Screenwriter Samantha Strauss writes about her 14-year journey with Dance Academy.
We check in with some of the recipients of Gender Matters to see how their projects or initiatives have been progressing.
Geena Davis has a pretty straightforward answer for how to make more money in film and television – and you’ll be doing the world a service too.
Geena Davis is intent on highlighting sexism in Hollywood, as are these allies.
Australian films are enjoying a strong international presence already this year, with six generating considerable heat at Sundance Film Festival.
The Screen Currency report for the first time measures the value of Australian screen content as a magnet for international tourism.
Independent of Screen Australia, Don Groves talks Screen Currency with industry heavyweights.
Director Garth Davis, producer Emile Sherman and stars Nicole Kidman and Dev Patel on working in Australia and taking Saroo Brierley’s story to the screen.
We’re seeing Aussie video content gaining impressive traction at Webfests, the International Emmy awards, and on streaming platforms worldwide. Here’s how.
Two fresh, distinct voices from the comedy world have blasted their way onto our TV screens – and they should come with a warning.
One of the most common questions Screen Australia is asked by everyone from the general public to politicians is: how is the screen industry doing?
As The Wrong Girl and Deep Water hit screens Twitter’s Tony Broderick talks about the Screen Australia initiative helping these TV dramas.
Australian producer Bruna Papandrea of Gone Girl and Wild reflects on her career trajectory, emphasising the importance of mentors for budding filmmakers.
Screen Australia launches a comprehensive report into diversity on Australian screens to inform the conversation and calls for real, long-lasting change.
Behind the eclectic concepts of Brilliant Stories is a myriad of female voices, some of which have yet to be heard at this level before.
Gender Matters aimed to create a surge of female stories through Brilliant Stories, but how do you ensure long-lasting change? Enter: Brilliant Careers.
Shot entirely in southern Tasmania, the landscape has a starring role in Foxtel’s new drama The Kettering Incident.
Creator Ryan Griffen walks us through the densely layered world of Cleverman, brimming with creatures, culture and suspense.
Screen Australia CEO Graeme Mason and writer Benjamin Law take stock a year on from Miranda Tapsell’s rousing call for more diversity at the Logies.
Freedom to take risks and ability to tap into mass audiences, online storytelling is becoming a key player – a trend set to continue with Skip Ahead #3.
For Hunter Page-Lochard, working on his father’s feature directorial debut Spear was like a rite of passage.
The Daughter director Simon Stone talks through the challenges of adapting Ibsen’s The Wild Duck for his feature film debut and its intense 30-day shoot.
Video on Demand (VOD) is providing docos with a global platform to get their films noticed and experts are calling it a “no-brainer” for Aussie filmmakers.
The Australia-China screen relationship is deepening in features, children’s programming and documentaries. Don Groves finds out why.
With Looking for Grace and The Daughter both film festival darlings, Odessa Young is suddenly finding herself in the spotlight.
Never underestimate the intern. That’s one take-home message from Cleverman, the series that premieres at Berlinale before its ABC TV debut later this year.
When Molly airs, it will kick off another year of miniseries based on the lives of Australian personalities – a trend that isn’t showing signs of slowing.
Step inside the gated home of Sydney’s new millionaires and see what all the fuss is about with Here Come the Habibs.
Epic genre series Cleverman is selected for Berlinale, not only commending the quality of Indigenous storytelling, but changing attitudes toward TV too.
A new generation of Aussies are flocking to the web to create fearless, gut-busting comedy, and grabbing the attention of decision-makers and fans alike.
Diversity shouldn’t be the central focus of a series, but simply exist within a moving, engaging and universal story, says Tony Ayres.
As the cost and risk of creating home-grown TV increases, Screen Australia’s role in supporting locally-made series is more vital than ever.
Australian film, TV and multiplatform soared to new heights in 2015 and we look back on the year that was, as well as casting our eyes to exciting times ahead.
A brave Australian filmmaker is tackling the issue of domestic violence from a different perspective in new ABC documentary Call Me Dad.
The Screen Australia/Australian Directors Guild Director’s Attachment Scheme is proving to be a valuable springboard for emerging directors, with an increasing emphasis on gender equality and cultural diversity.
It took a trip to geek mecca San Diego Comic-Con for Robert Mond to realise what his first feature needed to be.
Whether it’s welcoming Bollywood crews to Australia or casting fast-bowler Brett Lee as his leading man, director Anupam Sharma has always gotten a kick out of pushing boundaries. And with his latest flick unINDIAN, he may have hit a six.
Some ideas are so obvious that everyone jumps on board at hello. That was the case with Mambo: Art Irritates Life, an irreverent playful high octane documentary about one of Australia’s most successful brands – an unlikely, subversive collision of music, art and zeitgeist that took on the world.
Kill Me Three Times is an Aussie crime caper that harks back to Ozploitation and heralds a new age for film marketing at the same time.
While novels have been a longstanding staple of screen material, this year sees an unprecedented number of stage plays translated to film by some of the most established names in theatre.
Sporting a dishevelled look of longer hair and a beard that sent his legion of admirers into a frenzy at Cannes recently, Baker shared some thoughts about his latest project Breath with The Screen Blog.
He is, without a doubt, having his moment: Patrick Brammall, 37 is on our big and small screens this month with both Ruben Guthrie and Glitch and Australian audiences can’t seem to get enough of him.
You may not be aware, but across vast and remote parts of Australia, a film project has been underway for several years.
Who knew a Logie acceptance speech could have such impact? When Miranda Tapsell accepted her two awards for Love Child with comments urging broadcasters to ‘put more beautiful people of colour on TV and connect viewers in ways which transcend race and connect us’ she triggered a tidal wave of support across social media and the industry.
The art of the seamstress requires perfectionism and patience. Qualities also required in a film producer.