澳大利亚式的
The Australian screen industry is ready to play a role in economic recovery.
随着COVID安全指南的引入, 屏幕产业正在恢复工作，并准备为重建国民经济做出贡献.
But the federal government is putting that at risk. 对内容规则缺乏有意义的行动, 财政激励措施, 为公共广播公司和电影公司提供资金也在减少工作岗位，使企业陷入困境.
澳大利亚式的 is an industry campaign first launched in 2017 which draws together 生产商, 董事, 编剧, 演员, 工作人员和其他行业的专业人士和创意人员，他们希望看到一个充满活力和可持续的屏幕行业，继续在我们的经济中发挥重要作用, 社会文化生活.
WE 讲故事的人是作家吗, 生产商, 董事, 演员和工作人员制作了纪念过去澳大利亚人的电影故事，并将现在和未来的几代人与我们的历史和价值观联系起来.
你 是当选的代表——澳大利亚故事和我们独特文化的守护者. You create the environment within which our nation’s stories thrive or die.
我们是伙伴关系. 我们需要你的帮助.
Our ability to keep telling Australian stories on screen is at risk, our voices in danger of being drowned out by a deluge of overseas content.
如果我们国家的故事不被讲述，它们就会消亡. And when they die, future generations won’t know who we are and what makes us us.
这就是为什么我们需要 “让它澳洲化”.
我们需要:
- 澳大利亚内容规则不断演变, 来报道像Netflix这样的新媒体, 亚马逊, 澳洲电信电视, 电讯公司及互联网服务供应商;
- Competitive tax incentives; and
- Well-funded public broadcasters and screen agencies.
然后我们才能竞争. Australians telling the diverse stories of our people, our country.
我们呼吁议员, 我们独特的澳大利亚故事的守护者, 致力于发展我们的电影产业，这样我们的澳大利亚故事就会被告诉我们的孩子们, grandchildren and the generations of Australians that follow.
签署
Camilla Ah Kin (Actor); Gillian Armstrong (Director); Su Armstrong (Producer); Tony Ayres (Director); Michala Banas (Actor); Tony Barry (Actor); Simon Baker (Actor); Natalie Bassingthwaighte (Actor); Steve Bastoni (Actor); Nicholas Beauman ASE (Screen Editor); Dion Beebe ACS ASC (Cinematographer); Nicholas Bell (Actor); Amanda Bishop (Actor); Wayne Blair (Actor); Rachael Blake (Actor); Cate Blanchett AC (Actor); Russell Boyd ACS ASC (Cinematographer); Patrick Brammall (Actor); Shane Brennan (Screenwriter); Tony Briggs (Actor); Anna Broinowski (Director); Jonathan Brough (Director); Bryan Brown AM (Actor); Chris Brown (Producer); Simon Burke AO (Actor); Jason Burrows (Producer); Mitchell Butel (Actor); Robyn Butler (Actor); Rose Byrne (Actor); Annie Byron (Actor); Rob Carlton (Actor); Peter Carroll (Actor); Michael Caton (Actor); Penny Chapman (Producer); Shareena Clanton (Actor); Dustin Clare (Actor); Justine Clarke (Actor); Adelaide Clements (Actor); John Collee (Screenwriter); Toni Collette (Actor); Ian Collie (Producer); Robert Collins (Actor); Robert Connolly (Director); Dany Cooper ASE (Screen Editor); Michael Cordell (Producer); Wendy Cork APDG (Costume Designer); Rodger Corser (Actor); Jai Courtney (Actor); Deb Cox (Producer); Stephen Curry (Actor); Helen Dallimore (Actor); Henry Dangar ASE (Screen Editor); Matt Day (Actor); Alexandre de Franceschi ASE (Screen Editor); Rolf De Heer (Director); Kate Dennis (Director); Jason Donovan (Actor); Terry Donovan (Actor); John Doyle (Screenwriter); Beverley Dunn (Set Decorator); Marta Dusseldorp (Actor); Harriet Dyer (Actor); Fiona Eagger (Producer); Joel Edgerton (Actor); John Edwards (Producer); Ben Elton (Screenwriter); Alexander England (Actor); Daniela Farinacci (Actor); Carl Fennessy (Producer); Mark Fennessy OAM (Producer); David Field (Actor); Angie Fielder (Producer); Jack Finsterer (Actor); Alan Fletcher (Actor); Roger Ford (Production Designer); Lucy Fry (Actor); Lizzy Gardiner (Costume Designer); Nadine Garner (Actor); Rebecca Gibney (Actor); Colin Gibson APDG (Production ); Designer); Antony I Ginnane (Producer); Rachel Gordon (Actor); Ian Gracie APDG (Supervising Art ); Director); Pippa Grandison (Actor); Gyton Grantley (Actor); Mac Gudgeon (Screenwriter); Don Hany (Actor); Anthony Hayes (Actor); Noni Hazlehurst (Actor); Chris Hemsworth (Actor); Damon Herriman (Actor); Scott Hicks (Director); Chris Hilton (Producer); PJ Hogan (Director); Frankie J Holden OAM (Actor); Wayne Hope (Actor); Sacha Horler (Actor); Lachy Hulme (Actor); Peter James ACS ASC (Cinematographer); Tom Jeffrey AM (Producer); Veronika Jenet ASE (Screen Editor); Ron Johanson OAM ACS (Cinematographer); Laura Jones (Screenwriter); David Jowsey (Producer); Claudia Karvan (Actor); Sean Keenan (Actor); Deborah Kennedy (Actor); Andrew Knight (Screenwriter); Samantha Lang (Director); Anthony LaPaglia (Actor); Michela Ledwidge (Director); David Lee (Sound Recordist); Steve Le Marquand (Actor); Jacinta Leong APDG (Art Director); Ewen Leslie (Actor); George Liddle APDG (Production Designer); Jeremy Lindsay-Taylor (Actor); Rob Mackenzie (Sound Editor); Deborah Mailman (Actor); Jessica Marais (Actor); Lex Marinos (Actor); Damian Martin (Prosthetic Makeup Artist); Catherine Martin APDG (Production Designer); Don McAlpine ACS ASC (Cinematographer); Catherine McClements (Actor); Andrew McFarlane (Actor); Jacqueline McKenzie (Actor); Ray Meagher (Actor); Nick Meyers ASE (Screen Editor); Sue Milliken AO (Producer); Heather Mitchell (Actor); Jocelyn Moorhouse (Director); Kestie Morassi (Actor); Geoff Morrell (Actor); Kate Mulvany (Actor); Nick Murray (Producer); Igor Nay (Production Designer); Sam Neill (Actor); Robyn Nevin (Actor); Phil Noyce (Director); Chris Oliver-Taylor (Producer); Ben Osmo (Production Sound Mixer); Hunter Page-Lochard (Actor); Helen Panckhurst (Producer); Georgie Parker (Actor); Owen Paterson APDG (Production Designer); Craig Pearce (Screenwriter); guy Pearce (Actor); Deborah Peart ASE (Screen Editor); Jen Peedom (Director); Rachel Perkins (Director); Jacquelin Perske (Screenwriter); Adrienne Pickering (Actor); Jo Porter (Producer); Susie Porter (Actor); Leah Purcell (Actor); Daina Reid (Director); Chloe Rickard (Producer); Deborah Riley (Production Designer); Brian Rosen (Producer); Richard Roxburgh (Actor); Bill Russo ASE (Screen Editor); Martin Sacks (Actor); Jan Sardi (Screenwriter); Fred Schepisi (Director); John Seale AM ACS ASC (); Cinematographer); Dean Semler AM ACS ASC (Cinematographer); Emile Sherman (Producer); Greer Simpkin (Producer); Sarah Snook (Actor); Dan Spielman (Actor); Kriv Stenders (Director); Barbara Stephen (Producer); Kat Stewart (Actor); Yael Stone (Actor); Gary Sweet (Actor); Nadia Tass (Director); Michael Tear (Producer); Lisa Thompson (Set Decorator); Erik Thomson (Actor); Sigrid Thornton (Actor); Lesley Vanderwalt APDG (Hair and Makeup Designer); Matt Villa ASE (Screen Editor); Jeffrey Walker (Director); Mandy Walker ACS ASC (Cinematographer); Stephen Wallace (Director); Damian Walshe-Howling (Actor); Tasma Walton (Actor); Rachel Ward AM (Actor); Elka Wardega (Prosthetic Makeup Artist); Hugo Weaving (Actor); Peter Weir (Director); Bob Weis (Producer); David Wenham (Actor); Jo Werner (Producer); David Williamson (Screenwriter); Margot Wilson APDG (Costume Designer); Rebel Wilson (Actor); Stephen Windon ACS ASC (Cinematographer); Ben Winspear (Actor); Dan Wyllie (Actor); Julia Zemiro (Actor).
Australian Directors’ Guild; Australian Writers’ Guild; 媒体, Entertainment & 艺术联盟; Screen Producers Australia. With support from the Australian Cinematographers Society, 澳大利亚生产设计协会, 澳大利亚电影编辑, 澳大利亚电影作曲家协会, 澳大利亚声音协会, 电影和电视中的女性, 视觉效果学会.
表演者, 生产商, 作家, 导演和工作人员正在联合起来，为电影行业的未来而努力. We want Australian stories told on Australian screens by us, 对我们来说, about us. 我们想让它澳洲化.
Stories have been told on this continent for thousands of generations.
We want Australian stories told on Australian screens by us, 对我们来说, 因为没有人会在我们独特的澳大利亚风景中讲述澳大利亚经历的多样性.
但在银幕上讲故事是有风险的. Our capacity to make it Australian is at risk because:
•确保澳大利亚故事出现在澳大利亚银幕上的规则必须发展，以便Netflix等流媒体服务, YouTube, 斯坦, ISPs and Telcos have obligations to promote and invest in original Australian content.
•澳大利亚故事的主要支持者——澳大利亚银幕公司(Screen Australia)和美国广播公司(ABC)——的资金年复一年地被削减.
•商业电视广播公司希望放弃制作儿童内容的任何要求.
• 税 incentives that encourage production in Australia are no longer competitive.
该活动参考了20世纪60年代和70年代成功的“电视-澳大利亚化”活动. 商业电视网络上只有1%的电视剧是澳大利亚的——其他99%是外国的——这一危险局面的反应是，该行业寻求商业广播公司承担本地内容的义务. 澳大利亚电影、电视和广播学院也在最初的运动基础上成立.
这是竞选活动的要求
该活动旨在寻求政府对制片人可持续发展的影视产业作出强有力的承诺, 演职人员, 作家和导演为澳大利亚和国际观众提供各种高质量的澳大利亚内容.
为此，该活动要求:
• Local content obligations to be evolved to include new market entrants (e.g. Netflix、亚马逊(亚马逊)、电信公司、互联网服务提供商(isp);
• Competitive tax offsets (producer, PDV and location);
• Well-funded public broadcasters and screen agencies.
你愿意加入我们吗??
在一个充满挑战和变革的时代, 向彼此和世界讲述我们自己的澳大利亚故事从未像现在这样重要.
澳大利亚最低内容的规定只适用于商业网络(免费广播和付费电视).
• It is time to extend content regulation to the digital realm. 从澳大利亚市场获得收入的数字内容提供商(尤其是澳大利亚), 订阅视频点播服务(如Netflix和斯坦)应该为讲述澳大利亚故事做出贡献.
• Commercial networks want to abolish children’s content quotas. When UK children’s quotas were removed, 93% of children’s content production ended. If children’s quotas are removed we will never get them back. These quotas must be kept up and be extended to the digital realm. # savekidsTV
更新了支持生产的激励措施
Australia is competing in the global market but we are held back by our tax system. Competitive tax offsets will increase production and support local jobs.
•现在是时候更新澳大利亚故事片40%的制片人补偿了，使其平台中立——电视和数字现在和电影一样重要.
• At 16.5%, the location offset for international productions is simply not competitive. 是时候将澳大利亚置于一个公平的竞争环境中，并将位置补偿提高到30%. 投资, 培训, and profile of international productions keeps our industry on the cutting edge.
Proper funding to public broadcasters and Screen Australia
公共广播公司和澳大利亚电影局作为电影的主要资金来源发挥着重要的文化作用, television and digital productions in this country.
• Since 2014, more than $250m has been cut from the ABC. 在同一时期, 美国广播公司的成人电视剧和儿童节目的委托预算分别下降了20%.
• Given their important cultural role, the ABC and SBS need to be properly funded.
•现在是时候为ABC和SBS设定最低的澳大利亚内容水平，并提供足够的资金来满足这些要求.
•将澳大利亚电影公司的资金恢复到每年至少1亿美元(2012/13年度)，以便更多的项目能够获得批准.
新萄京娱乐 members have a long and proud history of campaigning for local content. 20世纪70年代，澳大利亚表演者特伦斯·多诺万(Terence Donovan)是“Make it australia”运动的创始成员之一. 在这里，他回顾了它的成功.
1960年在墨尔本公主剧院的《新萄京官方》开始了我的职业生涯, 我很快意识到我还有很多东西要学. There was no educational facility like the Victorian College of the Arts, NIDA or WAAPA to study with; you had to rely on natural ability to get you through.
当时, 演员 were not considered very productive members of the community and, 因此, 几乎没有发言权. 艺术, 一般, 没有得到很好的支持, which was one good reason to belong to Actors’ 股本 where, 集体, 表演者有了更大的发言权，在基本权利和条件方面可以得到更好的保护, as well as helping to change prevailing attitudes towards them.
I was fortunate to meet director Wal Cherry and actor George Whaley, 他们在南墨尔本创办了一家名为翡翠山剧院公司的小型企业. I was given many opportunities to play substantial parts in their productions, which proved an incredible experience and 培训 ground.
Many years of my career were taken up with working for Crawford Productions. The main show I was involved in was the police series, 部门4, 当它开始的时候是相当原始的. 我们没有可以换车的大篷车——只有汽车后座——几乎没有餐饮, 化妆和服装也很有限. 我们经常穿自己的衣服.
This became such a problem that when my one and only suit started to fall off me, 我亲爱的朋友帕特·福斯特, 谁负责服装, 带我去找老板解释我们的问题. 他上下打量了我一番，说:“你看起来很好.” I turned around and bent over, and my arse was hanging out of my pants. He said: “Well, that won’t do” and promised he would do something. The next week, they did a deal with a clothing shop and all the 演员 got new suits.
I went to thank the boss but thought better of it when I saw he also had a new suit, 他的侄子和会计也一样, 还有大楼里的其他人.
Pat Forster had a constant battle trying to clothe people, with hardly any budget. She wheeled and dealed to make sure everyone was dressed correctly, 但有些演员的自负是另一回事. 一位警匪片的男主角拒绝相信自己的腰围是38英寸(约96厘米)。, 是帕特写的吗. She had to put up with constant harassment from this actor, 谁断言卷尺是错的. In desperation, Pat changed all the labels on his clothing and that did the trick.
I was the 股本 deputy for Crawford Productions on 部门4. In 1968-69, there was a great deal of controversy about royalties. 美国和英国的演员在电视节目中工作时要支付版税，但在澳大利亚却没有.
与公平的维多利亚秘书一起, 维克·阿诺德, I called a meeting of all the 演员 at Crawford’s to discuss this injustice. 经过激烈的辩论, 决定了, 这是我们成员的功劳, that we should campaign for more Australian content, and that the royalty question should be put on hold ‒ for the moment.
在这一切之外, 我们最终成立了“澳大利亚电视”委员会来游说政府和公务员. 我们的老板, 赫克托·克劳福德(银狐), 对我们的所作所为视而不见, 哪个是在用他的手机, 办公设备, 秘书和作家, having endless meetings with the Broadcasting Control Board and lobbying politicians.
Politicians … my God, have we got to be careful of them. 我相信他们中的大多数人进入政界都是出于好意，但他们的现实世界是，你必须遵守政党的路线, 谁知道什么时候这条线会改变，以适应他们自己或他们朋友的目的. 似乎很难相信澳大利亚的政客们对澳大利亚生产的优点如此信服.
虽然我当时并没有意识到, 在反射, 在克劳福德制作公司度过了美好的岁月. 我想我们都亏欠了公司的创始人多萝西和赫克托·克劳福德. They were the real pioneers of Australian television because, 尽管困难重重, they survived to prove that the public wanted to see locals on our screens and, 因为他们的努力, 在世界的屏幕上.
Terence Donovan has been a proud member of 股本 since 1960. 本文最初发表于《新萄京娱乐》杂志2014年春季版，以纪念《新萄京娱乐》创刊75周年.
Make It australia悉尼发布会:
活动启动视频:
这是20世纪50年代在堪培拉举行的演员权益集会上，ASIO拍摄的令人惊叹的历史镜头:
Download and print out this poster and take a selfie to support the campaign.
