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Vincent Gil Vincent Gil i(A146020 works by)
Born: Established: 1939 Sydney, New South Wales, ;
Gender: Male
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BiographyHistory

Actor and occasional script-writer.

Primarily an actor, Vincent Gil has written occasional scripts since the mid-1980s, when he wrote for Special Squad (1984). Since then, he has written scripts for The Flying Doctors (1986-1991), House Rules (1988), Heartbreak High (1997), Good Guys Bad Guys (1998), and Chuck Finn (1999).

His first significant television role was in Homicide, in which he appeared in various roles in some twelve episodes between 1966 and 1976. Since then, he has appeared in such television series and films as You Can't See Round Corners (1967), Riptide (1969), Division 4 (1969-1972), Ryan (1974), Matlock Police (1971-1974), Rush (1976), Bluey (1976), Mad Max (1979), Secret Valley (1980), The Henderson Kids (1985), Shark's Paradise (1986), Encounter at Raven's Gate (1988), Ghosts ... of the Civil Dead (1988), A Country Practice (1993), Heartbreak High (1997), Blue Heelers (1997), Neighbours (2001-2002), and City Homicide (2011).

Most Referenced Works

Awards for Works

form y separately published work icon Good Guys, Bad Guys ( dir. Brendan Maher et. al. )agent 1997 Australia : Beyond Simpson Le Mesurier Nine Network , 1997-1998 Z1367327 1997 series - publisher film/TV crime

An edgy and off-beat crime series that relies heavily on humour, contemporary music, and a touch of the bizarre, centring on the character of Elvis Maginnis. An ex-cop from the wrong side of the tracks, Maginnis now runs his own dry-cleaning business but still finds himself drawn into the shady side of life.

1998 shortlisted Logie Awards Most Outstanding Series
form y separately published work icon Cop Shop ( dir. Marie Trevor et. al. )agent Melbourne : Crawford Productions , 1977 Z1815191 1977 series - publisher film/TV crime detective

Set in the fictional Riverside Police Station, Cop Shop combined self-contained stories focusing on specific police investigations with the type of open-ended serial storylines familiar from soap operas. This allowed Crawford Productions to make use of the expertise gained from their highly successful police procedurals (all recently cancelled) and serials such as The Sullivans (then still airing).

According to Moran, in his Guide to Australian Television Series,

Although the format may sound predictable and routine, in fact it was pioneering. In putting women police on the screen, Crawford's were moving Australian crime drama away from being an all-male domain. In addition, by choosing a suburban police station populated both by uniformed police and plainclothes detectives, Cop Shop introduced an upstairs and a downstairs world. The latter, in particular, began to exert its own attractions with handsome young men and women in the roles of the new constables.

1978 won Logie Awards Best New Drama
Last amended 14 Nov 2012 08:35:01
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