How disappointed I was to read your disregard for a fellow filmmaker having such a terrible experience with Screen Australia and telling him that if he bothered to actually notify Screen Australia of his attendence that maybe they could have done something etc etc etc bla bla. You then said that you made it clear to screen australia that you were attending????? That’s not surprising Leanne when you were funded by Screen Australia to go (as it states on your webpage) and in fact no wonder you are such a great voice for Screen Australia / Film Victoria as it seems you and your company have only ever done things with funding from both of them.

I find your comments typical of the Screen Australia moto “Kick a man when his down” mentality. David, unfortunately you’re going to have to do the hard yards if you want to survive. I was funded nearly $2Million dollars only to be given no support for my own investment or that of the Screen Australia I have to pay back for over 3 and a bit years.

Rely on your own wants and needs to tell unique stories and if you do get funding or support from Screen Australia then do as Leane has done and follow like sheep so that you get more…. or do as I do and get out there and let your ability to make good films and attract great audiences sell you. Screen Australia won’t ever do that and to be honest won’t ever want to now that you’ve spoken up. Join the other 25,000 filmmakers in this country that have the balls to make films because you love the art but remember that it’s a film business. If they aren’t willing to help facilitate a business that they invested in then what hope have you got to convince them otherwise.

Go out and do what you love mate. No-one can take that away from you. Also put me in charge for one year at Screen Australia and I could turn our industry into something really special. Where investors actually have a chance to see money back and our audiences don’t laugh out loud when they are told to support an industry that doesn’t support itself. I support this industry by standing up and saying it how it is. I also pay my cast and crew more than normal. I also laugh when those that slag you off for wanting answers do what they are doing here.

Stay true to you and find a path on your own. There is a lot more to it. Your audience is out there so go get them. My webpage has had over 13,000,000 hits on it in the last year and a bit. None of which comes from Screen Australia or Film Victoria webpage tracking. What does that tell you??

Matt Norman – NOT THE BLACK SHEEP THAT FOLLOWS BUT THE BLACK SHEEP THAT IS.

My film news and review program “PREMIERE:THE MOVIE SCENE” is in it’s 4th year of production (158 episodes and counting). I dearly would like to have Australian film production news, b-roll and trailer content but have almost given up due to a lack of interest from producers.

My program is seen in numerous countries around the world and is translated into several languages. The show is usually full of Hollywood, Bollywood and film festival content, but would love to promote Aussie film and tv so if you want exposure in Europe, Middle East and other countries (and airlines). send your trailers and promotional material to me.

Andrew Thomson
Producer Director
Astro Media Pty Ltd

Anyway… sorry to hear of your frustration with Screen Australia. This post caught my attention, specifically your comments on Screen Australia’s Office/presence in Cannes. As a young/new Director, I don’t feel sufficiently clued up on the state of the Australian Film Industry (from a Producers POV) to comment. However, as a 23yr old first-time Director who has traveled to Cannes by myself… so far, my interactions with Screen Australia have proved pleasant and greatly assisting. I realise that you may have a range of goals to achieve during your time at Cannes that may differ slightly from my own… This could have something to do with our different experiences thus far. Although clearly, we’re all here to try and leverage or kick start our careers and build momentum towards future projects. I haven’t spent a great deal of time in the market section of the festival so I can’t comment in regards to that either.

However, I’ve really enjoyed using the Screen Australia office as a base… I mean they’ve, provided us with a quality and comfortable environment to hold meetings/chill out/work… with free wi-fi, laptops, printer, a screening room and one heck of an amazing view of the water front… it’s located in close proximity to the festival hub… there’s a big ‘Screen Australia’ banner hanging from the balcony for everyone to see… being in Cannes for the first time, I found it much easier to find than I would have thought… and in regards to the elevator issue, just use the second elevator a meter to your right – it goes to the 8th floor. I’ve also been provided with a ‘goodie-bag’ providing a range of informative booklets and other materials. I will admit ignorance to the way other countries have been catered for… but I have been pretty impressed with the Screen Australia Office. I’ve also attended a number of events held at the Screen Australia office and found them to be immensely enlightening and fantastic opportunities for networking… not to mention getting a free feed and a few drinks!

Sure, the Australian film industry certainly has kinks that must be ironed out… it’s far from a perfect system… I am not responding to your comments on those issues. But based purely only my experiences specifically in Cannes over the last week and a half, I feel valued and supported by both ScreenWest and Screen Australia.

I started in the film industry 22 years ago and came from outside the industry. I knew no one and had done nothing and so I DO understand the position of the complainants, but I do not agree with them (in my first year i slept in a car).

Taking on some of the points made directly – access to the Screen Australia/distributor function – I know the distributors and they WILL attend if they are meeting producers and filmmakers THEY feel are relevant to them and they WILL NOT attend if they are being approached by all and sundry. There are Screen Australia functions where all Australians are welcome and then there are select functions which are set up differently and appropriately.

The Screen Australia office – rather than being poky and badly positioned, is big enough, well resourced and well positioned. Seasoned Cannes attendees will validate that having a “booth” with some of the other country representatives, while more visible to the general public in Cannes, is not best placed to attract serious filmmakers. I feel grateful and even a bit guilty that the Australian taxpayer pays for the venue we already have as it is QUITE big and TOO nice as it is. Furthermore, Australia has had a presence at this particular location for more than twenty years and that level of continuity is very important in the often fluctuating and less than reliable world scene.

I was a no one and worked hard and made films and then became recognised and then got invited. What is wrong with that?

Additionally the office is there to support, provide a meeting venue, internet access, maybe some advice – but i see some producers expect the government agency to actually do their job as producer – set up meetings, directly make contacts etc. I would neither expect, nor even want, government people to do this.

In summary, it is fact that the office is well positioned and has well served its purpose for Australia for more than twenty years – through the good times – the years of “Strictly”, “Muriel’s”, “Priscilla”, “The Piano” – and the leaner years. Why we have good years and lean years is clearly related to the films WE the filmmakers make, not the position of a goddamn office or access for neophytes to functions.

Finally the criticism is particularly inappropriate in the context of the hard work put in by the individuals who set up and staff the office. They work tirelessly every year and i have always found them incredibly accommodating (even when i was a no one!).

Filmmaking is hard. Its meant to be. Setting up financing and distribution internationally is hard. Its meant to be. One should not take out one’s frustrations on individuals or the position of an office. And if one does have valid concerns, these should be taken up with agency directly, or the guilds or the Screen Producers Association of Australia.

regards,

Jonathan Shteinman
Producer