Rochelle Siemienowicz is a screen tragic, a survivor of work at the AFI, and a generous but sharp observer of human behaviour. Who better to reflect on the state of play with our national awards?
In a small screen industry like ours, it seems almost everyone has worked for the Australian Film Institute (now AFI | AACTA) at some point in the organisation’s chequered 55-year history. Everybody has stories to tell – often bitter, sometimes triumphant, frequently hilarious. (Honestly, someone needs to write an Office type sitcom set in the bowels of a prestigious cultural institution that deals in glamour and gold but has no money to pay for anything, including staff. But who would dare?)
