locations go into a second series that will play again to a broad Australian audience and to audiences around the world,’ said producer Veronica Fury.

Director Mandy Lake, co-principal of Flickchicks with Snake Boss producer Margie Brown, said she was very excited by the prospect of being able to take the series with its incredible characters and creatures to an international audience for a second season.

‘We had a tremendous response globally to season one, and many people asking whether there’d be a series two,’ she said. ‘There’s still a mother load of material to mine from! We’ve got so many more sensational people and snakes to meet, plus
compelling storylines to tell.’

Snake Boss follows two of Brisbane’s busiest Snake catchers ‘Snake Boss Julia’ and her Scottish bloke and now husband ‘Johnny Bagpipes’. Each episode follows three call-outs to the Snake Boss to remove unwanted guests and the adventures and tales that ensue. Series two has an expected Queensland Production Expenditure of $890,000.

Snake Boss will premiere later in 2016, exclusive to Animal Planet.

Join the conversation at


Sailing Catamaran Pulled Up On Beach and Woman Walking Away

Screen Queensland (SQ) is proud to be the primary investor of the feature film Bloom by first-time writer and director, Queensland-based Priscilla Cameron and produced by Bridget Callow-Wright.

Melissa George (Heartbeat, The Slap AU and Felony US) and Sophie Lowe (The Beautiful Lie, What Lola Wants) are confirmed to star in the dramatic feature which will be shot exclusively in Queensland. Other investors and supporters of the production include the Melbourne International Film Festival (MIFF) Premiere Fund, Vendetta, Film Victoria, Cowlick Entertainment Group and 108 Media.

Post-production will be completed by Ausfilm Member, The Post Lounge in Victoria.

Bloom tells the story of Evelyn, an ex-burlesque queen, who bewitches single-dad Al and his 13-year-old boy Fin with her zest for life. When father and son discover they are competing for the affections of the same woman, it reopens old wounds over the death of Fin’s mother.

Jenni Tosi, Film Victoria CEO said, ‘Film Victoria is delighted to have provided support for Victorian producer Bridget Callow-Wright and Bloom since its early development. Bridget and Priscilla are an impressive team and have attached a terrific cast. It is an evocative coming of age story featuring stunning performances, visuals and post design, and is sure to delight cinema audiences.’

Bloom will be distributed in Australia and New Zealand by Vendetta Films with international sales by 108 Media.


Film VIC-TWTWB_Resized
The eagerly anticipated television series Tomorrow, When The War Began which airs locally from April 23rd is an excellent example of the ease of filming in Victoria.

The adaptation of John Marsden’s best-selling and globally adored young adult fiction novels explores how ordinary Australian families deal with the extraordinary challenges of life under hostile military occupation.

Following the success of the feature film (the highest grossing Australian film of 2010), the six-part television series allows for additional character and story development, enhanced by a diverse range of landscapes. 

Filmed in the Victorian locations of historic Clunes, the lush forest glades of the Dandenongs and the coastal scenery of Barwon Heads, Tomorrow, When the War Began location manager Tim Scott praised the generous participation of the Victorian councils involved.

“We spent a week in Clunes and with the assistance of their local council we closed the main street and turned it into a battle field with burning cars and trashed shops. Clunes has a history of filming from the days of Mad Max and Ned Kelly as well as commercials and TV series like Halifax FP. There aren’t many towns where you can shut down the main street. This was possible here because the highway doesn’t go through the centre of this town.

The Dandenongs region was where we shot Hell (the bush). We needed a remote valley location in which the characters found themselves in, while factoring in the logistics of getting a film crew into such terrain.

We came across this area where we could simply park the crew and walk 25 metres into the bush with an idyllic stream running through it. It was logistically pleasing with a remote feel.”

On finding a location for the bridge, Tim said: “Strangely enough, it’s not easy to get permission to blow up a bridge! Barwon Heads (City of Greater Geelong) were most helpful. Again this was logistically interesting as the bridge was kept open to traffic while we were filming. The sequence looked great – with no damage to the bridge!”

Victoria’s Film Friendly Guidelines ensure councils and public agencies are able to assist with film and television production in their local government area.

For more information on Victoria’s great filming locations, visit


Wolf Creek TV
Wolf Creek TV
, filmed entirely in South Australia and at the Adelaide Studios, it concluded post-production at the Adelaide Studios sound facilities in mid-April.

Directed by Greg McLean and Tony Tilse, Wolf Creek TV created employment for over 100 local cast and crew and will showcase South Australia’s capacity both on and off screen, from first-rate technical and creative work to adaptable and dramatic landscapes.

Wolf Creek TV spent eight weeks in production and 18 weeks in post-production.

The six-part drama series will premiere on Australia’s SVOD service, Stan, from May 12th.


SAFC_Post Incentive
The South Australian Film Corporation has a new post-production incentive.

The incentive provides a grant of up to 10% of the South Australian post-production spend, up to a maximum of $150,000.

A minimum of $250,000 must be spent in South Australia on post-production activities which contribute to a project’s completion.

Major features, long-form drama and factual television series can, under some circumstances, apply for up to $10,000 towards travel and accommodation for key creatives such as Director, Producer or Sound Engineer.

Go to the SAFC production incentives web page to learn more.


Centennial Parklands is conveniently located less than 10 minutes from the Sydney central business district and is central to NSW’s vibrant filming and entertainment industry hub. It is minutes from Fox Studios Australia, Australia’s Film Television and Radio School (AFTRS),  two multiplex cinemas and it is home to the Moonlight Cinema and Tropfest.

The Parklands boasts a number of independent and creative on-site businesses within the Moore Park & Centennial Park precincts.

Centennial Parklands offers varying landscapes such as pine forests, sloping fields, ponds, beautifully manicured gardens, bushland areas and rocky outcrops.

The Parklands also has an athletics track and stadium, a vibrant public golf course with one of the largest golf driving ranges in the southern hemisphere, an equestrian centre housing 5 riding schools and more than 200 stabled horses as well as playing fields and other sporting facilities. It offers a horse riding track and equestrian grounds, cycle hire and cycle track, not to mention a number of walking tracks.

The internal roadways within the Parklands can be safely cordoned off on a temporary basis with limited impact upon the public, ample room for unit base parking, a major feature and advantage for the production of feature films and TV commercials.

Last year over 170 commercial, film and photography shoots utilised Centennial Parklands. Most notably:

  • Gods of Egypt 
  • The Great Gatsby
  • X-Men Origins: Wolverine 1 &
  • Hacksaw Ridge 
  • Australia
  • Underbelly
  • Rake

Centennial Parklands is, in many ways, a blank canvas on which filmmakers and photographers have routinely created a variety of scenes and backdrops.

Over the years the Parklands have been transformed into the Canadian alps, a canal in Venice, an Egyptian market place and otherworldly planets for a sci-fi series. Anything is possible at Centennial Parklands.

Bernadette Mitsis
Filming & Photography Co coordinator
+61 02 9339 6699


  • BB114Ps - Purnululu (Bungle Bungles)$16 million regional film fund launched in Western Australia
  • The initiative will create local jobs and generate significant investment for the State’s economy
  • The fund follows the current and recent success stories of BreathJasper Jones and Red Dog – True Blue

A new $16 million investment by the Western Australian Government into the screen industry aims to attract significant levels of production from Australia and internationally, generating substantial economic activity in the regions throughout the State.

The Western Australian Regional Film Fund will provide strategic finance that will stimulate regional screen industry activity, build local capacity and enrich the vibrancy of regional WA communities.

ScreenWest Chief Executive, Ian Booth said the fund will give the State a competitive advantage over other States in attracting productions to film in Western Australia.

“The fund will attract key national and international players to make content in the regions whilst utilising local crews and creating great opportunities for local talent,” Mr Booth said.

“We will build on the strengths of regional WA, its extraordinary landscapes, experiences, stories and creative communities.”

The fund will provide finance to support national and international feature films, high-end television series and documentaries that shoot in the regions of Western Australia.

The new fund will build on the momentum created by the Western Australian Government’s Royalties for Regions program which has assisted films such as Breath, Red Dog – True Blue, Jasper Jones, Drift and Red Dog and ScreenWest’s Production Attraction Scheme.

Mr Booth said: “ScreenWest will administer the fund, in partnership with the regions, and will market the great locations of Western Australia nationally and overseas to encourage film, TV and documentary producers to bring their projects here. In turn, we will be promoting local infrastructure capabilities, services and co-production opportunities.

“The fund is an extension of the success stories we’ve already seen between regional development commissions and the screen industry. For example, Mark Johnson and Jamie Hilton, who produced Simon Baker’s feature film Breath, based on the Tim Winton novel, collaborated closely with the Great Southern Development Commission in Denmark, creating more than 250 local jobs.”

“Producers Vincent Sheehan and David Jowsey and director Rachel Perkins recently finished shooting coming-of-age mystery Jasper Jones, based on the novel by Fremantle writer Craig Silvey, in Pemberton in the South West, with the support of the South West Development Commission.”

“Producer Nelson Woss and director Kriv Stenders’ Red Dog – True Blue worked alongside the Pilbara Development Commission.”

What the filmmakers of Breath had to say: 

“The opportunity to realise Tim Winton’s iconic novel in its own rugged and pristine environment has been a filmmaker’s dream. We are grateful for the community’s support and embrace of our cast and crew, it has helped our production immensely.” – Simon Baker, Director, and Producer

“It’s rare that we get to bring such a powerful story to life in its natural environment. The crew is fantastically talented, the landscapes and locations are breathtaking, and we count ourselves very lucky to have the support of ScreenWest.”   -Tom Williams, Executive Producer

The fund will be operational as of 1 July 2016.

Want to know more?
Film Fund FAQ – Click Here 
Fast Facts about the Fund – Click Here 

For inquiries about the fund please contact: 
Adam Smith
Director Production Investment
+61 8 6552 7950



Allegiant Screening Photo collage_v2

Ausfilm recently headed to Australia’s Parliament House to screen the latest instalment of The Divergent Series, Allegiant.  Ausfilm hosts two screenings a year for Australian Government Ministers, Members of Parliament and government staffers to showcase work by Australian VFX, post-production or production service businesses involved in international productions.  Last month’s screening featured a showcase of the VFX work of Ausfilm members Animal Logic and Luma on this film. Our thanks to Summit Entertainment, Lionsgate and eOne for their support.

Animal Logic
Established in 1991, Animal Logic is one of the world’s most highly respected digital production studios, producing award-winning design, animation and visual effects for the film and television industries.

Animal Logic’s film credits include The Lego® Movie, Avengers: Age of Ultron, The Great Gatsby, Legend of the Guardians: The Owls of Ga’Hoole, 300, Happy Feet and Insurgent, part of the Divergent trilogy. Having designed some key sequences and effects for Insurgent, Animal Logic was entrusted with over 250 shots for Allegiant.

Working closely with visual effects supervisor Stefan Fangmeier and visual effects producer, Erika McKee, Animal Logic produced ‘The Fringe’ – the toxic wasteland environment our heroes find when they venture over the wall surrounding futuristic Chicago.

Led by Animal Logic’s visual effects supervisor, Paul Butterworth and executive producer Jason Bath, Animal Logic artists developed a 360-degree fully CG (computer generated) environment that could be added to the background of each shot as per the varying lighting and weather conditions from the shoot. The team developed software that enabled the landscape to be populated with CG withered trees, grass and toxic cloud formations as per Director Robert Schwentke’s vision. Decayed remains of buildings litter the surrounds, the result of expert matte painters. Finally, extensive colour grading across entire scenes achieved the desired look and feel for The Fringe landscape.

As well as the extensive CG environment work, the Animal Logic team also produced an action-packed airborne chase scene, where our heroes steal a space craft from their captors and are chased across the barren landscape before being shot down in an explosive confrontation with Government forces. This sequence included the creation of CG aircrafts, explosion effects and the design and animation of futuristic holographic flight graphics.

Luma Pictures is a leading visual effects studio that offers best in class services for features, commercials and new media. Our credit list includes blockbuster films such as Ant-Man, Guardians of the Galaxy, and Prometheus; Academy Award-winning films including Crash, True Grit and No Country for Old Men; and numerous commercials such as A Mini Marvel for Coke which aired during Super Bowl 50. Luma’s talented global teams share a proprietary pipeline of industry leading tools and techniques that nurture groundbreaking, and artistically exceptional work.

Soon after completion of VFX work on Insurgent, Luma was invited back to create VFX on 160 shots for Allegiant. The team was excited to embark on another journey with director Robert Schwentke, as well as VFX producer Erika McKee. The project also saw Luma working with VFX supervisor Stefen Fangmeier for the first time.

Led by VFX supervisor Vince Cirelli and sequence supervisor, Brendan Seals, Luma worked predominantly on the Factionless environment across several scenes throughout the film. The Factionless environment entailed foreground building set extensions for the Factionless HQ, with multiple layers of computer generated (CG) buildings in mid-ground areas, ending up with a fully CG destroyed Chicago cityscape in the background.

Quite a few of Luma’s Factionless HQ shots involved building and extending the train/boxcars. Tthe train tracks in various Factionless shots were CG add-ins – this what is referred to as ‘hidden’ VFX.

As well as the Factionless exterior, Luma worked on a collection of interior Factionless shots, which entailed ceiling set extensions and smoke/atmosphere addition – again, more ‘hidden’ VFX.

Finally, Luma worked on a number of shots known as the ‘tarmac view’ within the airport decay sequence. For these shots the team was supplied reference of another vendor’s exterior tarmac design. The team used this reference as well as drawing from the real Chicago O’Hare International Airport to build a custom matte painting ‘at magic hour’, which was composited into windows looking out from inside the abandoned airport.


Kate Marks_Ausfilm

Last month Ausfilm USA’s Kate Marks (Executive Vice President International Production) was interviewed for Australians in Film’s Podcast: Another Aussie in LA.

Another Aussie in LA is an entertainment podcast hosted by Australian actress, writer and director Ansuya Nathan.

Kate takes listeners through Ausfilm’s involvement in helping to secure tentpole features for Australia such as Marvel’s Thor: Ragnarok and Ridley Scott’s latest Alien: Covenant; how Ausfilm supports LA-based Aussie writers, directors and producers; and the work Ausfilm does in connecting its members to opportunities in China and other global screen markets. Check out the podcast here.
Australians in Film is an industry Association for Australian filmmakers and performers in the U.S.  Ausfilm is a proud supporter ofAustralians in Film.



The LEGO® Batman Movie has released first look images and two teaser trailers about the caped crusader’s animated adventure.   The animated feature being produced entirely atAnimal Logic ’s Sydney studio is directed by Chris McKay who was Co-Director on The LEGO® Movie.

Part of the film will be in “the ho-hum day-to-day of being Batman and what it’s like to fight crime each day.”  said, Director Chris McKay – “Batman is an island unto himself, the only thing he doesn’t have is relationships. We’re making About a Boy as directed by (action director) Michael Mann.” Producers Phil Lord and Chris Miller also say that the film will address if Batman can ever be happy and that the spin-off will acknowledge every era of Batman filmmaking.

The LEGO® Batman Movie opens 10 February 2017, featuring the voices of Michael Cera asRobin, Zach Galifianakis as The Joker, Ralph Fiennes as Alfred, Rosario Dawson as Batgirl, and Mariah Carey as Gotham City’s Mayor.




Ausfilm welcomes DWA Entertainment Lawyers to its membership community.  DWA Entertainment Lawyers is a commercially pragmatic, cost-effective, entertainment law firm based in Sydney, Australia, which also provides executive producing and financing services to domestic and international clients. We are delighted to be working with DWA’s Principal, David Whealy and Senior Associate, Elle Curran.

DWA Entertainment Lawyers specialise in all facets of law across the entire spectrum of entertainment industries including film, television, music, theatre, advertising, digital and technology. They provide comprehensive legal advice in intellectual property matters; film and television financing; chain of title; production agreements (e.g. releases, clearances, location agreements, service agreements etc); employment agreements (cast and crew agreements); distribution and exploitation.

DWA Entertainment Lawyer’s client base ranges from local to international producers, major production companies, impact producers; distributors, talent agents, musicians, celebrities, new-media and virtual reality production companies.

DWA Entertainment Lawyers has provided legal and/or executive producing services to an extensive range of local and international film and television productions includingSuperhuman, Jungle, Hacksaw Ridge, 2:22,The Moon and The Sun, The Deep S1 and S2,Killer Elite, Tomorrow When the War Began,The Loved Ones, The Messenger, W, Dying Breed and The Bank Job.

DWA Entertainment Lawyers’ principal, David Whealy, has executive produced cumulatively over $350 million worth of film and television production in his career.

David Whealy:
Principal, DWA Entertainment Lawyers
+61 414 825 165

Elle Curran:
Senior Associate, DWA Entertainment Lawyers
+61 410 573 756



Fox Studios Australia continues to attract major projects and talent to Sydney, reflecting the quality of its film and television production facilities, crew and diverse locations. Fox Studios Australia is the largest integrated film and television production facility in the southern hemisphere.

The Studio is hosting a number of major domestic and international productions including Alien: Covenant, directed by Sir Ridley Scott, currently in pre-production and shortly commencing principal photography.

World War II film Hacksaw Ridge, directed by Mel Gibson, recently wrapped a 3-month shoot at the Studios and nearby locations, with regional Sydney doubling for Okinawa in WWII and Lynchburg, Virginia. Hacksaw Ridge is currently in post-production at the Fox Studios Lot.

Truth, starring Cate Blanchett and Robert Redford, recently took advantage of Sydney’s flexibility, with the city doubling for contemporary Manhattan and Dallas, with stage work at Fox Studios.

Safe Neighbourhood  wrapped in February after a major stage shoot, recreating mid-winter Chicago during Summer in Sydney.

Congratulations to George Miller on Mad Max: Fury Road’s recent Oscar success. Fox Studios was utilised for the stage work.

Gods Of Egypt  – which also shot entirely at the studio last year, with a box office of $128M worldwide in its first 4 weeks of release.

Fox Studios Australia is also hosting several local and international television series including Top of the Lake Season 2: China Girl, directed by Jane Campion and produced by See-Saw Films for BBC Two and co-produced with Sundance TV in the US, BBC First and Foxtel in Australia.

We are also excited to welcome The Voice back for a 5th season kicking off soon.

In addition, production at Fox Studios Australia has recently wrapped on Fremantle Media’sYou’re Back in the Room and This Time Next Year for the Nine Network Australia.

With 8 sound stages, including 2 mega stages, an interior tank, nearby external large scale water facilities, an adjoining 75 acre backlot and supported by over 70 screen production businesses, the Studios has the versatility to cater to any production of any scale.

Fox Studios Australia also offer a full suite of Productions Services including management of government rebates and incentives, production management, legal, accounting and payroll services and immigration support, to ensure your project is delivered on time and on budget.

Lynda Carruthers
Head of Production Services
+61 2 9383 4035



Mark Johnson, Oscar and Emmy-winning Hollywood producer was in Western Australia last week for his first trip to the State to work alongside Simon Baker on the feature film Breath, which is based on the award-winning novel by the same name, written by local author Tim Winton.

Mark is working in partnership with Baker and See Pictures’ Jamie Hilton to produce the film, which is being shot entirely in the Great Southern region, primarily in Denmark.

The Hollywood-based producer has an impressive CV and has worked for many years in film and television. He has produced and been involved in many projects including: Rain Man, Breaking Bad, Better Call Saul, Rectify,Good Morning Vietnam, The Natural, Tin Men, Avalon, Diner Bugsy, The Chronicles of Narnia franchise, The Notebook, Galaxy Quest,The Rookie and Donnie Brasco, to name a few.

“Since I first read Breath and began discussing it with Simon, I’ve dreamed of filming in Western Australia,” said Johnson.  “We’re now in a position to make that dream a reality.  I can’t wait to see with my own eyes the world Tim Winton has described so vividly.”

Breath focuses on two teenage boys who, hungry for discovery, form an unlikely friendship with a mysterious older surfer that pushes them to take risks which will have a lasting and profound impact on their lives.

ScreenWest presented a Q+A with Mark for the local screen industry in which he discussed his extensive career and provided skills and tips on what it takes to be successful in the industry.

Ian Booth, Chief Executive of ScreenWest said “Having someone of Mark’s calibre choose to come and make a film in the State is an amazing opportunity. Mark was generous with sharing his knowledge and skills and offered the industry a chance to hear him discuss his long-standing career in the sector”.



Australia was the talk of the night at the Oscars held in February, with eleven award nominations. Mad Max: Fury Road won six of the ten categories for which it was nominated, making it the most successful Australian film at the Academy Awards.

The fourth instalment of the iconic Australian film was recognised for its excellence in Costume Design, Sound Mixing, Sound Editing, Makeup and Hairstyling, Production Design, and Film Editing.

Screen NSW helped Fury Road’s production company, Sydney-based Kennedy Miller Mitchell, to utilise NSW’s locations and access industry practitioners during all stages of production. This included helping to organise Sydney-based locations Penrith Lakes and Potts Hill for the shooting of the climactic final action scenes.

Mad Max has a long history with NSW. Mad Max 2 and Mad Max Beyond Thunderdome both filmed in locations in NSW.

Below we focus on Australia’s Academy Award talent:

Film Editing
Margaret Sixel who also won at the AACTA and BAFTA awards for her achievements on Mad Max: Fury Road was also recognised for her achievements at the Oscar for Best Film Editing. Sixel, who is based in Sydney, has editing credits for well-known movies such as Happy Feet and Babe: Pig in the City.

Sound Editing
David White and Mark Mangini received the Oscar for sound editing for Mad Max: Fury Road. White is based in Sydney and has contributed to over 27 films, including Knowing. Mangini, from Los Angeles, has worked in the sound department for over 135 films. The pair also won an AACTA for their work.

Makeup and Hairstyling
Lesley Vanderwalt, Elka Wardega and Damian Martin were recognised at the Academy Awards for their thrilling apocalyptic designs in Makeup and Hairstyling for Mad Max: Fury Road. The team also won at the BAFTAs.

Martin, whose special effects company is based in Sydney, NSW, has provided special effects work for Star Wars: Episode III – Revenge of the Sith, Star Wars: Episode II – Attack of the Clones, and recently released film Gods of Egypt. Sydney-based Vanderwalt has over forty-six credits to her name in the Makeup Department. Her work includes well-known films such as The Great Gatsby,Sleeping Beauty, Australia, Moulin Rouge!, and Mad Max 2. Wardega, who specialises in prosthetic makeup also has a long and illustrious career in the profession, having provided her services in the makeup department for The Hobbit: An Unexpected Journey, The Chronicles of Narnia: The Voyage of the Dawn Treader, Moulin Rouge! and The Matrix.

Production Design
Colin Gibson and Lisa Thompson were recognised for their exemplary creative work in Mad Max: Fury Road with the Oscar for Best Production Design. Thompson, who is based in Melbourne, is credited for set decoration in over thirty films, including The Dressmaker, San Andreas, Unbroken, and Where the Wild Things Are.

Gibson, currently based in Sydney, has provided production designs for a number of films, including Careless Love, Nim’s Island and Babe: Pig in the City. Gibson and Thompson also received a BAFTA for their designs on Mad Max:Fury Road.

Sound Mixing
Australians Gregg Rudloff and Ben Osmo were awarded the Oscar for Best Sound Mixing with American Chris Jenkins. This was Rudloff’s third Oscar after Glory in 1989 and The Matrix a decade later. Osmo’s experience over 40-years spans across some of Australia’s best films including Dead Calm, Babe, Strictly Ballroom and Rabbit-Proof Fence.

Lisa Scope
A/Senior Production Attraction & Incentives Executive
+61 2 9995 0938



Screen Queensland has attracted another major feature film to Queensland with Flammable Children, a comedy written and to be directed by BAFTA-nominee Stephan Elliott (The Adventures of Priscilla, Queen of the Desert). The film commences pre-production in mid-August and cameras roll in early October.

Flammable Children is a comedy set on the sunny beaches of Australia in the mid-1970s and will star Guy Pearce (The Adventures of Priscilla, Queen of the DesertIron Man 3) and Radha Mitchell (Silent Hill, Man on Fire, Finding Neverland), with more cast to be announced.The film is produced by Wildheart Films’ Al Clark (The Adventures of Priscilla, Queen of the Desert, Chopper, Red Hill) and See Pictures’ Jamie Hilton (Breath, The Waiting City, Backtrack).

Flammable Children will film in South East Queensland, employ around 120 Queensland crew and spend more than $6 million on Queenslanders and Queensland businesses. The production will utilise Queensland’s excellent facilities and stunning and diverse locations.

Stephan Elliott will lead an army of award-winning cast and crew and reunite with many of his award-winning Priscilla team members including producer Al Clark, Oscar-nominated and BAFTA-winning production designer Colin Gibson (Mad Max: Fury Road), Oscar-winning costume designer Lizzy Gardiner (Mission: Impossible II), BAFTA-nominated score composer Guy Gross (Knowing) and Emmy Award-nominated film editor Sue Blainey (Lost, Mozart in the Jungle).

WestEnd Films has acquired international rights to Flammable Children.

For more information contact:

Angela Samut
Screen Queensland
+61 7 3248 0500



SAFC_photo collague

South Australia offers a diverse range of locations including stunning beaches, farmlands, outback, wine regions and cosmopolitan cityscapes all within less than an hour of Adelaide Studios. From oceans to outback, urban to suburban, rural to surreal. From salt lakes to moonscapes, scenic countryside to rugged bushland, heritage buildings, desert scapes and dramatic coastline, it’s all on the doorstep of the state capital, Adelaide.

Adaptable, affordable and accessible.

The city of Adelaide is a sophisticated, vibrant city with world-class restaurants and cultural precincts which draw upon a rich ethnic mix. Known as the ’20 minute city’, Adelaide enjoys ease of traffic, a Mediterranean climate and a low cost of living which translates into lower production costs. The city backdrop features a wealth of options including heritage sandstone, ultra-modern architectural design and gritty back-streets.


South Australia offers an endless range of filming locations – unspoilt salt lakes and wetlands, expansive deserts, red outback and barren “lunar” landscapes. Whether you are searching for a heritage, contemporary or futuristic location, in a rural, urban or coastal setting – South Australia has it all.

Additionally, South Australia’s strong screen sector has highly experienced crew which go hand-in-hand with the state-of-the-art Adelaide Studios and Sound facilities to produce world-class results.

South Australian Film Corporation incentives
The South Australian Film Corporation (SAFC) offers a number of incentives which make production in the state attractive for feature films and television series.  SAFC staff are always happy to discuss specific incentives for footloose and co-productions.

For more information on locations, studio space and incentives available for South Australia, please contact:

Michelle Krumm,
Head of Production, Studios and Development
08 8394 2000


MadMax Crew AiF Consulate Oscar nom party
Congratulations to Dr George Miller and Doug Mitchell and the team at Kennedy Miller Mitchell Productions; Graham Burke and Greg Basser and all the team at Village Roadshow Pictures, Roadshow Films and Warner Bros. and all the creatives, cast and crew for their success during the awards season for Mad Max: Fury Road.

Nominated for 10 Oscars®,  the film scooped up six awards across the creative and technical categories. It became the most successful Australian film ever at the Academy Awards®. Among the winners, eight are Australian. The film won across:

  • Best Costume Design went to British costume designer Jenny Beavan;
  • Best Production Design went to Australians Colin Gibson and Lisa Thompson;
  • Best Make-up and Hairstyling went to Australians Lesley Vanderwalt, Elka Wardega and Damian Martin;
  • Best Film Editing went to Margaret Sixel;
  • Best Sound Mixing went to Australian Ben Osmo, alongside Chris Jenkins and Gregg Rudloff;
  • Best Sound Editing went to Australian David White alongside Mark A. Mangini.

The film garnered 10 nominations for the Oscar Awards® including (but not limited to) Best Visual Effects for which Ausfilm member: Iloura’s VFX Supervisor, Tom Wood was nominated alongside Production VFX Supervisor Andrew Jackson and SPX Supervisors Dan Oliver and Andy Williams.

We’d especially like to congratulate the talented and creative Australian production service companies and screen agencies (all of which are Ausfilm members) who worked on this outstanding film: Big Bang Sound DesignDDP StudiosFox Studios AustraliaFox LightingHolding Redlich LawyersIlouraPanavisionScreen AustraliaScreen NSWShow GroupStageOne SoundTrackdown Scoring Stage.


Film Victoria website homepage image

Film Victoria has a new website, with a fresh look and clear navigation, to simplify access to the state agency’s programs and services.

A number of websites have been consolidated into one site which is now also home to Film Victoria’s Locations Gallery and Industry Directory.

The homepage presents a simple top navigation panel with all essential information easily accessible. This includes finding funding, producing in Victoria, locations, the Industry Directory, latest news and deadlines and Film Victoria contacts.

Content within the site has been visually separated so that key information is easy to find.

The Funding section contains easily recognisable boxed information separated into development, production, games, incentives, screen culture, skills development and travel.

Deadlines can now be browsed across all funding pages. They’re displayed by month allowing users to easily see what’s coming up, and new functionality means deadlines can be filtered by program.

The Locations Gallery contains over 2000 individual locations in a searchable database of around 52,000 images. New features include heightened search functionality which enables users to search by keyword, map, council or region.

The Industry Directory now offers a better experience for those who want to find and contact Victorian practitioners.

Showcase provides a dedicated space to promote great Victorian feature, TV and games projects. This is where you’ll find information on newly released projects, industry events and Q&As with some of the key talent in Victoria.

Explore Film Victoria’s new site here:


SAFC image

Girl Asleep has officially made its international premiere as the opening night film of the Berlin Film Festival’s Generation program.

Girl Asleep, commissioned by Adelaide Film Festival through the HIVE FUND and supported by South Australian Film Corporation, was produced by Windmill Theatre and Soft Tread Enterprises, and was named “Most Popular Feature” at the 2015 Adelaide Film Festival.

For more information on making your project in South Australia contact the friendly team at the South Australian Film Corporation.

The HIVE FUND is an Adelaide Film Festival initiative with partners ABC Arts, Screen Australia and Australia Council for the Arts.

Based on the critically acclaimed production by Windmill Theatre, Girl Asleep is a journey into the absurd, scary and beautiful heart of the teenage mind.



Fox Studios Australia reaffirms its position as one of the regions premier film and television production facilities and the first choice for leading directors and producers, attracting major film and television projects internationally and locally.

The diverse range of productions that have filmed at Fox Studios Australia reflects the appeal and superior overall offering. The studio offers a diverse range of stages available, from the 2 mega stages to the 6 purpose built film and television stages and ample production and support spaces.

Fox Studios is located in a world-class campus environment near Sydney Harbour in the heart of the city of Sydney with over 70 industry screen production businesses based on the lot including production and financial services, post-production, sound and visual effects, a scoring stage, lighting and camera equipment hire, props hire and casting agents.

Fox Studios also offers a full service screen production services, ranging from government liaison and submissions, company and financial set-up, budgeting and union negotiations.

Having secured Ridley Scott’s Alien: Covenant,  Fox Studios Australia has also recently hosted Mel Gibson’s Hacksaw Ridge;  Alex Proyas’ Gods of Egypt; Angelina Jolie’s Unbroken;  George Miller’s Mad Max: Fury Road; and Jane Campion’s Top of the Lake Season 2; China Girl; along with Truth; The Lego ™ Movie; The Water Diviner; 2:22; Safe Neighborhood; Strangerland; Mary: The Making of a Princess; Love Child; The Voice; The X Factor; Spelling Bee; Shark Tank  and You’re Back in the Room; along with production bases for Australian television series Here Come the Habibs; Rake and The Code.

Whatever your production needs, Fox Studios Australia will tailor a solution to meet your requirements and budget.

Lynda Carruthers
Head of Production Services
Fox Studios Australia
T: +61 2 9383 4035



In a busy start to 2016, KOJO’s Executive Director of post-production Marty Pepper headed to LA in early January to hand over the last of the delivery assets for Scott Hicks’ latest film Fallen, to production company Lotus Entertainment.

After almost two years work KOJO wrapped up the international delivery assets shortly after the final DI session was complete. Shot in Budapest during the spring of 2014, Fallen’s post-production team then assembled in KOJO’s studios in Australia to complete the director’s cut, preliminary visual effects and look development for the DI.

With visual effects being completed by Vision Global in Montreal, Marty Pepper worked extensively with Scott to ensure a smooth workflow between Australia, Canada and the U.S. through the post-production process.

“Right from the start it was vital to set up a collaborative work flow that embraced the strength of the various team members but ultimately closed neatly back into KOJO’s DI process.” Marty Pepper said. “We work on films over such a long period, and often in multiple countries, so we need excellent workflows to ensure everyone can focus on the films story, performances and creative vision.”

In addition to data management, editorial and technical supervision for VFX, KOJO also completed the DI on Fallen with Marty grading on KOJO’s Lustre. The film was graded over a 4 week schedule with Scott  viewing the film on a 13 metre cinema screen based at the Adelaide Studios in South Australia.

In addition to Fallen, KOJO is also in final post-production on Greg McLeans’ latest feature film The Darkness for Blumhouse Productions which stars Kevin Bacon and Radha Mitchell. Watch the trailer.

KOJO is finalising several bids for US based projects set to commence in mid 2016.



Screen Australia reports on the high-end Australian indigenous TV series Cleverman, creating international interest and buzz.

When Indigenous Australian filmmakers reimagined the 60,000-year-old stories of their culture for a modern audience, the result was an ambitious, television series that is generating global excitement.

An official Australian/New Zealand co-production between Goalpost Pictures Australia and Pukeko Pictures, it was filmed in Sydney last year for ABC TV Australia and produced in association with Screen Australia, Screen NSW and Red Arrow International.

The ensemble cast featured 80 per cent Indigenous actors, including Deborah Mailman (The Sapphires) and Hunter Page-Lochard (Spear), alongside international names such as Iain Glen (Game of Thrones) and Frances O’Connor (The Missing).

And the attention surrounding the series has only continued to climb. Last September, the Sundance Channel acquired the US rights. Then in February, Cleverman was invited to screen at Berlinale.

“The inclusion in Berlinale is an incredible coup for the Australian television industry and a tremendous boost for Indigenous storytelling,” Screen Australia CEO Graeme Mason said at the time.

It went on to make its world premiere at the Berlin International Film Festival, as just one of six international programs chosen for the Berlinale Special Series.

Already, journalists have been taken by the way Cleverman has tapped into timely universal issues ranging from refugees to racism.  All this, while never compromising on the Indigenous stories at its core.

Directed by Wayne Blair (The Sapphires) and Leah Purcell (Redfern Now), Cleverman is set in a dystopian Sydney in the near future, where superhuman ‘Hairypeople’ are battling for survival as they are contained or sent off to detention centres by humans.

The main focus is around two estranged brothers (Hunter Page-Lochard and Rob Collins), who are forced to fight together for their own survival.

Filmmaker Ryan Griffen says the idea grew from him wanting to create an Indigenous superhero for his young son that would still connect him to his own culture.

“It’s a modern story with ancient roots, about how humans treat others in a world where Aboriginal dreamtime creatures exist,” he told Screen Australia.

ABC TV Australia went on to release a short clip from Cleverman following its premiere at Berlinale, only adding to the intrigue and growing anticipation surrounding the upcoming series.

** Read more on Screen Australia’s The Screen Blog


BandA Fury Road

VFX member Iloura has swept up numerous global Award nominations and wins for Mad Max: Fury Road, a key project for them in 2015.

We’re thrilled to see their work acknowledged at several prestigious events including a ‘Best Visual Effects’ nomination at the Academy Awards with VFX Supervisor on Fury Road, Iloura’s Tom Wood in attendance.

Mad Max: Fury Road has earned 10 Academy Award nominations, the most ever for an Australian film across 10 categories.

Other Iloura accolades include a nomination in the Special Visual Effects category at the BAFTA Awards in London, a win for Best Visual Effects at the Critics’ Choice Awards and a win at the Visual Effects Society Awards for Outstanding Effects Simulations for the Toxic Storm sequence, presented to Iloura’s Clinton Downs, Dan Bethell and Chris Young.

These followed success at the Australian Academy of Cinema and Television Arts Awards (AACTAs) in December last year with the Best Visual Effects or Animation award going to the Fury Road visual and special effects team which included Iloura’s Tom Wood and Producer Fiona Crawford.

Credit also goes to other Ausfilm members involved in this massive project, including Deluxe StageOne Sound.  Mad Max: Fury Road received a BAFTA Best Sound nomination on top of the Oscar Sound nod.

Iloura’s animation skills have not gone unnoticed either with SpongeBob Squarepants: Sponge Out of Water being recognised at the prestigious Annie Awards. Iloura’s Paul Buckley, Brent Droog, Alex Whyte and Jonothan Freisler were nominated for Outstanding Achievement, Animated Effects in an Animated Production.

Trackdown and Damian Candusso Partner

Multi-award winning Sound Designer Damian Candusso has partnered with Trackdown to provide a world-class sound design audio post-production service from Trackdown’s studio at Moore Park in New South Wales.

With over 17 years experience in film, television, animation, games, music and installation art, Damian is one of Australia’s leading sound designers and has contributed to the soundtracks of The Lego Movie, The Great Gatsby, Little Fish and Happy Feet 1 and 2.

Damian is also an active researcher in film sound, immersive cinema and virtual reality and has received a PhD for research into immersive cinema, 3-D film and the soundtrack.

He has been nominated for Motion Picture Sound Editors (MPSE) Golden Reel Awards, he has worked on several Australian Film Institute (AFI) and Independent Film (IF) Award winning films, as well as winning many Australian Screen Sound Guild (ASSG) awards.

In 2010 Damian was awarded the City of Los Angeles Certificate of Congratulations for his contribution to the MPSE Board of Directors, and in 2002, Damian received the Centenary Medal for Contribution to Australian Culture for his work in the Australian film industry.


Animal Logic Entertainment (ALE) confirmed this week that San Andreas‘ writers Andre Fabrizio and Jeremy Passmore have been signed to write the script for the iconic manga character, Astro Boy. The studio is currently in negotiations with New Line to partner on the project.

Intended as a live-action superhero adventure, the feature will be produced by Animal Logic CEO, Zareh Nalbandian, with Executive Producers, Mike Callaghan and Reuben Liber from Ranger 7 Films, and Jason Lust.

Astro Boy, known in Japan as ‘Mighty Atom’, first appeared as a Japanese Manga series from 1951 to 1968 written and illustrated by manga pioneer Osamu Tezuka, considered to be Japan’s equivalent to Walt Disney.

Spawning additional manga series and multiple animated television series over the years, Astro Boy went on to become one of Tezuka’s most famous characters, selling over 100 million copies worldwide and ranking Astro Boy as one of the greatest comic book characters of all time.



Veteran Australian filmmaker, Dr George Miller, and the skilled practitioners from Mad Max: Fury Road blazed their way through the international awards season, showcasing the talent, skills and proficiency within the NSW industry.

Mad Max: Fury Road has picked up over 100 awards so far, including multiple accolades in the recent BAFTA awards including best makeup, best editing, best costume design, best production design with additional nominations for best film and best director. Its crew have also been rewarded in many technical categories including VFX and cinematography – and an additonal 6 wins at this year’s Academy Awards.

Fury Road led a record year for the Australian box office in 2015, and a record year for Australian movies, with over AU$88 million taken at the local box office, or 7.7 per cent of the total.

Screen NSW worked closely on many of the year’s successful films from development to post production and contributed through its various funding programs.

The outlook for 2016 is for another blockbuster year that includes several major releases. Here are a few of the upcoming highlights from NSW:

  • Gods of Egypt – This fantastical adventure film from director Alex Proyas (The Crow), Gods of Egypt was filmed in Centennial Parklands and Fox Studios in Sydney. A young thief (Brenton Thwaites) joins with the God of the Sky (Game of Thrones’ Coster-Waldau) to take back the throne in this blockbuster that uses Australia’s best post-production and animation studios to create a look that embraces the film’s mythological fantasy theme and that are unique and visually spectacular.
    Stars: Gerard Butler, Nikolaj Coster-Waldau, Geoffrey Rush, Rufus Sewell, Abbey Lee.
    Release: February 25
  • The Daughter – Filmed in Sydney and regional NSW, The Daughter, from award-winning producer Jan Chapman and co-producer Nicole O’Donoghue, is a family drama set in a hauntingly beautiful timber town. Family skeletons fall out of the cupboard when an estranged son (Paul Schneider) returns to his small town home for his father’s (Geoffrey Rush) wedding to a much younger woman. The film showcases some of the most stunning landscape in the Australia.
    Stars: Geoffrey Rush, Anna Torv, Miranda Otto, Sam Neill, Odessa Young in her Big-screen debut.
    Release: March 17
  • Backtrack – Filmed in regional NSW in Carcoar and Oberon, the film used both regional locations and Sydney’s world-class visual effects studios. Academy Award winner, Adrien Brody, plays Peter Bower, a psychologist whose life is thrown into turmoil when he discovers his patients are ghosts, all of whom seem to have died within a day of each other.
    Stars: Adrien Brody, Sam Neill and Bruce Spence.
    Release: Midyear

Want to shoot your next project in New South Wales? Contact the friendly team at Screen NSW.

Image: Courtesy of Warner Bros. & Village Roadshow Films Ltd.


gday room image resize

Ausfilm kicked off the year with client liaison and marketing activities at G’Day USA events in Los Angeles and New York.

G’Day USA is designed, managed and produced by the Australian Government (Department of Foreign Affairs and Trade) and Qantas Airways. The events are self-funded and supported by the Federal Government, Australian State Governments and corporate sponsors.

G’Day USA Los Angeles Gala Dinner was held on 28th January and the event honoured Mad Max: Fury Road director, Dr George Miller with the Lifetime Achievement Award and Australian actor, writer and director, Joel Edgerton with the Excellence in Film award.

Ausfilm congratulates Dr George Miller and Joel Edgerton on their well deserved awards.

Ausfilm invited its Hollywood filmmaking friends to network with Australia’s Federal Government representatives, Aussie screen talent and Ausfilm members: Screen Australia, Animal Logic Entertainment and VFX companies Animal Logic and Luma.


Screen Queensland via its Post, Digital and Visual Effects (PDV) Attraction Grant has attracted another US production to the state with online series, Powers, to complete visual effects work for its second series in 2016.

This is the third international production Screen Queensland has attracted to Queensland via its Post, Digital, Visual Effects incentive since its introduction in 2015.

In the last 12 months Queensland has welcomed feature film The Age of Adaline produced by Lakeshore Entertainment and Sidney Kimmel Entertainment and US television series, Underground from Sony Pictures Television and Tribune Studios, to Queensland.

Based on the Icon comics (a Marvel Comics imprint) and a PlayStation Originals series, Powers has been adapted from the original comic series by Michael Avon Oeming and Brian Michael Bendis.

Powers, an edgy dramatic series, follows the lives of two homicide detectives, Christian Walker (Sharlto Copley) and Deena Pilgrim (Susan Heyward), who are assigned to investigate cases involving people with extraordinary abilities, referred to as “Powers.”

The new season will delve into the storyline made famous by the first comic “Who Killed Retro Girl?” as the Powers Division investigates the shocking murder of the world famous superhero (played by Michelle Forbes) and the mysteries that her death uncovers.

Powers Season 2 will be available later this year. Powers is produced by Jinxworld and Circle of Confusion in association with Sony Pictures Television. Remi Aubuchon, Brian Michael Bendis, Michael Avon Oeming and David Engel serve as executive producers.

Read more about Screen Queensland’s PDV Incentive.


Queensland is opening its doors to another major film production Jungle by Arclight Films and producer Dana Lustig with production commencing in April.

Jungle stars Daniel Radcliffe (Kill Your Darlings, Swiss Army Man and the Harry Potter films).

Based on the internationally bestselling memoir of the same name by Yossi Ghinsberg, the feature film tells the story of four travellers who set off into the heart of the Amazon rainforest on a dream adventure which quickly turns into a nightmare.

The film will be directed by Greg McLean (Wolf Creek, Wolf Creek 2), written by Justin Monjo (Rush, The Untold Story of INXS).

Produced by Gary Hamilton, Mark Lazarus, Mike Gabrawy, Dana Lustig and Greg McLean the film will shoot in Queensland offering over 100 jobs and injecting approximately $5.4 million into the local economy. Queensland-based producer Todd Fellman (Daybreakers, Mental) of Story Bridge Films is also behindJungle.

Jungle will be shooting at least 50 per cent of the production on location in South East Queensland and at Village Roadshow Studios.

Screen Queensland acknowledges the financial support of Screen Australia inJungle. Arclight Films is handling worldwide sales for the film.



The Gold Coast, located in Queensland’s south east, has a thriving production industry with a long list of credits including more recently: Legendary Pictures’ Kong: Skull Island, Arclight Films’ Nest, Columbia Pictures’ The Shallows, Walt Disney Studios’ Pirates of the Caribbean: Dead Men Tell No Tales, Village Roadshow Pictures and New Line Cinemas’ San Andreas, Universal Pictures’Unbroken, Lionsgate and Pictures in Paradise The Railway Man and with Arclight Films and producer Dana Lustig’s Jungle starring Danielle Radcliffe and Marvel Studio’s Thor: Ragnarok just about to commence production.

With world-class facilities including the Village Roadshow Studios, stunning and diverse natural locations near the Studio complex, post-production and special effects capabilities, the Gold Coast offers an international airport and accommodation and only located less than half an hour drive from the Studios.

The Village Roadshow Studios comprises eight sound stages; with a ninth 40,000 sq ft super stage currently being built and scheduled for completion in time for Marvel Studio’s Thor: Ragnarok in early 2016 and three water tanks including the largest purpose-built film water tank in Australia.


Home to internationally accredited key creatives and crew, the Gold Coast offers an extensive choice of professional and award-winning producers, directors, cinematographers, writers, production designers, animatronics, prosthetic artists and more plus award-winning crew who have worked on a broad range of international productions.

Queensland is also home to a deep pool of actors including some of the world’s most recognised young talent such as Margot Robbie, Brenton Thwaites and new star Levi Miller (Pan).

Screen Queensland offers a suite of incentives and grants as part of its Production Attraction Program including:

  • Production Attraction Incentives;
  • Locations and scouting assistance – including script location breakdowns and bespoke location presentations ;
  • State Payroll Tax Rebates – Producer Offset
  • Regional Statewide Incentive Grants;
  • Post, Digital and Visual Effects Attraction Grant – a negotiable grant based on a minimum spend of AU $500,000 in Queensland on post-production elements;
  • The Revolving Film Financing Fund (RFFF) – provides secured loans to cash-flow the Producer Offset, distribution guarantees and pre-sales; and
  • A Development and Production Investment Grant available where a Queensland producer or writer is attached.

To view Queensland’s Directory of crew and head creatives; facilities and locations head to Screen Queensland website.

Plus download the FREE SQ iPhone app (powered by industry leaders Reel Scout ™), available on the iPhone App Store.

Contact the friendly team at Screen Queensland for information on on incentives, locations and studios.

The Gold Coast is located less than an hour’s drive from Queensland’s capital city, Brisbane.

Gina Black
Production Incentives and Attraction Manager
T: +61 7 3248 0500



Chinese delegates4good-resize

On November 23rd, at Fox Studios Australia, a significant cross-section of the Australian film industry met with a major film delegation from China for an Australia China Co-production Forum, hosted by the Motion Picture Association (MPA), the Australian Screen Association (ASA), the International Chinese Film Festival (ICFF) and the China Cultural Center.

With co-productions between countries proving to be a tangible approach to working with the ever increasing Chinese market, the forum looked to fast track exchanges between representatives from the two screen industries and provide an environment for new co-production projects to match partners and expertise.

The delegation was hosted by the ICFF and included Chinese filmmakers, actors, directors and film industry representatives on a week-long visit to Australia, meeting with Australian film industry representatives in Sydney, Brisbane, Gold Coast and Melbourne.

“As China grows to becoming the largest theatrical market in the world, and produces more films, there is a great deal of interest from the international screen community to engage with the Chinese film industry at every level. Australia is well placed to take advantage of this terrific opportunity,” said Mike Ellis, President and Managing Director, Asia Pacific, MPA.

In the first of two panels, Sonia Borella, Media, IP and Entertainment partner at Holding Redlich, moderated a discussion on Developing high-value IP in Australian-Chinese co-productions with speakers William Feng – Chief Representative China – MPA, Pauline Chan – Writer/Director (33 Postcards), LU Wei – producer (The Monkey King Returns), AN Xiaofen – producer and President, Desen International Media, and Colleen Champ – Program Manager, Co-production, Screen Australia.

“The Chinese market is dynamic and changing rapidly,” said LU Wei. “There is a large audience of young people aged between 15 and 25. This is an audience that does more than sit passively watching the movie – they are actively engaged in the whole movie ecosystem, which gives filmmakers the opportunity to engage with them on social media and get them interested in our story even during the development process.” The Monkey King Returns, said Mr. LU, became the highest grossing Chinese animation, hauling in over USD $150 million, off the back of huge social media engagement with a young fan base.

“Developing high value IP in co-productions,” said AN Xiaofen. “…requires evolving your movie brand for all potential markets across the world. Look to create IP that will become a household name.”

All panelists agreed that Australian filmmakers should consider developing a presence on the ground in China: “Choose a partner at the earliest stage of development to test whether your film idea will suit the Chinese market,” encouraged Pauline Chan. “Don’t waste your time doing four or five drafts of a screenplay only to find that the idea has no relevance to Chinese audiences.”

Debra Richards – CEO of Ausfilm, hosted the second panel Pathways to Post & VFX Excellence on Australian-Chinese co-productions, with a stellar line up of speakers from the Australian post and VFX industry, including Alaric McAusland from DDP Studios/Iloura/StageOne Sound, Andy Brown and Luke Hetherington from Animal Logic, and Dane Maddams and Mick Hammell from Plastic Wax.

The panelists were keen to promote the three Australian government financial initiatives, made up of a 16.5% Location Offset, a 30% Post, Digital and Visual Effects Offset (PDV) and a 40% Producer Offset, 40% for films and 20% for television (including official co-production treaties).

Australia’s superior quality VFX, post, music and sound production capabilities were on display in a series of detailed case studies for the visiting filmmakers and the panel ran through visually dynamic movie trailers demonstrating their work on a range of tent-pole feature films – encouraging cheers and applause from the producers in the Chinese delegation.

The Australia China Co-production Forum was supported by Ausfilm and its member companies: Fox Studios Australia, Screen Australia (SA), Screen NSW, Animal Logic, Spectrum Films, Plastic Wax and Deluxe, with additional support from Australian Directors Guild (ADG) and Screen Producers Australia (SPA).



The Southern Hemisphere’s largest sound stage with a footprint in excess of 47,000 square feet (with an internal build area of over 40,000 sq ft) is due to be completed at Village Roadshow Studios on the Gold Coast in mid 2016.

The Queensland Government, Screen Queensland, Gold Coast Commonwealth Games and City of Gold Coast have partnered with Village Roadshow Studios to build the super stage as a venue for the Gold Coast 2018 Commonwealth Games and provide a major drawcard for international blockbuster films.

Village Roadshow Studios has had a stellar 24 months with Universal Pictures’ Unbroken, Village Roadshow Pictures and New Line Cinemas’ San Andreas, Walt Disney Studios’ Pirates of the Caribbean: Dead Men Tell No Tales – all utilising the studios’ world-class facilities and this trend is continuing with Columbia Pictures’ The Shallows, Legendary Pictures’ and Warner Bros. Pictures’Kong: Skull Island and Arclight Films’ The Nest 3D currently in production at the Studios. Marvel Studios has also announced Thor: Ragnarok will film at Village Roadshow Studios in mid-2016.

Village Roadshow Studios President, Lynne Benzie said “sound stage 9 will provide an ongoing legacy for the Gold Coast as an all-purpose venue as well as enhancing the film and television industry in Queensland”.

“With the addition of the new stage 9, and three water tanks Village Roadshow Studios cements its position as a world-class production facility holding huge appeal for productions,” she said.

“We are aiming to have stage 9 completed in mid-2016 which would enable productions to utilise the facilities prior to it being used as a venue for the 2018 Commonwealth Games.”

T +61 7 5585 9666
Lynne Benzie


Australia has witnessed a notable rise in Australian-created formats being optioned and licensed internationally. A growing list includes Go Back to Where You Came From, A Moody Christmas, Kath & Kim, The Slap, Strange Calls, Secrets & Lies, and Review with Myles Barlow.  As demonstrated by the overseas adaptations or remakes of some of these formats, such as Rake andWilfred, a deal can see members of the original Australian creative team land roles in the production of the overseas program.

So how does the law protect a format or format right?

A format or format right, which could also be referred to as a “remake right”, is hard to define and hard to protect, and this is a universal problem faced by format creators and owners.

Two of Australia’s top media and entertainment lawyers – Sonia Borella and Dan Pearce from law firm Holding Redlich – explore the topic of television formats and format rights.

Read more here.

This article was originally published in IF (Inside Film) Magazine, published by Intermedia.



Adelaide Studios are housed in the magnificent grounds of the heritage listed Glenside Campus in Adelaide’s east, only 5 minutes from Adelaide’s CBD and within 20 minutes of Adelaide airport.

The studios are Australia’s newest purpose built state-of-the-art complex, situated within a creative hub for South Australian screen businesses and screen practitioners whose reputation for the creation of quality screen content across film, television and digital platforms continues to grow nationally and internationally.

Over the past three months, the studios have been host to a succession of productions, including theWolf Creek TV series, as well as the recently wrapped feature from Mushroom Pictures and Hedone Productions Boys In The Trees.



Directly adjacent to the mixing theatre is the 7.1 screening theatre.

The 100-seat theatre is equipped with exactly the same amps, monitoring and projection as the mixing theatre, with the addition of a Doremi DCP player.


SOUND STAGE 1: Floor area 1,000sqm (concrete floor. Dimensions: 35×28.5m (115.1 x 93.8 feet) 15m high, 12m to gantry

SOUND STAGE 2: Floor area: 400sqm (epoxy floor)
Dimensions: 17x23m (56.3 x 75.9 feet) 12m high, 10m to gantry



This mixing theatre has been designed as a flexible mixing environment. The Harrison MPC4-D mixing console and the D-Command can be interchanged so either can be placed in the centre of the theatre, giving the mixing engineer the preference of working in a Pro Tools and/or the powerful features of the Harrison

In addition, the award-winning children’s television series The Adventures of Figaro Pho is in post-production whilst the NITV documentary The Panther Within is being edited on site.

Scott Hick’s latest film Highly Strung completed its final mix in the studio’s Dolby Premier Mixing Theatre. The film opened the Adelaide Film Festival this year.

The South Australian Film Corporation staff are always available to assist productions with their requirements and the mixing theatre comes with full-time technical support and a private lounge for producers.

For more informatin on the Adelaide Studios, including rates and incentives available for South Australia, please contact:

Michelle Krumm
Head of Production, Studios and Development
+61 08 8394 2000


HacksawRidge_MarkRogers-D4-2875 (2)World War II film Hacksaw Ridge, directed by Mel Gibson has been shooting in regional New South Wales and Sydney. The cast includes Andrew Garfield, Sam Worthington, Vince Vaughn, Hugo Weaving, Teresa Palmer, Rachel Griffiths, Richard Roxburgh, Ryan Coor and Firass Dirani.

The screenplay is by Australian writer Andrew Knight and is being produced by Hollywood producer Bill Mechanic (this is the third film that Mechanic has shot in Australia after the histrocial fantasyThe Moon and the Sun in Melbourne and the thriller 2.22 in Sydney) and Australians Bruce Davey and Paul Currie. Executive Producer is James Vernon

The production team from Columbia Pictures The Shallows, directed by James collet-Serra has also been busy filming on World Heritage listed paradise, Lord Howe island for the past month.




We were pleased (and surprised) to find that Sydney and the surrounding area offered us excellent locations to match the New York and Dallas settings for [the film] Truth.  Plus we had an excellent, highly experienced crew that were a pleasure to work with. Overall it was a great filming experience and we’d welcome the opportunity to work in Sydney again. Watch the trailer.

Working [on Ruben Guthrie] in Sydney was a joy.  A thriving city in a naturally beautiful location. The weather is sublime – the colours, the light, the sunsets. To top it off we then have great crews and amazing facilities with passionate people to collaborate with every step of the way through production. Why would you want to be anywhere else? Watch the trailer.


Wayne and libby big bang soundAt the Australian Screen Sound Awards on November 21st, the Big Bang Sound team swept up a slate of awards at the peer judged event. Taking out three major awards for Russell Crowe’s directorial debut The Water Diviner, with wins for Best Film Sound Design, Members Choice for Best Feature Soundtrack, and Feature Film Soundtrack of the Year.

On Nov 30, the AACTA Awards Industry Dinner again saw the Big Bang Sound team take out top honours, this time for George Millers’ hugely successful Mad Max: Fury Road, winning the nation’s top prize for sound: The AACTA Award for Best Sound in a Feature Film.

Wayne Pashley, Supervising Sound Editor/Sound Designer on both films, and CEO of Big Bang Sound says “I am proud of the incredible work the Big Bang crew have done on both these films. We are continuing to show the world that Australia has world-class talent, excelling on the world’s biggest films.”


CToVG1FU8AAnCY6Rising Sun Pictures is continuing to expand its upcoming slate with awarded vfx sequences onX-Men: Apocalypse and an upcoming HBO series.

The work is off the back of a busy 2015 that saw the RSP team working on Tarzan the Untamed,Gods of Egypt, Deadline Gallipoli and Pan.

Keep up to date with all things at RSP.

Image courtesy ©Lionsgate


Australia has long been a trusted VFX provider, however there is an extensive range of other eligible picture and sound post services, international filmmakers can access in Australia and receive the 30% Post, Digital and Visual Effects (PDV) Offset.

Australia’s post, sound, music and visual effects companies deliver innovative and creative solutions for productions on-par wth our friends in the USA and the UK.

Why not explore the benefits of completing your picture post, sound and music in addition to your visual effects, irrespective of where you shoot your project and get MORE BANG FOR YOUR BUCK!

The devil is in the detail so check out our three case studies across film and television demonstrating what you can include, how you can save and the benefits of sending your post to Australia.

Call the friendly team at Ausfilm for more information.


A Few Less MenCameras are rolling in Perth, Western Australia on comedy feature A Few Less Men, the follow-up to the 2011 smash hit A Few Best Men

The stellar cast includes Xavier Samuel (Fury, Twilight), Kris Marshall (Love Actually, Death at a Funeral) and Kevin Bishop (Super Fun Night, Moonwalkers), who are reprising their roles.
Joining them are talented Australian actors Shane Jacobson (Kenny, Oddball), Ryan Corr (The Water Diviner, Holding the Man) and Deborah Mailman (The Sapphires, Bran Nue Dae).

A Few Less Men is written by Dean Craig (A Few Best Men, Death at a Funeral), directed by Mark Lamprell (Goddess) and produced by Western Australian filmmaker Tania Chambers (Kill Me Three Times), with Laurence Malkin and Share Stallings (Kill Me Three Times, Death at a Funeral) and Gorean Films Limited.

A Few Less Men is the second Western Australian project for Chambers, Malkin and Stallings, who produced the 2014 black comedy thriller Kill Me Three Times starring Simon Pegg (Mission: Impossible – Rogue Nation, Hot Fuzz).

Arclight Films International is handling global distribution for the film and has already made significant presales including Lucky Red for Italy, Modus Vivendi for Pan Eastern Europe, Eastwood Holdings for Peru, Bolivia, Ecuador and Columbia, Italia Films for Pan Middle East and Galaxy for Vietnam.

A Few Less Men is proudly supported by ScreenWest and Lotterywest.


The last few months we have seen a slew of exciting announcements for Australia with studio giants Twentieth Century Fox and Marvel Studios set to bring their latest features to Australia.

Thor: Ragnarok, the third instalment of the Marvel Studios’ franchise starring our very own Chris Hemsworth as the hammer-wielding comic book Super Hero, will start pre-production in Queensland in January 2016 with filming to begin in June 2016.

The production will spend more than $100 million AUD in Queensland and will employ over 750 Queensland crew.

The production will film at many locations across Queensland including at Village Roadshow Studios on the Gold Coast. The Walt Disney Company has slated a November 3, 2017 U.S. release date for Thor: Ragnarok.

Twentieth Century Fox will be returning to Australia with Sir Ridley Scott’s next instalment in the Alien franchise, Alien:Covenant. The production will film in early 2016 at Fox Studios Australia and surrounding locations in New South Wales.

Currently in pre-production in Australia is Kong: Skull Island, and in production is the official Australia China co-production The Nest 3D – both are based in Queensland.

And it doesn’t stop there, currently filming in Queensland and parts of New South Wales is Columbia Pictures’ thriller The Shallows starring Blake Livelydirected by Jaume Collet-Serra, written by Anthony Jaswinski, and produced by Lynn Harris and Matti Leshem.

Australian Delegation lands in Los Angeles for Ausfilm Week

Ausfilm will lead its annual delegation of film and television businesses and Australian government representatives to Los Angeles for its 7th annual Ausfilm Week (19 – 26 October) for one of its biggest business delegations on record featuring 19 film industry businesses and 8 government agencies.

Ausfilm Week enables the Australian film and television industry to continue to strengthen its relationships with the US production community, to promote Australia as a filming location and to attract post-production and visual effects on the scale of Avengers: Age of Ultron, The SpongeBob Movie: Sponge Out of Water and X-Men: Days of Future Past.

Ausfilm CEO, Debra Richards said “We will continue to foster partnerships and promote all Australia has to offer US filmmakers throughout the week. With Australia’s world-class production capabilities, diverse locations, incredible talent pool, award-winning visual effects and post-production creatives and our screen production incentives, filmmakers can take full advantage of Australia’s abundant production landscape.”

“We have 14 of Australia’s most talented post, sound, music and visual effects businesses travelling with us and we will be promoting Australia’s very attractive 30% Post, Digital, VFX Offset so this represents real value for money for international producers completing their post and visual effects in Australia.” said Richards.

Ausfilm Week will feature an interactive panel session highlighting Australia’s screen incentives; a screening of Sony Pictures Classic & RatPac Entertainment’s film Truth which was filmed in Australia (starring Cate Blanchett and Robert Redford); Picture Post & Sound in Focus lunches; networking experiences; and business introductions between the Australian and US film industries to continue to strengthen international partnerships.

A key event of Ausfilm Week is the Australians in Film (AiF) Awards and Benefit Gala at the Intercontinental Hotel in Los Angeles on 25th October. Hollywood Producer Bill Mechanic (Pandemonium Films) will be honoured with the Ausfilm International Award at the annual event.  The Award honours an individual’s contribution to the Australian film industry. Mechanic has shot three movies in a row in Australia in the span of less than two years.

The Ausfilm Week delegation will include executives and senior representatives from the Australian government’s Ministry for the Arts, Screen Australia and Australia’s state screen agencies – Film Victoria, Screen NSW, Screen Queensland, ScreenWest, South Australian Film Corporation and the City of Gold Coast. All will be promoting their screen production incentives and attraction programs, locations, studios and filmmaking capabilities at Ausfilm Week. Screen businesses attending Ausfilm Week will comprise Australia’s major studios; post, sound and music studios; VFX and animation companies; and production services, legal and travel businesses.

Several of the major Hollywood studios and mini-majors are regular visitors to Australia with Disney recently wrapping on Pirates of the Caribbean: Dead Men Tell No Tales and their subsidiary Marvel undertaking VFX work in Australia for Ant-Man; Warner Bros./Village Roadshow Pictures on Mad Max: Fury Road; Universal Pictures completed animation on Ted 2;  Sony TV’s series Saints & Strangers completing VFX;  Lionsgate/Summit Entertainment filmed and is completing post-production and VFX on Gods of Egypt in Australia;  Syfy and Universal Cable Productions filmed two TV series Hunters (from executive producer Gale Anne Hurd) currently in production and Childhood’s End wrapped in early 2015; Lakeshore Entertainment completed VFX shots in Australia on The Age of Adaline and New Line Cinema, Village Roadshow Pictures and RatPac Ent. filmed the box office hit San Andreas in Australia last year.


Australians in Film Awards & Benefit Gala Dinner 2015

Elizabeth Debicki as Breakthrough Talent of 2015
Producers Bruna Papandrea and Bill Mechanic to be honored
at the AiF Awards and Benefit Gala in Los Angeles

On Sunday, October 25 Australians in Film (AIF) will host its annual AiF Awards and Benefit Gala at the Intercontinental Hotel in Los Angeles. Presenter Carrie Bickmore will be master of ceremonies at this year’s awards, which celebrates the achievements of Australians working in Hollywood and also recognises the contribution of individuals to the Australian film industry.

This year’s top honor, the Virgin Australia Orry Kelly International Award will be presented to producer Bruna Papandrea (Oscar winning Milk, Wild, Gone Girl). The award is given to an Australian who has paved the way for other Australians in the entertainment industry and who has provided much support, mentoring and inspiration to others. Previous Orry Kelly honorees have included director Baz Luhrmann, film executive Greg Coote and filmmaking collective, Blue Tongue Films.

Papandrea’s career started in Australia where she produced the award-winning film, Better Than Sex. Subsequently she went on to work at Anthony Minghella and Sydney Pollack’s production company Mirage and then Michael London’s Groundswell Productions in Los Angeles. She then produced the box office hit Warm Bodies through her own company, Make Movies. Papandrea is currently founder/partner at Pacific Standard with Reese Witherspoon.

“Bruna is the perfect recipient for this year’s Virgin Australia Orry Kelly International Award. Her international career has been extraordinary, and it continues at great speed, with an HBO series starring Reese Witherspoon and Nicole Kidman about to go into production, and an output deal with ABC studios recently signed,” says Tracey Vieira, Chairman of Australians in Film. “Bruna has always been a very vocal supporter of Australia and of Australians in the industry. She is always open to helping emerging talent and AiF is thrilled to honor her with this award.”

“I left Australia in 2000 after producing my first film BETTER THAN SEX. No matter where I have lived, or how my career has changed, I remain the proudest Australian you’ll ever meet.” said Papandrea “It is my home, my heart, my inspiration, which is why it is a tremendous honor to receive this award”

The Virgin Australia Orry -Kelly International Award is named after costume designer Orry-Kelly, one of the first Australians to succeed in Hollywood, who went on to win three Academy Awards for Les Girls (1957), Some Like It Hot (1959) and An American In Paris (1951).

Elizabeth Debicki has had an outstanding year and AiF is pleased to honor her as one of the Breakthrough Award winners this year. Another will be announced soon.

After making her debut in Stephan Elliot’s A Few Best Men, Debicki went on to impress audiences and critics alike with her performance in Baz Luhrmann’s The Great Gatsby. This year, she starred in Guy Ritchie’s Man from U.N.C.L.E alongside Henry Cavill and Armie Hammer. Debicki will next be seen in Justin Kurzel’s Macbeth, with Marion Cotillard and Michael Fassbender, and in Everest with Jake Gyllenhaal, Kiera Knightly and Jason Clarke.

Elizabeth Debicki has catapulted onto the world screen with stand-out performances over the past couple of years. This year she has scored coveted roles in some great films, working with such talented directors as Guy Ritchie and Justin Kurzel. She is a great ambassador for the Australian film industry and we are thrilled to be honoring her,” says Simonne Overend, President of Australians in Film.

“I feel so honored to be the recipient of the breakthrough award for 2015.” Debicki said. “Australians in film are a wonderful organization and they have been so influential in their support to Australian artists and our artistic community both at home and internationally”

Bill Mechanic, Chairman and CEO of Pandemonium Films will be the recipient of this year’s Ausfilm International Award, which honors an individual’s contribution to the Australian film industry.

Through Pandemonium, Mechanic has produced the Oscar-nominated Coraline, Terence Malick’s The New World, and Walter Salles’s Dark Water. Mechanic was Chairman and CEO of Fox Filmed Entertainment for seven years and during his time there, the studio produced such hits as Castaway, Titanic, Independence Day, There’s Something About Mary, Braveheart and Boys Don’t Cry.

Bill Mechanic has consistently recognised the outstanding talent to come out of Australia,” says Debra Richards, CEO of Ausfilm. “From his time at Fox where he greenlit films such as Baz Luhrmann’s Romeo & Juliet, to his current slate of movies, three of which have either been filmed or are about to commence filming in Australia (The Moon and the Sun, starring Pierce Brosnan and William Hurt, Paul Currie’s 2:22, and Mel Gibson’s Hacksaw Ridge) Bill Mechanic has always been a great supporter of Australian talent in front of and behind the camera.”

“It all started as a film student falling in love with a great period of Australian films” Mechanic said. “So, when the opportunity came to produce The Moon and the Sun in Australia, I knew I could get the artistry and the creative sensibility I was after with Australian crews and artists. Three movies in a row in the span of less than two years is incredible, which is why I’m the one who should be giving thanks, for the incredible support from Australian organisations such as Ausfilm.”

Carrie Bickmore is the Gold Logie winning presenter of The Project, which screens on Channel Ten in Australia.

Download link for images, including honorees is here


US based media enquiries, please contact:

Peter Ritchie, Executive Director, or on tel: (213) 448-9262

Matilda Comers, Marketing Director, or on tel: 310-658-2627

Australian based media enquiries, please contact:

Courtney Mayhew, or on tel: + 61 2 8399 0626.


Founded in May 2001, Australians in Film is a non-profit organization that serves as the industry guild for Australian entertainment professionals in Los Angeles, holding regular screenings, career development programs, seminars and labs, and currently has over 600 members. For more information on AiF, please visit


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Ausfilm connects the international film community with Australia’s screen incentives, talent and facilities.

Ausfilm markets Australia’s Screen Production Incentive Scheme which comprises the Location, PDV (post, digital and visual effects) and Producer Offsets. Ausfilm is an Australian industry – government partnership. It comprises Australia’s Federal and State Governments and the major studios and the leading post and digital effects facilities and production service providers.


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Ausfilm today welcomed the announcement by the NSW State Government’s Deputy Premier and Arts Minister, Troy Grant and Industry, Resources and Energy Minister, Anthony Roberts that the US WWII feature film Hacksaw Ridge will shoot in New South Wales.

“Earlier this year, Ausfilm hosted the film’s Director, Mel Gibson, on a location scout across three states as part of Ausfilm’s annual Familiarisation Program targeting international filmmakers. The production team toured Australia’s sound stages, leading post, sound and visual effects studios in addition to meeting with key crew and creatives. The film’s producer, Bill Mechanic (President/CEO of Pandemonium) is well acquainted with Australia having recently shot the feature film The Moon and The Sun and 2:22.” said Debra Richards, CEO, Ausfilm.

“We’re appreciative of Ausfilm’s help in the process of putting a movie together. Our trip earlier this year was critical in not only making the decision to shoot here but finding our Heads of Departments.”  said Bill Mechanic, US producer of the film.

The film commences production in September and will be based at Fox Studios Australia and primarily filmed in locations across New South Wales. Producers of the film include Bill Mechanic, Bruce Davey, Paul Currie, David Permut and Executive Producer, James M Vernon.

“We are delighted that through this location scout the production team found the right location for the story. Hacksaw Ridge represents a welcomed economic boost to local screen production businesses and the wider economy.” Richards said.

In 2013/14 international productions The Moon and the Sun, Unbroken and San Andreas shot in Australia employing 6,300 people in all states of Australia and bringing new inward investment of $150 million. Recently the fifth instalment of The Pirates of the Caribbean finished production in Queensland and brought thousands of jobs, skills and training, and significant economic activity to the state and across Australia.

As part of Ausfilm’s global strategy in attracting international production and post, sound and visual effects work to Australia, the organisation runs a regular program of familiarisation tours of Australia for international filmmakers.  In partnership with Australia’s Screen Agencies the program provides location scouts and introduces filmmakers to screen businesses and facilities, talent, creatives and key crew.

Previous program guests have included representatives from: Twentieth Century Fox (USA); Dreamworks (USA);  Scott Free Productions (USA);  Universal (USA); Village Roadshow Pictures Asia (China); Sparkle Roll Media (China); Ruddy Morgan (China); and The Jim Henson Company (USA).

Delegation of Leading Chinese Filmmakers in Australia for Inaugural Industry Familiarisation Tour

Ausfilm in partnership with the Australian Embassy Beijing and Village Roadshow Pictures Asia (VRPA) welcomed today a delegation of leading Chinese filmmakers to Sydney for their first stop on an Industry Familiarisation Tour of Australian locations, Australia’s four major studio complexes, screen services companies, post, sound and digital production facilities and visual effects studios across six states.

The state screen agencies Screen NSW, Screen Queensland, Film Victoria, Screen West, the South Australian Film Corporation and Screen Tasmania will also support the tour and showcase their states through assistance with location scouting, and facilitation of introductions to leading Australian screen businesses. The delegation’s trip to Australia is intended to build links between Chinese and Australian filmmakers, encourage Australia-China feature film co-productions, and attract Chinese feature film productions to film and complete their post-production and visual effects in Australia.

This new initiative is a result of the five-year collaboration between Ausfilm and the Australian Embassy in Beijing, built through the now-annual Australia-China Film Industry Forum, which last month saw the largest ever Australian film industry delegation travel to China to participate in the event hosted at the Beijing International Film Festival and Market.  The initiative is being co-sponsored by Village Roadshow Pictures Asia, with Ellen Eliasoph, President & CEO of VRPA, joining the tour to Australia.

“Ausfilm and our members have been working with key decision makers in China for a number of years, and this inbound delegation is a direct result of the relationships which we have developed with the Chinese industry. We look forward to continuing to develop further opportunities for the Australian and Chinese screen industries to work together.” said Debra Richards, CEO of Ausfilm.

“It is a great privilege to participate in the inaugural Chinese filmmaker familiarisation tour to Australia and to be part of the team that establishes opportunities for collaboration on future Australia-Chinese feature film production that will ultimately reach movie screens in China, Australia and elsewhere in Asia and around the world.” remarked Ellen Eliasoph.

The Australian Familiarisation Tour is a well-established program of Ausfilm, whose mandate is to attract international production and visual effects, digital and post production work to Australia and to promote Australia’s screen production incentives.

Chinese participants in the delegation include representatives from: Ruddy Morgan/Sirens Productions, Sparkle Roll Media (exclusive partner of Jackie Chan on film and television operations in China), Hero Film Ltd/Hongshen Fund and the leading Chinese film director Hao Ning and his team from Injo Films.


For media & event enquires please contact:

Rachelle Gibson – Head of Marketing and Business Development, Ausfilm
T: +61 2 9383 4191  M: +61 402 046 895

Jennifer Mason – First Secretary, Public Affairs and Culture, Australian Embassy Beijing
T: +8610-5140 4119  M: +86-139 1088 0376


Australian Screen Delegation Heading to China sets a New Record

For immediate release

More than 50 screen practitioners and industry representatives will travel to Beijing, China, this week, marking the largest Australian delegation of screen producers on record to attend the 5th Australia-China Film Industry Forum (ACFIF), and the Beijing International Film Festival and Beijing Film Market. The Australian screen delegation will comprise of feature film producers, Australian VFX and post-production businesses, along with federal and state government screen representatives. View the Official Australian delegation list here.

“The incentives, facilities and talent of Australia’s screen industry are attracting increased interest in China. I am confident that the growing Australian presence at this year’s Beijing International Film Festival, as well as the 5th Australia-China Film Industry Forum, an initiative of the Australian Embassy Beijing, will facilitate new opportunities in this exciting industry. The Australian Government’s cultural diplomacy program in China is working to build new forms of collaboration between our two nations’ creative industries,” said Australia’s Ambassador to China, HE Ms Frances Adamson.

Graeme Mason, Screen Australia’s CEO, and Debra Richards, Ausfilm’s CEO, will lead the Australian screen practitioners to pursue co-production opportunities with Chinese producers/production companies using the opportunity to strengthen relations between the two countries that have been established over the past six years.

“The Australian screen production industry is strengthening its well-earned reputation around the world. We have worked particularly hard to build the profile of our exceptional industry in China which we see gaining momentum. We will continue to work hard to progress Australian-Chinese screen relations and business partnerships.This is part of a global strategy to invigorate co-production and collaboration opportunities in partnership with Ausfilm,” said Graeme Mason.

“Australians on the ground will meet with industry leaders from China and around the world, taking the next step to solidify business, promote talent and create stories that resonate internationally.”

The linchpin to all the Australian activity will be the 5th ACFIF, co-hosted with Ausfilm and Screen Australia. The forum is part of the Beijing Film Market’s ‘Industry Conversations’ program. Two panels of experienced Australian, Chinese and international producers and screen industry decision makers will discuss opportunities for co-production, locations, studios, facilities and visual effects. Discussions will focus on the Australian Government’s federal and state screen incentives on offer to the international production industry.

“Ausfilm members from production, visual effects, sound and post-production businesses have been working with key players from China for some time highlighting the recognition of the innovation, technical talent and superior services that Australian companies can offer,” said Debra Richards. “Animal Logic, for example, are in production working on leading Chinese director Chen Kaige’s latest project, The Monk Comes Down the Mountain, which will see world-wide release this year, and the renowned Chinese director Jia Zhangke and his producer Shozo Ichiyama, chose Southern Western Australia as the principal location to represent the future for their feature film Mountains May Depart, which was shot in January this year.”

The Australian screen industry practitioners attending will also have access to the Australian Pavilion in the marketplace hosted by Ausfilm. Both the marketplace and ACFIF will welcome over 120 Chinese and Australian screen industry guests.

The full schedule for the ACFIF including details of speakers and presenters is available here:

Beijing International Film Festival                                     16–23 April 2015

Beijing Film Market – Australian Pavilion                        17–20 April 2015

Australia-China Forum Networking Event                        19 April 2015

Australia-China Film Industry Forum                                20 April 2015



For media & event enquires contact:

Jennifer Mason – First Secretary, Public Affairs and Culture, Australian Embassy Beijing
T: +8610-5140 4119  M: +86-139 1088 0376

Rachelle Gibson – Head of Marketing and Business Development, Ausfilm
T: +61 2 9383 4191  M: +61 402 046 895

Annaliese Zuzarte – Media and Public Affairs Manager, Screen Australia
T: +61 2 8113 5833  M: +61 404 877 887


DFAT-stacked-reverseAusfilm Logo_RGB_ReverseScreenAustralia_RGB_reversed


About Ausfilm:
Ausfilm promotes Australia’s incentive schemes, locations and capabilities to assist international screen producers to make their productions in Australia. Ausfilm is an Australian industry-government partnership. It comprises Australia’s federal and state governments, the major studios and the leading post and digital effects facilities and production service providers. Ausfilm has offices in Los Angeles and Sydney. For more information visit

About Screen Australia
Screen Australia is the federal government’s primary agency for supporting Australian screen production. In partnership with filmmakers, Screen Australia aims to create an Australian industry that is innovative, culturally important and commercially sustainable.Screen Australia was established under the Screen Australia Act 2008 and from 1 July 2008 took over the functions and appropriations of its predecessor agencies, the Australian Film Commission (AFC), the Film Finance Corporation Australia (FFC) and Film Australia Limited. For more information visit

Location Spotlight

The Dressmaker, Victoria

View of Molly's House from the street

Principal photography for upcoming Australian feature film The Dressmaker took place late last year at Docklands Studios Melbourne and various locations in Victoria. 

The Dressmaker follows Myrtle “Tilly” Dunnage as she returns to her hometown, an Australian country town named Dungatar, to take care of her ill mother, Molly, from which she was sent away at the age of ten because of false accusations of murder. Tilly, an expert dressmaker trained by Madeleine Vionnet in Paris, transforms the locals with her couture creations and in the process, exacts revenge on the people who wrongly accused her of murder all those years ago.

The image above depicts the scene of the town looking up at Molly’s house. The set build was erected at the Mount Rothwell Conservation and Research Centre in Victoria located only 45 minutes from Melbourne’s CBD. 

For location inquiries in Victoria please contact or vist the Film Victoria website

Truth Filming in Sydney

Cate Blanchett, Robert Redford, Topher Grace, Dennis Quaid and Elizabeth Moss lead the cast in Truth, a US political drama now shooting in Sydney.

The NSW government confirmed its financial support via the State Investment Attraction Scheme and said the film would inject more than $11 million in direct production expenditure into the State’s economy, creating 208 jobs. Most of the post will happen in Sydney.

Redford plays former CBS News anchor Dan Rather and Blanchett is his producer Mary Mapes in the tale of the scandal that ensued after Rather reported on 60 Minutes in 2004 that George W. Bush’s father arranged for him to serve in the National Guard to avoid the Vietnam War draft.

The film marks the directing debut of screenwriter James Vanderbilt (The Amazing Spider-Man, White House Down, Zodiac), adapted from Mapes’ 2005 memoir Truth and Duty: The Press, The President, And the Privilege of Power.  Roadshow pre-bought the Australian rights.

Truth is produced by Brad Fischer (Zodiac, Shutter Island), Vanderbilt and William Sherak of Mythology Entertainment, Brett Ratner of RatPac Entertainment and Doug Mankoff and Andy Spaulding of Echo Lake Entertainment. The major financiers are Blue Lake Media Fund and RatPac Entertainment.

The NSW support was pivotal as the production does not qualify for the location offset because the budget is below the $15 million minimum Australian spend.

Australian Film and TV Industry to Develop Co-Production Partnerships at Ausfilm Week London

The 3rd annual Ausfilm Week London (20 -23 October) commenced in Soho, London on Monday – the targeted event aims to develop co-production opportunities between Australian and UK producers for feature film and high-end drama television.

Graeme Mason, CEO Screen Australia; Andrew Eaton, Revolution Films, UK;  award winning producer Liz Trubridge (Downton Abbey);and Peter Buckingham, SampoMedia will give keynote presentations across the four day event.

Ausfilm Week London includes panel and roundtable sessions on the current state of the industry including tax incentives, the role broadcasters, financing, distribution, and the sales and legal framework for co-production between the UK & Australia, chaired by UK industry expert Clare Wise.

Fifteen top Australian producing companies will engage in targeted 1-2-1 meetings with their UK counterparts focusing on specific co-production projects of international appeal. Over fifty UK companies will take part in Ausfilm Week London.

Among the number of networking events the welcome reception will be hosted by the Western Australia Agent-General, Kevin Skipworth CVO at Australia House and the closing night reception will be attended by the Australian High Commissioner, the Hon. Alexander Downer AC.

The Australian delegation includes Ausfilm members  Screen Australia, Screen New South Wales, Screen Queensland, South Australian Film Corporation, Film Victoria, Fox Studios Australia, Show Group and Banana Farm. Screen Producers Australia will also be in attendance.

Ausfilm is charged with marketing Australia’s screen incentives internationally and is therefore uniquely placed to promote, with forums such as this one, the benefits of producing international films in Australia in partnership with Australians.

Ausfilm Week London provides the platform to present Australia as a world-class film destination with its diverse locations near sound stages, Oscar®-winning talent & crew and attractive tax incentives available to UK producers in partnership with the Australian film industry.


Deluxe Australia has launched the Deluxe Heartbeat Fund, which encompasses and extends the company’s industry support programs.

The Heartbeat Fund, announced at the Australian International Movie Convention, aims to foster excellence and growth in Australia’s screen industry by promoting Australian screen talent and audience engagement.

Deluxe’s industry support programmes have contributed more than $4 million in cash and services during the last two years, providing vital sponsorship for the major industry guilds, film festivals and the Australian Academy of Cinema and Television Arts Awards (AACTA). The company also has provided direct financial support to more than 20 Australian feature films and feature documentaries, including The Sapphires, Tracks, The Railway Man, Son of a Gun,  and most recently, Backtrack,  starring Adrien Brody and written and directed by Michael Petroni ( The Book Thief,  The Chronicles of Narnia: The Voyage of the Dawn Treader).

The Heartbeat Fund also focuses on programs that enhance the public profile of Australian screen content and talent, and which seek to connect Australian stories with local audiences.

“Australia has a rich and diverse storytelling culture,” said Alaric McAusland, Managing Director of Deluxe Australia. “It has extraordinary on-screen and off-screen talent which is in high demand both here and overseas. Importantly, this talent is backed by a strong and effective suite of federal and state government assistance programs.”
“At Deluxe, we’ve been fortunate to have collaborated with these great filmmakers and helped them tell their incredible stories,” McAusland added. “But all too often these stories are received much better overseas than they are at home. All too often, great Australian stories do not succeed in reaching Australian audiences. This has to change. I am committing, through our Heartbeat Fund, to playing our part in affecting this change.”

One of the first recipients from the new fund was the Josh Lawson-directed motion picture,  The Little Death.  The film, which recently opened in Australia, was a breakout film at the Toronto International Film Festival this year, where it secured deals in the U.S, U.K., France, Germany and other major territories.

For more information about the Deluxe Heartbeat Fund, send queries to



Ausfilm today announced Kate Marks has been appointed as the new Executive Vice President, International Production.

Ms Marks has over 10 years’ experience in senior and executive management roles within the film industry most recently as General Manager, Incentives Locations & Production Services, Film Victoria. She is highly regarded by industry and has been responsible for driving inward investments (over AU$260 million), advocating policy issues, fostering relationships and facilitating opportunities for screen practitioners.
Ausfilm received a high level of interest for the role with interviews taking place in both US and Australia.

Ausfilm CEO Debra Richards said of the appointment, “We are delighted to have secured Kate to take on this pivotal role for the organisation. Kate has an excellent understanding of our industry, our competition and the international market place; she has very relevant experience with her previous role at Film Victoria; she has an established high level network and respect in North America; and has proven ability in chasing down production (studio & independent, Post & VFX work); all of which makes her an ideal choice for this position. She will be a valuable asset to the Ausfilm team.”

“I am excited to be joining the Ausfilm team and look forward to working with the Ausfilm membership and broader industry to showcase our country’s talents to the international production community,” said Ms. Marks.

Ms Marks commences her new role in late September and will be based at Ausfilm’s Los Angeles office.

Ausfilm promotes Australia’s incentive schemes, locations and capabilities to assist international screen producers to make their productions in Australia. Ausfilm is an Australian industry-government partnership. It comprises Australia’s Federal and State Governments, the major studios and the leading post and digital effects facilities and production service providers.

Media enquiries:
Kristy Officer, Head of Marketing & Business Development, Ausfilm
T: + 61 2 9383 4191 M: +61424 714 957


Ausfilm is pleased to announce 15 Australian producers have been selected to participate in Ausfilm Week London – to be held from October 20th to 23rd, 2014.

Ausfilm is hosting this targeted event to create and develop co-production opportunities between Australian and UK producers for feature film and high-end drama television. The event schedule will feature meetings for Australian producers with UK counterparts for specific co-production projects that hold international appeal.

Following a call out for submissions, the following Australian production companies and representatives have been selected to participate.

Australian attendees – Ausfilm Week London 2014:

  • Aidan O’Bryan – WBMC
  • Amanda Higgs – Amanda Higgs Pty Ltd
  • Bridget Callow-Wright – Midwinter Films
  • Heather Ogilvie – Galvanized Film Group
  • Jamie Hilton – See Pictures
  • Joanna Werner – Werner Film Productions Pty Ltd
  • Martha Coleman –  Goalpost Pictures
  • Melissa Kelly – Factor 30 Films
  • Meredith Garlick – Thomas Street Productions
  • Patrick McDonald – Wolfhound Pictures Pty Ltd
  • Stephen Luby – Ruby Entertainment Pty Ltd
  • Sue Taylor – Taylor Media
  • Tania Chambers – Feisty Dame Productions Pty Ltd
  • Tanya Phegan – Porchlight Films Pty Ltd
  • Trish Lake & Ben McNeill – Freshwater Pictures

Debra Richards, Ausfilm CEO commented, “It’s a very diverse offering with a great variety of projects ranging from comedy, drama, sci-fi, animation and mystery features to high end TV drama. I feel confident the group will offer strong opportunities for development with UK partners”.

Other events in the programme include industry roundtables, incentive panel sessions, finance and broadcasting workshops and networking events to develop and foster strong growth between the Australian and UK film and television industries.

CinéfestOZ announces star line-up for 2014 festival

A host of actors, filmmakers and industry luminaries will head to the South West of Western Australia later this month for the seventh annual CinéfestOZ.

More than 30 actors, directors and producers will attend the prestigious festival – among them top names such as actors Marta Dusseldorp, Joel and his brother Nash Edgerton, Myles Pollard, David Wenham, Viva Bianca, Alex Williams, Harrison Gilbertson, directors Bruce Beresford and Robert Connolly and industry representatives including ABC’s At the Movies host Margaret Pomeranz.

This year’s CinéfestOZ will feature more than 60 films, including 13 Australian, 10 French and one “Aussies Abroad”, 13 community screenings and 29 short films, over the five-day event.  Across the festival there will be three world premieres, five Australian premieres and 11 WA premieres.

This year will also see the introduction of the $100,000 Film Prize – Australia’s richest film prize – awarded to the producer of an Australian feature film or feature-length documentary. The Prize will be presented at CinéfestOZ’s gala event on August 23rd.

Felony, Son of a Gun, The Reckoning, The Waler: Australia’s Great War Horse and MIFF@CinéfestOZ films My Mistress and Paper Planes have all been shortlisted for the award and representatives from each will attend CinéfestOZ to present their film:

  • FELONY  – Joel Edgerton, Matthew Saville (director), Rosemary Blight (producer)
  • MY MISTRESS – Harrison Gilbertson, Stephen Lance (director), Leanne Tonkes (producer)
  • PAPER PLANES – David Wenham, Robert Connolly (director), Liz Kearney (producer)
  • SON OF A GUN – Julius Avery (director), Tim White (producer), Janelle Landers (co-producer)
  • THE RECKONING – Alex Williams, Viva Bianca, John V Soto (director), Deidre Kitcher (producer)
  • THE WALER – AUSTRALIA’S GREAT WAR HORSE: Marian Bartsch (producer), Barry Strickland (writer),Brad Manera (presenter) Professor Roland Perry (presenter).  

Also in attendance at the festival will be the Film Prize jury – Marta Dusseldorp, Benjamin Illos, Sue Milliken, Margaret Pomeranz and chair Bruce Beresford.

As well as enjoying the more than 200 public screenings of Australian and French feature films, documentaries and shorts at this year’s festival, CinéfestOZ guests will also be invited to enjoy other aspects of the festival, including the Directors’ Lunch at Aravina Estate, Cine-snaps schools program, script workshops, filmmaker Q&A sessions and Side Bar (short film) screenings.

“We feel so privileged to have so many people we know and respect heading our way later this month and we look forward to spending what promises to be a truly wonderful five days with them in our beautiful neck of the woods,” Shervington added.

CinéfestOZ is supported by the State Government through Tourism WA’s Regional Events Program, which is funded by Royalties for Regions. The festival acknowledges its strong partnership with ScreenWest, Western Australia’s screen funding and development agency.

ScreenWest will also have in attendance at the festival several industry guests including managing director of Roadshow films Joel Pearlman, head of production at Roadshow Film Seph McKenna, festival organiser Chen Jie, Variety Asia bureau chief Patrick Frater and investment banking and media expert Joseph Newton Cohen.

The full program and ticket sales are now available online at

Australian Screen Industry Shines with Record Presence at the 17th Shanghai International Film Festival

Media Release – Australian Embassy Beijing

The Australian screen industry is poised to impress in China, the world’s second biggest box office, with a record Australian attendance at the 17th Shanghai International Film Festival (SIFF), running in Shanghai from Saturday 14th June – Sunday 22nd June.

Australia will have a broad-ranging representation at the festival. Australia will be present at SIFFMART. High-level Australian and Chinese delegations will attend the fourth Australia-China Film Industry Forum jointly hosted by Ausfilm and the Department of Foreign Affairs and Trade. Six Australian films have been selected to screen in the festival – two of these will run in competition for the Festival’s top prize, “The Golden Goblet Award.”

Co-hosted by the Australian Embassy Beijing, the Australian Consulate-General Shanghai, Ausfilm and Austrade, the fourth Australia-China Film Industry Forum will present an opportunity for directors, producers, government and industry representatives from both countries to hold high-level discussions on opportunities and industry developments in co-production, animation, 3D, post-production and emerging digital platforms in Shanghai. The Forum will take place in Shanghai on Tuesday 17 June.

Two of Australia’s world class studios will be represented in Shanghai, as will Australia’s best-in-industry post, digital and visual effects production companies including Animal Logic (The Lego Movie (2014), Walking with Dinosaurs 3D and The Great Gatsby).

“The incentives, facilities and talent of Australia’s screen industry are attracting increasing interest in China. I am confident that the growing Australian presence at the Shanghai International Film Festival, as well as the fourth Australia-China Film Industry Forum, will facilitate new opportunities for collaboration in this exciting industry,” said Australia’s Ambassador to China, HE Ms Frances Adamson.

The Embassy also congratulates the six Australian films selected to screen at this year’s Festival.  Canopy and Predestination  have been selected to run in competition for the Festival’s top prize, “The Golden Goblet Award”, while Tracks, Galore and Nerve  have all been selected to screen in the International Film Panorama in the Spectrum category. Two SIFF favourites – Finding Nemo, Pixar’s Oscar winning animation feature “set” in Australia, and the big wave surfing documentary Storm Surfers 3D, will screen in the FEEL 3D category.  Screening details for these films can be found on the Festival’s website,

Embassy Media Contact: Zhang Naihong:


Ausfilm is pleased to announce the annual international events Ausfilm Week London – to be held 20th to 23rd October and Ausfilm Week Los Angeles – to be held 27th to 31st October, 2014.  

Ausfilm is charged with marketing Australia’s screen production Incentives internationally and is uniquely placed to promote the benefits of filming and producing in Australia and in partnership with the Australian industry.

Ausfilm Week aims to create, build upon and develop international relationships between Ausfilm member companies and Australian producers with key industry representatives in London and Los Angeles to encourage international film and television production to Australia.

In 2014, each Ausfilm Week will comprise a series of interactive panel sessions highlighting Australia’s production incentives schemes, post production and filmmaking talent, networking opportunities, Producer Collaboration Sessions and business opportunities between the Australian-UK and Australian-US film and television industries.

For Australian Producers:

Producer Collaboration Sessions are 1-2-1 style meetings that provide the opportunity for Australian producers to showcase projects to the international marketplace.  A limited number of Australian producers will be selected to participate in London and Los Angeles.  Please note that Ausfilm Week London and Ausfilm Week Los Angeles are two separate events targeting different markets and producers wanting to attend both will be required to submit separate applications.  A call out to apply to London and Los Angeles will be issued shortly.


Position available in Ausfilm Los Angeles Office

Executive Vice President, International Production

Ausfilm’s Executive Vice President, International Production, is a key position in promoting Australia as a leading film, television and post, digital and visual effects (PDV) location to attract and retain international production spend to Australia. The role is responsible for the day-to-day operations of the Los Angeles (LA) office including managing Los Angeles based staff and reports directly to the Chief Executive Officer (CEO) based in Sydney.

Further details on the role and the application process are available on the Austrade website here.


Director Angelina Jolie and her cast and crew have arrived in Sydney to begin filming the international feature film Unbroken, Deputy Premier Andrew Stoner announced today.

Mr Stoner said that the NSW Government has secured production of Unbroken for the State, injecting millions of dollars into the NSW economy and creating more than 300 full-time equivalent jobs for NSW-based crew alone, and more for cast and extras.

Unbroken is backed by major Hollywood studio Universal Pictures. Mr Stoner said that, from this week, scenes from the film are to be shot in and around Sydney as well as in the Hunter Valley. The production company is also based in Sydney where much of the film’s post-production will also take place.


Ausfilm is pleased to announce Ausfilm Television Week London – to be held from October 14th to 16th, 2013. The London event is designed to develop co-production opportunities between Australian and UK producers for high-end television drama and animation productions.

Key highlights include a co-production panel session detailing the new UK tax relief incentive for such production and the recently announced Screen Australia High-end Television Development Program. There will also be a case study on the highly awarded BBC UK-Australian co-production Top of the Lake.

“This Ausfilm Television Week builds on previous co-production events and is an excellent opportunity to explore the new incentive and program for high-end TV drama from both our countries,” said Debra Richards, CEO, Ausfilm.

The event schedule will feature meetings for Australian producers with UK counterparts for specific television co-production projects that hold international appeal along with television incentive panel sessions, finance workshops and networking events to develop and foster strong growth between the Australian and UK television and film industries.

Australia’s High-end Television Development Program is a new initiative to support the development of internationally driven high-end television drama. The program will identify inventive high-end TV series ideas with an international key market, enabling Australian producers to work within the international broadcasting environment.

It has been set up in recognition of the unprecedented audience and market growth for high-end television, and the ambitious, authorial and emotionally engaging storytelling that has connected with high-end global audiences, who flocked to shows such as Game of Thrones, Breaking Bad, Top of the Lake, House of Cards and The Bridge.

Following a call out for submissions, the following Australian producers have been selected to attend Ausfilm Television Week London to meet with leading UK production partners.

  • Alan Harris, Keshet Australia
  • David Taft & Michael Harvey, Harvey Taft Productions
  • Jason Stephens, Fremantle Media Australia
  • Joe Connor & Jen Livingston, Renegade Films
  • Leanne Tonkes, Mini Studios & Dust Bunny Productions
  • Linda Klejus, Circa Media
  • Lisa Gray & Lizzy Nash, The Feds
  • Paul Barron, Sandpiper Entertainment
  • Paul Walton, Princess Pictures
  • Rosemary Blight & Kylie du Fresne, Goalpost Pictures
  • Susan Bower, Bower Bird Productions
  • Tanya Phegan, Porchlight Films  Pty Ltd
  • Troy Zafer, Zac Toons


For media enquires contact:

Kristy Officer – Head of Marketing and Business Development, Ausfilm

M: +61 424 174 957

Ausfilm Week Los Angeles – Australia Summit






AUSTRALIA SUMMIT– Tuesday, October 22, 2013

Meet and mingle with Australia’s rising filmmakers and Ausfilm’s prominent members during this exciting and informative day about everything film, television and visual effects in Australia.  Highlighting the attractive federal incentives with an emphasis on ground-breaking visual effects work,  join Ausfilm on Tuesday, October 22 in West Hollywood for a full-day look at the incredible benefits of shooting and posting your next production in Australia.  For more information, email

9:00AM – Australian Incentives Update  Representatives from the Australian Government and Screen Australia will provide an overview of the current status of the production landscape and updates on Australian screen incentives.

11:00AM – Meet the New Australian Filmmakers – Panel session with emerging Australian filmmakers including Kieran Darcy-Smith, Phil Lloyd, Trent O’Donnell and Sean Byrne.

12:00PM – Q & A with director David MichÔ

6:30PM – Australian Visual Effects Showcase – A presentation and networking dinner with Ausfilm post, digital & visual effects members including Animal Logic, Cutting Edge, Fuel VFX, Iloura, Luma Pictures and Rising Sun Pictures. The presentation will include an overview of Australia’s attractive 30% Post, Digital and Visual Effects Offset and Ausfilm members will showcase a project they have worked on.



Ausfilm is pleased to announce Ausfilm Television Week London – to be held from October 13th to 16th, 2013.  Ausfilm is hosting this targeted event, post MIPCOM, to develop co-production opportunities between Australian and UK producers for high-end television drama and animation productions.

The event schedule will feature meetings for Australian producers with UK counterparts for specific television co-production projects that hold international appeal. Other events in the programme include television incentive panel sessions, finance workshops and networking events to develop and foster strong growth between the Australian and UK television and film industries.

Following a call out for submissions, Ausfilm is pleased to announce that the following Australian producers and companies have been selected to participate.

Australian attendees – Ausfilm Television Week London 2013:

  • Alan Harris, Keshet Australia
  • David Taft & Michael Harvey, Harvey Taft Productions
  • Jason Stephens, Freemantle Media Australia
  • Joe Connor & Jen Livingston, Renegade Films
  • Leanne Tonkes, Mini Studios & Dust Bunny Productions
  • Linda Klejus, Circa Media
  • Lisa Gray & Lizzy Nash, The Feds
  • Paul Barron, Sandpiper Entertainment
  • Paul Walton, Princess Pictures
  • Rosemary Blight & Kylie du Fresne, Goalpost Pictures
  • Susan Bower, Bower Bird Productions
  • Tanya Phegan, Porchlight Films  Pty Ltd
  • Troy Zafer, Zac Toons


For media and event enquires contact:

Kristy Officer – Head of Marketing and Business Development, Ausfilm

T: + 61 2 9383 4191 M: +61 424 174 957

Ausfilm Television Week London – Call out to Producers





Ausfilm is pleased to announce Ausfilm Television Week – to be held in London from October 13th to 16th, 2013.

Ausfilm is hosting this targeted event, post MIPCOM, to develop co-production opportunities between Australian and UK producers for high-end television drama and animation productions.

The event schedule will feature meetings for Australian producers with UK counterparts for specific co-production projects that hold international appeal. These meetings will focus on the development of current projects with a view of co-production/finance/sales and will be established through in-depth profiling and matchmaking.

Ausfilm Television Week London 2013 will also comprise networking experiences and learning opportunities to develop and foster strong growth between the Australian and UK television and film industries.

Application process:
To apply to participate in Ausfilm Television Week London please complete the form attached below and return to Kristy Officer ( along with your state screen agency in copy.

The deadline for applications is Friday 16th August 2013.


Any questions can be directed to Kristy Officer, Head of Marketing – Ausfilm:  or Phone 02 9383 4191


Application Form– Ausfilm Television Week London

Note: for a word document version of the form please email


Arts Minister Tony Burke has announced new awards to celebrate the important role Australian artists and arts organisations play in enhancing our relationship with Asian countries. 

The Australian Arts in Asia Awards open for applications today and will recognise, celebrate and promote the significant number of Australian artists engaging in Asia, contributing to stronger, deeper and broader cultural links with Asian nations. 

“The engagement in Asia isn’t simply an exposition of Australian creativity. The work of our artists is being affected by Asia just as artists who have moved here from parts of Asia are seeing their art affected by Australia,” Mr Burke said.

“This artistic influence is now at the cutting edge of much of Australian creativity.

“On my recent trip to China and India, I was impressed by the range of Australian artists and arts organisations working there in strong collaborative partnerships with Asian arts organisations.

“The Sydney Symphony Orchestra for example, is working with China’s National Centre for the Performing Arts and the National Library of Australia with the National Library of China.

“I was also impressed by the number of Australian film makers exploring new creative opportunities with their Indian and Chinese counterparts.

“These are just some examples of the cultural links Australian artists are establishing in Asia, and they are the sorts of initiatives the Australian Arts in Asia Awards will recognise.”

Australian artists, arts organisations and collecting institutions that have engaged in Asia between 1 July 2012 and 30 June 2013 are eligible to nominate themselves for the awards. The nominated project must have been performed, exhibited, toured, produced or developed in an Asian country or with an Asian partner during this time. 

Awards will be presented in 14 categories: partnerships, philanthropy, Indigenous, community engagement, innovation, individual artist, small to medium arts organisations, major arts organisations, visual art, literature, theatre, music, and digital and film.

Winners of the awards will form a showcase, promoting the value of engaging with Asia and encouraging other Australian artists to engage in Asia. 

The Awards will help promote the Australian Government’s commitment in Creative Australia, the national cultural policy, to the increasing engagement of artists and arts organisations in cultural exchanges and to build collaborative partnerships with their international counterparts. 

Nominations open Monday 17 June 2013 and close at 5pm Sunday 30 June 2013.

Award guidelines and nomination forms are available at


The Australian Embassy in Beijing is pleased to announce the third Australia-China Film Industry Forum (ACFIF) will be held in Shanghai on 13-14 June, immediately prior to the Shanghai International Film Festival (SIFF) held on 15-23 June. The ACFIF is part of the ongoing promotion of the Australian film industry in China and continues to build on the success of the two previous Australia-China Film Industry Forums in 2010 and 2012.

The Forum will be organised by the Australian Embassy, Beijing and co-hosted by the Australian Consulate, Shanghai, drawing on assistance from a wide variety of related Australian agencies and organisations, including Screen Australia, Ausfilm, the Screen Producers’ Association of Australia and the Australia-China Screen Alliance.

In 2013, as well as maintaining a focus on the development and expansion of producer relationships with China co-production partners, the ACFIF will additionally focus on 3D, post, digital and visual production to capitalise on the growing interest and increasing demand for 3D films and digital technologies in China, and to highlight the strengths of the Australian post-production and visual effects industries.

Following a call out for submissions, the following Australian producers have been selected to attend ACFIF to meet with leading Chinese production partners for the development of specific co-production projects that hold international appeal.

Australian Producer & Post Production Delegation – ACFIF 2013:

Alan Erson Essential Media and Entertainment, NSW
Alan Lindsay VUE Group, WA
Alaric McAusland Deluxe Australia, NSW
Carmelo Musca CM Films, WA
Chris Brown Pictures In Paradise, QLD
David Parker Cascade Films, VIC
Ivan Sen BUNYA Productions, NSW
Janelle Landers WBMC, WA
Kerri Schwarze Complete Post, VIC
Marcus Gillezeau Firelight Productions, NSW
Mario Andreacchio AMPCO Films, SA
Michael Tear Bearcage Films, ACT
Paul He Mayblossum Productions, NSW
Paul Sullivan Benchmark Films, NSW
Paul Willey Soundfirm, NSW
Ross Hutchens Media World Pictures, WA
Tim White Southern Light Films, NSW
Todd Fellman Story Bridge Films, QLD
Troy Zafer ZAC Toons, WA
Yan Zhao SeaLight Pictures, NSW

“With many outstanding Australian and Chinese film and production companies present, the 3
rd Australia-China Film Industry Forum will offer an unprecedented opportunity to develop and expand co-production and film industry collaboration between our two countries. ”, said Ms Frances Adamson, Australian Ambassador to the People’s Republic of ChinaACFIF will also feature panel sessions with leading Australian and Chinese industry representatives, networking events and presentations showcasing Australia’s 3D and post production capabilities.

The full schedule for ACFIF including details of speakers and presenters will be announced shortly.


For event enquires contact:

Katie Tian – Senior Cultural Relations Project Officer, Australian Embassy, Beijing

T: +8610-5140-4225    M: +86-137 0123 0637

For media enquiries contact:

Kristy Officer – Head of Marketing and Business Development, Ausfilm

T: + 61 2 9383 4191 M: +61 424 174 957


EXTENDED:Expressions of Interest for Australia-China Film Industry Forum – Australian delegation

Australia-China Film Industry Forum 2013 – Australian delegation

EXTENDED: Expressions of Interest sought by MONDAY, 6 MAY 2013 

Submissions for the 2013 Australia-China Film Industry Forum (ACFIF) have been extended until Monday, 6 May 2013.

The forum will be held in Shanghai on 14-15 June, immediately prior to the Shanghai International Film Festival (SIFF) held on 15-23 June.

The ACFIF is intended to provide a gateway for all Australia-China co-productions and feature-length film and documentary collaborations, thus welcoming producers with projects and an interest in the China market.

In 2013, as well as maintaining this broad approach, the ACFIF will in part focus on 3D, post-, digital and visual production aspects to capitalise on the growing interest and increasing demand for 3D films and digital technologies in China.

Funding support is available to a limited number of film industry delegates to attend. If you wish to access this funding, you are requested to submit an expression of interest to the Australian Embassy with a copy to Ausfilm, no later than Monday, 6 May 2013 .

Applications will be assessed by a panel which includes Screen Australia, Ausfilm, Screen Producers Association of Australia and Australian Embassy Beijing representatives. All applicants will be notified of the outcomes of the process by Friday, 10 May.

For more information and application details please click here.


Ausfilm Partner with Australia applications now open





Ausfilm is pleased to announce that Ausfilm Partner with Australia will take place June 5th-9th in Los Angeles.

Ausfilm Partner with Australia aims to create, build upon and develop international relationships between Australian producers with key clients in Los Angeles to encourage international production to Australia.

The Producer Collaboration Sessions provide the opportunity for Australian producers to showcase projects that might attract US executives and claim the Producer Offset for Australian production. The goal of the initiative is to present some of Australia’s most commercially viable feature and television projects to potential partners.

Expressions of Interest

To express your interest in participating please complete the application form (attached below) and return by email directly to Ausfilm’s Los Angeles office care of Michelle Sandoval, Client Liaison Executive, at with your state screen agency in copy by Friday, April 19th, 2013.

Producers confirmed to attend Ausfilm Partner with Australia will be notified via email in early May, 2013.  Further details will be provided to attending producers once confirmed.

Any questions relating to producer involvement in Ausfilm Partner with Australia should be directed to Michelle Sandoval.

Ausfilm Partner with Australia Application Form


2 April 2013 – Ausfilm today welcomes the Gillard Government announcement of funding to bring The Walt Disney Studios film 20,000 Leagues Under the Sea to Australia.

The Federal Government has committed an additional one-off payment in adition to the current Location Offset to attract the film to Australia. The project is expected to create up to 2,000 jobs and substantial investment in Australian businesses which will service such a major production.   

The additional funding is similar to the one-off payment given to The Wolverine, which created over 1750 jobs, used more than 1,000 Australian companies and generated over $80 million of investment right across Australia.

“There has been renewed interest in Australia as a preferred location following the one-off grant provided by the Federal Government to The Wolverine, and the substantial benefits such a production brings.” said Debra Richards, CEO, Ausfilm.

 “The announcement of 20,000 Leagues Under the Sea to film in Australia will result in meaningful benefits for the industry and the economy; including jobs, skills and training, and investment back into the local industry. This one-off payment highlights the importance of an attractive Location Offset which can successfully compete for large scale international production to shoot in Australia,” said Debra Richards.

 “Today’s announcement along with the additional $20 million announced in Creative Australia as part of the national cultural policy to attract international production, will be an excellent boost to the Australian film industry and as we have seen most recently with The Wolverine, to the wider Australian economy.” said Debra Richards

 Ausfilm supports a permanent increase to the Location Offset, to ensure Australia’s long term competitiveness for major international production.

 “Ausfilm wishes to thank and acknowledge the Federal Government for this initiative and its support of the Australian film industry to ensure Australia can still compete for international screen production,” said Debra Richards.


Media enquiries:
Caroline Raffan, Marketing & Communications Coordinator, Ausfilm
T: + 61 2 9383 4124    E:

‘The Wolverine’ first look teaser

Director James Mangold has revealed a taste of the upcoming trailer for The Wolverine, the film is set to be released July 26 2013 and the official  full-length trailer will be released online on March 27.



13 March, 2013 – Ausfilm today welcomed the announcement by Minister for the Arts, Simon Crean, of an additional incentive to the Location Offset as part of the National Cultural Policy to help keep the Australian film industry competitive internationally.

The additional $20 million fund to encourage major international production will provide a significant boost to the Australian film industry and the wider Australian economy.

“Encouraging major international production will deliver meaningful benefits for the industry and the economy, including direct and indirect employment; skills development and training; innovations in technology; infrastructure maintenance and renewal; along with direct benefits to a range of businesses across Australia,” said Debra Richards, CEO, Ausfilm.

“We have already seen a renewed interest in Australia as a preferred location following the one-off grant provided by the Federal Government to The Wolverine, and the substantial benefits such a production brings,” said Debra Richards.

Ausfilm supports a permanent increase to the Location Offset, to ensure Australia’s long term competitiveness for major international production.

The increasing number of production incentives now offered worldwide and the strong Australian dollar have made it very difficult to attract major international production, which can locate anywhere in the world. An attractive Location Offset together with what Australia has to offer with world class crew, locations, state of the art studios and award winning post and visual effects houses, will make us extremely competitive internationally and will also bring the offset in line with the post and digital and visual effects (PDV) offset already increased to 30% by the Federal Government in 2011,” said Debra Richards.

“Ausfilm wishes to thank and acknowledge the Federal Government and particularly Simon Crean for his support of the Australian film industry with this interim measure to ensure Australia can still compete for international screen production,” said Hon. Bob McMullan, Chairman, Ausfilm.

“Ausfilm also acknowledges the ‘tri-partisan’ support for incentives to attract major international production, with support for the Location Offset increase by Senator Christine Milne and The Australian Greens, and the original introduction of incentives for international production, by the Coalition,” said Debra Richards.

Ausfilm will continue to work with its industry members to ensure international film studios, particularly in the US, are again budgeting Australia as a foremost location for their big budget productions and post-production work.


Australian premiere of ‘Drift’ announced for WA’s South-west

A red-carpet, star-studded event has been confirmed for the Australian Premiere of surfing feature film Drift on Thursday, 21 March 2013. The premiere will take the film back to its roots in WA’s rugged and beautiful South-west region, with a large outdoor screening for over 1,000 people being held in the historic gardens at Caves House in Yallingup. A story of passion, corruption, friendship and loyalty, deadly addictions and fractured relationships, Drift tells a tale of courage and the will to survive at all odds.

Drift was shot over six weeks during winter of 2011 in and around the breathtaking and epic setting of the remote Western Australia coastline in locations from Cape Naturaliste to Cape Leeuwin, including Margaret River, Augusta, Gracetown and Nannup, with over 700 local crew employed for the shoot.

The story of the two Kelly Brothers is played by Myles Pollard (Wolverine, McLeod’s Daughters) and Xavier Samuel (Twilight Eclipse, A Few Best Men), alongside international Australian star Sam Worthington (Avatar, Clash of the Titans, Terminator Salvation) as a travelling surf photographer and filmmaker. Lesley-Ann Brandt (Memphis Beat, CSI: NY) plays his Hawaiian surfer companion.

Drift is co-directed by Morgan O’Neill (Solo, upcoming feature The Factory) and Ben Nott in his feature film debut. The screenplay is written by Morgan O’Neill from an original story by Morgan and Tim Duffy (Let’s Talk About Sex) and produced by Tim Duffy, Michele Bennett (Chopper) and Myles Pollard.

Following the Australian premiere in March, Hopscotch Entertainment One Films have slated Drift for a wide theatrical release in May 2012.

Drift is a production of World Wide Mind Films and is funded by Screen Australia, South West Development Commission, ScreenWest and Screen NSW. Regional funding partners include the Shire of Augusta-Margaret River, Shire of Busselton and Tourism Western Australia and Augusta Margaret River Tourism Association.

Drift Trailer


View original release here.

Call out for Australians attending Asian Side of the Doc

Screen Australia will be publishing an Australia at Asian Side of the Doc booklet which will include a directory of Australian companies attending the market this year. The booklet will be inserted in all delegate bags as well as published online and emailed to international executives before the market.

Australia at Asian Side of the Doc 2013 is designed to give an overview of Australian companies attending the market, including information about project slates and company contact details. It will be a valuable tool to help international contacts find out about the Australian line-up at the market and meet potential Australian co-producers.

If you’re heading to the market and would like to include your details in this booklet please contact Sally Walker in Screen Australia’s Marketing Department via email or on             +61 2 8113 5846       before Friday 22 February.

Screen Australia, through the Enterprise Asia program, will fund up to 10 companies with suitable factual projects to attend Asian Side of the Doc. Applications closed on Tuesday 29 January and successful applicants will be announced on Monday 18 February.

Asian Side of the Doc is the most important co-production meeting for documentary professionals in Asia. Bringing together producers, distributors and broadcasters, Asian Side of the Doc offers a platform to build strong professional and international networks, to promote deals and presales for programs in production and to initiate new co-production projects.

Asian Side of the Doc will take place 19–22 March 2013 in Kuala Lumpur, Malaysia. More information about Asian Side of the Doc can be found on their website.

View original article here.

Cannes Directors’ Fortnight selector in Australia

Benjamin Illos, a member of the Selection Committee for Quinzaine des Réalisateurs (Directors’ Fortnight), will be visiting Australia in February to view new Australian feature films for possible selection.

Every year the Directors’ Fortnight (16–26 May 2013) programs a selection of films from around the world for screening during the Cannes Film Festival.

Created by the SRF (French Directors’ Society) in 1969, the Directors’ Fortnight is about highlighting new talent in world cinema and the directors of tomorrow. It also supports talented filmmakers whose work has not been shown in the major international festivals. The Directors’ Fortnight runs alongside the Cannes Official Selection.

In recent years, Australian films that have screened at the Directors’ Fortnight include short film Cicada in 2009 and features Jindabyne in 2006 and Wolf Creek in 2005.

The festival requires that films be made in the 12 months preceding the festival. The film should not have been screened outside Australia at any international festival or film event except an international market screening. Please see for full details.

Filmmakers with eligible feature films should contact Lucy Burne at Screen Australia on or telephone (02) 8113 1086,  toll free 1800 213 .

Submission deadline is Wednesday 20 February 2013.

Australian line-up at Berlin International Film Festival

More Australian stories have been announced for the 2013 Berlinale, adding to an exciting and diverse Australian line-up.

The feature documentaries Make Hummus Not War and Red Obsession have been selected to screen in the Culinary Cinema program, which presents films dedicated to food, pleasure and the environment.

Red Obsession, directed by David Roach and Warwick Ross, who is also the producer, looks at the new relationship between the famous châteaux from the Bordeaux vineyards, and the new and affluent wine collectors in China. The screening will be followed by a dinner inspired by Bordelais and China by VAU chef chef Kolja Kleeberg. The Berlinale screening will mark Red Obsession’s world premiere.

Make Hummus Not War, directed by Trevor Graham and produced by Trevor with Ned Lander, documents a conflict waged passionately in the kitchens of the Middle East, fought over chickpeas.

Following its recent international premiere at the Sundance Film Festival, the mini-series Top of the Lake will also screen as part of the Berlinale Special program, which presents recent works by contemporary filmmakers. Top of the Lake is written by Jane Campion and Gerard Lee, directed by Jane Campion and Garth Davis, and produced by Philippa Campbell with executive producers Emile Sherman, Iain Canning and Jane Campion.

Three Indigenous features and four Indigenous short films have been selected as part of the inaugural NATIVe – A Journey into Indigenous Cinema at Berlinale 2013.

Features selected for this program are Ivan Sen’s Beneath Clouds produced by Teresa-Jayne Hanlon; Warwick Thornton’s Samson & Delilah produced by Kath Shelper, and Ten Canoes, written and directed by Rolf de Heer with the people of Ramingining, co-directed by Peter Djigirr and produced by Julie Ryan and Rolf de Heer. Three short films from writer/director Warwick Thornton – Greenbush, Nana and Payback – will also screen, along with writer/director Erica Glynn’s short, Ngangkari.

The program will introduce audiences to the milestones of Indigenous filmmaking and includes features, documentaries and short films from New Zealand/Oceania, Canada and the United States as well as Australia. Discussions between experts, filmmakers and audiences before and after the films will give greater insight into the culturally diverse and politically, economically and artistically charged history of Indigenous cinema and its creators.

A number of Indigenous Australian filmmakers will travel to the festival to participate in the special program, including Erica Glynn, who is also Head of the Indigenous Department at Screen Australia.

The Berlin International Film Festival will take place 7–17 February 2013.

ScreenWest in world first crowdfunding project

Western Australia Government Media Release

12 December 2012

Culture and the Arts Minister John Day today announced the State Government’s world-first crowdfunding initiative – called 3 to 1 – had gone live and attracted the support of Hugh Jackman.

Mr Day said ScreenWest was leading the country with its innovative ways of supporting digital content by showing Western Australia’s talented creative people to the world.

“The 3 to 1 project will allow the public to voice their opinion on what films, web series and interactive projects should be made in Western Australia and I encourage everyone to support our artists and have their say in what gets made in our State,” he said

“More than 25 WA projects have been loaded on the Pozible website for the public to view and pledge money towards; ScreenWest will contribute triple the funds pledged, effectively quadrupling the project’s budget, once a team meets their nominated target

“Teams must raise between $5,000 and $50,000 to trigger $15,000 through to a maximum of $150,000 contribution from ScreenWest.

The Minister thanked high profile WAAPA graduate Hugh Jackman who has endorsed the initiative and released a video urging the public to visit the site and pledge to 3 to 1.

“Each project will have a set time frame – up to a maximum of 90 days – to reach their funding target, although the $250,000 will be allocated on a ‘first past the post’ basis,” Mr Day said.

“Some projects will also proceed in a scaled-down version, using crowd-funded pledges once the pool is exhausted. The result will be more creative work, all chosen by audiences.”

These projects have been through a ScreenWest assessment process to ensure that the teams have the capacity to deliver. To access the ScreenWest funds, a project must be delivered on a digital platform and have a minimum of 40 pledges.

      Fact File

Minister’s office – 6552 6200

Ausfilm Week Los Angeles 2012 in Review

Ausfilm Week Los Angeles

Ausfilm, together with representatives of the Australian film industry converged in Los Angeles from 24-31 October for Ausfilm Week 2012.

The week-long event comprised of a series of interactive panel sessions highlighting Australia’s production incentives schemes, post production and filmmaking talent, networking experiences, producer collaboration meetings and learning opportunities between the Australian and US film industries to encourage access to Australia’s Screen Production Incentives.

Targeted one-on-one meetings were held between leading Australian filmmakers, US studios, development executives, production companies and packaging agents took to discuss collaboration for the development of Producer Offset projects.  Seventeen Australian producers participated in Ausfilm Week 2012, these producers were:

  • Jamie Hilton, See Pictures
  • Michael Robertson, Prodigy Movies
  • Steve Jaggi, Jaggi.Shute
  • Chris Brown, Pictures in Paradise
  • Mark Overett, New Holland Pictures
  • Todd Fellman, Story Bridge Films
  • Tracey Robertson & Nathan Mayfield, Hoodlum
  • Trish Lake & Dan Lake, Freshwater Pictures
  • Dee McLachlan, The Picture Tank
  • Leanne Tonkes, Ministudios & Circus Productions
  • Michael Adante, Source Collective
  • Pete Ford, Resolution Independent
  • Aidan O’Bryan, WBMC
  • Alan Lindsay, Vue Group
  • John V. Soto & Deidre Kitcher, Filmscope Entertainment
  • Josh Wakely, Grace Films
  • Melanie Ansley & Sam Voutas, Scopofile

Ausfilm Week Los Angeles is an annual event which provides the platform to present Australia as a world-class film destination with its diverse locations near sound stages, Oscar-winning talent & crew and attractive tax incentives available to American producers in partnership with the Australian film industry.

See below some images from Ausfilm Week 2012.


Ten Australian animation companies head to Malaysian summit

Screen Australia, in conjunction with DFAT, has provided travel assistance for 10 Australian children’s animation companies to attend the inaugural Asian Animation Summit (AAS) in order to seek finance and co-production partnerships with the Asian region. Support is also being provided for one-on-one mentoring from international children’s animation presentation expert, Joan Lofts, so that each team may refine their pitch prior to the summit.

Instigated by ABC Television, the AAS will be held 10–11 December 2012 in Malaysia. It is being run by Canadian publishing and event-organising company, Brunico, which manages other international events such as Kidscreen and Realscreen.

Screen Australia’s Chief Executive Ruth Harley said, “We are delighted to assist Australian animation producers to be part of the inaugural AAS. It is where they can actively engage with the screen agencies, government authorities and other producers from the region to facilitate screen business and cultural exchange, all aims of the government’s recently released Asian Century white paper.”

The Australian projects and participants are:
• Cate McQuillen of mememe Productions with Babyccino
• Patrick Egerton and David Webster of Ambience Entertainment with Bottersnikes and Gumbles
• Jessica Beirne of Lemonade Digital Productions with Evie & Tom’s Mad Hair Days
• Dan Fill and Luke Jurevicius from Chocolate Liberation Front with Fantastic Forest
• Stu Connolly and Donna Andrews from Sticky Pictures with Herb & Ray’s Yum
• Austen Atkinson and Yvonne Wilcox from Planet 55 Studios with Prisoner Zero
• Stephen Viner from Liquid Animation with Ramiro: The Imagination Hero
• Ron Saunders from Beyond Screen Production with Skyrunner
• Barbara Stephen from Flying Bark Productions with Super Mega Hyper Pets
• Jim Ballantine from RE Productions Pty Ltd with The Eggsperts.

Screen Australia selected the 10 Australian projects, which will be presented in sessions over the two days. They include partially financed projects seeking investment and projects in development seeking market feedback and financing interest.

The AAS is an initiative of four countries: Korea, Singapore, Malaysia and Australia. Producers, broadcasters and government agencies from these four countries will be participating. In addition, broadcasters from around the world will also be in Kuala Lumpur for the summit.
Screen Australia’s Tim Phillips and Elena Guest will also be in Kuala Lumpur for the summit in support of the delegation. They will be joined by executives from the ABC and other Australian organisations.

Media Enquires
Teri Calder, Screen Australia
T +612 8113 5833

Sydney Film Festival 2013: Open For Entries

Entries are now open for the 60th Sydney Film Festival, which will take place from 5 -16 June 2013. Full details of how to submit a film, including our 2013 regulations and an online submission form, are available on our website:

Entries are open to features, documentaries or short films (under 40 minutes) in all sections of the festival program including:

– The FOXTEL Australian Documentary Prize (cash prize $5,000),

– The Dendy Awards for Australian Short Films Live Action Award and Best Director Overall – both cash prizes of $5000 sponsored by Dendy Cinemas,

– The Yoram Gross Animation Award (cash prize $4,000).

The Sydney Film Festival is recognised on the Academy®’s Short Film Awards Festival List so winners of the Live Action and Animation Awards become eligible for Academy Awards® consideration (see for info).

Entries close 5pm Wednesday 27 February 2013.

AUSFILM WEEK Los Angeles – October 24th to 31st 2012








Ausfilm Week LA aims to create, build upon and develop international relationships between Ausfilm members and Australian producers with key clients in LA to encourage international production to Australia.

The event will comprise a series of interactive panel sessions highlighting Australia’s production incentives schemes, post production and filmmaking talent, networking experiences, producer collaboration meetings and learning opportunities between the Australian and US film industries.

Targeted one-on-one meetings between leading Australian filmmakers, US studios, development executives, production companies and packaging agents will take place during Ausfilm Week 2012 to discuss collaboration for the development of Producer Offset projects.  

Seventeen Australian producers are participating in Ausfilm Week 2012, these producers are:
Jamie Hilton, See Pictures 
Michael Robertson, Prodigy Movies 
Steve Jaggi, Jaggi.Shute 
Chris Brown, Pictures in Paradise 
Mark Overett, New Holland Pictures 
Todd Fellman, Story Bridge Films 
Tracey Robertson & Nathan Mayfield, Hoodlum 
Trish Lake & Dan Lake, Freshwater Pictures 
Dee McLachlan, The Picture Tank 
Leanne Tonkes, Ministudios & Circus Productions 
Michael Adante, Source Collective 
Pete Ford, Resolution Independent 
Aidan O’Bryan, WBMC 
Alan Lindsay, Vue Group 
John V. Soto & Deidre Kitcher, Filmscope Entertainment 
Josh Wakely, Grace Films 
Melanie Ansley & Sam Voutas, Scopofile  

We will also be joined by over twenty members participating in Ausfilm Week LA including OFTA Screen Australia, State Screen Agencies and corporate members.

The response from the US industry has been very strong.  A wide range of companies representing distribution/production/broadcasting/post production/talent agents/sales agents/financiers will be in attendance at events from October 24th to 31st.

This year Ausfilm will also be exhibiting at AFM following Ausfilm Week from November 1st to 7th. AFM is the premiere global marketplace for motion picture production and distribution and the largest gathering of film industry professionals in North America with over 8000 attendees.

Ausfilm’s purpose for participating in AFM is to enhance opportunities for co-production markets and promote Australia’s Screen Production Incentives via networking events and 1-2-1 meetings for Australian producers and potential co-production market partners.


Fuel VFX, RSP and Animal Logic contribute to 7 films on Academy VFX shortlist

Australian VFX companies have worked on seven of the 15 feature films in consideration for this year’s Academy Award for achievement in visual effects.

The Academy of Motion Picture Arts and Sciences VFX shortlist included four films which featured Fuel VFX’s work (Captain America: The First Avenger, Mission: Impossible – Ghost Protocol, Cowboys & Aliens and Thor), two films which featured RSP’s effects (Harry Potter and the Deathly Hallows Part 2 and Pirates of the Caribbean: On Stranger Tides), and one film which featured Animal Logic’s work (Sucker Punch).

Among those films, Captain America: The First Avenger represented Fuel VFX’s biggest job: the company created 120 shots across six sequences. One of its most ambitious scenes was the bike chase scene where Captain America was chased back to base by enemy ‘hydrobikers’, requiring 70 shots and complex plate manipulation for compositing and integration.

Adelaide-based RSP contributed 63 shots to Harry Potter and the Deathly Hallows Part 2 (it also worked on Part 1). Creating the evil dementors was a core part of its work as well as the title sequence which opened the film. Other effects included an ‘apparate’ effect to turn Severus Snape into a dark, shadowed creature of cloth and smoke.

Animal Logic created the dragon fantasy sequence in Sucker Punch, which included 164 shots over 12 minutes. The company built all the characters, a mother dragon, a baby dragon, orcs, knights and digital doubles for all the cast.

The full list of films on the Academy shortlist are:

  • Captain America: The First Avenger
  • Cowboys & Aliens
  • Harry Potter and the Deathly Hallows Part 2
  • Hugo
  • Mission: Impossible – Ghost Protocol
  • Pirates of the Caribbean: On Stranger Tides
  • Real Steel
  • Rise of the Planet of the Apes
  • Sherlock Holmes: A Game of Shadows
  • Sucker Punch
  • Super 8
  • Thor
  • Transformers: Dark of the Moon
  • The Tree of Life
  • X-Men: First Class

The list will be cut to 10 films in early-January, 2012, by the Academy’s visual effects branch executive committee before the final five films are selected on January 19. The final Academy Awards nominations will be announced on January 24 and presented on February 26.

 For article source click here


Last night in Sydney – Iloura was awarded Production House of the Year at the Mumbrella/Encore Awards.

This is a fantastic acknowledgement of Iloura’s achievements in 2012.

Iloura is a collective of artists and technologists that make and enhance creative content for film and television productions, commercials and the ever-evolving world of experiential and interactive media.

The studio’s specialties lie in 3D and character animation, 2D VFX, on-set VFX supervision and motion design with Iloura’s advertising services further extending to colour; experiential ideation, events and immersive experiences; offline/online editing, and sound and music design.

Iloura has a combined team of 120 people including animators, designers, editors, producers, technologists and interactive experts. It has honed its visual effects crafts on international feature films like Ted, Emperor, Ghost Rider: Spirit of Vengeance, The Pacific, Don’t Be Afraid of the Dark, Charlotte’s Web. These great projects have provided an extraordinary opportunity to build talent, expertise, and R&D that assists us to make any idea possible across any screen.

Iloura’s film division has grown its team from 40 to 90 people in the last year. It has won and completed VFX and animation work on three major Hollywood feature films – Ghost Rider: Spirit of Vengeance, Emperor and Ted. The studio is currently undertaking VFX and animation work on M.Night Shyamalan’s After Earth starring Will Smith and I, Frankenstein directed by Stuart Beattie for Lakeshore Entertainment. 

Additionally, Iloura’s commercials team has just completed work on Honda’s Game On for Draft FCB and Birdseye’s Dinner’s Done for BWM.

Iloura was recently acquired by Deluxe Entertainment Services Group – the leading provider of entertainment industry services and technologies to the worldwide entertainment industry including Hollywood studios, broadcast/cable/satellite providers, digital distribution, gaming as well as content owners and creators.

Ausfilm Week LA: Producer Expression of Interest







Ausfilm Week Los Angeles

October 24th – 31st 2012

The fourth annual Ausfilm Week LA will take place in Los Angeles from October 24 – 31, 2012.
Ausfilm Week aims to create, build upon and develop international relationships between Ausfilm members and
Australian producers with key clients in LA to encourage international production to Australia.


Ausfilm Week provides the opportunity for Australian producers to tout films that might attract US investors and claim the
40% producer offset for Australian production. The goal of the initiative is to present some of our most commercially
viable projects to potential partners.

Producer Expressions of Interest:


To express your interest in participating please download and complete the project summary document here and
return by email directly to Ausfilm (return email address on form) by September 12th 2012 (NB: Attendee numbers are limited).


To download the Producer Expressions of Interest form click here.


Media Release

Tuesday 28 August, 2012


Minister for the Arts, George Souris, has congratulated NSW film and television script writers who have been recognised with major awards from the Australian Writers’ Guild known as the AWGIE Awards.

The writers of The Sapphires, Tony Briggs and Keith Thompson, won the Major Award for the Most Outstanding Script and also the AWGIE Award for Feature Film Adaptation.

“The Sapphires is a wonderful showcase of NSW creative talent – including the producers, Rosemary Blight and Kylie du Fresne, director Wayne Blair, writers Keith Thompson and Tony Briggs and lead cast members Deborah Mailman, Jessica Mauboy, Shari Sebbens and Miranda Tapsell, who are all based in NSW,” Mr Souris said.

“The NSW Government supported the production of The Sapphires through the Screen NSW Production Finance Fund and with a grant from the Regional Filming Fund and I am delighted to see the film so enthusiastically embraced by audiences. I’m told it reached $7.8 million at the box office yesterday, which is a stunning result.”

The other NSW Government-funded AWGIE Award winners were: Michael Lucas for the Award for Feature Film – Original for Not Suitable for Children: Susan Smith for her screenplay for Mabo which won the Telemovie – Original Award; Blake Ayshford, Jaime Browne, Kristen Dunphy and Nicholas Parsons with Louis Nowra for The Straits which won the award for Television Mini-Series – Original and Samantha Strauss for Dance Academy which won the Children’s Television Award.

“My congratulations to all these winners from NSW who have been recognised by their writer peers for outstanding achievements in writing for the screen,” Minister Souris said.


“The NSW Government has provided almost $10 million in funding for Screen NSW in 2012/13, to boost creative excellence and commercial growth in the local screen industry.

“Last year, $6.5 million was committed towards attracting 32 new screen productions including major feature films and television series, to be made in NSW. These productions alone are expected to generate more than $99 million in investment for the State’s economy and create more than 4,300 local jobs”.

Mr Souris said NSW is now home to 46 per cent of the national film industry.


Media enquires: Norm Lipson: 0467 734 679

SPAA Holding Redlich Business Class

Official Co-Productions: Getting Your Ducks In A Row


SPAA will be hosting a co-production business class session in Sydney on the 21st August and in Melbourne on the 30th of August.

The session will examine what producers can do to prepare for a successful and mutually beneficial official co-production partnership, recent changes to Screen Australia’s guidelines, what is on the horizon and where there may be potential for new productions.

In this session key Australian producers will share their lessons learnt from official co-productions and we will hear from the people who assist you in getting your ducks in a row – the lawyers, accountants and government representatives.



Mario Andreacchio Executive Director, AMPCO Films

Sonia Borella Partner, Holding Redlich

Jane Carter A/g Director, Screen Industry Section, Office For The Arts

Jane Corden Managing Director, Moneypenny Services Group

Chris Hilton Executive Producer & CEO, Essential Media and Entertainment    

Alex Sangston Senior Manager, Producer Offset and Co-production Unit, Screen Australia


Chaired by:

Ian Robertson Manager Partner, Holding Redlich (SYD)

Dan Pearce Partner, Holding Redlich (MELB)


Sydney Tuesday 21 August 9.30-12.30pm | Melbourne Thursday 30 August 2.00-5.00pm

SPAA Member $70 | Non-member $120


Click here for more information



Screen NSW

Media Release

 31 Jul 12


Screen NSW announces that applications are now open for the new rounds of Aurora and the Emerging Filmmakers Fund (EFF).

Aurora is Screen NSW’s premium feature film development program. Since its inception in 2002, Aurora has attracted acclaimed Australian and international filmmakers as advisors and participants in the program, and has identified major new Australian filmmaking talent. Films developed through Aurora include Animal Kingdom, The Black Balloon, Somersault, Little Fish and Wish You Were Here.

Following consultation with the industry, this year Aurora has some new features. The program is now open to projects at both draft and treatment stage. Teams with an experienced writer can apply with a treatment only, allowing them to use the expertise on offer at Aurora during the crucial architectural stage of their project’s development.

The main workshop will move to the summer, at the beginning of February 2013, with the follow up workshop scheduled for mid-year, providing an accelerated time frame for Aurora. Teams will deliver a draft and a polish in between the two workshops, for which they will be provided with a draft investment of $30,000. And, for the first time, one of the two international Aurora advisors will act as the Guest Creative Director of Aurora for the year.

Applications for Aurora are now open, and will close on 21 September 2012.

The Emerging Filmmakers Fund supports talented new and emerging filmmakers in NSW by funding the production and post-production of short films.

There is one round of EFF a year and, this year, funding will be provided to three projects with grants of up to $30,000 for production and/or post-production.

Respected producer Kath Shelper (Samson and Delilah) will act as the mentor and Executive Producer for the EFF shorts for this round.

Applications for EFF are now open, and will close on 28 September 2012.

Successful teams for both programs will be announced in November 2012.

For more information, see:

Screen NSW Aurora webpage
Screen NSW Emergining Filmmakers Fund webpage

More than 6,000 jobs created and $152 million spent in Victoria’s robust film industry

Media Release

The Hon Louise Asher MP
Minister for Innovation, Services and Small Business
Minister for Tourism and Major Events


Minister for Innovation, Services and Small Business Louise Asher today announced that screen projects supported in 2011/12 financial year by the Victorian Coalition Government through Film Victoria have leveraged total production expenditure of $152.7 million for the state, an increase of 89 per cent on the previous year.

Ms Asher said it has been a robust year for the Victorian screen industry marked by significant local and footloose production activity.“In the 2011/12 financial year, Film Victoria supported film, television and digital media projects that created 6,662 jobs for practitioners, supporting the local industry and providing many opportunities for small businesses and individuals,” Ms Asher said.“These strong figures can be attributed to the Coalition Government securing projects like feature film I, Frankenstein that filmed at Docklands Studios Melbourne and various locations around the city; TV pilot Frontier, which shot in regional Victoria; adult comedy feature Ted, which completed its visual effects here; and the mini-series Howzat! The Kerry Packer Story, among others.”

Ms Asher said local production is thriving and there has been a buzz of activity throughout Victoria.“More than $5.8 million was committed to 33 local projects through Film Victoria’s Screen Production – Investment program,” Ms Asher said.“Local television productions such as Offspring Season 3, Miss Fisher’s Murder Mysteries, The Dr Blake Mysteries and Jack Irish have created a real hype of activity in Victoria.“Eight regional projects were supported that commenced production in 2011/12 through the Regional Locations Assistance Fund, spending an estimated $2.3 million in regional Victoria.”

A summary of productions commencing in 2011/12, supported by Film Victoria include: 13 film projects, leveraging $59 million; 28 television projects, leveraging $90.1 million; and 13 games projects and one interactive project beginning development in 2011/12, which leveraged $3.6 million.

Film Victoria CEO Jenni Tosi said it had been a strong year for the Victorian screen industry despite the high Australian dollar and competitive environment.“In 2011/12 Film Victoria delivered significant support to local screen practitioners, businesses and projects through our programs and services,” Ms Tosi said.“The results we’ve been able to achieve reflect the talent, creativity and responsiveness of Victoria’s screen professionals, and their ability to tell stories that resonate with audiences.”
Media enquiries: Bronwyn Perry 0408 221 963


Visit for more news


Ted’s unreal adventure, from Melbourne to Hollywood


Source: The Age

Date: July 22, 2012

Stroy By: Michael Lallo


MELBOURNE’S contribution to Hollywood has been great in recent years: Guy Pearce, Cate Blanchett and Geoffrey Rush spring to mind. So too – albeit in a slightly different way – has Ted, the pot-smoking bear with a penchant for prostitutes, who has hit the big time in his eponymous film Ted.

Ted is a Melburnian, the animated creation of the South Melbourne production studio Iloura.

In 2010, Family Guy creator Seth MacFarlane received an email with a clip of the animated teddy attached, rang the Melbourne office and said that was how he would like his bear to look. And so Ted’s star was born: for eight months, 70 artists toiled full-time to bring him to life.

When it opened in the US last month, it grossed $US54 million ($A52 million) in its first weekend: a record for an original R-rated comedy. The company is now working on I, Frankenstein and the Will Smith blockbuster 1000 A.E. It also has several other Hollywood films to its name, including Where the Wild Things Are, The Bank Job, Ghost Rider: Spirit of Vengeance, Don’t Be Afraid of the Dark and the Steven Spielberg mini-series The Pacific.

 Advertisement It’s a long way from the mid-noughties, when Iloura was a boutique post-production company specialising in TV commercials. Lured by government incentives, Paramount Pictures came to Melbourne in 2004 to shoot Charlotte’s Web – and Iloura got the animation contract.

 ”John Berton, the film’s visual effects supervisor, took a huge leap of faith on us,” says Iloura’s executive film producer, Simon Rosenthal. ”We were in our infancy when it came to film.” Berton’s gamble paid off: Iloura’s animated pigs were indistinguishable from the real ones used in some scenes.

 While Iloura does standard visual effects such as backgrounds, it forged its reputation with lifelike character animations.

 ”We got Ted because we don’t overanimate like a lot of studios do,” says visual effects supervisor Glenn Melenhorst. ”We didn’t make a wide-eyed, Pixar-style, overly expressive bear. Seth wanted a ‘real’ aesthetic.”

 Over the past decade, Iloura’s staff has tripled to 90. ”We had 500 shots for Ted and each one required separate tasks,” explains Iloura’s head of visual effects, Ineke Majoor. Her 70 artists were assigned painstakingly specialised jobs. One created the glass Ted drinks from, another the beer inside and someone else did the foam.

 To viewers, it appears Ted is the only animated component of the live action film. But the scene in which he climbs a stadium tower is entirely fake. ”You should not be able to detect what’s real and what’s animated,” Melenhorst says.

 Rosenthal is confident Ted will lead to bigger projects. ”The industry is now geographically agnostic,” he says. ”We’ve been around for 30 years,” adds business development director Caroline Pitcher. ”It feels like we’ve only just begun. We’re hungry for the next challenge.”


 View original article here



Ausfilm Week London 2012 in review

Ausfilm Week London comprised of 3 days of targeted co-production meetings, networking experiences, learning opportunities and consistent promotion of Australia’s Production incentives (Producer Offset, PDV and Location offset) to develop and foster strong growth between the Australian and UK film and television industries.

We were also be joined by representatives from Screen Australia and the state screen agencies.

The response from the UK industry for Ausfilm Week London was excellent. A total of 145 UK companies (representing distribution/production/broadcasting/ post production/talent agents/sales agents/financiers) were in attendance at events from May 13th to 15th.

If you didn’t make it to this year’s event or know Australian producers who you think would be interested in attending, make sure you put it in your calendar for next year, it’s not one that you want to miss!

Don’t just take our word for it on how successful this year’s event was, see testimonials below.

The Picture tank: ‘I think it was one of the best ventures for our business – and potentially most encouraging.’

Galvanized Film Group: ‘Congratulations to everyone involved ‐ it was a worthwhile productive event. It’s particularly good to see Ausfilm supporting those of us going out to the world market and not just focusing on productions coming to Oz. Thank you including me and my project.’

Ruby Entertainment: ‘Fantastic meetings, great array of guests’.

SC Films International: ‘I forged new relationships with Australian producers. There is a real possibility to collaborate on some of the projects pitched.’

Academy Awards

Congratulations to Australian Editor Kirk Baxter who won the Academy Award for his work on ‘The Girl with the Dragon Tattoo’

Recent Productions

The Railway Man

Australia/ UK Co-production directed by Jonathan Teplitzky and staring Nicole Kidman, Colin Firth and Stellan Skarsgård. Filmed in Scotland, Thailand and Queensland, Australia in 2012.

The Grandmothers

Australia/France Co-production directed by Anne Fontaine and starring Naomi Watts, Robin Wright and Xavier Samuel, filmed in NSW in 2012

The Great Gatsby

Warner Bros. production, directed by Baz Lurhmann and starring Leonard DiCaprio, Tobey Maguire, Carey Mulligan and Joel Edgerton, filmed in Sydney in 2011.

Now Filming

The Wolverine

Directed by James Mangold and Staring Hugh Jackman, Filming in Sydney, NSW.

I, Frankenstein

Directed by Stuart Beattie and starring Aaron Eckhart, filming in Victoria.

Producer Daniel Dubiecki opens production office in Melbourne

The Academy Award-nominated producer behind Up In the Air and Juno has set up an Australian production office and acquired the film rights to two crime autobiographies.

Daniel Dubiecki’s The Allegiance Theater production company, based in the US, has opened a Melbourne branch, which will be led by his Australian partner, Torus Tammer. Dubiecki’s father was Australian and he holds dual Australian-US citizenship.

The Allegiance Theater has already acquired the film rights to Damian Marrett’s best-selling true crime autobiographies, Undercover and White Lies, which Dubiecki and Tammer will produce. Patrick Hughes (Red Hill) is attached to direct and Justin Monjo (Farscape, Bait) will adapt Undercover.

“The new Australian division of The Allegiance Theater makes movies for audiences around the world, putting the Australian artists at its centre and drawing from the deep pool of vibrant talent and rich stories that exist in there,” Dubiecki said in a statement…

Click here for the complete article

Ausfilm Week – London – May 13th to 15th 2012

Press Release
5th April 2012

Ausfilm is pleased to announce Ausfilm Week London – to be held from May 13th to 15th, 2012. Ausfilm is hosting this targeted event, pre-Cannes, to develop co-production opportunities between Australian and UK producers for both feature film and high-end television series.

The event schedule will feature meetings for Australian producers with UK counterparts for specific co-production projects that hold international appeal. Following a call out for submissions, the following Australian producers have been selected to attend Ausfilm Week London to meet with leading UK production partners.

Mario Andreacchio – AMPCO Films
Angie Fielder – Aquarius Films
Karen Radzyner – Dragonet Films
Trish Lake – Freshwater Pictures
Heather Ogilvie – Galvanized Film Group
Cathy Overett – New Holland Pictures
Vincent Sheehan – Porchlight Films
Mark Ruse – Ruby Entertainment
Timothy White – Southern Light Films
Dee McLachlan – The Picture Tank
Sue Taylor – Taylor Media
Janelle Landers – WBMC

Ausfilm Week London 2012 will also comprise publisher pitching events with literary agents, networking experiences and learning opportunities to develop and foster strong growth between the Australian and UK film and television industries.

About Ausfilm:
Ausfilm is an industry-government partnership which promotes Australia as a destination for international screen production. It comprises Australia’s Federal, State and Territory Governments and around 25 private-sector companies. Ausfilm provides the international film community with direct access to Australia’s screen incentives, talent and facilities. Ausfilm’s objective is to connect international filmmakers worldwide with Australia.

For more information on Ausfilm Week and filming in Australia visit

For media enquires contact:
Kristy Officer – Head of Marketing and Business Development, Ausfilm
T: + 61 2 9383 4191 M: +61 424 174 957

Ausfilm Week London – May 2012 – Producers Expression of Interest

Ausfilm is pleased to announce the Ausfilm Week London – Co-Production Forum – May 13th to 15th, 2012.

Ausfilm is hosting this targeted event, pre-Cannes, to develop co-production opportunities between Australian and UK producers for both feature film and high-end television series.

The Forum will feature meetings for Australian producers with UK counterparts for specific co-production projects that hold international appeal. These meetings will focus on the development of current projects with a view to co-production/finance/sales and will be established through in-depth profiling and matchmaking.

Ausfilm Week London 2012 will also comprise networking experiences and learning opportunities to develop and foster strong growth between the Australian and UK film and television industries.

To express your interest in participating please complete this form Ausfilm Week London – Producer expression of interest and return directly to Ausfilm The deadline for applications is March 19th 2012.

Any questions can be directed to Kristy Officer, Head of Marketing – Ausfilm:

Thirteen new feature projects to receive development support from Screen Australia

Thursday 1 March 2012
Screen Australia today announced over $350,000 to support 13 filmmaking teams develop their feature film projects, taking them to the next level on the path towards production readiness. Five new projects have been added to the development slate while eight teams will receive continued support to develop their projects. Genres include horror, comedy, romantic comedy, drama, adventure and children’s animation.

Among the new projects to receive support for development is The Tunnel: Dead End, the sequel to the successful crowd-funded online horror feature film The Tunnel from producer/writers Enzo Tedeschi and Julian Harvey and director Carlo Ledesma.

Harry Cripps will develop the romantic comedy script Addition, based on the novel of the same name, with producers Bruna Papandrea and Cristina Pozzan, and writer Jules Duncan will be supported to develop the comedy script Bogan Wedding.

Writer Pip Karmel and Porchlight Films’ producer Vincent Sheehan will receive support to develop their new comedy drama script What Alice Forgot, and Out West is a new comedy to be developed by writer/director Alister Grierson (Sanctum) and producers Catriona Hughes, Leesa Kahn and Terry Jennings.

Projects to receive continued development support include writer Mark Herman and producers Marian Macgowan and Sarah Radclyffe’s Julian Corkle Is a Filthy Liar, and writer/director Jocelyn Moorhouse and producer Sue Maslin’s The Dressmaker.

The Outrageous Barry Rush is an adventure feature project in development by writer Andy Cox with director Kriv Stenders (Red Dog) and producer Alan Harris, and writer Shaun Grant (Snowtown) is continuing to develop his comedy script Bad Angel about a New York hit man who is unwittingly embraced by a rural Australian community. Nicholas Cole and Antonia Barnard are on board as producers.

Last Cab to Darwin is a drama in development about a Broken Hill cab driver who learns that it’s never too late to change his life from writer/director/producer Jeremy Sims, writer Reg Cribb, producer Greg Duffy and executive producer Ian Darling.

Plates Day is an animated black comedy in development from writer/director Bruce Petty and producer Jenny Day about the certainties we search for and the fantasies we can’t live without.

Black Echoes is a horror feature script in development by writers Shayne Armstrong and Shane Krause with director Greg McLean (Wolf Creek) and producers Murray Pope and Michael Robertson.

Producer Mary Minas will also be supported by Screen Australia with a six-month professional internship, receiving bespoke training in development, production and distribution from producer and distributor John Maynard (Balibo, An Angel at My Table, Romulus, My Father, The Bank) at Felix Media and Footprint Films in Melbourne.

Fuel VFX introduces new commercial producers team

Fuel VFX has bolstered its Commercials team with the addition of senior producers Kate Stenhouse and Samantha Daley who join Erica Ford, Lauren Rosen and Head of Production Dave Kelly. With the recent appointments of Ben Eagleton as Head of Colour and Jenna Burlace as Facilities Producer, the new look Commercials team is focused on promoting Fuel’s full-service studio that caters for grade and online projects as well as the VFX-intensive work its renowned for.

Kate Stenhouse is experienced in all aspects of production and post. She was most recently at production house Collider and has worked with Sydney’s Animal Logic and The Mill in London for premium brands including Coca-Cola, Guinness and Dyson, and on award-winning campaigns such as Comcast ‘Rabbit’.

Samantha Daley brings a strong background in animation, design, post-production and 3D stereoscopic for commercials, series animation and film and has worked at studios as diverse as a.k.a. Cartoon and Pork & Beans in Canada, and at Sydney’s Animal Logic and Kapow Pictures. Sam has worked on international campaigns including Lego Star Wars and Lifelock, and locally for Bird’s Eye (3D), Qantas and Foxtel.

Fuel Managing Director and Co-founder, Andrew Hellen: “We’re very excited to have formed this new team. Fuel’s business was born from commercials production and our focus remains delivering the best work possible at a competitive price and to ensure that our clients receive uncompromised attention. We’re confident that we have a strong, focused and positive team, and we’re very much looking forward to the year.”

‘Any Questions for Ben?’ opens today

Australian film ‘Any Questions for Ben?’ opens in Australian cinemas today.

The film stars Rachael Taylor (‘Red Dog’) and Josh Lawson.

Trailer below:

Congratulations to Australia’s Academy Award nominees

Ausfilm would like to congratulate film editor Kirk Baxter (The Girl with the Dragon Tattoo), producer Grant Hill (The Tree of Life) and sound mixer Andy Nelson (War Horse) for their 2012 Academy Award nominations.

The winners will be announced in Los Angeles on February 26th.

Sullivan Stapleton gets lead role in the 300 prequel

Sourced at

Warner Bros has set Sullivan Stapleton to star in 300: The Battle of Artemisia, which will be directed by Noam Murro for Warner Bros. He’ll play Themistokles…. Stapleton was one of the terrific ensemble of Animal Kingdom, and he just completed a supporting role for the studio in Gangster Squad, the Ruben Fleischer-directed period crime film that stars Sean Penn, Ryan Gosling and Josh Brolin. Stapleton, who stars on the Cinemax series Strike Back, is repped by WME. ICM reps Santoro.

For more visit:

Joel Edgerton officially signs on for Bin Laden film


Joel Edgerton’s name has long been linked to the untitled Osama Bin Laden pic from Kathryn Bigelow and Mark Boal, and now the Warrior thesp has officially signed on to star.

Reports had Edgerton in the project as early as May, but insiders said at the time that he was merely the unofficial top choice, as the script was unfinished. By the time a script was done and casting began in October, it looked like Edgerton’s schedule would clash with shooting; he’d been mulling an offer to star in the 300 prequel. But Edgerton passed on the Warner Bros.’ project, freeing him up to join the Bin Laden pic cast that already includes Jason Clarke.

Sony is distributing with Bigelow attached to direct from Boal’s script. Megan Ellison’s Annapurna Pictures will finance.

For the complete article click here: Joel Edgerton

Academy announces Oscars VFX shortlist

Ausfilm would like to congratulate the following Ausfilm members for their work being shortlisted for Oscar nomination in 2012. This highlights the exceptional VFX work coming out of Australia and the first-class post, digital and visual effects talent Australia has on offer.

Fuel VFX for Captain America: The First Avenger

Rising Sun Pictures for Harry Potter and the Deathly Hallows Part 2 and Pirates of the Caribbean: On Stranger Tides

December Client Newsletter

Having trouble reading this email? Click here

December 2011
The Great Gatsby

Lego movie win caps a busy year for Sydney and New South Wales, with 2012 looking bright

Penguins, Flappers, Angels, Dinosaurs and assorted Superheroes have been keeping Sydney’s film crews, animators and VFX artists busy in 2011, and already 2012 is looking like another strong year for international productions in Australia’s harbour city.

Of the “7 Hot Movies/Series Coming out of Australia” featured in The Hollywood Reporter October focus on Australia, six have been shot (or will shoot or do post-production) in Sydney or the state of New South Wales (NSW). These include Baz Luhrmann’s The Great Gatsby – currently shooting and due for release in December 2012, Alex Proyas’ Paradise Lost – to shoot in 2012, George Miller’s Happy Feet 2 – currently in cinemas, Stephan Elliot’s A Few Best Men – due for release in January 2012, P.J. Hogan’s Mental – currently in post-production and Jane Campion’s mini-series Top of the Lake, which will do post-production in Sydney.

Sydney’s visual effects houses have also been busy. In particular, the Fuel VFX team found themselves immersed in Marvel’s superhero universe on Thor and Captain America and are currently continuing that journey on The Avengers, while at the same time exploring the outer reaches of far more frightening universe for Ridley Scott’s Prometheus. Animal Logic worked its own magic when converting Harry Potter and the Deathly Hallows Part 2 into 3D for Warner Bros, and is helping bring the Triassic era to life for the BBC and Los Angeles-based Evergreen Films on Walking with Dinosaurs 3D.

While it has been fuelled by the Australian Government’s screen industry incentives (the 40% Producer Offset for Australian projects, a 30% rebate on Post/Digital/Visual Effects, and a 16.5 % Location Rebate), the boom in production and post-production in Sydney has been underpinned by the NSW Government’s competitive production attraction incentives that are in addition to the national rebates.

In November, just as Happy Feet 2 hit screens in the US, the NSW Government announced that Warner Bros and Animal Logic would be booking a play-date in 2012 for the new Lego family movie, a project secured with assistance from the Government’s Investment Attraction Scheme. Steve Papazian, President of Worldwide Physical Production for Warner Bros. Pictures, who has had a long history of making movies in Sydney, said at the time of the announcement, “I want to extend my appreciation to the NSW Government for its continued support. We look forward to building upon our valued relationship.”

Through its screen agency Screen NSW and its Trade and Investment division, the NSW Government has for many years been working to develop strong relationships with Warner Bros and other major US studios and production companies to attract productions to Sydney, and to ensure that once here, they find a ‘Film Friendly’ state in which to shoot. That work has obviously paid off, with international producers full of praise for Sydney.

“Working here has been a dream experience. The crew is fantastic and everything about the whole situation has run smoothly. We would recommend it wholeheartedly,” said Lucy Fisher (Memoirs of a Geisha) of Red Wagon Productions, which is producing The Great Gatsby with Luhrmann’s Bazmark Films for Warner Bros.

Stephan Elliot’s international producers Larry Maulkin and Share Stallings (Death at a Funeral) were equally impressed. “Starting with the ever-present support of Screen Australia and Screen NSW, our shoot in Sydney and NSW was amazing. The Blue Mountains were spectacular and we even used Sydney as a double for some of our London locations.”

Official co-productions also benefit from the 40% Producer Offset. London-based producer Andy Paterson (Girl with the Pearl Earring) had been warned that shooting the UK/Australian co-production Burning Man in Sydney would be very difficult. “I found the opposite was true. I knew that Screen NSW and the government had been working hard to make the city more film-friendly and we had a wonderful locations team, and the effect was to allow us to really get the best out of it. We shot in the National Park down at Wattamolla, all over the Eastern suburbs at Bondi, Clovelly, Bronte Park, found hospitals in Northern Sydney and couldn’t be happier with the overall look of the film.”

With those ringing endorsements and a growing list of confirmed projects, Sydney looks set to continue to shine as a hot-spot for international film production and post-production work in 2012.

For information on how you can Shoot/Post/VFX your next project in Sydney, visit the Screen NSW website at or email Paul de Carvalho, Director of Production Attraction at

Happy Feet 2

The Great Gatsby – Photo Credit: Photo courtesy of Warner Bros. Pictures


Happy Feet 2 – Photo Credit: Photo courtesy of Warner Bros. Pictures


South Australia shines with award season domination and the opening of the Adelaide Studios

South Australia shone at the recent IF Awards with filmmaker and new SAFC Board Member, Anthony Maras, winning the AFTRS IF Award for Rising Talent. Another local talent Geoff Hall, won the IF Award for Best Cinematography for his work on Red Dog.

Australian box office hit Red Dog (Producers Nelson Woss (WA) and Julie Ryan (SA) Director, Kriv Stenders and Writer Dan Taplitz) was the big winner on the night. Supported by the SAFC and shot partially in South Australia with a strong component of SA crew, Red Dog took out seven awards including the IF Award for Best Script, the Event Cinemas IF Award for Best Box Office Achievement, IF Award for Best Cinematography, IF Award for Best Music and the coveted Showtime IF Award for Best Feature Film. Kriv Stenders took out the IF Award for Best Direction whilst Josh Lucas won the IF Award for Best Actor.

The SAFC supported film Oranges and Sunshine was also a winner. The film won the Dyson IF Award for Best Production Design for Melinda Doring and the Dinosaur Designs IF Award for Best Actress for Emily Watson. Veronika Jenet took out the Avid IF Award for Best Editing for her work on Snowtown, also made in South Australia.

The South Australian Film Corporation sponsored the IF Award for Best Sound which was won by Wayne Pashley, Polly McKimm, Derryn Pasquill and Fabian Sanjurjo for their work on Legend of the Guardians: The Owls of Ga’Hoole.

While South Australia continues to enjoy this onscreen success the big news is the new Adelaide Studios which were formally opened in October at a gala event for 700 guests by special guest Premier Mike Rann, marking what was his last official duty as Premier.

The Gala Opening was the final event in a suite of tailored launch events for the new studios including a media launch, industry orientation day and community open day which attracted 4,500 SA patrons keen to explore the new facilities.

A spectacular 3D architectural projection was created specially for the gala launch by South Australian artist Cindi Drennan (Illuminart):

For more information about Adelaide Studios including images and a description of the facilities click here or visit

*Red Dog was also supported by Screen Australia and ScreenWest

Award winning Crawl a low budget blockbuster


Australia’s Gold Coast has long been a big budget movie making paradise for US studios, with big screen successes including, The Chronicles of Narnia: The Voyage of the Dawn Treader, Fools Gold, Nim’s Island and Scooby Doo.

Now the Gold Coast has shown that low budget, local productions can also make it big. Australian film Crawl, written and directed by Paul China, has catapulted onto cinema screens across the globe after having its world premiere at the Screamfest Festival in Los Angeles.

The low budget suspense thriller made such an impact at the festival, the Gold Coast-based production company won three awards, including Best Director (Paul China), Best Actress (Georgina Haig), and Best Cinematography awarded to Brian Breheny who also produced the film.

The film recently screened at the Tuscon Terrorfest in Arizona and the Ravenna Nightmare Film Festival in Italy. Its Australian premiere was held at the Brisbane International Film Festival to a sold out audience. Interest in the local production was so strong at the Gold Coast Film Festival that a second cinema was required after the first sold out a week before the screening.

Writer and director Paul China said, “It has been a fantastic response to a little film made in the northern suburbs of the Gold Coast”.

“Working creatively with a small budget, it was important that we filmed in a city that could rise to the challenge of integrating all the production pieces at a low price, whilst still providing a successful screen experience for the audience. The crews, the locations and local council were all fantastic, clever and supportive”.

Twin brother and one of the film’s producers, Benjamin China, said, “The Gold Coast is a great place to make movies. The local Village Roadshow Studios has a long history of attracting international and domestic productions. The cumulative benefit of this are the smart, diverse and experienced film professionals living locally, that have a wealth of technical expertise, who can contribute to the whole film process.”

Council’s Economic Development and Tourism Chair Councillor Susie Douglas said, “The Gold Coast has a genuine and professional film production culture that is important to the city and its future. The Council is committed to supporting productions of all sizes and we encourage producers and directors scouting the world for potential locations, to take a closer look at our film-friendly city”.

Shot on the digital RED camera with the new MX censor and upgrade, Crawl is a character-driven thriller set in an unknown rural town. A suspenseful, yet darkly humorous chain of events builds to a blood-curdling and unforgettable climax. For more information and interviews, visit:

I Frankenstein at home in Melbourne

Docklands Studios Melbourne is the production base for the new gothic thriller, I Frankenstein, produced by Hopscotch Features in partnership with Lakeshore Entertainment.

The film, based on a graphic novel by Kevin Grevioux is written and directed by Stuart Beattie and will star Aaron Eckhart and Bill Nighy.

I Frankenstein commenced pre-production in November and principal photography is scheduled for late February 2012. The film will shoot at Docklands Studios Melbourne and on locations in Victoria.

Ausfilm’s offices will be closed for the Holidays from 23rd December 2011 and will reopen on the 4th January 2012
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Fuel VFX, RSP and Animal Logic contribute to 7 films on Academy VFX shortlist


Australian VFX companies have worked on seven of the 15 feature films in consideration for this year’s Academy Award for achievement in visual effects.

The Academy of Motion Picture Arts and Sciences VFX shortlist included four films which featured Fuel VFX’s work (Captain America: The First Avenger, Mission: Impossible – Ghost Protocol, Cowboys & Aliens and Thor), two films which featured RSP’s effects (Harry Potter and the Deathly Hallows Part 2 and Pirates of the Caribbean: On Stranger Tides), and one film which featured Animal Logic’s work (Sucker Punch).

Click here for the complete article

Screen Australia investment triggers $97 million in production

Media Release: Screen Australia

Monday 5 December 2011

Screen Australia has announced almost $17 million investment in a diverse slate of feature films, adult television drama projects and children’s television series. The investment in 14 projects will trigger over $97 million in production.

Features approved for investment include, The Grandmothers, an erotic tale of misguided love based on a Doris Lessing novel, adapted for the screen by Oscar® winner Christopher Hampton. The film features a powerhouse cast including Naomi Watts, Robin Wright, Xavier Samuel and James Frecheville. The Grandmothers will be produced by Andrew Mason and Philippe Carcassonne and will be directed by Anne Fontaine (Coco Avant Chanel).

Other feature projects include 2:22, a high-concept psychological thriller set in New York (p: Jackie O’Sullivan, Paul Currie, w: Paul Currie, Todd Stein, d: Paul Currie) and Patrick (p: Antony I Ginnane, w: Justin King, d: Mark Hartley), a gothic horror re-working of the 1978 classic of the same name.

The Mule, a black comedy co-written and co-produced by one of Australia’s most successful international screenwriter/actor/producers Leigh Whannell (Saw franchise), was also approved for investment. Whannell will star in the film with co-writer and co-producer Angus Sampson. The film will be directed by Tony Mahony and be produced by Paul Clarke…

Click here for the complete media release

Wish You Were Here selected for the opening night of Sundance

Screen Australia: Media Release

Thursday 1 December 2011: The feature film Wish You Were Here, produced by Angie Fielder, co-written by Kieran Darcy-Smith and Felicity Price and directed by Kieran Darcy-Smith, has been selected for the 2012 Sundance Film Festival.

Wish You Were Here will have its world premiere on the opening night of the World Cinema Dramatic Competition. A showcase of exceptional works from across the globe, the Dramatic Competition is described by the festival as ‘a way to honour the independent spirit in filmmakers’.

The film tells the story of four friends who travel to South-East Asia on a holiday, but only three of them return home. The film reveals what happened on that fateful night when they were dancing under a full moon in Cambodia.

“Kieran and I are immensely proud and honoured that Wish You Were Here has been selected to have its world premiere at Sundance. It’s exciting to see our film open the prestigious World Cinema Dramatic Competition at a festival which celebrates independent filmmaking,” said producer Angie Fielder.

“Sundance’s international competition program is one of the most sought-after premiere slots in the world. Thousands of films are submitted; only 16 are chosen. Established by Robert Redford in 1984, the festival is a mecca for the independent film community and, like Animal Kingdom and others before, it offers Australian cinema an outstanding debut platform,” said Screen Australia’s Head of Marketing, Kathleen Drumm.

Click here for the complete Media Release

16 years old and one of Hollywood’s most sought after actors


Emerging as one of Hollywood most sought-after young actors, 16-year-old Aussie Callan McAuliffe is currently preparing to start his work as Young Jay Gatsby in Baz Luhrmann’s 3D telling of the classic American story The Great Gatsby, due out in theaters on Christmas Day 2012, amidst sword fighting training, martial arts and ballet work for his role as archangel Uriel in Paradise Lost, adapted from the epic Biblical poem and shooting in January 2012 for a scheduled 2013 release.

During this recent exclusive phone interview with Collider, from Australia where he is going to shoot both films, Callan McAuliffe talked about what appealed to him about both projects, some changes in The Great Gatsby that could surprise audiences but that he thinks they will appreciate, that even though he’s playing a younger version of Leonardo DiCaprio he doesn’t think he looks like him at all, and what he thinks the 3D will add to the experience for audiences. He also talked about how he’s relying on director Alex Proyas’ vision for Paradise Lost when it comes to playing an archangel, that he’s looking forward to his scenes with Djimon Hounsou, and how he’d like to model his character after Johnny Depp, playing more alternative types of characters. Check out what he had to say after the jump:..

Click here for the complete article: Callan McAuliffe

Changes to Australia’s Producer Offset

Press Release from Screen Australia

The Australian Government’s 2011/12 Budget included a number of proposed reforms to the Producer Offset.

On Monday 21 November 2011, legislation enacting the reforms was passed by the Australian Parliament.

The Bill, the Tax Laws Amendment (2011 Measures No. 7) Bill 2011, will be presented to the Governor-General for Royal Assent in the coming weeks. Following that, the amendments will be in force, taking effect for:

Projects with Screen Australia production funding (investment or grant), where funding approval was given (ie a Letter of Approval was issued) on or after 1 July 2011.
All other cases (ie projects without Screen Australia production funding), where pre-production commenced on or after 1 July 2011.

The Bill also includes amendments to the Location and PDV Offsets in line with the Budget Announcement.

The Bill and its Explanatory Memorandum are both available here. Schedule 9 is the relevant part of the Bill.

Victorian feature film to woo Indian audiences

The Hon Louise Asher MP
Minister for Innovation, Services and Small Business
Minister for Tourism and Major Events

Media release
Thursday 24 November 2011

A feature film to be shot in India and Melbourne has won Victorian Coalition Government support as part of the Government’s commitment to building ties with Bollywood. Louise Asher, responsible for the Victorian film industry as Minister for Innovation, today announced support for Save Your Legs, a Victorian film about a suburban Melbourne cricket team and their tour of India. Ms Asher said the film would showcase Victoria’s key landmarks, such as the MCG, as well as reaffirm the state’s film industry connection to Indian film-goers. “Save Your Legs is a unique Victorian story celebrating Australia’s and India’s shared love of cricket,” Ms Asher said.
“The Coalition Government is pleased to be supporting a film which will be able to further strengthen our ties with the Bollywood industry, and at the same time promote Victoria on the big
screen.” Confirmed Australian cast members include Stephen Curry, Brendan Cowell and Damon Gameau. The film will be directed by Boyd Hicklin and produced by Nick Batzias and Robyn
Kershaw. “The Coalition Government’s support for Save Your Legs is just one of the many initiatives in 2012 associated with the Government’s Trade Engagement Program for India – a dedicated program to increase two-way trade with one of the world’s fastest growing economies,” Ms Asher said. “Victoria’s trade and investment relationship with India has grown steadily over the past decade and greater ties with the film industry can only open up more diverse business opportunities for Victorian companies. “The Victorian Government is committed to building better links with Bollywood, which includes a commitment of $500,000 over four years to develop the Bollywood Film Festival.”

Save Your Legs will premiere as part of the 2012 Melbourne International Film Festival, followed by a theatrical release in summer 2012-13.

Media contact: Bronwyn Perry 0408 221 963

Visit for more news

Red Dog wins at the IF Awards

Red Dog‘s star continues to rise as last Wednesday it took out Best Picture at the 2011 IF Awards held at Luna Park in Sydney. Red Dog also won for Best Director (Kriv Stenders) and Best Actor (Josh Lucas) as well as taking home Best Script and Best Box office Achievement. Red Dog’s star Koko was on hand to receive the award alongside Producer and owner Nelson Woss.

Red Dog is now the eighth most popular Australian film of all time and has grossed over $21 million at the Australian box office.

Gatsby exchanges New York for Sydney

With Baz and Co having been spotted around various New South Wales locations whilst filming The Great Gatsby it seems appropriate to touch on where the fabulous 1920’s Long Island and New York scenes are actually being shot in Sydney, Australia.

Over the past few weeks photos have emerged from the garage where Myrtle Wilson lives set up in Rozelle, Centennial Park right next to Fox Studios in Sydney and the International College of Management overlooking Manly where one of Jay Gatsby’s elaborate 1920’s parties were staged.

Sydney has been a dynamic and more than adequate stand in for the decadence spoken of in F. Scott Fitzgerald’s best seller. Sadly we will have to wait over a year to see the film. We can’t wait!

LEGO film to be produced in Sydney

The Hon Andrew Stoner MP
Acting Premier of NSW
Minister for Trade and Investment
Minister for Regional Infrastructure and Services


Wednesday 16 November 2011


Acting NSW Premier and Minister for Trade and Investment Andrew Stoner has announced NSW will be the production base for a new animated feature film based on the popular children’s construction toy LEGO®.

Warner Bros. has contracted Academy Award-winning Sydney animation studio Animal Logic to make the family entertainment comedy at Fox Studios Australia, where Mr Stoner made the announcement today alongside Animal Logic CEO Zareh Nalbandian.

The NSW Government has helped secure the production for the State’s film industry with assistance from NSW Trade & Investment’s State Investment Attraction Scheme.

“Congratulations to Animal Logic for beating strong international competition from the US and Canada to secure this major animated film production,” Mr Stoner said.

“The production of LEGO will see up to $48 million spent in NSW, which will include commitments to industry research, development and training.

“The film will employ over 200 people during its peak.

“The LEGO film will be based on the popular children’s LEGO building blocks and include licensed LEGO characters.

“Originally designed in the 1940’s in Denmark, LEGO has achieved international appeal and this film is sure to be a hit with children around the world,” Mr Stoner said.

“The film’s directors will be Phil Lord and Chris Miller, who co-directed the 3D animated comedy Cloudy with a Chance of Meatballs (2009) which grossed $239 million worldwide.

“LEGO will be an innovative film incorporating the latest animation and photo-real techniques which will demonstrate the strength of NSW creative technology skills and enhance the international reputation of Sydney as a film location.

“Not only will the securing of LEGO enable Animal Logic to retain staff through an ongoing work schedule but it will also place Sydney in a strong position to secure further work should sequels be planned later.

Mr Nalbandian said “LEGO is further testament that Sydney is now established as one of the world’s great digital animation centres.

“With LEGO, Animal Logic continues to develop and produce ground breaking digital entertainment and to build a talent base that’s second to none anywhere in the world.”

Steve Papazian, President of Worldwide Physical Production for Warner Bros. Pictures, said “I want to extend my appreciation to the NSW Government for its continued support.”

“We look forward to building upon our valued relationship.”

LEGO is due for release in 2014 with Warner Bros. both producing and distributing the film internationally.

The LEGO film is being written and directed by Lord and Miller, with Chris McKay serving as co-director. Dan Lin and Roy Lee are producing. LEGO Company’s Jill Wilfert will executive produce and Lin Pictures’ Seanne Winslow will co-produce.

LEGO and its logo are trademarks of The LEGO Group. © 2011 The LEGO Group.

MEDIA: Office of the Acting NSW Premier 9228 5209

See you in Melbourne Aaron Eckhart

Today we learnt that Melbourne will be the production location for Stuart Beattie’s new film I, Frankenstein. Fabulous news for the Victorian film industry as pre-production, production and post-production will all be completed in Melbourne. The gothic thriller which will have Aaron Eckhart in the lead will be based out of Docklands Studios with other locations around Melbourne yet to be confirmed. Congratulations to Film Victoria for securing this project – exciting news!Will keep you updated with any other I, Frankenstein developments as they happen.

Josh Lawson & Isabel Lucas named Best Hollywood Newcomers

Actors Josh Lawson and Isabel Lucas have been named Best Hollywood Newcomers at the Beverly Hills Film, TV and New Media Festival for their roles in an Australian film which is yet to get distribution two years after being made.

Despite gaining recognition at a number of festivals, it now looks like The Wedding Party will not get a release this year.

Directed by Amanda Jane and produced by Nicole Minchin, the romantic comedy opened MIFF last year.

Click here for the complete article on Josh Lawson and Isabel Lucas or see the trailer below

Ausfilm Week 2011 in review


LA’s Ausfilm Week: “Like speed dating without the alcohol”

Eleven Australian producer teams from across the Australia met with American producers and studio executives at the Ausfilm Week in last week.

Ausfilm’s Deb Richards told Encore the sessions were, “like speed dating without the alcohol, with seven meetings one after another.”

The one-to-one sessions were project-specific, the filmmakers pitching a feature script they looked to receive funding and create co-productions on.

Australian producers included Bill Leimback (Beneath Hill 60), Jamie Hilton (Sleeping Beauty, The Waiting City), Stephen Amis (The 25th Reich), Robert Galinsky & Elizabeth Howatt-Jackman (Prey), Pam Collis (Singularity), Craig Lahiff & Helen Leake (Swerve), Sonya Armstrong (Seduction in the City), Lessa Khan and Marissa Goodhill, Jodea Bloomfield and Pippa Hinchley (The Live Sex Girls), Anthony Maras (The Palace) and Michelle McDonald of Screen Australia.

The selection of US production companies included; The Weinstein Company, Arclight Films, Smoke House Pictures, Artists International, Michael de Luca productions, Fox Searchlight and more.

Click here for the complete article on Ausfilm Week

Joel Edgerton’s star is on the rise

Take a look at this article about Joel Edgerton and his burgeoning career


JOEL Edgerton didn’t appreciate how good his new film Warrior might be until well into filming.

He had his hopes that director Gavin O’Connor might pull something out of the hat but this was a film about mixed martial arts, or cage-fighting. It needed something special to elevate it beyond being a movie about a sport with a brutal reputation.

“Getting involved with any movie is a risk,” Edgerton says from the set of The Great Gatsby in Sydney. “One of the things I love about filmmaking is everybody involved in it can help make it better and also everybody involved can make it worse. You really have no control over a lot of it. The one thing you do have control over is the decision to jump on board the project.”…

Click here for the complete article on Joel Edgerton

Australian Screen Industry News – October 2011

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October 2011

Ausfilm Week 24-28 October, 2011

Ausfilm and representatives of the Australian film industry come together in Los Angeles this week (24-28 October) for Ausfilm Week 2011. Ausfilm Week aims to build and maintain relationships between the Australian and US film industries to encourage co-production of international film and television with Australia.

Ausfilm Week features a series of events covering all aspects of production including film screenings, breakfast seminars, development lunches, a gala dinner and cocktail events where Australian filmmakers and industry professionals discuss filmmaking in Australia with their US colleagues and encourage them to access Australia’s Screen Production Incentives which includes the Producer Offset – a 40% incentive for films with significant Australian content.

Ausfilm Week provides the platform to present Australia as a world-class film destination with its diverse locations near sound stages, Oscar-winning talent & crew and attractive tax incentives available to American producers in partnership with the Australian film industry.

The incentives available include the 40% Producer Offset, 30% Post, Digital and Visual Effects incentive and 16.5% Locations incentive.

Targeted one-on-one meetings between leading Australian filmmakers, US studios, development executives, production companies and packaging agents will take place during Ausfilm Week 2011 to discuss collaboration for the development of Producer Offset projects.

Australian director Shane Abbess (Gabriel) commented “As an Australian filmmaker living in Los Angeles, I’ve found Ausfilm to be that often crucial link between our industry at home and here. Their events are a must for anyone looking to bridge the gap between two of the strongest film communities on the planet”.

Australian projects currently include Baz Luhrmann’s version of The Great Gatsby which is filming at Fox Studios, Director Alex Proyas is prepping his motion capture for the film Paradise Lost and Happy Feet 2 is close to wrapping, ready for its November launch.

Australian Post, Digital and Visual Effects houses have proven their capabilities and secured significant work for blockbuster international features including Captain America, Thor, Don’t be Afraid of the Dark and Harry Potter and the Deathly Hallows part 1 & 2.

The third annual Ausfilm Week programme opened on Monday night with a preview screening of the upcoming Australian feature A Few Best Men, with cast including Olivia Newton-John walking the red carpet at the Linwood Dunn Theatre.

A great year for Australian films

Australian films have featured in all six premiere international film festivals this year. Key examples include Red Dog’s world premiere screening at the Berlin International Film Festival, Sleeping Beauty’s world premiere selected for In Competition at Cannes and The Hunter’s recent world premiere at Toronto International Film Festival.

Screen Australia’s Chief Executive Ruth Harley said, “Selection into an A-List festival provides a platform to launch Australian films in the international marketplace and profiles our talent and our stories on the world stage”.


Ausfilm member Trackdown has been busy working on a number of productions including Music Editing and Score/Mix for ‘The Killer Elite’, Music Editing/Score Programming/Score and Mix for ‘Bait 3D’, Dialogue record for ‘Family Guy’, Dialogue Recording/ADR/Music Editing/Score for ‘Happy Feet 2’ and Script Read Recording for ‘The Great Gatsby’. Ausfilm also had the pleasure of working with Trackdown on our Post, Digital and Visual Effects showreel with a high production value score produced to complement the calibre of the post, digital and visual effects work on display. For more information visit


Seth McFarlane’s Ted, a comedy mixing live action and digital animation, will undertake significant visual effects work with Melbourne based company, Iloura. Ted was secured for Victoria through film Victoria’s PIAF PDV incentive.

Fox Lighting

Fox now owns the largest range of lighting equipment in Australia for motion pictures, television productions, commercials, photo shoots and more. Fox Lighting is located at Fox Studios Australia in New South Wales and Village Roadshow Studios in Queensland to service your lighting needs.

For more information visit or call +61 2 9383 4200

Film Victoria Locations Gallery

Film Victoria’s online Locations Gallery has helped attract extraordinary productions to Victoria such as Killer Elite, Don’t Be Afraid of the Dark and The Pacific. The gallery contains more than 37,000 images and some new perks include video content and a more powerful search engine. The improved Gallery will ensure we continue to provide you with the best locations – all viewable with the click of your mouse.

Image courtesy of Sheridan Nilsson & Tourism QLD
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Ausfilm Week, 24-28 2011

Ausfilm Week 2011 will commence on Monday 24th October 2011 with a VIP Preview Screening of A Few Best Men, with stars including Olivia Newton-John (Grease) and Rebel Wilson (Bridesmaids) walking the red carpet.

For the most up to date information on Ausfilm Week 2011 click Ausfilm Week 2011

Ausfilm Week 2011

Ausfilm Week 2011 will commence on Monday 24th October 2011 with a VIP Preview Screening of A Few Best Men, with stars including Olivia Newton-John (Grease) and Rebel Wilson (Bridesmaids) walking the red carpet.

Ausfilm Week promotes Australia’s production locations, oscar-winning talent and crew, and Australia’s competitive production incentives.

Stay tuned for the latest pictures out of Ausfilm Week 2011 as well as coverage from the events.

Highlights of Ausfilm Week 2011 will be the Gala Dinner and the Monster Bash Cocktail Party to honor Troy Nixey and his film Don’t be Afraid of the Dark which was filmed in Melbourne.

DAY 1 – MONDAY 24th OCTOBER, 2011

Ausfilm Week 2011 opened on Monday night with a VIP screening of A Few Best Men. Ausfilm and Australians in Film teamed up for the preview screening with Olivia Newton John, Rebel Wilson and director Stephan Elliot all walking the red carpet at the Linwood Dunn Theater.

It was a great start to the week with lots of laughs had by all.

Stephan and Olivia also held a Q&A at the conclusion of the screening.

For more information contact ausfilm at

Screen Australia supports development of 17 feature projects


Screen Australia

Media Release

Thursday 13 October 2011

Screen Australia today announced over $500,000 in support for the development of 17 feature films.

Emile Sherman and Iain Canning (The King’s Speech) will develop a biopic by writer Luke Davies (Candy) called Life, and actor/producer Simon Baker will work with producers Jamie Hilton (The Waiting City) and Mark Johnson (The Chronicles of Narnia) and writer Peter Duncan (Unfinished Sky) to develop the adaptation of Tim Winton’s novel Breath.

Four comedy feature scripts are among the 17 supported projects including the romantic comedy Almost French from writer/director Kate Dennis and producer Sonja Armstrong, and Ali’s Wedding from producers Michael McMahon and Helen Pankhurst, written by Osamah Sami and Andrew Knight.

The team behind the highly anticipated Wish You Were Here will work together again to develop writer/director Kieran Darcy-Smith’s Memorial Day, produced by Angie Fielder.

Jonathan Teplitzky (Burning Man) is attached to direct Choir of Hard Knocks, to be written by Pip Karmel and produced by Marian Macgowan.

Producers Craig Somers and Brian Mooney have brought on board the rapidly emerging talent of Shanti Gudgeon to write their musical Bdazl…

For the complete article: Screen Australia supports development of 17 feature projects

‘I, Frankenstein’ to be filmed in Australia

Australia will be home to Lakeshore Entertainment, Hopscotch Features and Lionsgate’s production of I, Frankenstein. The film, written and to be directed by Australian Stuart Beattie will commence production in January. Aaron Eckhart (The Dark Knight) will take on the role of Adam Frankenstein.

Callan McAuliffe joins Paradise Lost


Callan McAuliffe has become the first Australian to join the cast of Alex Proyas’ epic Paradise Lost, as reported by Variety.

The 16-year-old actor, who was recently seen in cloudstreet and Hollywood action flick I Am Number Four, will play the archangel Uriel after beating out a number of internationally-based actors for the role.

Following Lucifer’s (Bradley Cooper) rebellion against God, Uriel steps up as second in command of Heaven’s army, under the archangel Michael (Ben Walker).

Paradise Lost is based on the 17th century poem by John Milton and details Lucifer’s war on Heaven and the fall of mankind.

Click here for the complete article

Pre-modern family: ‘Terra Nova’


Terra Nova may have dinosaur-sized ambition but its heart is closer to home.

THERE were several moments in the tortured development of Terra Nova – the epic series launching on Sunday on Channel Ten – that shaped just what sort of show it would become. The most expensive new show to air this year, the question the high-level team developing the program wrestled with was whether Terra Nova should be a science-fiction series or a family drama.

The series begins with a double episode set 138 years in the future. Earth is at breaking point. The planet is seemingly a lost cause, rendered almost uninhabitable.

Read more:

‘Terra Nova’ US Premiere

‘Terra Nova’, the Steven Spielberg Sci-fi TV series premiered in the US on Monday. The TV show was filmed in Queensland, Australia. What did everyone think of the 2 hour premiere??

‘Terra Nova’ will premiere in Australia on Sunday 2nd October on Channel 10.

Terra Nova premieres tonight on FOX

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September 26 2011
Lamington National Park

Terra Nova premieres tonight on FOX

Terra Nova, filmed in Queensland, Australia will premiere on FOX tonight (Monday 26 September). The 2 hour series premiere will air at 8/7c. For more information visit

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Strategic Partners, Halifax

Ausfilm attended the Strategic Partners conference in Halifax, Canada from September 15th, 2011 to September 18th, 2011.  The conference runs in conjunction with the Atlantic Film Festival.  With well over 180 delegates in attendance, the event focused on co-production and co-venture opportunities for producers seeking international co-production training and professional development.  Prior to the conference, many delegates were at the Toronto International Film Festival (TIFF).

The sessions, panels, and scheduled social events provided the perfect networking opportunity for both film territories and producers to further discuss partnerships.  South Africa and Australia had a strong presence of producers in attendance.  Because of the recent Australia/South Africa co-production treaty going into effect, the venue allowed for Ausfilm to establish relationships with both South African producers and its’ film offices in addition to Canadian producers and production companies in attendance.

Screen Australia announces investment in three feature projects

Screen Australia Media Release

Wednesday 21 September 2011
Screen Australia today announced $3 million worth of production investment in three feature film projects triggering almost $21 million in production.

Oscar®-winner Colin Firth (The King’s Speech) will star in director Jonathan Teplitzky’s The Railway Man, an emotionally charged true story based on Eric Lomax’s best-selling account of confronting his World War II torturer 30 years on. The film will be produced by Andy Paterson and Chris Brown and is written by Frank Cottrell Boyce and Andy Paterson.

Rekindling Venus is a groundbreaking feature project written and directed by renowned Australian installation artist Lynette Wallworth and produced by John Maynard. It will be an immersive fulldome film experience and multi-platform work to be screened exclusively in dome cinemas and planetariums around the world.

Writer/director brothers Colin and Cameron Cairnes’ debut comedy/horror feature film 100 Bloody Acres,to be produced by Julie Ryan and Kate Croser and executive produced by Jonathan Page, also received investment.

Screen Australia’s Chief Executive Ruth Harley said, “It’s exciting for Screen Australia to invest in these three very different projects. They all provide opportunities for Australian talent to take their storytelling to the next level.

The Railway Man is a compelling story that will be satisfying to both Australian and international audiences. This is a wonderful opportunity for one of our country’s rising directors, Jonathan Teplitzky, to work with one of the world’s finest actors, Colin Firth. The film will also provide great exposure for Australian talent on the world stage.

“The film experience Rekindling Venus is of high commercial and cultural merit and it’s great to be able to support an artist of the calibre of Lynette Wallworth to work on such a grand scale using the immersive fulldome cinema experience.

“The comedy/horror 100 Bloody Acres will be a talent escalator for debut feature writer/directors Colin and Cameron Cairnes, backed by a great producing team with Julie Ryan, Kate Croser and Jonathan Page.

“These three projects contribute to Screen Australia’s goal of investing in a high-quality, diverse slate of feature films,” concluded Dr Harley.

Cyan Films Pty Ltd
Producers Julie Ryan, Kate Croser
Executive Producer Jonathan Page
Writer/Directors Colin Cairnes, Cameron Cairnes
International Sales The Works
Australian Distributor Hopscotch
Synopsis They’re not psycho killers… they’re small business operators.

Archer Street and Pictures in Paradise
Producers Andy Paterson, Chris Brown
Writers Frank Cottrell Boyce, Andy Paterson
Director Jonathan Teplitzky
International Sales Lionsgate International
Australian Distributor Transmission/Paramount
Synopsis An extraordinary true story of heroism, inhumanity and the redeeming power of love based on Eric Lomax’s best-selling account of confronting his WWII torturer 30 years on, starring Oscar®-award winning actor Colin Firth.

Felix Media
Producer John Maynard
Writer/Director Lynette Wallworth
International Sales Maze/Sky Skan (co-venture)
Australian & UK Distributor Footprint
Synopsis A fulldome film experience and multi-platform work immersing the viewer in the spectacle of fluorescent coral reefs and marine life as the pivot point for global co-operation in the face of climate change.

Iloura Undertakes Character Animation on Seth MacFarlane’s Feature Film: Ted

Media Release

Today Iloura announced that it has been appointed as a major VFX vendor for Media
Rights Capital and Seth MacFarlane’s (Family Guy) – live action/ CG-animated feature
comedy Ted.

Iloura’s Executive Producer, Simon Rosenthal said, “We’re very excited to be working
with Media Rights Capital, distributors Universal Pictures and Seth MacFarlane on
such a creative and unique project. Ted enables us to continue to expand our skills
and capacity and allows us to undertake some highly complex character animation
work on over 250 shots”.

Iloura’s Creative Director, Glenn Melenhorst adds, “Our extensive efforts early on in
the R&D of ‘Ted’ were instrumental in establishing the overall look and nuances of the
character. This included development and testing of facial expressions and body
movement, all the way down to the matted and worn texture of his fur. All this work
formulated our pitch which assisted us to win a significant package of shots on the

This announcement comes on the back of Iloura completing Guillermo Del Toro’s
Don’t Be Afraid of the Dark, Omnilab Media’s Killer Elite and undertaking visual effects
on Columbia Pictures’ Ghost Rider: Spirit of Vengeance.

Ted, starring Mark Wahlberg, Mila Kunis and featuring the voice of Seth MacFarlane
as the title character, focuses on the story of John Bennett (Wahlberg) – a grown man
who must deal with the cherished teddy bear who comes to life as a result of a
childhood wish. The film also stars Joel McHale, Giovanni Ribisi and Patrick
Warburton. Written by Seth MacFarlane and his Family Guy co-writers Alec Sulkin
and Wellesley Wild, the film is produced by Jason Clark, John Jacobs, Scott Stuber,
Macfarlane and Wellesley and is set for a July 2012 release.

Ted was attracted to Iloura with the assistance of the Australian Government’s 30%
Post Digital and Visual Effects (PDV) offset and Film Victoria’s Production Investment
Attraction Fund (PIAF).

Elizabeth Debicki

With Baz’s ‘The Great Gatsby’ in the throws of production at Fox Studios in Sydney, it seems timely to discuss young Aussie actress Elizabeth Debicki and her accomplishment in landing the role of Jordan Baker. Her character is the love interest of Tobey Maguire’s character Nick Carraway. Miss Baker is also a glamorous golfer in the film and friend to Carey Mulligan’s character Daisy Buchanan.

I am really looking forward to seeing how Elizabeth, a graduate from the Victoria College of Arts, works with seasoned and Academy Award nominated actors. She could just be the ‘next big thing’!

Indigenous Filmmakers unearthed

Screen Australia

Media Release

Thursday 8 September 2011

The Indigenous Department of Screen Australia, in association with the ABC, is pleased to announce the five participants selected for Call to Country, a new initiative to unearth Indigenous Australian documentary makers.

Victor Steffensen (Queensland), Ella Bancroft (New South Wales), John Harvey (Victoria), Dylan McDonald (Northern Territory) and Kelli Cross (Western Australia) will each make a film documenting aspects of Australian life from an Indigenous perspective to be broadcast on ABC TV.

The five participants will first take part in a week-long documentary making workshop in October 2011. Following the workshop they will be allocated surprise Australian locations and funded to research and develop stories from these locations for production as broadcast half-hour ABC TV documentaries.

Led by award-winning documentary filmmaker Pat Fiske, Call to Country is the latest initiative of the National Indigenous Documentary Fund (NIDF), which has produced 12 successful series to date.

Head of Screen Australia’s Indigenous Department Erica Glynn said, “These filmmakers will not only have the opportunity to develop their screen storytelling skills; they will also be uncovering a slice of Indigenous life rarely represented on Australian screens.”

Head of ABC’s Indigenous Department Sally Riley said, “The NIDF has a long history of unearthing Indigenous filmmaking talent and the ABC is looking forward to broadcasting this exciting new work and partnering with Screen Australia on this innovative new approach.”


Victor Steffensen – Cairns, Queensland
Victor has worked on film projects for several years in communities throughout the Gulf Country in Far North Queensland and across Australia. With previous experience in land and cultural management, Victor began using his interest in filmmaking with his work, creating the Traditional Knowledge Revival Pathways program in 1999 which saw him produce several corporate films on revival of land management practices and traditional knowledge specifically in relation to fire and water management.

Ella Bancroft – Sydney, New South Wales
Ella completed the Foundation Course at the Australian Film Television and Radio School (AFTRS) this year. With an initial interest in photography and the arts, Ella began pursuing a career in filmmaking in 2010 when she completed short courses in directing at Metro Screen and Shooting on HD at AFTRS. In 2010, Ella undertook an attachment in the camera department on the feature film Here I Am. Call to Country will be Ella’s introduction to documentary filmmaking.

John Harvey – Melbourne, Victoria
John is an emerging filmmaker with a strong background in arts management. In 2009, John made his first short film producing writer/director Romaine Moreton’s short drama The Farm through Screen Australia’s The New Black short drama initiative. John is currently developing several projects through his production company Brown Cab Productions including two short drama projects as producer and a documentary project as writer/director. He is also currently undertaking a part-time Producer Internship with Rob Connolly’s company Arena Media. Call to Country will be John’s introduction to documentary filmmaking as a director.

Dylan McDonald – Alice Springs, Northern Territory
Dylan currently works as Production Assistant at CAAMA Productions in Central Australia.
He has made several short films, documentaries and advertisements. In 2010, Dylan’s collaborative film Pop Goes the Weasel was shortlisted for Tropfest. In 2011, his advertisement Alcohol Can Effect Anyone won first prize in the Tell ‘Em That’s Enough Grog Campaign competition.

Kelli Cross – Perth, Western Australia
Kelli made her first short drama film Turtle through the Australian Film Commission’s Bit of Black Business short drama initiative in 2006, followed by You’re Not Playing That (2007) and Bingo (2010) through the ABC/FTI/ScreenWest Deadly Yarns initiative. Call to Country will be Kelli’s introduction to documentary filmmaking

A new Method emerges in Australia

Sydney and Melbourne add to Method Studio’s Global Footprint

Santa Monica, CA – Sept. 6, 2011 – Method Studios, the visual effects group within the Deluxe Entertainment Services Group, announced today the addition of three facilities in Australia, further expanding Method’s already established network of studios in Los Angeles, Vancouver, New York and London.

Joining the award-winning group under the Method banner is a brand new commercial facility in Sydney’s fashionable waterside district of Walsh Bay, and the Deluxe owned and operated commercial post-production business in Melbourne previously known as MRPPP and Sydney-based feature visual effects studio at Lane Cove previously operating as CIS-Postmodern.

“Uniting our Australian visual effects businesses under the Method Studios brand paves the way for those creative facilities to work together even more synergistically,” says Stefan Sonnenfeld, President of Deluxe Creative Services. “It’s our plan to continue to increase the level of collaboration among all the creative facilities within Deluxe’s global network to further benefit our clients both creatively and financially wherever they may be.”

“Method Studios in Australia launches with a team that is already well known in the local Australian and Asian markets,” said Dan Glass, Method Studios’ Executive Vice President, Senior Visual Effects Supervisor.  “We share the same goals of a strong creatively driven brand and will be working together to build on our creative and technical resources for both commercials and feature films.”

“Being part of Method’s international network means we can really raise the bar creatively for local clients,” said Alaric McAusland, Head of Deluxe in Australia.  “With the recent increase in the tax rebates for feature film production, our international clients will also be able to get their visual effects done locally.  This is a win-win situation for the creative community of Australia.”

Feature work being completed across the Method brand includes “Abraham Lincoln: Vampire Hunter” (Fox, directed by Timur Bekmambetov), “Dark Shadows” (Warner Bros., directed by Tim Burton), “Clash of the Titans 2: Wrath of the Titans” (Warner Bros., directed by Jonathan Liebesman) and “J. Edgar” (Warner Bros., directed by Clint Eastwood).

The Method Australia feature visual effects facility will include a dedicated software team under Paul Ryan, Vice President of Technology and former CTO of WETA, the goal being the ability to share tools, assets and shots across the facilities.  The feature division also includes VFX supervisor James Rogers who has enjoyed close collaborations with filmakers such as Alex Proyas and Baz Luhrmann.

On the commercial front, the Method Australia group will also share resources with the Method facilities in the U.S. who have recently won VES and AICP awards for “Halo Reach: Deliver Hope” (VES award winner for Outstanding Visual Effects in a Live Action Commercial and AICP Visual Effects award winner) directed by Noam Murro.  Across Method, recent commercial work includes Kia “Share Some Soul” directed by Mark Romanek and Verizon “Arena” for director Noam Murro.

In addition to visual effects, the Walsh Bay and Melbourne commercial facilities offer high-quality end-to-end creative solutions including editing, color grading, 3D & 2D design, and finishing.  Deluxe Australia, along with Deluxe companies EFILM and Stage One, are co-located within the Sydney visual effects facility.

About Method Studios
Method Studios is an award-winning international visual effects group with facilities in Los Angeles, Vancouver, New York, London and Australia.  As an artist-driven company known for its creativity, the company services high-end feature film, commercial, television, games and motion graphics clients in the global marketplace.  Built around an exceptional team of visual effects professionals, Method’s international facilities provide a full range of visual effects services including conceptual design, look development, on-set supervision, 3D animation/CGI, matte painting, compositing and finishing, and full stereoscopic workflow.  With its global reach accented by its boutique accessibility, the company has the capacity to service its clientele wherever production is situated. Method Studios is wholly-owned by Deluxe Entertainment Services Group Inc.

About Deluxe
Deluxe Entertainment Services Group Inc., a wholly-owned subsidiary of MacAndrews & Forbes Holdings Inc., is a leading provider of a broad range of entertainment industry services and technologies to the worldwide entertainment industry including the Hollywood studios, broadcast/cable/satellite providers, digital distribution, gaming as well as content owners and creators. Services for content creation in features, television and commercials are offered in production, post production, digital distribution, multi-platform development, marketing services and asset management. They include motion picture film processing and printing; EFILM® and Company 3® digital intermediates; post production and subtitling services; titles design and digital VFX; DVD compression, encoding and authoring; advertising distribution and syndication services; digital cinema services, and 2D to 3D conversioning. Laboratory and post production facilities are located in North America, Europe, and Australia. Deluxe Digital Studios offer home entertainment services in North America, Europe and India. For more information, please visit

Gail Laguna
Director of Marketing
Deluxe Entertainment Services Group

Filming Begins on ‘The Great Gatsby’ in Sydney

The Hon Andrew Stoner MP
Deputy Premier of NSW
Minister for Trade and Investment
Minister for Regional Infrastructure and Services

Media Release

Wednesday 7 September 2011

Filming has started in Sydney on The Great Gatsby, which will inject more than $120 million into the NSW economy, Deputy Premier and Minister for Trade and Investment Andrew Stoner said.

Mr Stoner welcomed the start of principal photography on Baz Luhrmann’s 3D film, based on the classic novel by F. Scott Fitzgerald and starring Leonardo DiCaprio, Tobey Maguire, Joel Edgerton and Carey Mulligan.

“Pre-production on The Great Gatsby has been completed and 17 weeks of filming is now underway, which will be followed by 30 weeks of post-production work in Sydney,” Mr Stoner said.

“While Fox Studios at Moore Park is the production base for The Great Gatsby, location shoots are also expected to occur in other parts of our State.

“This major international film production is supporting many jobs for our screen industry and injecting valuable spending into our local economy.

“Over 400 cast and crew are being employed during principal photography as well as many extras, and about 150 crew will be employed for post-production and visual effects.

“Importantly, The Great Gatsby is helping maintain Sydney’s reputation as an international film-making destination at a time when the high Australian dollar exacerbates global competition for major productions such as this.

“NSW will remain on the edge of the latest 3D film techniques thanks to the envelope-pushing nature of Baz Luhrmann and his creative vision for this latest adaptation of a classic story.”

“I thank director Baz Luhrmann for his support of NSW on this valuable endeavour.”

Mr Stoner said the high-powered cast of The Great Gatsby has drawn global attention to Sydney and its lifestyle at the peak of its spring-time beauty.

The cast includes Academy Award nominee Leonardo DiCaprio who is playing Jay Gatsby, Tobey Maguire as Nick Carraway, Joel Edgerton and Carey Mulligan as Tom and Daisy Buchanan, Isla Fisher and Jason Clarke as Myrtle and George Wilson, and newcomer Elizabeth Debicki as Jordan Baker.

When complete, The Great Gatsby will be distributed in 3D and 2D by Warner Bros. Pictures and in select territories by Village Roadshow Pictures.

MEDIA: Lis Davies 0414 780 288

SAFC appoints new General Manager Industry Development & Production

Media Release

The South Australian Film Corporation (SAFC) is pleased to announce the appointment of Viron Papadopoulos as its new General Manager of Industry Development and Production.

Mr Papadopoulos has been acting in this position since late July. Prior to this he managed The FACTory, a joint initiative between the ABC and SAFC aimed at developing original ideas for factual programs, to be produced out of South Australia and air on ABC1 in prime time.

SAFC’s CEO Richard Harris said “Viron’s appointment comes at an exciting time for the SAFC, in its new home at the Adelaide Studios, and with a new generation of local talent beginning to really take on the world.”

“Viron is an award-winning filmmaker who brings not only a strong filmmaking background to the position, but a good working knowledge of the local industry which will serve the SAFC well as it continues to develop its local sector, and continuing initiatives such as FilmLab. He has provided real leadership during what has been a time of dramatic change for the SAFC, and has strong and fresh ideas about the future direction of the organisation.”

Mr Papadopoulos was a production accountant with Moneypenny Services for five years before running his own production house, Plexus Films. His critically acclaimed shorts include The Mystery of Flying Kicks (2010, Best Documentary, Melbourne International Film Festival and Best Film, South Australian Screen Awards) and Bad Language (2010, Flickerfest SBS Award and Best Foreign Film Award, NYC Downtown Film Festival.)

Mr Papadopoulos has served as a Board Member at the Media Resource Centre since 2007, Deputy Chair, Screen Producers Association of Australia (SPAA) and as Treasurer for the South Australia Screen Industry Council from 2007-2009.

Mia Wasikowska: Interview


The star of Alice in Wonderland on her new role as Jane Eyre, why she turned her back on ballet and how her love of photography allows her to focus the lens away from her

I arrive for my interview with Mia Wasikowska 45 minutes early, barrelling into the hotel corridor as she leaps gawkily, girlishly through a door. We lock eyes, I recognise her, she smiles shyly, as if trying to remember who I am, then realises she has no idea. This 21-year-old, the highest-grossing female film star of 2010, one of Time magazine’s 100 most influential people in the world, is clearly entirely unused to being recognised. Her expression shifts to friendly confusion, and she bounds off through another door.

Even when she’s completely silent, stories whisper over Wasikowska’s face, which explains her latest casting as Jane Eyre, a woman whose inner monologue bubbles with wit and defiance. The film opens with Eyre’s stricken flight from Thornfield Hall, after a betrayal by her great love, Rochester, and the camera focuses on Wasikowska’s stripped-bare face as she runs across sodden woodland, down wet paths, and lies on a rock in the hammering rain. The scene could easily veer into parody – the sort of watery, weepy cape-and-bonnet moment French and Saunders might once have sent up. But Wasikowska never teeters into histrionics, she is always completely believable…

Click here for the complete article

CinéfestOZ Closes With ‘Eye of The Storm


Australian director Fred Schepisi given award as his film adaptation of Patrick White’s novel gathers momentum in advance of an anticipated TIFF screening.

West Australia’s up-and-coming film festival, CinéfestOZ, wrapped over the weekend with a closing night gala in honor of director Fred Schepisi after a screening of his hotly tipped film adaptation of Patrick White’s novel, The Eye of the Storm. The Australian-born producer/director, well received in Hollywood after successfully helming numerous known films the past few decades such as Six Degrees of Separation, The Devil’s Playground and Roxanne, was given an achievement award Saturday evening after The Eye Of The Storm screened in the small town of Busselton, just south of Perth.

“I’m happy for the films I get to make,” Schepisi said at the closing party after being given the award (and name checking a few notable films with top talent attached that never made it to production for various reasons over the years).

The Eye Of The Storm has so far made critics who have seen it happy, with more critical reaction expected at TIFF in Toronto after it screens September 11th at the Winter Garden Theater…

Click here for the complete article

Sam Worthington: What’s Next for the Australian Actor


With “The Debt” and “Texas Killing Fields” opening in theaters, the “Avatar” star is keeping busy with numerous projects.

Sam Worthington has several films on the docket after starring in several films last year, including Clash of the Titans and Last Night. But it was 2009’s blockbuster Avatar that catapulted him to notoreity.

With several films set to make screen at festivals and be released in theaters for moviegoers, what is next for the Australian actor? One of his upcoming projects is the drama-thriller The Debt, co-starring Helen Mirren and Jessica Chastain.

The Debt, a remake of the 2007 Israeli film of the same name, premiered at last year’s Toronto Film Festival and was originally set to be in theaters by the end of 2010, but its opening was pushed to the following year. Worthington stars as a young David, who is a former Mossad agent. The Debt was directed by John Madden and written by Matthew Vaughn, Jane Goldman and Peter Staughan…

Click here for the complete article

Fred Schepisi scouts locations in Kalgoorlie, Western Australia for new film ‘The Drowner’


Internationally acclaimed Australian film director Fred Schepisi will arrive in Kalgoorlie-Boulder tomorrow for a whirlwind tour to “get a feel” for the history and landscape of the area, as well as identify suitable film locations for the movie The Drowner.

The multi-million dollar film production, to be shot on location on the Goldfields, looks set to bring a tidal wave of tourism and economic benefits to the region.

Based on West Australian author Robert Drew’s award-winning novel The Drowner, about engineer CY O’Connor’s determined quest to build a water pipeline at the turn of the last century to supply fresh water to Kalgoorlie, there are high hopes the film will also bring an image change to Kalgoorlie-Boulder along with increased tourism.

The multi-award-winning Mr Schepisi, who whose film achievements include The Eye Of The Storm, The Russia House, Evil Angels and The Chant Of Jimmie Blacksmith, will take a helicopter along the pipeline from Mundaring to Kalgoorlie-Boulder with producer Stephen Van Mil and there are hopes of a similar flight to Leonora on Wednesday…

Click here for the complete article

Wenham hits Busselton’s red carpet


HIS famously laid-back character Diver Dan would be perfectly at home in Busselton’s peaceful Geographe Bay but last night David Wenham led a cast of some of the year’s most exciting Australian cinema players down the red carpet at Busselton’s Orana Cinemas.

The Lord Of The Rings actor, iconic Australian director Fred Schepisi and his actress daughter Alexandra were among Mad Bastards star Dean Daley-Jones and Drift producer Tim Duffy at the WA premiere of Schepisi’s new film The Eye Of The Storm.

There was no sign on the red carpet of elusive Avatar star and Rockingham boy Sam Worthington who Duffy said had been filming scenes out deep in the surf all day. It was hoped he would make an appearance at the gala party.

Now in its fourth year, CinefestOZ is intended to bring the best new Australian and French films to the region and to connect audiences with the filmmakers behind them…

Click here for the complete article

Australian talent to work with the world’s best

Screen Australia – Media Release

Wednesday 24 August 2011

Screen Australia is proud to announce that six Australian producers and one Australian director have been awarded internships through Screen Australia’s Talent Escalator program. The internships are with highly regarded international production companies and the experience will provide the practitioners with invaluable professional development opportunities to enhance their skills.
The details of the selected internships are:

•    Producer Zyra McAuliffe will work closely for six months with renowned producer William Horberg (The Talented Mr Ripley, The Kite Runner, Sliding Doors, Cold Mountain) at Wonderful Films in Los Angeles to enhance her script development skills and gain valuable insight into the creative and financial aspects of movie making.

•    Producer Sheila Jayadev will spend six months in the development department at Ridley and Tony Scott’s London-based Scott Free Productions (Robin Hood, The A-Team, Unstoppable), working closely with Head of Development Jack Arbuthnott on their expanding film and television slate.

•    Producer Adam Bishop will spend six months in the development department at London-based Film4 (Slumdog Millionaire, 127 Hours, Four Lions), working across the breadth of projects on their film slate and reporting to Head of Development Sam Lavender.

•    Melissa Kelly, producer of the feature film Blame, will work directly with the Head of International Sales at Magnolia Pictures in New York for four months, gaining valuable insight into the international marketplace from a sales perspective.

•    Michelle Sahayan will receive training as a Development Executive from London-based producer Andy Paterson, whose various films (Hilary and Jackie, Girl with a Pearl Earring) have received multiple Oscar® and BAFTA nominations, working with him for six months on the finance and development of his diverse slate of upcoming projects.

•    Benjamin Gilovitz, producer of multi-award winning short film Deeper Than Yesterday, will be attached to producer/director Roman Coppola for six months on a variety of projects at The Directors Bureau in Los Angeles, a film, commercial and music video production company working with directors such as Sofia Coppola.

•    Director Leonie Savvides will be attached for eight months to director Jane Campion on her mini-series Top of the Lake based in Sydney and New Zealand.

Screen Australia’s Head of Development Martha Coleman said, “These internships are an important part of Screen Australia’s professional development support of filmmakers. Each of these ambitious placements will expose Australian producers or directors to the international production landscape, helping to broaden outlook, hone specific skills and advance marketplace awareness, which will directly benefit the Australian industry more broadly.”

For more information about internships through Screen Australia’s Talent Escalator program visit:

Gracey to helm Hugh Jackman’s Barnum pic


Fox’s ‘Greatest Showman on Earth’ features Jackman as the circus icon

Just weeks after signing on to direct Disney’s revisionist Snow White pic “The Order of the Seven,” commercials helmer and vfx veteran Michael Gracey has become attached to direct Hugh Jackman in 20th Century Fox’s P.T. Barnum pic “The Greatest Showman on Earth.”

Jenny Bicks (“Sex and the City”) wrote the original contemporary musical, which Jackman is producing with his former producing partner John Palermo and Laurence Mark (“Dreamgirls”). Project came about after Jackman, Mark and Bicks worked together on the 81st Academy Awards, which Jackman hosted, Mark exec produced and Bicks helped write.

Click here for the complete article

Sleeping Beauty joins the Australian line-up at Toronto

Screen Australia Media Release

Wednesday 17 August 2011

Julia Leigh’s Sleeping Beauty was announced overnight to join an outstanding line-up of Australian films screening at the Toronto International Film Festival next month.
Completing the Australian line-up at the festival, Sleeping Beauty will join five other feature films screening at Toronto – The Tall Man, Snowtown, The Eye of the Storm, Burning Man and The Hunter.

Sleeping Beauty, written and directed by Julia Leigh, produced by Jessica Brentnall and starring Emily Browning, Michael Dorman and Mirrah Foulkes, had its world premiere at the Cannes Film Festival in May 2011. The Toronto screening will be the film’s North American premiere.

Sleeping Beauty will screen in the prestigious Special Presentations program joining Burning Man directed by Jonathan Teplitzky, The Eye of the Storm directed by Fred Schepisi and The Hunter directed by Daniel Nettheim. Burning Man and The Hunter will have their world premieres and The Eye of the Storm will have its international premiere at the festival.

The Tall Man, directed by Tony Krawitz, will screen in the Real to Reel program at the festival, marking the film’s international premiere. Snowtown, directed by Justin Kurzel, will screen in the festival’s Vanguard program which will be the film’s North American premiere.

Screen Australia has a program to support filmmakers whose films are having their international or world premieres to travel to the festival and launch their film.

The Toronto International Film Festival takes place 8–18 September 2011.
Sleeping Beauty
Production Company Magic Films Pty Ltd
Writer/Director Julia Leigh
Producer Jessica Brentnall
Executive Producers Timothy White, Jamie Hilton
Cast Emily Browning, Michael Dorman, Mirrah Foulkes
Sales and Distribution Transmission Films, E1 Films and UTA

Synopsis “You will go to sleep: you will wake up. It will be as if those hours never existed.” Death-haunted, quietly reckless Lucy is a young university student who takes a job as a Sleeping Beauty. In the Sleeping Beauty Chamber old men seek an erotic experience that requires Lucy’s absolute submission. This unsettling task starts to bleed into Lucy’s daily life and she develops an increasing need to know what happens to her when she is asleep.

2011 Cine Sparks providing education through film

Finance, Natural Resources and The Arts
The Honourable Rachel Nolan

Thursday, August 11, 2011

Media Release

Cine Sparks, the International Film Festival for young people, will bring new cinematic experiences to South East Queensland schools and students this year, announced Arts Minister Rachel Nolan.

Ms Nolan said the event is a prelude to the Brisbane International Film Festival and provides children with the chance to experience and engage in the city’s celebration of screen.

“Cine Sparks, 10-14 October, will showcase a mix of foreign language documentaries and feature films from countries as diverse as Mexico, Indonesia, Spain, Japan, Norway, France and China,” Ms Nolan said.

“This year the festival will deliver 11 world cinema titles over 20 sessions for secondary school students, all taking place during school hours.

“A particular highlight is the Norwegian film The Liverpool Goalie, winner of the Crystal Bear Award at the 2011 Berlin Film Festival and voted by the Children’s Jury.

“Arild Andresen’s heart-warming comedy delves into the suburban world of 13-year-old Jo, a world of madcap adventures, growing pains, and all the complications of teenage life in high school.”

Education Minister Cameron Dick said the program gives young Australians a window into other cultures and provides an opportunity to explore experiences of youth through humour, drama and documentary stories.

“The stories align with Queensland’s secondary school curriculum, combining media and visual literacy education, with foreign languages, as well as the study of social and community studies, drama, film, new media, geography and history.

“I encourage all students and teachers to participate in the 2011 program and be inspired by another world in your very own backyard,” he said.

“The Bligh Government is a proud supporter of Cine Sparks and will send four thousand programs directly to teachers and educators across South East Queensland.”

A partnership between Cine Sparks and the Australian Teachers of Media (ATOM) provides ATOM study guides for a selection of the films, emphasising the educational component of the festival for teachers and students.

The State Government through Screen Queensland and Education Queensland will invest $60,000 in Cine Sparks.

Cine Sparks will be held at Palace Barracks cinema in Brisbane. The program is available online at Bookings can be made through ATOM’s Metro Magazine website at

Australian Producer Shane Brennan named a ‘Primetime Driver’ by Variety


Shane Brennan
“NCIS: Los Angeles” (CBS)

Impact: After running the mothership “NCIS” for four seasons, Brennan created and successfully spun off “NCIS: Los Angeles,” using the same character quirkiness and injection of humor in an entirely different setting where the NCIS agents are undercover. Benefiting from the brand and the lead-in, he and his team keep auds hooked with character-driven storylines.

Partners in crime: “NCIS” showrunner Gary Glasberg, writer and exec producer R. Scott Gemmill, co-executive producer John Kousakis and Brennan’s wife, Cathryn.

Biggest challenge: “?’NCIS’ in its ninth year is still fresh,” Brennan says. “One reason people still watch is that it’s new and exciting. In ‘L.A.,’ that’s what we’re trying to do, keep it fresh, contemporary and relevant for the audience so it’s not another tired procedural.” Adds Glasberg: “The biggest challenge is continuing to tell stories that people are attracted to and that entertain and keep our characters growing.”

What’s ahead: The next season of “Los Angeles” and several shows in development with the Eye. “CBS is my partner in crime from the get-go,” Brennan says. “We’ve got a great relationship, and we’re looking forward to developing new projects.”

Click here for the complete list of ‘Primetime Drivers’

Russell Crowe Signs On For Mayoral Run In ‘Broken City’


Russell Crowe is set to star alongside Mark Wahlberg in the Allen Hughes-directed independently financed noir drama Broken City. Production begins in November. Wahlberg plays an ex-cop-turned-private detective who is hired by the mayor (the role Crowe will play) to see if his wife is cheating on him. The private eye confirms those suspicions, and when the mayor’s wife’s cheating partner ends up dead, the private eye immerses himself in the mayor’s business and uncovers a real estate scandal that involves the pol dealing himself choice city-owned properties. The script by Brian Tucker made the 2008 Black List script. The $60 million film will be financed by Emmett/Furla Films.

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Screen Australia invest $2.7 million in eight new documentaries


Monday 8 August 2011

Screen Australia today announced investment of $2.7 million in eight documentaries. The investment will trigger production worth almost $10 million.

Five international documentaries were announced including the SBS documentary The Network, produced, directed and written by Academy Award®–winning documentary filmmaker Eva Orner. The Network takes place behind the scenes at a new television network in one of the most dangerous places on earth.

Also announced is the ABC documentary The Australian Wine Revolution, written and directed by Stephen Oliver, about the recent history of the Australian wine industry. It is produced by Andrew Ogilvie and executive produced by Andrew Ogilvie and Phil Craig.

Screen Australia’s Chief Executive Ruth Harley said, “The latest funding round will produce a substantial slate of culturally significant and original documentaries for Australian and international audiences.”

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‘Captain America: The First Avenger’ – VFX by Fuel VFX

Media Release from Fuel VFX: Sourced

Sydney’s Fuel VFX delivered 120 shots in six sequences for the latest Marvel superhero blockbuster CAPTAIN AMERICA: THE FIRST AVENGER.

Fuel’s VFX Supervisor Dave Morley led a team of more than 50 artists and technicians through production, ensuring that the team’s work was in line with the vision of director Joe Johnston and VFX Supervisor Christopher Townsend. “This is an effects-heavy film that’s set in the 1940s and stars a mythical superhero, but Joe and Chris never wanted the effects to be over-the-top or gratuitous. All the effects do in this movie is help to tell the story, so that’s the brief we worked to,” said Morley.

Much of the work that Fuel delivered for the film involved building full CG environments such as the Hydra Base in the German Alps and reconstruction of the famous Radio City Music Hall, as well as delivery of various CG elements such as the Stark Industries bathysphere, motorbikes, the Hydra tank, digital doubles and the signature ‘cube’. A lot of CG effects work such as energy lasers, explosions, fire, smoke, snow, and water –  including a sequence involving Captain America chasing a mini submarine in the murky water of New York harbour – were part of a varied, complex package of work completed by Fuel, starting with the opening sequence.

A fully CG opening shot of headlights resolving out of a blizzard introduces the audience to an Arctic excavation site where scientists have discovered a huge aircraft buried in the ice.  Shot on stage at Shepperton in the UK, Fuel took a locked off shot of the aircraft wingtip and creating a moving camera shot that depicts a digitally-created frozen wasteland complete with digital doubles and CG snowcats; the extent of the buried craft mapped out with marker lights. A few laser effects and face replacements later and the scientific team has entered the aircraft and found a certain shield frozen in the ice.

The largest of the sequences undertaken by Fuel was a James Bond-style motorcycle chase where Captain America is being pursued by the enemy as he heads towards the Hydra base. The sequence required a seamless intercutting of location and green screen plates, enhanced with various elements such as digital doubles, CG flame-throwers, explosions, ‘blue bolt’ laser effects and tree extensions as Cap dispatches his pursuers before attacking the entrance to the Hydra base – in reality, the outskirts of Shepperton Studios redressed as the foothills of the Alps by the Fuel crew.

After Cap leaps his motorcycle over the base walls, the digital environment extensions were required for almost every camera angle while further CG fire, smoke, debris and blue bolt effects work fleshed out the ensuing action.  A detailed CG build of iron doors embedded into mountain rock was required for the shot when Cap uses his motorbike as an explosive to blast a hole in the doors and glimpse the cavern beyond. This build was later re-used when the Allied commandoes storm the Hydra base – much of that action created from many layers of separate elements of extras, vehicles and explosions.

Another challenge was the underwater chase, where Cap swims at a super-human pace to catch the character of Heinz Kruger in his one-man submarine. Filmed wet-for-wet in a tank, Fuel VFX Supervisor Dave Morley explains, “the trick was to get the timing of these shots right as Cap should be swimming at about 40km an hour to catch the sub. To do this, we moved either the digital camera or the submarine in comp. Particulates added to the water help sell the speed they are travelling at.”  The underwater particulate sims also made the water appear suitably murky with the look of the sequence completed by a hint of the wharf pylons in the background, the giant rudder of a container ship, cavitation bubbles from the sub, and even a few fish.

“The body of work we delivered played to our strengths in digital environmental builds, seamless effects and complex plate integration,” says Executive Producer Jason Bath. “Working on this film was a great experience for our team and we’d like to thank Chris Townsend, Mark Soper, Joe Johnston, Victoria Alonso and all at Marvel – we very much enjoy working on the Marvel projects and appreciate being regular contributors for their VFX.”

Captain America: The First Avenger opened in cinemas in the US on July 22 and in Australia on July 28 and reached #1 at the box office on its opening weekends in both territories.

On Set With ‘Terra Nova’: 8 Secrets Revealed From TV’s Most Ambitious Fall Show


Which cast member did Steven Spielberg insist on? What is the truth behind its delayed launch? The new issue of The Hollywood Reporter goes exclusively on-set with Fox’s epic dino series.

Fox’s Terra Nova follows the Shannon family and other settlers who, threatened with extinction in the year 2149, travel back 85 million years in time to join a prehistoric Earth colony.

The Hollywood Reporter visited the Queensland, Australia set to get a behind the scenes glimpse of Fox’s highly anticipated —and heavily scrutinized—show ahead the series’ Sept. 26 premiere.

Among the revelations from this week’s cover story:

Executive producer Steven Spielberg made his first choice very clear on who he wanted to play paramilitary guy Nathaniel Taylor — the first to travel to Terra Nova: Avatar’s Stephen Lang. “He was always an advocate of Stephen Lang — and he was right,” says Brannon Braga. Another Spielberg note: add oxygen masks. He was responsible for the “rebreathers,” masks inhabitants of 2149 wear as there’s no longer fresh air on the overcrowded earth. That people from the overpopulated future nearly choke to death when they arrive in the oxygen-rich Terra Nova was an ironic twist that also came directly from him. “It was such a cool detail,” Braga notes. “A lot of the ‘Here’s what would really happen if…’ came out of Spielberg’s brain.”

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Alex Proyas Setting Benjamin Walker To Play Archangel Michael In ‘Paradise Lost’


Legendary Pictures is negotiating with Benjamin Walker to play the archangel Michael in Paradise Lost, the action epic battle between good and evil that is inspired by the John Milton poem. Walker, who just wrapped the title role in Abraham Lincoln: Vampire Hunter, will go mano a mano against Bradley Cooper’s Lucifer in what I’m told is the war that began all wars. After being cast out of Heaven, Lucifer mounts an army that battles the forces of good, and the film will have cutting-edge visual effects that will make these battles resemble 300 meets Lord of the Rings — but with winged warriors. While Warner Bros is finalizing a release date, I’m told Paradise Lost is likely to reach theaters in fourth-quarter 2013.

Production will begin in January in Sydney, which will give Cooper time to star alongside Jennifer Lawrence in the David O Russell-directed The Silver Linings Playbook for The Weinstein Company.

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Welcome to Our Blog


I am very excited to be writing the first post for Ausfilm’s blog. My name is Laura Sierakowski and I am the Marketing and Operations Coordinator at Ausfilm in Sydney.

Welcome to our blog. Here you will be able to find all the latest news with regards to filming in Australia. This includes discussions about Australian incentives, our hot new talent, intriguing locations and facilities as well as all the latest production news.

Joining me as bloggers will be Debra Richards (Ausfilm CEO) as well as Tracey Vieira (Executive Vice President, International Production) and Michelle Sandoval (Client Liaison Officer) who are both based in Los Angeles.

We are very much looking forward to our dialogue with you. Hope you enjoy!

Exciting new Australian talent in ‘Black & White & Sex’


Black & White & Sex

There is nothing black or white about the sex worker under the spotlight in “Black & White & Sex,” an experimental Aussie drama that reps the helming debut of producer John Winter (“Rabbit Proof Fence”). Filmed on a single set with eight actresses playing Angie, a prostitute being interviewed by a largely unseen documaker, pic offers a full-tilt examination of the sex-for-sale biz that effectively challenges stereotypes and is well served by dashes of droll humor. Scheduled for domestic release later this year, this talkfest faces a tough commercial future. Fest programmers should check it out.

Considering Australia rarely produces movies about the sex industry, it’s a strange coincidence that Julia Leigh’s Cannes competition entry “Sleeping Beauty” and “Black & White & Sex” appeared within a few weeks of each other. Unlike Leigh’s artsy take on an esoteric corner of the trade, Winter’s script zeroes in on an unashamed working girl who’s seen and done it all and is ready to give her filmmaker “client” his money’s worth.

The sole location is a movie studio where the unnamed director (Matthew Holmes) has paid Angie to appear in his docu about sex. With four cameras trained on his subject, he commences inquiries with Angie 1 (Katharine Hicks), a confident Marilyn Monroe type who talks disparagingly about how sex workers are usually portrayed as victims in mainstream movies.

At around the 10-minute mark, this first Angie is replaced via a jump cut to Angie 2 (Anya Beyersdorf). Following a short sequence cutting back and forth between the two actors, Angie 2 assumes sole occupancy of the screen. Employed at each transition point, this device proves highly successful in maintaining narrative momentum while introducing auds to the many potential ages and faces of a single character.

Concept never gets tired due to questions from the filmmaker that represent what many people would probably want to ask a sex worker, given the chance. Despite a couple of flat dialogue stretches, pic holds the attention with extremely frank descriptions of paid sexual encounters and a gradual shift in the power balance as Angie, who has a science degree, throws her own highly provocative questions at the interviewer.

Thesping by the well cast femmes is uniformly excellent. While it seems unfair to single anyone out, Valerie Bader is dynamite as the mature and sassy Angie 3, and Saskia Burmeister (“Hating Alison Ashley”) manipulates her sweet girl-next-door persona to telling effect as her Angie 7 discusses sex and submission.

Outstanding black-and-white HD widescreen imagery by lenser Nicola Daley subtly evokes everything from the high key-light portraiture of film noir to glamour model photography of the 1950s and the stark realism of direct cinema. Rest of the tech package is topnotch.

Australian Features Boosted by New Funding, Festival Selection


Sam Worthington, Toni Colette, Baz Luhrmann head home for new projects

SYDNEY — There was a dizzying number of announcements from Australian producers and national agency Screen Australia this week, with the agency committing production and development funding to a raft of features with some major names attached, as well as the selection of three Australian films in the Toronto Film Festival and a fourth chosen for the Venice Film Festival.

At the same time two new local features headlined by Sam Worthington and Toni Collette go into production, while Baz Luhrmann has returned home to finish prepping The Great Gatsby in 3D ahead of the start of production, now set for mid-September at Fox Studios Australia.

Screen Australia announced AUD$18 million ($19.6 million) in production funding for six features and eight TV projects, triggering AUD$85 million in production, while development funding has been given to another eight features by the agency.

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Red Dog gives VIP travel new meaning

Ausfilm member, Stage and Screen Travel Services, managed travel for film VIPs of a canine kind when they worked on RED DOG, set for release on 4 August.

The entertainment travel specialists moved four spirited kelpies to remote parts of Australia for filming of the movie, which tells the true story of a dog renowned for his travels through WA’s Pilbara region.

Stage and Screen arranged for the four canine stars to be flown from Melbourne and Adelaide to Karratha to star in the production. The task included organising flight permits and crates, and coordinating pick-ups and transfers for the animals. On their arrival in Perth, the dogs were also given a ‘comfort stop’ before they were flown to Karratha.

RED DOG took film travel logistics to a whole new level for us,” said Stage and Screen Travel Manager Lyndal Hunt. “We loved working with the dogs and it really was a case of booking travel for A-Listers with special requests!”

Screen Australia announces $3 million for Enterpise Program

On Wednesday 22 June Screen Australia launched the third annual funding round of its Enterprise Program (EP). The EP provides up to $3 million in support for screen businesses over the next three years. The program to now has provided 17 companies with almost $12million to support the development and expansion of their business which is anticipated to flow through to increased production levels.

Screen Australia’s CEO Ruth Harley commented that “enhanced capacity through Enterprise funding has enabled company producers to recruit key creative and managerial personnel to oversee development and production”.

This program aims to provide long term sustainability for the Australian film industry; “ They’re building alliances with complementary domestic production companies and international partners, attracting private investment, developing new revenue streams and demonstrating innovation in the online environment” Harley said.

SAFC says goodbye to Hendon and welcomes Adelaide Studios

The Hendon Studios, South Australia Film Commission’s home of filmmaking for more than 27 years officially closed its doors on Friday 22 July. The closing was bitter sweet as SAFC prepares to open its new home of film, Adelaide Studios, a $43 million new development to be opened in August.

The state-of-the art Adelaide Studios feature ‘two soundstages, production facilities, a 96-seat screening theatre and Dolby Premiere Mixing theatre’. The Adelaide Studios will provide exciting times ahead according to SAFC Chair Cheryl Bart who stated that ‘the future looks bright – very bright’.

Hendon Studios produced such Australian titles as GALLIPOLI, BREAKER MORANT, THE CLUBTHE LIGHTHORSEMEN and MAD MAX BEYOND THUNDERDOME as well as helping to launch the careers of acclaimed Australian artists Peter Weir, Jack Thompson, Scott Hicks, Rolf de Heer, Bryan Brown, Geoffrey Rush and Bruce Beresford.

We look forward to witnessing the films produced and careers launched by the new Adelaide Studios.

Rebel Wilson: Oz star gets ‘Bridesmaids’ boost


Rebel Wilson may not yet be a household name in the States, but thanks to her scene-stealing role as Kristen Wiig’s roommate in the smash hit “Bridesmaids,” her career has gone turbo-charged almost overnight.

“It was my first job since moving to L.A., and there’s already talk of a sequel,” reports Wilson, who reteams with “Bridesmaids” co-star Matt Lucas in indie comedy “Small Apartments.”

Audiences will soon be seeing much more of her. She’s already wrapped two other features, “This Means War” (with Reese Witherspoon) and “A Few Best Men” — a big step for the Australian-born standup/writer.

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