Screen Australia Podcast: Recent Episodes
Screen Australia
Listen to interviews with world-class Australian directors, producers, writers and other industry professionals as they discuss their careers, latest projects and industry trends.
From puzzle apps to MMPG, Australians love gaming — and word of mouth from peers, YouTube and socials are the major touchpoints for discovery. Like the screen industry, audience is key and a vital part of building global reach for every studio.
In the second episode of this games series, we sit down with multi-hyphenate Kesley Gamble to explore how important audience and community building are to indie creators and how that can be harnessed for discoverability. Having started in content management at EB Games Australia, League of Geeks and international power-publisher Bethesda Softworks to producing the latest titles with award-winning studios Massive Monster and New Blood Interactive, Gamble shares her insights into the online to real-world opportunities for community building.
We discuss the defining features between community management and marketing, the importance of authentically engaging, knowing what your audience loves and where they are, and how indie game makers — and screen practitioners — can convert audiences to advocates by embracing fandom.
Keen to learn more about the four stages of community engagement? Discover more here: https://www.youtube.com/watch?v=lp_7MteDCS0&t=24s
Don't miss the first episode in the games series, with Umbrella Games Ari Harrison, here: https://www.screenaustralia.gov.au/how-aussie-indie-games-and-screen-are-levelling-up-with-ip/
New to games? Check out the Australian Games Industry Glossary of Terms: https://www.screenaustralia.gov.au/australian-games-industry-glossary-of-terms/
Horror is having a moment, and so is creator Ben Jenkins with the recent release of the cosmic horror, crime drama The Killings at Parrish Station.
Like creators of horror hits across the globe like Get Out, Weapons, Talk to Me, and more recently Obsession and Backrooms, Jenkins started in comedy. "Horrible things sometimes happen to quite funny people. […] People are naturally funny, even when bad things are happening to them," hey says. "And that, to me, is drama." He credits the collaborative and improvisational nature of his sketch comedy past with shaping production of the series, instilling confidence to back the concept and landing the right market fit with Stan and ITV.
Jenkins shares the development and delivery of the series from its ideation in Soviet urban myths and working with Helium and Stan, to building a shared creative vision with director Daniel Nettheim, writers Tim Pye, Catherine Smyth-McMullen and Yolanda Ramke, as well as leading cast Mia Wasikowska, Heather Mitchel, Xavier Samuel, Robert Taylor, Alan Dale and Doris Younane.
The series investigates the gruesome murder of four scientists in a remote Australian desert research station. Set across the original mystery in 1987 and the fallout of a potential copycat spree killer decades later, Detectives Georgia Cooke (Wasikowska and Mitchell) and Michael Thorne (Samuel and Taylor) grapple with the uncanny mystery that threatens their families, careers and sanity.
The Killings at Parrish Station is available now on Stan.
The relationship between the games and screen sectors has never been closer, and with the Aussie games industry generating over $608.5 million in revenue, games storytelling is hitting a new boss level. In the first of this microseries, we get the lowdown on the indie games space from Screen Australia Head of Games Joey Egger and Ari Harrison of Umbrella. With over 25 years supporting indie films and tv on the global stage, Umbrella have recently launched a gaming distribution arm, Umbrella Gaming, with their first title Pro Jank Footy due for release in 2026.
Egger and Harrison discuss the intersection between the screen and games sectors, the challenges and opportunities facing both indie markets and how both industries can optimise potential through creative IP.
Start the year right with the latest Marketplace intel from Screen Australia Head of Market and Audience Rakel Tansley.
Throughout the podcast, Tansley gives insight into how the Screen Australia Market and Audience team collates investment data and deal terms to provide an overview of the domestic and global marketplace, including how the data is interpreted to identify trends and develop publicly available resources for producers and filmmakers. She also discusses the rise of direct-to-audience and the microdrama, the importance of retaining IP and non-exclusive terms, the big genre and format hitters from MIPCOM (cozy crime or family co-viewing, anyone?), filling the gaps in your finance plan, and the top ten territories buying Australian content.
"Considering [Australia is] a very small pool, we land a very large wave internationally," Tansley says. "Screen Australia are in a privileged position that we get to see globally what is happening across the whole distribution landscape, across all mediums. And we get to see those deal terms, those licence periods, the fees being paid, and expenses being taken, so we can help navigate and help negotiate the best deals to make sure that's fair and reasonable across the board."
Further Reading and Resources
- Sales agents and distributors
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Checklist when negotiating film and TV distribution deals
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Podcast: How to make marketplace intel work for you
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Market Profiles
We all recognise the media landscape has changed dramatically over the past 40 years, and for creatives like today's guest, working as a director is a masterclass in embracing change. Joining us is Australian director Kate Woods to share her insights about the evolution of the television sector behind the camera and the project that brought her back to Australia.
She's worked on some of the biggest titles on the small screen in Australia and the US, including Aussie favourites like GP, All Saints, Farscape and City Homicide, and US titles including Without a Trace, the Law and Order franchises, The Umbrella Academy, Agents of Shield, and The Good Lord Bird. You'll also likely recognise her debut feature film – the Aussie teen hit of 2000, Looking for Alibrandi – which this year celebrates 25 years since release.
Kate reflects on her experiences working in the industry across film and TV in Australia and abroad, her approach to selecting projects, the influence of music in her work, and why she ignored the screen adage to never work with children or animals in her latest project, Kangaroo.
Creators and writers of hit film Top End Wedding, Miranda Tapsell and Joshua Tyler, join us this episode to talk about their new Amazon Australia Original Series Top End Bub. Following the global success of their debut feature film of Sundance-favourite Top End Wedding, creators and writers Miranda Tapsell and Joshua Tyler found audiences clamouring for more tales from the top end – and they were happy to oblige.
As Tyler says, "If you've got an audience there, you've got a fan base, keep feeding them!"
Tapsell and Tyler share how they leveraged the IP from the big screen to television, the appeal of the comedy half-hour, the joy of collaborating together, and how creators can embrace family, community and love to reflect the breadth and diversity of First Nations experiences on screen.
This is a big episode. We're talking saving the world big.
The global screen industry generates millions of metric tons of carbon emissions every year. From fossil fuels to food waste, costumes and sets, the average production can generate over 28700 kilograms of waste, and with pressure on production costs and budgeting, embracing sustainable practices on set can seem daunting.
But a growing movement of practitioners are exploring how to build more sustainable productions, regardless of size.
60Forty Films' Karl Liegis and Matchbox Pictures' Helen Panchurst join this episode to discuss the strategies and opportunities for engaging the screen sector in sustainability.
They share their insights into what the industry is doing globally to be more environmentally conscious, how consultants and coordinators work with production, and why it's more important than ever for the Australia sector to embrace sustainable practices. Our top takeaways:
- Collaboration is key - not just within your team or production, but across the industry.
- Don't try to do everything. Pick three things that your production or team can focus on.
- It's not always about the successes. Learn from the hurdles and setbacks, and build them into your next project.
Resources * Sustainable Screens Australia: https://www.sustainablescreens.au/ * BAFTA Albert Toolkit: https://wearealbert.org/ * The Pact HETV Drama Production Support Initiative: https://www.pact.co.uk/resource/the-hetv-drama-production-support-initiative.html
For feedback about this episode, please email podcast@screenaustralia.gov.au.
The Snowtown and Nitram director shares what he learnt from making his first documentary, Ellis Park. Ellis Park is Kurzel’s third release over the past year, alongside feature film The Order, starring Jude Law and Nicholas Hoult, and Amazon Prime’s Australian war drama series The Narrow Road to the Deep North. He shares the challenges and joys of juggling three feature film projects simultaneously, advice on shaping your project for success on the global market, and how his view of filmmaking has changed from director to producer.
Digital content strategist and kids IP specialist Nico Lockhart shares what producers can learn about audience development and content production from YouTube. We discuss the opportunities and challenges for creatives and businesses working with online programming, as Lockhart shares the importance of a good thumbnail, why a viral video could take years, and how the direct-to-audience model is evolving with its audience, and the parallels between so-called traditional media and online media production.
Resources * Learn more about developing kids IP for YouTube with Nico Lockhart via the Kids IP Incubator webinar. * Find out more about the Kids IP Incubator workshops and the successful online teams here. * Interested in developing online content? Check out Screen Australia's Online Funding Podcast episode.
Head of Indigenous Commissioning and Production Dena Curtis dropped by the Screen Australia Podcast to talk about the role of the broadcaster in showcasing and celebrating the diversity of First Nations experiences and supporting stories told by Aboriginal and Torres Strait Islander practitioners, and shares her vision for NITV and gives advice for producers and filmmakers looking to pitch to the broadcaster.
Writer and director Nicholas Verso shares the process of shaping the award-winning novel Invisible Boys for the small screen. Throughout the episode, Verso shares the process of adapting a novel for screen, including building the writers room, knowing when to move away from the source material, and creating a visual language, as well as shaping authentic queer narratives for young adults.
In the latest episode of the Screen Australia Podcast, Stephanie Dower discusses the importance of building an accessible culture on set, engaging Deaf, Disabled and Neurodivergent (DDN) crew, and her experiences working in the Australian screen industry. Dower talks about the emerging role of access coordinating; the philosophy and vision behind the role; the distinctions between access coordinators, safety officers, and support workers; and her experiences as a coordinator on upcoming feature films Australian indie Spit and international swashbuckler The Bluff - both due for release in 2025.
Audrey screenwriter Lou Sanz and director Natalie Bailey on creating their debut feature film together. Throughout the episode, Sanz and Bailey share their love for comedy and dislike for the term unlikeable female characters. They also talk about getting the project to the big screen, creating compelling characters, the differences between writing for television and film, and the importance of finding the black comedy balance – or “balancing the sweet and sour”, as they call it.
Videoland director Jessica Smith and producer Scarlett Koehne reflect on queer representation and 90s nostalgia in the Series Mania Comedy Competition-winning series. On the latest episode of the Screen Australia podcast, we spoke with Smith and Koehne following their win at Series Mania about their festival strategy and experience premiering in a foreign market. They also reflect on the creation of the queer dramedy and challenges of retro-fitting (literally) a video rental store.
During the latest episode of the Screen Australia podcast, we explore the changing theatrical distribution landscape. Madman Entertainment's CEO Paul Wiegard and Screen Australia Distribution Manager Anthony Grundy explain how audience behaviour has shifted since the COVID-19 pandemic and reflect on the challenges and opportunities this presents Australian filmmakers in an increasingly global marketplace. Wiegard shares Madman's approach to audience engagement as an independent distributor, while Grundy discusses some of the research and tools available through Screen Australia to support discoverability, including the new Where to Watch function.
Taking your project to market? Screen Australia Marketplace Manager Rakel Tansley shares the latest marketplace intel and advice to get the best deals on your projects. Tansley breaks down the key terms of finance plans and the market and explains the role of the Marketplace team in supporting Australian producers navigate domestic and global deals, as well as the resources publicly available on the Screen Australia website. She also talks to the key findings of the most recent Post-Financing International distribution of projects between 2020–2023, the current trend of rights, how to make IP and secondary rights work for you, the hidden costs to watch out for when building a finance plan, and shares the top five key territories and regions buying Australian film and television, both in terms of volume of sales and highest spendings.
Screenwriter and media advocate Dot West talks writing animation, reflecting kid experiences in television, and the inspiration behind Little J & Big Cuz. Throughout the episode, West shares her insight on representing First Nations experiences on screen for kids, how ACER influences the narrative, incorporating Language and the power of translations, and her thoughts on the state of children's screen content.
Filmmaker Devina Saberi shares the inspiration for new documentary series Growing Pains, as well as the challenges and opportunities of documentary storytelling for online platforms, and advice for early career filmmakers. Throughout the episode, Saberi talks about structuring stories for social media platforms, supporting community storytelling, and the challenges of observational documentary – especially while filming your friends.
Director Paul Clarke breaks down the elements of a music documentary, and the inspiration and process behind his latest feature Midnight Oil: The Hardest Line. Throughout the episode, Clarke shares his approach to research and production for the music documentary format, navigating the complexities of footage and music licensing, and celebrating the legacy of the Oils.
Writer and director Tig Terera on the inspiration for new series Swift Street, and his journey to the small screen.
Learn more about the new below-the-line training and professional development initiative Screen Careers.
The Future Leaders Delegation and Screen Australia Games team share their takeaways and advice from the 2024 Game Developers Conference.
Ra Chapman and Katherine Fry share the journey from development to production of new ABC comedy series White Fever.
Executive Producer and CEO of Blacksand Pictures Kauthar Abdulalim reflects on her Enterprise journey, reaching international audiences with online stories, and the power of authentic representation in the screen industry.
From The Matrix to 1980s Australia, Gypsy Taylor discusses the art and craft of costuming and the design inspiration behind her most recent projects including Our Flag Means Death, The Way We Wore, and soon The Newsreader.
Cannes Critics’ Week Head of the Film Department Rémi Bigot speaks to the opportunities and process behind the program, and Screen Australia’s Manager, Festivals and Industry Partnerships Dale Fairbairn shares her advice for applying to festivals.
Australian Film, Television and Radio School alumni, award-winning filmmaker Warwick Thornton and production designer Bethany Ryan, alongside AFTRS Council Chair Debra Richards, reflect on 50 years of formal screen education in Australia.
Kitty Green on making fiction from fact, the differences between documentary and feature narratives, the process of collaboration, and directing The Royal Hotel
Max Jahufer speaks on the importance of transgender visibility both in front of and behind the camera, the role of community consultants in the industry, and his experiences on the upcoming Australian feature film A Savage Christmas.
Outgoing CEO Graeme Mason looks back at 10 years at Screen Australia and the changing landscape of Australian screen production through the 2022/23 Drama Report outcomes.
Screen Australia representatives who work across Production Investment, Development, Documentary, Online, First Nations and Games funding give their top tips for anyone preparing to submit an application.
Glossary of Key Terms - https://www.screenaustralia.gov.au/sa/screen-news/2023/04-06-industry-glossary-of-terms
Tools and insights for starting in the industry - https://www.screenaustralia.gov.au/funding-and-support/starting-in-the-industry/tools-and-insights
Amazon Studios Senior Development Executive Sarah Christie talks about working as an entertainment lawyer before making the shift to development producer with Goalpost Pictures and then joining the scripted team at Amazon. She explains their strategy going forward, the difference in developing and writing projects with a streamer, what makes a great pitch, and why it was a no-brainer to greenlight their newest project the Lost Flowers of Alice Hart, which launched on Prime Video on the 4th of August.
Screenwriter Catherine Smyth-McMullen on writing genre in Australia and the US, the differences between working in the two countries, and what you need to know about general meetings: what they are, what materials you need to have ready for them, how they differ from a pitch meeting, and more.
Screen Australia’s Head of Development Bobby Romia talks through the development team at Screen Australia, the different types of funding available, what the funding can cover, how much to apply for, how applications are assessed and much more.
Bay of Fires co-creator, producer and star Marta Dusseldorp talks about her shift from acting into producing, starting Archipelago Productions, how Bay of Fires came about, the shoot in Tasmania, and current challenges facing Australian producers.
Hear takeaways and advice from the Screen Australia delegation who attended Cannes Film Festival + Market this year, including why you need to be pitch ready, how to prepare for meetings, challenges and optimism in the theatrical space, trends and more. They are joined by local producers MahVeen Shahraki from Thousand Mile Productions, Rebecca Summerton from Closer Productions and Kath Shelper of Scarlett Pictures who was one of the producers of Warwick Thornton’s Un Certain Regard feature The New Boy.
Directory of International Sales Agents: https://www.screenaustralia.gov.au/getmedia/49fbb8d7-51f8-4d60-a67d-d93996fdc14c/SalesAgentDirectory.pdf
Kate McCartney and Kate McLennan discuss their careers from The Katering Show through to ABC series Get Krackin’, Audible podcast series Slushy and their latest project – creating comedy crime series Deadloch for Prime Video. The Kates talk about their writing partnership, filming Deadloch in Tasmania during the pandemic, and walking that fine line between comedy and drama throughout scripting, the shoot and the edit.
Screenwriter Anna Barnes on the creation of Safe Home, from how the idea was sparked from her personal experiences working at community legal centres, creating a pitch deck and pilot script to show to SBS, working with writers Jean Tong and Michelle Law, and seeing the series be brought to life by the cast and crew including director Stevie Cruz-Martin, producer Imogen Banks and co-producer Emelyne Palmer.
SBS development executive Catherine Kelleher, who’s also a screenwriter and filmmaker, explains the role of a note-taker including how it differs from other writing roles, the make-up of Australian TV writers’ rooms, the dos and don’ts of note-taking and how to make the most of opportunities in the screen industry.
113 Partners CEO Ian Murray is a consultant for creative businesses and reveals the questions people should be asking themselves to achieve a sustainable business, common issues, advice for funding grant applications, when to scale up, when to engage with a consultant, and how to be strategic – no matter the size or stage your business is at.
Jacinta Leong is a production designer who’s worked on Australian features 2067 and Buckley’s Chance and was art director on Shang-Chi and the Legend of the Ten Rings, Alien: Covenant, Unbroken, and more. Throughout the podcast, Jacinta talks about how her background in architecture led her to production design, some of the roles in the art department, and her experience working with directors like Seth Larney on 2067 and Dr George Miller on Mad Max: Fury Road and Furiosa.
Kacie Anning - the writer, director and creator of new Australian Amazon Original Series Class of ‘07 - talks about her career from web series Fragments of Friday to now, pitching to Prime Video Australia, advice for general meetings in the US, and why crafting the right tone in comedy is “everything”.
Screen Australia’s Head of Documentary Alex West talks about available funding, advice for applicants and takeaways from the World Congress of Science & Factual Producers, before AIDC CEO Natasha Gadd gives an insight into the conference this year as well as opportunities and pressure points for the sector.
View documentary funding here
View First Nations Department funding here and First Facts initiative here
Visit the AIDC website here
Screenwriters Pip Karmel and Magda Wozniak join director Corrie Chen in breaking down the making of new Stan television series Bad Behaviour, including the challenges of adaptation, the writers’ rooms, working with composer Caitlin Yeo and sound designer Emma Bortignon, and how they created seamless transitions between the past and present storylines.
Director, producer and writer Robert Connolly (The Dry, Paper Planes, The Turning) on filming the Tim Winton adaptation Blueback in Western Australia, working with cinematographer Andrew Commis ACS and their “analogue” approach, as well as starting the company Arenamedia and their commitment to empowering emerging voices.
Actors, writers, directors and producers Robyn Butler and Wayne Hope have created series such as Upper Middle Bogan, Back in Very Small Business, Little Lunch, and The InBESTigators through their company Gristmill. They discuss developing their latest ABC show Summer Love in the midst of the pandemic, as well as their approach to writing, advice on pitching, identifying your place in the market, and why mentoring is a big focus.
Amy Cater talks about what types of projects work with intimacy coordinators, why it’s important in more contexts than people realise, and her experience working on TV series including Love Me Season 1 on Binge and upcoming Bad Behaviour for Stan and Safe Home for SBS.
ABC crime/thriller Bay of Fires co-creator, producer and star Marta Dusseldorp and the series creator, producer, co-writer and star of YouTube series No Ordinary Love Esther Fwati give an insight into production on their projects, while Screen Australia CEO Graeme Mason runs through the newly released 2021/22 Drama Report results.
The Online team at Screen Australia discuss the three types of funding they can provide – development, production and completion funding – as well as what they are and aren’t looking for, what kind of platforms are out there, how to make your application competitive, general advice and more.
Listen to Alyce’s podcast episode on connecting with audiences here
Check out Online funding approvals here
The Online team at Screen Australia discuss the three types of funding they can provide – development, production and completion funding – as well as what they are and aren’t looking for, what kind of platforms are out there, how to make your application competitive, general advice and more.
Listen to Alyce’s podcast episode on connecting with audiences here
Check out Online funding approvals here
Director Rachel Perkins (Total Control, Mystery Road, First Australians) talks about getting her start in the screen industry and founding Blackfella Films in 1992, her career to date, and her latest project The Australian Wars, a three-part SBS/NITV documentary event, which delves into Australia’s Frontier Wars.
Director Rachel Perkins (Total Control, Mystery Road, First Australians) talks about getting her start in the screen industry and founding Blackfella Films in 1992, her career to date, and her latest project The Australian Wars, a three-part SBS/NITV documentary event, which delves into Australia’s Frontier Wars.
Hear takeaways, learnings and advice from those who were at the 2022 Toronto International Film Festival. Guests include Screen Australia representatives CEO Graeme Mason, Head of Content Grainne Brunsdon and Head of First Nations Angela Bates, as well as Madman Entertainment CEO Paul Wiegard, We Are Still Here producer Mitchell Stanley from No Coincidence Media, and director Jayden Rathsam Hua, who was selected for the prestigious TIFF Filmmaker Lab.
Want to apply for games funding through Screen Australia? With a second round of Games: Expansion Pack funding now open, Screen Australia’s Head of Online Lee Naimo and Games Investment Manager Amelia Laughlan explain what they are and aren’t looking for in applications and why you need to ensure your project has a clear pathway to audience.
The announcement here
Guidelines and to apply here
Director, writer and producer Jocelyn Moorhouse talks about directing six-episode ABC crime drama Savage River, working with cinematographer Don McAlpine ACS ASC, creating TV vs features such as The Dressmaker, getting the tone right in dark comedies, and general advice.
Director, writer and producer Jocelyn Moorhouse talks about directing six-episode ABC crime drama Savage River, working with cinematographer Don McAlpine ACS ASC, creating TV vs features such as The Dressmaker, getting the tone right in dark comedies, and general advice.
Director Dylan River talks about moving into longform TV with ABC TV series Mystery Road: Origin, while Macario De Souza makes the shift from documentary features like Bra Boys to his feature drama debut with 6 Festivals. Both filmmakers discuss making the leap and their latest projects.
SBS Head of Scripted Julie Eckersley on what SBS are and aren’t looking for, how to pitch an idea to them, creating pathways for emerging talent, TV ratings, binge culture and more.
SBS Scripted Pitch Deck Guide: https://www.sbs.com.au/aboutus/diversity-commissioning/assets/pdf/SBS-Scripted-Pitch-Deck-Guide.pdf
Kristin Voumard talks about the role of a Script Supervisor, film vs digital, how genres impact her work, advice, and career highlights including TV series Round the Twist and Rake, Aussie films such as Lantana, and studio movies like Mission: Impossible II and Marvel’s Shang-Chi and the Legend of the Ten Rings.
Screen Australia’s Head of First Nations Angela Bates talks through the challenges and achievements of projects including Sydney Film Festival opening night anthology feature We Are Still Here, and TV dramas Mystery Road: Origin and True Colours, as well as speaking to talent escalation, initiatives, pitching, and her thoughts on the screen sector.
https://www.screenaustralia.gov.au/the-screen-guide/showcases/spotlight-on-first-nations-voices
https://www.naidoc.org.au/
Elvis writer/director/producer Baz Luhrmann, production designer/costume designer/producer Catherine Martin and director of photographer Mandy Walker ACS ASC break down their approach to filming the Warner Bros movie, which despite being set in 50s, 60s and 70s America was filmed on location in Queensland, Australia. The trio discuss how important pre-production was in creating a cohesive visual look and creative choices they made such as bespoke Panavision lenses.
The Screen Australia delegation to Cannes and local creatives share insights and takeaways from the prestigious festival and market, which was back in full force in 2022.
On the latest episode of the Screen Australia podcast, Screen Australia CEO Graeme Mason and Michele McDonald, the Producer Offset and Co-Production Unit (POCU) Senior Manager, talk through changes to legislation governing the Producer Offset, the refundable tax rebate that Screen Australia administers on behalf of the Federal Government. They also discuss changes as well as the updated Screen Australia guidelines, key areas assessors look at, the most common mistakes they see in applications (and how it holds up the process), as well as advice on everything from getting your Final Certificate to general ledgers. A must-listen for any Australian screen producers.
Funding and support page here
Vodcast here
Ahead of the Australian Feature Film Summit, hear from Screen Australia CEO Graeme Mason, producer Sue Maslin AO, marketing and distribution expert Courtney Botfield, Transmission Films’ Andrew Mackie, director/producer Robert Connolly; and Madman Films’ senior marketing manager Michael Matrenza, who talk about how data around audience, box office and sales informs their business and creative choices.
Fact Finders: https://www.screenaustralia.gov.au/fact-finders
Marketplace: https://www.screenaustralia.gov.au/funding-and-support/television/sales-and-distribution-support
Australian Feature Film Summit: https://www.affsummit.com.au/
The Drover’s Wife The Legend of Molly Johnson writer, director, producer and star Leah Purcell talks about the journey of the feature film - a re-imagining of Henry Lawson’s classic story, which she first adapted into an acclaimed play, followed by the film and a novel. Purcell talks about the challenges of adaptation, the importance of having a personal connection to her feature directorial debut, working with locations during the shoot, and the difference between directing television series such as Redfern Now, Secret Daughter and Cleverman compared to film.
Watch The Drover’s Wife The Legend of Molly Johnson in Australian cinemas from 5 May 2022.
Three experts on marketing explain what it is, why you should be thinking about it even before the cameras start rolling, and practical steps to identify your audience, know what assets you need and much more. Get marketing advice for putting together a Screen Australia application, hear insights from a distributor POV, and find out about the importance of key art.
Guests include: Screen Australia Distribution Manager Anthony Grundy, Madman Entertainment Senior Marketing Manager Michael Matrenza and Carnival Studio’s Demi Hopkins.
Find A Practical Guide to Key Art here
River co-director and co-writer Jennifer Peedom from Stranger Than Fiction Films talks about the making of the “sequel” to Mountain in collaboration with the Australian Chamber Orchestra, how Radiohead’s Jonny Greenwood became involved, plans to move into drama filmmaking and why doco and drama are more similar than people think.
Producer Naomi Cleaver talks about producing an enormous studio TV series like NBCUniversal’s La Brea and the benefits of being able to do so in Victoria, as well as talking about the production department more generally – including the different roles she has worked across, from production coordinator, to production manager and then line producer on projects like Oddball and the Mystery Road TV series.
Screen Australia’s outgoing Head of Content Sally Caplan reflects on her eight years at the agency, changes in the screen sector both here and globally, advice to applicants and more. Sally holds more than 25 years’ of international experience across financing, development, acquisition, production and distribution, which has included roles such as MD of eOne International, head of the UK Film Council’s Premiere Fund, and President of Icon Film Distribution UK.
Head of Content Tyler Bern talks through the strategy for Amazon Prime Video Australia, advice for anyone hoping to pitch to Amazon and what kind of ideas they are looking for. Bern also reveals the new hire who will be leading their scripted slate, and explains how upcoming TV adaptation The Lost Flowers of Alice Hart came to Amazon Prime Video.
Screen Australia CEO Graeme Mason looks at the record-breaking numbers in the 2020/21 Drama Report, before executive producers Andrea Denholm of ABC series Fires and Catherine Nebauer from International Emmy-award winning kids’ TV series Hardball and Paramount+ TV drama Spreadsheet give their insights into what production has been like on the ground.
For more info, click here: https://bit.ly/3owNuun
Australian director of photography Greig Fraser ACS, ASC, talks about working on the epic new feature Dune, including collaborating with director Denis Villeneuve, shooting on IMAX, the switch from his Emmy-award winning work on The Mandalorian to a new sci-fi world, and how his lighting approach on Australian features Lion and Mary Magdalene helped with filming some of those big desert sequences in Dune.
Australian cinematographer Ari Wegner ACS talks about working with director Jane Campion on The Power of the Dog including spending a year in pre, shooting New Zealand as 1920s Montana, and what it was like switching to a handheld camera style for some scenes with the always-in-character Benedict Cumberbatch.
Nakkiah Lui on getting her start in the screen industry on Black Comedy, writing for stage and screen, staying on track during long development periods, and how a very real fascination with doomsday prepping led to co-creating, co-writing and starring in the new ABC half hour comedy Preppers.
For her first feature documentary Under the Volcano, Australian producer Cody Greenwood needed to licence music for 30 songs from the likes of Elton John, Paul McCartney, The Rolling Stones, The Police, Duran Duran and more. She breaks down the ins and outs of music licensing and dealing with archival footage, as well as getting that first interview with Sting, working with director Gracie Otto, and advice.
Visit https://www.underthevolcanomovie.com to stream, rent, or buy.
Screen composer Caitlin Yeo talks about her career writing music for film, television and documentary, and how she went about creating the score for the epic four-part SBS series New Gold Mountain – a murder mystery set in the Australian gold rush and told from a Chinese perspective – including working with director Corrie Chen, instrument choice, and breaking down the title music in detail.
Journalist, documentary-maker and presenter Marc Fennell talks about his latest work hosting ABC documentary series The School That Tried to End Racism and more broadly about his career to date, including interviewing techniques, his approach to research, why he always like to have at least two jobs on the go, and how he’s navigated a constantly changing media and screen landscape.
Screenwriter Bevan Lee, who created such TV series as All Saints, Always Greener, Winners & Losers, A Place to Call Home and Packed to the Rafters, talks about creating Amazon Australia’s First Scripted Original Series Back to the Rafters, working with streamers, the power of nostalgia, and his advice for writers.
Screenwriter Jon Bell discusses working on new Channel Seven drama series RFDS, creating a strong sense of place through characters, and his award-winning First Nations psychological horror short, The Moogai, which he wrote and directed and which he’s developing into a feature with Causeway Films.
Michael Lucas on creating, producing and writing on new ABC series The Newsreader, as well as working as a writer more broadly, including learnings from script editing Rosehaven that he took to co-creating Five Bedrooms; paying it forward as a producer; returning to work with directors such as Peter Templeman and Emma Freeman; and advice for writers wanting to break into the industry.
Mithila Gupta talks about her pathway to screenwriting, her process, juggling projects as a freelance writer, how she came to work on Five Bedrooms, and how the writers’ room on Five Bedrooms works – from plotting to writing episodes.
Director Stevie Cruz-Martin discusses moving from features like the 2017 film Pulse, to the fast-paced world of Australian television with the 6 x 10 minute SBS series The Tailings; the importance of rehearsal time especially when working with first-time actors; lighting set-up choices to maximise shooting time; and her collaborative approach with producer Liz Doran, writer and creator Caitlin Richardson, and the rest of the heads of department.
Watch The Tailings Behind the Scenes video here.
Love on the Spectrum director and co-creator Cian O’Clery talks about his unconventional road to documentary making, from being a driver on films like the Matrix sequels, to finding his way into reality television, and then getting his big break in factual TV with Northern Pictures. He also breaks down his approach to Love on the Spectrum, including stylistic choices, how many cameras were used, shooting schedules and more.
Vanessa Gazy talks about how the chance to create, executive produce and write on new Stan Original series Eden came about; having four days to write a bible; developing TV for Netflix; the differences in creating TV for the US and Australia; as well as her advice for anyone going into a pitch meeting.
Producers Hayley Adams and Michelle Melky of new TikTok series Scattered run through everything you need to know about making content for the app, from working in a vertical frame, to writing one-minute episodes, how music on the app works, and why they think it's the perfect platform if you're an emerging storyteller.
Netflix ANZ’s Que Minh Luu and Nakul Legha talk to their programming strategy for both commissions and licencing, things to keep in mind before pitching, and what they are and aren’t looking for. The pair also detail their upcoming slate and address the controversy around upcoming docusoap Byron Baes.
To mark the 20th anniversary of Moulin Rouge!, writer, director and producer Baz Luhrmann and production and costume designer Catherine Martin look back on making the movie musical – remembering the Sydney shoot, their proudest moments, the audience reaction at Cannes Film Festival and around the globe, as well as their thoughts on the stage show opening in Australia two decades after the film premiered.
Lingo Pictures General Manager Tess Novak, Arenamedia founder Robert Connolly and Screen Australia Marketplace Manager Rakel Tansley break down Marketplace - the free industry resource to help finance and exploit projects, and make sure screen creatives are getting the best deals. Available to anyone – whether you have received funding or not.
- Podcast – Finance Plans Explained
- Podcast – Distribution 101
- Best Practice When Selling Rights
Screenwriter Liz Doran of Please Like Me, Doctor Doctor, Dance Academy, Ready for This and more talks about the challenges of jumping from writing to producing for new SBS series The Tailings. Liz also talks to the power of mentorships, her advice for applying for funding and her tips for producers and writers.
Watch all episodes of The Tailings on SBS On Demand now: https://www.sbs.com.au/ondemand/program/the-tailings
Find Liz’s projects and where to watch them through The Screen Guide: https://www.screenaustralia.gov.au/the-screen-guide/p/liz-doran/5806/
Wakefield showrunners Kristen Dunphy and Sam Meikle talk through the challenges of making the complex eight-part psychological mystery, as well as how music influences their writing, working with directors Jocelyn Moorhouse and Kim Mordaunt, and the stresses and silver linings of having a project shut down by COVID-19.
Watch all episodes of Wakefield on ABC iview from 2 April, or on ABC TV from 18 April.
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Author, playwright and screenwriter Debra Oswald reflects on her career, the process of developing her latest book The Family Doctor into a six-part TV series, advice for writers, and her takeaways from creating hit TV series Offspring - including how she feels looking back at the passionate online reaction from fans to the death of a beloved character.
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Australians in Film Executive Director Peter Ritchie on what he’s learned working in Hollywood, and their call-out for new screenwriters and directors to learn from some of the biggest names in the business including Warwick Thornton, Taika Waititi, Nicole Kidman’s Blossom Films, Margot Robbie’s LuckyChap Entertainment. It’s part of a new Australians in Film program called Untapped, which you can apply for here:https://australiansinfilm.org/untapped/
Also read Peter’s advice piece: https://www.screenaustralia.gov.au/sa/screen-news/2019/11-26-hollywood-is-a-strategy-game
Aunty Donna director Max Miller on the steps that led to their Netflix series Aunty Donna’s Big Ol’ House of Fun, working with executive producers including Ed Helms (The Hangover, The Office) and Scott Aukerman from Comedy Bang! Bang!, tips for building an audience on YouTube, their process when it comes to filming sketch comedy, and advice for anyone wanting to get into directing or making content for online platforms.
Aunty Donna’s Industry Insights article
Aunty Donna’s Big Ol’ House of Fun is on Netflix now. Check out Glennridge Secondary College and 1999 on YouTube.
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Producers David Jowsey and Greer Simpkin from Bunya Productions on developing ideas; working on TV series Mystery Road, which topped the Australian TV drama ratings for 2020; creating storieswith something to say; and producing new frontier feature High Ground starring Simon Baker and newcomer Jacob Junior Nayinggul.
Please note for Aboriginal and Torres Strait Islander listeners that the following interview may contain references to the names of deceased people.
High Ground is out now in Australian cinemas.
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Australian producer Bruna Papandrea speaks to her love of adaptations, from The Dry to Penguin Bloom, Gone Girl, Wild and Big Little Lies; how they decide if a story suits the television or film format; starting the production company Made Up Stories in 2017; pitching to different television streamers; and her advice to producers.
The Dry is in Australian cinemas now, while Penguin Bloom releases 21 January. Catch
The Undoing is on Foxtel and streaming service Binge.
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The Dry star/producer Eric Bana, and co-writer/director/producer Robert Connolly discuss bringing Jane Harper’s bestselling crime novel to life on the big screen; why The Dry was shot on large-format cameras; what Eric enjoyed about being a producer on the feature; and their advice for Australian creatives.
The Dry releases in Australian cinemas on 1 January 2021.
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Screen Australia’s Head of Indigenous Penny Smallacombe on consultation, collaboration, non-Indigenous Australians telling Indigenous stories, and why the screen industry is on the precipice of change.
Hear from Penny and other Indigenous Australians and people of colour in this piece from The Guardian that's mentioned throughout the podcast.
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Hear about the ways the Australian screen industry has persevered in the midst of a global pandemic as told by Five Bedrooms’ COVID safety supervisor Philli Anderson, Why Are You Like This producer Sarah Freeman and Screen Australia’s CEO Graeme Mason.
Read more about the Drama Report findings here: https://www.screenaustralia.gov.au/sa/media-centre/news/2020/11-25-drama-report-2019-20-impact-pandemic
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Representatives from the various departments at Screen Australia share their top tips for anyone putting together an application.
Visit Screen Australia’s funding and support page: https://www.screenaustralia.gov.au/funding-and-support
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Doctor Doctor and The Unlisted director Lucy Gaffy delivers observations and learnings from her career in Australian television, from her experience stepping onto a large-scale set for the first time, making the most of opportunities and advice for emerging filmmakers wanting to make the leap to long-form.
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Business affairs and global brand partnerships specialist Madeline Miller on her move from Australia to the US, her work on the latest James Bond movie, and advice for Australians looking to explore brand collaboration for their next project.
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Director Gregor Jordan talks about his return to Australian feature film with Dirt Music, the film's physically demanding shoot, and the process of bringing Australian singer-songwriter Julia Stone on board. He also reflects on making Two Hands, his 1999 debut feature film starring Heath Ledger and Rose Byrne.
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Screen Australia Distribution Manager Anthony Grundy breaks down the impact of COVID-19 on Australian theatrical, while Neil Sharma shares what he learnt being in AD roles on local TV and international features like Marvel’s Shang-Chi and the Legend of the Ten Rings.
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Director Unjoo Moon on advice, challenges, and how making a feature documentary about music icon Tony Bennett helped prepare her for I Am Woman - her drama feature debut about Australian singer Helen Reddy.
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Retrograde writer, producer and co-creator Meg O’Connell on creating an ABC TV series in a pandemic, lessons learned making vertical series Content, and developing ideas with Snapchat.
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Producer Jason Stephens on starting Lingo Pictures with Helen Bowden, and their approach to developing, creating and selling acclaimed Australian TV such as The Secrets She Keeps, Upright and Lambs of God.
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Shannon Murphy on the skills she took from directing TV to features, an insight into making her feature directorial debut Babyteeth, and takeaways from directing two episodes of third season of the hit series Killing Eve.
Watch the Babyteeth trailer: https://www.youtube.com/watch?v=PLNXHJB5Mto
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Director Natalie Erika James discusses the journey from short films to making her debut feature with Relic, how Jake Gyllenhaal and the Russo brothers’ production companies got involved, what she learned as a director’s attachment on Leigh Whannell’s Upgrade, and broader directing advice. Language warning
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Flying Bark Productions Managing Director Barbara Stephen discusses the animation process for projects like 100% Wolf, Maya the Bee and Blinky Bill and the similarities and differences with live action – from development, scripting, finding the right actors, through to the crossover of roles like Director of Photography.
Peter Duncan, the writer, director and co-producer of Operation Buffalo, talks about making the new ABC series, while also reflecting on the Australian and US versions of Rake.
Watch a video on the making of Operation Buffalo here: https://youtu.be/Ta2uJYrJIns
Michael Carrington, the Director Entertainment and Specialist at the ABC, discusses the priorities of the public broadcaster in 2020; what content ABC are looking for; balancing acquisitions and commissions; their approach to ‘bingeing’ content; and opportunities such as the one-off Development Fund Fresh Start, which runs until June 12, 2020. https://www.abc.net.au/events/freshstart/
Director and producer Sophie Hyde of Closer Productions discusses the pressures of making Animals - her second feature after the 2013 award-winner 52 Tuesdays, why she always knew she wanted to be a director, and what advice she has for any aspiring directors.
More info on Animals as an Official Co-production: https://www.screenaustralia.gov.au/sa/screen-news/2019/09-03-a-tale-of-two-co-productions
How many episodes should a web series be? What’s the difference between Snapchat, YouTube, Facebook, IGTV and TikTok? What kind of audiences ‘live’ on each?
Screen Australia Online Investment Manager Alyce Adams returns to the podcast to answer these questions and more, and reveal exactly how to identify and hook an audience online.
Hear from industry veteran Sue Masters – former Head of Scripted at SBS, Head of Drama at Network Ten, and Head of Drama at ABC – who discusses commissioning, developing, and producing Australian television including success stories such as Safe Harbour and The Hunting.
Hear from Transmission Films joint managing director Andrew Mackie about what filmmakers need to know about distributors, what makes a great pitch, how they build a strategy for their features, and how the determination of Ride Like a Girl director Rachel Griffiths helped make that film such a success.
Screen Australia Distribution Manager Anthony Grundy gives an introduction to distribution, including what a distributor does, what an exhibitor is, what P&A means, and his thoughts on the challenges in the distribution landscape at the moment.
FURTHER INFO
Finance Plans Podcast
Recoupment vs Profit guide
Hear from Australian producer Liz Watts of Porchlight Films about her career, collaborations and the realities of creating films and TV in 2020. Watts discusses everything from collaborating with Netflix and David Michod on The King, to the impact of Animal Kingdom, streaming True History of the Kelly Gang on Stan, and seeing Cate Shortland leap from independent Australian cinema like Lore to Marvel’s Black Widow.
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The Heights season 2 script producer/writer Romina Accurso and script editor/writer Hannah Carroll Chapman reveal lessons they learned from soaps like Home and Away, their writing process, advice, and the various roles you might find in a script department.
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Screen Australia Senior Investment Manager Shana Levine explains two crucial documents for Australian productions – the finance plan and recoupment waterfall.
Visit this article for links to a sample finance plan and recoupment waterfall, and read about the five most common mistakes Shana sees in applications: https://www.screenaustralia.gov.au/sa/screen-news/2020/01-17-podcast-finance-plans-explained
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The Australian director behind Netflix’s short form comedy series Special, Anna Dokoza, and it’s writer, creator and star Ryan O’Connell talk about how the series came about, authentic casting, Hollywood’s views on diversity, and the pros of working on a comedy with bingeable 15-minute episodes.
LANGUAGE WARNING: This episode contains mild course language. And a lot of laughs.
Stan CEO Mike Sneesby discusses the beginnings of Australia’s premiere streaming service, their $200 million investment, major output deals, and his thoughts on Netflix, Disney, limited theatrical windows and pitching.
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Judy & Punch writer/director Mirrah Foulkes talks about making the leap from short films to features, her advice for anyone doing the same, how her background as an actor influences her directing style, and about being a member of the Blue-Tongue Films collective.
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In his first long-form interview since starting at Screen Australia, Chief Operating Officer Michael Brealey discusses the emergence of streamers, what he's hearing from industry, challenges around regulatory reform, and takeaways from the 2018/19 Drama Report.
He also addresses Screen Australia's priorities going forward and why the future is bright for Aussie creatives.
Read the full report here.
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Matchbox Pictures is one of Australia’s most successful and prolific producers of television, and in this in-depth interview Managing Director Alastair McKinnon talks about the company and industry at large.
He discusses working with global parent company NBCUniversal, how much time projects take to develop, pitching tips, and providing a pathway for emerging talent with their series The Heights.
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In this latest podcast episode Screen Australia’s Head of Documentary Bernadine Lim talks through the funding available to documentarians, what the agency is looking for, and how they assess applications.
Lim also speaks to the proposed changes to documentary guidelines, including who they will benefit and how to submit feedback before 27 October 2019.
To read the discussion paper, or submit feedback on the revised guidelines: https://www.screenaustralia.gov.au/sa/new-directions/documentary-program-revision-2019
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Screen Australia CEO Graeme Mason discusses Toronto International Film Festival 2019, the six Australian titles that were selected for it, and industry trends.
He also gives an overview of television market MIPCOM and provides key pieces of advice for Australians preparing to attend international festivals or markets.
For more information, visit: https://www.screenaustralia.gov.au/festivals-and-markets
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Producers John and Dan Edwards of Roadshow Rough Diamond discuss new series Les Norton and keeping up with the changes in Australian TV.
The father-son duo – who between them have around five decades of television experience – dish their thoughts on creating space for new voices, what commissioners are looking for, important TV markets, and genres that sell internationally.
Subscribe to Screen News here where you’ll get all the latest features, videos, podcasts and funding announcement delivered straight to your inbox: screenaustralia.gov.au/subscribe
Have any feedback? Email us at podcast@screenaustralia.gov.au
Four years since the announcement of Gender Matters, producer Joanna Werner of Dance Academy and Riot is glad the conversation around female representation in the industry hasn’t abated.
Werner talks through some of the trends in new industry-wide data, balancing career and motherhood, the journey of Dance Academy, her hopes for the future and much more.
Werner also discusses Screen Australia's Gender Matters KPI which it set out to achieve three years ago, and the newly announced KPI, whereby 50% of the key creatives in projects that receive development or production funding are women, across a three-year-average.
Werner is joined on the podcast by Judy and Punch writer/director Mirrah Foulkes and Eliza Reilly, the co-writer/co-director of Sheilas, who briefly speak about the greater impact of support on their careers.
To read the new industry wide data or learn more about the new Gender Matters KPI, visit the Screen Australia website, or click here https://www.screenaustralia.gov.au/sa/media-centre/news/2019/08-21-gender-matters-target-exceeded-new-kpi
The audio at the beginning of the podcast episode is taken from the Gender Matters launch video, with speakers including writer/director Corrie Chen, actor Alison Whyte and producer Sue Maslin.
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Since starting out as a script assistant on Underbelly: A Tale of Two Cities, television writer Niki Aken’s career has covered script editing, freelance writing and script producing.
Unsure of what any of these roles are? On the latest episode of the Screen Australia podcast, Aken explains the different work out there for television writers who are on the more traditional career progression route (acknowledging that many people are creating their own pathways online).
Aken also gives her top tips for writers starting out and the way the Australian industry could better utilise writers beyond handing in a script.
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What’s the Producer Offset? How much is it worth? How do I get it? How long will it take?
These are just some of the topics covered by Michele McDonald, Senior Manager of Screen Australia’s Producer Offset and Co-Production Unit (POCU), in this latest podcast episode.
Michele discusses the basics – such as the Significant Australian Content (SAC) test and how many government offsets you can get - to more intricate queries around the Gallipoli Clause, and the use of Cinema on Demand in feature film applications.
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FURTHER READING
Producer Offset eligibility criteria and information
The Location Offset & Location Incentive
PDV Offset
In addition to the 10% Create NSW, SAFC and Screen Qld PDV Incentives, Film Victoria also offer a negotiable PDV Incentive
Screen Australia Project Manager Kelly Vincent walks us through the ins and outs of creating a strong application with an accurate budget.
Kelly gives her advice on a broad range of topics including: how to make sure your budget reflects your script, why a production accountant is worth their weight in gold, why you need to include marketing and publicity spend, the meaning of terms such as completion guarantor, and how to know how much items will cost.
Subscribe to Screen News here where you’ll get all the latest features, videos, podcasts and funding announcement delivered straight to your inbox: screenaustralia.gov.au/subscribe
Have any feedback? Email us at podcast@screenaustralia.gov.au
OTHER RESOURCES
Motion Picture Production Agreement (MPPA)
https://www.meaa.org/download/mppa-summary-2018/
The Production Book
http://productionbook.com.au/
Broadcasting and Recorded Entertainment Award
https://www.meaa.org/download/brea/
AZ Budgets can be found in the Screen Australia document library:
https://www.screenaustralia.gov.au/about-us/doing-business-with-us/document-library
Producer Kristina Ceyton reveals what stories resonate with Causeway Films and their approach to film festivals.
Ceyton discusses how she and writer/director Jennifer Kent came to work together on their debut feature The Babadook, how The Nightingale came about, and other features on their slate. She also walks listeners through which markets they try to attend, the process of getting a sales agent and how significant a world premiere at a top-tier film festival can be.
For an expanded breakdown of Ceyton’s approach to film festivals alongside comments from Screen Australia representatives, read the Intel piece The Babadook to Nightingale: Festival Release Strategies: https://www.screenaustralia.gov.au/sa/Screen-News/2019/06-11-festival-release-strategies
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Screen Australia investment managers Lee Naimo and Alyce Adams answer the questions any burgeoning (or existing) online creator might need to know before hitting that ‘submit’ button on their application.
As investment managers, Lee and Alyce assess applications for online support in development, production and completion funding, and they reveal what they’re looking for, how to know how much money to ask for, and why you should get in touch before you apply.
The pair also talk about success stories, including The Katering Show, Bondi Hipsters, Aunty Donna, Kacie Anning, Superwog and the Gender Matters-supported series Sheilas, and they discuss the power of niche audiences – clearly seen in the views behind hits such as Mining Boom on Starting From Now.
This is essential listening for any Aussie online creator.
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Writer/producer Raelle Tucker (True Blood, Jessica Jones, Sacred Lies) and director Jeremy Podeswa (Game of Thrones, The Handmaid’s Tale, Six Feet Under, American Horror Story) discuss how TV has changed – and what they’ve learnt within it.
While in Australia, Raelle and Jeremy, who met making an episode of True Blood together, talk about balancing the roles of a writer and director and an issue on set they had to navigate together.
Jeremy reveals the role a director plays even in large established series such as Game of Thrones (with the season 7 finale an example).
And Raelle also discusses how creating the Facebook Watch series Sacred Lies differed from making a traditional series – especially when it came to measuring its success.
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Scripted Ink Head of Development Tim Pye discusses being an Australian screenwriter in 2019 – why writers need to think internationally, practical tips for those starting out, and the pros and cons of SVODs.
Pye explains how the showrunner of NCIS: LA Shane Brennan is helping change and educate the local industry, how he believes the term ‘showrunner’ in Australia differs to the US, and even breaks down the difference between a ‘story by’ and ‘written by’ credit.
Pye also demystifies the three organisations working behind the scenes to help – the Australian Writers’ Guild, the Authorship Collecting Society AWGACS, and Scripted Ink.
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Writer, producer and showrunner Dominic Minghella (Doc Martin, Knightfall) gives his insight into the highs and lows of creating television in this latest episode from the Screen Australia podcast.
Minghella reveals his “radical answer” to how Australians and Brits can compete with global productions, how to stop the brain drain to the US, and how the UK financing model works.
This episode contains some strong language
Subscribe to Screen News here where you’ll get all the latest features, videos, podcasts and funding announcement delivered straight to your inbox: https://www.screenaustralia.gov.au/subscribe
GLOW writer and co-executive producer Sascha Rothchild dishes out advice on writing in this wide-ranging interview.
Executive producer Nathan Ross (Dallas Buyers Club, Big Little Lies, Sharp Objects) on the importance of creative collaborations, launching Crazyrose, and how his background as a talent agent informs his approach to producing.
The co-founders of Emmy award winning studio Ludo on creating a business that’s sustainable, yet bursting with creativity.
Hear from Screen Australia’s CEO Graeme Mason in this extended interview on everything from production activity to deals, distribution and the Producer Offset.
The CEO of Screen Producers Australia Matt Deaner discusses the challenges and opportunities facing the sector.
Ladies in Black producers Sue Milliken and Allanah Zitserman break down the financing and distribution of their new feature.
In this wide-ranging interview, the CEO of the ADG discusses everything from royalties to the impact of streaming.
The producer and founder of Practical Pictures, Sheila Hanahan Taylor, on the art of pitching – what to do, what not to do – and how the Australian industry is different to the US.
Australian producer Kylie du Fresne from Goalpost Pictures joins journalist Caris Bizzaca to talk about Upgrade, the genre feature she produced with Jason Blum of Blumhouse Productions (Get Out, Paranormal Activity). She talks about the differences between the US studio system and the Australian screen industry, what she learnt about creating genre films from Upgrade’s writer/director Leigh Whannell (writer of the Saw and Insidious franchises), and why Upgrade was brought to Australia in the first place – including the importance of the Producer Offset in getting it made.
Links: Producer Offset 101 video;
Find out more about the Producer Offset;
More podcast episodes, and more, at Screen News.
Screen Australia Senior Development Executive Nerida Moore and Senior Manager of Program Operations Diana Burnett join journalist Caris Bizzaca from Screen News to discuss what development funding actually is, what the big changes in these guidelines are, and what they will mean for the Australian screen industry.
Directors Yolanda Ramke and Ben Howling talk about their experience directing their first feature film Cargo.
Ramke and Howling discuss how their viral success with their Tropfest short film led to the opportunity to develop the idea into a feature, how they sought to elevate the story by including the perspective of Indigenous Australians, and how it became the first Australian Netflix Original feature film.
Watch the video interview at: https://www.screenaustralia.gov.au/sa/screen-news/2018/04-26-cargo-meet-the-filmmakers
A look at Official Co-productions through the eyes of documentary producers who’ve done it.
Sydney Films’ Head of Production Mark Lazarus gives his advice on making an Official Co-production with China.
Rosemary Blight and Ben Grant from Goalpost Pictures talk to Screen News journalist Caris Bizzaca about Official Co-productions in TV.
Australian producer Emile Sherman shares his insights working on Official Co-productions.
Screen Australia's Tim Phillips and Colleen Champ discuss the ins and outs of Official Co-productions.
Directors Gillian Armstrong, Rachel Perkins and Beth Armstrong join AFTRS CEO Neil Peplow and Screen Australia's Fiona Cameron to discuss gender parity.