Screen Australia Podcast

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  Checklist when negotiating film and TV distribution deals   Podcast: How to make marketplace intel work for you   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 [email protected].

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. From the importance of a good thumbnail, why a viral video could take years, how the direct-to-audience model is evolving with its audience, and the parallels between so-called traditional media and online media production, get the lowdown on how YouTube is changing the way audiences engage with screen stories. Resources Learn more about developing kids IP for YouTube with Nico Lockhart via the Kids IP Incubator webinar.

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 joins the podcast to share how he brought the award-winning novel Invisible Boys to television, including building the writers room, knowing when to move away from the source material, filming in regional Western Australia, and creating a visual language, as well as shaping authentic queer narratives for young adults. 

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, as well as introducing the emerging role of access coordinating - the philosophy and vision behind the role; the distinctions between access coordinators, safety officers, and support workers; and more.

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 on 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 shares his experiences creating his debut television series Swift Street, and working with production company Magpie Pictures' Lois Randall and Ivy Mak, and writer Sam Carroll, to develop the series for SBS. He also shares his journey from photography to the small screen, the challenges and opportunities as a self-taught writer and director, reflecting community on screen, and advice for early career storytellers.

Learn more about the new below-the-line training and professional development initiative Screen Careers. Denise and Ken share their insight into the below-the-line sector, and discuss the challenges facing below-the-line workers, the role of training in developing the screen industry, and the resources and opportunities available to BTL crew to build responsive and sustainable careers. Eriksen shares the philosophy and development of Screen Careers, alongside details of their industry-led programming, while Crouch identifies the challenges for BTL practitioners and insight into the role of professional development within the industry.

The Future Leaders Delegation and Screen Australia Games team share their takeaways and advice from the 2024 Game Developers Conference. Screen Australia's Head of Online and Games Lee Naimo and Games Investment Manager Amelia Laughlan discuss their insights into the games industry, the significance of GDC for the global community, and the key takeaways from this year's conference. They also introduce the Future Leaders Delegation - a new program from Screen Australia to support underrepresented early-mid career game makers get the most out of their GDC experience. The delegation included Cult of the Lamb writer Jojo Zhou (Massive Monster); game designer and project manager Emma Losin who has worked on space epics Phantom Galaxies and Star Trek Lower Decks; co-founder of new indie studio Fat Alien Cat and game artist Jessica Lyon; Jae Stuart who is lead programmer on the recent Screen Australia Emerging Gamemakers Fund project King Tidal; and creative director of Anecdote Games Jarrod Farquhar-Nicol.

Ra Chapman and Katherine Fry share the journey from development to production of new ABC comedy series White Fever. Inspired by Chapman's lived experience as an inter-country adoptee, Chapman and Fry share their experiences developing White Fever for television; juggling multiple roles in front of and behind the camera; balancing the comedic and dramatic in storytelling; representing lived experiences authentically on screen throughout development, shooting, and the editing process, and more.

Executive Producer and CEO of Blacksand Pictures Kauthar Abdulalim reflects on her Enterprise journey, reaching international audiences with online stories, and authentic Muslim representation in storytelling. Abdulalim talks about embracing online content, supporting meaningful cultural diversity behind the scenes, building a strategic plan for your screen career, and how the Enterprise program strengthened her business skills, as she shares her advice for early career practitioners considering applying.

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 the flamboyant pirates of Our Flag Means Death, the fashion-focused sets of The Way We Wore and working with creative collaborator Celeste Barber, and soon the Australian 80s hit The Newsreader.

Cannes Critics' Week Head of the Film Department Rémi Bigot speaks to the opportunities and ideas behind the program, and its short film extension, Next Step – a weeklong workshop for short film directors selected for Critics' Week to transition to feature films, as well as offering insight into the application and selection process, 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, and the pathways to set for emerging filmmakers and storytellers.

Kitty Green on making fiction from fact, embracing documentary as a means to have creative control, the differences between documentary and feature narratives and their production schedules, as well as the inspiration and creation of The Royal Hotel and reuniting with frequent collaborator DOP Michael Latham.

Max Jahufer speaks on the importance of transgender visibility both in front of and behind the camera, the emerging role of community consultants in the industry, and his experiences from the writers room to first-time actor 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.