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Who Killed the Documentary?: Screen Australia replies

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An Open Letter to the Documentary Sector,

We note Dr Trevor Graham’s concerns in his article ‘Docos Slaughtered for Ratings Success’ and we appreciate his very thoughtful analysis of the current state of play and the subsequent debate around broadcaster licensing priorities.

In recent years there has been an increase in hours of documentary series and a subsequent decrease in one-off documentaries commissioned by the public broadcasters. Nevertheless, Screen Australia continues to have a demonstrated commitment to one-off documentaries. We recognise the important contribution of these films to a diverse and healthy documentary sector.

Currently we support one-off documentaries through a variety of programs and we are also engaged with the issues Trevor raises in a number of ways:

• Over the past three years we have consistently developed many more one-off documentaries than series. Approximately 65% of our development projects in 2011/12 were one-offs.

• Over the last three years the number of one-off documentaries to which we have contributed production investment has been steady at approximately 45 projects per year.

• Our Signature Program which supports one off documentaries with a strong authorial voice and does not require a broadcast presale in order to receive our support is unique. Last year it was increased from $700,000 to $1.4 million. We have split the funds into two rounds per year in response to feedback from filmmakers.

• Screen Australia recently announced a new intensive workshop to inspire Australian filmmakers to create feature documentaries – the Think Big Documentary Lab. The workshop will be led by Simon Chinn Academy Award®–winning producer of Man on Wire, Project Nim and Searching for Sugar Man. He will be supported by Australian filmmakers Gillian Armstrong, Matt Bate and Tony Krawitz.

• Developing new digital platforms and pathways for innovative documentaries through the NDP and more recently our Multiplatform Production Fund has been a particular focus. For example the award winning Big Stories Small Towns (IDFA, SXSW), Goa Hippy Tribe (IDFA, SXSW).

• Screen Australia continues the strong tradition of support for new and emerging Australian documentary filmmakers through the joint ABC-Screen Australia Initiative of one-off documentaries, Opening Shot. This Initiative advances the careers of a new generation of documentary filmmakers.

We want to engage with a wide audience where possible and we encourage filmmakers to access many types of distribution, broadcasting and on-line delivery. We work closely with both public broadcasters as well as subscription channels and acknowledge there is broadcaster demand for factual content which includes series. That said, our funding mix will continue reflect our commitment to a diverse documentary culture.

Yours sincerely

Fiona Cameron
Chief Operating Officer

12 September 2012

Twenty-Three Feature Projects To Receive Development Support

Film, Latest News,

Screen Australia today announced almost $700,000 in development support for 23 feature projects, enabling filmmakers to take their feature film script to the next level towards production readiness. Fifteen new projects have been added to Screen Australia’s development slate, while eight teams will receive continued support to develop their projects.

Two Australian filmmakers will also be supported to undertake overseas internships. Producer Ma’ara Bobby Romia will work for six months with Screentime Group in New Zealand and director Ariel Martin–Merrells will work under the mentorship of director James Foley in Los Angeles for five months.

Screen Australia’s Head of Development Martha Coleman said, “Following a now well-established tradition, the development slate announced today includes a diverse range of compelling stories from both established and emerging filmmakers. The high calibre of screenplays coming through our door backs up positive feedback we are getting from the domestic and international marketplace and I’m looking forward to seeing the best of these projects make their journey through to production over the next few years.”

The new projects to receive development support include a thriller script, Los Alamos, from writer Luke Davies (Candy) and Oscar®-winning producers Iain Canning and Emile Sherman (The King’s Speech). Berlin Syndrome is a new psychological thriller in development from writer Shaun Grant (Snowtown) with producer Polly Staniford and executive producer Angie Fielder. Shaun Grant will also be supported to develop Jasper Jones, a coming-of-age story based on the award- winning Australian novel by Craig Silvey with producers Vincent Sheehan and David Jowsey.

Writer Joan Sauers will be supported to develop the biopic Enemy Alien about mercurial classical violist, Richard Goldner, with producers Brian Rosen and Su Armstrong. The Canary Cottage is a black comedy script being developed by writer/director Heath Davis, producer Luke Graham and executive producer Jonathan Page and The Stockpicker is a romantic comedy script in development from writer Dave Warner and producer Phillip Bowman.

Writer Peter Ivan will be supported to develop his drama script, An Oddball Solution, with producers Steve Kearney and Richard Keddie, and writers Stephen Ramsey and Bob Ellis will be supported to develop their biopic script The News of the World.Emma Jensen will develop the biopic Mary Shelley about the life of the novelist who wrote Frankenstein. Matthew Dabner is on board as an executive producer.

Marauder is a true-crime story being supported for development by writer Lee Sellars and producer/director Marion Pilowsky about a rookie detective, a killer on the loose and a mother who never gave up hope.

David Williamson and Craig Monahan will be supported to develop crime drama The Removalists, a reimagining of David Williamson’s iconic play of the same name. Tait Brady and Craig Monahan are attached to the project as producers.

The Riders is a drama in development from Susie Brooks-Smith who is adapting for the screen the acclaimed novel of the same name by Tim Winton. Director Robert Connolly and producer Timothy White are attached to the project.

Writer/producer Trish Graham will receive development support for her new family/fantasy script Little Fur: The Legend Begins with executive producer Matt Carroll.

New projects to receive matched feature development funding include the drama script The Devil’s Staircase from writer Sergio Casci with director Ben C Lucas (Wasted on the Young), producer Marian Macgowan and UK producer Claire Mundell. Training Grounds is an action feature project in development from writers Oscar Redding and Jonathan auf der Heide with director Jeremy Sims, producer Ranko Markovic and executive producer Piers Morgan.

Writer/directors Patrick Sarell and Alister Lockhart will also receive financial support from the Director’s Acclaim Fund to strategically assist them towards the next stage in their career path.

Projects to receive continued feature development support are included in the project details listed below.

SINGLE-PROJECT DEVELOPMENT: FEATURE DEVELOPMENT THE ACTRESSES

Genre Comedy Producer Michael McMahon Writer Katherine Thomson Director Tony Ayres Synopsis Five actresses compete for the role of a lifetime – an ensemble comedy about women, friendship and competition.

BERLIN SYNDROME

Genre Psychological Thriller Producer Polly Staniford Executive Producer Angie Fielder Writer Shaun Grant

Synopsis A passionate holiday romance leads to an obsessive relationship when an Australian photojournalist wakes one morning in a Berlin apartment and is unable to leave.

THE CANARY COTTAGE

Genre Black Comedy Producer Luke Graham Executive Producer Jonathan Page Writer/Director Heath Davis Synopsis A broken young man learns to live and love again when he moves into his mother’s nursing home.

CARTAGENA

Genre Drama Producers Naomi Wenck, Kristina Ceyton Writer Nam Le Synopsis A teenage assassin living in the slums of Columbia finds himself ordered to do a hit on his best friend. Choosing between loyalty to his friend, and the loyalty required of him by a merciless drug lord, Juan Pablo is a normal boy caught up in a ruthless world. Based on the best-selling novel by Nam Le.

DEFIANT

Genre Thriller Producers Bill Bennett, Anupam Sharma Writer/Director Bill Bennett Synopsis Two young lovers from different castes in India are marked for honour killings. Based on true events.

ENEMY ALIEN Genre Biopic Producers Brian Rosen, Su Armstrong Writer Joan Sauers Synopsis The true story of mercurial classical violist, Richard Goldner, who escapes Nazi-occupied Austria to settle in Australia where he’s faced with a different kind of tyranny before discovering his true calling and forming Musica Viva. Based on the book by Suzanne Baker.

GIN & TONIC

Genre Comedy Drama Producers Leah Churchill-Brown, Amanda Higgs Writer Alice Bell Director Hattie Dalton Synopsis A baby is abandoned on 14-year-old Ashlee’s doorstep, shining light on her broken family and her secret teenage life.

JASPER JONES

Genre Coming of Age Producers Vincent Sheehan, David Jowsey Writer Shaun Grant Synopsis Based on the award-winning Australian novel by Craig Silvey.

LITTLE FUR: THE LEGEND BEGINS

Genre Family/Fantasy Writer/Producer Trish Graham Executive Producer Matt Carroll Synopsis Little Fur is the story of how even a small creature – an elf-troll, no larger than a 4-year-old child – is able to find the courage to overcome her fears, to understand that there is good and bad in all of us, and decides to become a hero.

LOS ALAMOS

Genre Thriller Producers Iain Canning, Emile Sherman Writer Luke Davies Synopsis Spring, 1945. Michael Connolly, a disgraced intelligence operative, enters a labyrinth of secrets and espionage when he arrives at the high-security military base of Los Alamos. Sent to investigate a seemingly open-and-shut murder case, Connolly is thrown into the heart of the Manhattan Project and must navigate a path through military protocol, political intrigue and personal agendas in order to uncover the truth in the most secretive place in the world.

MARAUDER

Genre True Crime Director/Producer Marion Pilowsky Writer Lee Sellars Synopsis A rookie detective, a killer on the loose and a mother who never gave up hope. Based on a true story.

MARY SHELLEY

Genre Biopic Executive Producer Matthew Dabner Writer Emma Jensen Synopsis A young woman with a family legacy and a passion for writing goes on a quest to find a story which results in the groundbreaking novel Frankenstein. However, Mary learns that creativity and love can come at a high price when she embarks on a passionate and tumultuous love affair with the poet Percy Shelley.

MICHAEL H

Genre Biopic Producers Sue Murray, Richard Lowenstein

Executive Producer Domenico Procacci Writer/Director Richard Lowenstein Synopsis At the height of his internationally renowned career, a sudden blow to the head robs the famously sensual rock star of two of his most cherished senses. A series of personal battles follows ending tragically with his death at the age of 37, the night before embarking on a world tour.

THE NEWS OF THE WORLD

Genre Biopic Writers Stephen Ramsey, Bob Ellis

AN ODDBALL SOLUTION

Genre Drama Producers Steve Kearney, Richard Keddie Writer Peter Ivan

REMARKABLE CREATURES

Genre Drama Producers Heather Ogilvie, Mark Gooder Writer Jan Sardi Synopsis Together, one woman’s gift and another’s determination result in one of the most important scientific discoveries of the 19th century. A revealing portrait of the intricate and resilient nature of female friendship, based on the acclaimed novel by Tracey Chevalier.

THE REMOVALISTS

Genre Crime Drama Producers Tait Brady, Craig Monahan Writers David Williamson, Craig Monahan Director Craig Monahan Synopsis A blackly comic exposé of unequal social relationships and abuse of authority – now and then. A reimagining of the iconic Australian play by David Williamson.

THE RIDERS

Genre Drama Producer Timothy White Writer Susie Brooks-Smith Director Robert Connolly Synopsis Scully takes his young daughter, Billie, across Europe on a search for his missing wife. Based on the acclaimed novel by Tim Winton.

SILENT DISCO Genre Coming of Age

Producer Tom M Jeffrey Writer Lachlan Philpott Synopsis Teens Tamara and Squid are in love, but their fragile relationship is broken by a betrayal of trust that puts their futures at risk.

SON OF A GUN

Genre Crime Producer Timothy White Writer/Director Julius Avery Script Editor John Collee Synopsis A young man is sent to prison where he becomes the perfect apprentice to ‘public enemy number one’, beating him at his own game.

THE STOCKPICKER

Genre Romantic Comedy Producer Phillip Bowman Writer Dave Warner Synopsis Dylan Gilbert, a back room guy dreaming of becoming a glamorous stock picker realises that one of his firm’s small-time clients has an amazing success rate and by copying their picks he can achieve his dream, but when Client 68745, Holly York, falls in love her picks begin to tank! Dylan decides he must break up the love match if he is to achieve his goal.

SINGLE-PROJECT DEVELOPMENT: FEATURE MATCHED FUNDING THE DEVIL’S STAIRCASE

Genre Drama Producer Marian Macgowan UK Producer Claire Mundell Writer Sergio Casci Director Ben C Lucas Synopsis An 18-year-old girl runs away from small-town Australia to London, hoping to overcome her justifiable yet incapacitating fear of death by moving into an abandoned London townhouse with several young travellers, but she discovers before long that death seems to have followed her.

TRAINING GROUNDS

Genre Action Producer Ranko Markovic Executive Producer Piers Morgan Writers Oscar Redding, Jonathan auf der Heide Director Jeremy Sims Synopsis A group of young Western travellers are traversing the Silk Road when a land slide leaves them stranded without their vehicles. As they search for the destroyed 4x4s they discover a cave that’s being used as an Al-Qaeda training

ground. The soldiers aren’t there, but plans for a new international terrorist plot and a dirty bomb are.

TALENT ESCLATOR PROGRAMS: INDUSTRY INTERNSHIPS MA’ARA BOBBY ROMIA INTERNSHIP

Producer Ma’ara Bobby Romia Synopsis Ma’ara will work with Screentime Group in New Zealand for six months across all facets of television concept development, writing and producing, production, post-production and marketing/distribution strategies.

ARIEL MARTIN-MERRELLS INTERNSHIP

Director Ariel Martin-Merrells Synopsis Ariel will work under the mentorship of director James Foley (Glengarry Glen Ross, Fear, Perfect Stranger) in Los Angeles for five months during post- production on House of Cards and collaborate in the development of two upcoming feature films projects Winter Hill Gang and Recoil.

TALENT ESCLATOR PROGRAMS: SHORTS PROGRAMS: DIRECTOR’S ACCLAIM FUND

PATRICK SARELL & ALISTER LOCKHART ACCLAIM FUND Writer/Directors Patrick Sarell, Alister Lockhart

Screen Australia Media Release – Tuesday 28 August 2012

Screen Australia invests in new features

Directing, Film, Latest News, Screenwriting, ,

Screen Australia today announced nearly $5 million investment in four new feature
film projects, triggering close to $20 million in production.

“I’m thrilled to be able to announce production investment for such a unique mix of
feature films,” said Screen Australia’s Chief Executive, Ruth Harley. “These projects
combine iconic Australian stories and compelling genre films from both first time
and established filmmaking teams.”

The Oscar®-winning duo Emile Sherman and Iain Canning (The King’s Speech) will
produce Tracks, the true story of Robyn Davidson’s solitary trek across the
Australian desert, with co-producer Julie Ryan (Red Dog). A quintessentially
Australian story, Tracks is adapted for the screen by writer/director John Curran
(Praise, The Painted Veil).

Seventeen Australian directors including Cate Blanchett, Robert Connolly, Justin
Kurzel, Mia Wasikowska and David Wenham will respond to Tim Winton’s
hauntingly beautiful short stories in The Turning, a cleverly structured omnibus film
from acclaimed producer Robert Connolly. Other directors on board The Turning
include Benedict Andrews, Jonathan auf der Heide, Tony Ayres, Shaun Gladwell,
Rhys Graham, Ian Meadows, Yaron Lifschitz, Claire McCarthy, Ashlee Page and
Stephen Page.

Continue reading Screen Australia invests in new features →

Screen Australia loses Producer Offset appeal

Documentary, Latest News, Television, ,

As predicted by Simon Nasht at last week’s 2012 AIDC conference in Adelaide, the Federal Court has rejected Screen Australia’s appeal against the documentary series Lush House being granted the producer offset.

As Geoff Brown says, SPAA urged Screen Australia not to appeal against the ruling that Lush House was eligible for the offset, but they went ahead anyway. This will now add to the uncertainty about the definition of what is a documentary, for the purposes of the Producer Offset.

Here is Brendan Swift of IF Magazine’s take on the issue (Wed 07/03/2012)

The Federal Court of Australia has confirmed that TV documentary series Lush House should qualify for the Producer Offset rebate after Screen Australia challenged last year’s similar decision by the Administrative Appeals Tribunal.

The national screen agency originally rejected Essential Media and Entertainment’s Producer Offset application because it viewed the ten-episode cleaning series as a ‘reality’ program. However, Essential argued that the series, which follows household expert Shannon Lush as she gives cleaning advice to homemakers, was similar to another of its programs, Is Your House Killing You?, which did receive the tax break.

The AAT confirmed Essential’s position although Screen Australia then challenged that judgement in the Federal Court.

Essential said the Federal Court did not find any fault with the process followed by the lower court in determining that Lush House is eligible for the 20 per cent tax rebate available for broadcast documentaries.

Essential Media and Entertainment chief executive Chris Hilton said the company is pleased with the Federal Court decision.

“It represents a win for the Australian production industry as a whole and should provide more certainty to producers who are seeking to invest the Producer’s Offset as part of their project finance,” he said in a statement.

Continue reading Screen Australia loses Producer Offset appeal →

What’s a documentary?

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WHAT’S A DOCUMENTARY?

This session at the AIDC 2012 in Adelaide has arisen via a ‘stoush’ between Chris Hilton and Screen Australia over their production Lush House. Chris applied for a producer offset for the program, but it was rejected. However Chris appealed to the Administrative Appeals Tribunal, who overturned the decision. Then Screen Australia appealed, and this was heard on 13 February. To date the outcome is still pending.

The session was the liveliest of the conference, with robust discussion as could be expected – and then some! Chris Hilton put forward a passionate argument in favour of Lush House being awarded the offset, and Screen Australia’s Chief Operating Officer Fiona Cameron rebutted his arguments.

Simon Nasht countered with an offer of a bet that Screen Australia would lose its appeal, as in his eyes their case is weak. If he is right, this will create the very uncertainty that Fiona said they were seeking to avoid over what sort of documentary is eligible for an offset.

Bob Connolly unleashed an astounding diatribe against the current state of the documentary industry in Australia. It was so astounding that we have reported it as a transcript of his comments, to the best of our ability in transcribing it. Our apologies for any errors.

Finally Jennifer Peedom put forward a perspective of someone with fewer kilometers on the odometer, but some equally penetrating insights into the dilemmas facing writer-directors or producer-directors who were not part of a large production company, and who wanted to continue to make films, and also pay the mortgage.

Continue reading What’s a documentary? →

ScreenAus’s optimism not shared by ADG

Directing, Documentary, Latest News, Television, , , , , ,

Australian documentary makers are struggling to make a living and are losing the
grip of their rights to their own intellectual property, Kingston Anderson, general
manager of Australian Directors Guild told the Australian International
Documentary Conference in Adelaide yesterday.

The comments came after Ruth Harley, Screen Australia CEO on Tuesday told the
conference as a keynote speaker, the value of documentary production was the
highest on record to date and driven by more hours of high production value series.

In Tuesday’s address, Harley said: “It’s been a great year for documentaries with 430
hours of Australian documentary projects made in 2010/11 and a total of $133
million spent on documentary production. This is above the $118 million five-year
average for documentary production.”

Anderson’s point was backed by an ADG survey which showed that the income levels
of documentary makers have declined further in the last 12 months, from 55.5% of
2011 respondents earning less than $45,000 compared to 58.6% of respondents in
2010 earning less than $60,000 per annum. This is below the average Australian
wage for August 2011 of $68,700.

Continue reading ScreenAus’s optimism not shared by ADG →

Screen Australia at AIDC in 2011

Documentary, ,

Last year Screen Australia held a session at AIDC to talk about their new documentary guidelines. Here is my coverage of that session in Screen Hub:

SCREEN AUSTRALIA

Today Screen Australia posted their brand spanking new draft guidelines for Documentary Programs.

The surprises?

A few.

Ross Mathews announced that he is not the Colonel Gaddaffi of the film industry, and Screen Australia is not going to dictate to the industry or decide what is going to be made. However they do reserve the right to make a decision when faced with more projects than available funds, which is increasingly the case.

Screen Australia have maintained the funding available for documentary at $16.5 million over all programs, but they have shaved funds off existing programs to make room for a new program, All Media, which will cost $500,000 a year. Details on this new program to be advised.

Continue reading Screen Australia at AIDC in 2011 →