AWGIE Awards 2014: winners

2014-09-08_1623Upcoming ABC miniseries The Code took out the top prize at the 2014 Australian Writer’s Guild Awards on Friday night.

The Playmaker Media series, which premieres on September 21st, was the winner of the Original Television Mini-Series Award, and also took out the Major AWGIE – given to the best of the best in all mediums.

ABC completely dominated the television categories including wins by The Broken Shore, ANZAC Girls, Rake, The Moodys, Nowhere Boys and Wednesday Night Fever.

Richard Finlayson, ABC Director of Television, said: “We understand that writers are in the driver’s seat of the TV revolution around the world. So we’re thrilled that the AWGIES have recognised the brilliant work from these great writers, across so many genres.”

Elsewhere, TEN’s Neighbours and Get Ace were also winners.

TV winners in bold:

TELEMOVIE – ADAPTATION
Jack Irish: Dead Point – Matt Cameron
The Broken Shore – Andrew Knight

TELEMOVIE – ORIGINAL
No nominees in 2014

TELEVISION MINI-SERIES – ADAPTATION
ANZAC Girls – Niki Aken and Felicity Packard.

TELEVISION MINI-SERIES – ORIGINAL
The Devil’s Playground – Alice Addison, Blake Ayshford, Tommy Murphy and Cate Shortland
The Code – Blake Ayshford, Shelley Birse and Justin Monjo
Power Games: The Packer-Murdoch Story – David Caesar and Samantha Winston
Old School – Matt Cameron, Belinda Chayko, Michaeley O’Brien and Paul Oliver with Gregor Jordan

TELEVISION – SERIES
Rake: Series 3 ‘Their Lordships v. Finnane’ – Peter Duncan
Offspring: Episode 411 – Michael Lucas
Rake: Series 3, Episode 5 – Andrew Knight
Puberty Blues: Series 2, Episode 3 – Tony McNamara
Wentworth: Series 2 ‘Metamorphosis’ – John Ridley

TELEVISION – SERIAL
Home and Away: Episode 5946 – Nick King
Neighbours: Episode 6744 – Stephen Vagg
Neighbours: Episode 6857 – Stephen Vagg
Neighbours: Episode 6820 – Margaret Wilson
Neighbours: Episode 6836 – Alexa Wyatt

TELEVISION – DRAMA OR COMEDY, OTHER FORM
No nominees in 2014

COMEDY – SKETCH OR LIGHT ENTERTAINMENT
This Is Littleton: ‘Talent And A Head for Business’ – Amanda Brotchie with Dave O’Neil, Karl Chandler, Ronny Chieng, Melinda Cklamovska, Tegan Higginbotham, Tony Moclair, Matt Okine, Miles O’Neil, Morgana O’Reilly, Stevo Petkovic, Steen Raskopoulos, Vachel Spirason and Adele Vuko
How Green Was My Cactus – Doug Edwards and Lindy Wilson with Shane Edwards (Radio)
Wednesday Night Fever: Series 1 – Mat Blackwell, Rick Kalowski, Steve Lynch, Sammy J, Ian Simmons, Joel Slack-Smith and Stephen Walsh with Anne Edmonds, Heath Franklin and Richard Thorp
Legally Brown – Joel Slack-Smith and Stephen Walsh with Nazeem Hussain, Morgan Jones and Richard Thorp

COMEDY – SITUATION OR NARRATIVE
The Moodys: ‘Sean’s Day in Court’ – Patrick Brammall
The Moodys: ‘Commitments’ – Phil Lloyd and Trent O’Donnell
The Moodys: ‘Australia Day’ – Phil Lloyd and Trent O’Donnell

ANIMATION
Buzz Bumble: ‘Best Bugs’ – Alix Beane
Get Ace: ‘Ace Gets Braced’ – Raymond Boseley
The Flamin’ Thongs: ‘Thongageddon’ – Simon Dodd and Bruce Griffiths
Tashi: ‘Tashi & The Genie’ – Sam Meikle

DOCUMENTARY – PUBLIC BROADCAST
The Boffin, the Builder and the Bombardier: ‘Hit Without Being Hit’ – John Concannon
A Woman’s Journey Into Sex – Sally McKenzie

CHILDREN’S TELEVISION – P
Hoopla Doopla!: ‘Snow Business’ – Kym Goldsworthy
Bananas in Pyjamas: ‘The Fast Bananas’ – Kevin Nemeth
Hoopla Doopla!: ‘Hula Hoopla’ – David Witt

CHILDREN’S TELEVISION – C
Nowhere Boys: Episode 3 – Craig Irvin
The Worst Year of My Life – Again!: ‘Match Day’ – Brendan Luno
Nowhere Boys: Episode 6 – Elise McCredie
Nowhere Boys: Episode 1 – Roger Monk

Everett DeRoche was posthumously awarded the Dorothy Crawford Award for Outstanding Contribution to the Profession. “Almost everything that Everett DeRoche wrote is one of my favourite films,” proclaimed US filmmaker Quentin Tarantino in 2008. The prolific DeRoche began his career with Crawford Production writing classics such as Homicide and Division Four before making his name for the Ozploitation thrillers Patrick and Razorback. As one of the most-produced screenwriters in Australia, the montage of his incredible body of work amazed the AWGIE crowd.

The Fred Parsons Award for Outstanding Contribution to Australian Comedy was presented by Julian Morrow to Andrew Denton, a man who needs no introduction to Australian comedy writers or audiences. Denton has done as much behind the scenes as in front of it – nurturing and investing in new generations of Australian comedy talent.

The Hector Crawford Award for an Outstanding Contribution to the Craft via a Body of Script Editing Work went to Peter Matheson. And while the general public may not understand the work of a dramaturg, writers most certainly do – and they know how writers, the industry and audiences are served by them. Matheson was recognized by the Guild for his generous and creative work with playwrights and theatre companies across Australia.

Winner of the Foxtel Fellowship, established to recognize and reward a writer with an impressive and significant body of work in television, was Kelly Lefever. Lefever’s credits span Australian television history from Prisoner to Home and Away to the prize-winning drama The Circuit where she both wrote scripts and nurtured new writers.

Katherine Thompson and Andrew Bovell each won $25,000 for the Australian Writers Foundation Fellowship and the David Williamson Prize respectively.

Sue Smith, widely praised for her television work, this year won a $15,000 Australian Writers Foundation Fellowship to further her recent move into theatre.

The are for AWG members, judged by writers, and based solely on the script.

3 Comments:

  1. Interesting the “No Nomination” categories. It actually means that there were projects submitted but not judged good enough by AWG judges to win an award. It would be better to say “Not Awarded”.

  2. @Chuck128 – It’s a script writing award, they judge the script. There’s not much of a pirate market for unaired Australian screenplays.
    Bit surprised about Wednesday Night fever winning.

  3. How does one win an award for something not yet screened? Do the makers send scripts to all the other writers to read or copies of the actual programme?
    Both seem like risks for unauthorised release to the public.

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