Screen Australia Podcast

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. 

Home to some of Australia's favourite stories and cultural storytellers including Little J & Big Cuz, Incarceration Nation, True Colours and The First Inventors, the National Indigenous Television Network (NITV) delivers content for and about Aboriginal and Torres Strait Islander people and culture.  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.  Throughout the episode, Curtis expands on her vision for NITV and gives advice for producers and filmmakers looking to pitch to the broadcaster. Curtis tells us about some of the great new titles joining NITV, including social justice documentary 2.6 Seconds, medical obdoc Our Medicine and comedy trivia series Big Backyard Quiz, and introduces her new team, including Senior Commissioning Editor Cieron Cody and Commissioning Editor Joseph Meldrum. 

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

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 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.