New projects to receive support include I Am Jack, a drama about school bullying that takes the main character, Jack, and everyone around him to the edge. The script will be based on Susanne Gervay’s novel, which she will adapt for the screen, with director Nadia Tass, producer Stephan Wellink and executive producer David Whealy.

Confessions of a Super Man is a horror drama, to be developed by writer/director Angela How and producer Marian Macgowan, about a teenage sociopath who records his violent life via a superhero comic strip.

Writers Jack Brislee, James Nicholas, Karel Segers and Paul Sullivan will be supported to develop their script Long Tan, based on a battle in the Vietnam War in which 108 inexperienced Australian and New Zealand soldiers attempted to hold off an enemy force of 2,500 Viet Cong and North Vietnamese soldiers. Kriv Stenders (Red Dog) is attached to direct with producers Charles Hannah and Martin Walsh and executive producers Meyer Shwarzstein and Peter Wetherell.

Writer Jan Sardi will be supported to develop a new action adventure script, Mulan, with producer Emile Sherman. Writers Josh Reed and Rob Gibson will also be supported to develop their action script Common Foe, with Josh Reed set to direct, and Stephen Chamberlin will be supported to develop his musical feature script Soundtrack with executive producer Michael Birnbaum.

Screen Australia is also pleased to announce three new internships through its Talent Escalator Program. Writer/director Alex Murawski will spend three months in Los Angeles working with director Bruce Beresford on his new production of Bonnie and Clyde. Natalie Lindwall will spend six months as a development producer working across film and television with the award-winning London based company Ecosse Films. Producer Raquelle David will spend six months in Toronto working directly with producer Niv Fichman across the development and production slate at Rhombus Media.

Also through the Talent Escalator Program, Screen Australia will support three directors, Cris Jones, Vicki Sugars and Julietta Boscolo, to travel to the Netherlands to develop their feature projects at the Binger Director Lab.

See below for the full list of announced feature projects in development.

SINGLE-PROJECT DEVELOPMENT: FEATURE DEVELOPMENT

BAD ANGEL
Genre Comedy
Producers Antonia Barnard, Nicholas Cole
Director Kriv Stenders
Writer Shaun Grant
Synopsis The transformation of Angelo d’Angelo, a New York hit man who is unwittingly embraced into the bosom of a simple, rural Australian community. For the first time, Angelo learns that love and family are just as effective as any weapon he’s ever known.

COMMON FOE
Genre Action
Producer/Writer Rob Gibson
Writer/Director Josh Reed

CONFESSIONS OF A SUPER MAN
Genre Horror Drama
Producer Marian Macgowan
Writer/Director Angela How
Synopsis Brian, an indulged Australian Chinese teenage sociopath, records his violent life via a superhero comic strip of his own creation. When Brian’s desire for his father’s mistress ends in their death, his mother acts to finally stop her son.

DOWNRIVER (AKA SCRATCH THE SURFACE) 
Genre Thriller Drama
Producer Jannine Barnes
Writer/Director Grant Scicluna
Synopsis Seventeen-year-old James is released from juvenile detention and travels back to the scene of his crime to find the body of the young boy he killed when he was 10.

HALFWAY MOTEL
Genre Psychological Drama
Producer Lyn Norfor
Writer/Director Miranda Nation

I AM JACK
Genre Drama
Producer Stephan Wellink
Executive Producer David Whealy
Writer Susanne Gervay
Director Nadia Tass
Synopsis Jack’s a great guy, but school bullying is insidious, taking Jack and everyone around him to the edge.

LONG TAN
Genre Drama
Producers Charles Hannah, Martin Walsh
Executive Producers Meyer Shwarzstein, Peter Wetherell
Writers Jack Brislee, James Nicholas, Karel Segers, Paul Sullivan
Director Kriv Stenders
Synopsis Major Harry Smith and his company of 108 young and mostly inexperienced Australian and New Zealand soldiers hold off an overwhelming enemy force of 2,500 battle-hardened Viet Cong and North Vietnamese soldiers in the Battle of Long Tan.

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

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

MULAN
Genre Action Adventure
Producer Emile Sherman
Writer Jan Sardi

ONE CROWDED HOUR
Genre Biopic
Producer Todd Fellman
Writer Andy Cox
Director Lance Kelleher
Synopsis Legendary combat cameraman Neil Davis spent over 20 years from the early 60s risking his life on the frontlines of Indo-China to capture some of the most powerful and influential images of war in an effort to save the people and culture he had grown to love.

SOUNDTRACK
Genre Musical
Executive Producer Michael Birnbaum
Writer Stephen Chamberlin

TALENT ESCALATOR PROGRAMS: INTERNATIONAL WORKSHOPS

JULIETTA BOSCOLO – CATCHING SIGHT – BINGER DIRECTOR LAB
Genre Drama/Comedy
Producer Linda Micsko
Writer/Director Julietta Boscolo
Synopsis A 30-year-old blind woman regains her sight; but will she be able to accept the flaws she sees in her past and find love?

CRIS JONES – BYZANTIUM – BINGER DIRECTOR LAB
Genre Drama
Producers Melanie Coombs, Mish Armstrong, Alicia Brown
Writer/Director Cris Jones
Synopsis After a road accident on the highway, a young man finds himself trapped in a strange, remote town, where nothing – and no one – is as it seems.

VICKI SUGARS – U-TURN – BINGER DIRECTOR LAB
Genre Drama
Producers Julie Byrne, Vicki Sugars
Director Vicki Sugars
Synopsis Fifteen-year-old Babe learns how to turn her family’s grief around when her sister is killed in a car accident.

TALENT ESCALATOR PROGRAMS: INDUSTRY INTERNSHIPS

RAQUELLE DAVID INTERNSHIP 
Producer Raquelle David will spend six months in Toronto, Canada, working directly with producer Niv Fichman across the development and production slate at Rhombus Media (Blindness, The Red Violin, Antiviral).

NATALIE LINDWALL INTERNSHIP
Natalie Lindwall will spend six months as a Development Producer across film and television with the award-winning London-based company, Ecosse Films (Diana, Wuthering Heights).

ALEX MURAWSKI INTERNSHIP
Writer/director Alex Murawski will spend three months in Los Angeles working with director Bruce Beresford (Driving Miss Daisy, Black Robe, Mao’s Last Dancer) on his new production of Bonnie & Clyde.

Media Enquiries
Teri Calder T: 02 8113 5833; M: 0408 440 995
teri.calder@screenaustralia.gov.au

Jo has been developing screen stories in Australia and the UK for almost 10 years. After a successful career as a national newspaper journalist and broadcast commentator, Jo joined Emmy®-winning UK production company Yipp Films as Head of Development, where she developed factual narratives for network television and established the company’s first drama slate.

She went on to work as a script and story consultant, developing feature films, shorts and documentaries for independent producers including Ipso Facto Films, Jack & Jill Films and Vita Nova Films. Many of these projects achieved critical and commercial success.

Jo has worked as an assessor and mentor for screen agencies in the UK and has assessed scripts in Australia for Screen Australia, Film Victoria and the Australian Writers’ Guild. She has also mentored emerging screenwriting talent through Open Channel.

Screen Australia’s Head of Development Martha Coleman said, “We wish Christopher the very best at this exciting time in his career and it’s with real pleasure that we welcome Jo to the team. Jo has exceptional craft skills and her insight and sensitivity make her a great developer. She will be a wonderful resource for our filmmakers and a valuable member of the development team.”

Jo will commence on 20 May 2013 and will be based in Screen Australia’s Melbourne office.

Media Enquiries
Teri Calder T: 02 8113 5833; M: 0408 440 995
teri.calder@screenaustralia.gov.au

Up to four producers from Australia and New Zealand (two from each country) will be selected to meet with 10 European producers (from 10 different countries) and 10 Canadian producers to discuss and pitch their projects, and participate in a number of seminars and events.

The Lab takes place 4–7 September 2013 and will include:

• pitching sessions

• one-to-one meetings between the European, Canadian, Australian and New Zealand producers

• case studies of completed European/Canadian co-productions

• presentations of financing and co-production structures

• networking events with sales agents, distributors and press.

If eligible under Screen Australia’s International Festival and Marketplace Travel Program, applicants may also request up to $5,000 in travel support.

Producers should have co-production experience or a track record sufficient to make them a viable co-production partner. They should have produced at least one feature film, and priority will be given to producers whose latest film was selected for a significant international festival, was released domestically and sold internationally.

Further information, guidelines and application form are available on the Screen Australia website.

The deadline for submissions is Monday 3 June 2013. Selection of Australian participants will be made by Screen Australia by the end of July.

For enquiries please contact Dale Fairbairn, Marketing Manager Industry Support, on 02 8113 5980 or dale.fairbairn@screenaustralia.gov.au

Masterclass #1 Think Big - Independent Collaboration

In this masterclass we bring together the work of three seriously talented documentary makers to explore all aspects of their most recently applauded work and investigate the importance of having a highly functional and collaborative relationship between director and producer.

Joshua Oppenheimer is the director of The Act of Killing, a film that has stunned audiences across the world since its release last year. Oppenheimer explores politically induced insanity through documenting the mass killings in Indonesia, following the CIA-funded military overthrow of the Indonesian government in 1965. Oppenheimer uses re-creations to capture the reality of torturer and victim with devastating results.

Director Andreas Dalsgaard explores the notion of the mega-city in his film The Human Scale. By 2050, 80 per cent of people will live in cities. Dalsgaard shines a light on the work of Gehl Architects and a company that argues the need for sharing and community to combat shortage of resources and the threat of ecological disaster.

Signe Byrge Sørensen is the producer of The Act of Killing and The Human Scale along with many other internationally acclaimed productions. The prolific Dane has made documentaries throughout the world under her production company Final Cut for Real.

Masterclass #2 Think Big -Telling Family Secrets

Oscar®-nominated director Sarah Polley interviews members of her family about her late mother and the story behind her own conception in her intimate, award-winning, confessional documentary Stories We Tell. Polley builds an insightful understanding of family, through the excavation of truth, weaving the inconsistency of memory through her story. The result is a highly original and experimental portrayal of family. Polley will discuss how she managed the contradictions of story and the decisions she made in the pursuit of truth. The masterclass includes a screening of Stories We Tell.

DETAILS

MASTERCLASS #1 THINK BIG - INDEPENDENT COLLABORATION
Friday 7 June 2013
9.45am arrival for 10am start
10am–12pm Masterclass followed by refreshments
Sydney Film Festival Hub at Lower Town Hall
483 George Street (enter on Druitt Street)
Cost: $20 Buy tickets to Masterclass #1

Note that The Act of Killing and The Human Scale will be screened at the SFF. Please click on the film names to buy tickets to these screenings.

MASTERCLASS #2 THINK BIG - TELLING FAMILY SECRETS
Friday 14 June 2013
9–11am Private screening of Stories We Tell (restricted to masterclass ticket holders only)
Cinema 6, Event Cinemas 505–525 George Street
11–11.30am Refreshments at the Hub
11.30am–1.30pm Sarah Polley in conversation with Sandy George
Sydney Film Festival Hub at Lower Town Hall
483 George Street (enter on Druitt Street)
Cost: $30 (includes screening) Buy tickets to Masterclass #2

Places are strictly limited. Discounted cost for both workshops $45.
Buy tickets for both masterclasses.

The report, Child’s Play: Issues in Australian Children’s Television 2013, reveals that children do prefer content that’s made specifically for them. While children are commonly co-viewing general-audience programs with their families, they have a clear preference for children’s programs when they have control of the remote. They also value Australian content, and are more highly engaged when they are watching drama programs over other types of programs.

Screen Australia’s Chief Executive, Ruth Harley, said, “This research clearly demonstrates that there’s an appetite for quality children’s television content. Programs made specifically for children are different from material produced for a family audience because they deal with stories and issues of interest to kids in appropriate ways. The delivery of quality Australian children’s programming is essential to the cultural well-being of young Australians, so that they have the opportunity to see Australia’s identity, character and cultural diversity reflected back to them.”

Children surveyed for the research revealed that their favourite channels are the ABC’s dedicated children’s channels. Although the majority said it didn’t matter to them where a TV show was made, almost all of those who did have a preference preferred Australian programs over foreign ones. Much like their older counterparts, most children want to watch good shows, regardless of the country of origin.

However, when children were asked to nominate their favourite shows, Australian titles featured prominently. Giggle and Hoot and Play School were way ahead of all other titles for 2–7 year-olds. Home & Away, Neighbours and Dance Academy were all in the top 10 favourite dramas for older children (with Home & Away at number two after Modern Family), and all of their top five favourite non-dramas were Australian, led by Australia’s Funniest Home Videos, X-Factor and Good Game.

The report also reveals that broadcasters’ programming strategies are being impacted in multiple ways in the evolving media environment, but scheduling continues to be key to the broadcast success of programs. Inconsistent scheduling has made it difficult for some programs to build loyal audiences.

Financing children’s content is more difficult than ever in the new media landscape, the report shows. Children’s programs attract lower broadcast licence fees than programs for adults, and finance is even tighter as audience fragmentation places pressure on advertising revenues. Australian children’s programs also rely heavily on foreign finance, so the global financial crisis together with the strong Australian dollar have created extra challenges for the sector.

In response to Screen Australia’s report, Child’s Play: Issues in Australian Children’s Television 2013, children’s television industry leaders have met and agreed the following:

• Australian children’s television is important.

• The research shows children want to watch quality content made specifically for them.

• The sector is keen to work with government and the broadcasters to ensure more children’s television success stories.

Dr Harley said, “The Australian children’s television sector is highly regarded both domestically and internationally, with programs such as Dance Academy broadcast all over the world in over 180 territories and Lockie Leonard and Mortified broadcast in Asia, Europe and South America among other countries.”

“What this research tells us is that in order to be able to continue to deliver high-quality Australian children’s content, we need to promote ‘buy in’ from broadcasters to best deliver content to Australian child audiences in the new fragmented media environment,” said Dr Harley.

Child’s Play: Issues in Australian Children’s Television 2013 summarises the results of three comprehensive briefing papers. Data on child audience attitudes and behaviours draws on What’s On, a survey of children aged 2–14 years commissioned by Screen Australia and the Australian Children’s Television Foundation. It includes detailed findings on factors such as parental control over entertainment technology, the ways in which children choose programs to watch, and habits around watching content online. Separate papers, based on Screen Australia analysis, focus on the production and broadcasting of children’s content.

The report can be downloaded from www.screenaustralia.gov.au/childsplay

Media Enquiries
Tracey Mair M: 0419 221 493
traceym@tmpublicity.com

Julia has over 25 years’ experience in screen development and production and has worked with all the Australian free-to-air networks on an array of projects across documentary, reality, factual and entertainment. She comes to Screen Australia from Essential Media and Entertainment where she was an executive producer and creative lead on many projects.

Julia’s recent production credits include Raising the Curtain and Do or Die. She has also lectured on Creative Development at the Australian Film, Television and Radio School.

Screen Australia’s Documentary Manager, Liz Stevens, said, “I am delighted that Julia will be joining the Screen Australia team. Her extensive and diverse experience in programming will be a valuable asset to both staff and industry.”

Julia started work at Screen Australia on Wednesday 1 May.

As part of the Australian Embassy Beijing’s ongoing promotion of the Australian film industry in China, and building on the success of the two previous ACFIFs in 2010 and 2012, the third forum will be held 14–15 June in Shanghai, immediately prior to the Shanghai International Film Festival (SIFF) held 15–23 June.

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

In 2013, as well as maintaining this broad approach, the ACFIF will in part focus on 3D, post, digital and visual production aspects to capitalise on the growing interest and increasing demand for 3D films and digital technologies in China, and to highlight the strengths of the Australian post‐production and visual effects industries. It will include panel sessions, presentations, and both bilateral and multilateral networking opportunities.

As part of the Embassy’s cultural outreach program, it is able to provide a small amount of financial support to a limited number of film industry delegates to attend the forum in Shanghai. This support will go towards forum registration fees, accommodation costs and ground transport in Shanghai. It does not cover travel to or from China, visas and insurance, or any SIFF and associated event fees (these fees are TBC). If you wish to access this funding, you are requested to submit an Expression of Interest to the Australian Embassy with a copy to Screen Australia and Ausfilm, no later than COB Monday 6 May 2013.

2013 Australia-China Film Industry Forum (ACFIF)
14–15 June 2013
Shanghai, China

Applications should be sent to the Australian Embassy, Screen Australia and Ausfilm:

Ms Katie Tian
Australian Embassy Beijing
katie.tian@dfat.gov.au

Ms Elena Guest
Screen Australia
elena.guest@screenaustralia.gov.au

Ms Kristy Officer
Ausfilm
kristy.officer@ausfilm.com.au

Download the guidelines and application details.

Screen Australia’s Head of Development, Martha Coleman, said, “Each of these animations is evocative, emotional and innovative, driven by exciting, strong voices at different stages in their career. The diverse range of teams and projects in this round continues to reflect the breadth and calibre of talent in the Australian film and animation industries.”

The Nightingale and the Rose is a collaboration between two-time Archibald-winning artist Del Kathryn Barton and Brendan Fletcher, both of whom will co-direct and write. A visceral reimagining of Oscar Wilde’s short story, it’s a moving tale of sacrifice and the joy that resides in the experience of true love. Angie Fielder, Brendan Fletcher and Polly Staniford will produce the film and animators Liz Ellis and Richard Swan will also be part of the key creative team. The team are partnering with Method Studios who will create innovative animation techniques in order to bring Del Kathryn Barton’s artwork to the screen.

Lost Property Office is a stop-motion animation from writer, director and animator Daniel Agdag and producer Liz Kearney. It tells the story of Ed who, like the objects in his office, is lost and left behind by the world – until he harnesses the power of those objects to escape from his humdrum life. Daniel’s intricately constructed cardboard sets are an ongoing signature of his animation style which is reflected in his previous short films Paper City Architects (AFI Award for Best Animation 2008, Dendy Award for Most Innovative Short 2007) and Toil. Liz Kearney produced the live-action Springboard short Transmission (AACTA nominated for Best Short Film 2013, AACTA Award for Best Short Screenplay 2013) and has recently completed filming the feature film These Final Hours.

Screen Australia is also providing completion funds for writer, director and animator Simon Cottee’s The Duck. Based on a short story by Ben Loory, The Duck is a touching, fable-like story about the improbable love between a duck and a rock. Simon’s previous film, The Wedding, screened at the Cannes Short Film Corner. The Duck is produced by Sara Taghaode and Austin Wintory is attached as the composer.

Screen Australia’s Short Animation Production Program is intended to assist the career progression of strong and distinctive animation filmmakers and to showcase their work to an international audience. Shorts funded through the program have achieved numerous festival and award accolades including the AACTA and Dendy Award–winning Nullarbor, produced by Katrina Mathers, Merrin Jensen, Patrick Sarell, Daryl Munton, directed by Alister Lockhart and co-directed and written by Patrick Sarell; Oscar®-winning The Lost Thing, produced by Sophie Byrne, written by Shaun Tan and directed by Shaun Tan and Andrew Ruhemann; and Oscar®-winning Harvie Krumpet, produced by Melanie Coombs and written, directed and animated by Adam Elliot.

THE DUCK
Genre Drama
Producer Sara Taghaode
Writer Ben Loory
Director Simon Cottee
Synopsis A duck hopelessly in love with a rock that can never love him back must take action before his heart breaks.

LOST PROPERTY OFFICE
Genre Drama
Producer Liz Kearney
Director Daniel Agdag
Synopsis Ed is the sole custodian of a lost property office. In many ways he is like the lost items gathering dust. But although he is content to remain this way a letter on his desk compels him otherwise. How he chooses to move on from his post is somewhat unorthodox.

THE NIGHTINGALE AND THE ROSE
Genre Fantasy/Adult Fable
Producers Angie Fielder, Brendan Fletcher, Polly Staniford
Writer/Directors Del Kathryn Barton, Brendan Fletcher
Synopsis A Nightingale bird discovers ‘a true lover’ when she sees a young university student from her home in the oak tree. The Nightingale is so taken by the virtue of the student’s passion that she commits to help him find the single red rose that his lover requests of him. However, this comes at a price. The chilling ritual that she must put herself through to summon this flower into being is a collision of love, death and nature. The world of the true lover will never be the same again. Based on Oscar Wilde’s timeless story of ecstatic first love and the artwork of Del Kathryn Barton.

Media Enquiries
Teri Calder T: 02 8113 5833; M: 0408 440 995
teri.calder@screenaustralia.gov.au

Rodd Rathjen is an Australian-born director and a Victorian College of the Arts graduate.

Tau Seru is a screen collaboration with India. It was co-produced by Tashi Wangail and was shot entirely in the Himalayas, India.

The screening in Cannes will mark Tau Seru’s world premiere.

“When we were shooting in the Himalayas and couldn’t breathe because of the altitude I think we were all feeling that we had bitten off more than we could chew. Everybody worked really hard so to share the news about Cannes is very satisfying,” said Rodd Rathjen upon hearing of the selection for Critics’ Week.

“Selection for an event like Critics’ Week is a tremendous vote of confidence in Rodd and all the team involved,” said Kathleen Drumm, Screen Australia’s Head of Marketing. “It marks them out for international industry attention. It’s also great to see a collaboration with India gaining this distinction, as the country was an official Australian Government territory of focus in 2012.”

TAU SERU
8 mins
Writer/Director Rodd Rathjen
Producers Rodd Rathjen, Tashi Wangail
Cast Deskong Namgyal Nurla, Tashi Wangail
Synopsis In the vastness of the Himalayas, a young nomad’s curiosity lies beyond the horizon.

Media Enquiries
Teri Calder T: 02 8113 5833; M: 0408 440 995
teri.calder@screenaustralia.gov.au

Screen Australia’s Senior Manager, Interactive and Multi-platform, Tim Phillips, said, “We’re thrilled to have industry assessors of the calibre of Siobhan Reddy and Rob Murray working with us. They bring a wealth of experience from the games sector to the table.”

Siobhan Reddy is Studio Director at Media Molecule, who created the hugely successful and innovative LittleBigPlanet game franchise. She was recently named Australian Woman of the Year in the UK and by the BBC as one of the 100 most powerful women in the UK. Cultivating an early fascination with fanzines, technology, pop culture and entertainment led to her first job at Spike Wireless. Siobhan entered the games industry at 18 years of age as Production Assistant at Perfect Entertainment in the UK on DiscWorld Noir. By 1999, she had joined Criterion Games as Producer where she consistently shipped high-quality titles including, Burnout 3 and Burnout 4.

Rob Murray has broad experience in the Australian games industry as an entrepreneur, designer, producer and engineer. In 1999, Rob founded Firemint, the critically acclaimed game developer and publisher best known for iPhone hits Real Racing and Flight Control. Firemint’s accolades include Design Awards from Apple, and the Federal Government’s Australian Exporter of the Year (Art & Entertainment). Rob has been personally recognised by Ernst & Young’s Entrepreneur of the Year awards as well as the Pearcey IT award for taking a risk and making a difference in the development of the Australian ICT industry. Rob sold Firemint to NASDAQ listed Electronic Arts in 2011 and continued there as an executive producer until early 2013. He has also served terms as a director of Film Victoria and the Game Developers’ Association of Australia. Rob is currently pursuing investments in the broader technology industry.

Successful applications will be announced at Screen Australia’s Jobs, Dollars, Hearts & Minds conference on 18 June 2013. The conference is a one-day policy event in Canberra on the key issues and opportunities facing screen businesses and Australian content.

For more information about the Games Enterprise Program visit the Screen Australia website.

Media Enquiries
Teri Calder T: 02 8113 5833; M: 0408 440 995
teri.calder@screenaustralia.gov.au

“We are very excited that the second film for the attachment scheme is with Tony Ayres,” said ADG Executive Director, Kingston Anderson. “He is one of our most talented screen directors.”

Screen Australia’s Head of Development, Martha Coleman, said, “This is another great opportunity for an emerging director to learn from a hugely respected and generous director, Tony Ayres. It’s indicative of the high-quality attachments we intend to continue into the future through this scheme and we are enormously grateful to Tony and Matchbox Pictures for enabling this.”

Participating films primarily shot in Western Australia, Queensland and South Australia will only be open to applicants from those states. Participating films shot in all other states and territories will be open to applicants from anywhere in Australia.

Applications may be submitted to the ADG from interested directors who have the following qualifications:

• Two short fiction drama films publicly screened OR
• One short fiction drama film which has screened at an accredited film festival (Sundance, Berlin, Venice, Cannes, Clermont-Ferrand, Pusan, Rotterdam, SXSW or Telluride) OR
• Experience directing television series drama or serial drama but must convince there is a commitment to directing feature film drama OR
• Graduation from qualifying film schools (AFTRS, VCA, WA Screen Academy, QUT, Swinburne, Griffith University, Deakin University, Sydney Film School, Flinders University) having directed more than one short fiction drama film.

The applicant will be asked to submit the following to the ADG:

• Resume
• Written reference from an established screen industry practitioner
• 100 words or less on why they want to do the attachment outlining the career benefits
• DVD copy of past work.

Applications are now open for the second director’s attachment with Tony Ayres on Matchbox Pictures’ film Cut Snake, filming in Victoria. The deadline for applications is Friday 10 May 2013.

Please forward all applications to:
Director’s Attachment Scheme
Australian Directors Guild
PO Box 211
Rozelle NSW 2039
Email: exec@adg.org.au

For more information please contact the ADG on 1300 539 639 or visit www.adg.org.au

Speakers include Arts Minister Tony Burke, Senator George Brandis and Screen Australia Chair Glen Boreham AM.

A panel on the future for Australian content will be chaired by Screen Australia Chief Executive, Ruth Harley, and will feature:

Greg Basser (CEO Village Roadshow Entertainment)
David Haslingden (NHNZ and Chairman Channel 9)
Megan Elliott (Director X|Media|Lab)
Kim Dalton (former Director ABC TV)
Iarla Flynn (Head of Public Policy Google)

More speakers to be announced

Tuesday 18 June 2013
10am for a 10.30am start, full-day conference
Hotel Realm Canberra, 18 National Circuit, BartonTickets are limited and can be purchased here secure.twodeforce.com.au/screen-australia/register

Screen Australia and IFP have again partnered to enable selection of up to three Australian projects for this prestigious US co-production market. Focusing on the discovery of 45 new projects in development from established producers, the program is open to Australian producers who have scripts with 20 per cent financing in place. Producers will be selected on the strength and artistic merits of their projects.

No Borders is the oldest and most prominent co-production market in the US for narrative projects and provides producers with the chance to secure financing for their feature projects through one-on-one meetings, informal roundtable discussions and networking events.

Once selected, IFP will provide Australian producers with professional pitching and industry consultation prior to participation. Please see the No Borders guidelines on the IFP website.

Screen Australia will shortlist projects before final selection by the No Borders IFP team. The submission deadline for applications to Screen Australia is Wednesday 24 April 2013. If eligible under Screen Australia’s International Festival and Marketplace Travel Program, applicants may also apply for a travel grant. IFP will provide accommodation during No Borders.

The No Borders Co‐Production Market will be held 15–19 September 2013.
Guidelines and an application form are available from the Screen Australia website.

Funded through the National Documentary Program, the series will tell the epic story of Australia’s involvement in World War I through the lives of five Australians. Their transformative journeys through conflict on the war front and the home front will be brought to life through a blend of personal testimony, drama, expert analysis, location filming and archive.

Screen Australia’s Chief Executive Ruth Harley said, “Since 2005, in association with ABC Television, Screen Australia and its predecessor agencies have brought more than 70 hours of Australian history programming to the national audience.”

“The War That Changed Us has substantial Australian history heritage value, which is one of the core remits of our National Documentary Program. This documentary series is a remarkable Australian story which will be told on a grand scale,” said Dr Harley.

THE WAR THAT CHANGED US
4 x 57 mins
WW1 Documentary Pty Ltd
Producer Andrew Ogilvie
Writers Don Featherstone, Clare Wright
Director Don Featherstone
Broadcaster ABC
Synopsis The epic story of Australia and the First World War is revealed through the lives of five Australians.

Media Enquiries
Teri Calder T: 02 8113 5833; M: 0408 440 995
teri.calder@screenaustralia.gov.au