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The logical processes behind a fine trailer turn out to be a powerful development tool when a project is struggling to be born.

Short, snackable, raw. Here are the takeaway bites on our plate this week.

Judy and Punch dances, Two Heads Creek splatters, while Better Days survives abrupt disappearance at the hands of Chinese government.

Diversity rules in musical styles, even between works by the same composer at the 2019 APRA AMCOS screen music awards.

Streaming contracts seem to be turning nasty, and composers are feeling the pressure internationally. Here is Caitlin Yeo, president of the Screen Composers' Guild.

Australia has not one but two awards systems to judge films from the Asia-Pacific region, from both APSA and AACTA. How do they line up?

As the sharks of Netflix and Disney+ circle, the Good Ship Aunty manages to repel boarders and somehow find new islands of audience, according to MD David Anderson.

A good grabby story is the common essential, but details are different when you're developing locally or internationally.

Imagination will not be defeated. Witness the power of John Hinde beyond the grave, boosting science fiction in local screen production.

Streaming services, cinemas and the ultimate need to coexist.

The producers' rules about glamour: you need a clear schedule, time obsessives rule, and hunger increases anticipation. This year they all worked together.

Minister Paul Fletcher keeps the mystery about the government's decisions on regulation, but sets out to prove he understands what the sector is about at SF 2019.

Deaner focused on moving the lobbying into new territory, to talk the talk of opportunistic globalism. It works.

Rachel Perkins will unveil her work on the Boyer Lectures from Friday. In the meantime, we explore the ABC's editorial process to turn ideas into story.

Screenhub is on a mission at Screen Forever. What do we want to know about, from our unique industry perspective?

Rose d'Or Awards hopes are up, fired by very hot vegetable.

Designed to target gender-based violence and discrimination in the screen and games industries, the ScreenMATE Bystander Program runs in Melbourne in November.

Very different visions of Australia pile onto our screens, though you may have to search to find them. Plus festivals like a chocolate box of surprises.

As SPA focuses on SVODs in Screen Forever next week, an RMIT report lays out the realities of Australian content. And the need for family friendly creativity.

With Samantha Lang as head of development, Garth Davis and See-Saw are formally joined at the business hip.