Film Australia this week acknowledged the concerns raised by members of the documentary production sector in an open letter to Minister Brandis calling for changes in the National Interest Program and the History Initiative and consultation in the creation of the Australian Screen Authority (ASA).
Film Australia CEO Daryl Karp said a substantial section of the documentary community were frustrated with both real and perceived operations of the organisation and were keen to explore new ways for the sector to be supported and funded.
‘We agree that the creation of the ASA is a paradigm shift in Government film policy and challenges all of the existing support structures. However many of the issues raised regarding Film Australia such as copyright, commissioning, terms of trade and the production facility are already under discussion between Film Australia and the sector,’ she said.
Film Australia convened a production industry consultation group last February on its terms of trade, which is due to reconvene in September. This group includes some of the signatories.
‘We have been working to resolve all these issues over the past three years, particularly in consultation with the SPAA/ASDA Documentary Council, and have annually revised the terms of trade. We now offer a contractual right to share in revenue, commissions on third-party investment and the abolishment of additional charges on development buy-out. On the table at the moment are a review of copyright, producer overheads and above-the-line fees,’ Ms Karp said.
Negotiation to date has been in line with Film Australia’s status as a public company with responsibility to the Government shareholder to maximise use of public assets and reach the widest possible audience.
‘For example, the ownership of copyright has allowed Film Australia to make our collection available to the sector with initiatives like the zero-cost licensing, whilst also being able to make it accessible to students and teachers through our online education service, Digital Learning.’
She said the establishment of the ASA was clearly an opportunity to re-think the existing operations, however she said the process needed to address all stakeholders in Film Australia’s future, such as audiences, broadcasters, co-production partners and the government as the major investor, as well as the documentary makers.
The current model provides the Australian Government and the people of Australia with a considered and curated National Interest Program and History Program, maintained as a national record for future generations.
‘We believe the executive producer role is critical in curating and commissioning a cohesive slate of programs that delivers Australians a documentary legacy,’ Ms Karp said.
She said parts of the documentary sector has misrepresented some of Film Australia’s operating costs, interpreted its operations as inefficient, and incorrectly criticised the terms of trade with regard to distribution rights.
Ms Karp said the figures and production outcomes in the most recent annual report showed the organisation was increasingly efficient. Film Australia’s terms of trade (in relation to producer revenue share) were no less than those offered through the FFC and that distribution requirements have changed in recent years to take advantage of commercial opportunities.
Film Australia had contacted some of the signatories this week to engage them further in the issues raised, and meetings with sector had taken place in Sydney this month (with OzDox) and further sessions are planned for Melbourne and Perth.
[Avviso PR for Film Australia]