What Does The Future Of Film Hold?

Australia’s film industry is still young in comparison to that of the United States, United Kingdom and India. Our film industry was born in the late 1960s, with the first Aussie productions shown in the early 1970s. With this youth comes the ability to build and strengthen, especially in the face of times such as the coronavirus health crisis.

Popular Australian films such as Picnic at Hanging Rock (1975) and Mad Max (1979) were wildly popular upon release. There is no coincidence that the popularity of these aligns with the approximate closure of two worldwide events: the Cold War and the Vietnam War. So, we wonder what blockbuster could possibly come out of Australia, after the pandemic.

Whilst Aussie productions such as Neighbours and Home and Away were forced to pause during the pandemic, we are looking forward to having our talent jump back into filming as we ride out the coronavirus situation. Historical examples within the industry tell us that there is growth and prosperity waiting on the other side. That means even more jobs and opportunities for our talented kids!

Beautiful Bettina Babe Scout On Set For Classic Australian Soap, Neighbours.

The 1980s saw many talented Aussies poached by Hollywood. However, this opened doors for upend-coming names like Baz Luhrmann to step into the spotlight. Now, forty years later, Luhrmann is a household name and continues to support and strengthen Australia’s film industry. Luhrmann’s new film Elvis, a biopic about the rock and roll icon, was forced to pause production amidst the peak of Queensland’s coronavirus crisis.

The Warner Brothers production features Hollywood superstars Tom Hanks, Austin Butler and Maggie Gyllenhaal, and is currently resuming production on the Gold Coast. The film is set to reel in a whopping $105 million in profit to the state of Queensland.

This comes in the wake of Prime Minister Scott Morrison’s announcement on July 17 that the federal government will be injecting $400 million into Queensland’s television and film industry to encourage further growth and profit for the state, as well as the country as a whole. Mr Morrison says the money is estimated to attract around $3 billion in foreign spending over the next three years and will offer an additional 8,000 Australian jobs.

This announcement is extremely exciting for us at Bettina, as it provides us with the knowledge that a huge number of opportunities for our talent are going arise from this.

This Little Love of Mine, a new film directed by American-born Sydneysider Christine Luby, has resumed production in Cairns. The film stars Aussie actors Liam McIntyre and Saskia Hampele, who say that despite the virus, the crew are looking forward to the future of Australian productions.

“I’m very grateful to be back on set after a difficult few months for the film industry,” Hampele said.

 These government initiatives are profoundly valuable to us who rely on the entertainment industry being stronger than ever. The creation of more jobs and productions means an increase in demand for talent. That’s where our kids come in!

Over 200 Cairns-based adult extras were required when filming for This Little Love of Mine, which is incredibly encouraging. Just one movie has provided hundreds of Aussie entertainers a fantastic role and we can’t wait to see children’s roles appear within these films. Imagine what the next few years will bring for our local talent!

It’s not just Queensland that have the film industry fired up.

Stunning locations, a rich culture and world class film and production facilities, such as Docklands Studios, are among the reasons Victoria’s industry is expected to experience a boom in the next few years. The studios in Docklands are about to undergo an upgrade, which will see a 60 percent increase in the studios’ capacity, adding in its sixth super sound stage.

The Victorian Government recently announced a new initiative, providing near-instant funding to freelance producers, sole traders, creative practitioners and micro-organisations. This financial boost, known as the Sustaining Creative Workers initiative, is worth $2.2 million and is expected to reignite a spark in the industry when it begins reopening after the pandemic.

Film Victoria, the state government’s industry agency, also has numerous financial grant incentives for production companies, writers, content providers and other organisations. Incentives of up to $500,000 are expected to bring new and exciting film and television projects to Victoria, opening up even more opportunities for our Bettina babes to shine.

As we continue to draw production for worldwide blockbusters such as Thor and Pirates of the Caribbean to our shores, opportunities are hopefully going to open up for our talent to show off their skills and expertise.

It really shows that we will come out the other side of this slow down and we can see a bright future for our industry and for our talent. We can’t wait to see what the future of our industry holds, and we can only see positive prospects ahead.

Bettina Babe Hannah, who stared in the Sydney Theatre Company’s production ‘Avalanche’ in 2019. 

Over the last year we have been delighted to have our talent star in a range of stage shows, feature films, short films and TV series. Some of these have included Home & Away, Neighbours, Wentworth, Sydney Theatre Company productions, Madam Butterfly Opera, Penguin Bloom, a multitude of short films and we currently have a child who filming for a large-scale feature film! There is excitement all around here at Bettina, and there will continue to be into the future.

…and ACTION!

Iconic Australia soap opera Neighbours has announced this week that they will be returning to set to resume filming. Here at Bettina, we have many talented kids who star as child characters on iconic soaps such as Neighbours, Wentworth and Home Away.

You might wonder how they make social distancing rules work on- set without disrupting the end product? The answer is with great camera work and clever editing. Long-running shows, like Neighbours have excellent film and stage crews, who can work the angles and props on set to make it seem like the actors are closer to each other than they actually are. The perfect solution for the producers to get their show and for the actors to remain safe!

The industry is constantly keeping an eye on all of their COVID-19 safety protocols. This includes measures that could stay in place for up to a year; such as segregated production teams, no physical contact between actors, limiting the number of people on set by increasing the shoot schedule times; changing catering practices so no shared buffet style self-help platters and using disposable cutlery and plates to name a few.

What remains uncertain is how these new measures will impact the production of our favourite shows. Will a smaller crew create more agile productions and have an advantage to the creation of the show, or will increased costs erase any potential silver linings? Only time will tell.

In the meantime, we are excited to see more of our talent back out there, with many Bettina babes stepping in front of the camera in days to come.


Bettina Babe Scout, Playing Baby Aster on Iconic Australian Soap, Neighbours!

While some parents may express hesitance to get back ‘out there’ after isolation, you can rest assured that strict measures are in place, and will be, for the imminent future, to protect your children.

As per usual, if you do not feel comfortable accepting an audition request or a job booking, then the decision is yours to accept or decline. If you do choose to accept a job opportunity, you will be provided with an in-depth document detailing the specific client’s COVID-19 protocols and their health and safety policy.  When it comes to our toddlers, some brands will not be confirming their shoots until 1 day prior, so that they can have the best grasp on the situation and amend or cancel employment if necessary. So, expect everything involving your little ones, to be a bit faster paced and more urgent than normal.

Our wonderful talent is going to be a part of some amazing projects and opportunities this year and we can’t wait to share what they have been up to!

We also look forward to seeing what great things our Bettina babes will get up to for the rest of the year and can’t wait to get back into the full swing of things!

Update on Bettina Management.


By now everyone in the world is aware of the current COVID-19 (Coronavirus) pandemic and how it is starting to have an impact on our everyday lives here in Australia.

The health and wellbeing of our team and our talent still remains at the forefront of our decision making during these trying times.

However, during this time we need for everyone – parents, guardian and children – to take the necessary precautions should you be unwell. If you or anyone in your family have travelled overseas within the past 14 days, or if you or your child is feeling unwell or presenting with any symptoms, however minor, please advise us and do not attend any in-person castings or work opportunities.

Here is a small overview on a couple of changes to us and the industry in general:


Us – What’s Changed

Unfortunately due to the ever-changing COVID-19 situation, we will not currently be reviewing any new applications at this time.

We have currently postponed all interviews and photoshoots as a health and safety precaution for both our staff and talent.

We are also extending the representation of all the children on our books from 12 months to 18 months, due to the disruptions that we are all currently facing.


Castings and Shoots

For now, clients are still sending through casting requests and going ahead with shoots that abide by all government recommended precautions and procedures.

Pending further advice from the Department of Health, the Casting Guild of Australia has recommended that most castings now involve self-tapes or virtual auditions, where possible.

On shoot days, our clients will also be implementing enhanced precautions including social distancing between talent, limiting the number of people on set, sanitised props and removal of props if they are unessential.


The Industry

Historically the advertising and entertainment industry survives and flourishes after disruptive events, as advertising will ramp up. Clients will still need a healthy and varied pool of talent to choose from, when the dust settles.

When everything picks back up it will be full speed ahead for our industry with no sign of stopping.


We appreciate your patience and understanding during this unprecedented time.

2019; A Year In Review


We can’t believe that another decade at Bettina Management has almost come to an end! While this decade has been amazing, we want to celebrate the year just gone and look back on the greatest achievements of our wonderful talent in 2019.

All of our talent have done some incredible work this year and we are so proud of all of them! Our Instagram (@bettinamanagement) and Facebook page  will give you a nice wrap up of the year and show off most of the work our kids have done this year; full of heaps of adorable snaps of our little ones.

Our talent have done some fantastic campaigns this year with our most loyal clients including Cotton On Kids, Big W, Best & Less, Country Road, Bonds, Rock Your Baby, Target and Seed. And we worked with a large amount of  impressive clients for the first time including Sportscraft, Lorna Jane, H&M, Rusty and many more!

Here are some of our highlights from the year that was 2019!


Newborns Debut

Baby Koa-Rae making her big screen debut!

We were extremely lucky and blessed to have a few of our little babies sharing the role of the newest baby on one of Australia’s longest running soaps. Home & Aways newest addition, Baby Grace, was played by our gorgeous babies and they made their debut in October this year. We are so proud of them all and love watching our little babes shine on screen! Keep an eye out in 2020 to see some more of our little newborns also make their debuts in several long running TV series’!


Bettina Families

2019 has been the biggest year yet for our Bettina Families division. With more families joining than ever, we are also saw more families booked for jobs than ever before. This year our families worked with brands such as Werribee Open Range Zoo, Beachwood Homebuilders, Cengage Learning, Telstra, Best and Less and many more. Keep your eye out for some more exciting news from the Bettina Families division in 2020!

Time for a Holiday

De Carlo Family 2
The DeCarlo Family exploring Uluru, in between filming!

Two of our wonderful families headed to the Northern Territory on a free family holiday as part of a commercial for NT Tourism. The De Carlos family got to film fin the incredible Uluru National Park, while the Papallii family shot in Kakadu National Park. We were glad to hear that both families enjoyed this incredible opportunity and the free holiday!


New Ranges, New Faces.

This year we were fortunate enough to have our talent help to launch three wonderful new ranges with some incredible clients! William, Skyla and Lakoda all got to be the faces in the launch of Sportscraft’s new Kids range. Meredith and Holly joined forces and looked fierce as they became the faces of Lorna Jane’s new exclusive Tween range. And lastly Luca, Skyla and Ty all got to shoot for the launch of Australian Brand, Lily & Lord.

Skyla C and William S
William and Skyla debut the new Sportscraft Kids Range.


International Brands

Elodie looking fabulous for H&M Kids!

Here at Bettina Management we work with many incredible Australian brands and clients, and this year some of our talent had the opportunity to work with some incredible international companies and brands including H&M, eBay, Aldi and Nicholas and Bears. Our little ones had a fabulous time on set for these brands producing some incredible images and videos.



Boy meets world!

In 2018 one of our Bettina Babes, John, was lucky enough to pick up a role on Neighbours as Toadie’s son, Hugo.

John Turner Neighbours
John on set for Neighbours.

This year at the young age of 2, John was lucky enough to have scored himself a reoccurring role throughout the whole of 2019!  We still get so excited every week to see him on our screens.

What an incredible year it has been for John and we can’t wait to see what 2020 holds for John off-screen and little Hugo on-screen.

Myths, Mayhem and Money: The Truth About the Child Talent Industry – Part 3


Money, Money, Money!

Everything costs money, so don’t be surprised when talent management also comes at a cost. At Bettina Management we have a full time castings team who spend all of their time putting children forward for briefs every single day. We do a really large amount of work behind the scenes in order to put our kids forward for as many different jobs as possible. However, all of this work does take a large amount of time and energy from our team, and involves an immense investment in digital infrastructure and expert knowledge in order to be compliant. This can’t all be done for free, hence why we have costs for our talent management packages.

After your child is accepted onto the books, the first stage is to be are pitched for a job. If we receive a brief that is suitable for your child (e.g. Boys 10-12, NSW, Brown Hair), they will be pitched to the client by our casting team. The client will then select multiple children who they believe will be a good fit for the job. From here there is the possibility of having to do a video casting or audition before a client will want to move ahead, however this isn’t always the case.

After this your child might be lucky enough to be chosen by the client to attend an in-person casting or get selected for a job without one.

If this does occur here is break down on what you can expect money wise from this part of the process. When your child is selected for a casting and they choose to attend, this portion of the process is unpaid. A casting will usually only take 5-15 minutes and doesn’t require a payment. Though castings are unpaid, they are a really good opportunity for your child to be exposed to some of the procedures and processes within the industry.

It also allows for casting agents and producers to be exposed to your child and maybe even keep them in mind when another opportunity comes up in the future.

If they aren’t selected to continue on further after their casting, it is still a great opportunity for the child and will help to build their confidence and help with nerves during other castings, if they are requested for a casting again.

If a child makes it through to the next stage, they will either attend a call-back or they will be requested for the job. A call-back is basically a second casting. This happens when a client would like to see some of their options again, in order to make a final decision. Call-backs are usually paid if they are for commercials, but not for feature films or a TV series. They will also be longer than a casting and less children will attend; the payment for a call back is most likely to be just a base wage amount per hour.

If your child is successful and is requested, they may be required to attend a wardrobe fitting. A wardrobe fitting is exactly how it sounds, the child will need to go and try on their wardrobe for their shoot, this is to ensure that all items fit, adjustments can be made if necessary or give the stylist time to source other items if needed.

This is very similar to a call back in the sense that they will be paid for their time, just an hourly rate, but it will be a tad more exciting because you know that your child has been selected for the job.

The next stage will be the shoot, the best part of the process. Shoots can be unpaid; however, you may be compensated with clothing or vouchers from the client. We always accept these jobs to create more opportunities for our talent, we will also always pay the kids a working base awards rate if the client is not providing payment or is providing clothing vouchers instead. This is so that no shoot is ever technically unpaid. These shoots aren’t very common but it is still a great opportunity for your child to attend any kind of job, especially for the experience.

Unpaid shoots are often student films and runways or extras in Live TV crossovers such as Sunrise or The Today Show.

Ebay - Alex

The majority of shoots will be paid opportunities and every shoot will be different. When you receive the booking details for the shoot, you will also receive the details for your child’s payment.

The payment amount will depend on many factors including the type of work, hours needed on set, where the advertisement will be shown and how long it will be shown for, among others. As your agent, we are here to ensure your child receives equal compensation for the amount of work done for the client. It is important to align your expectations with the fact that every shoot is different. Some will pay per hour and others will be a lump sum and in most cases no payment will be the same.

While it is important to know this information if you have a child within the industry, also remember that money isn’t everything. Though it can be nice for your kid to get some pocket money or savings for later in life, overall it is all about the experience and the fun your child will get from these opportunities. And for the parents, well you can have some keepsake images to share with family and friends, maybe even bring them out for some embarrassment at their 21st!

Any job will be an exciting and enjoyable time for your child and a great opportunity for them to build confidence and gain experiences that they can remember for the rest of their lives.

Myths, Mayhem and Money: The Truth About the Child Talent Industry – Part 2

Part 2: Briefs, Clients & No Guarantees 

Maya - on set of the Barbie shoot

The opportunity to be a part of the entertainment industry can be a fun and rewarding experience for everyone involved. However, as any good and reputable child talent agency will tell you, we cannot guarantee work.

Yes, you read that correctly, we cannot promise anything. We will never know whether a child will get dozens of opportunities, or just one. In some cases, unfortunately we will have talent that will not come across any work during their representation.

This is because the role of a talent agency is to act as the middle man between the brand/client and the talent. We do not create the ‘work’, nor do we know which talent the client will prefer or select for their campaigns.


“We do not guarantee work simply because we are not the decision makers in this process.”


So here is how it works from our side. The client will let us know, through a brief, what kind of child they specifically need or want for their shoot. Which is why we can never predict when your child’s age, gender or ethnicity will come through in a brief from a client. Each brief will have a different requirement for the agency to meet, for example; ‘We are looking for a Size 2 girl with Brown Hair’ or ’10-12-year-old boys, who are strong swimmers’. Once we have these details, we scour through our talent and ensure we submit all children who are suitable. So if your child doesn’t meet the brief requirements, we cannot submit them for that particular role or campaign.

The client will make the final decision and we cannot predict nor change this eventual outcome, so remember to keep this in mind if your child is a part of the industry or you are considering entering the industry.

Our dedicated casting department undertake many tasks as the ‘middle man’ in this process. They build and maintain our impressive client base, established over the years to also include a regular client base; who consistently use our agency to search for talent for their upcoming projects. They also submit all of our wonderful talent to all briefs that come thorough.

Zaid World Vision

Suitable briefs are always subject to the client’s needs and once again we aren’t able to foresee what work will come in over the 12 months of your child’s representation. The one thing we do guarantee is that your child will be submitted for all briefs the are suitable for throughout their time with us.

We are lastly the communication between yourself and the client to ensure everything runs smoothly and all legal guidelines are followed (Check out look at Part 1 of The Truth about the Child Talent Industry series to find out about the legal side of the Industry)

It is also important to remember that we will always provide you with as much information as possible, so if you are joining our agency, or any talent agency, be sure to thoroughly read all information provided to you. This can be an easy way to ensure that you understand everything and are prepared for anything the industry throws your way! Remember we are just as excited as you to watch your little star shine!

Myths, Mayhem and Money: The Truth About the Child Talent Industry – Part 1

Many myths surround the child talent industry and child talent/modelling agencies alike.

As the leading agency in the Australian child talent space, we are here to let you know what it’s really like.

The industry in itself can be very fast-paced, with clients organising shoots and castings with only a day’s notice, so expecting these kinds of situations is crucial. We understand that you won’t always be available on short notice but it’s a situation you may come across and it is important to align your expectations to the industry. While fast – paced, the child employment space is also extremely regulated, as any area involving children should be.

And ultimately this is why having an agent is so important, to ensure that everything is done right.

Part 1: What Is Legal?


Recently SBS program ‘The Feed’ aired the documentary, ‘Breaking the Model’ on the experiences of some young people working for well-known adult modelling agencies in Australia.

While there are issues in every industry, the adult modelling world is extremely different to, and not a reflection of the child talent agencies and the child modelling world.

During the program and in countless media articles following, some of the reported information was incorrect regarding the necessary legal requirements that talent and modelling agencies must follow when sourcing work for children, specifically in NSW.

Contrary to comments made in the program; performer representatives (also known as Talent Agencies) do not need to register themselves as an employer of children with the Office of the Children’s Guardian (NSW), or similar organisations in other states. While that may seem strange, the agencies are not the employers of any children; we as the agent are only – the “middle-man” between the child and the employer. The ‘Employer’ is defined as “the brand or company that has booked the child for a shoot, will be instructing them to perform tasks on set and will ultimately be paying them for work, via the agency”

This means that there is no legal obligation for any agency to register, as they are just the representatives of the talent.

Regardless of this, representatives of child performers do have other legal obligations they must meet. Agencies must ensure that anyone who wishes to employs their talent, is registered with the relevant organisation and can provide the required documentation to prove they have meet the correct legal restrictions.

For example, if your child does a catalogue shoot or a TV Commercial for Target, we will ensure that Target are following all the proper guidelines to be employing children, such as being registered with the correct organisations, no matter the state.

It is also mandatory that your child is supervised on set at all times by a parent or chaperone nominated by the parent. If they are of school age, you also must have the permission of your child’s school and principal in order for them to leave school and work during school hours.

Every legal guideline must be followed meticulously because not only could it lead to large fines and penalties for the agency involved, but could also risk putting a child in an unsafe environment.

The occurrence of situations like this are almost non-existent, as child employment is a heavily regulated sector. Most brands these days will always go through a reputable agency to find talent and any reputable agency will not work with a non- reputable and law abiding client, so the risk of this is extremely minimal. As an agency we pride ourselves in ensuring we are doing everything we can in order to guarantee our kids are safe, wherever they are working.

While this may seem like a lot, it is essential as a parent whose child has an agent or as someone looking for talent management, that you are aware of what goes on. There is absolutely no need to worry as your agent has it covered, and they will send you all the necessary information you are legally required to have. However, if you do want to find out more, reach out to your agent so they can point you in the right direction.

At the end of the day being informed is necessary but you really have no need to stress. If your child is represented by a reputable agency they will be aware of all legal obligations and follow them methodically.

Is Boutique Really Better?

When looking for an agent for your child, you will probably come across a lot of contradicting information about what is best for your child. One of the most common phrases you will come across, used to promote smaller agencies, is that they are ‘boutique’ and therefore able to offer a more personalised service because they only represent a small group of talent.


As one of the largest agencies in Australia, it would be remiss of us to gloss over the fact that this might sound as though we are trying to promote why we would be a better choice over a smaller agent. But bear with us, as there are some solid facts that you should consider when deciding what type of agent you go with.


First off, there is no real definition of a ‘boutique’ agency, so an agent could still have millions of children on their books a promote that they are ‘boutique’. There is no regulation on this and as such it is not a really a factor you can rely upon when making your decision.


When sourcing talent, clients like to be given plenty of options to choose from. This gives them greater chance of finding the right talent  rather than trying to cast from limited options. They also prefer to source talent for multiple roles from one agent, as obviously this significantly cuts down on the administration time. If boutique agents really are boutique, then they would likely not have a healthy sized talent pool to provide clients with options and a range of choice. This is why clients tend to go directly to larger agencies for their campaigns, and as such larger agents end up with the most work for their talent because they are able to best service the clients.


But what about recruiting talent? Isn’t there a set criteria for what type of children will gain work in the industry, and as such only those that fit should be offered placement? Well, as agents, we know that sometimes the shiniest gems are hidden in the most unlikely places! So whilst we can be extremely picky and stick to certain criteria when recruiting new talent, we are aware that there is a plethora of work available to talent of all shapes, styles, looks and skills. We also know that sometimes children just need to be given a chance to develop and shine, and we love seeing new talent blossom from one opportunity to the next. The only criteria required to succeed in the industry is passion and patience!


One of the main fears among new talent and their parents is that they do not want to ‘compete’ with lots of other children for each job. This is typically what steers them towards smaller, boutique agencies.

In reality, the industry doesn’t work that way, if you are right for the job you will get it. It doesn’t matter if there are 5 or 500 other talent going for the same role, if you’re it, you’re it! What you really need is an agent that will expose you to the most opportunities possible, and that is what you will get from a larger agent.  You will always be submitted for roles with other talent, whether they are from your agency or another. 

At the end of the day you need to find an agent that you feel comfortable with, but don’t be scared away from approaching larger agents and don’t be sucked in by common buzzwords. Only you can decide what is right for your child but if you are armed with the right knowledge and expectations you can rest assured that you will make the right decision.

Lights, Camera, Action; Vivienne

One of the wonderful things about the entertainment industry is that the possibilities are, quite literally, endless. There are no restrictions on success and it can be achieved at any age! Vivienne is the perfect example of this, having being only 5 years old when she scored a role in a Feature Film! Four callbacks over the span of a month and a role in the movie Little Monsters was hers, who knew decision making was so hard?!

Vivienne and mum Kathryn loved the whole experience and sat down with us to chat about it.




How long have you been with the agency?

Since I was, like five


What was your first job?

An ad for Aldi, I got to be hooked on a fridge


What was it like going to your first casting?

I was nervous. There were lots of other girls and I made friends with them while we waited.


How did you feel when you were told that you booked the job?

I felt really happy


How did you learn your lines?

They told me words to say, and then I had to say them in sentences.


What was the best part of working on set?

At the end, because I was so good I got a unicorn! Everyone is really nice and mum was right there.


What things did you find difficult or challenging on set?

I couldn’t like, get off the fridge for ages and it got a bit boring. On the film set, sometimes we were tired or bored and then I had to fake laugh.


How did you feel seeing yourself on TV for the first time?

It felt weird but it was really good.


What was it like working on the set of a feature film?

On the film set, the best parts were all the cool stuff I got to do, like going on a tractor and seeing animals. I made lots of friends. The grownups were really nice. I had to miss a lot of school which was good! I got to meet the person who did the voice of Olaf, and he did the Olaf voice for us. It was really fun.

Vivienne studying her script!



Why did you decide to join Vivienne up to an agency?

Vivienne was always adamant that she wanted to do modeling or acting. I was unsure but decided to check it out. I googled agencies and chose Bettina as they had good reviews and were close by. I thought it was a small outlay to give her a chance!


What was it like taking her to her first casting?

I was really nervous! When I saw the other kids I thought they all seemed really confident and quite different from Viv. Some seemed to know the casting agent, I thought she didn’t have a chance. It was hard sending her in by herself.


What is the best part of seeing Vivienne working on set?

Honestly, I’ve been so proud watching her working – and it is work- so hard. Even when she’s a little tired or bored, she knows this is what she wants and she keeps going. There are loads of breaks and if she ever needs some time, it’s always available.


What do you find challenging about having Vivienne working in the industry?

The hardest part has been juggling other family commitments.


What is it like seeing Vivienne on TV?

It was amazing! I loved seeing her up there. It was interesting to see the way it all came together after watching the ad being filmed. It looked great and she looked so comfortable.


What was it like working on the set of a feature film?

What can I say but WOW! I never ever thought I’d be eating lunch next to an Oscar-winning actress. It was quite surreal. Everyone is just lovely and by the end of the eight-week shoot, we felt like family. We had representatives from the children’s guardian come and talk to us, to make sure we were comfortable with the process. Because there were some scary elements, they made sure they introduced these to the kids really gently and anything scary they made sure they shot it from angles so the kids weren’t actually there. The amount of people involved was really astonishing, but the kids were always made to feel like royalty. Even the stars let the kids have first dibs at the lunch table. As parents, we were always really nearby and set up with monitors if we couldn’t directly see the children. There was a nurse on set and two dramaturgs who looked after the children and coached them. By the end, they were all true actors.

Watch here:

Lights, Camera, Action; Tilly

Everyone’s motivation for joining this exciting industry is different, for some they simply want to see their name up in lights and their face on billboards around the country. For Tilly’s mum however, she just wanted to see her little girl get her confidence back. After attending many auditions and booking some amazing campaigns, Liz has seen her daughter come to life again and has been kind enough to share their story.

How long have you been with the agency?
Almost 2 years
What was your first job?
Bulla – which was really funny as my last name is Bulle (said the same as Bulla)
What was it like going to your first casting?
It was scary but exciting at the same time and I had to eat meringue and crackers and sour cream
How did you feel when you were told that you booked the job?
I was in the car when Bianca rang Mum and it was on speakerphone and I cried because I was very very happy and shocked
How did you learn your lines?
My first lines I had to learn were for the Xbox One S commercial and Mum and I practiced them in the car
What was the best part of working on set?
I got to meet lots of new people
What things did you find difficult or challenging on set?
Getting to know everyone because I was shy at the start
How did you feel seeing yourself on TV for the first time?
Very very excited
Why did you decide to join Tilly up to an agency?
Because Tilly’s younger brother has Autism and for four years she spent the whole time waiting at Paediatrician or therapy appointments and the confident happy little girl was losing her confidence.  We had been told more than once that she was so photogenic and could be a model and one day I just googled child models and applied to Bettina after reading lots of reviews.  We had hesitation and received lots of comments about signing Tilly up initially but anyone who knows Tilly and our family see only the joy it brings.
What was it like taking her to her first casting?
I think I was more nervous than Tilly.  Thank goodness for the emails from Bettina especially the Castings Guides that tell you what to do, what to wear etc.  It is very strange as you are there only a few minutes and I don’t usually go in so have no idea what happens.  Tilly was very lucky in that she got the job on her first casting.  Now she just loves going to the castings and meeting people and having fun.
What is the best part of seeing Tilly working on set?
Seeing her come alive.  For all the stress we have sometimes getting there – either on time, or without spilling drinks down our white tshirts – it makes it all worthwhile seeing her having fun, doing what she loves and so naturally.
What do you find challenging about having Tilly working in the industry?
After Tilly’s Xbox commercial we received lots of media feedback about her being dressed up to look like a mini adult and wearing makeup which was hard to take as a parent and a little confronting and my instinct was to comment and protect her.  They seemed to miss the whole concept of the ad was to make her look like a mini adult.  However I’m glad that happened right at the beginning as it made us so much better at what we do, it made us realise that this is what happens when people judge someone without knowing and what celebrities go through all the time, that you need to be thick-skinned but with a smile and a wonderful heart.
What is it like seeing Tilly on TV?
It’s funny.  It’s still a bit surreal, even now.  Tilly’s Dad is worst he googles and YouTube for weeks searching for her commercials etc and he usually finds them first.  The longest wait was for the AHM Medibank ad which was played throughout the Big Bash when all Tilly’s friends parents were either calling or texting saying we’ve just seen Tilly on telly and we still hadn’t.  In the end we set the TV to record all night and ended up forwarding through the cricket and just watching the ads.  We always get great feedback from her friends and they say it’s so lovely and weird having Tilly on their TV in the front room with them.  But what I love best is how Tilly is just Tilly – there is no bragging or drama about her, it’s just her “job” and we are so lucky to have found her dreams early on and help her to realise them.

Watch their interview here: