Screen producer’s body calls for ‘sensible approach’ over foreign actors’ work visas
The head of Screen Producers Australia Matthew Deaner has backed plans to relax the rules on visas for foreign actors and film crew, pointing to the changing nature of the “global marketplace”.
A government review has recommended relaxing current rules, which mean overseas talent can only be brought to Australia on a temporary 420 after being approved by Arts Minister George Brandis and after consultation with the performers’ union, and proof it will bring a net increase of jobs to the country.
However, the Media, Entertainment and Arts Alliance (MEAA), which represents actors and crew, has opposed relaxing the laws with director of the Actors’ Equity section Zoe Angus, stating: “Any attempts to dismantle industry protections that have created an incredible pool of talent that includes the likes of Cate Blanchett, Geoffrey Rush, Chris Hemsworth and Joel Edgerton will be fiercely resisted by MEAA and our members”.
In his response Deaner cautiously welcomed change saying it is “vital that we regularly review our competitiveness and growth, and in particular look at those mechanisms that have not been changed for many years”.
What complete nonsense from Actors Equity.
The Blanchetts, Rushes, Hemsworths etc of this world became stars not due to protectionism, but due to the USA’s LACK of protectionism.
They were allowed to work there and become stars, riding the Hollywood machine.
The only argument that is valid is when Australian taxpayer’s money is involved in productions. That can reasonably be restricted to use on Australian talent.
I’m an Australian producer who has had first had experience with why the rules need to change.
I produced an Australian film that had American characters. Due to the ridiculous MEAA mafia rules, we opted for casting Australians to play Americans. Most people don’t understand that if you cast even one foreign actor in an Australian production, the union demands that all Australian actors are then subsequently paid a double salary.
Despite working with great, reputable actors, hiring dialogue coaches to have on set throughout the entire production, and even correcting dialogue in ADR, the Australian actors and the film is now being mocked online for the bad American accents.
Taking my own selfish producer’s hat off for a minute, the facts of the argument in favour of change needs to be considered (yes, I know this is Australia, and unions / governments are generally opposed to ‘facts’).
Any reputable, well educated and informed economist will advise that ‘protectionism’ never works. The method in which the MEAA operates is small minded and is entirely based on punishing those who don’t play by their rules – a petty approach to protecting the jobs of those who they represent.
If the MEAA actually cared about building the careers of the people they represent, they would understand that encouraging foreign actors to work along side Australians inside Australian films and television would not only provide the Australian actor with more experience, but given both the production itself the opportunity to find a wider audience outside the failing Australian television and theatrical landscape, whilst boost the star power of the Australian actor themselves.
As a progressive, young Producer who actually cares about seeing local talent become successful and famous worldwide – MEAA, get the hell out of the way of the much needed reforms and try and given the Australian screen industry a chance of success. Let’s face it, not much else is working at the moment.
Matt is spot on with this one. Without some of those big US names attached to projects it’s unlikely anything would be funded in the first instance.
I think Geoffrey Rush got the gig on Shine despite the Hollywood machine, not because of it. The question of does our industry benefit from the global marketplace is a big one – are we meant to defend the shrinking number of work opportunities, or feel grateful for getting anything at all (like in the 40’s).
The relaxation will apply to Federal and State subsidised productions. The inclusion of Americans in locally subsidised dramas has very rarely turned it into a financial success for the producers. It helps overseas sales agents in selling the film overseas but often the fee paid to the US performer outweighs the sales returns after deducting expenses and a 30% commission. A far bigger issue than this is the Coalition’s definition of an Australian film under the Producer Rebate of 40% of Australian production which has seen films such as The Great Gatsby defined as Australian. And yes of the $10,000/week rent paid for Leonardo Di Caprio’s pad in the eastern suburbs of Sydney while filming Gatsby, Australian taxpayers paid $4,000 of it per week. He didn’t like it anyway and moved to a suite at Star casino! A review of the enormous waste under the Producer Rebate is what should be happening.
What we have now is a situation where a producer goes off the MEAA and says I’d like to bring in this actor from overseas who the financiers have approved to play a role at short notice.
The union says no, you don’t need him, you could hire Vince Colosimo or Angus Sampson or someone else who can certainly act, but can not bring an audience. The producer says yes but my international financiers won’t approve those actors and the big name Australian actors who were interested in playing the roles weren’t available.
The Union says bad luck. The minister then over rules the union because there’s a funded film about to start and lots of people will lose work if they don’t approve it.
A movie entirely cast with Americans? That’s a problem if it’s government funded. One or two roles? Ridiculous. There won’t be any film producers in a few years if nothing changes.
@Billy C….
Oh Billy….Billy….when will you find what your looking for?
The same argument could be said of Australian radio. We live in a world of increasing free trade yet there is a quota system regarding how much Australian music can be played. We can’t have it both ways. Our artists have benefited overseas in the the US and UK due to the lack of barriers there, but overseas artists cant do the same here on radio or in film or tv. Its time to abolish the archaic quota systems and allow free trade. If our actors, crews, and musicians are good enough, they will succeed.
First the most surprising thing is that George Brandis is the Arts Minister. Did they leave ‘dark’ out?
We don’t want open slather and we don’t want closed protectionism – we need some mid-point. MEAA seem to want 100% Aussies only who will end up with little work. 100% of fuck all is still fuck all. 50%-75% of lots of active productions will provide meaningful work to many more people.
I think the MEAA are being far too protectionist on this one….it would be more productive to broker agreements with the UK, USA, Canada (and their respective unions) so that it’s EASIER to share talent in both directions.
The MEAA has way too much say on this issue. I can believe a union body feels it has the right to shut down a non-union film if overseas cast or crew are attached. Ridiculous.
MEAA could do with being put in their place.
A first time producer was looking to hire cast for his pilot TV show shoot. He could not pay all actors up front. One person (only MEAA member in the production) was an unknown name but started quoting minimums, making demands on the producer that would mean the production would not go ahead.
My advice was to dump the MEAA person and cast someone else.
Not sure what happened. I think the scenes were cut, but I know he will never work with anyone who is part of the MEAA again.