Australian Directors' Guild   


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  • 22/12/2022 3:06 PM | Anonymous


    Career Pathways

    Screenworks has announced the thirteen regional directors, producers and screenwriters from NSW and Queensland that have been selected for Screenworks’ 2023 Career Pathways Programs. As part of the three programs — Inside The Writers RoomDirector Pathways Program and Regional Producer Elevator Program — the selected participants will receive invaluable support and guidance over the next 12 months from some of Australia’s most respected writers, directors and producers.

    Thanks to the support of the multiple production companies, mentors, industry guilds and state funding agencies, the Career Pathways Programs have now become one of our most important annual pinnacle programs,” said Screenworks CEO Ken Crouch. “All participants selected for these programs are talented and demonstrate great potential. Some of the past alumni have made their marks within the national and international industry, and I’m excited to see what the 2023 cohort will achieve in the future.

    Expanded to include regional Queensland for the first time, this year’s Career Pathways Programs are funded by Screen Queensland and Screen NSW with support from Fremantle Media. Inside the Writers Room opportunities are being provided by Goalpost Pictures, Fremantle Media, EQ Media, Tony Ayres Productions and Wooden Horse. The Director Pathways Program is supported by the Australian Directors’ Guild, with Screen Producers Australia supporting the Regional Producer Elevator Program.

    Jahvis Loveday and Ela Furdas from the Northern Rivers region will be joined by Townsville-based Robert Crispe and Ashleigh Lawrence from Cairns as the four regional producers selected for Screenworks’ Regional Producer Elevator Program. They will each receive $3,500 to support their professional development, as well as attendance at the Screenworks Regional to Global Screen Forum in March 2023 and the 37th Screen Forever to be held on the Gold Coast in May 2023.

    For Screenworks’ Director Pathways Program, Bellingen-based Matty Hannon and Newcastle-based Claire Pasvolsky have been selected from regional NSW, as well as Angela Heathcote from Cairns and Aaron Lendon from Coes Creek in regional Queensland. Each selected participant will receive $3,500 to implement their unique career development programs and be supported by the Australian Directors’ Guild with guidance, advice and industry introductions.

    Five regional NSW and Queensland screenwriters have been selected for Inside The Writers Room, with Kimberley Wells from Central Coast selected for EQ Media, Shane Salvador from Tamworth selected for Fremantle Media, Emma Myers from Pokolbin in the Hunter Valley selected for Goalpost Pictures, Ben Southwell from Townsville selected for Wooden Horse and Shideh Faramand from Toowoomba selected for Tony Ayres Productions. Each selected participant will observe a professional writing team working on a television drama production.

    The selection panels for the three Career Pathways Programs were made up of representatives from program partners, industry bodies, guilds, and independent assessors.

    For more information contact Louise Hodgson, Industry Development Manager

    02 6681 1188     louise@screenworks

    Read the full press release and participant bios here

  • 06/09/2022 11:53 AM | Anonymous


    Our government is developing a National Cultural Policy for the decade ahead. To expedite this process, it used the Creative Australia policy developed by the Julia Gillard government in 2013 as its foundation.

    The consultation process required respondents to reflect on 5 pillars or goals from the 2013 Creative Australia policy distilled as follows:

    • First Nations
    • A Place for Every Story
    • The Centrality of the Artist
    • Strong Institutions
    • Reaching the Audience

    Our joint submission with ASDACS included calls for;

    • Greater funding and support for First Nations and Torres Straight Island screen stories and practitioners as well as more robust practices for Cultural Safety and protection of First Nation’s IP.
    • Removal of cultural barriers and improved support to enable practitioners from marginalised communities to create and prosper in fulfilling screen industry careers including more diverse leadership within our screen institutions and public broadcasters.
    • Better recognition of the creative contributions of screen directors including recognition that the principal director of a screen work is an author and has an unassignable right to remuneration as is the case in many European territories.
    • Improved conditions for screen directors to ensure that they operate within a sustainable employment framework that enables them to create and prosper over their entire careers within the sector.
    • Enhanced government broadcast regulation to ensure more Australian stories reach Australian audiences; including improved funding of our Public Broadcasters, restoring Australian content quotas for commercial FTA networks, new content quotas for Streamers and increased local content on Subscription TV.

    You can download and read our full submission here.

  • 11/08/2022 10:36 AM | Anonymous

    Make it Australian campaign launches new TVC

    Today sees of the launch of another poignant Make It Australian campaign TVC, 'Serenity', inspired by the classic 1997 Australian comedy The Castle. 

    'Serenity' is the second of four specially made TVCs we had commissioned to support our campaign for more Australian stories on Australian screens, with others to be released in the coming months.  

    Please like and share the TVC via the link below and show your support for the campaign using #MakeItAustralian

    To find out more and join the campaign head here: Home — Make It Australian 

    Link to Serenity TVC: 

  • 12/07/2022 2:02 PM | Anonymous

    The Australian Director’s Guild (ADG) will hold a one-day conference in Sydney next month for directors and industry members.

    Carrying the theme of Cutting Through The Noise, Director’s Cut will feature panels exploring the director’s role in a changed streaming landscape and how emerging directors can bridge the gap to paid work.

    Delegates will also hear from internationally successful directors about opportunities outside Australia and have the opportunity to discuss the value of impact strategies for both unscripted and scripted productions, while also getting updates on their rights and representation.

    Read the full Inside Film article here

  • 07/06/2022 10:26 AM | Anonymous


    With a small break, we are back for another Monthly Wrap!!! This month we dive into the ocean with Barons (dir. Shawn Seet & Fadia Abboud), grab a ride with Dykes on Bikes (dir. Kate Cornish, Steph Jowett & Tilly Robba) and prioritise our mental health with Holding Out for Help (dir. Lucy Knox). 


    Directed by Kate Cornish, Steph Jowett & Tilly Robba

    Documentary Short

    Dykes on Bikes is a motorcycle club with chapters all over the world. These days in Sydney it's about having a good time with friends and giving back to the community, but things weren't so recreational in the beginning. Dykes On Bikes emerged in response to gay hate crimes in the 1980s. They use to meet on weekend evenings and patrol the streets of Sydney and break up homophobic attacks that were happening. 

    From protectors of the streets to an Australian Mardi Gra Icon, we dive into present-day member’s accounts of their history, why they ride today and continuing on the legacy for future generations. A hybrid of a documentary and visual poem, this is a love letter to the Dykes on Bikes.

    Watch on Youtube here

    Check out Kate's work here and Studio Antic (Steph Jowett & Tilly Robba) here


    Directed by Shawn Seet & Fadia Abboud

    TV Series

    Seduced by the power of nature. Corrupted by the nature of power. As a group of surfers chase their sun-soaked dreams, they discover that even in paradise there is rivalry, greed and ambition. Set at a time of sexual liberation, protest, war and social change, Barons captures a unique moment of upheaval and opportunity as a new surfing counterculture and the spirit of enterprise collide. Two best friends, inspired by their love for the Australian beach, create what will become iconic rival surf brands. Little do they know that their success will tear them, and their world, apart.

    Watch on ABC iView here.

    Check out Shawn's work and Fadia's work.


    Directed by Lucy Knox


    In collaboration with grassroots advocacy organisation Australians for Mental Health (AfMH), the campaign, ‘Holding out for Help’, uses hold music to shine a light on the long wait times Australians face when waiting for mental health treatment.

    Help millions of Aussies end mental health wait times, by signing the petition at: 

    Watch on here.

    Check out Lucy's work here.

  • 03/05/2022 1:24 PM | Anonymous

    Members of the Australian Screen Industry Group Submission to the Streaming Services Reporting and Investment Scheme Discussion Paper

    The Government is seeking views on its proposed Streaming Services Reporting and Investment Scheme which it released in February. The release of its discussion paper followed ‘extensive consultation’ with industry stakeholders through its Media Reform Green Paper.

    The ADG along with 13 other preeminent screen industry guilds and associations, representing the interests of thousands of Australian screen industry practitioners in front of and behind the camera, hold significant concerns with the Scheme’s design:

    • We are concerned that the Governments proposal includes an alarming degree of Ministerial discretion which brings with it untenable risk of inadequate and inconsistent regulatory action.
    • We oppose the Scheme’s proposed 5% threshold which will not deliver on well-established cultural public policy objectives. ASIG members remain united in their call for a swift introduction of a 20% Australian commissioned content expenditure requirement on global technology streaming businesses in line with other forward- thinking international jurisdictions.
    • The scheme does not include specific protections for critical genres of drama, documentary, First Nations, and children’s content. We believe this to be a substantial oversight which, in consideration of the Government’s deregulation of Australia’s Commercial Free-To-Air Networks last year, now urgently needs to be addressed
    • We oppose the proposed halving of the subscription television Australian drama obligation. The proposed cut will substantially harm subscription television audiences, who will lose access to high quality Australian narrative content. The proposal is without reasonable policy justification. 
    • We believe that the scheme proposed in this Discussion Paper is weak, lengthy and one that creates an uncertain pathway to regulation. The policy conversation regarding these issues has been in train for a decade, the need for meaningful regulatory action has been clear for many years. We are concerned that further delay in regulation at this late stage is damaging to the industry, exacerbated by the weakness of the scheme proposed.

    ASIG Members joined forces in a government submission filed today which addresses these commonly-held concerns. You’ll find the ASIG submission here.

  • 13/04/2022 12:00 PM | Anonymous


    Welcome to our March edition of our Monthly Wrap. A showcases some of our favourite features, docos, shorts, music videos, tv series & more created by our members. 

    This month we have some very important stories that we urge you to check out: 

    • First Day - directed by Julie Kalceff
    • 'Only One' by Ashli - directed by Chloe De Brito 
    • All Good Things - directed by Simon Croker
    • More Than This - directed by Kate Gorman & John Sheedy


    Directed by Julie Kalceff

    Children's TV Show 

    In her second year at Hillview High, Hannah's run for Class Captain exposes an underlying level of transphobia among her classmates. She starts a group for LGBTQIA+ students but risks alienating her closest friends in the process.

    Watch on ABC iView here.

    Check out more of Julie's work here


    Directed by Chloe De Brito

    Music Video

    A cosy night out to the local chicken shop is turned upside down when Ashli locks eyes with her ex. Ashli escapes to the comfort of her Uber where she drifts in and out of a daze, reminiscing on what was and what could be. Shot on Darug country in Western Sydney at the locally iconic Chicken Man.

    Watch on Youtube here

    Check out more of Chloe's work here


    Directed by Simon Croker

    Short Film

    Road trips usually signify a beginning, but for Isaac and his partner Levi this is their last chance to spend time together before they part ways. As they drive towards to their destination, Isaac finds that maybe he isn’t as prepared for this breakup as he’d first thought.

    Watch on ABC iView here

    Check out more of Simon work here.


    Directed by Kate Gorman & John Sheedy

    TV Series

    A slice of life teen drama that explores the overwhelming, messy, difficult and beautiful issues surrounding teenagers' lives, as characters explore relationships, sexuality, grades, online social life, family pressures and taking risks.

    Watch on Paramount Plus here


    Welcome to our February edition of our Monthly Wrap. A showcases some of our favourite features, docos, shorts, music videos, tv series & more created by our members. 

    This month we have a collection of work that aims to challenge, excite and capture you! 

    • Araatika! Rise Up! - directed by Larissa Behrendt
    • Troppo - directed by Yolanda Ramke
    • Feels like a Different Thing by Confidence Man - directed by W.A.M. Bleakley


    Directed by Larissa Behrendt

    Feature Documentary

    Former National Rugby League (NRL) star Dean Widders is a man on a mission. After fellow Indigenous players Preston Campbell, Timana Tahu and George Rose devised their own pre-game performance to match the haka of their Maori counterparts, Widders began a journey to bring this dance – and First Nations pride more broadly – to the game.

    Watch on SBS On Demand here.


    Directed by Yolanda Ramke

    TV Series

    An eccentric private investigator with a criminal past recruits a disgraced ex-cop to help solve the disappearance of a Korean tech pioneer in the wilds of Far North Queensland. 

    Watch on ABC iView here.

    Check out more of Yolanda's work here

    'FEELS LIKE A DIFFERENT THING' by Confidence Man

    Directed by W.A.M. Bleakley

    Music Video

    Shot in Coober Pedy on 16mm film, this music clip features stunning red earth locations, high octane hoolagism and things blowing up. 

    Watch on Youtube here

    Check out more of W.A.M's work here


    Welcome to the 'Monthly Wrap', where the ADG showcases some of our favourite features, docos, shorts, music videos, tv series, online content etc. created by our members. 

    We’re so excited to share with you our first Monthly Wrap featuring four nuanced, thoughtful and intricate works... 

    • Love Me - directed by Emma Freeman
    • St Augustine - directed by Thomas Wilson-White
    • The PM’s Daughter - directed by Julietta Boscolo, Erin White & Alana Hicks
    • Safety by Kat Edwards - directed by Gabriel Morrison


    Directed by Emma Freeman

    TV Mini Series
    LOVE ME is a story about love, loss and the complexity of family relationships experienced by three different family members at distinct times of life.

    Watch on Binge here: Love Me


    Directed by Thomas Wilson-White

    Short Film

    While staying by the sea, a young man becomes aware of a third person in his floundering relationship.

    Watch on Film Shortage here: St Augustine - Drama, Suspense // Featured Short Film (


    Directed by Julietta Boscolo, Erin White & Alana Hicks

    Political Drama for Kids

    Cat is like any other teenager, with one difference: her mother is the new Prime Minister of Australia. Along with her new friends, Cat navigates life in the spotlight, while tracking down a hidden threat to her mum.

    Watch on ABC iView here:

    SAFETY by Kat Edwards

    Directed by Gabriel Morrison

    Music Video

    A surreal narrative following a young woman trying to navigate the end of a long term relationship, shot in the remote southwest hydro dams in Tasmania.

    Watch on Youtube here:Kat Edwards - Safety (Official Music Video) - YouTube


    We’re always on the lookout for great new Australian content to feature on next month’s wrap! Remember we are looking for recent work that is available to watch now! Whether it's a hit new show you're loving or a tiktok series, the Monthly Wrap is here to introduce and celebrate Australian work! 


  • 16/02/2022 5:30 PM | Anonymous

    Partner News

    February 2022

    Media Super and Cbus are preparing to merge 

    Media Super is planning to merge with Cbus, the industry super fund for those who build Australia. 

    Media Super Limited (the trustee for Media Super) and United Super Pty Ltd (the trustee for Cbus) have signed a merger agreement, which is an important milestone in the merger journey. While there are still some approval processes that need to happen, both funds are working towards completing the merger process before the second quarter of 2022.

    Media Super’s planned merger with Cbus is driven by our objective to improve outcomes for our members. The focus remains on supporting members in the print, media, entertainment and arts industries, as we have for more than 30 years. 

    After the merger, the Media Super brand and industry focus will continue, and members will be part of a much larger and growing combined fund.

    We’ve found the right partner to continue our proud legacy 

    Media Super is proud of our heritage and industry focus, and we have been performing well for our members, with strong long-term returns and competitive fees. Our sole objective is to provide strong outcomes for our members in retirement. However, we’ve realised that the increasing complexities of superannuation and rising costs mean the best outcome for our members is to find a merger partner.

    We are always looking after our members’ best financial interests, and that is why we have found a like-minded merger partner in Cbus. The super fund for those who build Australia, Cbus has more than $65 billion in funds under management and 775,000 members (as at 30 June 2021).

    Cbus has a history of low fees, strong investment performance and excellent service.

    We share the same mission 

    Media Super and Cbus share the same mission: better retirement outcomes for members. Being industry super funds, both Media Super and Cbus have a similar culture and shared values. 

    Increased scale and growth also benefit members by providing access to more investment opportunities, greater scope to manage fees effectively and access to products and services, including for those approaching or currently in retirement.

    What happens next? 

    The merged fund will have more than $70 billion in assets and manage the retirement savings of around 850,000 hardworking members. 

    Media Super members and employers will still benefit from products and services tailored to their industries while also gaining access to the benefits of size and scale that come with belonging to a larger fund. 

    Those benefits include access to more investment opportunities, greater scope to manage fees effectively and access to innovative products and services, including for those approaching or in retirement.

    Media Super and Cbus are now focused on transition planning to integrate investment, administration, and operations. This is a comprehensive process, with both funds ensuring the plan will deliver a result that’s in the best financial interest of members. 

    Our focus is squarely on delivering strong long-term investment returns and retirement outcomes for Media Super and Cbus members.

    Download the PDF of this press-release here

    If you have any questions, please call our Helpline on 1800 640 886 or get in touch with your Business Development Manager.

    This communication provides general information only, and does not take into consideration your personal objectives, situation or needs. Before making any financial decisions you should first determine whether the information is appropriate for you by reading the Product Disclosure Statement and/or by consulting a qualified financial adviser. The Target Market Determination is at Investment returns are not guaranteed, and past performance gives no indication of future performance. Issued by Media Super Limited (ABN 30 059 502 948, AFSL 230254) as Trustee of Media Super (ABN 42 574 421 650).

  • 14/02/2022 12:45 PM | Anonymous

    Vale Michael Thornhill (1941-2022)

    A wake will be held for Michael at The Lord Wolseley Hotel,  265 Bulwara Road, Ultimo on Monday February 28th from 3pm to 6pm.  All are welcome to attend.

    Photo: John Flaus and Michael Thornhill (right)

    Michael Thornhill was, and is, an important Australian director, film critic, film and TV producer as well as a rather contradictory character. To my eyes he was both a poet of the cinema, a political loudmouth sitting yelling at me in the corner of a pub and a loyal friend. He was talented, intelligent and verbose;  a much loved personality.

    As a director the ground he covered breathed working class underdog, intelligentsia rebel, sexual underworld observer and criminal underworld storyteller. His film tastes, as he said himself, were “catholic”. Though not always commercially successful his films were unreservedly down to earth Australian, something that other filmmakers didn’t achieve because it’s either in your bones or it’s not.

    His major features, “Between Wars”(1974) and “FJ Holden” (1977) were ground breaking ventures in the early days of Australian cinema. His short film “The American Poet’s Visit” (1969) was the best short film ever made from a Frank Moorhouse story. His influence on the Australian film industry was huge, especially when he was a generous and astute executive at the New South Wales Film Corporation (later the NSWFTO) where he, David Roe and Jenny Woods were instrumental in funding films like My Brilliant Career, Bliss, Stir, Newsfront and many others.

    Michael was born in Paddington on March 29, 1941 to Mr and Mrs Frank Thornhill. His mother was English, she came from Sale in Cheshire. The family moved to Tasmania where she died when he was four. Michael lived with his father till his late teens when, without doing the leaving certificate and with nothing but a passion for film in his head, he travelled to Melbourne.

    There he met filmmaker Tim Burstall, who encouraged his film interest. He then moved to Edgecliff, Sydney to live with his aunt, artist Dorothy Thornhill and her husband, artist Douglas Dundas. Dorothy became his surrogate mother who loved, spoiled and supported him financially. She was a very fine artist herself and Michael adored her.

    Michael’s first job was as an ABC projectionist. Producer Richard Brennan remembers meeting him at the ABC in 1959 when he was a rake-thin 19.

    In the early 1960s he started attending the WEA film study group run by Ian Klava (then director of the Sydney Film Festival). There he met writer Frank Moorhouse, a fellow film enthusiast who worked at the WEA and film teacher John Flaus.

    Gillian Burnett and Sandra Grimes, both runaway, rebel young girls then, were working in the WEA library at the time. They invited Michael, who had become good friends with Frank, to come to the Newcastle hotel with them on Friday nights.

    This was his introduction to the “Push” (or “baby Push” as film producer Margaret Fink describes them). The “baby Push” was a loose group of intellectuals, would be writers and artists developed from professor John Anderson’s original Libertarian Society of the 1950s. They met at the Royal George Hotel in Sussex Street or the Newcastle Hotel in George Street.  After the six o’clock closing they would often go to Lorenzini’s wine bar in Elizabeth Street.

    This introduced Michael to a like-minded, mildly seditious young underclass of male and female artists and intellectuals. It strengthened his radical ideas and secured his relationship with Frank Moorhouse.

    He began to write articles for the WEA’s Film Digest and in 1965 he and Ken Quinnell, who he met at the Newcastle, started publishing the Sydney Cinema Journal. He also worked as a film editor.

    He became a film critic for “The Australian” and “The Sydney Morning Herald” between 1969 and 1973.  Richard Victor Hall invited him to the “literati“ Friday luncheons at Tony Bilson’s Bon Gout.

    In 1969 he made two documentaries for the Commonwealth Film Unit; Stainless Glass Screens and The Esperance Story. Hthen made a 16 minute drama The American Poet’s Visit, based on a short story by Moorhouse and co written with Ken Quinnell. Filmed over two weekends by Russell Boyd in Bill Bonney’s house where the original event had taken place, it had a miniscule self-raised budget of $900.  Michael kept as close as he could to the spirit of Frank’s writing and the result is a wonderfully truthful, chaotic document of those times and those people. It launched Michael’s directing career.

    In 1970 the Australian government starting funding short films and he followed up with The Girl from the Family of Man 1970 (budget $4000) and The Machine Gun 1971 (budget $5000). After two documentaries for the CFU in 1974 (Mister Fixit My Dad and Kevin and Cheryl) he made the feature Between Wars, written by Moorhouse. It starred Corin Redgrave and was Australia’s first serious political film, examining Sydney society between the wars through the eyes of a psychiatrist. It was a bold, elegiac venture. He followed this with FJ Holden in 1977, a film set in Bankstown, an apparently ”formless study of a group of kids living in Sydney Western suburbs”. Written by Terry Larson it was not the usual “ocker comedy” or a “gentle romance” but a “value free look” at the lives of these kids. It had a mixed reception, was roughly directed  (Michael was occasionally insecure with film grammar) but was an example of Michael’s inherent poetic understanding of the core of Australian life.

    In 1979 he directed The Journalist. In 1983 he produced the excellent documentary Who Killed Baby Azaria (1983) with Errol Sullivan. His last film was The Everlasting Secret Family (1988.)

    He was a staunch supporter of the Australian Directors Guild, of which he was a founding member. He never married but his most sustaining relationship was with writer Thea Welsh, who predeceased him.

    The memory of his work, both in directing and writing, the power of his personality and ideas, still plays strongly into our industry. His tenacity and poetic outlook is an inspiration for Australian filmmakers.

    In his last months he was assisted and cared for by Errol Sullivan, Gillian Burrell (nee Burnett) and Tom Jeffrey from the MPIBS (Motion Picture Industry Benevolent Society) to which ASDACS contributes.

    Isolated by Covid rules he died peacefully under care at St Basils Aged Care in Annandale on January 22.

    by Stephen Wallace

  • 24/12/2021 3:45 PM | Anonymous

    ADG End of Year Message 2021

    Well, 2021 has been an extraordinary year in so many ways, one where our members and our organisation’s resilience has been well and truly tested. 

    But challenging though 2021 was, I’m incredibly proud of what our members and our team have been able to collectively achieve. 

    Of course,  innovation and determination in the face of adversity is part of a Directors’ DNA - and nowhere was this more evident than in the very public Make it Australian campaign in the face of some particularly regressive media reform announced by our government at the end of 2020. 
    With strong lobbying collaboration across the sector and the support of the ALP, Greens and the cross-benchers we achieved some great policy outcomes in Canberra: 

    • Retention of the 40% feature offset as well as the lower qualifying thresholds and the Gallipoli Clause, 
    • Increase of the TV offset from 20 to 30%, and,  
    • Retention of the NEDE scheme for subscription TV 

    This means more employment opportunities for our members, more opportunities for Australian stories to be told and great outcomes for Australian audiences with a proven appetite to watch them. 
    However on the negative side of the ledger, this government watered down long running Australian content quotas for Free to Air Commercial Networks and removed any obligation for Australian networks to produce Australian Kid’s content  - 
    SPA modelled a decline of $100m in production spend annually resulting from these changes. 

    And unlike other progressive international governments, our government has been tortoise-slow to regulate Australian content minimums on Streaming platforms that have exponentially increased their reach, influence and financial returns in Australia during the pandemic. 
    So, we look forward to continuing the fight for Australian stories on Australian screens in 2022. 
    With the pandemic continuing to wreak havoc with our in-person events and workshop calendar, we’ve innovated new ways to connect with our members. 
    Our weekly ADG-40 First-Hand on-line mentoring sessions have connected hundreds of our members to our established member brains trust, Mentors have generously shared their tips, their methods, their wisdom and lived experiences. 
    The productions for our Annual Diversity Showcase with the AWG, Screen Australia and the Equity Foundation were due to be shot in-Sydney but covid knocked that on the head. 
    Our five very talented Directors were able to innovate new ways of remote working to tell stories that were screened to a packed auditorium in Sydney on the 3rd of December.   

    And our Awards had the highest number of entries by a considerable margin this year, the stories never more entertaining, engaging, and diverse.  

    We live-streamed the nominations for the first time and the live-streamed Awards ceremony hit a fittingly celebratory and inclusive note to cap off an incredibly challenging year 
    A couple of hundred joined us in the audience in Sydney and many more attended our pop-up in-cinema live awards events in Perth, Brisbane and Melbourne. 
    We continued to expand our Learning and Development Partnerships with two intakes of the Director Pathways program with Screenworks providing bespoke Career Development for early-career directors living in Regional NSW. 
    We launched the Talent Gateway partnership with Australian’s in Film with an aim to bring Australian voices and stories to international audiences and provide access and connections to key US decision makers. 
    And with the conclusion of our DirectOne Shadow Directing program funding from Screen Australia, we’ve taken all the learnings from a very successful program into a very exciting new program called Local2Global. 

    We think it’s an industry game-changer, as for the first time it ties together all our workshops, attachments, shadow and mentoring programs into a cohesive annual curriculum. 

    We look forward to sharing more news on this exciting initiative with you in the new year. 
    Hopefully you’ve also noticed a major improvement to our member experience and digital content following the long-awaited launch of our new website in November.

    If you haven’t done so already, we’d encourage you to log on, update your member information and take advantage of the resources exclusively available to members in the Members Hub.  

    You’ll find a host of useful information there including recommended rates, contract advice, recordings of the ADG-40 First-Hand sessions and of our Annual Awards. 
    And in some very exciting news, something we think will be quite transformative for both our members and the wider industry, we launch our searchable member database - THE DIRECTORY – in February next year. 

    This, for the first time, provides our members opportunity to showcase their work and be found - we’d love you to update your information and opt in. 
    The end of 2021 saw the end of an era with our formidable president Samantha Lang, stepping down after serving twelve years on the ADG board and six years in the role of president.  

    Sam oversaw an exponential growth in the number and diversity of ADG members, championed the Gender Matters program, expanded the range of professional development opportunities for ADG members and raised the Guild’s industrial influence and standing.  

    We thank Sam for her enormous contribution.

    And we’re thrilled that Rowan Woods agreed to stand as ADG President and was duly elected as our new president in November. 

    We also welcome new board member Partho Sen-Gupta to the board. 
    Lastly, if you’ve not done so already, do make sure to renew your membership. Please click here to renew. 

    With our new member portal it’s never been easier and your fees are absolutely critical to funding all our advocacy, career development and industrial relations initiatives. 

    They are critical to us being able to support your careers and fight for your rights. 
    On behalf of everyone at the ADG, I wish you a safe and happy festive season and a wonderful and productive 2022. 

    Alaric McAusland 

    ADG Executive Director 

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