Netflix announces post-production attachments for ‘Heartbreak High’ reboot

'Heartbreak High'.

Netflix has put a call out for two entry-level post-production attachments on the upcoming Heartbreak High reboot.

Based in Sydney, the two attachment roles – post coordinator and assistant editor – offer the chance to work with Blue Post on the Fremantle Australia/NewBe series.

Blue Post managing director Peter Millington welcomed the prospect of new talent in post-production.

“Post-production can be very difficult to break into, so creating an attachment program is a perfect way to open doors to anyone who has a passion for this sometimes forgotten area of the screen craft industry,” he said.

“Australia has some amazing practitioners in screen editing, colour grading, picture finishing, sound mixing, and visual effects but there is no doubt that with the current boom in production, we need some fresh faces to build the next generation of post professionals.

“We are very excited to be working with Netflix and Fremantle Australia to bring Heartbreak High to the screen and look forward to working with the successful candidates.”

Netflix and Fremantle Australia are inviting applications from practitioners who identify as First Nations, deaf or hard of hearing, living with a disability, neuro-diverse, gender disparate, from culturally and linguistically diverse backgrounds, LGBTQIA+ communities, caregivers returning to the workforce, and from regional and remote areas.

Netflix director of production facilities management and operations Adam Scott said the initiative was part of the streamer’s investment in entry-level and upskilling opportunities.

“A highly-skilled workforce is an essential element of any screen production ecosystem, and Australia is home to world-class talent,” he said.

“We want to continue to invest in this area of expertise to keep talent in Australia and help build the local industry.

“Development of this sector, particularly with a focus to include diversity, will support and deliver the quality and diverse stories we want to tell at Netflix.”

The announcement of the attachments comes after Netflix unveiled a $515,000 Netflix Indigenous Scholarship Fund to be administered by AFTRS at the end of last month.

The company also helped deliver the Bunya Indigenous Talent Hub, aimed at mid-career Indigenous writers, showrunners, directors, and producers.

Australian Screen Editors Guild president Danielle Boesenberg commended Netflix and Fremantle Australia for supporting diversity in the screen industry.

“One of the most difficult hurdles to jump in beginning a career in the film and television industry is getting a foot in the door,” she said.

“Historically, that’s been even harder for creatives from diverse and underrepresented communities.

“Initiatives like this provide meaningful opportunities – the chance to learn, grow and connect in ways that hopefully will form the basis for ongoing screen careers.”

Applications for the post coordinator attachment and assistant editor attachment can be via Netflix, or through Bus Stop Films, Screen NSW, or South Australian Film Corporation.