About

We unite screen businesses to campaign for a healthy commercial environment, supported by a representative council and a full-time secretariat.

Our Council

We are governed by an elected council that includes some of Australia’s most prominent screen industry professionals. Our elections are held annually with representatives selected from across the feature film, television and interactive production community. 

Before becoming CEO of WildBear, Michael was the Managing Director and co-founder of production company Bearcage. Michael’s credits as Producer and Executive Producer encompass award winning television, government and commercial productions.  His notable projects, both one-offs and series, include Building Australia (2013, History Channel), The Boffin, the Builder and the Bombardier (2013, ABC), The Story of Australia (2013, CCTV9), New Zealand From Above (2012, ZDF/Arte, National Geographic, Prime TV), The Digger (2011, History Channel, Gold Dolphin winner at the Cannes Film and Television Awards), Blessed Mary (2010, History Channel), For Valour (2009, History Channel), and Strong Men of Nguiu (2007, ABC Television). Michael was also an Executive Producer on feature film The Babadook (2014, Official Selection at Sundance Film Festival), a former member of the ACT Cultural Council and currently serves on the board of ScreenACT.

Tania Chambers is a Producer and Executive Producer at Feisty Dame Productions.

Tania produced the feature film Kill Me Three Times directed by Kriv Stenders, starring Simon Pegg, Sullivan Stapleton, Alice Braga, Teresa Palmer, Callan Mulvey, Luke Hemsworth and Bryan Brown.

Tania also produced the feature A Few Less Men directed by Mark Lamprell and starring Xavier Samuel, Kris Marshall, Kevin Bishop, Ryan Corr, Shane Jacobson, Deborah Mailman, Jeremy Sims, Sacha Horler and Lynette Curran. A Few Less Men is the sequel to the successful comedy of the same name. Her Executive Producer credits include award-winning short films One Fine Day, High Tide and Dark Whispers, A Shared Affair and Tango Underpants.

 Formerly Chief Executive of two of Australia’s regional funding agencies: Screen NSW and ScreenWest, she has over 25 years’ experience within the film and television industry.

Wayne is an accomplished and successful international executive with 20+ years experience in leadership roles in the media/entertainment, digital & events industries in the private and Govt sectors. He has lived & worked in Australia, Europe, Asia & Middle East; developing strong cultural & commercial expertise across mature & emerging markets.

He has led key divisions of major iconic international media businesses & brands & driven broad brush strategic & policy initiatives for government. His experience includes M&A activity, development of sector clusters & establishment of special economic zones and investment/start up incubation.

Wayne has also served as a non exec board director of media start-ups; event, digital, media education/training & entertainment companies. He has extensive exposure & deep knowledge of media, digital, emerging technologies, convergence, multi-screen environments and the impact on industry & consumers and an understanding of the commercial and strategic drivers across these sectors.

Wayne is Managing Director of Fox Studios Australia. He is currently on the Board of Ausfilm Australia; a Screen Producers Australia Councillor & member of the Australian Institute of Company Directors.

He was previously President Int. & CCO at twofour54 (Abu Dhabi Media Zone Authority) having transitioned from his initial role of 5 years as Deputy CEO & COO after successfully developing & mentoring a local Emirati leadership team.

The ADMZ Authority is a strategic initiative of the Government of Abu Dhabi. His unique breadth of responsibilities at the ADMZ included: Abu Dhabi Film Commission, Abu Dhabi Film Festival, Tropfest Arabia & AD Media Summit.

Previously, Wayne was Executive VP at Universal Pictures Int, based in London. Earlier in his career, he held senior commercial and marketing leadership roles with leading international brands including Warner Bros/Time Warner, The Walt Disney Company and PepsiCo.

Kate is a South Australian producer with a reputation for developing and producing bold film and television work with exciting new creative talent. Kate’s first feature film as producer, the Australian-Iranian collaboration My Tehran for Sale, was shot entirely on location in Tehran in 2008. The film screened at prestigious festivals internationally and earned Kate and her fellow producers the 2009 IF Independent Spirit Award. In 2010 Kate was awarded Screen Australia’s inaugural producer internship at Film4, spending six months embedded in the Film4 development department in London. In that year she also produced The Palace, an international short film collaboration between Australia and Cyprus which won numerous awards including for Best Short Film at the 2012 AACTA Awards. In 2011 Kate produced television series Danger 5 with Dario Russo, an action-adventure comedy TV series for SBS, which broadcast in 2012 and was nominated for Best TV Comedy at the 2013 AACTA Awards.

In May 2012, Kate founded Hedone Productions with Sandy Cameron and last year they produced the time travel comedy feature film The Infinite Man, which launched to audience and critical acclaim at the 2014 South by Southwest Film Festival and has just released theatrically in Australia. Kate has just completed production on a second series of Danger 5 for SBS.

Mark has over 20 years experience across the media, entertainment, digital and technology sectors. He began his career with the arrival in Australia of subscription television and for many years acted for channels set up by the likes of Disney, Warners, Roadshow, MGM, Discovery and Universal. He also represented EMI in music publishing for over a decade. He has worked in-house for an Australian broadcaster and in London for a large commercial law firm.

His clients today are involved in all facets of financing, creating and commercialising content from three core areas: content for screen (film and TV), game and music; digital and online; technology including engineers, software providers and digital businesses.

Practice Areas – Advertising; Banking & Finance; Brand strategy & protection; Classification; Competition & Consumer Law; Corporate, including company sale and acquisition; General Commercial; Industrial Relations; Intellectual Property; Privacy & Data Protection; Regulatory; Securities law (PPSA).

 

Ewan Burnett has worked in the Australian film and television industry for more than 35 years. With Arts Degrees in Philosophy and Cinema Studies, he embarked on a career in drama television for adults and children. His extensive Producer, Executive Producer and Associate Producer credits include the telemovie The Mystery of a Hansom Cab, the series Last Man Standing and Small Time Gangster, the mini-series GLITCH, Kangaroo Palace, Bootleg and The Farm, the children’s series Dead Gorgeous, The Wayne Manifesto, Eugénie Sandler PI, Short Cuts, sn:tv, Sleepover Club, Fergus McPhail, The Henderson Kids II, Round The Twist, Sky Trackers (telemovie), Lift Off, More Winners and the animation series Animalia. He also produced the stage shows Mum's The Word, Mum's The Word 2:Teenagers! and Spontaneous Broadway and created the concepts for the television series Fire and the telemovie Mumbo Jumbo. His productions have won a BAFTA, an EMMY, three AFI Awards, four ATOM Awards, a LOGIE and two AWGIE awards. They have also been nominated for two further BAFTAs, four AFI and five LOGIE Awards.

Before establishing Burberry Productions, Ewan occupied many positions within other companies including Production Supervisor at Crawford Productions, Program Manager at the Australian Children’s Television Foundation and Executive Producer at Artist Services. He has also undertaken a number of board and committee appointments including for Film Victoria and the Screen Producers Association of Australia and for three years was Adjunct Professor of Media in the School of Applied Communications at RMIT University. In the eighties he produced and presented a weekly jazz program on FM station 3RRR.

Barbara Stephen is the Managing Director of Flying Bark Productions, one of Australia’s leading independent animation production companies. Barbara has worked as a producer for over twelve years across sport, lifestyle and reality programs before finding her passion in children’s animation. Her children's producing credits include; the award winning animated series Erky Perky (Series 3), Magical Tales (Series 1) and multi-award nominated short film Hog while at Ambience Entertainment. Barbara line produced the two-time KidScreen and AFI award-winning hit series for ABC 3, The Adventures of Figaro Pho and teamed up with the Jurevicius brothers to work on the AFI and KidScreen award-winning show, Peleda.

At Flying Bark, Barbara has produced The Woodlies (Network 7 and ZDF) nominated at the Stuttgart Festival for Best Animated Series and most recently the award-winning and international box office success; Maya the Bee Movie. She has also produced the flagship new fantasy and adventure series Tashi (ABC & Network 7), nominated for best series at the Stuttgart Animation Festival as well as producing a CGI revival of the much loved Australian classic, Blinky Bill The Movie.  Barbara is currently working on a slate of new development projects, including the film adaptation of Jane Lyons' modern classic series, 100% Wolf. 

AACTA and Emmy® award winning filmmaker, executive producer and entrepreneur Marcus Gillezeau [Jillezo] is the CEO of Firelight Productions, a Sydney based film and television company specialising in all-media drama, documentary and 3D production. 

Marcus has over 20 years experience in the film and TV industry. He began as a film editor before moving into producing and executive producing.

Prior to establishing Essential, CEO Chris Hilton was the managing director and founding partner of Hilton Cordell Productions, which he ran for seven years. During that period Chris executive produced or produced a slate of over 50 hours of programming that totaled over $A 25m. Chris is also an award winning writer/ director who’s programs have won both Walkley and Logie Awards.

His credits include SOLO, Miracle on Everest, The Last Confession of Alexander Pearce, The American Ruling Class, Dying to Leave, Shadow Play, Doping to Win, The Irish Empire, The Colony and Ten Pound Poms, Scorched, Hell Has Harbour Views, Rogue Nation, The Irish Empire, Indonesia: A Reporters Journey, Shadow Play: Indonesia's Years of Living Dangerously, Dealing With the Demon, How Kevin Bacon Cured Cancer, The Hobbit Enigma, Robot Revoloution, The Secret World of Sleepwalkers, Selling Sickness: The Global Fight over the Future of Medicine, Whatever! The Science of Teens, DOPE: The Battle for the Soul of Sport, Transplanting Life, Rwanda: The Forgotten Diggers, Dying to Leave, Bitter Harvest, The Original Mermaid, The Shadow of Mary Poppins, The Serpent and the Cross, Music and Murder, The Pulse, Renzo Piano - Piece by Piece, Neil Perry's High Steaks, In The Line of Fire, Policing the Pacific, Heat in the Kitchen, A Case for the Coroner, Art House, Drama School, DIY Law, The Bridge, Dust to Dust, Street Practice, The Choir, Helens War: Portrait of a Dissident, Advertising Missionaries, The Ice Capped Jungle, The Last Husky, The Loneliest Mountain, A Spire.

Tracey Robertson is the Chief Executive Officer and co-founder of Hoodlum, an Emmy® and BAFTA Award winning Entertainment Company. Hoodlum was started by Tracey and her business partner, Nathan Mayfield, who have been working together for 19 years.

As CEO, Tracey oversees Hoodlum Television, connecting with networks and studios to produce content in Australia and around the world.

Tracey currently resides in Los Angeles where she has just completed the production of Secrets andLies, a 10 part series for ABC Network starring Ryan Phillippe and Juliette Lewis, based on the Australian 6 part series starring Martin Henderson and written by Stephen M Irwin. Along with this, Hoodlum has sold two other Australian shows into the US: The Strange Calls, with 20th Century Fox and NBC, and Fat Cow Motel, with ABC Studios and ABC Network. She is also in development on a number of US and UK original shows for both Network, Cable and VOD providers.

Robertson is a member of BAFTA LA, the International Academy of Television Arts & Sciences and the Australian Academy of Cinema and Television Arts (AACTA). She was recently recognised as an outstanding alumni and made an Adjunct Professor of Creative Industries at the Queensland University of Technology.

Janelle Landers is President of WBMC, a creative production company with offices in Perth and Sydney, working across feature film, television and cutting edge interactive content.  

Janelle produced Ben C. Lucas’ WASTED ON THE YOUNG starring Oliver Ackland, Adelaide Clemens and Alex Russell; co-produced Julius Avery’s SON OF A GUN starring Ewan McGregor, Brenton Thwaites and Alicia Vikander; and is currently completing Ben’s second feature OTHERLIFE staring Jessica De Gouw, TJ Power and Tiriel Mora. With a background in visual arts and First Class Honours degrees in Law and Media Arts Production, Janelle worked as a producer and lawyer prior to joining WBMC. 

David Redman is one of the founders of Melbourne based media group Instinct Entertainment. David brings a unique combination of skills and experiences gained from working in the US, UK and Australian telecommunications industries and has over 20 years of practical experience in fund raising and corporate and project management for various media businesses and projects.  He has worked with a range of companies including Paramount, Universal, Village Roadshow, Channel Nine, Macquarie Investments, Island Records, Recorded Pictures, Hoyts, Virgin Interactive, and Adlabs.

David Redman studied with and worked for a firm of Chartered Accountants in Melbourne, before becoming involved in the music industry in San Francisco and London, both as a musician and on the business side.

In 1988 he joined the Recorded Releasing Group as Financial Controller of UK distribution and exhibition. Recorded Releasing Group was originally set up by Jeremy Thomas (Producer of The Last Emperor) and Chris Blackwell (Island Records), under the direction of Chris Auty. David worked closely with all the firm’s principal executive officers.

As the company expanded into international sales, David learned the details of this side of the film business. In 1989, David became Head of Finance for the group, before taking over as acting Managing Director in 1990. Since then, he has gained experience in all areas of the film industry.

In early 1992, David left to work as an independent producer and moved into production with the short film Hand of Fate. He then produced the feature film Funny Man. Between 1994 and 1996, David worked as Associate Producer on three co-productions. These were Before The Rain, a UK, French, Macedonian Co-Production which won the Golden Lion at the Venice Film Festival in 1994 and was nominated for an Academy Award in 1995, The Young Poisoner’s Handbook, a UK, German Co-Production awarded the Critics’ Prize at the Edinburgh Film Festival, and Sweet Angel Mine, a UK, Canadian Co-Production.

These films, shot in the UK and Macedonia, the UK and Germany and Canada respectively, gave David experience in physical production in a variety of conditions (including war in Yugoslavia) and with very different financing agreements. David helped bring all three films in on budget and on time. In 1996 David returned to Australia and he was one of the founders of Melbourne based media group Instinct Entertainment in 1998.

His feature film producer credits at Instinct include the Paramount distributed Charlie & Boots, Salute and Till Human Voices Wake Us and the highest grossing Australian movie of 2004 Strange Bedfellows which was distributed by Universal in the US. David also line produced the Adlabs distributed Bollywood hit, Singh is Kinng, produced the Village Roadshow distributed Take Away and the Hoyts/Nine distributed You and Your Stupid Mate. He has also produced television for Channel Nine.

David is currently exploring new digital distribution models with the animated mockumentary, Little Johnny the Movie, producing a Stage Musical based on Strange Bedfellows and consulting on ways of combining his experiences in traditional and new media marketing techniques to increase brand value and improving the value chain of companies through a range of media including film, television, games and apps and other online experiences.

Joanna Werner is an Emmy Nominated, AFI and Logie award winning television producer specialising in live action drama series. Joanna established Werner Film Productions in 2008 which went on to be named the 2012 Australian Children’s Television Producer of the Year at the SPAA Independent Producer Awards. The company’s first production, the acclaimed teen drama series Dance Academy, first screened in June 2010 in Australia and was a ratings hit on ABC3, on air and online. In 2011 the series was recognised with a nomination at the 39th International Emmy Awards in the category of Children’s and Youth. Joanna is the Executive Producer, Producer and Co-Creator of the series.

Dance Academy is currently screening in over 130 countries around the world including ZDF in Germany, Teen Nick in the US and Nickelodeon in the UK. Series one and two of Dance Academy both took out Logies for Most Outstanding Children’s Program, Gold Plaques at the Chicago Film Festival’s Hugo Television Awards, Bronze World Medals at the New York Festivals International Television & Film Awards, Kidscreen Awards for Best Companion Website and Australian Directors Guild Awards. Dance Academy has also won an ATOM Award, the AWGIE award for Best Children’s Television Screenplay and was Highly Commended at the 2012 Asian Television Awards.

The third series of Dance Academy is currently airing on ABC3 and takes the total number of episodes to 65.

In 2007-08 Joanna produced The Elephant Princess for Jonathan M Shiff Productions which won the AFI Award for Best Children’s Television Series. This followed H2O – Just Add Water Series 2 which Joanna produced on the Gold Coast also for Jonathan M Shiff Productions. The series won the 2009 Logie Award for Most Outstanding Children’s Series and also twice won the Australian Nickelodeon Kid’s Choice Award for Most Popular series.

Prior to this Joanna produced the 50 minute feature film The Heartbreak Tour for SBS and the AFC funded short film Heartworm. Other production credits include the first series of H2O – Just Add Water which Joanna associate produced, along with Wicked Science Series 1 & 2 and Scooter: Secret Agent.

Joanna is currently developing a number of projects for children, teen and adult audiences.

WHO WE ARE

Learn more about the team.

Matthew Deaner is our Chief Executive Officer. Matthew sits across all aspects of Screen Producers Australia's advocacy work, industrial negotiations, events and operational issues. He also works closely with our Council to set the strategic direction of the organisation as well as identify and execute new business development opportunities.

Carrie Ann is our Director, Marketing, Communications, Partnerships & Events. She oversees and develops Screen Producers Australia’s partnership initiatives and events including our annual SCREEN FOREVER conference.

Natalie is our Manager of Content and Communications for Screen Producers Australia. She is Program Director for Events and Courses including the SCREEN FOREVER conference.

James is Manager, Policy & Government Relations, he oversees Screen Producers Australia's advocacy work. James identifies and frames our policy objectives and the ways in which they are pursued with government and industry.

Owen Johnston is our Manager, Industrial and Commercial Affairs. Owen manages negotiations for collective bargaining agreements on behalf of Screen Producers Australia with unions and guilds, terms of trade agreements with broadcasters, and provides industrial and commercial advice to members. 

Mark Donaldson is our Manager, Business & Legal Affairs. Mark provides legal and research support, and assists in the development of policy campaigns and the negotiation of industrial and commercial agreements.

Brad Taylor is our Membership and Licensing Manager and is responsible for managing membership and stakeholder relations. Brad is the primary contact for enquires regarding membership and levies.

Damian Romanjek is our Marketing, Communications and Events Coordinator. Damian oversees Screen Producers Australia's print, online and digital communications, social media and website, working with Carrie Ann Huddleston and Natalie Apostolou to manage events and assist with Screen Producers Australia's annual SCREEN FOREVER conference.

Ashlee is our Marketing & Sponsorship Coordinator who assists with sponsorship entitlements and supports our marketing and communications team across all areas including events and Screen Producer Australia’s annual conference SCREEN FOREVER.

Diana is our Operations Accountant. Diana looks after the money and contributes to the financial planning aspects of Screen Producers Australia.

Simonne is our International Consultant. Based in Los Angeles, Simonne manages our international participants for Screen Producers Australia’s annual SCREEN FOREVER conference.

GOVERNANCE

Annual Reports

Click here to download the Screen Producers Australia 2015-2016 Annual Report.

Constitution

To request a copy of the Screen Producers Australia Constitution, please contact Brad Taylor

Councillors: Conflict of Interest Policy

1. Purpose

The purpose of this policy is to help Council Members of Screen Producers Australia to effectively identify, disclose and manage any actual, potential or perceived conflicts of interest in order to protect the integrity of Screen Producers Australia and manage risk.

2. Objective

The Screen Producers Australia Council (called the ‘Council’ in this policy) aims to ensure that Council Members are aware of their obligations to disclose any conflicts of interest that they may have, and to comply with this policy to ensure they effectively manage those conflicts of interest as representatives of Screen Producers Australia.

3. Scope

This policy applies to the Council Members of Screen Producers Australia.

4. Definition of conflicts of interests

 A conflict of interest occurs when a person’s personal interests conflict with their responsibility to act in the best interests of the Screen Producers Australia. Personal interests include direct interests as well as those of family, friends, or other organisations a person may be involved with or have an interest in (for example, as a shareholder or board member). It also includes a conflict between a Council Member’s duty to Screen Producers Australia and another duty that the Council Member has (for example, to another organisation). A conflict of interest may be actual, potential or perceived and may be financial or non-financial.

These situations present the risk that a person will make a decision based on, or affected by, these influences, rather than in the best interests of Screen Producers Australia and must be managed accordingly.

5. Policy

This policy has been developed because conflicts of interest commonly arise, and do not need to present a problem to Screen Producers Australia if they are openly and effectively managed. It is the policy of the Screen Producers Australia as well as a responsibility of the board, that ethical, legal, financial or other conflicts of interest be avoided and that any such conflicts (where they do arise) do not conflict with the obligations to Screen Producers Australia.

Screen Producers Australia will manage conflicts of interest by requiring Council Members to:

  • avoid conflicts of interest where possible 


  • identify and disclose any conflicts of interest 


  • carefully manage any conflicts of interest, and 


  • follow this policy and respond to any breaches. 


5.1 Responsibility of the Council

The Council is responsible for:

  • establishing a system for identifying, disclosing and managing conflicts of interest across the charity 


  • monitoring compliance with this policy, and 


  • reviewing this policy on an annual basis to ensure that the policy is operating 
effectively. 


5.2 Identification and disclosure of conflicts of interest 


Once an actual, potential or perceived conflict of interest is identified, it must be entered into Screen Producers Australia’s register of interests, as well as being raised with the Council. The register of interests must be maintained by the CEO and record information related to a conflict of interest (including the nature and extent of the conflict of interest and any steps taken to address it). 


6. Action required for management of conflicts of interest 


6.1 Conflicts of interest of Council Members 


Once the conflict of interest has been appropriately disclosed, the Council (excluding the Council Member disclosing and any other conflicted Council Member) must decide whether or not those conflicted Council Members should: 


  • vote on the matter (this is a minimum), 


  • participate in any debate, or 


  • be present in the room during the debate and the voting. 
In exceptional circumstances, such as where a conflict is very significant or likely to prevent a Council Member from regularly participating in discussions, it may be worth the Council considering whether it is appropriate for the person conflicted to resign from the Council. 


 6.2 What should be considered when deciding what action to take

  • In deciding what approach to take, the Council will consider whether the conflict needs to be avoided or simply documented 


  • whether the conflict will realistically impair the disclosing person’s capacity to impartially participate in decision-making 


  • alternative options to avoid the conflict 


  • Screen Producer Australia’s objects and resources, and 


  • the possibility of creating an appearance of improper conduct that might impair confidence in, or the reputation of, the charity. 
The approval of any action requires the agreement of at least a majority of the Council (excluding any conflicted Council Member/s) who are present and voting at the meeting. The action and result of the voting will be recorded in the minutes of the meeting and in the register of interests. 


7. Compliance with this policy 


If the Council has a reason to believe that a person subject to the policy has failed to comply with it, it will investigate the circumstances.

If it is found that this person has failed to disclose a conflict of interest, the Council may take action against them. This may include seeking to terminate their relationship with Screen Producers Australia.

If a person suspects that a Council Member has failed to disclose a conflict of interest, they must discuss with the person in question, notify the Council or the CEO.

Contacts: For questions about this policy, contact the Executive Assistant to the CEO.

Click here to download the Screen Producers Australia Conflict of Interest Policy

Ethical Practice Policy

The Screen Producers Australia Council expect Councillors, employees and members to conduct business in a fair, honest and ethical manner at all times.

Screen Producers Australia forbids offering, giving, solicitation or the acceptance of any bribe, whether cash or other inducement, in order to gain a personal advantage, financial or otherwise, for an individual or business or anyone connected with an individual or business associated with the organisation.

The Screen Producers Australia bribery policy applies to dealings with both the private and public sectors. Public sector officials and employees operate under a strict code of conduct however acceptable practices regarding gifts and hospitality may differ between individuals and departments. It is therefore advisable to be familiar with all rules when dealing with federal, state and local governments through the relevant channels including department and individuals’ websites and published codes of conduct. The definition of public sector includes: federal, state and local politicians; federal, state and local government departments and their employees; political parties and their representatives and candidates.

Screen Producers Australia acknowledges that there are circumstances when appropriate hospitality and gifts (event tickets, promotional materials, production samples including DVD, Blu-Ray, download codes, sound tracks and the like) are provided to other parties in the normal process of business and for promotion of productions, products and services and regards this as standard and appropriate practice. Screen Producers Australia also acknowledges that standard and appropriate practice may differ in different territories and markets.

Screen Producers Australia encourages all Councillors, employees and members to report suspected corruption or bribery activity to an appropriate responsible person within the organisation.

In the event of any suspected corruption, bribery or unethical activity by a Councillor, employee or member, Screen Producers Australia may undertake an investigation and appropriate action taken. This may include advising the police or appropriate statutory authority depending on the circumstances and the person or persons’ status.

Click here to download the Screen Producers Australia Ethical Practice Policy

Membership Terms and Conditions

1. DEFINITIONS AND INTERPRETATION

1.1 Reference is made to the Association’s constitution (“Constitution”) that is available on request.

1.2 Unless otherwise stated, terms defined in the Constitution have the same meaning when used in this Agreement.

1.3 Interpretation rules set out in Rule 1(b) of the Constitution apply to this Agreement.

2. CONSTITUTION 

By becoming a Member, the Applicant accepts and agrees to comply with the terms and conditions of this Agreement and to be bound by the Constitution.

3. BENEFITS ARISING FROM MEMBERSHIP

  1. 3.1  Subject always to the Applicant complying with this Agreement, the Constitution and its financial obligations set out in Clause 4 below, the Applicant is granted access to the membership benefits available and listed on the Association website including the right to use the Association’s Industrial Agreements, Contracts and Templates for productions undertaken by the Applicant.

  2. 3.2  The Applicant acknowledges that all resources and materials made available to the Applicant as part of the membership benefits are for the exclusive use of Members and must not be circulated or otherwise made available for use on productions not associated with Members of the Association. All such resources and materials remain the property of the Association at all times.

4. FINANCIAL OBLIGATIONS ARISING FROM MEMBERSHIP

4.1 In consideration of the right to access the membership benefits, the

Applicant agrees to pay all entrance fees, current annual subscription fees and applicable production levies as they become due and payable. All fees and levies are non-negotiable and non-refundable. The Applicant acknowledges that such fees and levies may be revised annually at the Association’s discretion and will, without limitation, be subject to an annual CPI increase.

4.2 Entrance fees are determined by the Council and their payment are a condition precedent to the Applicant becoming a Member and accessing the membership benefits.

4.3 Annual subscription fees are payable annually and vary depending on the type of membership subscribed. Their payment is a condition precedent to the Applicant becoming a Member (first year), renewing their membership (subsequent years) and accessing the membership benefits.

4.4 In addition to entrance fees and annual subscription fees, Members who are engaged in screen production (including film, television or interactive media), whether directly or by association with a Special Purpose Vehicle, must pay production levies on the first day of principal photography of each program for which the Member receives a bona fide producer credit or equivalent (whether directly or by association with a Special Purpose Vehicle). The amount of production levies is calculated by reference to the budget of each applicable production. Payment of applicable production levies is a condition precedent to Members maintaining their membership and accessing the membership benefits.

4.5 For further information on the amount of fees and levies payable, the Applicant can refer to the Association’s website.

4.6 The Applicant agrees to pay all entrance fees, current annual subscription fees and production levies within three (3) months of the relevant invoice being issued to (a) the Applicant; (b) any Special Vehicle Company associated with the Applicant; or (c) the Applicant’s shareholder(s) or director(s) who is/are engaged in screen production (including film, television or interactive media), as applicable. Failure by the Applicant to pay the invoice within three (3) months will result in the suspension or termination of the Applicant’s membership, at the Association’s discretion, and the Council may determine whether to take further action against the defaulting Applicant. The Applicant is responsible for, and hereby indemnifies the Association in respect of, any non-payment of any amounts invoiced by the Association pursuant to this Clause.

5. CODE OF CONDUCT

5.1 The Applicant agrees not to intentionally damage the reputation of any other Member in any public forum or published media.

5.2 The Applicant agrees not to communicate publicly on behalf of the

Association or use the Association’s logo unless permission has been granted from the Executive Director.

5.3 The Applicant agrees to act in a respectful and courteous manner to all employees of the Association at all times.

6. TERM

6.1 This Agreement commences when the Council has approved the Applicant’s application form and payment current annual subscription fees has been received by the Association. Upon commencement of this Agreement, the Applicant becomes a Member.

6.2 This Agreement remains in force until three (3) months after the due date for payment of the annual subscription fees to renew the Applicant’s membership (“renewal fees”). The Applicant may renew its membership by paying the renewal fees by their due date. By renewing its membership, the Applicant is deemed to have agreed to the terms of the Membership Agreement as it exists at the time of renewal.

6.3 If the Applicant fails to renew its membership within three (3) months of the due date for payment of the renewal fees, then the Applicant will be deemed an inactive Member and all of the Applicant’s rights will be revoked.

6.4 In the instance where the Applicant has not renewed its membership but has paid levies for a production whilst being a Member, the Applicant is permitted to use the Association’s Industrial Agreements, Contracts and Templates for the duration of the production in relation to which the levy has been paid.

7. RESIGNATION

The Applicant may resign from the membership in accordance with Rule 10 of the Constitution. For the avoidance of doubt, all fees and levies paid by the Applicant are non-refundable.

 

Negotiating Committee Protocol

Screen Producers Australia regularly negotiates agreements with unions and guilds on behalf of its members. These agreements are for the exclusive use of Screen Producers Australia member businesses or otherwise licenced businesses.

 The Screen Producers Australia constitution gives the Screen Producers Australia Council the authority to appoint Industrial Officers and to enter into industrial agreements with any trade or industrial union or association or organisation of employers or employees.

Screen Producers Australia currently involves committees made up of a mixture of member businesses using individuals with requisite experience and capacity in the negotiation of these agreements. These committees are designed to harness the collective wisdom of the industry in these negotiations and provide outcomes that serve the strategic interests of the membership.

Process for Electing Committees

  1. On receipt of a formal written request to enter in to negotiations to reach agreement from any trade or industrial union or association or organisation of employers or employees, Screen Producers Australia Council will determine as soon as practicable whether or not to enter into negotiations.

  2. If Screen Producers Australia Council approves the commencement of negotiations, Screen Producers Australia will call for expressions of interest from active members who wish to join the committee. Only active members will be eligible to join the negotiating committee.

  3. The Screen Producers Australia Secretariat will determine the members to be invited to join the negotiating committee.

  4. The Screen Producers Australia Secretariat will, in consideration of the membership committee, have due regard to high level relevant experience in applicable areas and production genres.

  5. Committee members will be expected to take into consideration the interests of the broader membership and the industry during negotiations.

  6. Committees will be chaired by the industrial officer appointed by Screen Producers Australia Council.

  7. Committees will endeavor to achieve a consensus in all decisions with the Screen Producers Australia Council to have the final decision determined by council vote.

  8. Committees are obliged to meet regularly during negotiations and wherever possible in person.

  9. Attendance at meetings will be recorded and members who miss more than two consecutive meetings may be asked to show cause why they should continue as committee members.

  10. Minutes of each committee meeting will be circulated following each meeting. Committee members will be given a nominated period to respond or the minutes will be taken as read and approved by the committee.

Screen Producers Australia Constitutional Powers

 29 - Industrial Questions, Matters and Disputes

 a)    Without affecting the generality of its powers under this Constitution or the Act or under any statute or by-law or from any other source whatsoever, the Council at its complete discretion shall have power in the name of and on behalf of the Association and provided that the Association has not in General Meeting decided or resolved to the contrary: -

         I.   to make demands concerning industrial questions or serve claims on any organisation, trade union or other body, employee, official or person whatsoever;

        II.   to carry on negotiations and effect compromises or settlements and enter into industrial agreements with any such organisation, trade union, body, employee, official or person;

       III.  to notify refer or submit any industrial matter dispute or question or question of law to any tribunal or authority whatsoever for hearing determination or decision;

       IV.   wherever in its opinion any employee, official, person, organisation, trade union or other body is or is threatening or is likely to commit a breach or contravention of any award or industrial agreement to which the Association or Members are a party or of any law pursuant to which such an award or industrial agreement is made or of any law whatsoever applicable to the Industry, to take any action in any tribunal or authority whatsoever; and

        V.   to take all necessary steps to enforce any determination or decision given or any fine or penalty imposed by any tribunal or authority referred to in paragraphs (iii) and (iv) of this sub-rule.

b)    The industrial matters, disputes and questions referred to in sub-rule (a) of this Rule and in Rule 31 shall comprise but shall not be limited to the matters included in the definition of those terms in the Act.

 

Click here to download the Screen Producers Australia's Negotiating Committee Protocol