When we come together like this it always strikes me that we’ve got so much we can learn from each other and so much we can share. When approaching this in the right way – we can put down our differences and focus on what unites us as an industry, a tribe, a family. To face the challenges ahead together with a renewed sense of purpose and direction. To not just survive, but also to thrive.
Sometimes, from where I sit, it feels like we are walking a long tightrope, trying hard to keep our balance and stay upright and get towards the other side – get our projects financed, made, sold and shared – and all that that entails. Our industry is never static – the last year has shown us once again that we are strongly exposed to left field events way outside of our control – no one had a 118-day SAG-AFTRA strike on their dance card for last year, or a 148-day writers’ strike.
Despite these pressures, we are always seeking to keep some sort of balance:
- between screen businesses small and large;
- between those just embarking on their career and those with a huge legacy of achievement;
- between growing our home-grown content and making space for international work; and
- between the interests of producers and the others we work alongside like our actors/writers/directors and crew.
As the Nigerian poet Ben Okri said, “Stories are the secret reservoir of values: change the stories individuals and nations live by and tell themselves, and you change the individuals and nations.”
So, it is good to take stock of what it means to share our own culture, our own values, and our own stories with the rest of the world – and what it means in turn, to share theirs.
Right now, the Australian Government is also seeking to find some sort of balance: a regulatory balance between the cultural needs of Australian audiences, the commercial imperatives of streaming businesses – many of whom are global giants – and our industry and its ability to function successfully into the future.
What we are seeking is a sort of settlement about what Australian audiences are entitled to expect on these platforms, and how the Australian Government delivers on the commitment made to us in our National Cultural Policy more than a year ago.
None of this is easy or straightforward. If it was, it would have been done and settled years ago.
We had hoped that this legislation would have been in Parliament by now, but as of today, it is still a waiting game.
So, we continue to push on.
It’s not news to anyone in this room that the imperfect equilibrium that previously existed was long ago upended with the arrival of digital streaming platforms.
You only have to look at the current challenge to Australia from Meta over the News Media Bargaining Code to get a taste of how hard digital platforms both fight and test any Government moves towards regulation.
Even the toughest rules will be pressured for loopholes and fudging of figures. And even then, they can still be snubbed.
Getting some sort of settlement does feel closer than it ever has, but we don’t underestimate how hard getting this done is at all and the balancing elements in play for government seeking to find compromises in contested policy settings.
Until the last vote in Parliament, I can promise you right now, my team and I will keep working to support the industry to keep fighting as hard as we possibly can to get the best outcome we possibly can for you and for our industry.
Whatever the Government comes up with, we will be judging it to make sure it delivers sustainable growth for our industry through stable investment, in Australian stories.
The stakes are pretty high, and this means that sometimes, the things that divide us are at the fore.
But when our industry is united, we are at our greatest strength.
I want to remind everyone of the moment just last year when the NSW Government, with little notice, cancelled two important funding programs to boost their Budget bottom line.
Pretty quickly, we mobilised and quickly united to speak to the Government – with a clarity of voice.
I’m not exaggerating when I say that those few days were a major crisis for our industry. Non-stop calls from members facing the possibility of collapsing projects, potential bankruptcy, and a bleak future – not to mention the tsunami of frantic emails. A reminder of the fragility of much of the sector that that we are each walking our own tightropes, full of risk, anxiety, and uncertainty.
A flash back to the Covid days.
Everyone scrambling to respond, for the right voice, the right tactics, the right tools to address.
But it is in those moments that the strength of SPA as an organisation shines – its strength is because of its members and the combining of skills they are willing to invest in through SPA for their greater benefit.
SPA remains uniquely placed to work for the benefit of the whole industry.
And when the storm rages, we huddle together.
And what may surprise some is that SPA is also called on – during these times – by people outside our membership – sometimes directly – sometimes indirectly – people who in a period of crisis, turn to us for help.
People who believe they can act as islands in the good times – benefiting from others collective contributions in our industrial and policy work – and then look to leadership and support from the organisation they are not a part of.
In these situations, I welcome the renewed connection with those who have drifted outside of our orbit and continue to make the case that all industry participants should join their respective unions, guilds, and associations like SPA if we are to be able to succeed as an industry.
SPA is always in the fight for what we believe the industry needs, and quite often, we are leading the fight.
And in the next few months, to get a good outcome in Canberra, we will once again be joining together to fight for the sector.
At the start of the year, we helped to put a spotlight on the common challenges faced on this front – when SPA helped to lead a moment of international unity through our Global Statement on Screen Regulation and the Importance of Intellectual Property protections.
All together 27 screen producing organisations from right around the world – our brother and sister bodies – put their names to this, including Screen Producers Ireland, Canada’s CMPA, the EU’s CEPI, and NZ’s SPADA – just to name a few.
In countries around the world, it is being recognised that a sustainable future for a national screen industry depends on enshrining diversity and independence.
The accelerating trend to our creative industries becoming a subsidiary of the USA through the power and influence of its big tech platforms is undermining national cultural sovereignty.
We must combat this and enshrine our cultural independence.
Retaining pathways for continuing ownership and control over the screen stories we create is a key part of this and finding the right balance with our commissioning partners.
And being ever thoughtful about the balance of resources we are providing between Australia as a US filming location and the world as our screen export destination is critical.
It’s time for a serious reality check and some frank conversations.
As our industry becomes ever more global, and the opportunity for our local stories to travel and impact global audiences, it is more critical that we know the big picture.
Addressing Australia’s cultural trade imbalance is a big priority for the year ahead for us. That’s because alarmingly, for every dollar of cultural products we export, we import eight.
It gives me little pleasure to continue to point out that Australia is failing when it comes to screen exports.
We lack a strategy and a resourced commitment to address this.
So – we have much work to fix this so more of our Australian screen stories reach the global audience that is ever hungry for more.
That’s why this year’s program has a strong lean towards global trends, and how we can find new opportunities in these changes but also be aware of the challenges ahead.
About SCREEN FOREVER: One of the largest congregations of screen professionals in the southern hemisphere, providing a forum for discussion and debate on local and global trends, issues and challenges facing the business of screen production. Past keynote speakers include Aaron Fa’Aoso (The Straits); Bruce Miller (The Handmaid’s Tale); Damon Gameau (That Sugar Film); Dana Brunetti (House of Cards); David Puttnam, Kt, CBE (The Mission); Emile Sherman (The King’s Speech, The Power of the Dog); Erika North (Head of Originals for APAC, Prime video); Gale Anne Hurd (The Walking Dead, Alien, The Terminator); George Lucas (Star Wars); Jon Plowman (The Office); Kerry Ehrin (Morning Wars); Kip Williams (Artistic Director, Sydney Theatre Company); Matthew Weiner (Mad Men); Minyoung Kim (VP of Content for APAC, excluding India, Netflix); Sydney Pollack (Tootsie); Sera Gamble (Supernatural); Ted Hope (21 Grams) and William Horberg (The Queen’s Gambit).
SCREEN FOREVER is proudly supported by the Queensland Government, through Screen Queensland.