Australia has always been Baz Luhrmann’s greatest muse. No honour speaks to that bond more perfectly than his new AACTA ambassadorship, alongside his wife and creative partner, Catherine Martin.
The visionary director, whose films have long defined Australia on the world stage, is elated by the announcement, made as part of AACTA’s 2026 Festival and Awards program launch.
“It just has a special meaning, it really does,” he tells Variety Australia at the launch on the Gold Coast. “It holds a different place in your heart, because it’s your home acknowledgment. Nothing comes close to being acknowledged by your own country, in your own country, by the people that are your home.”
The ambassadorship marks a full-circle moment for Luhrmann, who has spent decades championing local production, even as his films have conquered global box offices. From 1992’s “Strictly Ballroom”, filmed in Sydney’s Inner West, to 2013’s “The Great Gatsby”, shot entirely in Australia, Luhrmann has consistently championed local production, and he’s adamant about why that matters.
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Particularly fond of Queensland’s Gold Coast, a place he’s previously coined “Goldiewood” for its similarities to “early” Los Angeles, he draws a parallel, explaining that both cities are hospitality destinations, and because of that, “it’s a place that people actually want to go”.
Filmmaking is often a global effort, so creating an environment where people want to be and can focus on the work is crucial, he stresses. And it’s not just Luhrmann who’s noticed. “Look at Ron Howard, he’s always down here making movies. Loves to be here,” he notes.
The post-Covid production boom has seen Marvel blockbusters, massive Netflix series, and more choose Australian locations, and Luhrmann sees himself as “part of a movement” rather than a singular pioneer.
“It just offers a great environment, not just for filmmaking, but for creative energy,” he says. “There’s a creative energy, you know, and we [filmmakers] really respond to that.”
His appreciation extends beyond bringing productions home; he’s equally passionate about AACTA’s evolution and how “what they’ve grown into is something unique in the world”.
“It’s not singularly a big red carpet all about who wore the best frock, nothing wrong with that, we like a good frock, and then who got the gong at the end of the night. What they’ve grown into is the festival element of it,” he says, arguing it separates AACTA from other bodies globally.
“It’s celebration, but it’s also about growth and access to every level,” he explains, pointing to the organisation’s masterclasses, educational initiatives, and commitment to opening doors for emerging talent.
It’s personal for Luhrmann, who still vividly remembers being that kid from a small country town who got his first taste of creativity when a government-funded theatre company came through. “Someone opened the door for us,” he reflects. “They did a little improvisation and they had us yell out words… and from that moment on, I realised what that was.”
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Now, he sees his role as continuing that legacy.
“You’ve got to start with the base of it, which is the community. And then you have the educational element, allowing those to come in and be educated. And then you have the emerging professionals. And then you have those established professionals. And then you have a commercial element, too, that also feeds down.”
This holistic approach to building a creative ecosystem is what he believes makes the Gold Coast, and Australia more broadly, so attractive to international talent. He recalls bringing other creative professionals to Australia for projects, who have now relocated permanently. “Why?” I ask. “Because it’s extremely liveable. It’s a great place to be. But I think, to put your finger on it, it’s actually the attitude and the energy.”
He describes it as an “inclusive courage”, a willingness to take creative risks while ensuring everyone has a seat at the table. “It’s a courage that isn’t singularly about self-fulfilment. It’s about we all go there together, no matter where you’re sitting.”
And he certainly isn’t finished yet.
He recently completed work on “EPiC: Elvis Presley in Concert”, culled from hours of unseen footage discovered while making “Elvis”. While the visual restoration was done in collaboration with Peter Jackson in New Zealand, the sound mixing and finishing happened right here in Australia, a point Luhrmann is eager to emphasise.
And he is determined that his next project, a retelling of Joan of Arc for which he cast 18-year-old British up-and-comer Isla Johnston, will also be produced locally.
It’s that complete vision — from development through post-production — that Luhrmann believes will cement Australia’s position as a true filmmaking destination, not just a filming location.