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Lynda La Plante: Screen Australia shows no respect to writers

Legendary English crime writer Lynda La Plante has criticised Screen Australia’s feature film evaluators for not showing writers respect after they rejected her proposed film about the last woman hanged in Australia.

The writer of the Prime Suspect TV series told ABC Radio’s Tony Delroy that her script about Jean Lee – who was hanged in 1951 for murder – had received positive responses from actor Nicole Kidman and director Gillian Armstrong, who were both attached to the project.

The script was then brought to the Screen Australia’s feature film assessment team, which is led by Matthew Dabner and Victoria Treole.

“Then we come to the… new Screen Australia and I’m confronted by three people in a room," La Plante said in front of a live audience.

"And the guy at the end he goes ‘Well I can’t really see the point in doing this; you know she’s not a very nice person. And we all know she hanged’. And I go: what, what? It was just the embarrassment and the rudeness of the lack of respect [for] myself, for Nicole, for, particularly for Gillian Armstrong to say: if you have a problem with this script, we’ll iron it out.

“But for me I thought ok I can understand if … writers in Australia say ‘why should she get a break in there’ it’s only 25 per cent of the budget – that’s immaterial.

“I think any young writer that is forced to go before Screen Australia and be treated by these three idiots – [it] is an outrage – they showed no respect to a writer.”

A Screen Australia spokeswoman said the government agency is not able to publicly discuss feedback given to filmmakers during private meetings out of respect for the applicants and the process.

"Naturally, applicants are often disappointed when a project is declined funding," the spokeswoman said.

Last year, the outspoken La Plante made similar criticisms of the BBC and its drama commissioning process.

La Plante is an internationally recognised writer. She began her career as a RADA-trained actress in 1969 before writing her first television script: the six-part crime drama Widows in 1983.

She is best known for creating the character DCI Jane Tennison, played by Helen Mirren, in police drama Prime Suspect, which began in 1991 and has won six British Academy Awards. La Plante also runs her own television company and has written several other TV movies and series, as well as writing more than a dozen books.

The ABC Radio interview can be found online for a short time at http://www.abc.net.au/nightlife/ under the “Listen Again” section (10pm to 11pm AEST). The discussion about the Jean Lee project starts just after the 30-minute mark.

  1. “Naturally, applicants are often disappointed when a project is declined funding,” the spokeswoman said.

    Unfortunately this kind of sour response from SA doesn’t help. Applicants are ALWAYS disppointed not to get funding. It’s a patronising self-serving pompous response. Clearly, LP was not happy with the process. It should have been up to her producers and/or representatives to deal with any issues privately.
    The evaluators are doing something right because some of the films to get support over the last year have been excellent.

  2. Talk about sour grapes, this woman just comes across as bitter and arrogant. Just because she was challenged by a team who are responsible for ensuring that my tax payer dollars are not given out like a blank cheque. And what a load of rubbish that Nicole Kidman is being disrespected, it isn’t about her acting. Yes LLP, has been successful with TV Movies in the past, but that is no guarantee she can write a successful movie script for cinemas. Just remember that there are 2 sides to every story. Look at the following link, it seems she has a pattern of publicly criticising those who challenge her. http://www.telegraph.co.uk/culture/tvandradio/6920052/BBC-would-rather-read-a-little-Muslim-boys-script-claims-Lynda-La-Plante.html

  3. Linda, this is Australia, what did you expect? Go to USA and get it made. When it turns out to be a success, just be ready to see Screen Australia and their Australian media falling all over themselves to be a part of the glory.

  4. Wow, it looks like the Director/Producer have let their Rottweiler off the leash on this one. Don’t try and generalise that every writer has the same knock back that you did Linda. I’m sure if the script was good, they would have put it through.

  5. Just because Nicole Kidman might be interested in a project doesn’t mean it’s good – Bewitched anyone? The Invasion?

  6. This bazaar evaluation is not restricted to just Screen Australia. During a second time round submission for a script that Film Vic had previously supported, the project officer told me that the comparison I made between our script and Laurence of Arabia…that of an epic….did not matter because Laurence was not, and I will never forget the comment….’critically acclaimed.’

    I thought better of going back there. They boarder on being idiots. And very often idiots, as in the case of that project manager, who have never made a feature film. Those who can’t teach, I believe the expression is!

  7. I know at least 10 people this has happened to at Screen Australia with these two.

    Considering one of them has no real film credits while the other wrote The Square (which almost bankrupted Roadshow) I’m amazed they can even get a job reviewing films for a blog let alone assessing every feature film that goes through our major funding body’s doors.

  8. If you go begging the government for money for a film, that’s what you should expect. If you can’t find investors because your project is not commercial enough, then choose another profession. If your films make money you shouldn’t need government funding. If you do want the easy money from government, you’re at the mercy of the government film producers. So don’t cry when they say no… you’re playing the same game. Try getting money out of audiences through the front door, i.e. via ticket sales, rather than through taxation. And if your films don’t make money, why should the government pay you to make more? But if your films do make money, why should the government pay you? The government make the films ‘they’ want to make, not the films ‘you’ want to make. But they are slaves too – you all are!!! ; ) We need an independent film industry in this country.

  9. I have a message for Linda I’m afraid shit happens my dear….your so-called injustice actually prompts me to say that during the Commonwealth Ombudsman investigation into the Conflict of Interest over Brothers at War in 2010, it was revealed during the investigation that the script assessor they employed was Dabner who was the script editor of Griff the Invisible which was being funded by Screen Australia and executive produced by Scott Meek who was the project manager of Brothers At War. And it was interesting to note that whilst none of this was revealed to me at the time, I remember that Dabner’s assessment was negative which had attracted major distribution and private equity investment and a top director – in fact the only thing he seemed to be positive about was the casting of Ryan Kwanten who was attached to the project and then to appear in the lead role of Griff the Invisible which was a box office flop in Australia. That’s the way it goes Linda – shit happens…get on with it.

  10. I had a script knocked back a few years ago because “nobody uses armoured cars anymore”. The script included a small scene with an attempted robbery of a cash delivery van.

    Well, I’m sure the assessors at what was then the AFC had other reservations about the project, but the absence of “armoured cars” from the contemporary urban environment seemed to be the clincher for knocking back assistance to developing my project, ‘proof’ that I just wasn’t capable of conceiving and delivering a feature film script.

    Ever since, of course, just about every time I venture into the wider world… there’s an armoured car. Or two.

    So I, for one, recognise Lynda La Plante’s experience to the proverbial ‘T’.

  11. If Nicole Kidman was “officially” attached to the project then I don’t see why Linda was going to Screen Australia in the first place.

    If anyone who knows or has dealt with Matthew Dabner would know that Linda’s claims are nonsense and a gross representation of Matthew ethics!!

    I have had dealings with Matthew Dabner and worked with him in the past and I can honestly say that he has been a mentor & supporter to me that quite frankly I wouldn’t be where I am today if it wasn’t for him or Screen Australia.

    I’ve been rejected many times by all the agencies but that doesn’t mean you whine about it. Get off your high horse Linda. RM

  12. Having the ability to recognise quality in the work is a given talent. Not many have that ability. Matt Dabner has that unique quality, and he’s also a big supporter of Australian stories/films. Ive worked with him in the past prior to his role at Screen Oz, and his feedback is always spot on. At the end of the day Linda, if the script is not ready, fix it, before you start asking for production funding. Matthew Dabner is an asset to any project that has him attached, and I for one, will always have him on board.

  13. Having worked in the UK industry for many years and being very familiar with Ms La Plante’s talent for tv crime writing and her reputation, I feel the reporting of this story and Ms La Plante’s behaviour leave a lot to be desired. Matthew Dabner is a consummate professional who has enormous respect for writers and the film making process. This is more a case of a famous television writer/producer not accepting feedback and not respecting the funding process that exists only because our government provides it. If Ms La Plante chooses to vent her frustrations in such a way, I would hope that most can see the bitterness of rejection…instead of taking pots shots on this comment page or worse still, shirking supporting one of our own whose reputation is more deserving of protection from such a beat up.

  14. I had a similar WTF moment with a shortlisted script with Screen NSW, where I was told my Indian pot dealer character wasn’t realistic because Indians aren’t generally associated with drug dealing. They helpfully suggested that the character be changed to Lebanese or Vietnamese because those cultures are “more often in the drug trade”! Needless to say, my response didn’t secure funding…

  15. RE: Craig’s post on Wednesday

    Screen Australia and its predecessors were set up to support an industry. An industry is by definition something that establishes itself by making profits from the products it markets. As far as I am aware, barely a single product shepherded to the marketplace by Screen Australia has entered into profit. It is not entirely impossible that the functionaries of Screen Australia have no idea how to recognise products with a greater potential for profit than others. Certainly their track record does not inspire unquestioning confidence. On the other hand, Lynda La Plante has a track record that, in tandem with the other two major partners involved in the project in question, just might, might, have allowed for a leap of faith based in this instance on demonstrated capacity to deliver. Both profitable product. And an audience.

  16. All arts burecrats are morons. They set themselves up as experts in something they can’t do themselves and assess an artist’s work or proposals in terms of some conservative ideal model of what the form or genre is held out to be instead of asking the question of what the artist is trying to achieve which maybe to subvert the form or augment it in someway for a purpose. They assume they no more than the artists. That’s why Australia government funded literature, drama and film is always naturalistic and mostly concerned with social issues. Note the strong bias toward aboriginal artists in the last round of funding despite the fact that aboriginal people make up less than 2% of the population – social issues and minority politics. The same is happening in drama and theatre. Aust Council reports show that about 75% of people in the Arts are over 35 yet all grants go to people under 25 and anyone over that does not get funded. The arts are used by Gov as a way of off-setting the disadvantage minority groups experience in other sectors of society/economy and in this way the Gov creates the impression for the nation and the international community that Australia is an egalitarian country – its a myth and meanwhile the aboriginal people are falling even further behind economically. They are supposed to live on culture and have cultural, but not economic, rights. I find it sickening!!!!!!!!!!!!!Government funded Arts in Australia are just part of the deception.

  17. what a pity she wasn’t spruiking TWO FISTS ONE HEART or WOLF CREEK TWO, drivel SCREEN AUSTRALIA invested in…..

  18. SCREEN AUSTRALIA ARE STILL JUST LIKE THE PIANO PLAYER IN THE WHOREHOUSE…..THEY GET BETWEEN THE CUSTOMER AND THE ACTION! YOU KNOW…..JUST LIKE EUNUCHS…THEY ‘VE SEEN IT DONE, THEY KNOW HOW TO DO IT BUT THEY CAN NEVER DO IT THEMSELVES. I HAVE MADE 12 PICTURES IN 8 COUNTRIES BUT SCREEN OZ NEVER SEE FIT TO DROP A MORSEL MY WAY.

    THEY CARRY ON LIKE SOME STUDIO HEAD IN 1950’S HOLLYWOOD………ONLY WITH ALL THE POWER BUT NONE OF THE TALENT!!!
    AU REVOIR,

    JOHN LAMOND.

  19. How about this little story shared with an audience at the Australian Parliament House by the director of Red Dog:

    Int. Office – Script assessment meeting

    Screen Australia: Why can’t the dog talk?
    Kriv Stenders (nonplussed): Erm, well, dogs can’t talk.

  20. She is totally right. They are 3 idiots! What fools. But it is Minister Crean that supports this. Get rid of Labor and see what the Liberals have to offer. Its Crean who allows this to happen , his people read these comments every day, they know the discontent but do nothing!. Vote them out if they don’t change the direction and management at Screen Australia, NOW!.

  21. Lynda, Gill

    The contempt with which you have been treated by Screen Australia is par for the course. Join the club. We screenwriters are all treated this way. The very same people who greenlight films that die at the box office and that are made from mediocre (and often incompetent) screenplays are not at all accountable for the decisions they make. Persistent failure is no obstacle to their maintaining their privileged positions on the script development gravy train. Indeed, persistent failure seems to be a prerequisite for keeping one’s seat on the gravy train.

  22. I had a comedy in there and was told if you don’t laugh out loud every 6 pages then you’ve got problems. Well I’ve seen Screen Australia comedies and I didn’t laugh in the 90 minutes maybe it was funny on the page.

  23. Well you will rely on government funding? What do you expect? It is the same as going to the and government department. You get lucky sometimes, but mostly you get a handball. If it’s a good enough idea with an audience then it will be backed. Screen Australia has a purpose, as does the tax office. Jobs.

  24. For all those ppl bagging Lynda, i challenge you to write a script and put it up for funding and face 3 tossers to turn it down because why??? its basically their opinion and nothing else. It doesnt fit with the wine drinking, cheese eating demographic that they are used to. Take off your high hats Screen Australia…. there is reason why the industry is in the state its in. Think about it !!!

  25. Show some respect, Screen Australia gatekeepers. Take into consideration a team’s CV when you assess their application, and understand that a director, cast and crew with a proven track record (and an ever-increasingly savvy audience) knows how to interpret a script. Acknowledge that their experience and talent immeasurably surpass your own and show some respect.

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