Can a $290 million film studio on a former cow paddock really lure Hollywood to Perth? Tom Avison, the inaugural chief executive of Perth Film Studios, believes so. He's on a mission to put Perth on the global production map, and he's off to a promising start. With a whirlwind sales trip to Los Angeles under his belt, Avison is already attracting interest from major production companies like Netflix, Universal, Warner Bros., and Disney. But what makes this project truly intriguing is the location: a former cow paddock in Whiteman, on Perth's semi-rural north-eastern fringe. This is no ordinary film studio. It's a bold venture, aiming to shape an industry still in its infancy in Western Australia. The studio's construction alone cost $233.5 million, with an additional $57 million committed by the state for its first decade of operation. The goal? To boost Western Australia's share of scripted screen production from 1% to 10% over the next decade. This is a significant investment, and it's not without its challenges. Avison faces the task of competing with established east coast production hubs, and he's got his work cut out for him. But what makes this project particularly fascinating is the potential for Western Australia to become a major player in the global production circuit. The state has rarely been used by bigger productions, despite its diverse landscapes, from the south-west forests to the Wheatbelt and Kimberley. The studio's location offers a unique selling point, with a direct connection to London via a 17-hour flight, which could appeal to UK productions. However, there are obstacles to overcome. Western Australia lacks trained personnel and specialized equipment in certain fields, such as stunts, special effects, construction, grips, and rigging. Screenwest is addressing these gaps through targeted industry-capacity funding and workforce training. But the real test will be in the studio's ability to attract and retain talent. Matthew Deaner, the chief executive of Screen Producers Australia, emphasizes the importance of returning series built around local stories and IP in stabilizing the sector. Kate Separovich, a WA producer, shares concerns about larger productions potentially putting pressure on independent producers and absorbing local crews. Despite these challenges, Avison remains optimistic. He envisions the studio as an 'artificial reef', a catalyst for growth and development in the local screen industry. His hope is that the studio will attract not only big projects but also smaller ones, creating a thriving ecosystem. While the $290 million investment may seem like a gamble, Avison believes it's a risk worth taking. The question remains: will Western Australia's screen industry flourish under the studio's guidance, or will it fall short of expectations? Only time will tell. But one thing is certain: Avison is determined to make Perth a major player in the global production circuit, and he's off to a promising start.
