Running Toward 2032: Jacqui Feeney and Queensland’s Screen Ascent

The CEO of Screen Queensland on global productions, local stories and building a creative economy ready for the world stage.

Jacqui Feeney, CEO of Screen Queensland, has quickly become one of the most influential figures shaping Australia’s screen future. With a rich background across media, entertainment, and creative industries, she’s been guiding Queensland through an exciting phase — one where local stories, world-class talent, and global productions continue to thrive side by side.

Caroline: Jacqui, you’ve been at Screen Queensland since July 2023 and it’s been a fascinating time for the screen industry. What inspired you to take on this role, and what excites you most about leading Queensland’s creative future?

Two Years Later starring Phoebe Tomlin (Emily) and Brenton Thwaites (Ryan)

Jacqui: Well firstly, I saw this as a role that would be both energising and strategically important at a pivotal time for Queensland’s screen industry as we look toward 2032. My focus is on balancing Queensland’s long-standing engagement with Hollywood and the global film and television economy while strengthening the local sector so it can meet the increasingly complex demands of future creative markets.

What excites me most is that Queensland’s early and sustained engagement with the global screen industry is a powerful asset in today’s partnership economy. Combined with our growing confidence in telling our own stories, we are in a strong position. Queensland is entrepreneurial, nimble, and well placed to run toward the future at pace.

Caroline: You’ve worked across some incredible media and entertainment platforms. How do you bring that experience into your leadership at Screen Queensland?

Jacqui: My career reflects a deep commitment to both storytelling and the business systems that make great stories possible—backing talent, developing people and helping shape the right business, innovation and policy settings.

I often describe my experience as spanning the grassroots to the glossy global—from highly commercial projects to those driven purely by belief; from digital-first formats to traditional platforms; from short-form to long-form; and from local to global markets. I’ve seen firsthand how technology and changing audience behaviours have reshaped the economics of the creative industries.

I’m also very comfortable navigating competing priorities and multiple stakeholders, which is essential in leading a screen agency.

Caroline: Queensland has really made its mark on the international stage, hosting major film and television productions while nurturing its local storytellers. What do you think sets Queensland apart from other destinations right now?

Anaconda Starring Jack Black and Paul Rudd courtesy of Sony Pictures

Jacqui: Queensland has an exceptional track record for delivering large-scale productions to the highest standard, which has built strong trust in our state as a world class production destination.

We’re seeing significant repeat business from the likes of Amazon MGM Studios (The Bluff, Voltron, Subversion), Legendary Pictures (Godzilla x Kong: Supernova and the wider ‘Monsterverse’ franchise) and Netflix (The Mosquito Bowl, Allen and Wonka: The Golden Ticket), which ensures a strong pipeline of projects for our local crew.

New Line Cinemas Mortal Kombat 2 courtesy of Warners Bros. Pictures.

Of course, our talented crew base is a key strength in attracting projects to Queensland. We hear time and time again that their expertise and work ethic is second-to-none. Their contribution, in combination with Queensland’s versatile locations, first-class facilities, competitive government incentives and our unbeatable lifestyle, makes us increasingly the destination of choice for producers.

Importantly, Queensland services two distinct but connected screen industries: locally created content and attracted production. It’s absolutely a balancing act, but those same elements that attract global filmmakers also give our local productions a competitive advantage. We’re seeing how recent local productions such as Two Years Later, Dustfall, Spit and How to Make Gravy have drawn on the same highly skilled crew base.

Through initiatives like our Business Enterprise program, Short Film Fund and Online Production Grants, we are supporting local companies and emerging practitioners to scale sustainably, access new markets and build audiences. Leveraging events like the AACTA Festival through our Queensland Creative Launchpad program is also connecting local practitioners directly with industry leaders.

Our goal is simple: to help the whole sector move from good to great.

Caroline: Are there any emerging trends or genres you’re noticing that are drawing more attention to Queensland — perhaps in streaming, animation, or virtual production?

 Jacqui: We are seeing a growing appetite from international audiences to experience undiscovered places, which includes more of Queensland-as-Queensland on screen with shows like Boy Swallows Universe, Troppo and Black Snow tapping into that tropical noir vibe that we do so well here.

A more recent trend is for upcoming international features such as Runner and The Mark to be set in Queensland, rather than having Brisbane and the Gold Coast double for other locations. Both films were able to really lean into local landmarks, and audiences will be amazed at how good we look!

In a similar fashion, Hoodlum’s Two Year’s Later showcases Brisbane as a truly romantic city and of course Bluey has put our Olympic city on the map in an unprecedented way, where the Bluey feature film will connect with an even larger global audience in 2027.

We are seeing Brisbane enter a new era as an animation powerhouse, with companies such as Ludo Studio, Like a Photon Creative and Cosmic Dino going from strength to strength.  The river city is also a centre of excellence for digital games development with studios like Gameloft Brisbane, Tantalus North and many more on a fantastic growth trajectory.

Production and post-production services are also expanding in South East Queensland and our Gold Coast Capital Grants Program has supported screen supply chain businesses to scale up as demand keeps building.

Screen Queensland CEO, Jacqui Feeney.

Our Post, Digital and Visual Effects (PDV) Incentive, our Digital Games Incentive and Games Grants program have been instrumental in growing these areas of the screen sector in Queensland.

Caroline: Finally, what’s one piece of advice you’d share with young creatives who dream of working in film and television?

Jacqui: For young creatives, my advice is simple: know the business, back your voice, but build your craft and your resilience just as strongly. This is a collaborative, fast-moving global industry, so stay curious, stay adaptable and focus on developing both your creative instincts and your professional discipline.

Another tip is to build a peer network with people who have your back, can share tips, contacts and encourage you across what can be a rollercoaster journey.

And importantly, relationships matter. Be generous, be reliable and play the long game.  The screen industry is built on trust, and reputations are formed earlier than you think.