by Abhi Parasher
The Australian film landscape looks very different now than it did 50 years ago. In fact, in 1973 it would have been difficult to define exactly what the Australian film industry was. Founding chair of AFTRS, Barry Jones, among others, committed to find a solution to this problem, at the time saying ‘The School must act as a revolutionary force. There can be no half measures. We must create one of the world’s great film schools, or we must abandon the project at once.”
The school has achieved this goal time and again over the last 50 years, nurturing some of the great filmmakers of our time, such as directors Jane Campion (The Power of the Dog, The Piano) and Warwick Thornton (Samson and Delilah, Sweet Country).
“The last 50 years was a revolution in excellence,” says Nell Greenwood, current CEO of AFTRS. “How do we transform the Australian screen industry and have the world understand us through world-leading content.”
Recently, AFTRS conducted research with regards to career pathways, finding that ‘the key driver of success in the screen industries is who you know’. Interestingly, this will help shape a way forward for the school’s original goal of being a revolutionary force.
“The next 50 years is about access and equity,” says Greenwood. “The school can be this amazing conduit for someone with a lot of talent out in Dubbo or Darwin, who might not have any connections to the broadcast industries…it is about equipping people with the skills and the talent, but it is also about giving people support and access to networks, such as the peer networks and the mentors who have connections to people in the industry and who can support the graduates.”
Another key factor that will shape the school in the coming years is the ever-changing landscape of the Australian film industry. The last decade has seen an influx of high-budget film production, such as Marvel blockbusters and George Miller’s upcoming Mad Max: Furiousa. This has, ironically, created a critical skills shortage.
AFTRS plans not only to maintain its commitment to excellence but also to expand their reach in terms of talent.
Speaking to the successful storytellers that have honed their craft at AFTRS, Greenwood says that “a big determinant of your success at school is that openness to learning…You’re bringing something very personal and private, extraordinary and magical, which is your creativity, and you’re able then to open yourself up to the learning experience and the transformation of being at a school like AFTRS.”
With alumni such as Phillip Noyce and Shannon Murphy, and dozens of notable below the line crew, it is hard to think of AFTRS as a place that simply got lucky. Rather, it is a testament to their eye for talent and an understanding of what truly matters in the screen industry. “It is a combination of being extraordinarily skilled in terms of your craft, but also being able to have that confidence in your artistry and the understanding that the craft is at the service of story.”
With such a prestigious track record and their eyes on access and equity, AFTRS has introduced an Alumni and Industry scholarship. With funds raised by AFTRS’ alumni and industry partners, it will offer $25,000 to support a student for the Master of Arts Screen Course from an ‘underrepresented group and specifically someone from a lower socioeconomic background’. The scholarship will cover living expenses, relocation and study resources, amongst other costs, and will be offered from 2024 onwards.
“AFTRS is committed to ensuring that our community reflects the changing landscape of Australian storytellers, and we are conscious that the main obstacle to taking up study is the financial burden of tuition and Sydney’s ever-rising living costs,” said producer/director Unjoo Moon, chair of the AFTRS Alumni Group.
Speaking to her own goals as AFTRS CEO, Greenwood says “This is the best job in the world because AFTRS is quite unique around the world for having such a dedicated community of staff, students and alumni who are dedicated towards the idea of excellence in story and creativity. For me, I suppose I’m constantly thinking about how that works in the classroom in a way that serves that bigger goal of telling better and more engaging and incredible stories.”
