We believe the story is the key factor in the success of any film
We develop screenplays with focused and dynamic stories that work
We only take on projects that we believe can work
Based in Melbourne, we work with producers, writers, directors, distributors, broadcasters and funding agencies to deliver screenplays that work for the audience.
Who we are
The Australian Writers’ Guild honoured Karin with the Dorothy Crawford Award For Outstanding Contribution to the Profession, recognising her services as a writer, script editor, teacher and development executive. She is also the recipient of the Guild’s Richard Lane Award for Services to the Guild.Read more
Karin is the writer/director of documentaries Raoul Wallenberg: Between the Lines (winner Best Documentary AFI ), and Holding On To What is Real (nominated for the highest honour in children’s television, the Prix Jeunesse).
Her drama writing credits include the Awgie-nominated War & Puss for ABC Childrens’ TV; long-running crime drama Blue Heelers; and One Way Ticket (a top-rating telemovie based on the Melbourne Remand Centre breakout) for Channel 9, which she co-wrote with Michael Brindley. War & Puss was also written and published as a children’s novel
As a development executive with the Australian Film Commission (now Screen Australia) for eleven years, she selected, funded and managed feature film, documentary and shorts projects for both development and production. While there she designed and established a number of initiatives, including the AFC New Screenwriters Program; the Distinctly Australian Fellowship programs and, with ABC TV, the JTVdocs program.
At ScriptWorks Karin consults on documentary, television drama and feature film projects. – at script stage, during production or in the edit. Most recently Karin has been a Script Editor on the feature film, High Ground (2019 dir Stephen Johnson) and the documentaries: Putuparri and the Rainmakers (2017 dir Nicole Ma), winner of the Cineflex Oz Prize; Man On The Bus (2019 dir Eve Ash) and When the Camera Stopped Rolling (2020 dir Jane Castle). She was a script editor on the feature, How To Please A Woman (2021 W/D Renee Webster, currently in pre-production. Karin is the co-writer of Yer Old Faither (W/Dir Heather Croall) which won the Audience Award at the Adelaide Film Festival in 2020.
Karin is a frequent guest lecturer at the Victorian College of the Arts Film School (University of Melbourne) and is a Visiting Professor of Screenwriting at EICAR – the International Film School – Paris. She is a graduate of the National Film School of Great Britain.
Michael is the creator and co-writer of the award winning feature film, Shame, which was invited to many festivals, beginning with the New York Museum of Modern Art ‘New Directors, New Films’. It went on to worldwide theatrical distribution and was remade as a telemovie for US Lifetime cable.Read more
Michael was the series script and story editor (as well as a writer) on both series of Geoffrey Atherden’s AFI award-winning Grass Roots.
As an ABC network executive, he was responsible for supervising MDA-Medical Defence Australia Series I & II, which won three AFI awards, including Best Television Drama.
He was the script producer on the 12-part cable children’s series Conspiracy 365, released in 2012.
Michael’s other TV drama credits include writing for Prisoner, Punishment, Taurus Rising, Bellamy, Blue Heelers and Police Rescue. He was a staff script editor on the top-rating A Country Practice and went on to become Story Producer.
He wrote the ABC miniseries Half A World Away and, with Karin Altmann, the top-rating telemovie One Way Ticket.
Michael has worked extensively as a script consultant and reader for all Australian government film funding bodies and for the New Zealand Film Commission. When he ran the Australian Film Commission Script Office in 1987-8, he was responsible for the entire script development budget.
Michael has lectured at RMIT University (where he was a founding lecturer in the Advanced Diploma In Professional Screenwriting), La Trobe University, VCA Film School and AFTRS. He devised and taught courses in Adaptation, Script Analysis and Feature Film Writing. He has also lectured in New Zealand for the NZ Film Commission New Writers Scheme. He was a script advisor to the AFC SP*RK program in 2004 and 05. He is currently a Visiting Professor of Screenwriting at EICAR – the International Film School – Paris. Michael is a recipient of the Australian Writers’ Guild Hector Crawford Award for Script Editing.
What we do
Send us your synopsis
Send us your synopsis and we’ll tell you within three business days if we are able to assist.
Phone: +61 425735611
‘The Screen Hub Guide to Script Format by Michael Brindley – this is a great guide for anyone starting out on the script writing adventure. Simple clear instructions. Confidence building. Just great stuff. Get hold of a copy before you begin.’
Executive Producer, ABCTV
‘I’m proud of what we’ve done and I want to say thank you for all your persistent and consistently expert editing, comments, advice and assistance and, of course, for your terrific episode 6…’
Email to Michael Brindley from Geoffrey Atherden,
Creator, Writer & Producer Grass Roots – two days before Series I went to air.
(Series I won 5 AFI Awards, including Best Drama and Best Script)
‘Karin Altmann gives brilliant, direct, inspiring notes, with an eye both to the writer’s true intent and the market. As a script consultant and writer myself, I am so grateful to have her as the go-to I trust most for notes on my own work.’
Writer and Script Consultant
‘It was Karin’s attention to the logic of our script, identifying and tightening the essential moments of the Jasper’s journey that helped push the story at crucial times. Her guidance in the development process was definitely key to having a story that worked. That’s how we got to the Oscars.’
Director and Animator,
Oscar® Nominee for
The Mysterious Geographic Explorations of Jasper Morello
‘Karin Altmann’s craft skills, cleverness and compassion make her the perfect person to work alongside. You may get tough love and rigour, but you’ll also get humanity, insight and joie-de-vivre. Can’t wait to show you the results of our joint creativity on screens across the world!’
Producer, and former Chief Executive, ScreenNSW and Screenwest,
Feisty Dame Productions
‘Karin brings a wealth of development experience to her script editing work and consulting in the cutting room. She has a razor sharp eye for sequences that develop character and story and she knows how to lace them together to create a coherent and emotionally engaging story. She is equally ruthless with sequences that stray from the primary story line. Her work with writer/director Nicole Ma on Putuparri and the Rainmakers was instrumental in the success of the finished film and most importantly Karin’s wicked sense of humour makes her a delight to work with.’
Putuparri and the Rainmakers
‘If you are looking for insightful, passionate and honest script advice underpinned by strong craft skills and knowledge, you will be looking to work with Karin Altmann. Karin can identify and unlock the potential of both drama and documentary projects, and is able to articulate the problems and the solutions. Furthermore, she understands the parameters of the industry and the marketplace. She CAN advance your project.’
Former Director of the Film Development Division,
‘Your advice and support has helped me improve my understanding of creative writing in general… I’d like you to know that some of the explanations and tools you gave me have been an immense help. I really do appreciate the time you gave to me and the techniques for re-thinking storylines that you suggested and helped me understand…. I must say that Midnight Run will now forever remain a favourite film of mine. You were completely right about it!’
Games Developer and Co-writer of Reign of Terror for Chaosium Inc.
‘Karin’s incisive comments, her understanding of structure and her willingness to give really honest, often challenging, feedback was instrumental in helping us take our film to another level. She’ll be my first port of call on future projects.’
When The Camera Stopped Rolling.