Screen Australia’s drama fund runs dry
SA: “It is very unfortunate that we are in this position.”
Screen Australia will not fund another drama production until mid-2013 due to a lack of funds.
The national screen agency has announced it has spent its budget for both film and TV drama production for the financial year.
The agency said: “Screen Australia’s $42m budget for drama production investment this financial year has been fully committed. Screen Australia is aware that this news will be disruptive for some producers. It is very unfortunate that we are in this position.”
Screen Australia cited the “unprecedented number of quality feature film and television projects seeking support” from the most recent round of funding. An investment on Monday saw $11.4m invested in 11 drama productions.
Feature film and TV applications will re-open for the June 25 board meeting, the application deadline is April 8.
Applications are now closed for the February 2013 board meeting. The April 3 board meeting, with applications closing January 21 will be Letter of Interest only, while the May 8 board meeting will not have a TV round.
Documentary rounds are unaffected. February 1 is the next documentary deadline.
It’s really pathetic amount of funds the Federal Government invests in the screen industry, it’s more like Centrelink for filmmakers than it is investment.
Compare this to the $6b thrown at the Automotive industry that is entirely owned by American and Japanese automotive companies, which is ultimately a dying industry in Australia, whereas with well innovation, strategic planning and serious investment, the Screen Industry could be develop not only to be self sustaining and profitable, but generate significant export revenue.
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What is unfortunate is now we have a situation where production will back up for 6 months and therefore double the productions will queue for funds when they become available. Screen Australia is constantly banging on about creating sustainable business models, yet pulling a 6 month rug out from under Australian producers’ feet is not a brilliant example of this doctrine. As well as some Screen Australia staff with nothing to do and successful overseas producers from the latest rounds pleased that they can now survive for the next 6 months, Australian producers may need to find other ways to make a living. Perhaps a strategy for increased government funding but should it be at the cost of local and the reward of overseas producers? Agency management anyone?
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