Make it Australian


澳大利亚的电影产业已经准备好在经济复苏中发挥作用.


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.

但联邦政府正将其置于危险之中. 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 是否在2017年首次发起了一项行业活动,将生产商聚集在一起, 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. 你们创造了一个环境,在这个环境中,我们国家的故事得以兴盛或消亡.

Ours is a partnership. And we need your help.

我们继续在银幕上讲述澳大利亚故事的能力岌岌可危, 我们的声音有被海外内容淹没的危险.

And if our nation’s stories aren’t told, they die. 当他们死后,子孙后代将不知道我们是谁,是什么造就了我们 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. 资金雄厚的公共广播和影视机构.

Then we can compete. 澳大利亚人讲述着我们人民、我们国家的不同故事.

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, 孙辈和他们的后代.

SIGNED

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. 在澳大利亚电影摄影师协会的支持下, 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. 我们希望澳大利亚的故事在澳大利亚的银幕上由我们讲述,讲述给我们,讲述给我们自己. We want to Make It Australian.

故事在这片大陆上流传了数千代.

我们希望澳大利亚的故事由我们在澳大利亚的银幕上讲述, 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. 我们将澳大利亚化的能力面临风险,因为:

•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, 互联网服务提供商和电信公司有义务促进和投资澳大利亚原创内容.
•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.
•商业电视广播公司希望放弃制作儿童内容的任何要求.
•鼓励澳大利亚生产的税收优惠不再具有竞争力.

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:

•本地内容义务将逐步纳入新的市场进入者(例如.g. Netflix, Amazon, telcos, ISPs);
•竞争性税收抵消(生产商、PDV和地点);
•资金充足的公共广播公司和影视公司.

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.

澳大利亚最低内容的规定只适用于商业网络(免费广播和付费电视).

•是时候将内容监管扩展到数字领域了. 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.
•商业网络希望取消儿童内容配额. 当英国儿童配额被取消时,93%的儿童内容制作结束了. 如果儿童配额被取消,我们将永远无法让他们回来. 这些配额必须保持下去,并扩展到数字领域. #savekidsTV

Updated incentives to support production

澳大利亚正在全球市场上竞争,但我们的税收制度阻碍了我们.  竞争性的税收抵消将增加生产并支持当地就业.

•现在是时候更新澳大利亚故事片40%的制片人补偿了,使其平台中立——电视和数字现在和电影一样重要.
• At 16.5%,国际产品的位置偏移根本没有竞争力. 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, 国际产品的知名度使我们的行业处于领先地位.

向公共广播公司和澳大利亚电影公司提供适当的资金

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, 这个国家的电视和数字产品.

•自2014年以来,美国广播公司(ABC)削减了逾2.5亿美元. 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%.
•鉴于其重要的文化角色,ABC和SBS需要得到适当的资助.
•现在是时候为ABC和SBS设定最低的澳大利亚内容水平,并提供足够的资金来满足这些要求.
•将澳大利亚电影公司的资金恢复到每年至少1亿美元(2012/13年度),以便更多的项目能够获得批准.

新萄京娱乐成员在争取本地内容方面有着悠久而自豪的历史. 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. 没有像维多利亚艺术学院那样的教育机构, NIDA or WAAPA to study with; you had to rely on natural ability to get you through.

At that time, 演员不被认为是社会上很有生产力的成员, therefore, had little say. The arts, generally, were not well supported, 这是属于演员权益基金的一个好理由, 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, 同时也有助于改变人们对他们的普遍态度.

我有幸见到了导演沃尔·切里和演员乔治·惠利, 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. 我有很多机会在他们的作品中扮演重要的角色, 这是一个令人难以置信的经历和训练场地.

我在克劳福德制作公司工作了很多年. 我参与的主要节目是警察系列, 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.

这成了一个大问题,当我唯一的一套西装开始从我身上掉下来的时候, 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.“我转过身,弯下腰,我的屁股挂在裤子外面. 他说:“好吧,那不行”,并承诺他会做点什么. 下个星期,他们和一家服装店达成了协议,所有的演员都得到了新衣服.
我去感谢老板,但当我看到他也有一套新西装时,我就改了主意, as did his nephew and the accountant, and pretty well everyone else in the building.

帕特·福斯特在几乎没有任何预算的情况下,一直在为给人们提供衣服而斗争. 她走来走去,确保每个人都穿着得体, 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. 她不得不忍受这个演员不断的骚扰, who asserted that the tape measure was wrong. 无奈之下,帕特把衣服上所有的标签都换了,果然奏效了.

我是克劳福德制作公司第4分部的股权代理. 在1968-69年间,关于版税有很多争议. 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, 我召集所有演员在克劳福德饭店开会讨论这件不公正的事. After much heated debate, it was decided, to the credit of our members, 我们应该宣传更多的澳大利亚内容, 而且版税问题应该暂时搁置.

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, 与广播管理委员会没完没了地开会,游说政客.

政客们,天哪,我们得小心他们. 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. 他们是澳大利亚电视的真正先驱,因为, against all odds, 他们幸存下来证明了公众希望在我们的屏幕上看到当地人, because of their efforts, on the screens of the world.

特伦斯·多诺万自1960年以来一直是公平的骄傲成员. 本文最初发表于《新萄京娱乐》杂志2014年春季版,以纪念《新萄京娱乐》创刊75周年.

The Make It Australian Sydney launch:

Campaign launch video:

这是20世纪50年代在堪培拉举行的演员权益集会上,ASIO拍摄的令人惊叹的历史镜头:

下载并打印这张海报,并自拍照来支持这项活动.