Make it Australian

The Australian screen industry is ready to play a role in economic recovery.

With the introduction of COVID safety guidelines, 屏幕产业正在恢复工作,并准备为重建国民经济做出贡献.

But the federal government is putting that at risk. Lack of meaningful action on content rules, financial incentives, 为公共广播公司和电影公司提供资金也在减少工作岗位,使企业陷入困境.

Make it Australian is an industry campaign first launched in 2017 which draws together producers, directors, screenwriters, actors, 工作人员和其他行业的专业人士和创意人员,他们希望看到一个充满活力和可持续的屏幕行业,继续在我们的经济中发挥重要作用, social and cultural life.

WE are storytellers – writers, producers, directors, 演员和工作人员制作了纪念过去澳大利亚人的电影故事,并将现在和未来的几代人与我们的历史和价值观联系起来.

YOU 是当选的代表——澳大利亚故事和我们独特文化的守护者. You create the environment within which our nation’s stories thrive or die.

Ours is a partnership. And we need your help.

Our ability to keep telling Australian stories on screen is at risk, our voices in danger of being drowned out by a deluge of overseas content.

And if our nation’s stories aren’t told, they die. And when they die, future generations won’t know who we are and what makes us us.

That’s why we need to ‘Make it Australian’.

We need:

  1. Australian content rules to evolve, to cover new media like Netflix, Amazon, Telstra TV, telcos and ISPs;
  2. Competitive tax incentives; and
  3. Well-funded public broadcasters and screen agencies.

Then we can compete. Australians telling the diverse stories of our people, our country.

We call on parliamentarians, the custodians of our uniquely Australian stories, 致力于发展我们的电影产业,这样我们的澳大利亚故事就会被告诉我们的孩子们, grandchildren and the generations of Australians that follow.


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; Media, Entertainment & Arts Alliance; Screen Producers Australia. With support from the Australian Cinematographers Society, Australian Production Design Guild, Australian Screen Editors, Australian Guild of Screen Composers, Australian Screen Sound Guild, Women in Film and Television, Visual Effects Society.

Performers, producers, writers, 导演和工作人员正在联合起来,为电影行业的未来而努力. We want Australian stories told on Australian screens by us, to us, about us. We want to Make It Australian.

Stories have been told on this continent for thousands of generations.

We want Australian stories told on Australian screens by us, to us, 因为没有人会在我们独特的澳大利亚风景中讲述澳大利亚经历的多样性.

But story-telling on screen is at risk. Our capacity to make it Australian is at risk because:

•确保澳大利亚故事出现在澳大利亚银幕上的规则必须发展,以便Netflix等流媒体服务, YouTube, Stan, ISPs and Telcos have obligations to promote and invest in original Australian content.
•澳大利亚故事的主要支持者——澳大利亚银幕公司(Screen Australia)和美国广播公司(ABC)——的资金年复一年地被削减.
•  Tax incentives that encourage production in Australia are no longer competitive.

该活动参考了20世纪60年代和70年代成功的“电视-澳大利亚化”活动. 商业电视网络上只有1%的电视剧是澳大利亚的——其他99%是外国的——这一危险局面的反应是,该行业寻求商业广播公司承担本地内容的义务. 澳大利亚电影、电视和广播学院也在最初的运动基础上成立.

What the campaign is asking for

该活动旨在寻求政府对制片人可持续发展的影视产业作出强有力的承诺, cast and crew, 作家和导演为澳大利亚和国际观众提供各种高质量的澳大利亚内容.

To this end, the campaign is asking for:

•  Local content obligations to be evolved to include new market entrants (e.g. Netflix, Amazon, telcos, ISPs);
•  Competitive tax offsets (producer, PDV and location);
•  Well-funded public broadcasters and screen agencies.

Will you join us?

In a time of great challenge and change, 向彼此和世界讲述我们自己的澳大利亚故事从未像现在这样重要.


• It is time to extend content regulation to the digital realm. 从澳大利亚市场获得收入的数字内容提供商(尤其是澳大利亚), 订阅视频点播服务(如Netflix和Stan)应该为讲述澳大利亚故事做出贡献.
• Commercial networks want to abolish children’s content quotas. When UK children’s quotas were removed, 93% of children’s content production ended. If children’s quotas are removed we will never get them back. These quotas must be kept up and be extended to the digital realm. #savekidsTV

Updated incentives to support production

Australia is competing in the global market but we are held back by our tax system.  Competitive tax offsets will increase production and support local jobs.

• At 16.5%, the location offset for international productions is simply not competitive. 是时候将澳大利亚置于一个公平的竞争环境中,并将位置补偿提高到30%. The investment, training, and profile of international productions keeps our industry on the cutting edge.

Proper funding to public broadcasters and Screen Australia

公共广播公司和澳大利亚电影局作为电影的主要资金来源发挥着重要的文化作用, television and digital productions in this country.

• Since 2014, more than $250m has been cut from the ABC. Over this same period, 美国广播公司的成人电视剧和儿童节目的委托预算分别下降了20%.
• Given their important cultural role, the ABC and SBS need to be properly funded.

新萄京娱乐 members have a long and proud history of campaigning for local content. 20世纪70年代,澳大利亚表演者特伦斯·多诺万(Terence Donovan)是“Make it australia”运动的创始成员之一. Here he reflects on its success.

1960年在墨尔本公主剧院的《新萄京娱乐》开始了我的职业生涯, I quickly came to realise I had a lot to learn. There was no educational facility like the Victorian College of the Arts, NIDA or WAAPA to study with; you had to rely on natural ability to get you through.

At that time, actors were not considered very productive members of the community and, therefore, had little say. The arts, generally, were not well supported, which was one good reason to belong to Actors’ Equity where, collectively, 表演者有了更大的发言权,在基本权利和条件方面可以得到更好的保护, as well as helping to change prevailing attitudes towards them.

I was fortunate to meet director Wal Cherry and actor George Whaley, 他们在南墨尔本创办了一家名为翡翠山剧院公司的小型企业. I was given many opportunities to play substantial parts in their productions, which proved an incredible experience and training ground.

Many years of my career were taken up with working for Crawford Productions. The main show I was involved in was the police series, Division 4, and it was fairly primitive when it started. 我们没有可以换车的大篷车——只有汽车后座——几乎没有餐饮, and make-up and wardrobe were limited. More often than not, we wore our own clothes.

This became such a problem that when my one and only suit started to fall off me, my dear friend Pat Forster, who was in charge of wardrobe, took me to the boss to explain our problem. He looked me up and down and said: “You look fine.” I turned around and bent over, and my arse was hanging out of my pants. He said: “Well, that won’t do” and promised he would do something. The next week, they did a deal with a clothing shop and all the actors got new suits.
I went to thank the boss but thought better of it when I saw he also had a new suit, as did his nephew and the accountant, and pretty well everyone else in the building.

Pat Forster had a constant battle trying to clothe people, with hardly any budget. She wheeled and dealed to make sure everyone was dressed correctly, but the egos of some actors were another thing. 一位警匪片的男主角拒绝相信自己的腰围是38英寸(约96厘米)。, which was what Pat had written down. She had to put up with constant harassment from this actor, who asserted that the tape measure was wrong. In desperation, Pat changed all the labels on his clothing and that did the trick.

I was the Equity deputy for Crawford Productions on Division 4. In 1968-69, there was a great deal of controversy about royalties. 美国和英国的演员在电视节目中工作时要支付版税,但在澳大利亚却没有.

In conjunction with Equity’s Victorian secretary, Vic Arnold, I called a meeting of all the actors at Crawford’s to discuss this injustice. After much heated debate, it was decided, to the credit of our members, that we should campaign for more Australian content, and that the royalty question should be put on hold ‒ for the moment.

Out of all this, 我们最终成立了“澳大利亚电视”委员会来游说政府和公务员. Our boss, Hector Crawford (the Silver Fox), turned a blind eye to what we were doing, which was using his phones, office equipment, secretaries and writers, having endless meetings with the Broadcasting Control Board and lobbying politicians.

Politicians … my God, have we got to be careful of them. 我相信他们中的大多数人进入政界都是出于好意,但他们的现实世界是,你必须遵守政党的路线, 谁知道什么时候这条线会改变,以适应他们自己或他们朋友的目的. 似乎很难相信澳大利亚的政客们对澳大利亚生产的优点如此信服.

Although I didn’t realise it at the time, on reflection, those were wonderful years at Crawford Productions. 我想我们都亏欠了公司的创始人多萝西和赫克托·克劳福德. They were the real pioneers of Australian television because, against all odds, they survived to prove that the public wanted to see locals on our screens and, because of their efforts, on the screens of the world.

Terence Donovan has been a proud member of Equity since 1960. 本文最初发表于《新萄京官方》杂志2014年春季版,以纪念《新萄京官方》创刊75周年.

The Make It Australian Sydney launch:

Campaign launch video:


Download and print out this poster and take a selfie to support the campaign.