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Jessica Redenbach joins Matchbox’s Hide and Seek as director’s attachment

Jessica Redenbach.

Jessica Redenbach will serve as the director’s attachment on Matchbox's Hide and Seek

Redenbach will work with director David Caesar, who is directing two episodes. 

"I’m so grateful to the Australian Directors Guild, Screen Australia, Matchbox Pictures and of course to David Caesar for this exciting opportunity", Redenbach said. 

"The chance to work with a filmmaker of David’s calibre is just thrilling. I’m appreciative that such opportunities exist and offer my sincere thanks to everyone who makes the Directors Attachment Scheme possible."

Redenbach has form as a screenwriter (Spirited, Rush), as well as a writer/director, with her latest short Tender premiering in the International Competition at Clermont-Ferrand Film Festival and winning the Australian Directors Guild Award for Best Short Film.

Hide and Seek is the story of a routine murder investigation that leads to the uncovering of an international network of identity fraud. 

Production will take place in Sydney.

“Matchbox Pictures are proud to have Jessica Redenbach a talented writer/director as an attachment on Hide and Seek", said producer Stephen Corvini. 

"Matchbox thanks and acknowledges the importance of the ADG’s efforts to up-skill our next generation of directors."

This is the second of three ADG attachments on TV drama so far this year.

Previous attachments include Chris Stollery on House Husbands with Grant Brown, Julietta Boscolo on Playmaker’s Love Child with Geoff Bennett, and Nora Niasari on Matchbox’s Secret City with Emma Freeman.

  1. Hey IF,

    Long-time fan of your work and the Australian Screen Industry.

    This story has highlighted a problem that has been going on far too long within our small industry. Nepotism.

    Jess Redenbach was a development co-ordinator at Screen Australia, covering a maternity position and one month after she leaves that position is handed a placement funded by Screen Australia.

    Now whether Jess has earned the competitive spot by being the best isn’t the question here. The fact that she worked closely with a government funding body screams conflict of interest.

    Is it fair and equal to all Australian filmmakers if a development co-ordinator who gets deep insight into Screen Australia application processes and builds powerful relationships with those who make the decisions? This is classic Australian film nepotism and we need to call it out.

    Is this the new way to climb in the industry? Work on the inside for a funding body, make a few mates then get higher?

    At the very least this is a conflict of interest and should be noted. Interested to hear others thoughts on this.

  2. This story has highlighted a problem that has been going on far too long within our small industry. Nepotism.

    Jess Redenbach was a development co-ordinator at Screen Australia, covering a maternity position and one month after she leaves that position is handed a placement funded by Screen Australia.

    Now whether Jess has earned the competitive spot by being the best isn’t the question here. The fact that she worked closely with a government funding body screams conflict of interest.

    Is it fair and equal to all Australian filmmakers if a development co-ordinator who gets deep insight into Screen Australia application processes and builds powerful relationships with those who make the decisions? This is classic Australian film nepotism and we need to call it out.

    Is this the new way to climb in the industry? Work on the inside for a funding body, make a few mates then get higher?

    At the very least this is a conflict of interest and should be noted. Interested to hear others thoughts on this.

  3. I completely agree with the comment about nepotism. The australian film funding bodies need a complete overhaul.

    They love a small group of people who they keep in the fold and then everyone else is on their own.

    The guidelines for funding, even the ’emerging’ funding is skewed towards already established filmmakers who have received screen aus/nsw funding previously. They never give money to real up and comers based on the merit of their work, rather what producer they have managed to get attached through their connections/networking in the industry.

    Writers have to sign over the rights to their work to the producer before they can get any development money, the whole thing is a joke. It gives the control to the established producers and takes it away from the writers and directors.

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