THE AACTA Audience Choice Awards for 2025 feature many of Australia’s most accomplished actors and actresses.

The Favourite Australian Actor and Actress categories boast an all-star lineup including Cate Blanchett, Celeste Barber, Chloé Hayden, Margot Robbie, Nicole Kidman, Phoebe Tonkin, brothers Liam Hemsworth and Chris Hemsworth, as well as Hugh Jackman, Jacob Elordi, Travis Fimmel, and Will McDonald.

Australia’s Favourite Media Personalities include Abbie Chatfield, Dr Chris Brown, Hamish Blake, Jimmy Rees, Robert Irwin and Sophie Monk. These entertainers have all made a significant impact in the Australian media landscape.

Australia's favourite Digital Creators are Bridey Drake, Chloé Hayden, Esmé Louise James, Indy Clinton, Jiny Maeng, Luke and Sassy Scott, Maddy MacRae, and Olly Bowman.

To view all of the AACTA Awards winners and nominees, go to www.https://www.aacta.org/aacta-awards/winners-and-nominees/

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SCREEN AUSTRALIA has announced an expanded research program – detailed in a new Screen Currency report – to empower the local screen industry and related partners. Its first component is a new interactive Screen Australia Drama Report released this month.

In addition to publishing drama and documentary trends, the Screen Currency report will provide insights into the economic and cultural value of Australian screen and games production.

A suite of audience research projects, the Viewfinder series, will also deepen the industry’s understanding of audience behaviour and attitudes, to help respond to the evolving media landscape.

The first component of this program, a new-look interactive version of the Screen Australia Drama Report shows a total of $1.7 billion spent on drama production in Australia over the past 12 months, with $929 million dedicated to Australian stories. This marks a 29% total decline compared to last year, primarily due to a reduction in high-budget production activity across international TV and Australian theatrical features. 

Global economics play a hand

Global economic conditions continue to impact screen production, with disruption across distribution platforms, business models and audience shifts influencing the market. The past year also saw US industrial action and uncertainty around changes to Australia’s Location Offset incentive, which may have led to international projects being impacted during 2023/24.

“Expenditure of $1.7 billion on 169 Australian and international drama productions represents a solid result after a three-year peak driven by Australia’s status as a COVID-safe filming destination, streaming growth and a number of high-budget theatrical features,” Screen Australia CEO Deirdre Brennan said.

“The Drama Report is one of many resources providing insights into the opportunities and challenges facing the Australian screen sector. This year’s results confirm key trends in domestic activity, a contraction of free-to-air commercial TV drama and the increasing role of SVOD (subscription video on demand) commissioning.

“Children’s content continues to face significant pressure and remains reliant on government support, so we’re working to broaden the opportunities for development of Australian kids IP (intellectual property). We will also explore the needs of feature filmmakers working in the $1-5 million budget range, dominant again in this year’s data,” Ms Brennan said.

“We understand how competitive funding is, with Screen Australia supporting 27% of the direct funding applications received for scripted content in 2023/24. In an environment where international financing is also increasingly harder to source, we need to pull together as an industry to ensure the sustainability of the sector.

“Despite these challenges, we’re optimistic about the future and confident that there will be an uplift in production in the year ahead. Screen Australia will continue to collaborate with industry to identify growth opportunities and ensure Australian screen stories thrive.”

This year, the Drama Report is presented via an interactive Power BI dashboard, with a user guide available here.

2023/24 DRAMA REPORT KEY FINDINGS

• $1.7 billion spent on 169 productions, 55% coming from Australian titles, primarily general TV/VOD drama. 
• $929 million was spent on Australian titles, down 18% on last year, due to fewer high-budget Australian theatrical features, such as Mortal Kombat in 2022/23, Furiosa in 2021/22 and Elvis in 2020/21.
• 36 Australian theatrical features commenced production, with a total spend of $214 million. While the number of titles increased by two, there was a 42% decrease in spend from the previous year. Features in the $1-5 million budget range dominated.
• $657 million was spent on 55 Australian general TV/VOD drama titles, consistent with the previous year. This includes:
• Subscription TV/ SVOD – $467 million spent on 27 titles, marking a 17% increase in spend and a 29% increase in the number of titles.
• FTA TV/BVOD titles – spend was down 32% at $188 million, across 15 titles.

Children’s content continues to be under significant pressure, with eight titles entering production, down from 12 last year. Expenditure in this category dropped 29%, with the number of hours of children’s content decreasing by 42%.

• Producer Offset financing contributed $245 million of investment across all drama production in 2023/24. 
• The Producer Offset accounted for 34% ($75 million) of financing for Australian theatrical features, while international investment in Australian features was at its lowest point since 2014/15.
• Investment from Australian broadcasters, VOD platforms and distributors increased by 36% on last year. This accounts for a third of TV/VOD finance in 2023/24 — showing a stronger local contribution to production costs.
• Australian independent and global streaming platforms contributed the largest share of investment (65%) in TV/VOD drama across 26 titles. Its investment value and number of titles both increased this year.
• The proportion of spend for states and territories was 47% in New South Wales, 19% in Victoria, 18% in Queensland, 5% in South Australia, 5% in Western Australia and 6% in the combined states and territories – Australian Capital Territory, Northern Territory and Tasmania.

Expenditure by location is cyclical in nature. Screen Australia saw notable growth, particularly in:

• Western Australia, where spend surged to $77 million — more than three times last year’s figure.
• A record combined spend of $105 million in Northern Territory, Tasmania and the Australian Capital Territory, mostly driven by production activity in the Northern Territory and Tasmania. 
• $768 million of total expenditure in Australia came from 70 international productions, a 39% decrease from last year. This was driven by less international TV/VOD production.
• PDV expenditure on both Australian and international titles totalled $589 million, down 17% from last year’s record high but still 15% above the five-year average.

ABOUT THE DATA

The Drama Report uses industry data to provide an overview of the production of local and international feature, TV/VOD and children’s drama titles, as well as PDV activity. All production expenditure is allocated to the year in which principal photography began. PDV employs a secondary method of analysis, which is outlined in the PDV section in the report. ‘Drama’ refers to scripted narratives of any genre. Titles in the report are categorised according to the platform they were first released on. A full list of titles included is available in the report.

RESOURCES

Read the full Screen Australia Drama Report here

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THE Australian Academy of Cinema and Television Arts (AACTA), in collaboration with Casting Networks and the Casting Guild of Australia (CGA), has announced the top 50 finalists for the AACTA Young Stars: National Youth Casting Call. 

The Australian-wide initiative aims to uncover the next acting talent and provide tangible opportunities to help the next generation of performers realise their dream. 

In its second year, the initiative received thousands of submissions, showcasing an exceptional calibre of talent that made the selection process highly competitive.

After careful consideration, the AACTA Young Stars judging panel has selected the top 50 finalists, each demonstrating remarkable potential and promise in their self-tapes.

The finalists were chosen by an esteemed panel of judges, including leading international Casting Directors Thea McLeod, Anousha Zarkesh, and Nikki Barrett.

The finalists are invited to join the Australian Academy on the Gold Coast in 2025 for the AACTA Festival 2025, taking place from February 5–9. 

Held alongside the AACTA Industry Awards Gala and the AACTA Awards Ceremony, presented by Foxtel Group, the festival will provide finalists with the opportunity to showcase their skills and participate in invaluable workshops and mentorship sessions.

This event will be part of a program featuring more than 80 other events, including dynamic panels, meet-and-greets, and screenings.

The AACTA Festival will be hosted at Home of the Arts (HOTA) on the Gold Coast, a stunning destination celebrated for its natural beauty and vibrant cultural scene.

A winner will be selected by a judging panel consisting of Australia’s top casting directors, led by Thea McLeod (Neighbours, Better Man, Measure For Measure, Pawno), Anousha Zarkesh (The New Boy, Mystery Road, Total Control, Preppers), Nikki Barrett (Elvis, Mad Max: Fury Road, Talk to Me, The Power of the Dog, The Babadook), and international casting director Nina Gold (The Crown, Baby Reindeer).

The winner will receive a $10,000 Flight Centre voucher and $2,500 in cash travel support to fly to the US. There, they will have the unique opportunity to meet with a renowned international casting director, network with key industry professionals, and participate in a weeklong workshop at the prestigious American Arts Film TV Academy.

Additionally, the winner will gain access to The Studio by Casting Networks in Sydney for one year, with opportunities to meet with Australian-based casting directors and agents.

AACTA Awards and industry development manager, Ivan Vukusic said, “Really great to see another amazing line-up of young actors, who all show such incredible promise and talent. I’m always impressed by the skills and confidence shown by Australia’s young creative talent discovered through this initiative guided by the expertise of the CGA and Casting Networks, and I’d encourage producers and casting directors to seriously take note of this year’s cohort. “We look forward to welcoming them all to the AACTA Festival for a once in a lifetime experience and opportunity, and to discovering the 2025 AACTA Young Star. Good luck to you all.”

Casting Networks senior manager for business development, Ryan Hicks, said, “Casting Networks is proud to support this inspiring initiative for aspiring young actors in Australia. This year has once again highlighted the exceptional and undeniable level of talent across the country.

“A heartfelt thank you to our partners, AACTA and the Casting Guild of Australia, for helping to bring this initiative to life and helping to discover such remarkable actors.  

“The level of submissions was astounding. A big thank you to the judges for their time and effort that went into the immense process of selecting a top 50. 

“Congratulations to the top 50. Being selected by this calibre of judges amongst such an immensely talented group of peers is an outstanding achievement. “

Casting Guild of Australia president, Thea McLeod said, “Huge congratulations to this year’s phenomenal top 50 finalists. We had thousands of entries, and the judging was incredibly tough because the standard was, once again, so high this year.

“To make it into the top 50 is a huge achievement, and every single one of you should be so proud. It’s been such an honour to witness the incredible talent on display. Watching so many fresh and amazingly talented young actors from all corners of the country has been truly inspiring and fills us with excitement for the future of our entertainment industry.

“To those who didn’t make the top 50 this year—keep going. Perseverance is everything, and this platform is a fantastic way to showcase your ability. We’re so excited to see what’s next for you and can’t wait to follow the journeys of so many exceptional young actors who applied for the AACTA Young Stars program this year.”

www.aacta.org

THE Australian Academy of Cinema and Television Arts (AACTA) has attracted Rebel Wilson to host the AACTA Awards Ceremony on Saturday and Harry Connick Jr to also do the honours at the AACTA Industry Awards on Thursday.

Both hosts will be joined by some of the industry’s most dynamic stars presenting at the ceremonies.  

The AACTA Industry Awards ceremony on February 8 and the AACTA Awards on February 10 are both presented by Foxtel Group and staged at the Home of the Arts (HOTA) on the Gold Coast. 

The 2024 AACTA Awards Ceremony will be broadcast on Channel 10 at 7pm AEDT Saturday. A special ‘director’s cut’ including all awards from the ceremony will be available at 7:30pm on February 11 on BINGE, Foxtel On-Demand and on AACTA TV.

Presenters for the tomorrow’s Connick-hosted Industry Awards include Zoë Coombs Marr, Darren Gilshenan, Lincoln Lewis, Isabel Lucas, Kate McCartney, Kate McLennan, Osamah Sami and Andrew Winter.

Award presenters at Saturday’s Rebel Wilson-hosted AACTA Awards include Cate Blanchett, Melanie Bracewell, Patrick Brammall, Grant Denyer, Harriet Dyer, Tom Gleeson, Ron Howard, Tim McDonald, Leah Purcell and Julia Zemiro, along with Harry Connick Jr.

At the AACTA Industry Awards, Mr Connick will be supported by some of Australia’s most revered screen talent including the creators of Deadloch Kate McCartney and Kate McLennan, actors Osamah Sami, Darren Gilshenan, Lincoln Lewis, comedian Zoë Coombs Marr, TV presenter Andrew Winter, and more.

The AACTA Awards ceremonies form part of AACTA Festival, a four-day celebration of Australia’s vibrant screen industry.

With more than 90 events, AACTA Festival will present a dynamic array of panels, meet-and-greet, screenings and activities offering a place for the Australian screen industry to connect from February 8-11, 2024. 

Many nominees and winners from the AACTA Awards will be presenting on panels and discussions throughout the Festival.

AACTA Festival will be held at the Home of the Arts (HOTA) on the Gold Coast, a destination renowned for its beauty and vibrant cultural scene – and a leading film and TV production centre in its own right. Find out more at aactafestival.com

Tickets are on sale now for the AACTA Awards, AACTA Industry Awards and AACTA Live Viewing Party. Click here for more information.

Harry Connick Jr’s body of work and honours

Renowned musician, singer and actor Harry Connick Jr is no stranger to the Australian film and TV industries, visiting and performing here regularly for several decades.

His career has exemplified excellence across multiple platforms in the entertainment world. In the US, Connick’s home country, he has received Grammy and Emmy awards as well as Tony nominations for his live and recorded musical performances, his achievements in film and television and his appearances on Broadway as both an actor and a composer.  

Connick has appeared in 20 films including Dolphin Tale with Morgan Freeman, Hope Floats with Sandra Bullock, P.S. I Love You with Hilary Swank, Bug with Ashley Judd, and Copycat with Sigourney Weaver, and on television (American Idol, Will & Grace, South Pacific and his Emmy Award winning concert specials).

In the autumn of 2016, he launched Harry, a national daytime television show featuring his touring band, which earned 11 Daytime Emmy nominations in its two seasons, including two nominations for best host, and a Critics’ Choice nomination for best talk show. 

He last performed on Broadway in December of 2019 in Harry Connick, Jr.- A Celebration of Cole Porter honouring one of America’s most respected songwriters, Cole Porter. 

Connick hosted the CBS special United We Sing: A Grammy Tribute to the Unsung Heroes, honouring essential workers in the pandemic.  In December 2021, he stepped into the shoes of Oliver ‘Daddy’ Warbucks in Annie Live! which aired on NBC. On Broadway, Connick received Tony nominations as both a lead actor in The Pajama Game and as a composer/lyricist for Thou Shalt Not. 

The foundation of Connick’s art is the music of his native New Orleans, where he began performing as a pianist and vocalist at the age of five. Highlights of his music career include several multi-platinum recordings such as When Harry Met Sally, Blue Light, Red Light, When My Heart Finds Christmas, Come By Me, and Only You. 

True Love: A Celebration of Cole Porter, was released in 2019 and coincided with performances on Broadway in a show he wrote and directed: Harry Connick, Jr. A Celebration of Cole Porter honouring the musical achievements of one of America’s most respected songwriters, Cole Porter.

In 2020 as the country entered the pandemic lockdown, Connick retreated to his home studio and emerged with an album of songs of faith and inspiration. Alone With My Faith, released during the spring of 2021, displays the sheer breadth of Connick’s talents as he wrote new songs, arranged all songs, played every instrument, and sang every voice. Alone With My Faith earned Connick his 16^th career Grammy nomination for Best Roots Gospel Album. 

Despite his busy career, Connick has always found the time to be charitable and has done some of his most important work in his efforts to help New Orleans after the devastation of Hurricane Katrina. He, along with friend Branford Marsalis, conceived of ‘Musicians’ Village’ and its centerpiece the Ellis Marsalis Center. Musicians’ Village provides homes for Katrina-displaced musicians while the Center uses music as its focal point of a holistic strategy to deliver a broad range of services to underserved children, youth, and musicians from neighbourhoods battling poverty and social injustice. 

Connick’s honours, including a star on the celebrated Hollywood Walk of Fame, induction into the Hollywood Bowl Hall of Fame, honorary doctorates from Tulane and Loyola Universities, and the Jefferson Award for Public Service, have not led Harry Connick Jr to slow his creative pace. They only confirm his determination to apply his talents in ways that prove inspirational to other artists and publicly spirited citizens.

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