The Australian Guild of Screen Composers is governed by Board Directors elected at AGSC Annual General Meetings. Board Directors attend meetings and oversee the wide range of initiatives the Guild’s sub-committees drive. To find out more about the 2025-26 Board Directors, click on the links below or scroll down.
Amanda Brown
President
Amanda Brown is a screen music composer, musician and songwriter from Sydney, Australia. She has been composing music for stage and screen since 2000 and before that enjoyed a career as a multi-instrumentalist in several bands, playing violin, guitar, mandolin and oboe. She was a member of beloved Australian group The Go-Betweens, with whom she recorded two albums and toured the world.
Amanda’s screen music credits include feature films Here Out West, Babyteeth and Son Of A Lion. Feature documentaries include Songs Inside, Brazen Hussies and The Family. Amanda has scored drama series Deadloch, Prosper (with Antonio Gambale), RFDS, The Secrets She Keeps, One Night and On The Ropes.
In 2024 Amanda won the AACTA Award for Best Music in Television (Deadloch) and the APRA/AGSC Award for Best Original Song for Carry You (RFDS) composed with Damien Lane and Radical Son. In 2020 she won AACTAs in both Best Music in Film (Babyteeth) and Documentary categories (Brazen Hussies). She has won the APRA/AGSC Award for Best Music Television Series twice (Deadloch and The Secrets She Keeps) and in 2019 Amanda won the Soundtrack Stars Critics Award at Venice International Film Festival for Babyteeth.
Amanda is a writer director of AMCOS (Australasian Mechanical Copyright Owners Society) and a Screen Music Ambassador for APRA (Australasian Performing Right Association). In 2021 she became a member (music branch) of The Academy Of Motion Pictures, Arts and Sciences.
Cornel Wilczek
Vice President
Cornel Wilczek is a three-time AACTA Award–winning screen composer and music producer based in Melbourne, Australia. With 16 feature films and 17 television series (many with multiple seasons) under his belt, he’s built a career on versatility, craft, and a restless curiosity for sound.
His recent film credits include A24’s horror hits Bring Her Back and Talk To Me, Michael Shanks’ Together (Neon), Destry Spielberg’s Please Don’t Feed The Children, Netflix’s Bikram: Yogi, Guru, Predator, and Amazon’s Burning. On television, Cornel has scored Netflix’s Apple Cider Vinegar and The Survivors, international hit Clickbait, the AACTA-winning The Newsreader (ABC), Stateless, Glitch, and the 2023 fantasy series Crazy Fun Park.
Originally from Adelaide, Cornel moved to Melbourne in 2000 to study under Philip Brophy and Philip Samartzis at RMIT, later founding Electric Dreams Studio—a boutique South Melbourne facility that’s grown into one of Australia’s most awarded music houses.
Driven by experimentation, Cornel blends lush acoustic arrangements with hand-crafted electronics to create scores that are as inventive as they are cinematic.
Kingston Anderson
Secretary (non-voting Board Director)
Executive Director
Kingston is currently the Executive Director of the AGSC and producing for his production company Wonderland Productions. His most recent full-time position was as the CEO of the Australian Directors Guild and Australian Screen Directors Authorship Collection Society. He comes from a theatre and film background working as a theatre director, film and television producer as well as a consultant for screen organisations across Australia. He was the Film commissioner for the state of New South Wales in Australia and has served on a number of boards including the Association of Film Commissions International (AFCI), the AUSTRALIAN INTERNATIONAL DOCUMENTARY CONFERENCE (AIDC) and the AUSTRALIAN COPYRIGHT COUNCIL (ACC). He has been a judge for the documentary category of the Australian Walkeley Awards, the Australian Subscription Television & Radio Association Awards and on the jury for the Oceania Film Festival . He has produced a number of documentary programs for Australian television including the series “TAXI SCHOOL” for SBS Television Australia and ‘A FRONTIER CONVERSATION’ and ‘KULKA’ for National Indigenous Television (NITV). His most recent producing credit is “FREEING THE SONG” which was screened on the ABC Compass program in May 2023. He was also one of the producers on the SBS drama “AFTERSHOCKS” about the devastating Newcastle earthquake that was based on a verbatim account of events. This film won the Best Actor Award at the Australian Film Institute Awards for its lead Jeremy Sims. He continues to work on a number of other projects with his company as well as consulting on studio developments and other screen industry projects.
Stuart Smith
Treasurer (non-voting Board Director)
Since 1991, Stuart has been helping businesses and individuals with their financial, taxation and accounting requirements. He has assisted hundreds of businesses and thousands of individuals, establishing business structures for clients in numerous countries.
He has over 30 years of personal experience as a public accountant, a CFO for a multinational entity, and an affinity to businesses in the arts and creative industries.
Stuart has been involved with the AGSC since 2019, first supporting, then becoming Treasurer of the Guild. A love of music, a passion for the Arts, and a long-time ‘hobby’ guitarist, Stuart blends the financial and creative to provide knowledge and assistance to the Guild on all matters financial, including Film Investment and reinvestment matters, taxation and government support for the Guild.
Jazz D’Arcy
Board Director
Jazz D’Arcy is an AACTA and ARIA award-winning composer, songwriter, and vocalist whose work has reached audiences around the world.
She is a key composer for the BBC/Disney+ series Bluey, now the most-watched TV show in the United States (2024), with over 35 billion minutes streamed. Jazz has been instrumental to its cultural success since its inception in 2018. Her contributions include scores for beloved episodes such as Rain, Dragon, Copycat, and The Sign.
Her work features on Bluey’s chart-topping albums (The Bluey Album, Dance Mode, Rug Island), where she composed and produced fan favourites like Rain (Instrumental), Rain (Boldly in the Pretend), and Copycat. She also performed on standout tracks including I Know a Place, the vocal version of Rain, and the Bluey Theme Tune (Vocal Version).
Jazz was the featured artist in Bluey’s first official music video and contributed music to Bluey’s Big Play, a live stage show that has toured internationally and was nominated for an Olivier Award.
Her broader screen work includes composing for This Little Love of Mine, which trended globally on Netflix, and Romance on the Menu (Hearts Down Under), which became Hallmark Channel’s most-watched release on debut. Other credits include acclaimed series such Zip and the Tiny Spouts, The Family Law (SBS), Robbie Hood (ABC), and the Academy Award-accredited short Je Suis Un Crayon (I am a Pencil).
A graduate of the Australian Film Television and Radio School, Jazz embodies the fusion of technical expertise and artistic passion. Whether scoring Emmy-winning television, creating cinematic melodies, or performing as a featured artist, Jazz D’Arcy continues to leave an indelible mark on the global entertainment industry.
Josh Hogan
Industrial Relations Committee Member
Josh is a Composer and Sound Designer based in Walyalup (Fremantle), Western Australia, living and working on Whadjuk Nyoongar Boodjar. Along with Ned Beckley he forms the music and sound team behind Envelope Audio, a studio focussing on Original Composition and Sound Design for Film, TV, Games and live events. Significant credits include roles as Composer on Seasons 1 and 2 of the animated series 100% Wolf, Thalu (for which Hogan and Beckley won the Best Music for Children’s Television at the APRA Screen Music Awards), and the feature film Below. He has also written music for documentary and factual projects including the feature doco Folau, and the Disney+ series Shipwreck Hunters Australia.
Brontë Horder
Industrial Relations Committee Member
Awards Committee Member
I’m a composer, songwriter and vocalist. I’ve written and produced both score and bespoke songs for film, TV and documentary projects. My work has been nominated for Best Original Song Composed for the Screen at the APRA-AGSC Screen Music Awards three years in a row – Fragile Soul for the short film Ellie Was Here in 2021, Bear’s Theme for the documentary Bear:Koala Hero in 2020 and Day by Day for the short film Fourteen in 2019. My voice features in the score for the feature film The Dry & I sang backing vocals and played the piano on the end titles song Under The Milky Way.
I work as both a composer and Creative Director at The D.A’s Office, a bespoke music composition house. I work extensively with creators Dinesh Wicks and Adam Gock, composing underscore and songs for TV shows including Mirror Mirror, First Weapons and Love On The Spectrum, and most recently for documentary feature film Rose Gold.
I’m five years into my career composing screen music. I still have heaps to learn but in my time working so far, I have gained valuable insights into the way the industry works – from working as an assistant to a composer in LA to working as a composer and creative director in Sydney. I’ve worked across multiple genres and forms – drama feature film, documentary TV series, children’s TV drama, reality, promos, web series, shorts. I’ve worked solo and in a team. I think I can bring a unique perspective to issues discussed and acted on by the Board.
I have a great network of working composers at different stages of their careers so I am constantly having conversations about the challenges we are all facing in our ever-evolving media landscape. I want to use my voice to advocate for fellow composers. I want to be in the room where it happens – able to have meaningful conversations with APRA to help agitate for change such as less restrictive eligibility for Awards and more transparency with royalty payments.
I want to be part of recognising and celebrating the artistic excellence and success of Australian composers and part of the work that ensures that writing music is a sustainable career choice.
Natalie Jeffreys
Events Committee Chair
I am composer and composer’s assistant who specialises in video games, anime, and female-led narratives. I have been an events committee member AGSC for two years. I hosted Star Scores with Jesy Nelson and Nami Melumad in 2022, and was involved behind the scenes for several other events. I am an avid member of the Australian game audio community, having spoke at both High Score and PAX this year. As a composer, my most recent work is as Sub-Composer for Season Three of The Rising of the Shield Hero alongside Kevin Penkin and Alfredo Sirica, and as composer of additional music/sound design for the video game Every Hue of You. I am currently working on an unannounced JRPG to be released in 2024.
I am passionate about supporting and encouraging emerging and established composers alike. I started a forum earlier this year called Game Audio Goals where composers list their goals to seek the accountability and encouragement needed to achieve them. I also previously started an online group called Neurodivergent Creative Melbourne for neurodivergent artists to connect and share their work, which now has over 300 members.
If I were to be a board member, I would like to amplify the voice of video game composers and offer them formalised support as the video game industry in Australia rapidly grows. I would ultimately like to see video game composers given the same importance in the screen music industry as film and television composers currently have. I am also passionate about amplifying BIPOC voices, and would love to seek out opportunities to help composers of colour to receive the recognition they deserve. I am neurodivegent, and therefore would also be interested in developing support systems for other neurodivergent composers.
Biography
NATALIE JEFFREYS is a composer, sound designer, and composer’s assistant based in Melbourne, Australia. Her most recent work is as Sub-Composer for Season Three of The Rising of the Shield Hero alongside Kevin Penkin and Alfredo Sirica, and as composer of additional music/sound design for the video game Every Hue of You. She is currently working on an unannounced JRPG to be released in 2024.
She has most recently made a career out of assisting and orchestrating for composers, beginning with the video game Gods Unchained, assisting composer Simon Hanna, aka. GrandPrizeBigFuzz. As a recipient of the 2021 APRA AMCOS Women in Screen and Games Mentorship Program with Kevin Penkin, she also went on to assist him for several of his anime projects.
As a composer, she is particularly passionate about scoring female-led films. Her work includes collaborations with Jennifer Monk on the online series and stage play Super Jenny (with La Mama Theatre), the short film River Hags, the web-series Allsorts Arts, and short film Hansel’s Gretel. She also scored the short film The Testosterone Club (F Word Films), and the proof of concept for the comedy series Michael and Phillip (Northern Star Productions). She is also a spoken word artist and won the Melbourne Spoken Word Prize in 2018 for her poem “The Purity of Sadness.”
Noel Burgess
Board Member
With over 30 years of experience as a composer, producer, and performer specialising in electronic and dance music, I transitioned into the screen media and GLAM sectors over the last two decades. My academic and professional background includes a Bachelor of Music (Sonology) from the Queensland Conservatorium of Music and a PhD from Macquarie University, where I investigated the impact of non-linear creative tools in contemporary screen composition. I currently work at Western Sydney University in the Music and Music Therapy program, alongside my ongoing creative practice.
Key career highlights include scoring the 52-part animated series CJ the DJ (ABC), the AACTA finalist indie feature Smoke Between Trees, and the immersive VR installation The Sound of Memories. These are alongside an array of other commercial work and continued creative practice output as Vision Four 5 and in my name.
During this time, I have been a member of AGSC since 2008 and I’ve actively contributed to the industry as an ARIA and APRA judge, music director for the Australian Dance Music Awards (DMA 2000–2004), and board member for the National Trust of Australia. My work has been recognized with various nominations and awards.
As the creative and consumer landscape for screen media is rapidly evolving, my focus is on understanding how composers adapt to new creative modalities and industry shifts. I seek to bring my experience and insights to the AGSC board to help ensure our community remains relevant, represented, and resilient in the digital age while continuing the work of the guild to build a bridge between education and industry.
Board Member
With over 30 years of experience as a composer, producer, and performer specialising in electronic and dance music, I transitioned into the screen media and GLAM sectors over the last two decades. My academic and professional background includes a Bachelor of Music (Sonology) from the Queensland Conservatorium of Music and a PhD from Macquarie University, where I investigated the impact of non-linear creative tools in contemporary screen composition. I currently work at Western Sydney University in the Music and Music Therapy program, alongside my ongoing creative practice.
Key career highlights include scoring the 52-part animated series CJ the DJ (ABC), the AACTA finalist indie feature Smoke Between Trees, and the immersive VR installation The Sound of Memories. These are alongside an array of other commercial work and continued creative practice output as Vision Four 5 and in my name.
During this time, I have been a member of AGSC since 2008 and I’ve actively contributed to the industry as an ARIA and APRA judge, music director for the Australian Dance Music Awards (DMA 2000–2004), and board member for the National Trust of Australia. My work has been recognized with various nominations and awards.
As the creative and consumer landscape for screen media is rapidly evolving, my focus is on understanding how composers adapt to new creative modalities and industry shifts. I seek to bring my experience and insights to the AGSC board to help ensure our community remains relevant, represented, and resilient in the digital age while continuing the work of the guild to build a bridge between education and industry.
Fiona Loader
Board Member
B.Mus; LLB; M.Mus; Grad.Dip. Legal Practice; A.Mus; L.Mus; ATCL; LTCL
I am a qualified solicitor and have worked in the music industry for over 20 years. I was involved in legal, policy and special projects at APRA/AMCOS and also worked as the Manager of Educational licensing and Print Music, responsible for setting up new licence schemes in schools, universities and all areas of education in both Australia and New Zealand.
In addition, I worked on committees negotiating agreements with other collecting societies such as CAL, VISCOPY, ARIA and PPCA and dealing with peak organisations such as the Copyright Advisory Group (CAG), the AVCC (representing all the universities) and was chair of the Working Group of Reprographic Rights for IFRRO (the International Federation of Reproduction Rights Organisations) where I represented both Australia and New Zealand on copyright issues both here and in Europe.
At APRA I wrote many of the corporate documents on copyright and delivered many hundreds of seminars around the country on licensing, copyright and related issues, often in conjunction with the Australian Copyright Council or CAG representatives.
Since leaving APRA in 2011, I worked as an advisor to the Australian Music Examination Board (AMEB) on copyright and legal issues and on specific projects. I was the music industry representative on the Music Council of Australia board (now called the Music Trust) and the Tertiary Music Institution accreditation board as well as the Sydney Conservatorium of Music Association.
In 2015 I went back to university to study composition at the Sydney Conservatorium of Music where I completed a Master of Music (Composition) studying with Dr Paul Stanhope. My undergraduate degree was in piano performance from the Canberra School of Music (ANU).