Through the Lens to 2016

Transcription

A strategic direction
for Screen Tasmania’s
support of the Tasmanian
Screen industry
www.screentasmania.com
Through the
Lens to 2016
Contents
Executive summary�� 4
A message from the Board of Screen Tasmania�� 6
Our vision�� 7
Our mission�� 7
Our values�� 7
Our objectives�� 7
The story so far�� 24
Disclaimer:
This publication has been prepared by Screen Tasmania, the Department
of Economic Development, Tourism and the Arts. The information
contained within the strategic plan is considered to be correct at the time
of publication. Images used within this publication remain the property of
the copyright holder.
Image credits:
• Arctic Blast courtesy of Arctic Blast © 2010 Arctic Productions Pty Ltd/
Polar Productions Inc
• The Hunter by Matthew Nettheim
• The Room At The Top Of The Stairs courtesy of Adam Walker Film
• Testing Taklo and Whale Rescue courtesy of Move Media
• Tourism Tasmania and Dennis Harding.
© State of Tasmania June 2011.
978-1-921527-09-8 (Print) and 978-1-921527-10-4 (Online)
A strategic direction for the Tasmanian screen industry
The Last Confession Of Alexander Pearce – Essential Media.
Page 9
Page 13
Objective one: Quality and innovation
Objective two: Growth and sustainability
To position Tasmania as a centre for the creation of
quality screen content, using innovative methods of
production and delivery.
To offer a business-enabling environment that
provides competitive opportunities for growth in
the screen industry.
Page 17
Page 21
Objective three: Promotion and participation
Objective four: Performance and accountability
To engage Tasmanian audiences and contribute
to building the state’s profile nationally and
internationally.
To operate transparently and effectively in relation to
key stakeholders and the public interest – increasing
stakeholder satisfaction with our performance.
Executive summary
Through the Lens to 2016 has been developed following
extensive consultation with the Board, industry and
stakeholders. This five year strategic plan and vision
for the industry outlines how Screen Tasmania,
working closely with the Tasmanian screen industry,
will navigate growth, change and opportunity over the
next five years.
The local screen industry has evolved over the past 11 years since the establishment of Screen Tasmania. It
is timely to review and refine a strategic direction that
will keep pace with, and build on the opportunities
afforded by changing technology and also the unique
strengths and qualities that Tasmania’s innovative and
talented content creators have to offer.
industry continues to contribute to the Tasmanian
economy and our vibrant cultural life.
The strategic plan highlights four key
themes:
•
•
•
•
uality and innovation
q
growth and sustainability
promotion and participation
performance and accountability.
The plan’s primary aim is to provide a framework for
Screen Tasmania, in consultation with the industry,
to develop and implement funding programs that
support the development of high-quality, marketable
and commercially-viable Tasmanian projects, with the
aim of significantly increasing the amount of locally
generated production.
Over the past 11 years, Screen Tasmania has sought
to be as opportunistic and broad in its support as
possible in order to support a fledgling industry base.
As it happens, documentary and animation have been
the major drivers of production activity in the state.
Screen Tasmania’s short film and script development
programs have supported the development of creative
and craft skills. Screen Tasmania has also engaged in
promoting and attracting off-shore production into
Tasmania, providing opportunities for technical and
craft training as well as employment opportunities and
valuable screen credits.
In order to increase production activity, the scope
of projects supported by Screen Tasmania will be
broadened, with a major focus on series television
and the previously unsupported area of factual
entertainment such as lifestyle and format television
shows. This policy has been formulated to increase
steady and reliable production activity that will
provide ongoing employment, opportunities for
skills development and generate spend in the state,
while raising the profile of Tasmania as a viable and
appealing filming destination.
Moving forward, Screen Tasmania has developed
a strategic plan in the context of an environment
of fiscal restraint. As a result, Screen Tasmania has
worked to find innovative ways to prioritise support
for the local industry, to enable consistent and
sustainable growth through increased production
activity over the long term, while ensuring that the
Tasmania remains open for business for in-bound
productions. However, Screen Tasmania will not
actively pursue such productions over the short-tomid term. Funding priority will be given to supporting
local talent and seeing local projects developed,
produced and exported, rather than waiting for
sporadic work to arrive from interstate or overseas.
or marketplace intelligence. However, evidence
shows that the more hands-on support practitioners
receive in the development, packaging and financing
of their projects, the more likely they are to advance
into production. With a very clear aim to increase
production activity in Tasmania, Screen Tasmania
will be offering a bespoke and tailored service to
industry, depending on the requirements of individual
practitioners, companies and their projects.
Alive and Kicking – Roar Film.
Globally the screen industry is experiencing rapid
technological change with 3D and interactive content,
multimedia mobile phones and internet TV, meaning
digital methods of production and distribution have
become the norm.
This rapidly changing media environment represents
real opportunity for Tasmania, and as highlighted in
this strategic plan, Screen Tasmania will be pursuing
ways to drive the development and production of
innovative, quality digital media. This will build on the
already significant expertise that exists within the state
in the short term, while exploring opportunities to
take advantage of the National Broadband Network
(NBN) in the long term.
The significance of the NBN roll-out in Tasmania
cannot be underestimated, both as a driver for
innovative production, but also as a medium for
allowing Tasmanian audiences to see more local
stories on their television, computer and mobile
phone screens.
Perhaps the boldest and most innovative change
has come with the way in which Screen Tasmania
provides support to industry. Traditionally funding
agencies have provided funding support and little in
the way of guidance, mentoring, networking assistance
In the next few years, Screen Tasmania will work hard
to build the Tasmanian brand so that it is synonymous
with quality and entertaining screen content that is
distinctively Tasmanian. Promoting the work created
by local practitioners and engendering greater
awareness and pride in local talent will be a focus area.
There will be greater opportunities for interaction
between audiences and content creators and more
avenues for their work to be seen at a variety of
stages and in many different settings.
An enhanced and interactive website, dedicated
Tasmanian festivals and events, and the showing of
more local content on small screens will engage locals
and enhance an already vibrant screen culture.
And most importantly, there is an increased focus
on working with, and for, local screen practitioners.
Through the Lens to 2016 highlights a number of
initiatives designed to increase the accountability and
transparency of Screen Tasmania in its dealings with
individuals, companies and the industry peak body, the
Tasmanian Independent Screen Industry Council.
The screen industry holds significant potential for
Tasmania in the future, and decisive action taken now
will position Tasmania strongly as a leader in this new
media environment, to ensure that all Tasmanians
benefit both culturally and economically in the years
to come.
A message from the
Board of Screen Tasmania
The Board of Screen Tasmania, together with
management, are pleased to deliver this five year
strategic plan for the Tasmanian independent
screen sector. With the digital switchover occurring
in 2013, the future for the independent screen
production sector is exhilarating.
With this in mind Screen Tasmania, in consultation
with the industry, has created this strategic plan
to better enable screen practitioners to engage
with this new digital landscape. The strategic plan
also recognises that the local screen sector needs
to have a point of difference from its mainland
competition and has introduced dedicated funding
of lifestyle content in its guidelines. As such, Screen
Tasmania becomes the first government screen
agency in Australia to embrace the genre to this
degree.
The next few years will be a major challenge for
Tasmania’s screen content creators and Screen
Tasmania looks forward to supporting their visions,
goals and economic outcomes.
Drive – Big hArt.
Our vision
Screen Tasmania and the industry working together fostering Tasmanian talent
and stories to strengthen an enterprising and innovative screen industry that
contributes to a vibrant cultural life.
Our mission
To act as a central hub for the industry, facilitate a business-enabling environment,
drive strategic growth, respond to opportunities in the marketplace, and capitalise
on a rapidly changing media environment.
Our values
•
•
•
•
e are passionate, professional and committed.
W
We embrace bold visions and innovative ideas.
We celebrate and reward success.
We are approachable, flexible and strategic in our support of the Tasmanian
screen industry.
Our objectives
1. Quality and innovation – to position Tasmania as a centre for the creation of
quality screen content, using innovative methods of production and delivery.
2. Growth and sustainability – to offer a business-enabling environment that
provides competitive opportunities for growth in the screen industry.
3. Promotion and participation – to engage Tasmanian audiences and contribute to
building the state’s profile nationally and internationally.
4. Performance and accountability – to operate transparently and effectively in
relation to key stakeholders and the public interest – increasing stakeholder
satisfaction with our performance.
Pixel Pinkie – Blue Rocket.
Objective
one
Quality and innovation
To position Tasmania as a centre for the creation of
quality screen content, using innovative methods of
production and delivery.
Focus areas:
rovide leadership to position Tasmania strongly in the
•p
digital media environment
• adopt innovative approaches to project development to
increase production outcomes
• prioritise support for Tasmania’s creative talent.
1.1 Drive growth in the development
and production of quality digital screen
content.
1.2 Stimulate and increase opportunities
to position Tasmania strongly in the
digital media environment.
a) Provide funding and mentoring support for the
development and production of strong, original
content designed for digital platforms.
b) Assist and facilitate practitioners with accessing
financial and marketplace support to drive growth
in content creation for digital platforms.
c) Raise awareness, stimulate interest and support
the transition of Tasmanian companies into digital
media content creation.
d) Emphasise a strategic focus on digital content
creation in the design and delivery of funding
programs.
a) L everage opportunities offered via the National
Broadband Network.
b) B uild linkages with other organisations and sectors
to facilitate opportunities in digital media.
c) E xplore the development of a digital research and
training hub in Tasmania under the Icebreaker
banner.
d) Continue to play a key role in development of
digital media policy at state and federal levels.
1.3 Improve the quality of project
development processes to facilitate
improved production outcomes.
a) P
rovide targeted development support for the
creation of outstanding and original projects.
b) Provide more hands-on, tailored mentoring and
enhanced project support with an emphasis on
increasing the marketability of projects from an
early stage.
c) Actively facilitate Tasmanian practitioners’
connections to the marketplace.
d) E xplore methods to streamline development
application and assessment processes.
My Place interactive – Blue Rocket.
10
1.4 Foster the development of Tasmanian
creative talent.
a) D
eliver industry development programs designed
to enhance professional development and increase
employment outcomes with an emphasis on key
creative roles.
b) Provide bespoke mentoring in order to provide
direction and support for emerging practitioners
on their career pathways.
c) Review the Creative Producer Scheme and explore
ways in which to provide support for emerging
producers.
d) Deliver a program designed to support talented
entry-level or emerging Tasmanian writers.
1.5 Ensure delivery of training that better
reflects the strategic focus of the local
screen industry
a) E nsure continued collaboration with Wide Angle
Tasmania to ensure that our strategic directions
align and produce optimum outcomes for the
industry.
b) E xplore the establishment of a statewide screen
education committee.
c) Collaborate with state and federal funding agencies,
the marketplace, and other industry organisations
to facilitate improved training outcomes for
Tasmanian practitioners.
Bali High Wedding – Roar Film.
11
The Hunter – Porchlight Films.
12
Objective
two
Growth and sustainability
To offer a business-enabling environment that provides
competitive opportunities for growth in the screen
industry.
Focus areas:
ursue strategies to increase production activity
•p
• provide competitive business terms and financial
services to underpin industry sustainability
• build linkages across government, the marketplace and
the private sector to support industry.
13
2.1 Increase production activity in
Tasmania to build industry sustainability,
generate employment, and increase
economic spend and revenue streams.
a) P
rovide equity investment to facilitate Tasmanianbased production with an emphasis on series
production.
b) B roaden the scope of production support to
include projects that hold potential for ongoing
production activity in Tasmania such as format,
lifestyle, game and talk shows.
c) E xplore the introduction of a business opportunity
fund to create certainty and underpin increased
production activity.
d) Leverage funding where appropriate to generate
marketplace co-investment opportunities.
e) E xplore opportunities to leverage Goodwood
Studio to enhance production outcomes.
The Last Confession Of Alexander Pearce
– Essential Media.
14
2.2 Strengthen the business and
investment environment in order to
facilitate increased production.
esign and deliver programs that respond to
a) D
industry needs, market trends and budgetary
constraints to ensure maximum impact.
b) Seek project-specific funding from the Department
of Economic Development, Tourism and the Arts
and/or increased government investment to the
existing allocation.
c) Review application and assessment processes,
eligibility criteria, levels of investment, policy and
standard terms of business to prioritise support for
Tasmanian producers.
d) Accelerate bureaucratic, contracting, drawdowns
and approvals processes to ensure financial support
to industry is provided as quickly as possible.
e) E xplore options to provide pre-marketplace
funding commitment in the form of a letter of
intent for Tasmanian producers.
f) E xplore enhanced financial services such as low
or no-interest cashflow loans and explore options
for priority recoupment, and grant funding for
low-budget production prioritising support for
Tasmanian companies.
2.3 Strengthen economic sustainability of
local screen business enterprises.
a) Introduce an enterprise support program for
Tasmanian screen enterprises wishing to generate
production and grow their businesses.
b) Strengthen requirements regarding cast and crew
employment spend and attachments on in-bound
production.
c) Strengthen requirements for non-Tasmanian
companies to form genuine creative and/or
financial partnerships with Tasmanian residents and
production companies.
d) Act as a central hub of information for the local
industry, providing marketplace knowledge,
information, networks, business modeling and
industry opportunities to assist in developing and
supporting local businesses.
Arctic Blast – Arctic Productions Pty Ltd./Polar
Productions Inc.
15
Tropfest – Salamanca Square, Hobart.
16
Objective
three
Promotion and participation
To engage Tasmanian audiences and contribute to building
the state’s profile nationally and internationally.
Focus areas:
romote Tasmanian talent and stories locally, nationally
•p
and internationally
• engender pride and increase engagement for Tasmanian
talent and content among Tasmanian audiences
• contribute to promoting Tasmania’s rich cultural life and
liveability.
17
3.1 Build brand awareness of Tasmanian
screen content and talent nationally and
internationally.
3.2 Build a vital creative screen
environment that contributes to
Tasmania’s liveability and rich cultural life.
a) D
eliver funding support for screen-based events
which provide opportunities to promote Tasmanian
talent and stories.
b) Develop a comprehensive marketing and
communications strategy that utilises social media.
c) Re-develop the Screen Tasmania website to more
dynamically promote Tasmanian talent and stories
including the creation of a screening room.
d) Continue to attend key industry events and
promote Tasmanian talent and content in national
and international markets.
a) D
eliver funding support for locally based screen
festivals and events including a premiere Tasmanian
film festival.
b) Form strategic partnerships with other arts
organisations to provide opportunities for those
engaged in other art forms to contribute to our
screen culture.
c) E xplore the establishment of a key annual award
that celebrates and rewards excellence in the
screen industry such as an entrepreneurial spirit
award.
d) Work closely with local media to promote and
publicise Tasmanian screen-based events.
3.3 Strengthen and empower Tasmanian
youth and key communities by engaging
them in screen activities.
Hoota and Snoz – Blue Rocket.
18
a) S upport and encourage programs that promote
career pathways, empower storytellers and provide
development opportunities for Tasmanian youth,
Indigenous groups and migrant communities.
b) Develop strategies and programs to encourage
smaller, more remote Tasmanian communities to
explore the benefits of the National Broadband
Network and how they can create local content
that benefits them.
Jonathan Dawson and Academy Award winning cinematographer Andrew
Lesnie hold a film-making masterclass.
19
Stephen Cleary presenting at the Business of Development
conference, Hobart.
20
Objective
four
Performance and accountability
To operate transparently and effectively in relation to
key stakeholders and the public interest – increasing
stakeholder satisfaction with our performance.
Focus areas:
• improve what we do and how we do it
• be more responsive and provide quality, innovative
support
• ensure transparency in decision-making
• communicate and exchange information with local
practitioners.
21
4.1 Effective communication with
industry and other stakeholders to
engage in a shared commitment to
Tasmania’s screen industry.
a) E ngage in a regular exchange of information with
industry practitioners, key stakeholders and the
Tasmanian Independent Screen Industry Council,
including policy, funding submissions and market
analysis.
b) Deliver regular website and bulletin updates
providing relevant industry information.
c) Provide an events calendar on the Screen Tasmania
website with key Screen Tasmania, local, national
and international dates.
d) U tilise social media tools to disseminate information
in a more targeted manner.
4.2 Responsive, tailored, efficient and
timely services to industry.
a) D
eliver funding programs and guidelines that help
simplify and streamline the application process.
b) E xplore the feasibility of an online application
process to increase internal operational efficiencies.
c) Establish a database of all those working in the
industry, and make it accessible to registered
members searching for technical crew, creative and
other personnel.
d) Upgrade the internal database software and
project/client tracking system to ensure optimum
functionality and enhance decision-making
processes.
22
4.3 Demonstrate the integrity and
effectiveness of Screen Tasmania’s
decision-making processes.
a) R
eview and make recommendations to improve
governance and accountability processes.
b) Publish relevant performance and funding
information in a timely manner.
c) Ensure greater transparency and responsiveness,
through an independent audit of policies and
business processes at least once every three years.
d) Review funding guidelines, terms of trade, eligibility
criteria and assessment and approvals processes at
appropriate intervals to ensure transparency and
ease of understanding.
e) E xplore options for industry surveys to chart and
measure industry growth and production activity
and ensure this information is analysed to gather
data that will support a case for increased funds, if
appropriate, and identify deficiencies and areas of
success.
f) Increase the focus on visiting local businesses as
part of the induction process for new Screen
Tasmania staff to ensure a greater level of
knowledge of how the Tasmanian industry
operates.
4.4 Ensure Tasmanian interests
are represented appropriately at
national level.
a) C
ontinue to take an active role in
contributing to various national forums and
reviews, and take a strategic leadership
position in representing the local industry.
b) Participate regularly in forums such as
the Screen Finance Group, State Agency
and Territories Forum, Industry Review
groups, Green Screen Committee, Media
Reconciliation Industry Network Group.
c) Optimise Screen Tasmania staff attendance
and facilitation of support for local
practitioners at screen conferences,
markets such as Australian International
Documentary Conference, Writers
Conference, Director’s Conference and,
where appropriate, international forums and
conferences.
Sam and Piccolo - Adam Walker Film.
23
The story so far
In 1945 Tasmania became the first state in Australia
to have a Government State Film Unit operating until
the opening of the Department of Film Production
in 1960. The Tasmanian Film Corporation was in
operation for five years until its closure in 1982,
producing commercial projects mostly intended for
young audiences.
For the following 17 years there was little or no
production activity occurring in the state and no
production companies operating in Tasmania. In light
of this, Screen Tasmania was formed in 1999 as part
of Premier Jim Bacon’s vision to grow a local screen
industry that would bring employment and economic,
as well as artistic returns.
Over the past 11 years an independent screen
sector has begun to emerge with a production base
largely underpinned by documentary and animation.
Tasmania is now home to one of the only surviving
animation studios in Australia at a time when most
animation production, including Disney’s studios have
moved off-shore to cheaper alternatives. This is no
small achievement and can in part be attributed to the
initiatives and support provided by Screen Tasmania.
24
Documentary productions such as Drive, Bali High
Wedding, A Family Divided, The Passionate Apprentices,
Alive and Kicking, Stormsurfers, Stories of the Stone Age,
Whale Rescue, Feral Peril, The Abbey, Wildness, and The
Mission, and animations such as Pixel Pinkie, Hoota
and Snoz, Dog and Cat News, Spikey Joe’s Truck, and
Time Cracks have all served to build the foundations
of a local industry, many achieving ratings success and
attracting audiences and awards both at home and
internationally.
Tasmania’s profile has been raised as a unique filming
location through feature length drama productions.
These include The Hunter, the Canadian Australian
co-production Arctic Blast, the award winning docudrama The Last Confessions of Alexander Pearce,
and horror film Dying Breed. These projects have
contributed to building local production expertise
while showcasing Tasmania’s diverse landscapes to
national and international audiences.
In addition to supporting production activity, Screen
Tasmania has played a significant role in industry
development through providing professional
development opportunities for emerging practitioners
through short film production initiatives.
Highlights include Stripped Bare, Sam and Piccolo, Sound
Blocks Pain, Freefall, The Long Beach and Promising.
Local creative talent has been supported through
screenwriting initiatives such as Cut and Polish, Eurista
Script workshops, the ground-breaking Creative
Producer Scheme, LAMP Digital Media workshops, as
well as mentorships and attachments.
In recognition of the need and value of screen
resource centres, in particular supporting entry
level and emerging talent, Screen Tasmania was
instrumental in the establishment of Wide Angle
Tasmania in 2005. Screen Tasmania continues to
provide funding to Wide Angle to deliver training and
low-cost equipment hire to entry level practitioners.
In 2008 Screen Tasmania hosted the inaugural
Business of Development Conference delivered by
internationally renowned story-developer and trainer
Stephen Cleary. The conference attracted almost 100
key industry players, including representatives from
Screen Australia, Screen NSW, SAFC, the NZ Film
Commission, and also leading producers and writers.
This sparked a dialogue amongst industry professionals
that has seen methods of development scrutinised and
development funding evolve to embrace industry best
practice.
Screen Tasmania has also supported a number of
festivals and cultural events that have begun to
engender pride and contribute to Tasmania’s cultural
identity, engaging audiences both in Tasmania and
interstate. Events have included, Tropfest, World
of Women in Cinema, Longest Night Film Festival,
Far Flung Flicks as part of Ten Days on The Island,
Cinematheque, Amalgamation Arts Festival, Mountain
Film Festival, the Breath of Fresh Air Film Festival
(BOFA), Flickerfest, the St Kilda Film Festival, the
Australian International Documentary Conference,
and the Writer’s and Director’s Guild conferences.
Screen Tasmania has grown over time, reflecting
and responding to industry growth. The move in
2011 from the Economic Development portfolio to
the Arts portfolio, is a recognition by the Tasmanian
Government that the screen industry contributes both
economically and culturally to the state, by promoting
Tasmania’s unique locations, talent, and stories to the
world.
For more information on Screen Tasmania’s projects,
go to www.screentasmania.com
25
Contact
Department of Economic Development, Tourism and the Arts
Screen Tasmania
Level 4, 22 Elizabeth Street, Hobart TAS 7000
Email: info@screen.tas.gov.au
Web:
www.screentasmania.com

Through the Lens to 2016

Transcription

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