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While no one person is driving Australia's film future, there are certainly some individuals who have their hand at the steering wheel. One of them is Kim Dalton, who was appointed Chief Executive Officer of the Australian Film Commission (AFC) in August last year. The AFC has played a central role in the development of the Australian film and television industry over the past 25 years. Artbeat managed to corner Kim Dalton during his hectic schedule and posed these questions.

You have already made changes at the AFC. What is the big vision you are working towards?

My big vision is, of course, a creatively and economically healthy Australian film industry producing films that reach Australian audiences, and achieving a high level of creative and commercial success internationally. The AFC has a central role to play in bringing about this vision. It is the primary development agency in the Australian film industry. My efforts since starting work at the AFC have been directed towards bringing a more focused approach to its programs.

Is it difficult to come into an organisation and overhaul it?

It's always difficult to bring about major organisational change, but it also presents an exciting challenge. The key, of course, is never to lose sight of the 'big picture'. Detail is always important, but it can become an end in itself too easily, and begin to blur the desired outcome, which should always be off towards the horizon.

Was change needed?

The AFC has played a central role in the development of the Australian film and television industry over the past 25 years. However, the industry has changed dramatically in the past ten years, and I think the AFC failed to take account of some of these changes, and review and revise its own structure and programs.

What are the changes with Film Development Funding and why were they made?

We have only implemented a first round of changes to date. These have involved establishing a funding program for producers. Traditionally, the AFC has focused its funding on writers and writer/directors, and we are continuing funding in this area. However, we have established a program in which we provide producers with funding to develop relationships with writers and directors and to put a slate of projects into development. There are further major changes to our script development programs and our short films funding program that we expect to be able to put in place early in the financial year.

What kind of institution does the AFC need to be for the 21st century?

An institution that first and foremost develops entertaining and relevant films for Australians. But it also needs to be an institution that develops Australian talent and assists Australian film makers engage with the international marketplace and achieve within the increasingly difficult globalised environment.

Some people say the film industry is in crisis; others say it is basking in the glory of sustained Government support. What do you think?

The industry is not in crisis. But it is going through a difficult patch. The world continues to change and our funding institutions need to change with it. We must take stock of the different environment in which we are operating and change our organisations and our programs accordingly.

However, without Government funding, the feature film industry would slowly reduce to little or nothing. Anyone who thinks otherwise is not looking at the realities of both the Australian and the international film and television marketplace.

We've had a small win at the Oscars with The Matrix. Do we still tend to fuss too much about our success internationally rather than focus on success on the domestic front?

We can never celebrate our international success too much. It represents a great achievement for the individuals concerned and a reason for pride as a nation. It brings recognition internationally to our industry and more broadly to our culture. It gives us a profile and a position in the world.

Is globalisation encroaching on the parameters of the AFC's work?

Globalisation affects the environment in which we are all working. First and foremost at the AFC we are looking out for strong ideas and strong stories. However, the further a project goes in the development process, the more one has to start thinking about who is the audience in Australia and internationally. Inevitably, this leads to consideration of marketplace realities.

What do you like about Australian films? Are they too quirky, or are we diversifying enough in terms of genres and styles?

I like Australian films because I am an Australian and, if they are good and if they work, they talk directly to me. I walk out of a good Australian film feeling I have learnt something new about my own culture or experienced something familiar. At times I just enjoy the sense of recognition, of being Australian. I think Australian films are very diverse-from Wog Boy to Head On, from Crackers to Praise.

You have worked in the community sector, with a screen resource organisation. Will that experience inform what you do at the AFC?

I am firmly committed to the role the screen resource organisations play as entry points for newcomers to the industry.

You started off working on film crews, in fact, I think you got a credit in Picnic at Hanging Rock. Of the film and television projects in which you have been involved, can you name your favourite? Which are you most proud of?

In terms of projects, the one I am most proud of is The Magistrate, the six-hour mini-series I co-produced for the ABC and a United Kingdom and Italian broadcaster.

Are you passionate about film at home? Do you have back editions of Halliwells, your own favourite videos, Hollywood posters on the toilet door?

I am passionate about Australian culture and the part film plays in it. I try to keep up with film and television, in between a highly demanding job and sharing a family life involving two young children with my partner, who is also a film producer.

What are some of your favourite films?

Most recently, American Beauty. And further back, perhaps Kiss Or Kill, Love And Other Catastrophes.

What film changed your life, or at least stopped you in your tracks?

I couldn't say that any film has ever changed my life. But many films, particularly those based around very strong ideas, stop me in my tracks. Again, I would put American Beauty in this category. An extraordinary portrayal of American middle class family life-its dishonesty, its fragility, and yet the strands of hope and humanity.

Would you ever like to direct a feature film?

No. Not interested.

Radio station Triple J recently asked people who they would cast in a film about their lives. Who would you cast as Kim Dalton in your life story? Russell Crowe, Al Pacino, Bud Tingwell?

None of the above. No-one comes to mind, I'm afraid. I doubt I am the subject of a good film!

Kim Dalton in profile

Kim Dalton graduated from the Flinders University Drama School in 1973. He went on to manage one of London's leading independent cinemas and an independent United Kingdom production and distribution company. Back in Melbourne, he became General Manager of Open Channel in 1984, and during this time he co-produced the award-winning television mini-series, In Between.

In 1987 Kim formed his own production company, Warner Dalton Pty Ltd. In this period he co-produced the mini-series The Magistrate for the ABC and United Kingdom and Italian broadcasters, and a telemovie Street Angels, for the ABC. In 1992 Kim became Melbourne Investment Manager for the Australian Film Finance Corporation. In this capacity he was involved in the financing of numerous television projects and feature films, including Muriel's Wedding and Priscilla, Queen Of The Desert. In 1995 he joined Beyond International Limited. As Manager of Acquisitions and Development, he was involved in Beyond's acquisition and international release of feature films including the AFC-funded Love And Other Catastrophes.

Kim joined the AFC as Chief Executive in August 1999.

• Document ID: 11323 |
• Last modified: 5 February 2008, 5:59pm