随着COVID安全指南的引入, the screen industry is getting back to work and is ready to contribute to rebuilding the national economy.

但联邦政府正将其置于危险之中. 对内容规则缺乏有意义的行动, 财政激励措施, and funding for public broadcasters and screen agencies is costing jobs and driving businesses to the wall.

澳大利亚式的 是否在2017年首次发起了一项行业活动,将生产商聚集在一起, 董事, 编剧, 演员, crew and other industry professionals and creatives who want to see a vibrant and sustainable screen sector which continues to play an important role in our economic, 社会文化生活.

WE 讲故事的人是作家吗, 生产商, 董事, casts and crews who make screen stories that honour past Australians and connect present and future generations to our history and to our values.

are elected representatives – the custodians of Australia’s stories, our unique culture. 你们创造了一个环境,在这个环境中,我们国家的故事得以兴盛或消亡.

我们是伙伴关系. 我们需要你的帮助.

我们继续在银幕上讲述澳大利亚故事的能力岌岌可危, 我们的声音有被海外内容淹没的危险.

如果我们国家的故事不被讲述,它们就会消亡. 当他们死后,子孙后代将不知道我们是谁,是什么造就了我们 us.

这就是为什么我们需要 “让它澳洲化”.


  1. 澳大利亚内容规则不断演变, 来报道像Netflix这样的新媒体, 亚马逊, 澳洲电信电视, 电讯公司及互联网服务供应商;
  2. Competitive tax incentives; and
  3. 资金雄厚的公共广播和影视机构.

然后我们才能竞争. 澳大利亚人讲述着我们人民、我们国家的不同故事.

我们呼吁议员, 我们独特的澳大利亚故事的守护者, to commit to growing our screen industry so that our Australian stories will be told to our children, 孙辈和他们的后代.


Camilla Ah Kin (Actor); Gillian Armstrong (Director); Su Armstrong (Producer); Tony Ayres (Director); Michala Banas (Actor); Tony Barry (Actor); Simon Baker (Actor); Natalie Bassingthwaighte (Actor); Steve Bastoni (Actor); Nicholas Beauman ASE (Screen Editor); Dion Beebe ACS ASC (Cinematographer); Nicholas Bell (Actor); Amanda Bishop (Actor); Wayne Blair (Actor); Rachael Blake (Actor); Cate Blanchett AC (Actor); Russell Boyd ACS ASC (Cinematographer); Patrick Brammall (Actor); Shane Brennan (Screenwriter); Tony Briggs (Actor); Anna Broinowski (Director); Jonathan Brough (Director); Bryan Brown AM (Actor); Chris Brown (Producer); Simon Burke AO (Actor); Jason Burrows (Producer); Mitchell Butel (Actor); Robyn Butler (Actor); Rose Byrne (Actor); Annie Byron (Actor); Rob Carlton (Actor); Peter Carroll (Actor); Michael Caton (Actor); Penny Chapman (Producer); Shareena Clanton (Actor); Dustin Clare (Actor); Justine Clarke (Actor); Adelaide Clements (Actor); John Collee (Screenwriter); Toni Collette (Actor); Ian Collie (Producer); Robert Collins (Actor); Robert Connolly (Director); Dany Cooper ASE (Screen Editor); Michael Cordell (Producer); Wendy Cork APDG (Costume Designer); Rodger Corser (Actor); Jai Courtney (Actor); Deb Cox (Producer); Stephen Curry (Actor); Helen Dallimore (Actor); Henry Dangar ASE (Screen Editor); Matt Day (Actor); Alexandre de Franceschi ASE (Screen Editor); Rolf De Heer (Director); Kate Dennis (Director); Jason Donovan (Actor); Terry Donovan (Actor); John Doyle (Screenwriter); Beverley Dunn (Set Decorator); Marta Dusseldorp (Actor); Harriet Dyer (Actor); Fiona Eagger (Producer); Joel Edgerton (Actor); John Edwards (Producer); Ben Elton (Screenwriter); Alexander England (Actor); Daniela Farinacci (Actor); Carl Fennessy (Producer); Mark Fennessy OAM (Producer); David Field (Actor); Angie Fielder (Producer); Jack Finsterer (Actor); Alan Fletcher (Actor); Roger Ford (Production Designer); Lucy Fry (Actor); Lizzy Gardiner (Costume Designer); Nadine Garner (Actor); Rebecca Gibney (Actor); Colin Gibson APDG (Production ); Designer); Antony I Ginnane (Producer); Rachel Gordon (Actor); Ian Gracie APDG (Supervising Art ); Director); Pippa Grandison (Actor); Gyton Grantley (Actor); Mac Gudgeon (Screenwriter); Don Hany (Actor); Anthony Hayes (Actor); Noni Hazlehurst (Actor); Chris Hemsworth (Actor); Damon Herriman (Actor); Scott Hicks (Director); Chris Hilton (Producer); PJ Hogan (Director); Frankie J Holden OAM (Actor); Wayne Hope (Actor); Sacha Horler (Actor); Lachy Hulme (Actor); Peter James ACS ASC (Cinematographer); Tom Jeffrey AM (Producer); Veronika Jenet ASE (Screen Editor); Ron Johanson OAM ACS (Cinematographer); Laura Jones (Screenwriter); David Jowsey (Producer); Claudia Karvan (Actor); Sean Keenan (Actor); Deborah Kennedy (Actor); Andrew Knight (Screenwriter); Samantha Lang (Director); Anthony LaPaglia (Actor); Michela Ledwidge (Director); David Lee (Sound Recordist); Steve Le Marquand (Actor); Jacinta Leong APDG (Art Director); Ewen Leslie (Actor); George Liddle APDG (Production Designer); Jeremy Lindsay-Taylor (Actor); Rob Mackenzie (Sound Editor); Deborah Mailman (Actor); Jessica Marais (Actor); Lex Marinos (Actor); Damian Martin (Prosthetic Makeup Artist); Catherine Martin APDG (Production Designer); Don McAlpine ACS ASC (Cinematographer); Catherine McClements (Actor); Andrew McFarlane (Actor); Jacqueline McKenzie (Actor); Ray Meagher (Actor); Nick Meyers ASE (Screen Editor); Sue Milliken AO (Producer); Heather Mitchell (Actor); Jocelyn Moorhouse (Director); Kestie Morassi (Actor); Geoff Morrell (Actor); Kate Mulvany (Actor); Nick Murray (Producer); Igor Nay (Production Designer); Sam Neill (Actor); Robyn Nevin (Actor); Phil Noyce (Director); Chris Oliver-Taylor (Producer); Ben Osmo (Production Sound Mixer); Hunter Page-Lochard (Actor); Helen Panckhurst (Producer); Georgie Parker (Actor); Owen Paterson APDG (Production Designer); Craig Pearce (Screenwriter); guy Pearce (Actor); Deborah Peart ASE (Screen Editor); Jen Peedom (Director); Rachel Perkins (Director); Jacquelin Perske (Screenwriter); Adrienne Pickering (Actor); Jo Porter (Producer); Susie Porter (Actor); Leah Purcell (Actor); Daina Reid (Director); Chloe Rickard (Producer); Deborah Riley (Production Designer); Brian Rosen (Producer); Richard Roxburgh (Actor); Bill Russo ASE (Screen Editor); Martin Sacks (Actor); Jan Sardi (Screenwriter); Fred Schepisi (Director); John Seale AM ACS ASC (); Cinematographer); Dean Semler AM ACS ASC (Cinematographer); Emile Sherman (Producer); Greer Simpkin (Producer); Sarah Snook (Actor); Dan Spielman (Actor); Kriv Stenders (Director); Barbara Stephen (Producer); Kat Stewart (Actor); Yael Stone (Actor); Gary Sweet (Actor); Nadia Tass (Director); Michael Tear (Producer); Lisa Thompson (Set Decorator); Erik Thomson (Actor); Sigrid Thornton (Actor); Lesley Vanderwalt APDG (Hair and Makeup Designer); Matt Villa ASE (Screen Editor); Jeffrey Walker (Director); Mandy Walker ACS ASC (Cinematographer); Stephen Wallace (Director); Damian Walshe-Howling (Actor); Tasma Walton (Actor); Rachel Ward AM (Actor); Elka Wardega (Prosthetic Makeup Artist); Hugo Weaving (Actor); Peter Weir (Director); Bob Weis (Producer); David Wenham (Actor); Jo Werner (Producer); David Williamson (Screenwriter); Margot Wilson APDG (Costume Designer); Rebel Wilson (Actor); Stephen Windon ACS ASC (Cinematographer); Ben Winspear (Actor); Dan Wyllie (Actor); Julia Zemiro (Actor).

Australian Directors’ Guild; Australian Writers’ Guild; 媒体, Entertainment & 艺术联盟; Screen Producers Australia. 在澳大利亚电影摄影师协会的支持下, 澳大利亚生产设计协会, 澳大利亚电影编辑, 澳大利亚电影作曲家协会, 澳大利亚声音协会, 电影和电视中的女性, 视觉效果学会.

表演者, 生产商, 作家, 董事 and crew are joining forces to campaign for the future of the screen industry. 我们希望澳大利亚的故事在澳大利亚的银幕上由我们讲述,讲述给我们,讲述给我们自己. 我们想让它澳洲化.


我们希望澳大利亚的故事在澳大利亚的银幕上由我们讲述,讲述给我们,讲述给我们自己 because no-one else will tell stories of the diversity of Australian experiences in our unique Australian landscapes.

但在银幕上讲故事是有风险的. 我们将澳大利亚化的能力面临风险,因为:

•  The rules that ensure Australian stories appear on Australian screens must evolve so that streaming services like Netflix, YouTube, 斯坦, 互联网服务提供商和电信公司有义务促进和投资澳大利亚原创内容.
•  Major supporters of Australian stories – Screen Australia and the ABC – have had their funding cut year after year.
•  Commercial TV broadcasters want to walk away from any requirement to create children’s content.

The campaign references the successful “TV – 澳大利亚式的” campaign of the 1960s and 1970s. In response to a parlous situation where only 1 per cent of drama on commercial networks was Australian – the other 99 per cent foreign – the industry sought local content obligations on commercial broadcasters. The Australian Film, Television and Radio School was also established out of the original campaign.


The campaign is seeking a strong government commitment to a sustainable film and television industry for 生产商, 演职人员, 作家 and 董事 that supplies a diversity of quality Australian content for Australian and international audiences.


•本地内容义务将逐步纳入新的市场进入者(例如.g. Netflix、亚马逊(亚马逊)、电信公司、互联网服务提供商(isp);


在一个充满挑战和变革的时代, telling our own Australian stories to each other and the world has never been more important.

Rules for minimum Australian content only apply to the commercial networks (free to air and pay TV).

•是时候将内容监管扩展到数字领域了. Digital content providers that generate revenue from the Australian market (particularly, subscription video on demand services like Netflix and 斯坦) should contribute to telling Australian stories.
•商业网络希望取消儿童内容配额. 当英国儿童配额被取消时,93%的儿童内容制作结束了. 如果儿童配额被取消,我们将永远无法让他们回来. 这些配额必须保持下去,并扩展到数字领域. # savekidsTV


澳大利亚正在全球市场上竞争,但我们的税收制度阻碍了我们.  竞争性的税收抵消将增加生产并支持当地就业.

• It is time to update the 40% producer offset for Australian feature films by making it platform neutral – television and digital are now just as important as film.
• At 16.5%,国际产品的位置偏移根本没有竞争力. It is time to put Australia on a level playing field and increase the location offset to 30%. 投资, 培训, 国际产品的知名度使我们的行业处于领先地位.


Public broadcasters and Screen Australia play an important cultural role as a major source of funds for film, 这个国家的电视和数字产品.

•自2014年以来,美国广播公司(ABC)削减了逾2.5亿美元. 在同一时期, the ABC’s commissioning budgets for adult drama and children’s content each dropped by 20%.
• It is time to set minimum Australian content levels for the ABC and SBS and provide sufficient funds to meet these requirements.
• Restore Screen Australia funding to at least $100m per year (2012/13 levels) so that more projects can be green-lit.

新萄京娱乐成员在争取本地内容方面有着悠久而自豪的历史. In the 1970s Australian performer Terence Donovan was a founding member of the 澳大利亚式的 campaign. 在这里,他回顾了它的成功.

Having started my professional career in 1960 in West Side Story at Melbourne’s Princess Theatre, 我很快意识到我还有很多东西要学. 没有像维多利亚艺术学院那样的教育机构, NIDA or WAAPA to study with; you had to rely on natural ability to get you through.

当时, 演员不被认为是社会上很有生产力的成员, 因此, 几乎没有发言权. 艺术, 一般, 没有得到很好的支持, 这是属于演员权益基金的一个好理由, 集体, performers had a stronger voice and could be better protected with regard to basic rights and conditions, 同时也有助于改变人们对他们的普遍态度.

我有幸见到了导演沃尔·切里和演员乔治·惠利, who were starting up an alternative small venture in South Melbourne called The Emerald Hill Theatre Company. 我有很多机会在他们的作品中扮演重要的角色, 这是一个令人难以置信的经历和训练场地.

我在克劳福德制作公司工作了很多年. 我参与的主要节目是警察系列, 部门4, 当它开始的时候是相当原始的. We didn’t have a caravan to change in – just the backs of cars − there was hardly any catering, 化妆和服装也很有限. 我们经常穿自己的衣服.

这成了一个大问题,当我唯一的一套西装开始从我身上掉下来的时候, 我亲爱的朋友帕特·福斯特, 谁负责服装, 带我去找老板解释我们的问题. 他上下打量了我一番,说:“你看起来很好.“我转过身,弯下腰,我的屁股挂在裤子外面. 他说:“好吧,那不行”,并承诺他会做点什么. 下个星期,他们和一家服装店达成了协议,所有的演员都得到了新衣服.
我去感谢老板,但当我看到他也有一套新西装时,我就改了主意, 他的侄子和会计也一样, 还有大楼里的其他人.

帕特·福斯特在几乎没有任何预算的情况下,一直在为给人们提供衣服而斗争. 她走来走去,确保每个人都穿着得体, 但有些演员的自负是另一回事. One leading actor in a police series refused to believe that his waist measurement was 38 inches [about 96cm], 是帕特写的吗. 她不得不忍受这个演员不断的骚扰, 谁断言卷尺是错的. 无奈之下,帕特把衣服上所有的标签都换了,果然奏效了.

我是克劳福德制作公司第4分部的股权代理. 在1968-69年间,关于版税有很多争议. Actors in America and Britain were paid royalties for their work on television programs but not in Australia.

与公平的维多利亚秘书一起, 维克·阿诺德, 我召集所有演员在克劳福德饭店开会讨论这件不公正的事. 经过激烈的辩论, 决定了, 这是我们成员的功劳, 我们应该宣传更多的澳大利亚内容, 而且版税问题应该暂时搁置.

在这一切之外, we eventually established the ‘TV 澳大利亚式的’ committee to lobby the government and public servants. 我们的老板, 赫克托·克劳福德(银狐), 对我们的所作所为视而不见, 哪个是在用他的手机, 办公设备, 秘书和作家, 与广播管理委员会没完没了地开会,游说政客.

政客们,天哪,我们得小心他们. I am sure most of them go into politics with the best of intentions but the reality of their world is that you have to toe the party line, and who knows when the line might change to suit their own ends or those of their friends. It seems difficult to believe that Australian politicians took so much convincing of the merits of Australian production.

虽然我当时并没有意识到, 在反射, 在克劳福德制作公司度过了美好的岁月. I think we all owe so much to the founders of the company, Dorothy and Hector Crawford. 他们是澳大利亚电视的真正先驱,因为, 尽管困难重重, 他们幸存下来证明了公众希望在我们的屏幕上看到当地人, 因为他们的努力, 在世界的屏幕上.

特伦斯·多诺万自1960年以来一直是公平的骄傲成员. This article was originally published in the Spring 2014 issue of the 股本 Magazine to commemorate 股本’s 75th Anniversary.

Make It australia悉尼发布会:


Amazing historical footage from an ASIO film of an Actors’ 股本 rally for local content in Canberra in the 1950s: