Antony Partos is one of Australia’s most awarded film composers. His passion lies in creating scores that blend both acoustic and electronic elements with an eclectic mix of exotic instruments.
His feature film credits include Jasper Jones, 99 Homes, I Am Mother (winning the AGSC Award for Best Feature Film Score respectively in 2016, 2017 and 2019), Animal Kingdom (AFI award for Best Feature Score), The Rover, Disgrace, The Home Song Stories and Unfinished Sky (the latter two winning the AFI Award for Best Feature Score).
Antony’s scores for TV Drama include Wake in Fright (AACTA Award for Best Music Score in Television), Mystery Road (AACTA Award for Best Music Score in Television, AGSC Award for Best Music in a TV Series), Rake (AGSC Award for Best Music in a TV Series), The Slap (AGSC Award for Best TV Theme and Soundtrack), Mabo (AGSC Award for Best Music for a Telemovie) and Redfern Now (AACTA Award for Best Music Score in Television).
Other projects include Academy Award nominated feature Tanna (winning both the AACTA and Film Critics Circle Award for Best Feature Score), BAFTA nominated feature documentary Sherpa (AGSC and AACTA award for Best Music for a Documentary along with Best Soundtrack Album), Lucas Films documentary The Director and the Jedi which premiered at SXSW, and HBO feature film Fahrenheit 451 which premiered at Cannes Film Festival.
Antony’s latest feature film score was for Rams (directed by Jeremy Sims and starring Sam Neill), which is currently in cinemas around the country.
AGSC Board Statement
The Australian Film and TV industry has been going through momentous disruption, not only through the changing media landscape, but also with the recent enquiry into the industry implemented by the Australian Government. My time as President has been focussed on lobbying the government in terms of preparing a thorough list of recommendations to keep our industry sustainable. This has involved creating surveys for our members, liaising with the other industry guilds as well as being in regular communication with SPA and APRA and submitting reports to the various enquiries into the arts sector. We are so far disappointed with the government’s response and so our work continues.
The guild has also been dealing with the growing trend of re-investment deals along with the worldwide move to coerce composers into signing buyout deals. In order to educate our members, we have recently held a webinar to address the various ways producers go about reinvestment deals. The guild is in the process of creating a document to better help our members negotiate the best outcomes if they are to entertain this in their contracts.
We have recently also lobbied Screen Australia to implement strategies to educate and promote Australian composers as well as raised our concerns about the erosion of our remuneration through buyouts and publishing.
Next year will kick off with a planned two-pronged meeting with composers both in Sydney and Melbourne to brain storm ideas as to how we can best serve our members for 2021. We look forward to everyone’s input, as we are only strong and united if our members feel empowered and educated to the challenges ahead.