Dr Belinda Burns | Top-down creativity

Dr Belinda Burns has led a diverse career throughout the creative industries, from co-founding her own production company to becoming an accomplished novelist. Today, as Chief Creative Officer at Screen Queensland, her passion for storytelling and commitment to the film and television sector is clear. Eager to nurture budding screenwriters, she shares insights on breaking into the industry, her career journey, and the challenges she's faced along the way. 

Can you share your journey to becoming Chief Creative Officer at Screen Queensland and what motivated you to pursue a career in the screen industry?

My background is in marketing and communications, having worked in PR agencies and in-house executive roles, both in Australia and London. While I was living in the UK, I studied for a Masters degree in Creative Writing and wrote my first published novel. On returning to Australia, I undertook a PhD in Writing and subsequently lectured for several years across writing, literature and media courses including film studies. In 2020, I joined Screen Queensland as Head of Marketing and Communications and then stepped into the role of CCO in 2022, a position that combines my experience in executive management, stakeholder relations and leading creative teams, with my love of narrative in all forms.

What are some of the most rewarding aspects of your role?

Making a positive impact on the local screen sector is what excites me most. The entire team at Screen Queensland is very focused on growing the Queensland screen industry and supporting our very talented creatives to make captivating content that reaches audiences both here and around the world. At core, we are in the business of storytelling and it’s fantastic when we are able to support screen stories that make a difference, start a new conversation or influence positive social change.

How do you foster a culture of innovation and creativity within Screen Queensland?

Collaboration is key. At Screen Queensland we have a broad portfolio – from growing the local sector to attracting international productions, to supporting screen events and festivals and expanding our flourishing games industry. Despite this, we love working across our different departments to come up with new ideas about how to best support and grow the industry. I love bringing all our creative minds together to forge solutions, exploit opportunities and brainstorm unexpected but impactful new ways of doing things.

As a published author, are you able to integrate your passion for storytelling into your current role? If so, how?

Absolutely. Story is everything to me and an understanding of narrative and audience is critical to the work I do in supporting screen storytellers to develop their ideas and connect to market. I would also say that good stories take time to develop so part of what we do at Screen Queensland is helping creatives find the time to do this properly and realise the importance of craft as the essential ingredient in making compelling content that connects and travels.

How has your Bachelor of Business (Public Relations) contributed to the success of your career?

Before taking on the role of Chief Creative Officer, I worked in Marketing and Strategic Communications roles, both here and overseas, for more than twenty years. A business degree is a fantastic foundation for a broad range of skills including, most importantly, the ability to build relationships, think strategically and understand what makes your key stakeholders tick. The degree helped me develop as an agile thinker, able to think out of the box and work across diverse teams and environments.

In your opinion, what are some of the biggest challenges facing the Australian screen industry?

Growing the next generation of screen creatives, both above and below the line, is critical. In the past, there was a sense that the film industry couldn’t provide consistent work to practitioners, but that is not necessarily the case anymore, especially in specialist technical areas like visual effects and animation, as well as areas like costume and set design which are in high demand. So expanding workforce capacity across the country is vital, as well as giving our creatives the time and space to develop their craft.

On the other hand, what excites you most about the latest industry trends and developments?

Australia has an enviable reputation in screen production with our crews, locations, studios and incentives making the country a prime film destination. At the same time, our original content is increasingly gaining international attention with series like Boy Swallows Universe and Black Snow serving as prime examples of great Queensland-on-screen content travelling internationally.

What advice would you give young professionals interested in pursuing a career in film and television?

Go for it! Although it can be a tricky industry to break into in the beginning, if you are passionate and determined that goes a long way. The film business is a relationship business so commit to networking and also be prepared to start at the bottom and work your way up. Being professional, reliable and also a generally kind, hardworking and courteous person also helps. Lastly, get on set – even if you have dreams of becoming a screenwriter or director, it’s critical to gain experience on the front line.

Finally, are there any recent or upcoming Screen Queensland-supported projects you’re particularly excited about?

I’m excited to see the feature film How To Make Gravy, based on the Paul Kelly song and filmed entirely in South East Queensland, and also local filmmaker Neil McGregor’s documentary about John Hinckley Junior. And then there’s our recent announcement that Deadloch Season 2 will be filming at Screen Queensland Studios in Brisbane! I’m also keen to witness the progress of games being developed in Screen Queensland’s SQHub as part of our innovative residency program.

Dr Belinda Burns

QUT degree - Bachelor of Business (Public Relations) (1998)

Have a question for Belinda? Connect with her on LinkedIn.