Lucas Taylor.
Brisbane-based screenwriter and director Lucas Taylor is off to Europe later this year, having been named the 2017 recipient of Greg Coote Scholarship.
The scholarship will put Taylor in writers rooms with UK and European producers from FremantleMedia.
In Europe, FreemantleMedia owns UFA in Germany (Deutschland 83), Wildside in Italy (The Young Pope), Miso Film in Denmark, Sweden and Norway (Modus), Kwai in France (Baron Noir), and Euston Films in the UK (Hard Sun).
Fremantle’s director of global drama Sarah Doole said the company believes passionately in supporting a new generation of writers.
“Lucas [will] have access to our family of award-winning producer across the UK and Europe which will help him to not only further develop his already impressive skills, but also to gain first-hand knowledge of the international industry.”
Taylor, a former creative director at Hoodlum, has worked on projects such as The Bourne Legacy, SALT, Dance Academy, Primeval and Divergent. Most recently he co-wrote and directed Vikings: Athelstan’s Journal.
He’s also created digital and interactive content for factual brands including Discovery (Voyage to the Planets), the ABC (Australia: A Time Traveller’s Guide) and the BBC (BBC Knowledge).
The scholarship, valued at $25,000, was presented to Taylor by Screen Queensland, in partnership with Australians in Film, the Queensland Writers Centre and FremantleMedia.
Queensland Premier and Arts Minister Annastacia Palaszczuk congratulated Taylor on his selection.
“The judging team was unanimous in its praise and assessment of Lucas’ potential career options in the international screen industry,” said Palaszczuk.
“The Greg Coote Scholarship is an important step in furthering the careers of Queensland industry professionals and helping to build a strong international network that will benefit the state’s screen industry.”
Last year’s scholarship recipient Megan Doneman travelled to LA where she joined the eighth season of NCIS: Los Angeles.
“The Greg Coote Scholarship was a once in a lifetime opportunity for me to enter into a world I wouldn't ordinarily have access to,” she said. “I got to observe a well-oiled machine up close. I sat in on story meetings, shadowed writers and directors and made invaluable industry contacts.”
“Even though the original scholarship offer was for eight weeks, I stayed for almost the entire season and learnt so much which I can apply to my own career.”