Newly-appointed Screen Australia head of First Nations Angela Bates is taking an ‘if it ain’t broke, don’t fix it’ approach to the role, insisting her focus is on furthering the strides made by her predecessors.
Bates, who first joined the department in early 2019 as development and investment manager, had the opportunity to work closely with previous head Penny Smallacombe, who vacated the position in May after more than six years.
Speaking to If, she said she would draw on the five strategic pillars identified in The Next 25 Years, a strategy that Smallacombe developed in consultation with filmmakers and industry stakeholders during the department’s 25th anniversary year in 2018.
“I’m not trying to reinvent the wheel here,” she said.
“There are five key pillars that underpin The Next 25 Years strategy – Indigenous storytelling, identifying stories and talent, developing talent, connecting talent, and advocating for indigenous representation and leadership.
“I...
Bates, who first joined the department in early 2019 as development and investment manager, had the opportunity to work closely with previous head Penny Smallacombe, who vacated the position in May after more than six years.
Speaking to If, she said she would draw on the five strategic pillars identified in The Next 25 Years, a strategy that Smallacombe developed in consultation with filmmakers and industry stakeholders during the department’s 25th anniversary year in 2018.
“I’m not trying to reinvent the wheel here,” she said.
“There are five key pillars that underpin The Next 25 Years strategy – Indigenous storytelling, identifying stories and talent, developing talent, connecting talent, and advocating for indigenous representation and leadership.
“I...
- 10/5/2021
- by Sean Slatter
- IF.com.au
Screen Australia has promoted Angela Bates to head of First Nations following the departure of Penny Smallacombe in May.
Bates steps into the role after almost three years as development and investment manager for the First Nations department, during which time she supported titles such as Looky Looky Here Comes Cooky, the second season of Total Control, the third season of Little J & Big Cuz, as well as Indigenous initiative Cook 2020: Our Right of Reply, and the pilot of the First Nations Creator Program.
She has more than two decades of experience in the media sector as a TV producer, writer, journalist, and documentary filmmaker, with her career including multiple roles at Central Australian Aboriginal Media Association (Caama radio), Sydney’s Koori Radio, Sbs’s Living Black program, and Nitv.
While at Nitv, she was the inaugural executive producer for Nitv National News, where she set up the first...
Bates steps into the role after almost three years as development and investment manager for the First Nations department, during which time she supported titles such as Looky Looky Here Comes Cooky, the second season of Total Control, the third season of Little J & Big Cuz, as well as Indigenous initiative Cook 2020: Our Right of Reply, and the pilot of the First Nations Creator Program.
She has more than two decades of experience in the media sector as a TV producer, writer, journalist, and documentary filmmaker, with her career including multiple roles at Central Australian Aboriginal Media Association (Caama radio), Sydney’s Koori Radio, Sbs’s Living Black program, and Nitv.
While at Nitv, she was the inaugural executive producer for Nitv National News, where she set up the first...
- 9/24/2021
- by Sean Slatter
- IF.com.au
Rarriwuy Hick leads the ensemble cast of Bunya Productions’ drama True Colours (formerly Copping It Black), now shooting in the Northern Territory’s Macdonnell Ranges for Sbs and Nitv.
The four-part series stems from an original concept from Arrernte singer-songwriter Warren H. Williams, who also stars, and co-creator, writer and director Erica Glynn.
Hick plays Detective Toni Alma, assigned to investigate a suspicious car accident in Perdar Theendar, the Indigenous community she left as a child and has had little to do with over the years. The beauty of Indigenous art and the sometimes-devious practices in the global art market take the detective on an epic hunt for a killer.
Starring alongside Hick are Luke Arnold, Erroll Shand, Emilie de Ravin, Trisha Morton-Thomas, Ben Oxenbould and Miranda Otto.
The series will also include a range of fresh faces such as Kumalie Riley, Kurt Abbott, Sabella Turner, Natalie Peperill, Warren ‘Wazza’ Williams,...
The four-part series stems from an original concept from Arrernte singer-songwriter Warren H. Williams, who also stars, and co-creator, writer and director Erica Glynn.
Hick plays Detective Toni Alma, assigned to investigate a suspicious car accident in Perdar Theendar, the Indigenous community she left as a child and has had little to do with over the years. The beauty of Indigenous art and the sometimes-devious practices in the global art market take the detective on an epic hunt for a killer.
Starring alongside Hick are Luke Arnold, Erroll Shand, Emilie de Ravin, Trisha Morton-Thomas, Ben Oxenbould and Miranda Otto.
The series will also include a range of fresh faces such as Kumalie Riley, Kurt Abbott, Sabella Turner, Natalie Peperill, Warren ‘Wazza’ Williams,...
- 8/4/2021
- by Jackie Keast
- IF.com.au
Outgoing Screen Australia head of First Nations Penny Smallacombe is set to join Bunya Media Group as a producer.
Smallacombe will produce a number of the company’s upcoming projects, including Sbs drama series Copping It Black, working with directors Erica Glynn and Steven McGregor, who both penned the script with Danielle Maclean.
While at Screen Australia, Smallacombe helped shepherd to screen several Bunya Productions projects, including ABC series Mystery Road, Warwick Thornton’s Sweet Country and Ivan Sen’s Goldstone, as well as helping to facilitate Bunya Talent Hub LA.
Smallacombe, a Maramanindji woman from the Northern Territory, tells If she has loved Bunya’s “big, bold” output over the past few years, and considers it a privilege to join the team. She is keen to use her new role to continue to bring authentic First Nations stories to screen, particularly from exciting new talent.
“They’re a trusted...
Smallacombe will produce a number of the company’s upcoming projects, including Sbs drama series Copping It Black, working with directors Erica Glynn and Steven McGregor, who both penned the script with Danielle Maclean.
While at Screen Australia, Smallacombe helped shepherd to screen several Bunya Productions projects, including ABC series Mystery Road, Warwick Thornton’s Sweet Country and Ivan Sen’s Goldstone, as well as helping to facilitate Bunya Talent Hub LA.
Smallacombe, a Maramanindji woman from the Northern Territory, tells If she has loved Bunya’s “big, bold” output over the past few years, and considers it a privilege to join the team. She is keen to use her new role to continue to bring authentic First Nations stories to screen, particularly from exciting new talent.
“They’re a trusted...
- 5/26/2021
- by Jackie Keast
- IF.com.au
Ben Lawrence and Beatrix Christian’s Hearts and Bones was named best original feature film screenplay at the Australian Writers’ Guild’s annual Awgie Awards yesterday evening, while Shaun Grant and Harry Cripps took home the adaptation prize for Penguin Bloom.
Two of 2019’s top dramas, The Hunting, written by Niki Aken and Matthew Cormack, and Total Control (Episode 3), by Pip Karmel, were recognised in the television categories, while The Heights, lauded for its depiction of contemporary Australia, won Peter Mattessi the Awgie in the television serial category, ending a run of 16-straight years for Neighbours and Home and Away.
Playwright Suzie Miller’s critically acclaimed one-woman play Prima Facie took out the evening’s highest honours, winning the 2020 Major Award, the David Williamson Prize for Excellence in Writing for Australian Theatre, and in the stage category.
The one-woman play holds a mirror up to the Australian legal system, exposing...
Two of 2019’s top dramas, The Hunting, written by Niki Aken and Matthew Cormack, and Total Control (Episode 3), by Pip Karmel, were recognised in the television categories, while The Heights, lauded for its depiction of contemporary Australia, won Peter Mattessi the Awgie in the television serial category, ending a run of 16-straight years for Neighbours and Home and Away.
Playwright Suzie Miller’s critically acclaimed one-woman play Prima Facie took out the evening’s highest honours, winning the 2020 Major Award, the David Williamson Prize for Excellence in Writing for Australian Theatre, and in the stage category.
The one-woman play holds a mirror up to the Australian legal system, exposing...
- 12/8/2020
- by Sean Slatter
- IF.com.au
Sbs unveiled its largest ever local drama slate at its upfronts today, including a new four-part crime series from Bunya Productions and Caama, Copping it Black, to be directed by Erica Glynn and Steven McGregor.
Next year will also see the broadcaster air a hefty roster of local unscripted projects, including the seven one-off docs produced via the Australia Uncovered initiative, and landmark factual series covering off on topics such as domestic violence, adult literacy, disability, ageism and obesity.
Goalpost’s gold rush drama New Gold Mountain, delayed due to Covid-19, is now underway in Victoria, with Yoson An, Alyssa Sutherland, Christopher James Baker, Dan Spielman, and Mabel Li toplining the cast.
Set in the Bendigo Goldfields in 1855, it follows the charismatic headman of the Chinese mining camp who suddenly finds himself struggling to maintain the fragile harmony between Chinese and European diggers and authorities when a murdered European woman...
Next year will also see the broadcaster air a hefty roster of local unscripted projects, including the seven one-off docs produced via the Australia Uncovered initiative, and landmark factual series covering off on topics such as domestic violence, adult literacy, disability, ageism and obesity.
Goalpost’s gold rush drama New Gold Mountain, delayed due to Covid-19, is now underway in Victoria, with Yoson An, Alyssa Sutherland, Christopher James Baker, Dan Spielman, and Mabel Li toplining the cast.
Set in the Bendigo Goldfields in 1855, it follows the charismatic headman of the Chinese mining camp who suddenly finds himself struggling to maintain the fragile harmony between Chinese and European diggers and authorities when a murdered European woman...
- 11/18/2020
- by Jackie Keast
- IF.com.au
Monica Zanetti’s screenplay of Ellie & Abbie (& Ellie’s Dead Aunt), Ben Lawrence and Beatrix Christian’s Hearts and Bones and Ally Burnham’s Unsound have been nominated for best original feature in the 53rd annual Awgie Awards.
The contenders for the feature film adaptation prize are Thomas M. Wright and Erik Jensen’s Acute Misfortune, Lisa Hoppe’s H is for Happiness, Shaun Grant and Harry Cripps’ Penguin Bloom and C.S. McMullen’s The Other Lamb.
The TV series prize promises to be a close race between episodes of Glen Dolman’s Bloom, Michael Petroni’s Messiah for Netflix, Belinda Chayko’s Stateless, Samantha Strauss’ The End and Pip Karmel’s Total Control.
Timothy Hobart, John Ridley, Jeremy Nguyen, Alan Nguyen and Michele Lee’s Hungry Ghosts will square off against Matthew Cormack and Niki Aken’s The Hunting for best miniseries.
In the TV serial category it must...
The contenders for the feature film adaptation prize are Thomas M. Wright and Erik Jensen’s Acute Misfortune, Lisa Hoppe’s H is for Happiness, Shaun Grant and Harry Cripps’ Penguin Bloom and C.S. McMullen’s The Other Lamb.
The TV series prize promises to be a close race between episodes of Glen Dolman’s Bloom, Michael Petroni’s Messiah for Netflix, Belinda Chayko’s Stateless, Samantha Strauss’ The End and Pip Karmel’s Total Control.
Timothy Hobart, John Ridley, Jeremy Nguyen, Alan Nguyen and Michele Lee’s Hungry Ghosts will square off against Matthew Cormack and Niki Aken’s The Hunting for best miniseries.
In the TV serial category it must...
- 9/25/2020
- by The IF Team
- IF.com.au
Clockwise from top left: Jennifer Peedom, Rachel Okine, Kyas Hepworth and Sue Maslin.
The Natalie Miller Fellowship (Nmf) organisers have appealed for more Indigenous female screen practitioners to apply for the fellowship that provides an annual $20,000 grant for leadership advancement.
Nmf president Sue Maslin lamented the small number of applicants from the Indigenous cohort in a Facebook Live session on Monday with director and Nmf ambassador Jennifer Peedom, Aquarius Films MD Rachel Okine and Nitv acting head Kyas Hepworth.
Established in 2011 to recognise the unique contribution of screen industry pioneer Natalie Miller, the Nmf is open to women with at least five years experience in any screen sector to help them reach their full leadership potential through attachments, internships, secondments and other means.
“We have not had a high level of applications yet from Indigenous women. We really want to make a focus on having Indigenous women applying,” Maslin said.
The Natalie Miller Fellowship (Nmf) organisers have appealed for more Indigenous female screen practitioners to apply for the fellowship that provides an annual $20,000 grant for leadership advancement.
Nmf president Sue Maslin lamented the small number of applicants from the Indigenous cohort in a Facebook Live session on Monday with director and Nmf ambassador Jennifer Peedom, Aquarius Films MD Rachel Okine and Nitv acting head Kyas Hepworth.
Established in 2011 to recognise the unique contribution of screen industry pioneer Natalie Miller, the Nmf is open to women with at least five years experience in any screen sector to help them reach their full leadership potential through attachments, internships, secondments and other means.
“We have not had a high level of applications yet from Indigenous women. We really want to make a focus on having Indigenous women applying,” Maslin said.
- 8/25/2020
- by The IF Team
- IF.com.au
‘Little J and Big Cuz’.
A third season of animated series Little J and Big Cuz, produced by Ned Lander Media, Media World and Blue Rocket, is in pre-production for Nitv and ABC Kids, to air in 2021.
Director Tony Thorne joins the writing team for this season, together with short fiction writer Adam Thompson, as well as Dot West, Erica Glynn, Beck Cole, Danielle MacLean and Sam Paynter.
The series, based on an Indigenous perspective on the Early Years Learning Framework, has been translated into 11 different Indigenous languages, with the third expected to be translated further. It follows Little J, Big Cuz and their friends, as they’re guided by Nanna and Old Dog and explore Nanna’s wonderful backyard and Ms Chen’s classroom.
The voice cast includes Deborah Mailman, Miranda Tapsell, Aaron Fa’oaso, Ursula Yovich, Renee Lim and Shari Sebbens.
Nitv channel manager Tanya Orman said: “Here at Nitv,...
A third season of animated series Little J and Big Cuz, produced by Ned Lander Media, Media World and Blue Rocket, is in pre-production for Nitv and ABC Kids, to air in 2021.
Director Tony Thorne joins the writing team for this season, together with short fiction writer Adam Thompson, as well as Dot West, Erica Glynn, Beck Cole, Danielle MacLean and Sam Paynter.
The series, based on an Indigenous perspective on the Early Years Learning Framework, has been translated into 11 different Indigenous languages, with the third expected to be translated further. It follows Little J, Big Cuz and their friends, as they’re guided by Nanna and Old Dog and explore Nanna’s wonderful backyard and Ms Chen’s classroom.
The voice cast includes Deborah Mailman, Miranda Tapsell, Aaron Fa’oaso, Ursula Yovich, Renee Lim and Shari Sebbens.
Nitv channel manager Tanya Orman said: “Here at Nitv,...
- 6/17/2020
- by jkeast
- IF.com.au
Michael Carrington.
The ABC intends to ramp up digital-first content as well as reaching new audiences, including those who rarely if ever watch broadcast television.
“We look for content that works across multiple platforms to appeal to a multitude of people, from traditional broadcast audiences to viewers who have never seen a TV schedule,” Michael Carrington, ABC director of entertainment and specialist, tells If.
“Great content is great content, no matter how people watch it. Programs like Total Control and Killing Eve have attracted younger audiences on iview in addition to strong results on linear. So we are not just talking about increasing the volume of digital-first content but how we can better curate content between our platforms.
“Saying that, we need to meet the growing expectation of audiences for high-quality content on demand. That will mean a greater focus on enhancing our content and technology for digital audiences, from...
The ABC intends to ramp up digital-first content as well as reaching new audiences, including those who rarely if ever watch broadcast television.
“We look for content that works across multiple platforms to appeal to a multitude of people, from traditional broadcast audiences to viewers who have never seen a TV schedule,” Michael Carrington, ABC director of entertainment and specialist, tells If.
“Great content is great content, no matter how people watch it. Programs like Total Control and Killing Eve have attracted younger audiences on iview in addition to strong results on linear. So we are not just talking about increasing the volume of digital-first content but how we can better curate content between our platforms.
“Saying that, we need to meet the growing expectation of audiences for high-quality content on demand. That will mean a greater focus on enhancing our content and technology for digital audiences, from...
- 1/6/2020
- by The IF Team
- IF.com.au
‘Miriam Margolyes: Almost Australian’.
The ABC and Screen Australia have announced funding for three original documentary projects: Dark Emu, Gun Ringer, and Miriam Margolyes: Almost Australian.
Blackfella Films’ Dark Emu is based the book by the same name from Bruce Pascoe, and will take audiences on a journey across Australia to present a very different history of our nation and the First Australians. The series is financed with Screen Nsw and Film Victoria, and written by Pascoe (Black Chook), and Jacob Hickey (First Contact), directed by Erica Glynn (She Who Must Be Loved) and produced by Darren Dale (First Australians) and Belinda Mravicic (Black Chook).
Screen Australia head of Indigenous Penny Smallacombe said: “Dark Emu promises to be one of the most important documentary series the Indigenous Department has funded. It’s a chance to challenge the myth of pre-colonial Indigenous Australians being just hunter gatherers. We have sophisticated...
The ABC and Screen Australia have announced funding for three original documentary projects: Dark Emu, Gun Ringer, and Miriam Margolyes: Almost Australian.
Blackfella Films’ Dark Emu is based the book by the same name from Bruce Pascoe, and will take audiences on a journey across Australia to present a very different history of our nation and the First Australians. The series is financed with Screen Nsw and Film Victoria, and written by Pascoe (Black Chook), and Jacob Hickey (First Contact), directed by Erica Glynn (She Who Must Be Loved) and produced by Darren Dale (First Australians) and Belinda Mravicic (Black Chook).
Screen Australia head of Indigenous Penny Smallacombe said: “Dark Emu promises to be one of the most important documentary series the Indigenous Department has funded. It’s a chance to challenge the myth of pre-colonial Indigenous Australians being just hunter gatherers. We have sophisticated...
- 10/16/2019
- by jkeast
- IF.com.au
‘Sequin in A Blue Room’.
Sydney Film Festival announced its audience awards today, with best narrative feature awarded to Samuel Van Grinsven’s Sequin in a Blue Room and best documentary to Selina Miles’ Martha: A Picture Story – both Aussie films.
Sequin in a Blue Room, a queer coming-of-age story, is Van Grinsven’s debut feature, completed as part of an Aftrs Masters project and produced by Sophie Hattch. It stars Conor Leach in his film debut, alongside Jeremy Lindsay Taylor and Anthony Brandon Wong.
Martha: A Picture Story, documents the life and work of NYC photo journalist Martha Cooper. It is the first full length documentary film from Miles, and was executive produced by Jennifer Peedom and and produced by Daniel Joyce.
Two other Australian films – Ben Lawrence’s Hearts and Bones and Imogen McCluskey’s microbudget debut Suburban Wildlife – were also voted in the top five narrative films,...
Sydney Film Festival announced its audience awards today, with best narrative feature awarded to Samuel Van Grinsven’s Sequin in a Blue Room and best documentary to Selina Miles’ Martha: A Picture Story – both Aussie films.
Sequin in a Blue Room, a queer coming-of-age story, is Van Grinsven’s debut feature, completed as part of an Aftrs Masters project and produced by Sophie Hattch. It stars Conor Leach in his film debut, alongside Jeremy Lindsay Taylor and Anthony Brandon Wong.
Martha: A Picture Story, documents the life and work of NYC photo journalist Martha Cooper. It is the first full length documentary film from Miles, and was executive produced by Jennifer Peedom and and produced by Daniel Joyce.
Two other Australian films – Ben Lawrence’s Hearts and Bones and Imogen McCluskey’s microbudget debut Suburban Wildlife – were also voted in the top five narrative films,...
- 6/18/2019
- by jkeast
- IF.com.au
Little Johnny, Robbie and Blue in ‘Robbie Hood.’
Sbs will mark Naidoc Week 2019 (July 7-14) with a raft of programming that celebrates the success and shares the unique stories of Aboriginal and Torres Strait Islander peoples, starting July 5.
Ludo Studio’s Robbie Hood, a short-form comedy series from writer-director Dylan River, will premiere on Sbs On Demand on July 5 and on Sbs Viceland on July 9.
The six episodes follow precocious 13-year-old Robbie (Pedrea Jackson) and his friends Georgia Blue (Jordan Johnson) and little Johnny (Levi Thomas) as they skirt the law to right the wrongs they see going down in their Alice Springs home town.
Also screening on the free streaming platform that week will be Indigenous-themed classic movies including Bruce Beresford’s The Fringe Dwellers, John Honey’s Manganinnie, Steve Jodrell’s Tudawali and Philippe Mora’s Mad Dog Morgan.
The new free-to-air movie channel Sbs World Movies will...
Sbs will mark Naidoc Week 2019 (July 7-14) with a raft of programming that celebrates the success and shares the unique stories of Aboriginal and Torres Strait Islander peoples, starting July 5.
Ludo Studio’s Robbie Hood, a short-form comedy series from writer-director Dylan River, will premiere on Sbs On Demand on July 5 and on Sbs Viceland on July 9.
The six episodes follow precocious 13-year-old Robbie (Pedrea Jackson) and his friends Georgia Blue (Jordan Johnson) and little Johnny (Levi Thomas) as they skirt the law to right the wrongs they see going down in their Alice Springs home town.
Also screening on the free streaming platform that week will be Indigenous-themed classic movies including Bruce Beresford’s The Fringe Dwellers, John Honey’s Manganinnie, Steve Jodrell’s Tudawali and Philippe Mora’s Mad Dog Morgan.
The new free-to-air movie channel Sbs World Movies will...
- 6/18/2019
- by The IF Team
- IF.com.au
“Parasite,” the South Korean black drama that previously won the Palme d’Or at Cannes, was Sunday named as the winner of the Sydney Film Festival.
After collecting a cash prize of A$60,000, at Sydney’s State Theatre, “Parasite” director said: “This Festival is really amazing, especially the audience…really special and extraordinary. This is the most meaningful prize for me – in this beautiful city and beautiful theatre, and one of the most beautiful audiences in the world.”
The film charts the intersection of two families from different ends of the economic scale and has been hailed for its biting commentary on Korea’s social woes. After three weekends on commercial release it has grossed $60.3 million.
“She Who Must Be Loved” (aka “She Who Must Be Obeyed”), directed by Erica Glynn, won Sydney’s documentary award. “All These Creatures” picked up both of the festival’s awards for short films.
After collecting a cash prize of A$60,000, at Sydney’s State Theatre, “Parasite” director said: “This Festival is really amazing, especially the audience…really special and extraordinary. This is the most meaningful prize for me – in this beautiful city and beautiful theatre, and one of the most beautiful audiences in the world.”
The film charts the intersection of two families from different ends of the economic scale and has been hailed for its biting commentary on Korea’s social woes. After three weekends on commercial release it has grossed $60.3 million.
“She Who Must Be Loved” (aka “She Who Must Be Obeyed”), directed by Erica Glynn, won Sydney’s documentary award. “All These Creatures” picked up both of the festival’s awards for short films.
- 6/17/2019
- by Patrick Frater
- Variety Film + TV
Bong Joon-ho with the Sydney Film Prize. (Photo: Enzo Amato)
Korean director Bong Joon-ho’s Parasite has won the Sydney Film Festival’s $60,000 Sydney Film Prize.
The dark comedy, which also won the Palme D’or at the Cannes Film Festival, was selected out of 12 competition films.
Bong Joon-ho, who was in attendance at the festival, accepted the award at last night’s Closing Night Gala awards ceremony at the State Theatre, ahead of the Australian premiere screening of Danny Boyle’s Yesterday.
Accepting the award, he said: “This festival is really amazing, especially the audience… really special and extraordinary. This is the most meaningful prize for me – in this beautiful city and beautiful theatre, and one of the most beautiful audiences in the world.”
The festival jury was comprised of Australian producer John Maynard (president); Australian filmmaker Ana Kokkinos; Brazilian actor and director Wagner Moura; Kiwi filmmaker Gaylene Preston...
Korean director Bong Joon-ho’s Parasite has won the Sydney Film Festival’s $60,000 Sydney Film Prize.
The dark comedy, which also won the Palme D’or at the Cannes Film Festival, was selected out of 12 competition films.
Bong Joon-ho, who was in attendance at the festival, accepted the award at last night’s Closing Night Gala awards ceremony at the State Theatre, ahead of the Australian premiere screening of Danny Boyle’s Yesterday.
Accepting the award, he said: “This festival is really amazing, especially the audience… really special and extraordinary. This is the most meaningful prize for me – in this beautiful city and beautiful theatre, and one of the most beautiful audiences in the world.”
The festival jury was comprised of Australian producer John Maynard (president); Australian filmmaker Ana Kokkinos; Brazilian actor and director Wagner Moura; Kiwi filmmaker Gaylene Preston...
- 6/17/2019
- by jkeast
- IF.com.au
Danielle MacLean.
Considering Danielle MacLean’s original ambition was to be a stills photographer, her 23-year career as a writer, producer and director is quite remarkable.
Currently MacLean is juggling numerous projects including preparing a short film for the anthology feature Cook 2020: Our Right of Reply, writing an episode of the second series of Bunya Productions’ Mystery Road and signing on to direct at least one episode of the third season of Ned Lander Media’s Little J and Big Cuz.
In addition, she is developing a raft of projects including drama series Rough Justice with frequent collaborator Steven McGregor, children’s animated series Yellow Water Billabong and kids series The Barrumbi Kids with Ambience Entertainment.
“I have found my voice and I have a strong team of people around me,” she tells If. She credits Screen Australia’s Indigenous department, originally headed by Wal Saunders, followed by Sally Riley and now Penny Smallacombe,...
Considering Danielle MacLean’s original ambition was to be a stills photographer, her 23-year career as a writer, producer and director is quite remarkable.
Currently MacLean is juggling numerous projects including preparing a short film for the anthology feature Cook 2020: Our Right of Reply, writing an episode of the second series of Bunya Productions’ Mystery Road and signing on to direct at least one episode of the third season of Ned Lander Media’s Little J and Big Cuz.
In addition, she is developing a raft of projects including drama series Rough Justice with frequent collaborator Steven McGregor, children’s animated series Yellow Water Billabong and kids series The Barrumbi Kids with Ambience Entertainment.
“I have found my voice and I have a strong team of people around me,” she tells If. She credits Screen Australia’s Indigenous department, originally headed by Wal Saunders, followed by Sally Riley and now Penny Smallacombe,...
- 6/13/2019
- by The IF Team
- IF.com.au
‘Judy & Punch’. (Photo: Ben King)
Two Aussie films, Mirrah Foulkes’ Judy & Punch and Ben Lawrence’s Hearts and Bones, will be among the 12 features in official competition at this year’s Sydney Film Festival (Sff).
Also up for the festival’s $60,000 Sydney Film Prize are Florian Henckel von Donnersmarck’s Never Look Away, which was nominated for two Oscars; recent Cannes selections such as Pedro Almodóvar’s Pain and Glory, Bong Joon-Ho’s Parasite, and Kleber Mendonça Filho and Juliano Dornelles’ Bacurau; Sundance World Cinema Dramatic Special Jury Award winner Monos, from directors Alejandro Landes and Alexis Dos; Joanna Hogg’s Sundance Grand Jury Prize winner The Souvenir; Nadav Lapid’s Golden Bear winner Synonymes, as well as Sacha Polak’s Dirty God, Teona Strugar Mitevska’s God Exists, Her Name is Petrunya, and Kiwi director Hamish Bennett’s Bellbird.
Sydney Film Festival launched the full program for its 66th...
Two Aussie films, Mirrah Foulkes’ Judy & Punch and Ben Lawrence’s Hearts and Bones, will be among the 12 features in official competition at this year’s Sydney Film Festival (Sff).
Also up for the festival’s $60,000 Sydney Film Prize are Florian Henckel von Donnersmarck’s Never Look Away, which was nominated for two Oscars; recent Cannes selections such as Pedro Almodóvar’s Pain and Glory, Bong Joon-Ho’s Parasite, and Kleber Mendonça Filho and Juliano Dornelles’ Bacurau; Sundance World Cinema Dramatic Special Jury Award winner Monos, from directors Alejandro Landes and Alexis Dos; Joanna Hogg’s Sundance Grand Jury Prize winner The Souvenir; Nadav Lapid’s Golden Bear winner Synonymes, as well as Sacha Polak’s Dirty God, Teona Strugar Mitevska’s God Exists, Her Name is Petrunya, and Kiwi director Hamish Bennett’s Bellbird.
Sydney Film Festival launched the full program for its 66th...
- 5/8/2019
- by jkeast
- IF.com.au
‘The Final Quarter’. (Photo: Wayne Taylor/Fairfax)
Ian Darling documentary The Final Quarter, which looks at Afl footballer and Indigenous leader Adam Goodes’ public call out of racism and Australia’s heated response, will premiere at the Sydney Film Festival in June.
The festival today unveiled the first 25 films on this year’s line-up, with the full program to launch on May 8.
Made using only archival footage aired at the time, Darling’s doco chronicles the final years of the Sydney Swans player’s career. Other Aussie films announced today include Sophie Hyde’s Animals, which made its world premiere at Sundance earlier this year, and Erica Glynn’s portrait of her mother and Central Australian Aboriginal Media Association (Caama) co-founder Freda Glynn, She Who Must Be Loved, which also screened at the Adelaide Film Festival and Berlinale.
Leading the preview announcement is Amazing Grace, which captures never-before-seen footage, shot by Sydney Pollack,...
Ian Darling documentary The Final Quarter, which looks at Afl footballer and Indigenous leader Adam Goodes’ public call out of racism and Australia’s heated response, will premiere at the Sydney Film Festival in June.
The festival today unveiled the first 25 films on this year’s line-up, with the full program to launch on May 8.
Made using only archival footage aired at the time, Darling’s doco chronicles the final years of the Sydney Swans player’s career. Other Aussie films announced today include Sophie Hyde’s Animals, which made its world premiere at Sundance earlier this year, and Erica Glynn’s portrait of her mother and Central Australian Aboriginal Media Association (Caama) co-founder Freda Glynn, She Who Must Be Loved, which also screened at the Adelaide Film Festival and Berlinale.
Leading the preview announcement is Amazing Grace, which captures never-before-seen footage, shot by Sydney Pollack,...
- 4/2/2019
- by jkeast
- IF.com.au
Dylan River in ‘Tales by Light’.
When Tales By Light director/producer Abraham Joffe first got in contact with Indigenous director and cinematographer Dylan River to ask if he would be involved with the show, River initially thought he wanted him to shoot it.
However, the Tales By Light team wanted River in front of the camera; he is the subject of one of the episodes of season three, which launched on Netflix Australia this week after a run on Network 10 last year.
Tales By Light, backed by Canon Australia, profiles photographers. In addition to River, season three includes Simon Lister, who goes to Dhaka, Bangladesh with Unicef Goodwill Ambassador Orlando Bloom to capture the lives of children residing in slums, and conservationist Shawn Heinrichs who travels to Mexico and Indonesia to share footage of human impact on marine life in our oceans.
While being in front of the camera was weird initially,...
When Tales By Light director/producer Abraham Joffe first got in contact with Indigenous director and cinematographer Dylan River to ask if he would be involved with the show, River initially thought he wanted him to shoot it.
However, the Tales By Light team wanted River in front of the camera; he is the subject of one of the episodes of season three, which launched on Netflix Australia this week after a run on Network 10 last year.
Tales By Light, backed by Canon Australia, profiles photographers. In addition to River, season three includes Simon Lister, who goes to Dhaka, Bangladesh with Unicef Goodwill Ambassador Orlando Bloom to capture the lives of children residing in slums, and conservationist Shawn Heinrichs who travels to Mexico and Indonesia to share footage of human impact on marine life in our oceans.
While being in front of the camera was weird initially,...
- 2/22/2019
- by jkeast
- IF.com.au
Tanith Glynn-Maloney (Photo credit: Dylan River)
Tanith Glynn-Maloney has joined Bunya Productions in the third Indigenous producer placement for the production company owned by David Jowsey, Ivan Sen and Greer Simpkin.
Tanith, who produced She Who Must Be Loved, Erica Glynn’s biopic of Freda Glynn which had its international premiere in the Panorama section of the Berlin International Film Festival, will spend a year working across Bunya’s film and TV slate.
The placement is funded by Screen Australia’s Indigenous Screen Business Fund, which aims to help build business capacity within the Indigenous screen production sector.
Her appointment follows Gillian Moody’s placement last year. Gillian went on to produce Black Divaz for Sbs.
Mitch Stanley, who produced the documentary Servant or Slave , was also part of the Screen Australia Indigenous Producer Placement program. He has joined the Bunya Talent Hub and is developing and producing a slate of Indigenous-led projects.
Tanith Glynn-Maloney has joined Bunya Productions in the third Indigenous producer placement for the production company owned by David Jowsey, Ivan Sen and Greer Simpkin.
Tanith, who produced She Who Must Be Loved, Erica Glynn’s biopic of Freda Glynn which had its international premiere in the Panorama section of the Berlin International Film Festival, will spend a year working across Bunya’s film and TV slate.
The placement is funded by Screen Australia’s Indigenous Screen Business Fund, which aims to help build business capacity within the Indigenous screen production sector.
Her appointment follows Gillian Moody’s placement last year. Gillian went on to produce Black Divaz for Sbs.
Mitch Stanley, who produced the documentary Servant or Slave , was also part of the Screen Australia Indigenous Producer Placement program. He has joined the Bunya Talent Hub and is developing and producing a slate of Indigenous-led projects.
- 2/22/2019
- by The IF Team
- IF.com.au
She Who Must Be Loved.
Another four Australian projects have joined the line-up at the Berlin International Film Festival: feature documentary She Who Must Be Loved, 2015 film Tanna and two shorts, Blackbird and The Mermaids, Or Aiden in Wonderland.
As If has previously reported, Rodd Rathjen’s feature debut Buoyancy will also make its world premiere in Berlinale’s Panorama section, while Damon Gameau’s feature doc 2040 will screen in the Generation Kplus section.
She Who Must Be Loved will make its international premiere as part of Berlin’s NATIVe program, which celebrates Indigenous storytelling. The film is a portrait of Central Australian Aboriginal Media Association (Caama) and Imparja TV co-founder Freda Glynn, from director and daughter Erica Glynn and producer and granddaughter Tanith Glynn-Maloney. It first premiered at the Adelaide Film Festival last October, where it won the audience award, and will screen on Nitv later this year.
Benley...
Another four Australian projects have joined the line-up at the Berlin International Film Festival: feature documentary She Who Must Be Loved, 2015 film Tanna and two shorts, Blackbird and The Mermaids, Or Aiden in Wonderland.
As If has previously reported, Rodd Rathjen’s feature debut Buoyancy will also make its world premiere in Berlinale’s Panorama section, while Damon Gameau’s feature doc 2040 will screen in the Generation Kplus section.
She Who Must Be Loved will make its international premiere as part of Berlin’s NATIVe program, which celebrates Indigenous storytelling. The film is a portrait of Central Australian Aboriginal Media Association (Caama) and Imparja TV co-founder Freda Glynn, from director and daughter Erica Glynn and producer and granddaughter Tanith Glynn-Maloney. It first premiered at the Adelaide Film Festival last October, where it won the audience award, and will screen on Nitv later this year.
Benley...
- 1/24/2019
- by jkeast
- IF.com.au
‘Little J and Big Cuz’.
Ned Lander Media’s animated series Little J and Big Cuz is the winner of the inaugural Screen Diversity and Inclusion Network (Sdin) Award.
The Sdin Award was created to honour Australian producers and projects which have made a significant contribution to diversity and inclusion, on and off screen, within the Australian screen industry. Little J and Big Cuz, commissioned by Nitv, is the first animated series specifically targeted at Indigenous children aged 4-6.
The announcement was made at Screen Forever yesterday by Sdin chair Courtney Gibson.
“For decades Ned Lander has been producing screen works in complete creative collaboration with Indigenous screen practitioners, going right back to the feature Wrong Side of the Road, made with the bands No Fixed Address and Us Mob. The creation of the first-ever Australian animated series targeted to an Indigenous audience, Little J and Big Cuz, is a continuation of that collaborative approach,...
Ned Lander Media’s animated series Little J and Big Cuz is the winner of the inaugural Screen Diversity and Inclusion Network (Sdin) Award.
The Sdin Award was created to honour Australian producers and projects which have made a significant contribution to diversity and inclusion, on and off screen, within the Australian screen industry. Little J and Big Cuz, commissioned by Nitv, is the first animated series specifically targeted at Indigenous children aged 4-6.
The announcement was made at Screen Forever yesterday by Sdin chair Courtney Gibson.
“For decades Ned Lander has been producing screen works in complete creative collaboration with Indigenous screen practitioners, going right back to the feature Wrong Side of the Road, made with the bands No Fixed Address and Us Mob. The creation of the first-ever Australian animated series targeted to an Indigenous audience, Little J and Big Cuz, is a continuation of that collaborative approach,...
- 11/21/2018
- by jkeast
- IF.com.au
‘Hotel Mumbai’ cast and crew at the Aff premiere.
Anthony Maras’ Hotel Mumbai was voted best film and Erica Glynn’s She Who Must Be Loved best documentary at the Adelaide Film Festival audience awards.
Matthew Bate’s The Art of the Game, a hybrid documentary produced by Katrina Lucas, which follows two of Australia’s most innovative photographers – Trent Parke and Narelle Autio – as they bring together the worlds of art and sport in their first ever moving-image work Summation of Force, was deemed best short.
All three were supported by the Adelaide Film Festival Fund.
Icon plans to launch Hotel Mumbai, the thriller about those trapped in the Taj Mahal Palace Hotel in the 2008 terrorist attacks, starring Armie Hammer, Dev Patel, Jason Isaacs and Tilda Cobham-Hervey, in April following the Us release via Bleecker Street, which is likely to be in March.
Co-commissioned by Nitv, Glynn’s film profiles her mother Freda Glynn,...
Anthony Maras’ Hotel Mumbai was voted best film and Erica Glynn’s She Who Must Be Loved best documentary at the Adelaide Film Festival audience awards.
Matthew Bate’s The Art of the Game, a hybrid documentary produced by Katrina Lucas, which follows two of Australia’s most innovative photographers – Trent Parke and Narelle Autio – as they bring together the worlds of art and sport in their first ever moving-image work Summation of Force, was deemed best short.
All three were supported by the Adelaide Film Festival Fund.
Icon plans to launch Hotel Mumbai, the thriller about those trapped in the Taj Mahal Palace Hotel in the 2008 terrorist attacks, starring Armie Hammer, Dev Patel, Jason Isaacs and Tilda Cobham-Hervey, in April following the Us release via Bleecker Street, which is likely to be in March.
Co-commissioned by Nitv, Glynn’s film profiles her mother Freda Glynn,...
- 10/23/2018
- by The IF Team
- IF.com.au
Leah Purcell and Warwick Thornton.
Warwick Thornton, Leah Purcell, Ivan Sen, Steven McGregor, Erica Glynn, Danielle Maclean and Bain Stewart will travel to Los Angeles next month for high-level networking.
The visit by the delegation, which includes David Jowsey, Greer Simpkin and Charlotte Seymour, is an extension of Screen Australia’s Talent USA initiative and coincides with the agency celebrating 25 years of Indigenous screen stories.
The November 5-10 program will focus on setting up business connections for the delegates with Us film and TV industry stakeholders and providing opportunities to learn from established La-based creators and decision-makers.
Participants were selected based on their international success and/or having established interest in the Us.
“It is fantastic to be able to offer this incredible opportunity to luminaries of our industry, which will assist in opening new doors to expand their already successful careers in the Us market,” said Penny Smallacombe, Screen Australia...
Warwick Thornton, Leah Purcell, Ivan Sen, Steven McGregor, Erica Glynn, Danielle Maclean and Bain Stewart will travel to Los Angeles next month for high-level networking.
The visit by the delegation, which includes David Jowsey, Greer Simpkin and Charlotte Seymour, is an extension of Screen Australia’s Talent USA initiative and coincides with the agency celebrating 25 years of Indigenous screen stories.
The November 5-10 program will focus on setting up business connections for the delegates with Us film and TV industry stakeholders and providing opportunities to learn from established La-based creators and decision-makers.
Participants were selected based on their international success and/or having established interest in the Us.
“It is fantastic to be able to offer this incredible opportunity to luminaries of our industry, which will assist in opening new doors to expand their already successful careers in the Us market,” said Penny Smallacombe, Screen Australia...
- 10/18/2018
- by The IF Team
- IF.com.au
‘Emu Runner’, which debuted at Tiff, will screen as part of Adelaide’s feature competition.
Adelaide Film Festival launched its full program today, including a variety of highlights direct from Venice, Toronto and Telluride.
Among the films announced today are Venice’s Golden Lion winner Roma, from director Alfonso Cuarón; the Coen Brothers’ best screenplay winner The Ballad of Buster Scruggs, and Julian Schnabel’s At Eternity’s Gate, for which Willem Dafoe won best actor.
Overall this year’s program includes more than 130 features, documentaries, shorts, virtual reality and installation works, including 17 world premieres and 30 Australian premieres.
Almost 45 per cent of the films in the line-up are Australian. They include, as previously announced, some of the most anticipated local films of the year, such as Jennifer Kent’s The Nightingale, which just won Venice’s Special Jury Prize and the Marcello Mastroianni award for star Baykali Ganambarr; Anthony Maras...
Adelaide Film Festival launched its full program today, including a variety of highlights direct from Venice, Toronto and Telluride.
Among the films announced today are Venice’s Golden Lion winner Roma, from director Alfonso Cuarón; the Coen Brothers’ best screenplay winner The Ballad of Buster Scruggs, and Julian Schnabel’s At Eternity’s Gate, for which Willem Dafoe won best actor.
Overall this year’s program includes more than 130 features, documentaries, shorts, virtual reality and installation works, including 17 world premieres and 30 Australian premieres.
Almost 45 per cent of the films in the line-up are Australian. They include, as previously announced, some of the most anticipated local films of the year, such as Jennifer Kent’s The Nightingale, which just won Venice’s Special Jury Prize and the Marcello Mastroianni award for star Baykali Ganambarr; Anthony Maras...
- 9/12/2018
- by jkeast
- IF.com.au
Erica Glynn..
Indigenous writer-director Erica Glynn was today named the recipient of this year's David and Joan Williams Documentary Fellowship. .
Glynn, whose latest film.In My Own Words.is.screening at the Sydney Film Festival, played a central role in the development of Indigenous filmmakers and their work through the Indigenous Unit of Screen Australia.
The fellowship is bestowed by former News Limited, Foxtel and Fox Studios Australia CEO Kim Williams in honour of his parents, and is worth $50,000.
Inaugurated in 2010 through the Australian International Documentary Conference, management of the fellowship was transferred to the Documentary Australia Foundation in 2015, when it became biennial. .
The recipient is selected by a panel comprising Bob Connolly, Victoria Treole and Julia Overton, supported by Daf CEO Dr Mitzi Goldman.
The fellowship is intended to give an independent filmmaker enough money and time to reflect and prepare for his or her next work or to undertake relevant study and research.
Indigenous writer-director Erica Glynn was today named the recipient of this year's David and Joan Williams Documentary Fellowship. .
Glynn, whose latest film.In My Own Words.is.screening at the Sydney Film Festival, played a central role in the development of Indigenous filmmakers and their work through the Indigenous Unit of Screen Australia.
The fellowship is bestowed by former News Limited, Foxtel and Fox Studios Australia CEO Kim Williams in honour of his parents, and is worth $50,000.
Inaugurated in 2010 through the Australian International Documentary Conference, management of the fellowship was transferred to the Documentary Australia Foundation in 2015, when it became biennial. .
The recipient is selected by a panel comprising Bob Connolly, Victoria Treole and Julia Overton, supported by Daf CEO Dr Mitzi Goldman.
The fellowship is intended to give an independent filmmaker enough money and time to reflect and prepare for his or her next work or to undertake relevant study and research.
- 6/8/2017
- by Don Groves
- IF.com.au
Warwick Thornton in 'We Don't Need A Map'..
Director Warwick Thornton decided to make his latest documentary We Don.t Need A Map.following backlash he received when he compared the Southern Cross to a swastika..
Then nominated for Australian of the Year, Thornton said in 2010: "Aboriginal people have used the Southern Cross for the last 40,000 years as a beacon guiding them to travel through country for survival, and I'm starting to see that star system symbol being used as a very racist nationalistic emblem - and that is seriously worrying me.
"We don't want to turn the Southern Cross into a swastika - that's bloody important..
Thornton told If that the reaction to those comments in the media afterwards frightened him.
.I got scared. Then it took a year or two, and then I got angry. I.m not good at turning being afraid into energy,...
Director Warwick Thornton decided to make his latest documentary We Don.t Need A Map.following backlash he received when he compared the Southern Cross to a swastika..
Then nominated for Australian of the Year, Thornton said in 2010: "Aboriginal people have used the Southern Cross for the last 40,000 years as a beacon guiding them to travel through country for survival, and I'm starting to see that star system symbol being used as a very racist nationalistic emblem - and that is seriously worrying me.
"We don't want to turn the Southern Cross into a swastika - that's bloody important..
Thornton told If that the reaction to those comments in the media afterwards frightened him.
.I got scared. Then it took a year or two, and then I got angry. I.m not good at turning being afraid into energy,...
- 6/6/2017
- by Jackie Keast
- IF.com.au
Grace Beside Me..
Nitv has commissioned its first ever scripted live-action series, Grace Beside Me.
Adapted from the novel by Sue McPherson, the 13 x 26 series — pitched as .the story of an extraordinary girl trying to lead an ordinary life" — is produced by Magpie Pictures, with investment from Screen Australia.s Indigenous Department, Screen Queensland, the ABC, as well as assistance from Screen Nsw.
Aimed at 8-12 year olds, Grace Beside Me follows Fuzzy Mac, a 13-year-old who discovers she can see ghosts and spirits. However, all she wants to do is fit in, as it.s .hard enough navigating the highs and lows of becoming a teenager while living with your eccentric Nan and Pop, without also having to deal with needy ghosts, mischievous totems and cantankerous Ancestors..
Mac is said to have .one foot in the Indigenous realm of culture, Country — and spirits — and the other firmly planted in...
Nitv has commissioned its first ever scripted live-action series, Grace Beside Me.
Adapted from the novel by Sue McPherson, the 13 x 26 series — pitched as .the story of an extraordinary girl trying to lead an ordinary life" — is produced by Magpie Pictures, with investment from Screen Australia.s Indigenous Department, Screen Queensland, the ABC, as well as assistance from Screen Nsw.
Aimed at 8-12 year olds, Grace Beside Me follows Fuzzy Mac, a 13-year-old who discovers she can see ghosts and spirits. However, all she wants to do is fit in, as it.s .hard enough navigating the highs and lows of becoming a teenager while living with your eccentric Nan and Pop, without also having to deal with needy ghosts, mischievous totems and cantankerous Ancestors..
Mac is said to have .one foot in the Indigenous realm of culture, Country — and spirits — and the other firmly planted in...
- 1/17/2017
- by Staff Writer
- IF.com.au
Kriv Stenders on a recce for Wake In Fright in Broken Hill.
The Nsw Government has invested over $2 million to secure four new feature films, four television drama series and four factual TV series, as well as several one-off documentaries, a web series and a multiplatform project. The productions are predicted to create 1080 new screen jobs and generate a direct production spend of almost $35 million in Nsw. Included among them is Ten.s recently announced mini-series Wake In Fright, the first local production to be supported under the Screen Nsw.s $20 million Made in Nsw Fund. The other 15 productions are being supported through the Film Production Finance Fund. According to Deputy Premier and Minister for the Arts Troy Grant the fund can now support many more local film and television productions because funds have been freed-up by the Made in Nsw Fund. The full list of funding recipients: Project: Ali's Wedding...
The Nsw Government has invested over $2 million to secure four new feature films, four television drama series and four factual TV series, as well as several one-off documentaries, a web series and a multiplatform project. The productions are predicted to create 1080 new screen jobs and generate a direct production spend of almost $35 million in Nsw. Included among them is Ten.s recently announced mini-series Wake In Fright, the first local production to be supported under the Screen Nsw.s $20 million Made in Nsw Fund. The other 15 productions are being supported through the Film Production Finance Fund. According to Deputy Premier and Minister for the Arts Troy Grant the fund can now support many more local film and television productions because funds have been freed-up by the Made in Nsw Fund. The full list of funding recipients: Project: Ali's Wedding...
- 9/12/2016
- by Staff Writer
- IF.com.au
Screen Australia will partner with Nitv and Sbs on a slate of documentaries called A Moment in History..
In his opening address to Aidc, Screen Australia CEO Graeme Mason described the series as "bold, innovative, and compelling documentaries [that] will explore the place of Aboriginal and Torres Strait Islander Peoples in Australia in the months leading up to the proposed 2017 Referendum on Indigenous Constitutional Recognition"..
"It.s important to note that 2017 also marks the 50th anniversary of the 1967 Yes Vote referendum and the 25th anniversary of the Mabo Native Title High Court decision", he said.
"This exciting series is an example of filming excellence and landmark storytelling from some of our most leading Indigenous filmmakers.. It will help shape national discourse and we are proud to be able to support an ambitious project of this calibre that is not only culturally significant, but also inspiring and innovative".
The five projects, with teams that include Warwick Thornton,...
In his opening address to Aidc, Screen Australia CEO Graeme Mason described the series as "bold, innovative, and compelling documentaries [that] will explore the place of Aboriginal and Torres Strait Islander Peoples in Australia in the months leading up to the proposed 2017 Referendum on Indigenous Constitutional Recognition"..
"It.s important to note that 2017 also marks the 50th anniversary of the 1967 Yes Vote referendum and the 25th anniversary of the Mabo Native Title High Court decision", he said.
"This exciting series is an example of filming excellence and landmark storytelling from some of our most leading Indigenous filmmakers.. It will help shape national discourse and we are proud to be able to support an ambitious project of this calibre that is not only culturally significant, but also inspiring and innovative".
The five projects, with teams that include Warwick Thornton,...
- 2/29/2016
- by Harry Windsor
- IF.com.au
Penny Smallacombe has stepped into the role of Head of Indigenous at Screen Australia, it was announced today.
Smallacombe succeeds Erica Glynn, who announced her departure earlier this year after 11 years working with Screen Australian and predecessor agency the Afc.
In a statement released to the media, Graeme Mason, CEO of Screen Australia, said, .We are pleased to have Penny take on the position, and have seen her dedication first-hand in making important Indigenous content. We expect her breadth of industry knowledge will make a great contribution to the role and more importantly to making Indigenous stories.
.We are sad to see Erica go. She has played a significant role in bringing some instrumental, and acclaimed, Indigenous stories to life . Toomelah, Coniston, Redfern Now . and in supporting the strong presence of Indigenous practitioners in the sector. We wish her the best in returning to her passion of filmmaking and look...
Smallacombe succeeds Erica Glynn, who announced her departure earlier this year after 11 years working with Screen Australian and predecessor agency the Afc.
In a statement released to the media, Graeme Mason, CEO of Screen Australia, said, .We are pleased to have Penny take on the position, and have seen her dedication first-hand in making important Indigenous content. We expect her breadth of industry knowledge will make a great contribution to the role and more importantly to making Indigenous stories.
.We are sad to see Erica go. She has played a significant role in bringing some instrumental, and acclaimed, Indigenous stories to life . Toomelah, Coniston, Redfern Now . and in supporting the strong presence of Indigenous practitioners in the sector. We wish her the best in returning to her passion of filmmaking and look...
- 6/19/2014
- by Staff Writer
- IF.com.au
Jessica Mauboy, Simon Crean, Deborah Mailman, Julie Collins, Wayne Blair
Indigenous Australians looking to enter the screen and print sector have had their opportunities bolstered with a new work and training program.
Launched by arts minister Simon Crean and Indigenous employment and economic development minister Julie Collins, the work and training program aims to create 40 new jobs across newspapers, new media, film and television.
Crean said: “The new employment program will help train and guide a new generation of Indigenous media professionals, whether they are on screen or in the media.”
“By investing to create new Indigenous employment opportunities in the media and screen industries, we’re not only diversifying workplaces, but investing in protecting and sharing our culture with many generations to come.”
Screen Australia received $1.1 million through the Federal Government’s Indigenous Employment Program to run the employment strategy which will be implemented by The Media Reconciliation Industry Network Group,...
Indigenous Australians looking to enter the screen and print sector have had their opportunities bolstered with a new work and training program.
Launched by arts minister Simon Crean and Indigenous employment and economic development minister Julie Collins, the work and training program aims to create 40 new jobs across newspapers, new media, film and television.
Crean said: “The new employment program will help train and guide a new generation of Indigenous media professionals, whether they are on screen or in the media.”
“By investing to create new Indigenous employment opportunities in the media and screen industries, we’re not only diversifying workplaces, but investing in protecting and sharing our culture with many generations to come.”
Screen Australia received $1.1 million through the Federal Government’s Indigenous Employment Program to run the employment strategy which will be implemented by The Media Reconciliation Industry Network Group,...
- 8/23/2012
- by Colin Delaney
- Encore Magazine
New ABC series Redfern Now will create over 250 Job opportunities for indigenous filmmakers.
It is the first drama series produced by Indigenous Australians.
Produced by Blackfella Films’ Darren Dale and Miranda Dean, the series will employ Indigenous Australians in various roles, from producers, directors, writers, actors and production and post production staff.
The series, due to begin production in early 2012, has been created by Jimmy McGovern (The Street, Cracker, The Lakes) and is currently working on the scripts with a team of writers.
“We’ve all been working hard on the scripts,” said McGovern. “And this is a wonderful reward for our efforts. I think it’s going to be a brilliant series.”
Producer Darren Dale said: “As Samson & Delilah and Bran Nue Dae created excitement for Australian cinema, I am positive that Redfern Now will be a bold and adventurous television series.”
The series is set in six households...
It is the first drama series produced by Indigenous Australians.
Produced by Blackfella Films’ Darren Dale and Miranda Dean, the series will employ Indigenous Australians in various roles, from producers, directors, writers, actors and production and post production staff.
The series, due to begin production in early 2012, has been created by Jimmy McGovern (The Street, Cracker, The Lakes) and is currently working on the scripts with a team of writers.
“We’ve all been working hard on the scripts,” said McGovern. “And this is a wonderful reward for our efforts. I think it’s going to be a brilliant series.”
Producer Darren Dale said: “As Samson & Delilah and Bran Nue Dae created excitement for Australian cinema, I am positive that Redfern Now will be a bold and adventurous television series.”
The series is set in six households...
- 11/9/2011
- by Colin Delaney
- Encore Magazine
While the annual Deadly Awards highlight the achievements of the Indigenous film and television community, Georgina Pearson looks at how the industry is bridging the gap between our current successes and the professionals of the future.
As Australia rapidly proceeds with the national reconciliation plan, recognition and support of Indigenous talent has hugely increased. But while the film industry has been quick to join this endeavour – the divide between entry-level Indigenous practitioners and Indigenous professionals at the top of their field is still significant – and the importance of workplace equality has never been more relevant.
Screen Australia’s head of Indigenous program, Erica Glynn told Encore that in order for the industry to truly embrace its multicultural roots it is vitally important to accurately convey an Indigenous viewpoint. “This debate has been ongoing for years. Obviously, if this country wants to recognise the diversity of the people who live in it,...
As Australia rapidly proceeds with the national reconciliation plan, recognition and support of Indigenous talent has hugely increased. But while the film industry has been quick to join this endeavour – the divide between entry-level Indigenous practitioners and Indigenous professionals at the top of their field is still significant – and the importance of workplace equality has never been more relevant.
Screen Australia’s head of Indigenous program, Erica Glynn told Encore that in order for the industry to truly embrace its multicultural roots it is vitally important to accurately convey an Indigenous viewpoint. “This debate has been ongoing for years. Obviously, if this country wants to recognise the diversity of the people who live in it,...
- 9/27/2011
- by Colin Delaney
- Encore Magazine
As this month’s annual Deadly Awards highlight the achievements of the Indigenous film and television community, Georgina Pearson looks at how the industry is bridging the gap between our current successes and the professionals of the future.
As Australia rapidly proceeds with the national reconciliation plan, recognition and support of Indigenous talent has hugely increased. But while the film industry has been quick to join this endeavour – the divide between entry-level Indigenous practitioners and Indigenous professionals at the top of their field is still significant – and the importance of workplace equality has never been more relevant.
Screen Australia’s head of Indigenous programme, Erica Glynn told Encore that in order for the industry to truly embrace its multicultural roots it is vitally important to accurately convey an Indigenous viewpoint. “This debate has been ongoing for years. Obviously, if this country wants to recognise the diversity of the people who live in it,...
As Australia rapidly proceeds with the national reconciliation plan, recognition and support of Indigenous talent has hugely increased. But while the film industry has been quick to join this endeavour – the divide between entry-level Indigenous practitioners and Indigenous professionals at the top of their field is still significant – and the importance of workplace equality has never been more relevant.
Screen Australia’s head of Indigenous programme, Erica Glynn told Encore that in order for the industry to truly embrace its multicultural roots it is vitally important to accurately convey an Indigenous viewpoint. “This debate has been ongoing for years. Obviously, if this country wants to recognise the diversity of the people who live in it,...
- 9/2/2011
- by Colin Delaney
- Encore Magazine
For the second consecutive year, Encore has chosen a select group of screen professionals who have achieved new heights in 2010/2011, whose decisions influence and shape Australia’s audiovisual industry, and whose work has stood out from the crowd. These are our Power 50.
1. Emile Sherman – Producer
Last February, Sherman became the first Australian producer to receive an Academy Award for Best Picture, alongside his See-Saw Films partner Iain Canning, and Bedlam Productions’ Gareth Unwin. It also won at the BAFTAs and the Producers Guild of America, in addition to the many other honours for its cast and crew.
While technically a UK production, the Australianness of the film is undeniable – and so is its success; with a modest U$15m budget, The King’s Speech has grossed more than $405m worldwide – one of the most successful independent films of all time. Read Emile Sherman interview
2. Baz Luhrmann – Director, writer, producer
There...
1. Emile Sherman – Producer
Last February, Sherman became the first Australian producer to receive an Academy Award for Best Picture, alongside his See-Saw Films partner Iain Canning, and Bedlam Productions’ Gareth Unwin. It also won at the BAFTAs and the Producers Guild of America, in addition to the many other honours for its cast and crew.
While technically a UK production, the Australianness of the film is undeniable – and so is its success; with a modest U$15m budget, The King’s Speech has grossed more than $405m worldwide – one of the most successful independent films of all time. Read Emile Sherman interview
2. Baz Luhrmann – Director, writer, producer
There...
- 6/9/2011
- by Colin Delaney
- Encore Magazine
Actor /director Wayne Blair was awarded the $10,000 Bob Maza Fellowship, last night at the opening of the Message Sticks Indigenous Film Festival in Sydney.
“Screen Australia pays tribute to Bob Maza’s passion and commitment to the film and entertainment industry. Wayne is an exceptional talent in the local industry and we wish him the best of luck in using the opportunity this fellowship offers to further his international career,” said the head of Screen Australia’s Indigenous Department, Erica Glynn.
The Bob Maza Fellowship was established to allow an Indigenous actor or filmmaker expand his/her career opportunities and professional development.
Blair, a Butjala man from Queensland, made his acting debut in 200′s Mullet. He’s starred in films such as Blessed, as well as plays with the major state theatre companies in the country. He’s also made the short films Jubulj and The Djarn Djarns (Crystal Bear...
“Screen Australia pays tribute to Bob Maza’s passion and commitment to the film and entertainment industry. Wayne is an exceptional talent in the local industry and we wish him the best of luck in using the opportunity this fellowship offers to further his international career,” said the head of Screen Australia’s Indigenous Department, Erica Glynn.
The Bob Maza Fellowship was established to allow an Indigenous actor or filmmaker expand his/her career opportunities and professional development.
Blair, a Butjala man from Queensland, made his acting debut in 200′s Mullet. He’s starred in films such as Blessed, as well as plays with the major state theatre companies in the country. He’s also made the short films Jubulj and The Djarn Djarns (Crystal Bear...
- 5/12/2011
- by Miguel Gonzalez
- Encore Magazine
The Australian Directors Guild has announced Sally Riley and Erica Glynn as the recipients of its Cecil Holmes Award.
“In recognition of the invaluable work of the Indigenous branch of the former Australian Film Commission (now the Indigenous Department of Screen Australia) in giving directors a creative voice, the Adg Board awards the Cecil Holmes Award to Sally Riley and Erica Glynn on behalf of, and in recognition of the work done by the many individuals working with the branch, whose collective contributions helped the Indigenous unit nurture, support and foster the talents of directors at a critical point in their development,” said Adg president Ray Argall.
“In a world where finance, box office and ratings increasingly rule, the work produced through the branch reminds us how important the creative voice is in our storytelling, and that writer-directors flourish when they are supported and given creative freedom to find their...
“In recognition of the invaluable work of the Indigenous branch of the former Australian Film Commission (now the Indigenous Department of Screen Australia) in giving directors a creative voice, the Adg Board awards the Cecil Holmes Award to Sally Riley and Erica Glynn on behalf of, and in recognition of the work done by the many individuals working with the branch, whose collective contributions helped the Indigenous unit nurture, support and foster the talents of directors at a critical point in their development,” said Adg president Ray Argall.
“In a world where finance, box office and ratings increasingly rule, the work produced through the branch reminds us how important the creative voice is in our storytelling, and that writer-directors flourish when they are supported and given creative freedom to find their...
- 1/12/2011
- by Miguel Gonzalez
- Encore Magazine
Screen Australia has published a catalogue of screen projects featuring Indigenous creatives in key roles, called The Black List.
“The Black List celebrates these contemporary screen storytellers and those who have gone before. It reveals how far the Indigenous filmmaking sector has come,” said CEO Ruth Harley.
Harley explained that while in the 70s there were no features and only one TV drama with Indigenous people in key creative roles, the 2000s saw Indigenous filmmakers participate in nine features and 16 dramas.
The catalogue has been compiled by the agency’s Strategy and Research Unit, and features the work of 257 Indigenous Australians credited as producer, director, writer or cinematographer on 674 productions. The listings go back to 1970 for features and telemovies, 1980 for docos and mini-series, and 1988 for shorts and series.
The Black List is indexed by year and by filmmaker, and features a statistical summary and timeline of titles and events.
The...
“The Black List celebrates these contemporary screen storytellers and those who have gone before. It reveals how far the Indigenous filmmaking sector has come,” said CEO Ruth Harley.
Harley explained that while in the 70s there were no features and only one TV drama with Indigenous people in key creative roles, the 2000s saw Indigenous filmmakers participate in nine features and 16 dramas.
The catalogue has been compiled by the agency’s Strategy and Research Unit, and features the work of 257 Indigenous Australians credited as producer, director, writer or cinematographer on 674 productions. The listings go back to 1970 for features and telemovies, 1980 for docos and mini-series, and 1988 for shorts and series.
The Black List is indexed by year and by filmmaker, and features a statistical summary and timeline of titles and events.
The...
- 9/22/2010
- by Miguel Gonzalez
- Encore Magazine
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