Fri. Jan 21st, 2022

“A lot of international production looked at us, especially those who had big Australian voices in them like Chris Hemsworth and Nicole Kidman,” he said. “But in sheer numbers, local film is actually the biggest thing on the whole list.”

Essie Davis and Caleb Landry Jones in Nitram.

Essie Davis and Caleb Landry Jones in Nitram.Credit:Stan

The report showed that the cost of Australian TV drama was not nearly as high at $ 201 million – a slight increase over the previous year, but 24 per cent below the five-year average. Children’s TV drama dropped 6 percent to $ 48 million.

While industry associations have lobbied for streaming services to have a local content quota, the report showed that they have increasingly commissioned Australian drama. Their spending on first-release productions has increased from $ 4 million to $ 116 million annually over five fiscal years.

“If you add the streamers, there’s still a lot of great Australian content being made for Australians,” Mason said.

While some foreign projects fled to safer places during the last lockdown – Netflix’s action thriller Extraction 2 shifted from Queensland to Prague, and Sydney’s Fox Studios and Village Roadshow Studios on the Gold Coast have been quieter than expected recently – Mason thought there would be stable overseas production throughout the current fiscal year.

Chris Hemsworth, left, in Escape from Spiderhead.

Chris Hemsworth, left, in Escape from Spiderhead.Credit:Netflix

This includes the Julia Roberts-George Clooney movie Ticket to paradise, the successor to Woody Woodpecker and the series Joe Exotic, Nautilus and Young rocksecond season. He understood that Disney would bring another movie into Fox Studios early next year.

“It’s been a little quieter, though [the second] lockdown was difficult for everyone, “he said.” I think the number will drop a bit next year, but certainly not party or famine. “

From the state, NSW led 48 percent ($ 912 million) of all drama production, followed by Queensland with 29 percent ($ 553 million) and Victoria with 16 percent ($ 307 million).

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Federal Communications and Arts Minister Paul Fletcher said people working in the display sector should be proud that the sector had a record year despite the challenges of the pandemic.

“It is gratifying that the production of local Australian content has had its biggest year, in addition to Australia’s remarkable success in attracting foreign productions, which have provided valuable jobs and training opportunities to the industry,” he said.

But Screen Producers Australia CEO Matthew Deaner said it was worrying that only $ 874 million was spent on Australian content, including delayed projects.

“While this activity offers a welcome economic boost, it does not provide any local upside in terms of generating intellectual property and opportunities for local creatives and contributors,” he said. “These productions contribute very little to the building of sustainable local production companies and do not enhance our ability to create Australian cultural content that speaks with a genuine Australian voice.”

Sir. Deaner said there were also warning signs in the report for child drama following the removal of quotas on commercial broadcasters.

“While there is stability in the top-line investment figures, the total number of titles and the total number of hours are both roughly halved,” he said.

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