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Making a Show in Australia: The Politics from Development to Production

Naomi Robinson
14 min readMay 31, 2021

This report considers the context in which two government-funded organisations are impacting the Australia screen industry. Both Screen Australia and Screenwest play crucial roles in the economic and socio-cultural value the screen industry offers. Considering the important factors needed to create a show in Western Australia, and utilising these two companies, this report discusses how screen content is a product of a commodified business. Further, it considers how these two organisations are adapting to the current zeitgeist that is promoting an evolution of practices and content of our local screen industry. Fitting into the global landscape, the report briefly discusses what focussing on the audience/consumer relationship and funding more Australian content could achieve. The regulations and norms of the industry are put under a spotlight to encourage discussions on what more can be done to make Australia not just a conduit for the creation of international productions but a formidable screen sector on a global scale.

Organisations and Government Bodies:

Ausfilm
https://www.ausfilm.com.au/

Australian Communications and Media Authority
https://www.acma.gov.au/

Department of Infrastructure, Transport, Regional Development & Communications
https://www.arts.gov.au/what-we-do/screen

Make It Australian
https://makeitaustralian.com/

Screen Australia
https://www.screenaustralia.gov.au/

Screenwest
https://www.screenwest.com.au/

Introduction

In Australia, creating a show is a masterclass of negotiation in a game precedented on convincing important players of the cultural value of a project. The complex systems that exist behind-the-scenes informs the big picture through fine details and longitudinal commitment. However, this needs to be achieved in a landscape that is simultaneously in constant flux while being pitted against static processes that remain the norm. From inception to distribution, there are implicit and explicit expectations and regulations that must be hurdled to make a show. With a focus specifically on Western Australia, the broad national processes for funding and distribution alongside the specificity of the local screen industry will provide a roadmap for television outputs.

For the purposes of providing what is essentially a guide to understanding how to understand and utilise Screen Australia and Screenwest, below will detail the political and cultural factors that impact the process. To do this, the first section will break down who the important players are, recent transformations including diversifying on all levels of the organisations, and what controls their directorate. Next, funding options from the two organisations will be considered in terms of where the money goes and comes from, the rules for obtaining the money, as well as the contractual obligations that accompany financing productions. Finally, the distribution of the show including paywalls, streaming, social influence and more, will position the final stages of production which are terms that must be thought about in the early stages of a creating for screen. To piece all these factors together, a hypothetical case study will be included in the discussion to demonstrate the actionable approaches for making a television series.

Statement of Objectives

The aim of this report is to examine the practical aspects of creating a television show in Australia. This is not a frivolous exploration of opportunities, but rather, a complex investigation of the current state of these key organisations. Further, in an effort to provide transparency, this report is geared to act as a commentary on existing and proposed changes to the screen industry in Australia. In part, the objective of this report is to detail how to make a show by understanding the processes and regulatory standards. However, equally, it is a call to rule breakers and revolutionaries in embracing the air of change that envelopes the screen industry.

Important Players: Ausfilm, Screen Australia and Screenwest

For Australians to create anything in the Australian screen industry, there is a significant likelihood that par, if not all, of the project has been funded by one of the government bodies. The federal stake in the industry plays a huge role in what is produced. The government or more specifically the Department of Infrastructure, Transport, Regional Development and Communications, have several incentives, offsets and programs geared to boosting production numbers which provide much needed economic value through jobs and import/exports (Australian Government 2021b).

From this federal level, it is important to note that a large portion of attention is placed on enticing international productions to film and do post, digital and visual effects in Australia. If eligible for Qualifying Australian Production Expenditure, grants and tax rebates are available that can then be combined with state and local government incentives and funding. However, magnifying the processes even further, the reputation of Australia as a world-class location for filmmaking, with a strong reputation behind our talent (actors, writers, producers, directors, post-production and other industry workers), facilities, locations and collaborative agencies are built around categorical eligibility and standards (Australian Government 2021b; Ausfilm 2021b).

Ausfilm is the appointed gateway for the screen industry in Australia and is also a promotional program funded by the Australian Government. As a partnership between private organisations and the government, the board exists with screen agency representatives, member representatives, and an independent chair, while the Finance, Audit and Risk Committee function as an elective council. Bringing in approximately $300 million in foreign investment, Ausfilm’s strategy is derived from three specific directives:

  • Secure opportunities and enable growth of the Australian screen industry
  • Engage and promote Ausfilm members to the global market
  • Ensure an operationally sound and efficient organization (Ausfilm 2021a).

Importantly, both the national and state-level stages must be considered when creating a show. Screen Australia and Screenwest are of the most import in the current context, although nine government-funded organisations exist for the states and territories. One simple truth is that these organisations are businesses first and foremost. The money must come and go from somewhere, and like all corporate entities, they must reach goals, produce budgets and prove viability. Their corporate outcomes and structure are important for the industry because this is turn impacts where they are investing their money. Therefore, to provide context it seems appropriate to consider the corporate foundations of both Screen Australia and Screenwest, while also considering their mandate and legislations.

Screen Australia

Screen Australia is the national focus for this report, and it is divided into two major sections under the banners of corporate services and strategy and operations. Within the purview of the Chief Executive Officer, the corporate services include:

  • Business affairs and offsets — Contracts Management, Legal Services, Producer Offsets and Co-Productions
  • Chief Financial Officer — Digital Solutions, Finance, and Information Technology
  • Content — Development, Documentary, and Production Investment
  • Indigenous

Further roles under the direction of the Chief Operating Officer include: Communications, Corporate Affairs and Governance, Human Resources, Program Operations, and Strategic Policy and Industry Insights (Screen Australia 2020b).

In the 2019/2020 financial year, and specifically considering dramas, Screen Australia’s total expenditure was $991 million with spending occurring across foreign and Australian markets as follows: Australian Features ($205 million), Australian Drama ($198 million), Australian Children ($46 million), Australian Online ($94 million), Foreign Features ($255 million), Foreign Television and Online ($193 million) (Screen Australia 2020a).

Screenwest

Screenwest has a similar breakdown with an executive team heading specific sectors of the organisation:

  • Strategic Projects and Screen Investment — Development and Production, Drama Development and Documentary
  • Operations — Diversity, and Business and Legal Affairs
  • Communications — Content, Digital, Events, Partnerships and Sponsors
  • Corporate Services — Finance

In 2019/20, Screenwest provided $5 million in production funding, $4.5 million in Western Australian Regional production funding. Additionally, they reached $51.5 million in expenditure and $9.2 million regional expenditure. For that financial year, Screenwest generated an all-inclusive $383 million of income (direct, indirect and induced) and created 5617 fulltime-equivalent jobs (Screenwest 2020).

Transforming and Diversifying

In recent years, there have been major shifts in the collective ethos around socio-cultural diversity on and off the screen. There are several movements around the world and here in Australia that are prioritising local and diverse content. While not Australian, but definitely with global impact, the Golden Globes Group recently announced sweeping reforms. While this is a positive step, this move is not what made headlines. Instead, it was Netflix and Amazon Studios’ decision to publicly and loudly state that these changes were not enough, and the two entities would distance themselves from the conglomerate until more appropriate and timely reforms were made (Rottenberg 2021).

On the Australian front, a rallied group of industry professionals are involved in the Make It Australian campaign that is pushing for stronger rules and support for Australian screen content. The Australian Directors’ Guild, Australian Writers’ Guild, Media Entertainment and Arts Alliance and Screen Producers Australia — some of the most influential private creative associations — are helping generate traction (Make It Australian 2021). Campaigns like these indicate the tensions between industry, audience, and government and questions the motivations of all three for an industry built on creative freedoms but propelled by the corporate machine.

This response is becoming more prevalent with companies and individuals making a stand to diversify in a sociocultural sense and in the distribution of media power. Doing this creates more opportunities for more people and disrupts standardised practices. Screenwest and Screen Australia are no exception, feeling the push for evolve. In both visions, values and strategic plans, there is an emphasis on answering the calls of rapidly changing entertainment landscapes.

Screen Australia have a well-established mission to support local stories understanding that Australian screen content profoundly impacts our culture. Their vision encourages a connection between audiences and creators by tapping into risk-taking, quality creative outputs and diversity. Specifically, diversity and inclusivity are paramount to the organisation with various programs and requirements to ensure the ongoing enactment of such widespread claims (Screen Australia 2020a).

In the Screenwest strategic plan 2021–2024, creating a sustainable screen industry in Western Australia will be achieved through inclusivity which showcasing the diverse communities, talent, culture and Country. Screenwest’s core values including ambition, collaboration, connectivity and accountability underpin this initiative (Screenwest 2021c). It is this notion of holding accountability to create and support screen industry projects that are inclusive, diverse and celebratory of all Australians, that it will be elevated to a level that is representative of the world we live in, and the future we wish to become.

Funding Comes at a Price

Money sometimes does make the world go around, especially when trying to break through different levels of the screen industry. It is for this reason that this section will be dedicated to understanding where the money comes from and the requirements for securing the funding. As mentioned earlier, both Screen Australia and Screenwest are government-funded entities, however, where they distribute these funds comes down to applications. There are many influential factors in successfully receiving funding. Knowing the rules can make all the difference because a creative practitioner could go to the effort of gathering all the creative assets and paperwork needed only to read in the terms and conditions make the application invalid. Additionally, having experience, a reputation, or industry support in some way can also sway the people making the allocations.

Inclusive Funding

The bid for inclusive storytelling to build gender equity, anti-racist and authentic storytelling from underrepresented groups is an active response to knowing that screen content needs to reflect what is important to the viewers; Australians need to see all Australians participating in the creation of television and film no matter their cultural background, sexual orientation, gender identity or disability. As part of the ongoing changes of the Australian screen industry, Screen Australia and Screenwest have specific funding options that mandate diversity and inclusion.

Screen Australia has several Indigenous funding opportunities including: development funding, finance attraction to secure international support, production and marketplace partners, professional development for production if it is an experienced team, sales and distribution support including insight and advice, marketing and audience awareness and sector development including internships and travel grants. Specialised programs including First Nations short-scripted ideas, songlines on screen, replies to Captain Cook’s arrival in Australia and indigenous producer attachments are also readily available (Screen Australia 2021c). This is in addition to the overall gender equality and diversity initiatives which include Screen Australia’s, Indigenous and Gender Matters programs — both of which do not just suggest but require the utilisation of Indigenous consultation or female talent respectively (Screen Australia 2021b; 2021c).

With explicit guidelines for Indigenous and regional content, Screenwest also have two diversity funds twice a year aimed to overcome barriers for underrepresented groups. Partnering with Carers WA, Screenwest also runs paid mentorships and attachments for practitioners living with disabilities (Screenwest 2021a). Indigenous project development, practitioner development and low-budget television funds are also offered (Screenwest 2021b). Below, general funding for both organisations are outlined, however, this does not mean that those listed do not account for inclusive practices.

General Funding

Generally speaking, being awarded funding means you have fulfilled the requirements set out for each fund. This can be different depending on the size of your project and thus the required amount of funding, what type of funding you are attempting to gain (e.g. development VS production VS marketing), and lastly, where you apply for said funding. Screen Australia and Screenwest both have attachments and funds applicable to all (the terms of service notwithstanding).

Screen Australia have six major funding groups — feature films, television, online, documentaries, indigenous, industry development, producer offset, and co-production programs (Screen Australia 2021a). Screenwest specifically funds Western Australian stories, projects and people through development, production including scripting, practitioner support and interactive funds which include multiplatform endeavours (Screenwest 2021c).

When creating screen content, funding is usually provided through multiple means of engagement. Even with the combination of Screen Australia and Screenwest, there is also opportunity for local government grants and private investors. In all cases, the core element is ensuring that a creative project adds value to the screen industry and upholds primary values of the industry. These funding opportunities are competitive; a sign of not only the dense populous of creative projects trying to gain traction, but also the relative lack of money available for distribution which, in turn, is impacted by costs associated with productions.

The Journey to the Destination: Free-to-air, Streaming and Local Content

One of the major shifts we have seen in recent years has been the boom of online content, supplements to traditional shows stretching online, and the emergence of streaming and video-on-demand services. As such, there are different destinations for screen content. For Australian television, these include commercial free-to-air, free-to-air videos-on-demand, and subscription and streaming services like Foxtel, Netflix, and Stan. The screen industry is subject to an environment of high production costs which means striking commercial deals (that often include lucrative advertising revenue) is important and sometimes indicative of where a show gets distributed. Ultimately, it is the consumption of commercial screen content that provides a crucial backbone for the Australian screen industry as a whole, but also, the Australian economy (Deloitte Access Economics 2020).

From 2021, the Australian Government has injected a bundle of money and time to modernise the regulation of Australian content. Among the changes are producer offsets being increased to 30 per cent, the Australian Children’s Television Foundation are set to receive $20 million for development and production in addition to $30 million to Screen Australia for drama, children and documentary content, and a final $3 million to establish grants specifically for screenwriting and script development.

However, this overhaul brings with it greater flexibility for commercial broadcasters to show Australian content, a reduction to expenditure for subscription broadcaster with the stipulation of putting money into new local dramas, and finally, large streaming services will be required to report their investment in Australian content to the Australian Communications and Media Authority (Australian Government 2021a). With these regulatory changes, some of the commercial obligations that funnel shows to certain distribution sites will be lifted while other guidelines help prop up Australian content on big platforms.

Importantly, social influence is an integral part of the Australian screen industry. Not only from the perspective of what content is made, but also in seeing trends on viewership. If a show is difficult to access, it may hinder the success of the program regardless of the content. According to recent reports, watching free-to-air content is slowly decreasing which subscription services are increasing. Notably, the subscription services being utilised indicate that while people access multiple subscriptions, some platforms are more popular than others. Further, watching behaviours show that it is not one or the other, the percentage of people who access free-to-air (56%) and online subscriptions (55%) are similar, with catch-up television (36%) and other subscription television like Foxtel (19%) trailing slightly behind (ACMA 2020). These numbers fluctuate each month, however, what is evident is that deciding where and how a show is distributed is incredibly important. The way audiences float between several consumption avenues promotes opportunity for content to move between these viewing services.

Conclusions and Implications

The screen industry globally and in Australia is riding a wave of change. Not only is there a precedence for making authentic Australian content that is representative, but there are initiatives and funding to help for end-to-end production. If then, one was tasked with making a television show in Western Australia, there would be several milestones and opportunities to consider.

Everything has to start somewhere, and whether it is an adaption or an original concept, funding for ideation, professional development and scriptwriting is available through Screenwest and Screen Australia. Further down the line, everything from development, production, distribution and marketing can be funded. However, it is important to work decisively and not flippantly because Australia’s screen industry is assembled on the foundations of credibility, reputation, and upholding a shared ethos. There are certain documents required for any application for funding, and whether you are at the start or the end of a project, clear and concise communication is ideal. It is important to make sure what you are selling — because the screen industry is a commodified entity — is something unique or compelling; something that offers value, both fiscal and culturally. Therefore, telling authentic stories is great, but building a team for a project that platforms underrepresented individuals is even better.

The screen industry in Australia is both a highly influential socio-cultural enterprise and a sector heavily guided by social norms. As such, it is an area of economic revenue that is in a constantly changing state of moral, cultural, and commercial growth. This is evidenced not just from a federal level but in the similar company strategic plans and funding options from state and local levels. However, if we consider the competitive nature of bankrolling a project — regardless of size — it becomes clear that prioritising the cultural and societal values is not enough. For diverse Australian stories to be seen, there is a need to have more than an equal emphasis on local content as there is for attracting international. While media diversity and accessibility for audiences is an apparent priority, some creative content is falling prey to outcomes that revert to business incentives. It is imperative then, to create from a grassroots perspective up, just as the industry originally started. Making high quality regional content, then extending to larger international audiences will help Australian screen content reach maximum velocity and make a mark on an industry dominated by international productions.

Reference List

*This was originally written for Master of Creative Industries module CIM503 — Creative Industry Perspectives at SAE Institute.

Film
Australia
Arts And Entertainment
Television
Screen

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Naomi Robinson

Written by Naomi Robinson

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writer. researcher. human. naomieleanor.com

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