How Netflix Continues to Support Diversity and Development in Australian Film & TV

Australia is home to world-class talent, and it's crucial that we build a strong pipeline of talent - both on and off screen — so Australia’s screen industry remains strong and sustainable.

This is particularly important in Australia, as record levels of production have resulted in skills shortages, capacity constraints and rising production costs. For example, in 2023 the ABS reported that between 2015-16 and 2021-22, increases in production resulted in a 64.5% increase in production costs for film and video, and a 143% increase in labour costs and a doubling of rent, leasing and hiring costs. 

That’s why Netflix invests in the screen industry of tomorrow and since 2021, we’ve invested over $10 million AUD in building the capacity of the Australian and New Zealand screen industry through skills and training programs. That means our average annual spend on capacity initiatives is approximately twice what Screen Australia spends each year on its Skills Development Fund.

Working with local partners, we offer fully paid placements on productions and support training and skills development programs so early and mid-career screen practitioners can take the next step in their careers.

Paid placements

We work with Screen Careers and Screenworks to run on-set attachment programs on productions. Over the past five years, we’ve supported over 70 people with fully paid placements and mentorship - the majority of them on Netflix’s productions - so that they can gain hands-on experience and build their network. Following the placement, attachments receive a screen credit. We also work with Bus Stop Films on an Accessible Attachment Program, where Bus Stop Films Interns undertake a 6-8 week placement on Netflix productions, alongside a support worker. 

Training and skills development

We focus our training on ensuring greater diversity and representation, so people from all backgrounds have the chance to develop their skills and enter the industry. This includes working with:

• AFTRS to deliver the ‘Indigenous Scholarship Fund’, which supported 3 individuals to complete a Masters of Arts Screen, covering full cost of course fees and a contribution towards travel, accommodation and living expenses;

• NIDA, on a scholarship for NIDA’s Diploma of Screen Media (Specialist Make-Up Services) for First Nations and people of colour, because we saw there was a need for greater representation in hair and makeup roles;

• Bus Stop Films and Spectrum to develop and deliver Australia’s first neuro-inclusive VFX initiative, which offers 6 individuals who identify as autistic with 12 months of training in the skills needed to be employed in the VFX industry;

• Sustainable Screens Australia to develop Australia’s first Sustainability Manager Training for 6 screen professionals to implement sustainable practices through all stages of production; and

• Finally, we have supported Screen Well to co-design a Mental Health Action Plan to encourage meaningful action related to mental health. 

We also run a range of training courses and masterclasses to upskill in positions where there are critical production capacity constraints. These include Budgeting and Scheduling masterclasses, Production Accounting workshops with Entertainment Partners (formerly Moneypenny Services), Unit Photography and Videography bootcamps, and a Writers Lab with Australians in Film and Screen Australia.

The success we’ve achieved so far demonstrates the necessity and demand for these talent development programs. We are excited to continue our mission of nurturing and building a pipeline of gold standard creative talent to support the local industry.

“If you were to tell me 10 years ago that I'd be working on a Netflix TV set, I honestly wouldn't believe you. Having the opportunity to work on the final season of Heartbreak High wasn't just the opportunity of a lifetime, it also gave me the confidence that I can make it in the film industry. Thank you, Netflix and thank you, Heartbreak High, I will forever be grateful to you for taking a chance on a young man from Padstow who dared to dream.”  Jack Kennedy, Bus Stop Films Intern, Heartbreak High Season 3

“Since I was a kid it has been my dream to study at AFTRS and pursue a career in the film industry. However, with no family, friends or mentors working in the creative industries, this dream always seemed out of reach. The AFTRS First Nations Netflix Scholarship changed all of that. This scholarship gave me the confidence and financial support to move interstate to study documentary filmmaking at AFTRS and kick-start my career in the film industry.”  Dylan Nicholls, recipient of the Netflix and AFTRS Indigenous Scholarship Fund

“My time as director’s attachment on Boy Swallows Universe was truly invaluable. Learning from such talented and generous leaders gave me practical insight into directing high-end drama and the confidence to take creative leaps in my career.” Nina Buxton, Director’s Attachment, Boy Swallows Universe

“It was a truly invaluable program in the film industry, and I'm so grateful for the immense amount I was able to learn with hands-on experience on set. This has fueled my ambition to one day become a business woman and future leader within this dynamic industry.” Shanna Niehsner, participant of the Screenworks Regional Crew Development Program