CEOs, producers, policymakers, and stars gathered in Canberra last night for the Screen Producers Australia annual Screen Stories Long Table Dinner.
In attendance were Janet Anderson (Last King of the Cross, Reef Break), Bryan Brown (Cocktail, Breaker Morant, Boy Swallows Universe), Paula Garcia (Bump, The Twelve), Ashan Kumar (Last King of the Cross, Nautilus), alongside comedian and filmmaker Dan Ilic, production designers Fiona Donovan (A Place to Call Home, Frayed) and Deborah Riley (3 Body Problem, Game of Thrones), and producers from renowned production companies WildBear Entertainment, Hoodlum Entertainment, SLR Productions, Roadshow Films, and Fremantle Australia.
Parliamentarians present included Tony Burke, Michelle Rowland, Perin Davey, Josh Wilson, Graham Perrett and Susan Templeman.
Industry leaders, including the CEOs of Screen Australia, Australian Children’s Television Foundation, Australian Directors Guild, Australian Writers’ Guild, Australian Guild of Screen Composers, Media Entertainment and Arts Alliance, National Institute of Dramatic Art, Screen Queensland, and Screen Territory, were also in attendance.
The evening underscored the role Australian film and television plays in supporting local small businesses, driving economic activity, creating jobs, and cultural identity. It comes at a time when industry is still awaiting overdue legislation by government of local quotas on streaming platforms.
“As Australian screen productions continue to gain international recognition, one of the night’s key themes was the ongoing push for regulatory action to ensure a balanced screen ecosystem. While Australia is globally renowned for its world-class crew, technical expertise, and breathtaking locations, there are growing concerns that local productions are at risk of being overshadowed by international work,” said SPA CEO Matthew Deaner.
“We know this is a government commitment in our National Cultural Policy, and we need to see it realised – to achieve this, digital streaming platforms need to be spending some percentage of their earnings on local Australian content – just like they are doing in so many other countries worldwide.
“This is not a new thing – Australia has long recognised the need to invest in local content, and it is time to update the rules that have served us well on commercial broadcast television to ensure Australians can continue to see great dramas, children’s content and documentaries on streaming services.
“There’s little doubt that our local screen industry is at a crossroads. We celebrate the success of global productions filming here, but we must never lose sight of the vital need to prioritise our local stories. Australian stories reflect who we are as a nation and must be safeguarded through smart regulation. It’s not just about economic benefit—it’s about our cultural identity.”
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