With a background in film and art journalism, I specialise in film press books, location writing, synopses, director's statements and website copy.  I offer an approach customised to material and client needs, concise and vivid copy and efficient turn-arounds. 

Previous clients include Twentieth Century Fox, Arena Films, Bazmark, Binnaburra Films, Bloomsbury, Dendy Films, Hibiscus Films, Big Shell Films, Jan Chapman Productions, and See-Saw Films. Notable commissions have been a special edition Cannes press book for Jane Campion's Palme D'Or & Academy Award-winning, The Piano, and a press book and a coffee table book for
Baz Luhrmann's Academy Award-winner, Moulin Rouge. 

Please contact me to discuss your copy requirements.

Miro Bilbrough
miro bilbrough
Sarah Watts Miro Bilbrough

Feature Film Press Books

The Piano (1993), Palme D’Or & Academy Award-winning drama, writer-director Jane Campion
Carcrash (1994), docu-drama, writer-director David Caesar, co-writer
Miro Bilbrough
Floating Life (1996), drama, writer-director Clara Law
The Boys (1997), crime drama, director Rowan Woods
Holy Smoke (2000), drama, writer-director Jane Campion
Moulin Rouge (2001) Academy Award-winning musical, writer-director
Baz Luhrmann
Look Both Ways (2004) drama with animation, writer-director Sarah Watt
Candy (2005) drama, writer Luke Davies, director Neil Armfield
Like Minds (2005), thriller, writer-director Gregory Read
$9.99 (2008), animation, writer-director Tatia Rosenthal


jane campion_book.jpg
The Piano.jpg

Moulin Rouge, coffee table book, Allen & Unwin, Sydney, 2001

Jane Campion, Jane Campion Interviews, ed. Virginia Wright Wexman, University Press of Mississippi, Jackson, 1999

‘Making The Piano’ in The Piano (screenplay) by Jane Campion, Bloomsbury, London, 1993

’Different complexions: an interview with Jane Campion’, Film in Aotearoa New Zealand, eds. Jonathan Dennis and Jan Bieringa, Victoria University Press, Wellington, 1992


‘This is a short song of praise to introduce Miro Bilbrough, who I first met when she conducted a long interview with me for book publication. It was simply the best, most down to earth, irreverent and revealing of any I could remember reading. Sometime after this I asked her to write the production notes for The Piano. I chose her in particular because I knew her to be a writer and a poet, with a wide-ranging and very genuine love of cinema, rather than simply a film journalist. The qualities of her imagination—surprising and penetrating—and an abundance of initiative make her a lively and extremely promising creative entity.’
Jane Campion, 20 June 1994