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SQ Annual Review 2017-18
17 > Celeste ANNUAL REVIEW 18 CONTACT Head Office Address: Gold Coast Office Address: Suite 1/30 Florence Street c/o Village Roadshow Studios Newstead Qld 4006 Building 9A, Entertainment Road Australia Oxenford QLD 4210 T. +61 7 3248 0500 Australia E. [email protected] Postal Address: PO Box 15094 City East Brisbane Qld 4002 Australia Screen Queensland's purpose is to grow the screen industry to be a significant contributor to the economic and cultural wellbeing of Queensland. > Harrow Screen Queensland ACN 056 169 316 ABN 20 056 169 316 Published by Screen Queensland 2018 Also published on screenqld.com.au -------------------------------------------------------------------------------------------------------------------------------------------------------- All figures noted in this Annual Report, including Queensland Production Expenditure (QPE) and jobs, are for the productions given funding in the 2017-18 Financial Year which may or may not have gone into principal photography. > Cover image - Tidelands In the 2017–18 Financial Year, Screen Queensland funded 28 film and television screen productions and games, which generated an estimated $168 million in direct Queensland Production Expenditure (QPE) and more than 1,960 employment opportunities for Queenslanders. > CONTENTS Message from The Premier of Queensland 5 Screen Queensland Chair 7 Look What We Achieved Together 8 2017-18 Highlights 10 Production in Queensland 14 New Initiatives in Screen 18 Screen Support Programs 26 Production Attraction Funding Program 30 Dora the -
Fat Tony__Co Final D
A SCREENTIME production for the NINE NETWORK Production Notes Des Monaghan, Greg Haddrick Jo Rooney & Andy Ryan EXECUTIVE PRODUCERS Peter Gawler & Elisa Argenzio PRODUCERS Peter Gawler, Adam Todd, Jeff Truman & Michaeley O’Brien SERIES WRITERS Peter Andrikidis, Andrew Prowse & Karl Zwicky SERIES DIRECTORS MEDIA ENQUIRIES Michelle Stamper: NINE NETWORK T: 61 3 9420 3455 M: 61 (0)413 117 711 E: [email protected] IMPORTANT LEGAL NOTIFICATION TO MEDIA Screentime would like to remind anyone reporting on/reviewing the mini-series entitled FAT TONY & CO. that, given its subject matter, the series is complicated from a legal perspective. Potential legal issues include defamation, contempt of court and witness protection/name suppression. Accordingly there are some matters/questions that you may raise which we shall not be in a position to answer. In any event, please note that it is your responsibility to take into consideration all such legal issues in determining what is appropriate for you/the company who employs you (the “Company”) to publish or broadcast. Table of Contents Synopsis…………………………………………..………..……………………....Page 3 Key Players………….…………..…………………….…….…..……….....Pages 4 to 6 Production Facts…………………..…………………..………................Pages 7 to 8 About Screentime……………..…………………..…….………………………Page 9 Select Production & Cast Interviews……………………….…….…Pages 10 to 42 Key Crew Biographies……………………………………………...….Pages 43 to 51 Principal & Select Supporting Cast List..………………………………...….Page 52 Select Cast Biographies…………………………………………….....Pages 53 to 69 Episode Synopses………………………….………………….………..Pages 70 to 72 © 2013 Screentime Pty Ltd and Nine Films & Television Pty Ltd 2 SYNOPSIS FAT TONY & CO., the brand-new production from Screentime, tells the story of Australia’s most successful drug baron, from the day he quit cooking pizza in favour of cooking drugs, to the heyday of his $140 million dollar drug empire, all the way through to his arrest in an Athens café and his whopping 22-year sentence in Victoria’s maximum security prison. -
Sweet-River-Announcement-Final
MEDIA RELEASE Tuesday November 5, 2019 Australian psychological horror SWEET RIVER commences shooting in northern NSW Production is underway in the Byron Bay and Tweed Heads region on the new psychological horror Sweet River, starring UK actor Lisa Kay (Heartbeat, Indian Summers), Martin Sacks (Blue Heelers, Underbelly) and Genevieve Lemon (Top of the Lake, The Dressmaker). Kay plays Hanna Montague, a woman whose search for her young son’s body leads her back to sleepy Billins, a sugar cane town with a dark history. Hanna’s investigations uncover more than she expected and threaten to expose the town’s secrets… secrets that both the living and the dead will fight to protect. In her search for answers, Hanna moves in to a cottage on a sugar cane farm. Her neighbours John and Ellenor Drake (Martin Sacks and Genevieve Lemon), live in the neighbouring farmhouse and own all of the surrounding sugar cane fields. Sweet River is a film about two women from completely different worlds, who are learning to deal with the grief caused by the loss of their children. Hanna’s son Joey was abducted by a serial killer and is presumed dead, and Ellenor’s daughter lost her life in a tragic bus crash along with several other local children. As Hanna spends more time in the town investigating her son’s disappearance, and with some unexplained encounters with the supernatural after dark, it becomes clear that no one wants her here. The town is intent on protecting its secrets and a wound that will not heal. Sweet River is written by Marc Furmie and Eddie Baroo, and is based on an original story by Justin McMillan, who is directing. -
F E a T U R E S Summer 2021
FEATURES SUMMER 2021 NEW NEW NEW ACTION/ THRILLER NEW NEW NEW NEW NEW 7 BELOW A FISTFUL OF LEAD ADVERSE A group of strangers find themselves stranded after a tour bus Four of the West’s most infamous outlaws assemble to steal a In order to save his sister, a ride-share driver must infiltrate a accident and must ride out a foreboding storm in a house where huge stash of gold. Pursued by the town’s sheriff and his posse. dangerous crime syndicate. brutal murders occurred 100 years earlier. The wet and tired They hide out in the abandoned gold mine where they happen STARRING: Thomas Nicholas (American Pie), Academy Award™ group become targets of an unstoppable evil presence. across another gang of three, who themselves were planning to Nominee Mickey Rourke (The Wrestler), Golden Globe Nominee STARRING: Val Kilmer (Batman Forever), Ving Rhames (Mission hit the very same bank! As tensions rise, things go from bad to Penelope Ann Miller (The Artist), Academy Award™ Nominee Impossible II), Luke Goss (Hellboy II), Bonnie Somerville (A Star worse as they realize they’ve been double crossed, but by who Sean Astin (The Lord of the Ring Trilogy), Golden Globe Nominee Is Born), Matt Barr (Hatfields & McCoys) and how? Lou Diamond Phillips (Courage Under Fire) DIRECTED BY: Kevin Carraway HD AVAILABLE DIRECTED BY: Brian Metcalf PRODUCED BY: Eric Fischer, Warren Ostergard and Terry Rindal USA DVD/VOD RELEASE 4DIGITAL MEDIA PRODUCED BY: Brian Metcalf, Thomas Ian Nicholas HD & 5.1 AVAILABLE WESTERN/ ACTION, 86 Min, 2018 4K, HD & 5.1 AVAILABLE USA DVD RELEASE -
Download the Press
Screen Australia and SBS present in association with Screen NSW, A Blackfella Films Production Media Kit as at 12.7.16 SBS Publicist Natalie Dubois T 02 9430 3824 M 0422 447 168 E [email protected] About the Production Two of Australia’s leading actors with international acclaim, Noah Taylor (Game of Thrones, Peaky Blinders) and Yael Stone (Orange is the New Black), star in SBS’s new Australian crime drama series, Deep Water. The four-hour crime thriller also stars William McInnes (The Time of Our Lives, The Slap), Danielle Cormack (Wentworth, Rake, Miss Fisher’s Murder Mysteries), Jeremy Lindsay Taylor (Gallipoli, Puberty Blues, Sea Patrol), Craig McLachlan (The Doctor Blake Mysteries), Dan Spielman (The Code, Accidental Soldier, Offspring), Ben Oxenbould (The Kettering Incident, Old School, Rake), Simon Burke (Devil’s Playground), John Brumpton (Catching Milat, Miss Fisher’s Murder Mysteries) and Victoria Haralabidou (The Code, East West 101, All Saints), Simon Elrahi (The Code), George H. Xanthis (The Principal) and Julian Maroun. From Blackfella Films, the producers of both the awarding-winning drama Redfern Now and factual program First Contact, Deep Water is SBS’s first cross-genre, cross-platform event which includes a four-part drama series, a feature documentary and unique online web series and content. The edge-of-your-seat drama was executive produced by SBS’s Sue Masters and produced by Blackfella Films’ Miranda Dear and Darren Dale (Redfern Now, Mabo, Ready For This) and written by Kris Wyld (East West 101) and Kym Goldsworthy (Love Child, Serangoon Road). SBS Director of Television and Online Content, Marshall Heald said: “SBS is proud that this important drama has attracted Australia’s finest creative professionals both in front – and behind the camera. -
LESLEY VANDERWALT Make-Up and Hair Designer
LESLEY VANDERWALT Make-Up And Hair Designer FILM PROMETHEUS 2 Make-Up and Hair Designer Filming Begins April 2016 Director: Ridley Scott 20th Century Fox GODS OF EGYPT Make-Up and Hair Designer Summit Entertainment Director: Alex Proyas MAD MAX: FURY ROAD Make-Up and Hair Designer Village Roadshow Pictures Director: George Miller Winner: Academy Award for Best Make-Up and Hairstyling Winner: BAFTA for Best Make-up and Hair Winner: Critics’ Choice Award for Best Hair & Make-Up Winner: Make-Up Artists & Hair Stylists Guild Awards for Best Period and/or Character Make-Up THE GREAT GATSBY Make-Up and Hair Supervisor – Additional Design Warner Bros. Director: Baz Luhrmann Winner of the M.A.C Austrailia APDG Award for Make-up shared with Kerry Warn and Maritzio Silvi. Nominated for Hollywood Make-up Artists and Hairstylists Guild Award Best Character Make-Up SLEEPING BEAUTY Make-Up and Hair Designer / Make-Up Department Head Magic Films Director: Julia Leigh Cast: Emily Browning, Rachael Blake, Ewen Leslie, Eden Falk, Mirrah Folks, Chris Haywood, Hugh Keays-Byrne, Tammy Macintosh, Tracy Mann, Sarah Snook, Matthew Whittet Winner of the M.A.C Austrailia APDG Award for Make-up KNOWING Make-Up and Hair Designer Summit Entertainment Director: Alex Proyas Cast: Rose Byrne, Ben Mendelsohn AUSTRAILIA Make-Up and Hair Supervisor – Additional Design 20th Century Fox Director: Baz Lurmann Cast: Jack Thompson, Ben Mendelsohn, Jacek Koman, Sandy Gore, Wah Yuen, Ursula Yovich, GHOST RIDER Make-Up and Hair Designer Columbia Pictures Director: Mark Stephan -
By Production
Strictly embargoed until 10.45pm AEDT Wednesday 7 December 2016 6TH AACTA AWARDS PRESENTED BY FOXTEL All Winners – by Production TELEVISION THE BEAUTIFUL LIE – 9 Nominations, 1 Win AACTA Award for Best Telefeature or Mini Series AACTA Award for Best Lead Actress in a Television Drama – Sarah Snook AACTA Award for Best Guest or Supporting Actress in a Television Drama – Celia Pacquola (Episode 3) AACTA Award for Best Screenplay in Television (Episode 3) AACTA Award for Best Cinematography in Television (Episode 3) AACTA Award for Best Editing in Television (Episode 6) AACTA Award for Best Sound in Television (Episode 6) AACTA Award for Best Production Design in Television (Episode 3) AACTA Award for Best Costume Design in Television (Episode 3) THE KETTERING INCIDENT – 8 Nominations, 3 Wins AACTA Award for Best Telefeature or Mini Series AACTA Award for Best Lead Actress in a Television Drama – Elizabeth Debicki AACTA Award for Best Guest or Supporting Actress in a Television Drama – Sacha Horler (Episode 3) AACTA Award for Best Guest or Supporting Actress in a Television Drama – Sianoa Smit- McPhee (Episode 1) AACTA Award for Best Direction in a Television Drama or Comedy (Episode 1) AACTA Award for Best Screenplay in Television (Episode 1) AACTA Award for Best Cinematography in Television (Episode 3) AACTA Award for Best Original Music Score in Television (Episode 1) RAKE – 7 Nominations, 2 Wins AACTA Award for Best Television Drama Series AACTA Award for Best Lead Actor in a Television Drama – Richard Roxburgh AACTA -
Australian Multicultural Policy and Television Drama in Comparative Contexts
Australian multicultural policy and television drama in comparative contexts Harvey May BA (Comm), BA, B Bus (Hons)(Comm), Post Grad Dip Ed A thesis submitted in 2003 for the award of Doctor of Philosophy Creative Industries Research and Applications Centre Creative Industries Faculty Queensland University of Technology Key Words Multiculturalism, Cultural Diversity, Television, Drama, Casting, Minorities, Australia, United Kingdom, New Zealand, United States. Abstract This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia’s multicultural population. The way in which these actors are portrayed on- screen has also shifted from one of a ‘performed’ ethnicity, to an ‘everyday’ portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming. -
Danielle Carter
DANIELLE CARTER TRAINING Graduated from the National Institute of Dramatic Art (NIDA) in 1993 Moscow Arts Theatre School 2013 MICHA- The Michael Chekhov International Workshop USA 2015/2016/2017 The Michael Chekhov School USA 2015/2016/2017/2019 THEATRE When the Rain Stops Gabrielle York Clovelly Fox Productions Dir: Tyran Parke The Norman Conquests (trilogy) Sarah Ensemble Theatre Company Dir: Mark Kilmurry Table Manners Sarah Ensemble Theatre Company Dir: Mark Kilmurry Living Together Sarah Ensemble Theatre Company Dir: Mark Kilmurry Round and Round the Garden Sarah Ensemble Theatre Company Dir: Mark Kilmurry FURY Alice Red Stitch Dir: Brett Cousins & Ella Caldwell E-Baby Catherine Ensemble Theatre Company Dir: Nadia Tass My Zinc Bed Elsa Quinn Ensemble Theatre Company Dir: Mark Kilmurry Richard III Elizabeth Ensemble Theatre Company Dir: Mark Kilmurry The Gingerbread Lady Toby Landau Ensemble Theatre Company Dir: Sandra Bates My Wonderful Day Paula Hammond Ensemble Theatre Company Dir: Anna Crawford Status Update Coral | Adam La Mama Dir: Sue Jones Absurd Person Singular Eva Jackson Ensemble Theatre Company Dir: Andrew Doyle The Cove - 8 Shorts Works Various Dog Theatre | IF Productions Dir: Matt Scholten A Midsummer Night’s Dream Titania Theatre Works Dir: Glenda Linscott Shadow Passion Catherine Harrow Chapel off Chapel Productions Dir: Anthony Crowley Europe Barbara 2006 VCA Directors Season Dir: Matt Scholten Still Order | Want me La Mama | Malthouse Dir: Bernadette Ryan DANIELLE CARTER P a g e | 2 THEATRE (continued): Face to -
A Study Guide by Marguerite O'hara
© ATOM 2014 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-533-9 http://www.theeducationshop.com.au CONTENTS 2 CURRICULUM GUIDELINES 3 THE CRIME GENRE 5 MAP OF THE AREA 6 CAST AND CREW 7 PRE-VIEWING ACTIVITY 7 SYNOPSIS 7 STUDENT ACTIVITIES: WATCHING, REFLECTING AND RESPONDING 11 RESOURCES AND REFERENCES CURRICULUM GUIDELINES Catching Milat is a dramatic reconstruction of how mem- bers of the NSW Police Department tracked down and secured the conviction of a notorious killer Ivan Milat. His murderous spree took place over a number of years in the early 1990s. While the film does show something of how Milat is thought to have operated and managed to escape detection for some years, the program is more concerned with the police enquiry (catching Milat); how the investigat- ing team were able to link his movements and behaviour to the murders through a meticulous process of gathering INTRODUCTION evidence and following up earlier leads. Catching Milat is a two-part drama based on the events surrounding the investigation that led to the arrest and conviction of serial killer Ivan Milat. Most characters play the roles of actual people, but certain events and charac- ters have been created or changed for dramatic effect. Incorporating stylised flashbacks and archival footage, Catching Milat is a television mini-series that returns viewers to a time when backpacking was a rite-of-pas- sage for young people eager to explore the world. Ivan Milat was arrested in 1994. Catching Milat is the story of the men who brought him to justice. -
Annualreport 09 14 V5.Indd
ANNUAL REPORT 2013-14 AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL Building 130, The Entertainment Quarter, Moore Park NSW 2021 PO Box 2286, Strawberry Hills NSW 2012 Tel: 1300 131 461 Tel + 61 (0)2 9805 6611 Fax + 61 (0)2 9887 1030 www.aftrs.edu.au © Australian Film, Television and Radio School 2014 Published by the Australian Film, Television and Radio School ISSN 0819-2316 The text in this Annual Report is released subject to a Creative Commons BY- NC- ND licence, except for the text of the independent auditor’s report. This means, in summary, that you may reproduce, transmit and otherwise use AFTRS’ text, so long as you do not do so for commercial purposes and do not change it. You must also attribute the text you use as extracted from the Australian Film, Television and Radio School’s Annual Report. For more details about this licence, see http://creativecommons.org/licenses/by-nc-nd/3.0/deed.en_GB. This licence is in addition to any fair dealing or other rights you may have under the Copyright Act 1968. You are not permitted to reproduce, transmit or otherwise use any still photographs included in this Annual Report, without first obtaining AFTRS’ written permission. The report is available at the AFTRS website http://www.aftrs.edu.au Cover: Still from AFTRS award-winning student film, All Gods Creatures 1 AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL Building 130, The Entertainment Quarter, Moore Park NSW 2021 PO Box 2286, Strawberry Hills NSW 2012 Tel: 1300 131 461 Tel + 61 (0)2 9805 6611 Fax + 61 (0)2 9887 1030 www.aftrs.edu.au © Australian Film, Television and Radio School 2014 Published by the Australian Film, Television and Radio School ISSN 0819-2316 The text in this Annual Report is released subject to a Creative Commons BY- NC- ND licence, except for the text of the independent auditor’s report. -
Australian Comedy
As fi lmgoers, do you When, I wondered, was the last Australian fi lm enough premise and a suffi ciently confi dent sometimes wonder if comedy that seemed genuinely funny, as if sense of the comic spirit to sustain audience inspired by a viable narrative agenda and with involvement in a feature-length comedy? the phrase ‘Australian a screenplay that could articulate this—and comedy’ is an oxymoron? keep up the work until the very end? It’s near- Writing about ‘Comedy’ in The Oxford Certainly, as I watched ly twenty years since Crocodile Dundee (Peter Companion to Australian Film (1999), Felicity Faiman,1986) became the highest-grossing Collins claimed that, after the international in a concentrated burst Australian fi lm ever, milking every stereotype successes of the early 1990s (Ballroom, Mu- over a couple of weeks a of the superiority of bush innocence over riel, The Adventures of Priscilla, Queen of the half-dozen fi lms from the urban sophistication for all it was worth. Then Desert [Stephan Elliot, 1994]) ‘Australian cine- there were admittedly very funny sequences ma has become synonymous with comedy’.1 last fi ve years, it did quite in, and aspects of, Strictly Ballroom (Baz She was able then to argue a case for such often seem to me that Luhrmann,1992) and Muriel’s Wedding (P.J. a view that would be hard to mount now. the phrase was yoking Hogan, 1994), but their real distinction lay Some of the same thematic preoccupations together two concepts elsewhere. Was The Castle (Rob Sicth, 1997) underlie the fi lms I am concerned with here: the last Australian fi lm that had a strong there are still ‘little guys’ taking on corpora- with little common ground.