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Ten years after its introduction the Producer Offset (PO) is proving invaluable to producers not accessing any other government funding. But there are concerns.
Producer Jonathan M Shiff explains why Mako Mermaids is a standout success internationally – and why the local production environment for children’s television has badly deteriorated.
Head of Production Sally Caplan explains the thinking behind Screen Australia’s feature film investments and grants.
Screen Australia part funds up to 20 features annually. The key criteria is excellence but there are other matters in play.
Examining the individual decisions made in 2014/15 illustrates how the theory behind the question of what to fund and why is put into practice.
It is early days to discuss sales information on films financed in 2014/15 but here’s how they’re tracking so far.
Foreign films pushed up activity, TV hours have shrunk over time, local film numbers have grown, and there’s a lot of tangled threads.
Some of the biggest challenges of the review acutely apply to children’s content including out-of-date regulation, market failure and commerce vs culture.
The Federal Government is examining how to ensure audiences get to see local content and has called for submissions. Be afraid; be very afraid.
Many want the Producer Offset pushed up to 40% for all television that’s currently eligible. Who wouldn’t want government money if it’s on offer … ?
It’s only fair that Australian content rules are applied more evenly to more platforms; what happens to quotas is the big question.
Many want the Government to stop cutting Screen Australia funding but few ask what might happen if more money goes to production via other means.