An Open Letter on the State of the Australian Film Industry

Drafted by Australian filmmakers, industry practitioners
and cinema-lovers

Draft 1: August 1, 2009

As members of the Australian film industry we can no longer sit idly by and watch
our nation’s cinema continue to slide into critical and commercial obscurity. The
Australian Government’s bureaucratic infrastructure is failing the Australian film
industry, and it is unaccountable to anyone for its failure. It invites feedback,
but does not listen to it, and thereby proves itself unaccountable. Its lack of
response to criticism when change is so obviously needed and should be actioned is
symptomatic of this unaccountability. We need new ideas for innovation, rebirth and
vitality in the Australian film industry. We need to stand together, and be counted,
in support of real change in the local film industry and culture, and to bring new
ideas to bear on a system that has been out of control for many years.

We demand change in the Australian film industry. The changes we suggest are
canvassed below.

The current, perpetual crisis in Australian film has been well documented by the
Australian media. Much coverage has been afforded to the crisis on network television
and in the country’s newspapers, most notably in The Age, whose film critic, the
courageous Jim Schembri, has tackled the debate head on. The issue of industry failure
has also been covered in alternative/grassroots venues and publications: the Melbourne
and Sydney Underground Film Festivals, The Bazura Project on Melbourne’s Channel 31,
the world-renowned cinema journal Senses of Cinema, and countless cinema blogs. Two
independent documentary projects about the Australian film industry crisis are currently
being produced: Into the Shadows and Nothing but the Struth. Last year, Film Victoria
even held a summit on the crisis called Mindshift. Needless to say, we have seen no
actionable changes. The recent appointment of Robert Connolly to the board of Screen
Australia bodes well for positive change, as he, too, has been an outspoken and
constructive critic of the status quo, and rumours abound of some positive changes
in the wings. The industry crisis has also been the subject of much obloquy in private
discussions, not only between filmmakers and industry insiders, but also among members
of the general public; those people who, faced with the decision between seeing an
American film at the cinema and an Australian one, will doubtless turn to their partner
and say: “Better not risk it.” These people want change: they want a dynamic and
exciting Australian film industry.

And we, the undersigned, think it is long overdue that we gave it to them. Australian
filmmakers, industry practitioners, cinemagoers, and the mainstream and underground
media are all in agreement: there is major problem with our film industry that needs
to be addressed at both state and federal levels. The issues concerning what to do
about the continuing failure of the Australian film industry have been hotly debated.
From these debates a consensus for action has been forming over time, and its broad
outline, and our demand that it be acknowledged and addressed, is the reason we have
compiled this document. We wish to outline nine steps, (maybe we need three more?
like those of Alcoholic’s Anonymous or some other recovery program), to wean Australian
filmmakers and the funding bodies off their addiction to un-entertaining, uninteresting,
unworthy movies. We insist on change in the Australian film industry: even if only five
of these nine steps were to be actioned, it could well lead to a Renaissance once again
in Australian cinema, and not a continued fall from grace out of the world cinema
spotlight and increasingly towards critical insignificance.

We make these suggestions humbly, and with the hope that it open channels for real
discussion and actioning of these matters, that can follow the tabling and publishing
of this document. We wish only to encourage, foster and make possible change in the
Australian film industry.

Our demanded agenda for change is as follows:

Genre and Commercial Filmmaking
It is suggested that many, many more genre films be produced in this country; more,
indeed, than sensitive, politically correct ‘art-house’ fare that has been force-fed
to the public since the end of the 80’s. By genre we mean horror, action, sci-fi,
crime, comedy and erotica. We believe that an embrace of genre filmmaking at the higher
levels of film financing and government decision-making will see those who work within
the Australia film industry embrace ideas of profitability and marketability, especially
beyond our shores. We want a national and international cinema of genre that embraces
commercial values and has distinct markets in mind for the product. By commercial we
do not mean Spielberg, etc., (…though if Australia produced a Peter Jackson or two,
who would complain?) We mean market and audience driven, i.e. genre.

Accountability
For too long in the Australian film industry the people who make the decisions for
the yearly flops and failures are not in any way held accountable for their failures.
There exists a professional class who somehow consider themselves beyond the failure
or not of our film industry. Given that they purely exist at the behest of our national
cinema, this situation should be promptly corrected. The names of board and committee
members behind funding decisions should be added to the credits of government-funded
films, listed there as either executive producers or, even better, precisely what they
are: the persons responsible. That way, massive flops and errors can be publicly traced
to their source. Similarly, ongoing reviews of the decision-making standards of the
various boards and committees should be initiated. The same accountability should
be applied to failed directors and producers who haven’t had a hit since the 80’s.
Accountability should not be just based on financial success but also based on artistic
quality, i.e., the creative results, that way filmmakers who produce work like
Wake In Fright, Pure Shit, The Magician and The Square, while not being financial hits,
are clearly artistic successes.

Supporting the alternative industry
The most popular and successful Australian films are very often those that no one
in Australia sees. They are privately funded and tend towards either low-budget
Ozploitation filmmaking or difficult experimental, avant-garde and documentary work.
These films are confronting, both locally and internationally. A new fund to support
such already-established and emerging independent talent is required. It is necessary
to reward that which is daring, confrontational and relevant. Rethinking and rebooting
Indivision with a much more daring brief, state and federal funding bodies must combine
in their efforts to establish a $5 to 10 million fund. This fund should make seven to
ten $500,000 – $1 million features per annum, selected by a regularly rotating board
of Ozploitation, industry and genre luminaries. Australia could produce eight to ten
new low-budget features yearly, with that number to expand as their commercial success
becomes self-evident. The aim? To get new blood into the film industry each year.
While not all of these films will work, many will. Not all will have to be Ozploitation.
Indeed, some should be avant-garde works and more challenging art films than are
currently produced. From The Horseman to The Ister, anything is possible. We must
turn work around quickly and cheaply with an ear to being inventive and innovative.

Reward talent and success
Any filmmaker who enjoys a commercial or critical hit should immediately receive
funding for their next project, which is to be produced within twelve months.
The budget for this second film must be significantly higher. The era of successful
filmmakers languishing in development hell for a decade or so must end.

More money invested in the promotion of Australian films
The establishment of an office within Screen Australia that will promote Australian
films both locally and internationally is required.

An end to political correctness and “Australian content” prerequisites and biases
in both the industry and in funding bodies
Speaks for itself really.

A celebration of the diversity of techniques available to filmmakers
From low budget guerrilla films to large budget and special effects-driven movies,
all film forms must be celebrated.

A change in industry methodology
There needs to be a cultural shift within the funding bodies that sees them move
away from their currently prescriptive role to one of discovery. Instead of imposing
upon the industry their own prejudices and biases, both about cinema and otherwise,
film finance bureaucrats must learn to search for new ideas, styles, marketing and
distribution opportunities like producers, that they essentially are. They need to
learn to recognise innovation; learn to celebrate real diversity by allowing for
a slate of pictures than embrace all budgets, genres and approaches.

Getting distributors involved in the process of selection and approval
for new productions
This is key and would be greatly assisted by provisions making it necessary to devote
part of a film’s budget to be spent on helping to promote a new Australian film more
broadly. Also, exploring how distributors can help and engage the Industry further
themselves, by for example, helping filmmakers maximise and exploit new media and
outlets for distribution both here and overseas.

Thank you for your attention in this matter. An official reply
to the points raised here would be appreciated.

Signed,
Richard Wolstencroft

And the undersigned…
(… you are invited to add your name to this document and by Sept 15 this document
will be forwarded to the various Ministers and funding Bodies.)

Click here to add your name!