Professional Development – Placements Spotlight: Charmaine Murray

The Screenwest Professional Development – Placements fund supports the professional development of Above the Line (ATL) key creatives, Below the Line (BTL) crew and digital game developers.

The fund assists practitioners who are offered an exceptional national or international placement opportunity. Practitioners must have a track record in their field. The placement must enhance their skillset and career and develop the capability and capacity of the WA screen industry more broadly.

Emerging WA director Charmaine Murray has worked as an assistant director (AD) on many local and national productions including Population 11, The Surfer and The Artful Dodger. Charmaine was supported through the Professional Development – Placements fund to undertake a director’s attachment on Jungle Entertainment’s brand new comedy-drama series Good Cop Bad Cop, premiering on Stan in 2025.

Charmaine chatted to us about her experiences on the Good Cop Bad Cop set, working as an AD and how she secured her placement with Jungle.

• Can you tell us how you got started in the WA screen industry – what was your industry experience prior to undertaking your placement?
  I received my first production runner role on a feature film while studying screen and media at North Metropolitan TAFE. Once I graduated in 2017, I made it my goal to become an assistant director. I’ve now been working predominantly as a 3rd assistant director for feature films, TV series and commercials in WA and NSW. In 2022 I was the director’s attachment and splinter unit director on the WA feature film Kid Snow, directed by Paul Goldman. And throughout my career I’ve had the opportunity to work with international director Lorcan Finnegan, and international actors Nicolas Cage, Daisy Ridley, David Thewlis, Thomas Brodie-Sangster, Billy Howle, and Ben Feldman. I’ve also directed music videos, short films, and a documentary pilot series funded by Screenwest and Screen Australia.
• How has your experience working as an assistant director (AD) influenced your style and approach to directing?
  Being an aspiring director and working as an AD has really helped me to understand everything that goes into scheduling, how long a setup can take to build, how to correctly prioritise my setups, and what shots I need to complete coverage. It’s also helped me understand what each department does and what they need to be able to service the director’s vision. As a 3rd AD I also get the opportunity to practice my craft by directing background extras, which really helps make the world feel real. I also work closely with the director and occasionally have the opportunity to learn and listen to the decisions they make.
• How did you connect with [placement company] Jungle Entertainment and why were they your top choice for a placement opportunity?
  Good Cop, Bad Cop was the third Jungle Entertainment production I have been a part of. I’ve always really loved working with them, they’re extremely supportive and it just feels like I’m working with my family. I’ve discussed my ambition to direct a series with them in the past and decided to reach out to Phil Lloyd and Chloe Rickard in hopes that there was a director’s attachment opportunity on their new show. Jungle is committed to identifying and championing new and diverse female talent and are also big supporters of our WA screen industry as a whole. I’ve watched Jungle consistently produce quality content that not only speaks true to my directing style, but makes me even more hungry to learn and grow.

• What did your director’s attachment role on Good Cop, Bad Cop entail?
  I spent the first portion of my attachment in pre-production, where I would shadow Anne as she attended meetings regarding shots with the Director of Photography (DOP), tone meetings with the showrunner and writers, props show and tells, extras casting, locations, VFX, stills, set build, stunts and many, many more! Then when it came time to filming, I would be a part of the line reads, blocking, coverage/shot discussions. Once the cameras started rolling I’d sit alongside Anne at the split and watch the magic unfold on screen. I also had the opportunity to bond with the cast, ask advice from the DOP, discuss the studio set build at Village Roadshow Studios with the production designer and pick apart writer/showrunner John Quaintance’s brain.
• What was the most valuable learning you received from mentor [Director] Anne Renton?
  Everything I learned from Anne was valuable. The biggest one is how important pre-production is and to utilise your time well during it. Tech scouts were an incredible experience. This is where you go to your shooting locations and run through the scenes you have scheduled to filmed there with your HOD’s. Anne talked me through her coverage block through process, where she would walk through the space in her actor’s shoes to break down the scene and shots required. Scenes with heavy dialogue can be really tricky to block, and Anne had some amazing advice on how to creatively achieve it well. Anne also shared with me her prep docs which includes her shot lists, subtext, camera feel, and notes for the actors.
• What’s next – can you tell us about any opportunities that grew out of your Good Cop, Bad Cop placement?
  Currently I am in Sydney working on a Stan series produced by Jungle’s Bridget Callow-Wright and directed by Trent O’Donnell called Sunny Nights as the 2nd unit director. This is an actual dream job, and I feel humbled to have this opportunity. Being trusted by an established and phenomenal director like Trent really builds my confidence and pushes me even harder to do the best job I can. It’s going really well, and the cast and crew are spectacular. I’ve been fortunate enough to have directed scenes with Will Forte, D’Arcy Carden, Rachel House, Jessica De Gouw and many other talented actors. Like I said… what a dream! I am also still writing and conceptualising ideas with the help from my writing mentor Phil Lloyd and applying for initiatives with my fellow WA creatives.

Screenwest’s top tips for a competitive Professional Development – Placements application

Need help putting together a tailored, competitive application? We’ve compiled some pointers to help WA practitioners looking to apply for a placement:

1. Demonstrate a career strategy and commitment to the relevant role / department.
   The fund is designed to support career pathways so demonstrate a track record that aligns with the opportunity. Show where this opportunity fits in your overall career strategy and how it’s going to help you get to your next step.
2. What is the opportunity and why is it great?
   Placements are as much about upskilling as they are about networking and meeting people. We want to see what you’re going to get out of the placement opportunity. Who is the placement company? Ask the company to provide a letter of offer that outlines what you’ll be doing and why they want to offer you the placement.
3. You are the driving force.
   Professional Placements are practitioner driven, meaning you decide and pursue what opportunity you want to do. Use that as motivation to dream big!
4. Don’t be afraid to ask questions.
   Professional Placements are a bespoke opportunity and can be a great accelerator for your career. It’s a strategic step that takes much planning and thought! Reach out to the relevant program manager at Screenwest and discuss your application before you submit.
5. Do your research.
   Read through the funding guidelines and Screenwest Terms of Trade to ensure you understand if you’re eligible and if the placement is applicable.

The Professional Development – Placements guidelines and application materials are available on the Skills & Business Support page of the Screenwest website.

For more information about our Professional Development – Placements fund, please contact:

Above the Line:

Anastasia Lambetsos, Special Initiatives Program Manager
Screenwest
T: +61 8 6169 2126
E: anastasia.lambetsos@screenwest.com.au

Below the Line:

Gabrielle Cole, Production Attraction & Services Manager
Screenwest
T: +61 8 6169 2117
E: gabrielle.cole@screenwest.com.au

Digital Games:

Mark Smith, Digital Games Manager
Screenwest
T: +61 8 6169 2108
E: mark.smith@screenwest.com.au

www.screenwest.com.au

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