FILMING APPROVAL BILL 2014

Written on the 13 May 2014

Second reading
Debate resumed from 3 April; motion of Hon. E. J. O'DONOHUE (Minister for Liquor and Gaming Regulation).

 

Mr SOMYUREK (South Eastern Metropolitan) -- I rise to speak on the Filming Approval Bill 2014. At the outset I indicate that the Labor Party does not oppose the bill. The film industry, like most other industries in the contemporary globalised world, is agile and footloose, and therefore it is likely to gravitate towards jurisdictions that offer the most conducive settings in which to operate. Because the international screen industry is so lucrative, it is also very competitive.

As a consequence, jurisdictions that seek to foster and grow a local screen industry and attract international production to their jurisdiction must ensure that it is easy for production companies to navigate the local regulatory environment. In other words, it is vital for production companies to be able to do business in Victoria without unnecessary roadblocks.

New South Wales and Queensland are perhaps our greatest competitors in this sector within Australia, and in the past they have shown that they mean business by implementing the same or similar provisions to the ones contained in this piece of legislation. We cannot afford to be left behind. Despite some of the competitive advantages Victoria may have in the screen industry, such as highly skilled crews, diverse locations and exceptional production facilities, if we do not make it easy for production companies to do business in Victoria, we will lose business in this sector to other states and to our international competitors.

The film industry is not just about entertainment and economics. There is also a great deal of cultural capital associated with it. There is no doubt that there is a lot of cultural pride in having our great state represented on the screen. Regrettably much of our popular culture comes from overseas films. We just need to look at our television guide or the session times at our local cinema to see where most of our content comes from. From a cultural perspective, we want to see ourselves represented on film. When I say 'ourselves', I mean that collectively and not individually, although that is not out of the question. Pride is not the only reason it is important to support our local film industry. In Victoria alone the screen industry contributes about $1.4 billion in economic activity annually and employs approximately 10 000 Victorians on a full-time basis.

The main purpose of the bill is to streamline and standardise the process of applying for a filming permit on land owned by a public authority.

To this end, schedule 1 of the bill establishes film-friendly principles that include making it mandatory for public authorities to appoint a contact person responsible for receiving, processing and responding to filming permit inquiries; ensuring film permits are not unreasonably withheld; ensuring public agencies respond to an applicant within five business days of receipt of an application; standardising application forms across all public bodies as directed by Film Victoria; ensuring that the fees charged by a public body for the issuing of a permit do not exceed cost recovery; and ensuring that information about how to apply for film permits is published online by each public agency. All these measures will streamline the process of making films in Victoria.

As I stated, Labor will not oppose the bill, and that is a significant point. We want to see the thriving Victorian film industry that we saw under the Bracks and Brumby governments -- Labor got the ball rolling in this process. Labor was very supportive of the film industry when in government. 

In his second-reading speech Mr O'Donohue mentioned that in the 2013-14 state budget the government allocated $13.8 million over four years to support Victoria's television, animation and games sectors. However, he did not mention that Labor invested $40 million to the establish the Docklands film studios. There should be a bit of bipartisanship in this, but unfortunately that view was not shared by Ms Asher, the member for Brighton in the Assembly, when she was in opposition. When Labor made its announcement about the Docklands studios, she called the facility a potential white elephant.

I put on the record that the Docklands facility is not a white elephant. It has international credits such as The Pacific and a film adaptation of the children's classic Where the Wild Things Are. Locally the studio has produced or produces television shows such as Winners and Losers, Australia's Got Talent, Talkin' About Your Generation, Millionaire Hot Seat and The Footy Show.


I make the point that the $40 million injected into the Docklands film studios was not a waste of money. The studio is not a white elephant, and its establishment was very productive for our local screen and film industry. However, Labor does agree that more needs to be done for this sector given the fierce competition it faces.

I turn to discuss an aspect of the bill that Labor believes could be improved.

Although the bill stipulates that the fees charged for a filming permit must not exceed cost recovery, it does not set a maximum or flat fee for a permit. Fees charged by public agencies vary greatly, so we do not know how much will be charged by each public agency.

In closing, I will summarise Labor's position on this bill: Labor supports the Victorian film industry, Labor supports making it easy to apply for and receive filming permits and Labor believes the fees charged by public bodies for the issuing of film permits should be nominal.

 

 

Mr BARBER (Northern Metropolitan) -- The Greens will support this bill as being an appropriate measure. Back in the days when I was a councillor and one-time mayor of the City of Yarra, we received a lot of applications for filming within our council area. There are a lot of inner city locations which provided an eclectic or bohemian type of background to some of the films that were being made, including a whole series of Australian-based drama or comedy-drama series.

Mrs Coote -- If you were the mayor, it would have been a comedy.

Mr BARBER -- Unfortunately I was never asked to be an extra, but I would have quite happily put on the mayoral robes and chains and walked from stage right to stage left.

Mrs Coote -- You have missed your calling.

Mr BARBER -- It is entirely possible, but by that stage we had already developed a streamlined process at the council for dealing with these applications, and that continues to this day. So it is nice when the state government comes along and tells local government that it has been getting it right. We do not hear enough of that. There should be nothing in this bill that would in any way cut across what has been very good practice by a number of municipalities for a long time. I certainly hope it is effective in encouraging state government agencies to adopt the same approach. Therefore the Greens will support the bill.

 

 

Mrs COOTE (Southern Metropolitan) -- It gives me a great deal of pleasure to speak on the Filming Approval Bill 2014. I am pleased to acknowledge that both the Labor Party and the Greens will be supporting this bill.

In his second-reading speech the Minister for Liquor and Gaming Regulation outlined much of the thrust of the bill, but I would like to fill in some of the details about what the bill is going to do. The Filming Approval Bill will reduce red tape and harmonise the assessment and issuing of filming permits given under local and state laws by doing two things: firstly, by prescribing film-friendly principles that local councils and state agencies must apply when determining applications for commercial filming on public land, subject to the acts and regulations; and secondly, to provide for the Minister for Innovation to approve commercial filming guidelines to assist local councils and state agencies in applying the principles.
Mr Somyurek detailed some of the film-friendly principles, and there are a considerable number of them, but I will reiterate them again.

The film-friendly principles provide for a presumption of approval for filming permit applications, subject to other legislation, public amenity, safety and security, environmental and heritage impacts; a requirement to consider approval subject to terms and conditions or the identification of alternative locations before declining a filming permit application; a requirement to approve or refuse a film permit application in a timely manner, with an obligation to take reasonable steps to respond within five days; a requirement to provide reasons for declining a filming permit application to the applicant; a requirement to take reasonable steps to provide a single point of public contact to facilitate requests to undertake commercial filming; a streamlined approach to application forms and other documents required for commercial filming, including an obligation for forms set by public agencies to be consistent with a standard approved by Film Victoria; minimal fees for filming permit applications, including the obligation for a public agency to consider the broader economic benefits that filming will bring to the community when setting a fee; the publication of information regarding commercial filming on a public agency's website or a website approved by Film Victoria; and a requirement to take reasonable steps to provide relevant staff with information on the film industry. The film-friendly principles do not override any other acts or statutory instruments, which is important to understand.

I would like to put the bill into context. Since December 2010 the coalition government has supported film and television projects that have generated over $560 million in production expenditure for Victoria. According to Deloitte Access Economics, the total economic contribution of the film and screen industry to Victoria is around $1.4 billion, employing over 10 000 people on a full-time equivalent basis.

The bill delivers on the government's commitment to the review and reform of the granting of film production permits and seeks to deliver economic benefits to Victoria by attracting and stimulating additional filming activity. The proposed reform will save time and money for film and television productions in Victoria by reducing compliance costs; improving certainty, consistency and transparency in the filming permit approval process; facilitating streamlined applications; and reducing delays associated with waiting for approvals. It is important that this is put on the record and reiterated because, as I said, the economic benefits to Victoria are quite enormous.

It is interesting to note that Deloitte Access Economics has estimated the total economic contribution of the screen industry to Australia to be around $6.2 billion. In Victoria, as I said, the screen sector contributes around $1.4 billion annually and employs over 10 000 people. It was very interesting to see in today's Herald Sun a big headline 'Now it's Premier Asher'.

Some of us may think this is quite a good idea. In any case, although we are exceedingly happy with our Premier, if he ever chose to leave, it would be quite interesting to have the Minister for Innovation, Louise Asher, as our first female Premier for some time. But it was not Louise Asher, the member for Brighton; it was the actor, Asher Keddie. She is going to be in a film that is set in this Parliament about a female Premier who is fighting for her election. I think it will be very interesting for all of us to watch. However, it is interesting to note that anyone filming in this precinct cannot use the crest. The Speaker informed me today that they can use the sign outside that says 'Parliament of Victoria' but under no circumstances are they allowed to use the crest, which gives us an understanding of some of the conditions applying to people who are wanting to make films in this state.

Shooting on location also showcases Victoria as a tourist destination, and countries and cities across the world leverage off this.

For example, in Northern Ireland there is Game of Thrones, and we all know the Lord of the Rings series of films really put New Zealand on the map in many ways.

In Victoria some of the issues about economic directions are very interesting to see. A number of films have been done in Victoria recently, and it is interesting to see where they were made. The Dressmaker was made in northern Victoria in the Mallee region and in Minyip, and Minyip was also the site of the Flying Doctors series some time ago. However, in 2014 it is interesting to see where a number of films are happening across Victoria. Predestination was made in metropolitan Melbourne, Abbotsford and at the Werribee pumping station. As I said, locations for The Dressmaker include the Wimmera and Geelong. INXS -- Never Tear Us Apart was filmed at Avalon Airport, city of Greater Geelong; Bank Place, city of Melbourne; and city of Kingston.

Fat Tony and Co was filmed in Carlton, Coburg North, Brunswick -- that is Mr Barber's area; there could have been a role for him -- Templestowe and South Yarra. House Husbands -- this could be more

Mr Barber's style -- is filmed in Thornbury; it is a TV series. The Doctor Blake Murder Mysteries was filmed in Ballarat, at the Victoria University Sunbury and in Bacchus Marsh. Nowhere Boys -- I will not comment on that -- was filmed in Olinda, Warrandyte and Montmorency. Winners and Losers was filmed in the city of Melbourne. The Block is filmed in South Melbourne. Offspring is filmed in Fitzroy. Selling Houses Australia, which is a television series, is filmed in Frankston, Gladstone Park, Selby, Alexandra, West Footscray and so on. Miss Fisher's Murder Mysteries is filmed in Elsternwick, Carlton, Queenscliff, Bendigo and Parkville.

Neighbours is filmed in Forest Hill and at Global Television Nunawading, and as we know it even has special buses going out to Ramsay Street. I am advised they are full with people, particularly from Britain, going out to have a look.

I lived in Ireland for some time, and they had to extend the school lunchtime for children because they watched Neighbours three times a day in Ireland: in the morning, at lunchtime and then again in the evening. The children's school lunchtimes had to be extended so they could watch Neighbours. We get a lot of Irish visitors to Ramsay Street, and this is one of the reasons.

I will outline as a case study the feature film I, Frankenstein. This is a modern-day Gothic thriller, and the feature film tells the tale of Dr Frankenstein's creature, Adam, who centuries after his birth finds himself in a Gothic city caught in a war between two immortal clans. This was written and directed by an internationally recognised Australian writer-director, Stuart Beattie. It was located at Docklands Studios, and filming locations included Ormond College, the Regent Theatre, the former Argus building and Montsalvat.

In terms of direct economic benefits, it generated more than $35 million in Victorian production expenditure; employed more than 1100 Victorians, including over 400 extras and 18 Victorians in head of department roles; and engaged more than 670 Victorian companies.

Practitioners hired included set decorators, construction crew, sculptors, riggers, grips, make-up and costume teams, stunts, camera operators and visual effects artists. Pre-production, filming and post-production in Melbourne gave local practitioners the opportunity to further develop their skills. A lot of these people in pre-production and post-production operate in the Southern Metropolitan Region in and around the South Melbourne precinct. Many of them trained at the Victorian College of the Arts, and it is extremely pleasing to think that these young students get an opportunity to go on and work in this important industry.

Large productions like I, Frankenstein use new technology and complex production technology, which provides skills transfer and development opportunities for the local industry. However, it is the downstream economic benefits that I think members will be interested in. Many local screen businesses have a preference where possible to buy locally due to quality, reliability and flexibility, and the ability to build relationships. Downstream benefits of casting, equipment hire, location services, post-production and visual effects also provide significant economic benefits and ongoing employment for Victorians.

For example, downstream businesses that benefited from I, Frankenstein include approximately $80 000 to $90 000 spent at a local specialist fabricator; an estimated $6 million from a lighting supplier; around $20 000 for commissioned works from regional Victorian blacksmiths; props bought in antique stores in central Victoria and the Mornington Peninsula; construction work requiring the employment of labourers, stagehands, set builders, carpenters, sculptors, painters and administrative support staff; and accommodation, security, catering and transport. As members can see, there are great added-on benefits.

There is much I could speak about. It is a great opportunity to have something to talk about in relation to the film industry in Victoria, because it is very successful and will, under these circumstances, attract even more people to Victoria. It will attract more film producers because the red tape will be eliminated, and our burgeoning area of film production will be able to grow. This is a government that supports the film industry and will continue to do so.

As I said at the outset, I am pleased to see that both the opposition Labor Party and the Greens are supporting this bill. This bodes well for bipartisan support of a very important industry in Victoria.

 

 

Ms CROZIER (Southern Metropolitan) -- I am pleased to rise this afternoon and speak on the Filming Approval Bill 2014. This bill continues the coalition government's program to cut red tape and deliver economic advantages to Victoria. It does so by streamlining the assessment and issuing of film permits given under state and local laws by addressing a number of issues. A number of principles and guidelines have been established that will enable a more consistent, transparent and responsive approval process for film and television companies.

As we have heard, the Victorian screen industry encompasses a wide range of activities that include producing feature films, telemovies, miniseries, television series, documentaries, television commercials, digital content for mobile and other electronic devices, visual effects, games, animation and post-production. They are broad-ranging activities that the screen industry in Victoria is involved in. It contributes around $1.4 billion every year to the economy and employs around 10 000 people, so it has huge economic and economic participation benefits across the state. The market is highly competitive with other states. I am pleased the government has had the common sense to put these measures in place, because they will streamline the process, make filming far more competitive and provide more opportunities for actors and those downstream elements that the film industry brings when filming takes place.

Mrs Coote highlighted the film-friendly principles and how they relate to the agencies. I understand there was significant consultation in the development of the bill, and it has been supported by councils, a range of state bodies and public land managers.

They have been broadly supportive of what the bill will entail. Previously it was quite complex for filming to take place. The bill will simplify that process and provide the advantages I have mentioned.

A number of production facilities are located in my region of Southern Metropolitan Region. Some are very well known: Premier Studios Victoria, which is in Port Melbourne; Iloura, which is in South Melbourne; Flagstaff Studios, in South Melbourne; and Soundfirm, in Port Melbourne. Soundfirm is one of Australia's largest and most highly awarded sound post-production companies. It has produced soundtracks for a number of award-winning productions, including feature films, dramas, short films et cetera.

The film industry is busy in my electorate of Southern Metropolitan Region. A lot of well-known TV series and miniseries have been partly or entirely produced in the region.

The Block, a TV series, was filmed in South Melbourne and Albert Park; the location of filming for Wentworth, another TV series, was Oakleigh; Crackerjack, a feature film, was partly filmed in Windsor; SeaChange was filmed in Black Rock; Crackers was filmed at Half Moon Bay and Black Rock; and The Castle -- that wonderful film that is so legendary -- --

Mr Elsbury interjected.

Ms CROZIER -- Yes, a fabulous feature film, was partly filmed in Toorak. The Man from Snowy River, interestingly, was partly filmed in Port Melbourne; Mad Max, partly in Kew and Port Melbourne; and Soldiers of the Cross, in Murrumbeena. A number of TV series, miniseries and feature films that are well known to many Australians and have also been well regarded internationally were filmed in the region.

It is timely that while we are looking at increasing economic activity in Victoria -- and yesterday's budget highlighted many elements of what the government is doing to support business right around the state -- this bill which supports the film industry has been introduced. It will cut the red tape, it will streamline the processes and it will make it far more attractive for film production to be undertaken in Victoria. I would like to congratulate all those who were involved in the process of consultation with the film industry and who are supporting its activities, and I commend the bill to the house.

 

 

Mrs MILLAR (Northern Victoria) -- This bill establishes a consistent approach to the approval of commercial filming on public land managed by public agencies, including local councils and state government entities. The bill prescribes 'film friendly' principles that public agencies must comply with when performing any functions or duties or exercising any powers under any filming approval legislation in relation to commercial filming.


The Victorian screen industry generates around $1.4 billion in economic activity annually for the state and employs more than 10 000 people on a full-time basis. We need to both protect this industry and grow it, by more successfully attracting this business both nationally and internationally.

Victoria is at the heart of Australia's film production capability and market. Mount Macedon, where I live, and the surrounding communities have frequently been the site of film locations for both national and international film productions. Perhaps the most famous and best example of this is the filming of Peter Weir's iconic Picnic at Hanging Rock, which was partially filmed on location at Hanging Rock. Recently I had the opportunity to watch the film again, screened on location at Hanging Rock on St Valentine's Day -- the day on which the primary event depicted in Joan Lindsay's famous novel of 1967, Picnic at Hanging Rock, was set.

The film continues to be a superb representation of Hanging Rock in all its moods, light and shade -- exquisite, timeless and treasured beyond measure by locals.

I recently met one of the stars of that film -- beautiful Anne-Louise Lambert, who played Miranda in the film -- who recently returned to Hanging Rock to raise awareness of the concerns of several thousands of locals in our community who have signed a petition and spoken out against the Macedon Ranges Shire Council's proposed development of a section of the council-owned adjoining East Paddock. This film made in 1975 is a very superb example of how film locations increase the fame of a place and can continue to increase tourism for, in this instance, many decades to come. The DVD of that film can still be purchased in the on-site cafe and gift shop, thereby increasing film sales.
There is no doubt that the fame of the film has motivated and continues to motivate thousands of people to visit Hanging Rock each year. The linkages between film locations and tourism are very strong, with films having the potential to massively escalate visitor rates almost overnight. That is why the streamlining of film location approvals is central to business success in this state, and this has great potential for regional Victoria.

I also note the filming of The Man from Snowy River, which my colleague Ms Crozier has also just referred to. I know that part of that film was filmed near Mansfield at the property of a very dear friend of mine, Mr Angus Grimwade. The regional locations used in the film gave it a particular unique and special quality that captures the high country beyond measure.

Tourism in Victoria is both big business, being a significant economic driver, and a big employer of locals, especially in regional Victoria. It is worth directly and indirectly $19.6 billion a year, or 5.8 per cent, of the total Victorian economy. To break down the $19.6 billion figure, in 2012-13 tourism directly contributed $8.78 billion to the Victorian economy and indirectly contributed an additional $10.87 billion. The tourism industry provides jobs for over 200 000 Victorians, and it is our second largest export. Tourism is a major contributor to Victoria's regional economies in particular.

Figures for the 2011-12 year show that tourism is worth $10.9 billion to regional Victoria and employs almost 110 000 people. So it can be seen that regional Victoria certainly occupies the lion's share of the benefit that film is able to contribute to the economy from a tourism perspective.

Film gives a unique opportunity to build and grow the tourism sector. For this reason there is a need to facilitate easy access to sites to be used as film locations, and this bill sets out to do this. On average, approximately 1500 to 3000 filming permits are currently issued to feature and television productions each year in Victoria. The ease and speed of seeking filming approvals are key considerations in finalising where a film will be located. Many community members regularly relate to me the complexities and frustrations they have in their dealings with local government -- its failing to return calls, failing to reply to letters and emails, and even failing to act after decisions arising from mediation processes and from government or statutory authorities.

It is these types of frustrations -- red tape, complexity and, frankly, poor customer service -- which are sending businesses and investors away in droves. I hear about these issues on almost a daily basis. At listening posts, in emails and during visits to my office, local residents raise concerns about local government in relation to lack of performance, accountability and transparency and to a lack of interest in listening to the views of residents or in proper consultation, describing that in many instances those raising concerns are being labelled troublemakers or agitators. Ratepayers have in many instances no option but to keep trying with seeking service and responses from their local government, but businesses will just give up, go away and seek to invest elsewhere, and there are indeed other places where business investment is welcomed and fostered. If we are to be successful in attracting business in general, and film production more specifically, then we need to act to make this as seamless as possible.

The bill prescribes a set of film-friendly principles which must be complied with by local government and state agencies. The eight film-friendly principles generally relate to processing film permit applications in a positive and consistent manner and are intended to provide the screen industry with streamlined access to public land managers and information on the application process. This bill enables the streamlining of the current council-to-council approach. Through the various discussions and consultations which have occurred, it is anticipated that this legislation will be well supported by both the public and the film industry.

This bill will make it easier for production companies to do business in Victoria by creating streamlined approval processes for commercial filming on public land. The benefits of this in terms of growth in both the film industry and tourism are significant, with their corresponding impacts on employment growth, especially in regional areas.

For these reasons I commend this bill to the house.

 

 

Mr ONDARCHIE (Northern Metropolitan) -- What a pleasure it is to rise this afternoon to speak on the Filming Approval Bill 2014. I cannot claim to be a film buff, unfortunately. In fact I can tell the house that the last film I went to see at the cinema was with my children; it was called Toy Story. I have to confess I did not make it all the way through. The kids watched it all the way through, but I nodded off halfway through.

This bill demonstrates the government's commitment to giving the local film business a healthy environment in which to work, attracting major investment in this state from overseas filmmakers. This bill will continue to help inject funds into Victoria's economy, holding us in very good stead, because we know -- and the filmmakers and production companies know -- that Victoria is a great place to do business. It is a great place to create wonderful art, like some of our films. I will mention some of them this afternoon, particularly those that were filmed or for which some production activity took place in my electorate of Northern Metropolitan Region. I will mention films like Predestination, which was filmed in metropolitan Melbourne and in Abbotsford as well. I know others have spoken about INXS -- Never Tear Us Apart; Ms Crozier talked about it in her contribution today.

Some of that was filmed here in the city of Melbourne, in my electorate.

Fat Tony & Co, which is a telemovie about some of the less desirable elements of Melbourne society, was filmed in places such as Coburg, Carlton and Brunswick. House Husbands was filmed in Thornbury, and Winners & Losers, the Channel 7 production, was filmed predominantly in the city of Melbourne. Of course The Block, the award-winning TV show, was filmed in Richmond. Offspring -- and I know others have mentioned Asher Keddie in their contributions today -- is filmed in Fitzroy, in the city of Yarra, which I know Mr Barber is a big fan of. It is also filmed at the old PANCH hospital -- a great hospital and the hospital I was born in -- and across parts of Preston, in the city of Darebin.

Miss Fisher's Murder Mysteries were filmed in Carlton and Parkville, in my electorate, and the Jack Irish telefilms were filmed in both the city of Melbourne and the city of Yarra.

Healing was filmed in metro Melbourne, and of course we as the Victorian government were delighted to welcome Masterchef 2014 to the Royal Melbourne Showgrounds. It has been a great TV series and a great boost for the Victorian economy. Other things that were filmed here in Melbourne were Tangle, which was filmed in Abbotsford and in Richmond, in my electorate. Of course John Doe was filmed right here in Parliament House. Possum Wars was filmed in Carlton, and I, Frankenstein, which others have spoken about, was filmed in Parkville and in the city of Melbourne.

City Homicide was a very popular TV show, and it was filmed around the Docklands precinct, which is a great magnet for film and production companies. It was also filmed here in Melbourne CBD and under the clocks at Flinders Street Station. Something called Don't Be Afraid of the Dark was filmed in the Melbourne metropolitan area, as was Killer Elite, which was filmed at Flagstaff Station, amongst other places.

Save Your Legs!, which is a great movie about cricket, was filmed here in Melbourne, and other films like Joffa -- The Movie -- and we know what that is about -- was filmed in Carlton, Collingwood and other parts of Melbourne. The Cup, which is a great movie -- and I know Mr Leane is a big fan of Stephen Curry's work in The Cup -- was filmed out at Flemington Racecourse. Something I have to confess I have not seen is called Wog Boys 2 -- The Kings of Mykonos. Unsurprisingly this was filmed in the city of Melbourne.

Ms Mikakos interjected.

Mr ONDARCHIE -- I'm not sure I picked up Ms Mikakos's interjection, but I'm sure she was celebrating the success of that movie as well.

Mr Elsbury -- She said, 'Mykonos not Mikakos'.

Mr ONDARCHIE -- Right, The Kings of Mykonos, thank you. Something called Big Mamma's Boy was filmed in metro Melbourne, In Her Skin was filmed in metro Melbourne and -- this is not a statement, this is just the title of the movie -- My Year Without Sex was filmed in Melbourne as well. Something called Prey was filmed in the manufacturing heartland of Melbourne, in Campbellfield, and there are various other film projects that have been attracted to Melbourne as a wonderful location, including The Tender Hook and The Elephant Princess, which was filmed out at the arts precinct of Montsalvat in Eltham and also in the city. The Underbelly series was filmed right across metropolitan Melbourne, including in North Melbourne along Arden Street. It was a great boost for the local economy there. A lot of the traders did business because the film production crew was in town; they sold lots of coffees and made lots of sandwiches.

For minimal disruption, the traders got a lot of business as a result.

What is interesting is that people have said, 'I know that restaurant', or, 'I know that coffee shop', because they saw it on Underbelly, thereby creating more opportunities for our small business market. The Pacific was filmed outside Flinders Street station, between Elizabeth Street and Swanston Street. Charlotte's Web was filmed in Attwood and Heidelberg. Something called Irresistible was filmed in Docklands. We know about the film Kenny, and I choose not to go into detail about what that was about, but it was filmed in inner city Melbourne, Flemington and Maidstone. When Evil Reigns was filmed in Collingwood and Melbourne, and Australian Icon Towns was filmed in metropolitan Melbourne and in some of our regional cities as well.

A movie that the kids love is Hating Alison Ashley, and I know Mrs Millar is a big fan of that film as well. It was filmed in places like Richmond, Melbourne, Kinglake and Whittlesea. Macbeth was filmed in metropolitan Melbourne, and a great Indian film Salaam Namaste was filmed in metropolitan Melbourne and in other places around Victoria. The film Three Dollars was filmed in Melbourne.The next is the name of another film; it is not any reference to Mr Leane or members of the Labor Party. It is called You and Your Stupid Mate and was filmed in the city of Melbourne. Stingers was filmed in Carlton North, Richmond and the city of Melbourne; One Perfect Day was filmed in Melbourne, Geelong, Southbank, Richmond and St Kilda.

Members might recall the Paul Hogan film Strange Bedfellows, which was filmed in regional Victoria -- in Yackandandah and Wodonga. I am surprised how many of these films I know as I go through the list. Crackerjack is a great movie and was filmed in Richmond and Melbourne, and also in a place that Ms Crozier is a big fan of, being Windsor. Double Vision was filmed in Coburg, and the TV series Halifax fp was filmed in metropolitan Melbourne.

The series Chopper, which I confess I refuse to watch, was filmed in Coburg. I do not know why we would celebrate that film. The Dish was filmed in places like North Fitzroy, Box Hill and Melbourne. On the Beach -- I am not sure if that is the original movie -- was filmed in Melbourne. The Adventures of Lano and Woodley is a TV show that was centred predominantly around the parts of Melbourne that Ms Crozier, Mr Davis and Mrs Coote have been great advocates for -- and that is, Elsternwick and St Kilda. The Games was also filmed on that side of town.

The great Australian movie The Castle -- I just love the serenity of that movie -- was filmed in Brunswick, Essendon and in other parts of Melbourne.

Mr Elsbury interjected.

Mr ONDARCHIE -- As Mr Elsbury interjects, it is the vibe of the movie that really makes it. Other great movies, including Love and Other Catastrophes, were filmed in places like Fitzroy and Parkville. Not surprisingly Death in Brunswick was filmed in Brunswick as well is in Coburg and other parts of Melbourne. Squizzy Taylor was filmed in Carlton and Studley Park. The Pirate Movie was filmed in Melbourne but also down in Port Campbell and in Werribee in Mr Elsbury's electorate, which is where I think he has his office. We all remember The Club with Jack Thompson, Frank Wilson and even Rene Kink. It is a film about the Collingwood Football Club in a sense, and not surprisingly it was filmed at the Collingwood football ground and clubrooms.

Long Weekend was filmed in Melbourne and also down at Phillip Island; and The Story of the Kelly Gang was filmed in the north-eastern suburbs -- in Eltham, Greensborough, Heidelberg and Rosanna. The Soldiers of the Cross, that great depiction, was filmed predominantly in Richmond.

Each year thousands of filming permits are issued by public bodies in Victoria for locations as diverse as suburban streets, beaches, cemeteries, museums and cultural institutions, national parks, zoos, gardens, courthouses, courts and sporting facilities. It is a great boost to the local economy. A filming permit is an approval to undertake commercial filming on public land in accordance with local laws or other regulatory frameworks, and it is issued with terms and conditions that define the application of the permit.

The permit is likely to include traffic, pedestrian and parking management plans; site plans with details about equipment or other infrastructure to be brought and utilised at the location; a concise schedule about the details of the crew numbers and planned activities; a stakeholder communication plan; evidence of public liability insurance; and in many cases, permit fees that will need to be paid prior to a permit being issued.

This is a very important bill. It supports local business, it supports the local economy, it supports local councils and their environments, and of course it supports the great state of Victoria. I commend the bill to the house.

Motion agreed to.

Read second time.

Third reading
Hon. G. K. RICH-PHILLIPS (Assistant Treasurer) -- By leave, I move:

That the bill be now read a third time.
In doing so, I thank members for their contributions on this important bill.

Motion agreed to.

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