About David Cameron

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Author Archive | David Cameron
By on August 15, 2012 in Corporate David, Corporate Documentary Production

Corporate Work

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CORPORATE DOCUMENTARIES

FACE TO FACE
Producer/Writer/Director Performance Australia for ORIGIN ENERGY (2010)

THE THIRD NATURE OF THE BEAST
Producer/Writer/Director – Performance Australia for the TELSTRA Corporation (2006)

THE SECOND NATURE OF THE BEAST
Producer/Writer/Director – Performance Australia for the TELSTRA Corporation (2005)

BRINGING WHO YOU ARE TO WHAT YOU DO
Producer/Writer/Director – Performance Australia for the TELSTRA Corporation (2005)

THE NATURE OF THE BEAST
Producer/Writer/Director – Performance Australia for the TELSTRA Corporation (2004)

A ROCK AND A HARD PLACE
A dramatized documentary project. Film Victoria (1995)

MENTORING, TEACHING and LECTURING

The VCA – Screen Performance Workshops with the Graduating Acting Students (2005-2008)
TAFTA Acting for the Screen Workshops ( 2007- 2013)
The VCA FILM and TV SCHOOL – Directing TV and Directing Actors Workshops (2006-2012)
16th STREET – Screen Performance Process (2009 -2011)
and private ‘ONE on ONE’ Screen Performance Coaching and CORPORATE COACHING

 

 Know  Go Do  and  BE

When you bring yourself to what you do the truth will help set you free, but at first, it could really piss you off.
All over the world people are beginning to exercise their right to express themselves, and what people want and what business wants is indeed coming together.
However, collaboration requires trust. To use bottom up technology properly – people still need to meet face to face. And friends are much more efficient than acquaintances in performing collective tasks individual knowledge nestled in a network of relationships.
People want to be caught doing things right, and affirmed as a human being.
Some companies fail to create the future, not because they fail to predict it, but because they fail to imagine it. So dont imitate – innovate. Its better to fail in originality than to succeed in imitation, and to succeed we need more, not fewer nonconformists. These talented individuals are mobile monopolies with global passports.
They control the key to competitiveness, the scarcest recourse: competence. Managers and politicians will have to learn how to deal with people who are free to  KNOW  GO  DO  and  BE

Powerful Presentations

that draw the listener in

Connecting to the Audience through Connection to Self

Bringing ‘who you are’ to ‘what you do’ creates Powerful Presentations

OVERVIEW

Work shopping with Actors, Directors and Corporate Leaders, has shown me that there is no worthwhile Product without Process. Likewise, to be a Powerful Speaker, in small meeting groups, or large conferences, first you need to investigate the process of Storytelling. But then … who’s story are you telling … and why are you telling it?
It seems naturally better if it’s your own, and if not, then you still need to personally connect to it. Otherwise, it will only ever be about the words, and all the listener will get from it is information and literal meaning. So a great Story Telling Presenter, must be relaxed, present and authentically connected to their material (their words) This means that as with any great Performing Artist, all the specific, personal connections to ones own life need to be made. Fearlessly connecting to these, bringing them into the present, informs your words and strengthens your images. This relates specifically to what all good naturalistic Actors do, and this personalized preparation will empower your Presentation, drawing the listener in.
This process creates effective, powerful speaking, with authentic humor, emotional clarity and inspirational honesty. You connect, and are therefor remembered.

THE PROCESS

To work with David you will need a 2-3 minute snip of a real Presentation you have made, or will make in the near future Either memorized or with notes (no associated slide packs please) Simply starting where you are now, we assess what vocal and personal connection skills will help you move forward with:
• Relaxation
• Clarity
• Authenticity
• Believability
• Like-ability

VOCAL WILL

Vocal Will is also finding improved vocal clarity and power through this personal relationship to the material. If necessary this can then be supercharged by technically improving your vocal skills with simple tools such as:
– Finding your Natural Voice (Relaxation) – Total Breath (Diaphragmatic Breathing) – Vocal Clarity (Vowels and Consonants)

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DIRECTORS CV

By on June 12, 2012 in Uncategorized

 

 

David Cameron is a Graduate of Sydney’s National Institute of Dramatic Art, and a multi-award winning Actor. His Directing career began with the stage production A LIFE IN THE THEATRE for the PlayboxTheatre Company, and the television sit-com US AND THEM. He went on to Direct the D-Gen’s comedy film clip successes, FIVE IN A ROW and FIVE MORE IN A ROW, and continued to explore various screen techniques and styles by Directing scores of Television Commercials for major Clients, including COCA COLA, KELLOGS, NATIONAL BANK and MYER/GRACE BROTHERS.

As a Screen Director, David has brought his strong visual sense and knowledge of performance to numerous Television Productions including STATE CORONER, GOOD GUYS, BAD GUYS; his AFI-award winning episode of THE WAYNE MANIFESTO; the ABC’s SEACHANGE; Jonathan M.Shiff’s WICKED SCIENCE; and one of the DOGWOMAN telemovies for Beyond Simpson Le Mesurier. David directed the pilot telemovie LIFE for Beyond Simpson Le Mesurier and was also their Set-Up Director for the undercover cop series, STINGERS, which he continued to direct into its eighth season. He was the Voice Director on the Media World / BBC Childrens Animated TV series DOGSTAR, and has Produced and Directed Documentaries for the TELSTRA Corporation and ORIGIN ENERGY. David has recently completed Directing 3 episodes of BED OF ROSES at the ABC, and Directed many CITY HOMICIDE’S for the 7 Network. David has also been an Associate at the Victorian College of the Arts School of Drama, running the graduating Acting students’ FILM and TV Course. He also conducts Directing Workshops at the VCA Film School, and holds Private Screen Performance Workshops.

 

 

 

 

 

 


AWARDS AND NOMINATIONS

  • 1997 AFI AWARD – FOR BEST CHILDREN’S TELEVISION DRAMA Wayne Manifesto – director David Cameron
  • 1993 MELBOURNE ART DIRECTORS CLUB NOMINATION
  • ‘Don’ TV Commercials – director David Cameron
  • 1981 PENGUIN AWARD – INDIVIDUAL ACHIEVEMENT AWARD FOR SUSTAINED PERFORMANCE BY AN ACTOR Water Under The Bridge
  • 1981 SAMMY AWARD – AUSTRALIAN FILM AND TV AWARD FOR BEST ACTOR IN A TV SERIES Water Under The Bridge (Character Neil Atkins)
  • 1981 LOGIE NOMINATION – FOR BEST ACTOR Water Under The Bridge (Character Neil Atkins)
  • 1980 CLIO AWARD – INTERNATIONAL RADIO RECOGNITION

TRAINING

  • NATIONAL INSTITUTE OF DRAMATIC ART

Graduate 1968
Advanced Course 1970

  • AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL

Short Courses Funding for Screen Performance Workshops 1994

DIRECTING FOR FILM AND TELEVISION

  • ADULT DRAMA

CITY HOMICIDE
TV Drama – Series 2 and 3 Director
The Seven Network (2008-2010)
BED OF ROSES – ABC
TV Drama-Series Director (2010)
STINGERS TV Drama – Set up and Series Director
Simpson Le Mesurier and the Nine Network (1997-2004)
SEA CHANGE
TV Drama – Series Director
Australian Broadcasting Commission and Artists Services (1998)
GOOD GUYS BAD GUYS
TV Drama – Series Director
Simpson-Le Mesurier and the Nine Network (1997-98)
STATE CORONER
TV Drama – Series Director
Crawford Productions and Network 10 (1997)

  • TELEMOVIES

LIFE
Beyond Simpson-Le Mesurier and Network 10 (2001)
DOGWOMAN 3
Beyond Simpson-Le Mesurier and the Nine Network (2000)

CHILDREN’S DRAMA

DOGSTAR
Performance Voice Director
Co-pro Animation series for Media World Pictures/BBC and Network 9 (2005-2006)
WICKED SCIENCE 2
Series Director
Johnathan M Shiff Productions (2005)
FERGUS MCPHAIL
Series Director
Burberry Productions, Network 10/BBC (2003)
HORACE AND TINA
Series Director
Johnathan M Shiff Productions (1999)
THE WAYNE MANIFESTO
Series Director
Australian Broadcasting Commission and Artists Services (1996)

  • SIT-COM AND CLIPS

MERLE
Situation Comedy workshop Pilot Director
Simpson-Le Mesurier at Channel Nine (1996)
US AND THEM
A Situation Comedy – Director
Telltale Films at Channel Nine (1996)
THE LATE SHOW
Concept Director for the D-Generation
Live-to-Air pilots for the Nine Network (1995)
FIVE IN A ROW and FIVE MORE IN A ROW
Directing the D-Generation comedy rock clips for TV and Cinema (1990)

DOCUMENTARY

‘THE THIRD NATURE OF THE BEAST’
Producer/Writer/Director - Performance Australia for the Telstra Corporation (2006)
‘THE SECOND NATURE OF THE BEAST’
& ‘BRINGING WHO YOU ARE TO WHAT YOU DO’
Producer/Writer/Director - Performance Australia for the Telstra Corporation (2005)

‘THE NATURE OF THE BEAST’
Producer/Writer/Director - Performance Australia for the Telstra Corporation (2004)

‘A ROCK AND A HARD PLACE’ - A dramatised documentary project. Film Victoria (1995)

“FACE TO FACE” - Producer/Writer/Director Performance Aust. for ORIGIN ENERGY(2010)

TELEVISION COMMERCIALS

 MYER/GRACE BROS RESOLVE
T.A.B. PIZZA HUT
DON BUSINESS REVIEW WEEKLY
HERALD-SUN KELLOGS … and more …
THE ACTU
ADVANCE BANK
FLY-BUYS
NATIONAL BANK
TOOHEYS
COCA-COLA

MENTORING, TEACHING and LECTURING

The Victorian College of the Arts – Screen Performance Workshops with the Graduating Acting
Students (2005-2008 )
TAFTA Acting for the Screen Workshops ( 2007- 2013)
The VCA Film and TV School – Directing TV and Directing Actors Workshops (2006-2012)
16th STREET – Screen Performance Process (2009 -2011)
and private ‘One on One’ Screen Performance Coaching.

 

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By on June 5, 2012 in Teaching and Workshops

Training for Actors and Directors

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“You could go through a catalogue of acting scholars who try and describe acting in their books, but Davids advice, to me, was simply the cream of the crop! It has changed my life forever. Really.”  OSAMAH SAMI

MENTORING TEACHING AND LECTURING

REEL Short Course VCA-MCA Screen Performance Workshops (2013)
The VCA Drama School  Screen Performance Workshops (2005-2008)
The VCA Film and TV School  Directing Workshops (2006-2012)
TAFTA Acting for the Screen Workshops (2007- 2013)
16th STREET  Screen Performance Process (2009 -2013)
and private ‘ONE ON ONE’ Screen Performance Coaching.

                                                                               PHILOSOPHY

“Connecting to your own life experience is essential for the Screen Actor; it’s what makes you genuine and unique. The boldest choice you can make is to bring yourself to the role and to live spontaneously moment to moment within the given circumstances of the story. Then when I see you, I see the character. My Process has been distilled from working on both sides of the camera; as an Actor and Screen Director. In my Screen Performance Workshops I always use a camera. Being comfortable and Present and knowing who you are on screen, is paramount in such an intimate medium.”

This is an Extract on Screen Performance from my new book:
AUTHENTIC MAKE BELIEVE
‘When I see you I see the Character’

Human Psychology is what you need to use as an actor, you can’t work outside it. That’s what makes you genuine.  And if you work outside yourself, it becomes about the words (and it’s never about the words.)  The words however do give you clues. Remember the ‘reality iceberg’; the 90% of human behavior below the water. The 10% above; the script, the dialogue and stage directions etc. are clues to this vast creative underworld in which it is the responsibility of the the Director and Actors to play and make Real. It’s actually about you. Why you would do it, what you want, where you’ve been, what’s in your way. The story will do the rest. It will give you a name, as well as the specific circumstances. It’s you within the given circumstances of the story. To try and play someone else is the great misnomer of acting.   All great actors are authentic, they’re relaxed, they’re present and listening.  They’re not scared, not worried how they’ll look, trying to remember their lines.  Trying to be something they’re not. Trying to tell you something, show you something, indicate something. No, they’re just being there, in the moment. The ‘now of the now’ as Miesner calls it. Living moment to moment.   And the irony is, that if you don’t have all the specifics you have in life, you can also get tense, and tension is the worst and you hear yourself say the lines and you freeze up. If you only know the lines, there’s a risk you’ll go to the screen test and you’ll have nothing to stop you being self-conscious. Then perhaps afterwards, you’ll naturally relax in the car on the way home and you’ll do the scene perfectly!  But it’s only better, because you’re relaxed and free. Your back in your own specifics, and you’ve given yourself the right to be present, but It’s too late. So the thing is, if you have enough specifics, you don’t need to worry.  If you know everything about the character, who you’re talking to, where you are, what you want, where you’ve come from, where you’re going, etc., and you have your own experiences, to do with things that happen in the scene, specific memories, and images; that’s all you need. You don’t have to ‘play’ it.  You just BE it, and say it, and it’s a strange thing, we know exactly what you’re talking about, and your authentic behavior tells us clearly who you are.
This is like Stanislavsky’s ‘Kiss of LIFE’

 

Topics Covered For Actors

 

                            BRING YOURSELF TO THE ROLE BY

Being totally present and relaxed with the camera and microphone
Finding specific character clues in the scene
Making very personal connections to your character and their relationships
Applying a range of key preparation techniques and processes
Using improvisation to stay fresh, authentic and connected
Accessing character details that are outside your own experience
Maintaining a professional, relaxed connection to ones self and others during screen testing and shooting

 

Topics Covered For Directors

 

SCRIPT BREAKDOWN AND ANALYSIS

What is a script breakdown?
The Directors preparation
Using the language of the Actors behavior, beats, objectives, actions, etc
Uncovering meaning and subtext.

THE CASTING PROCESS

What makes great casting?
The casting brief.
Directing a casting.
The role of the Casting Director.

VISUAL STORYTELLING

Blocking the mis-en-scene
Location as character
Camera as a storyteller
Subjective and objective coverage
Lighting
Production design
Storyboards
Shot lists

REHEARSALS

Directing actors
Rehearsal processes and techniques
Blocking

THE SHOOT

Working with crew, HOD’s, Assistant Directors, Sound, Camera Operators, etc
Working with the Actors on set
Shooting schedules
Continuity
Shooting protocols and procedures

POST PRODUCTION

Working with the Editor
Choosing takes
Cutting for performance.
Directorial approaches to sound design and music.
Sound as a Storyteller.

                                               2014 OFFERINGS

FOR ACTORS  Directors to audit

David’s ON CAMERA SCREEN PERFORMANCE PROCESS
. What if you could be so relaxed and present within the given circumstances of the story,  that when I saw you, I saw the character?

David’s ‘GETTING THE GUEST ROLE’ WORKSHOPS
. What if I showed you how I cast and shot main guest roles, and you could experience what a great opportunity they are to practice your skills and expand your reputation.

David’s VOICE PROCESS THAT BRINGS LIFE TO ANIMATIONS 
AND EVEN SELLS SOAP.
 What if I showed you something special, that the Actors I’ve cast in animations, all have in common. You can make us laugh, and you can make us cry. The Voice reveals everything.

FOR DIRECTORS   Actors to audit

David’s PERFORMANCE ORIENTED DIRECTING FOR THE SCREEN. 
What if your Directing process was built around helping create and capture great performances, and how this process effects all aspects of scripting, casting, and shooting.

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By on June 2, 2012 in Voice Overs David

Voice Work


VOICE AGENT  EM Voices  03 99325777  02 93695700

 

When I’m in the zone I feel my communication skills get distilled at the microphone.
I like to be very present and personal, informing the listener and drawing them in.
Finding gravitas or a lightness of touch has helped win these Awards:                     

  GRAND PRIX
Oberhausen International Short Film Festival

CLIO AWARD
International Radio Recognition

CRITICS PRIZE
Huesca International Film Festival

HUGO TELEVISION AWARDS (USA)
Certifïcate Of Merit

AUSTRALIAN SCREEN DIRECTORS GUILD
Best Short Film Animation


DC’s recent vo tracks from Performance Australia on Vimeo.

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Nina Landis ACTOR

By on June 2, 2012 in Acting Demo Nina

AGENT –  Joanna Milosz at JM AGENCY  03 9530 2150

ACTOR TRAINING

  • Krakow Theatre School, Poland
  • Flinders Universtity Drama Centre, South Australia – Henry Salter, Wal Cherry, Andrew Doe
  • HB Studio, New York  – Uta Hagen, Herbert Berghof, Carol Rosenfeld

and VOICE

  • Rowena Balos
  • Zygmunt Molik – Grotowski Theatre Laboratory
  • Alice Hermes – HB Studio, New York

FILM & TV Reel

THEATRE COMPANIES

  • South Australian Theatre Company
  • Melbourne Theatre Company
  • Playbox Theatre Company
  • Theatreworks

and FRINGE

  • La Mama
  • Edinburgh Festival

FEATURE FILMS

  • FOUR OF A KIND – lead
  • RIKKY AND PETE – lead
  • KOMODO – support
  • NIGHTMARES – support
  • HANDLE WITH CARE – support

 TELEVISION

  • EMBASSY 1 & 2- series lead
  • PRIME TIME 1 & 2- series lead
  • THE KEEPERS 1 & 2- series lead
  • BLACKJACK – telemovie guest
  • MDA 1 & 2- series support
  • SPECIAL SQUAD – series guest
  • CITY HOMICIDE – series guest
  • ONE SUMMER AGAIN – mini-series lead
  • THE SULLIVANS – series guest
  • PRISONER – series guest
  • DEGREES OF CHANGE – telemovie lead
  • ALWAYS AFTERNOON – mini-series support
  • THUNDERSTONE 1& 2- series support
  • THE D-GENERATION
  • FLYING DOCTORS
  • RAFFERTY’S RULES
  • A COUNTRY PRACTICE
  • THE MARVELLOUS ADVENTURES OF MIRIAM
  • FAST LANE

PLAYS

  • HOTEL BALTIMORE by Lanford Wilson
  • DOJOJI- THE DANCER by Yukio Mishima
  • OEDIPUS REX by Sophocles
  • DRACULA  by Bram Stoker
  • SUMMER OF THE SEVENTEENTH DOLL by Ray Lawler
  • HAMLET by William Shakespeare
  • THE SHAUGHRAUN by Dion Boucicault
  • ERROL FLYNN’S GREAT BIG ADVENTURE BOOK FOR BOYS  by Rob George
  • COVENANT OF THE RAINBOW by Roger Pulvers
  • NO GOING BACK by Janis Balodis
  • SCAPIN by Moliere
  • BLOOD MOON by Tess Lyssiotis
  • THE TRIAL by Franz Kafka
  • WOUNDS TO THE FACE  by Howard Barker

A Foreign Affairs diplomat juggles love and politics; An Impressionist artist they call ‘Panther’; An ambitious TV journalist moves in with her boss; A criminal widow under suspicion; The savvy barrister who never loses; A policewoman out for revenge; The resourceful guitar playing geologist; A roller-skating gypsy with a crush;  A teacher who crosses the line; A spinster falling victim; The devious gal-pal who wants it all; An embezzling Olympic athlete; The grieving sister; The immigrant worker ….

Nina’s professional stage career began as an ensemble member of the SOUTH AUSTRALIAN THEATRE

COMPANY, playing numerous roles including Bubba in SUMMER OF THE SEVENTEENTH DOLL and Moya in THE SHAUGHRAUN. Then it was off to the EDINBURGH FESTIVAL to perform in Rob George’s ERROL FLYNN’S GREAT BIG ADVENTURE BOOK FOR BOYS, which picked up a coveted FRINGE AWARD. Nina’s numerous stage performances include Ruth in NO GOING BACK for the MELBOURNE THEATRE COMPANY; the feisty roller-skating Zerbinetta in REX CRAMPHORN’S critically acclaimed touring production of SCAPIN for the PLAYBOX THEATRE; Katina in BLOOD MOON and The Mother in WOUNDS TO THE FACE at THEATREWORKS; and Art in COVENANT OF THE RAINBOW by Roger Pulvers at LA MAMA.Nina’s early screen work began in Melbourne with various guest TV roles, such as an embezzling Olympic athlete in PRISONER; an airline stewardess in SKYWAYS; and the love interest of a teenage boy in THE SULLIVANS; before being cast in her first film role as Judy in the horror flick NIGHTMARES directed by the salacious John Lamond. Nina’s training in New York fortified her acting technique and she went on to play a number of ongoing leading TV roles, such as Kate McArthur the on-camera journalist in PRIME TIME; MiriamWoods the environmentalist teacher in THE KEEPERS; and Susan Derek the career diplomat in love with an Islamic Head of State in EMBASSY.

Nina has also enjoyed guesting in many Australian TV dramas and mini-series such as

  • SPECIAL SQUAD
  • ONE SUMMER AGAIN
  • ALWAYS AFTERNOON
  • DEGREES OF CHANGE; MDA
  • BLACKJACK
  • CITY HOMICIDE

playing an array of roles from a Foreign Affairs Diplomat, a dangerous bomber; an Impressionist artist; a criminal’s widow under suspicion; and a savvy barrister or two. Nina also performed the title film role of the guitar playing geologist Rikky in RIKKY AND PETE; Annie the spinster aunt in the special effects film KOMODO; and the devious gal-pal, Susan in the feature FOUR OF A KIND. Nina’s voice-work has been heard in hundreds of TV and Radio Commercials, Animations, as well as announcing for the ABC, and narrating numerous award-winning documentaries. NINA LANDIS is also an award-winning DOCUMENTARY PHOTOGRAPHER. Her work has been exhibited in solo and group shows, and is held in private and public collections including the National and State Libraries.Her photo essay, NO ENTRY-PROTEST IN THE PARK was published in 1995.

ACTOR TRAINING

FILMS
NIGHTMARES
Supporting Role – Judy
Directors – Colin Eggleston, John Lamond
KOMODO
Supporting Role – Annie
Director – Michael Lantieri
Scanbox Asia Pacific
RIKKY AND PETE
Leading & Title Role – Rikky
Director – Nadia Tass
Cascade Films/ MGM-UA
FOUR OF A KIND
Leading Role – Susan Riley
Director Fiona Cochrane
Reel Films
International Premiere – 2008 Montreal World Film Festival.
Best Feature Film at 2009 Reel HeART Film Festival, Toronto.
Best Feature Film at 2009 SkyFest Film & Script Festival USA.
Runner up – Audience Feature Winner at 2009 Riverside Int.
Film Festival, USA
Runner up – Audience Award Winner at 2009 Revolve Film &
Music Festival, USA
NEIL LYNNE
Supporting Role – Helen
Director – David Baker
Neil Lynne Productions
TO MARKET TO MARKET
Cameo – Samantha
Director – Virginia Rouse

NOT QUITE HOLLYWOOD
As Myself- interviewee
Director – Mark Hartley
Madman Films
AFI Best Documentary Award

THEATRE

NO GOING BACK by Janis Balodis
Character – Ruth
Director – Roger Hodgeman
Melbourne Theatre Company
THE SHAUGHRAUN by Dion Boucicault
Character – Moya
Director – Colin George
State Theatre Company of South Australia
ERROL FLYNN’S GREAT BIG ADVENTURE BOOK
FOR BOYS by Rob George
Character – Lois
Directors – John Noble, Rob George
Edinburgh Festival, Scotland
Fringe Award – Best New Play
SUMMER OF THE SEVENTEENTH DOLL by Ray Lawler
Character – Bubba
Director – Kevin Palmer
State Theatre Company of South Australia
HOTEL BALTIMORE by Lanford Wilson
Character – Suzy
Director – Tom Marks USA
Drama Centre, Adelaide
COVENANT OF THE RAINBOW by Roger Pulvers
Character – Art
Director – Roger Pulvers
La Mama, Carlton
SCAPIN by Moliere
Character – Zerbinetta
Dir – Rex Cramphorn
Playbox Theatre Company
DRACULA by Bram Stoker
Character – Lucy
Director – Henry Salter
Drama Centre, Adelaide
BLOOD MOON by Tess Lyssiotis
Character – Katina
Director – Robert Draffin
Theatreworks, Melbourne
THE TRIAL by Franz Kafka
Character – Mrs. Burstner
Director – Andrew Doe USA
Drama Centre, Adelaide
LYSISTRATA by Aristophanes
Character – Lampito
Director – Lindy Davies
Dodd Street Theatre

DOJOJI (The Dancer) by Yukio Mishima
Character – the Dancer
Drama Centre, Adelaide
WOUNDS TO THE FACE by Howard Barker
Character – Mother
Theatreworks

TELEMOVIES
HANDLE WITH CARE
Supporting Role – Julie
Dir – Paul Cox
BLACKJACK
Guest Lead – Stella
Dir- Peter Andrikidis
TV DRAMA – Leading Roles
THE KEEPERS
Leading Role – Miriam Woods
ABC -7 episodes
PRIME TIME
Leading Role – TV journo, Kate McArthur
Crawfords – 56 episodes
EMBASSY
Leading Role – Political Officer, Susan Derek
ABC – 26 episodes
THE MARVELLOUS ADVENTURES OF MIRIAM
Leading Role – Mum
Dir Sue Brooks
Children’s Television Foundation
TV MINISERIES
ONE SUMMER AGAIN
Supporting Role – Impressionist Painter, Clara Panther
Southern
ABC
ALWAYS AFTERNOON
Supporting Role – Renata Stein
ABC
DEGREES OF CHANGE
Leading Role – Louise
Dir Bud Tingwell
ABC
TV DRAMA – Supporting Roles
THUNDERSTONE 1
Supporting Role – Triumvirate Leader, Syndia
Jonathon Shiff for Disney – 9 episodes
THUNDERSTONE 2
Supporting Role – Triumvirate Leader, Syndia
Jonathon Shiff for Disney – 19 episodes
SKYWAYS
Supporting Role – Air-hostess
Crawford Productions – 3 eps
PRISONER
Supporting Role – Athlete, Michelle Parkes
Grundies – 4 eps
THE SULLIVANS
Supporting Role –
Crawford Productions – 4 eps
MDA
Supporting Role – Barrister, Claudia Monserrat
ABC – 15 Episodes
CITY HOMICIDE
Supporting Role – QC. Valerie Zimmerman
Channel 7 – 2 Episodes
TV DRAMA – Special Guest
COP SHOP
Crawford Productions
A COUNTRY PRACTICE
JNF Films
THE SPECIAL SQUAD
Crawford Productions
FLYING DOCTORS
Crawford Productions
RAFFERTY’S RULES
Channel 7 Sydney
TV COMEDY – Special Guest
THE D-GENERATION – 2 eps
ABC Comedy

VOICE-WORK

TV ANNOUNCER ABC1 2007
TV ANNOUNCER ABC2 2008
ANIMATION FILM VOICES & NARRATIONS
CHAINSAW: short film directed by Dennis Tupicoff
GRAND PRIX – 2008 Oberhausen International Short Film Festival
GRAND PRIX – 2008 Huesca International Film Festival
CRITICS PRIZE – 2008 Huesca International Film Festival
HUGO Television Awards (USA) 2008 – Certificate Of Merit
GRTP2/ONDA CURTA PRIZE 2008 Curtas Vila do Conde International Short Film Festival
AUSTRALIAN SCREEN DIRECTOR’S GUILD – Best Short Film Animation.
NELVANA GRAND PRIZE 2008 Ottowa International Animations Festival.
CERTIFICATE OF MERIT 2008 HUGO TV Awards USA
HONOURABLE MENTION 2008 CHRIS AWARDS USA
TYCHO Scienceworks Planetarium
ESCAPE FROM ANDRAXUS Museum Victoria
VROOM -THE BRAIN Museum Victoria
MELBOURNE AQUARIUM

SCREEN FILM & TV VOICES

OCEAN GIRL Children’s TV Series – Helen the Computer:Jonathon Shiff for Disney
EVIL ANGELS – Feature Film: Fred Schepisi
TRUE LOVE AND CHAOS – Feature Film: Stavros Kazantzidis
JOURNEY TO THE CENTRE OF THE EARTH – TV Series
STINGERS – TV Series Simpson Le Mesurier
DOCUMENTARY NARRATIONS
THE TENTH DANCER – documentary directed by Sally Ingleton
ATOM AWARD – BEST DOCUMENTARY 1994
WINNER GOLDEN GATE AWARD 1994 SAN FRANCISCO FILM FESTIVAL
WINNER SILVER PLAQUE Chicago Film Festival
HONOURABLE MENTION Asian TV Festival Japan 1994
BEST DOCO NOMINATION Hawaii Film Festival 1993
WILDNESS – Documentary produced by Michael McMahon
AFI AWARD – BEST DOCUMENTARY 2003
and many more….

RADIO DRAMA

ABC Drama – Melbourne
TV COMMERCIALS (100’s and 100’s)
RADIO COMMERCIALS (100’s and 100’s)
AUDIO VISUAL NARRATIONS
CD ROMS
TELEPHONE MESSAGES
PRESENTATIONS

AUSTRALIAN FILM INSTITUTE (AFI) AWARDS PRE-SELECTION PANEL
1993; 1994; 1995; 1996
ST. KILDA FILM FESTIVAL
FILM SELECTION PANEL 1995
FILM FESTIVAL JUDGE 2000
LECTURER and ACTING WORKSHOPS
VICTORIAN COLLEGE OF THE ARTS – 2003
˜History of Acting Techniques’
AUSTRALIAN SCREEN DIRECTORS CONFERENCE SYDNEY 2005
˜The Art and Nature of Acting’
AUSTRALIAN SCREEN DIRECTORS MINI CONFERENCE 2005
‘The Art and Nature of Acting’
VICTORIAN COLLEGE OF THE ARTS 2004, 2005, 2006
‘History of Acting Techniques and Why Actors Do What They Do’
CAREY GRAMMAR 2005
‘Truthful performances for the Stage’
VICTORIAN COLLEGE OF THE ARTS 2005, 2006
‘Physical Destinations’
16th STREET ACTING STUDIO 2009
‘The History and Art of Australian Screen Acting’
BOARD MEMBER selected by MEAA to represent performers
CINEMEDIA MFO 1998
INDUSTRY PUBLIC DISCUSSION PANELS
‘Casting and Performance’ – AFTRS Melbourne
‘Performance and Scripts’ – Writers Guild, Melbourne
‘Relationship of Training and Professional Performance’ – VCA
‘Performing in American Films’ – Art Centre
PRESENTATIONS

To The Premier and Deputy Premier of Victoria:
‘Cultural Concerns of the Performer’
To Senator John Button:
‘Cultural Concerns of the Film Industry’

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