Board Members

Esther is a powerhouse of brilliant ideas and the drive to get stuff done.  She’s from the north of England (Accrington, to be precise) and that grit and determination hasn’t left her.  She’s funny, smart and very useful. Most recently along with Denise Eriksen, she co-founded Media Mentors to help screen creatives bring their best selves to their work.

Esther is the CEO of Screen Careers and the driving force in taking this not-for-profit initiative to crew looking for career long learning opportunities and to anyone curious about working in the screen industry.

Chris Oliver-Taylor has led some of the most influential screen organisations in Australia and internationally, holding chief executive roles across public broadcasting, global streamers, and international production companies. Most recently, Chris was Chief Content Officer at the Australian Broadcasting Corporation (ABC), overseeing all genres of content including scripted, factual, children’s, and entertainment.

Before that, Chris served as Netflix’s Director of Production for Australia and New Zealand, where he was responsible for building the platform’s local production capabilities and overseeing titles such as Heartbreak High, Boy Swallows Universe, and Wellmania. He was previously CEO of Fremantle Asia Pacific, where he oversaw scripted hits such as Wentworth, Neighbours, Picnic at Hanging Rock, and Heartbreak High (for Netflix), along with key entertainment formats including Australian Idol, Australia’s Got Talent, The X Factor, and Grand Designs.

Chris began his career at ABC, where he eventually became Head of Television Production, managing the creative and business teams delivering drama, entertainment, comedy, children’s and factual content. He later joined Matchbox Pictures (part of NBCUniversal International Studios) as Managing Director, during which time the company produced acclaimed titles including The Slap, Barracuda, Safe Harbour, and Glitch, and expanded into Asia with operations across Singapore. Malaysia and South Korea.

His strategic leadership has extended beyond content creation. Chris has sat on multiple industry boards including the Melbourne Theatre Company, Chair of Screen Careers, MediaRing, Screenworks, VicScreen and as President of Screen Producers Australia. His work has consistently focused on growing sustainable screen ecosystems, identifying and backing global talent, and steering companies through the challenges and opportunities of an evolving media landscape.

Chris has also served as Executive Producer on a wide range of projects, including landmark series like Nowhere Boys, Heartbreak High, Wellmania, The Family Law, and The Slap. He continues to play an active role in international co-productions and creative strategy at the highest levels of the industry.

Chris is a graduate of University of Brighton and holds professional memberships with major screen bodies across Australia.

I believe in screen careers because we offer real opportunities for Australians to help tell our stories, build meaningful work and careers, and contribute to something bigger than themselves. Whether it’s film, TV, digital, or gaming, the screen industry gives people from all walks of life a way to use their creativity and skills in a way that matters.

What makes it powerful is that Screen Careers is about the crew. It’s camera operators, editors, riggers, designers, accountants, caterers, coders. There’s a place for almost every kind of talent. And with the industry growing in Australia, especially with international productions and streaming demand, we need to make sure there are clear, supported paths. That means training, mentoring and real job opportunities.

At the heart of it, I believe in screen careers because we can change lives. We give people purpose, connection, and a way to be part of something uniquely Australian, while still reaching the world.

An expert problem solver who thrives on challenges, Kieran is always available to consult and troubleshoot. Never without his phone and always ready to tackle the next big project. After a year in the film industry working on Baz Luhrmann’s The Great Gatsby, Kieran founded CATO Location Services in 2012. Recognising a gap in the market for crew who truly understood the intricacies of film production, he built CATO to provide premium support to the Film, TV, and Events industries. Since then, CATO has grown into Sydney’s largest location services company, supporting Australia’s biggest productions and events, including City of Sydney NYE, the Mad Max franchise, and Sydney WorldPride Pride March. CATO’s expansion has been both strategic and impactful. The acquisition of Honeywagons—Australia’s leading makeup and wardrobe truck brand—further solidified its position as an industry leader. Kieran also spearheaded the creation of O MY POD, a premium range of green room container pods designed for Film, TV, and Events. In 2020, CATO extended its reach to Queensland, providing comprehensive production support across the region. In 2021, CATO became certified Carbon Neutral through Climate Active Australia, setting an industry benchmark in sustainability. Kieran’s expertise extends globally—in 2022, he spent over two months in Bhutan consulting on National Geographic’s Pole to Pole with Will Smith. In 2023, CATO won the SPA Award for Services and Facilities Business of the Year. In 2024, Kieran was appointed as one of the inaugural board directors for Screen Careers.

I believe in Screen Careers because the Australian screen industry faces a critical skills shortage that traditional education pathways simply aren’t addressing. While universities and film schools focus heavily on above-the-line roles like directing and producing, there’s a obvious gap in training for the essential below-the-line crew who are the backbone of every production. From camera operators and sound technicians to locations and unit.

Screen Careers fills this void by identifying exactly where the industry needs skilled workers and delivering targeted, industry-led training that gets people job-ready quickly. What sets them apart is their dual approach: they’re not just creating pathways for newcomers, but also upskilling existing crew members to advance their careers and remain competitive in an evolving industry. This comprehensive strategy ensures we’re building a sustainable workforce pipeline that can meet the growing demands of Australia’s expanding screen sector, ultimately strengthening the entire industry from the ground up

Jackie is a seasoned media, entertainment and commercial lawyer and executive with over 15 years of experience. She is currently the Director of Legal and Commercial at leading animation studio Flying Bark Productions, and has held similar roles at Tony-winning Broadway musical producer Global Creatures, Spotify, NBCUniversal, Discover Inc. and BBC Studios.

I believe in Screen Career because its mission is to build bridges in an industry that’s often inaccessible to outsiders. If someone has the passion, drive, and skills, they should have the same opportunities as someone with industry connections. Screen Career works to demystify the path into the screen sector, helping to open doors to a broader talent pool and ultimately contributing to a more sustainable and inclusive industry.

I’ve always been passionate about nurturing new talent and building skills, so it’s a privilege to be part of Screen Careers. Our industry has had many excellent but disparate initiatives — Screen Careers brings a desperately needed national approach, run by industry for industry. Upskilling and training are critical drivers of growth and wellbeing, and this work benefits the entire screen sector.

Will Hamilton is a trusted executive with over 20 years’ experience in the entertainment industry, working locally and internationally on major scripted and unscripted brands. Skilled in navigating creative, corporate, and production environments, he manages complex business issues across development, operations, commercial strategy, finance, offsets, and industrial relations.

At Seven, Will delivered efficiencies, cost savings, and improved morale by driving cross-functional alignment under tight deadlines. At Fremantle, he established an international working group that broke down silos and transformed global communication practices, an initiative now adopted as a Fremantle Global Board strategy.

Kate Marks has over 20 years’ experience in the Australian screen industry. She was appointed CEO of Ausfilm in September 2019 and in that time, Australia has cemented itself as a world leading production destination securing over AU$4.5 billion in direct foreign investment.  Prior to this, she was Ausfilm’s Executive Vice President of International Production (Los Angeles) and Film Victoria’s General Manager, Incentives, Locations and Production Services.

Kate is a passionate leader and supporter of the Australian screen industry and was President of the Board of Australians in Film from 2016 to 2020 in Los Angeles.  She is currently a Board Member of Screen Careers and a member of the Australian Government’s Trade 2040 Taskforce which is chaired by Minister for Trade and Tourism, Senator the Hon Don Farrell.

I’ve always been passionate about nurturing new talent and building skills, so it’s a privilege to be part of Screen Careers. Our industry has had many excellent but disparate initiatives — Screen Careers brings a desperately needed national approach, run by industry for industry. Upskilling and training are critical drivers of growth and wellbeing, and this work benefits the entire screen sector.

David joined ITV Studios Australia in 2014 as CEO & Managing Director, bringing over 40 years of experience in the broadcast industry. Under his leadership, the company has produced some of Australia’s most successful programs including I’m A Celebrity… Get Me Out of Here!, The Voice Australia, and Love Island Australia.

In previous roles, David has brought some of the most notable reality formats to Australian audiences such as the first Big Brother (Ten), Australian Idol, and Masterchef Australia, David also championed popular drama series like Offspring, The Secret Life of Us, and Puberty Blues.

Having served on the Board of Screen Careers for the past year, and with my long-standing involvement in the Australian screen industry, I am more convinced than ever of the vital role Screen Careers plays in supporting our industry. The organisation’s efforts in recruiting, training, and upskilling Below The Line workers are absolutely essential for the health and future of the Australian screen sector. I am incredibly proud to be a part of this and the other remarkable work Screen Careers champions across Australia.

The screen industry is well known for unstructured individual training and mentorship, often based on who you know and being in the right place at the right time. This approach significantly restricts our ability to grow the number of screen professionals and also results in a very narrow talent pool.

The Screen Careers team, comprised entirely of film industry professionals, offers training developed specifically for the screen environment, ensuring it’s both relevant and useful. This strategic approach gives the screen industry the best chance at sustainable growth, providing our projects with talent that’s not only well-trained but also the best we can find.

The modern workplace demands properly trained crew. Screen Careers is a structured way to bring great culture, diverse new perspectives and deep understanding of production to a workforce that’s traditionally educated on the fly. Screen Careers fills a genuine gap in the Australian television landscape.

As Head of Studio for Framestore in Melbourne, Lara Hopkins brings three decades of global experience in VFX and animation. Her career spans leadership positions at renowned studios including Framestore, ILM, Rising Sun Pictures, and Animal Logic. Lara is a strong advocate for diversity, recognizing that a tapestry of perspectives is key to unlocking creative brilliance within teams of artists and producers. With a rich background in production, recruitment, training and talent management, she is committed to advancing the Australian VFX and animation landscape and cultivating a studio known for both groundbreaking work and an empowering, vibrant culture.

She’s what’s politely known as an “industry veteran” or, less politely as “you’re still here then?”  She does this work because she bloody loves telly and film and wants everybody to have the career they deserve and work for.  She loves teaching, MCing and public performance generally.  And a good chat.  

Most recently, Denise co-founded Media Mentors Australia with Esther Coleman-Hawkins to share her love of the screen industry with as many people as possible.  Denise is the Head of Programs and Training at Screen Careers and works with our advisory groups to ensure the programs we offer are exactly what the industry needs.

Almost as an antidote, I went from Head of Current Affairs at the ABC to on-set dessert cook for shows like The Voice and Masterchef. At first-hand, I saw how hard crews work and how little career support they had.  So, when we had the opportunity, I co-founded Screen Careers to help crew build skills, confidence and careers that last longer than a single production.  Now, as Executive Director, I am working my butt off to achieve those aims – along with other members of our small team.   Producers can’t make great shows and films without great crews – and crews can thrive with our help and industry support. Come along for the ride!

Jeanie joined Screen Careers from sister organisation Media Mentors Australia, where she served as General Manager alongside co-founders Esther Coleman Hawkins and Denise Eriksen. Her background is in film and TV development and production, having worked with a wide range of domestic and international broadcasters including the BBC, ITV and Netflix. She’s also held executive roles at Screen Australia, AFTRS and Screenworks. As Screen Careers’ “Biz Dev” head, she’s spearheading the company’s strategic drive to provide top-tier training for screen crew on domestic and incoming productions, paid traineeships and attachments, and bespoke upskilling for senior crew and HoDs.

Meg originally trained in Pharmacy, has a knack for numbers and loves screen and creative arts. After leaving pharmacy and adding IT to her resume, Meg joined the New Zealand Symphony Orchestra’s IT and accounting team. It was here that she found her ideal working world, an administrator surrounded by creativity. 

In 2010 she moved to Melbourne and further honed her administrative skills before moving to Adelaide to work for the Australian Network for Art and Technology (ANAT) as their administrator. From there Meg moved back to Melbourne to join the Australian International Documentary Conference (AIDC) for 6 years as their Operations Manager. 

Now back in Wellington she is looking forward to this next step with Screen Careers.