David Tiley

David Tiley was the Editor of Screenhub from 2005 until he became Content Lead for Film in 2021 with a special interest in policy. He is a writer in screen media with a long career in educational programs, documentary, and government funding, with a side order in script editing. He values curiosity, humour and objectivity in support of Australian visions and the art of storytelling.

David Tiley's Latest Articles

Features

Box Office: 26 October 2015 delivers the ten mill to an odd ball of fluff

Oddball breaks through.

Features

Screen Forever 2015: on the cusp of change

Now that the Screen Forever 2015 program is now available online, conference director Peter Herbert reflects on the overall shape.

News

Federal government calls up cinematic battle at the end of the world

The Turnbull government has continued the negotiations and signed off to support Thor and Alien in Australia.

Features

Doubling screen subsidy would deliver eight times the income

The screen sector has launched a campaign to fix a funding problem and create new opportunities, all based on strictly…

Features

Box Office: 19 October 2015 - a forgettable moment

Not a lot of big numbers at the moment - roll on The Dressmaker.

Features

How to fix the gender problem in the screen sector

With some satire and sad statistics, ten insightful screen women at the Adelaide Film Festival present their levers for change…

Features

Japanese film: the triumph of the subculture

Behind the Japanese film industry, on parade at the Japanese Film Festival 2015, is budget acumen, pop culture savvy and…

Features

Adelaide Film Festival 2015: keeping a secret, awed by some old violins

The opening night of the Adelaide Film festival showcased a very local film, which was jus right for the night…

Features

Accounting for low budget producers

New micro-accounting production accounting services are targeting the needs of low budget filmmakers and digital creatives.

Opinions & Analysis

Wikileaks reveals IP deal but what does it mean?

Will the intellectual property agreement just exposed by Wikileaks really make any difference to Australian producers or digital creatives?

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