WEBVTT - ABC ENGAGES WITH SIGNIFICANT OTHERS 0:00:00.160 --> 0:00:01.720 It's in the news today, but it was actually on 0:00:01.800 --> 0:00:05.160 TV Reload the podcast asleep their line welcome back to 0:00:05.200 --> 0:00:08.320 TV Reload. My name's Benjamin Norris, and on this podcast 0:00:08.320 --> 0:00:11.600 I go behind the scenes with the biggest players in television. 0:00:11.920 --> 0:00:14.480 Each episode you will get a front row seat with 0:00:14.640 --> 0:00:19.960 content makers like executive producers, writers, directors, editors, and casting agents, 0:00:20.120 --> 0:00:23.119 plus the talent we see on our screen. TV Reload 0:00:23.280 --> 0:00:26.279 reloads the shows you are currently watching and gives you 0:00:26.360 --> 0:00:29.680 a better insight into our television industry and our streaming 0:00:29.720 --> 0:00:32.760 services today. On the podcast, I have Brett Slay, the 0:00:32.880 --> 0:00:36.080 acting head of Drama at the ABC, and Louise Smith, 0:00:36.120 --> 0:00:40.080 the executive producer of their latest scripted drama Significant Others. 0:00:40.320 --> 0:00:43.400 I'm lucky enough to unpack Significant Others with these guys 0:00:43.440 --> 0:00:46.080 today as I have a huge passion for this style 0:00:46.120 --> 0:00:48.199 of content and to have people at the top of 0:00:48.240 --> 0:00:50.800 their game walk us through how this show was made 0:00:51.159 --> 0:00:53.640 is a real treat for us today in a world 0:00:53.640 --> 0:00:57.320 where streaming and global content has become highly competitive against 0:00:57.400 --> 0:01:00.560 our local free toware programming. Is I rate to see 0:01:00.600 --> 0:01:03.960 ABC still at the top of their game with Significant Others, 0:01:04.120 --> 0:01:06.600 which is just as well produced as any other show 0:01:06.640 --> 0:01:09.679 on offer. The story of Significant Others centers around a 0:01:09.720 --> 0:01:12.839 family in turmoil as they deal with a sudden disappearance 0:01:12.840 --> 0:01:16.720 of a family member. The show is highly emotional, carefully written, 0:01:16.760 --> 0:01:20.399 and beautifully acted. I highly recommend you catch up on 0:01:20.480 --> 0:01:23.360 the series on iView as the show did premiere last 0:01:23.400 --> 0:01:26.440 Sunday night and will continue this Sunday night at seven o'clock. 0:01:26.720 --> 0:01:30.280 We will talk about the series production, the actors' performances, 0:01:30.520 --> 0:01:34.119 the competitive market for eyeballs on localized content, and what 0:01:34.200 --> 0:01:38.479 the ABC looks for in the style of shows they commission. However, 0:01:38.560 --> 0:01:41.279 let's get started with today's guest. I'd like to welcome 0:01:41.319 --> 0:01:44.960 Brett Slay and Louise Simpson from I'd like to welcome 0:01:45.000 --> 0:01:49.280 Brett Slay and Louise Smith from ABC Australia to TV Reload. 0:01:50.760 --> 0:01:55.280 There is a great appetite now we know for relationship drama. 0:01:55.480 --> 0:01:58.480 The story starts with a family divided. 0:01:59.120 --> 0:02:01.680 You know obviously go into it hoping that it's going 0:02:01.760 --> 0:02:03.240 to have a certain reaction. 0:02:03.520 --> 0:02:08.200 It's the many different ways of people dealing with traumatic situations. 0:02:08.440 --> 0:02:09.200 Sarah's missing. 0:02:10.720 --> 0:02:13.760 She went out for a swim and she's been missing since. 0:02:13.600 --> 0:02:16.840 Dawn, so It's been an absolute thrill to come to 0:02:16.880 --> 0:02:19.920 something that's so developed. I think I'm still looking for 0:02:19.960 --> 0:02:20.919 the answers for you. 0:02:21.520 --> 0:02:24.359 I remember Sally and I when we were going through 0:02:24.360 --> 0:02:27.040 the casting, we were just like, oh. 0:02:26.360 --> 0:02:29.360 Wow, everything about their past seems to be turned on 0:02:29.400 --> 0:02:29.880 its head. 0:02:31.040 --> 0:02:35.359 There is so much humor in this Hi, Brett and Louise, 0:02:35.639 --> 0:02:37.960 thank you for joining me on the podcast. Great to 0:02:37.960 --> 0:02:42.320 be You know, once I started watching Significant Others, I 0:02:42.480 --> 0:02:45.240 just needed to talk to you both, and so I 0:02:45.280 --> 0:02:48.360 started harassing the people at ABC to do so. But 0:02:48.440 --> 0:02:50.400 I just want to start off this podcast by saying, 0:02:50.480 --> 0:02:52.840 thank you so much for such a brilliant series. 0:02:53.240 --> 0:02:56.119 Wow, I'm glad you're loving it. That's fantastic, Ben. 0:02:56.320 --> 0:02:58.840 I think it's It's interesting though, because you know, for 0:02:58.880 --> 0:03:00.919 people listening to this podcas Us right now who might 0:03:00.919 --> 0:03:03.399 not have seen episode one that was on Sunday night. 0:03:03.639 --> 0:03:04.880 I actually quite. 0:03:04.800 --> 0:03:08.720 Liked how one of the critics applauded and summarized the show. 0:03:09.120 --> 0:03:10.640 Not sure if you saw this, but it was in 0:03:10.680 --> 0:03:13.959 the Guardian and they described it as in a sea 0:03:14.040 --> 0:03:17.240 of missing in a sea of missing person mysteries. This 0:03:17.360 --> 0:03:20.360 six part series is about a family who comes together 0:03:20.639 --> 0:03:24.560 when one member seemingly drowns, and the critic described it 0:03:24.639 --> 0:03:28.320 as engrossing and clever. Have you been happy so far 0:03:28.360 --> 0:03:30.120 with the reaction from the general public. 0:03:30.400 --> 0:03:33.720 Yeah, it's so great. Actually, I was just before we 0:03:33.840 --> 0:03:37.280 jumped on this call. I was just talking to Tommy Murphy, 0:03:37.320 --> 0:03:40.000 the creator of the show, and we were just talking 0:03:40.000 --> 0:03:42.560 about the feedback that we've had this week from people 0:03:42.640 --> 0:03:44.800 and what their reactions have been to the first step, 0:03:44.920 --> 0:03:47.600 because you know, obviously you go into it hoping that 0:03:47.680 --> 0:03:51.360 it's going to have a certain reaction and it has, 0:03:51.480 --> 0:03:54.440 and it's also surprised us in other ways as well, 0:03:55.120 --> 0:03:58.960 particularly the comments and questions around you know, what has 0:03:59.000 --> 0:04:01.600 happened to Sarah, which has been really great to hear 0:04:01.680 --> 0:04:04.760 people's versions and theories, which is really exciting. 0:04:05.040 --> 0:04:06.920 Well, I think that's the best thing about say a 0:04:07.000 --> 0:04:10.600 murder mysteries like Savage River and like this particular series, 0:04:10.640 --> 0:04:13.560 is that as an audience, we are invested because we're 0:04:13.600 --> 0:04:16.479 trying to solve what we think has happened. And I 0:04:16.480 --> 0:04:19.200 think in an era of true crime, that kind of 0:04:19.600 --> 0:04:21.560 is the right manutia. You know, that's the right thing 0:04:21.600 --> 0:04:24.480 that audiences want to or they're enjoying. I should say. 0:04:24.520 --> 0:04:28.040 Yeah, yeah. And I think what sets this particular show 0:04:28.800 --> 0:04:33.360 out from those other murder mysteries, as you reference, is 0:04:33.360 --> 0:04:37.320 that it allows you to sit in the sort of authentic, 0:04:37.920 --> 0:04:42.320 messy chaos of what that impact is on this family 0:04:42.600 --> 0:04:45.880 as well. You know, it's about the sort of reactions 0:04:45.960 --> 0:04:48.479 in a really true and honest way, which has been 0:04:48.520 --> 0:04:52.039 really fun to sort of play in those two spaces, 0:04:52.080 --> 0:04:56.479 I guess, have that mystery unraveling, and also the sort 0:04:56.480 --> 0:04:58.440 of I feel like you can see your own family 0:04:58.480 --> 0:04:59.400 in these characters. 0:04:59.480 --> 0:05:02.640 I guess, Well, you're solving real life issues that I 0:05:02.680 --> 0:05:06.080 think the everyday Australian may have been in or will 0:05:06.120 --> 0:05:06.440 be in. 0:05:06.760 --> 0:05:06.960 You know. 0:05:07.040 --> 0:05:11.119 I think the problem of writing a will and making 0:05:11.120 --> 0:05:13.320 sure everyone's included the way that they want to has 0:05:13.400 --> 0:05:16.680 always been a very touchy subject and for anyone that's 0:05:16.720 --> 0:05:19.159 been through that, and I have you sit there watching 0:05:19.200 --> 0:05:21.479 it going oh my you know, oh my god, this 0:05:21.600 --> 0:05:25.000 is so real these reactions and what these characters are saying. 0:05:25.040 --> 0:05:27.680 I mean, that's me, you know, or that's my sister, 0:05:27.960 --> 0:05:31.719 So very very real world, I will. 0:05:31.560 --> 0:05:32.320 Say, yeah. 0:05:32.360 --> 0:05:33.920 And I think that was one of the one things 0:05:33.920 --> 0:05:36.680 that was so amazing about the Writer's Room because I 0:05:36.720 --> 0:05:40.200 think everyone in that room brought exactly, like you say, 0:05:40.480 --> 0:05:44.839 their version of that story. You know, everyone has a story, unfortunately, 0:05:44.880 --> 0:05:48.320 I guess of wills that haven't gone the way they 0:05:48.360 --> 0:05:53.200 thought they would, and of siblings that perhaps don't treat 0:05:53.279 --> 0:05:56.560 you or each other the way that you sometimes hope 0:05:56.600 --> 0:05:58.760 they would. So I think that that's what's lovely and 0:05:58.839 --> 0:06:00.240 complex about this family. 0:06:00.440 --> 0:06:02.600 I think the currency at the moment with being an 0:06:02.640 --> 0:06:05.400 audience and you know, watching television is wanting to feel 0:06:05.440 --> 0:06:08.840 seen and wanting to see ourselves on screen. And I 0:06:08.839 --> 0:06:11.839 think that's what makes television enjoyable, no matter what the 0:06:11.839 --> 0:06:13.800 subject matter is, whether it is a drama or whether 0:06:13.839 --> 0:06:15.880 it is a comedy. You know, and this one is 0:06:15.920 --> 0:06:18.239 a bit of a drama comedy, even though the subject 0:06:18.240 --> 0:06:19.760 matter is at times quite bleak. 0:06:19.920 --> 0:06:22.800 Yeah, it really is. And I think that was some 0:06:22.839 --> 0:06:25.000 of the great appeal of the show for us in 0:06:25.080 --> 0:06:27.520 terms of the commission, was that, you know, there is 0:06:27.560 --> 0:06:31.800 a there's a sort of TV family that you might expect, 0:06:31.920 --> 0:06:35.000 and it's all kind of happy families generally, Whereas this 0:06:35.080 --> 0:06:38.799 came to us and it felt incredibly real and incredibly authentic, 0:06:38.880 --> 0:06:41.080 and we sort of knew that once we started getting 0:06:41.120 --> 0:06:44.040 into these scripts that you know, our audience, we're going 0:06:44.080 --> 0:06:47.320 to recognize these characters for better or worse, and that's 0:06:47.360 --> 0:06:49.320 certainly come to pass. Is that a lot of the 0:06:49.360 --> 0:06:51.720 conversations that I'm having and a lot of the commentary 0:06:51.720 --> 0:06:54.800 that we're seeing online is just how close to the 0:06:54.800 --> 0:06:58.400 bone these characters are to being reflective of families out there, 0:06:58.440 --> 0:07:02.280 and particularly simply rivalries which you know most of us have, 0:07:02.600 --> 0:07:05.800 and just seeing where those allegiances shift and all those 0:07:05.839 --> 0:07:09.239 sorts of things. So it's, you know, is that boldness 0:07:09.279 --> 0:07:11.400 of the family unit that was really appealing? 0:07:11.520 --> 0:07:14.960 I think the ABC has been doing such a fantastic job, Brett, 0:07:15.000 --> 0:07:17.560 I would say, you know, with scripted dramas, I've absolutely 0:07:17.600 --> 0:07:20.600 loved Savage River and now Significant Others. Is this a 0:07:20.680 --> 0:07:24.760 change of tone for you and the ABC? Or has 0:07:24.760 --> 0:07:26.720 this got more to do with maybe me realizing a 0:07:26.880 --> 0:07:28.160 PC is where it's at? 0:07:28.440 --> 0:07:30.720 Do you know, I'd like, Ben, I'd like to think 0:07:30.720 --> 0:07:32.840 it's the latter. Do you know, I really like to 0:07:32.840 --> 0:07:35.120 think it's the latter. That you know, you could go 0:07:35.240 --> 0:07:38.360 back and you could see these qualities in our output 0:07:38.440 --> 0:07:42.080 over the last decade or more, that you know, we're 0:07:42.120 --> 0:07:46.240 not new to writing sophisticated dramas and dramas that shine 0:07:46.320 --> 0:07:49.640 lights on unexpected places in Australia and take you to 0:07:49.800 --> 0:07:53.720 unexpected places. So I'm delighted that you are sort of 0:07:53.920 --> 0:07:57.720 uncovering that, and our remit is really to to find 0:07:57.920 --> 0:08:02.760 more more unique sort of i'd say, younger audience to 0:08:02.800 --> 0:08:05.160 come to the ab ser It's a large and loyal 0:08:05.720 --> 0:08:08.840 audience already, but it's really important for us to get that, 0:08:09.080 --> 0:08:11.240 you know, and by younger, I mean sort of you know, 0:08:11.480 --> 0:08:15.000 in the forty five fifty five range, you know, So 0:08:15.320 --> 0:08:17.280 you know, that's great to hear from you, But I 0:08:17.360 --> 0:08:20.239 don't I don't think it's it's sort of a change 0:08:20.280 --> 0:08:23.120 that we're suddenly doing stuff differently. I mean, we're all 0:08:23.160 --> 0:08:27.200 informed by what we're seeing globally on the streamers, and 0:08:27.280 --> 0:08:30.640 certainly our writers, you know, of more recent years, they're 0:08:30.680 --> 0:08:34.520 all now global citizens, writing for various different platforms and 0:08:34.520 --> 0:08:36.920 that sort of stuff which is affecting the work and 0:08:37.040 --> 0:08:39.880 you know, making the work have a more global feel 0:08:39.960 --> 0:08:42.080 to it. But you know, I think it's certainly always 0:08:42.080 --> 0:08:42.480 been there. 0:08:42.640 --> 0:08:44.000 I kind of feel like this is a really good 0:08:44.000 --> 0:08:46.800 analogy and it's like, you know, Triple M or is 0:08:46.800 --> 0:08:49.760 it Triple No, it's Gold. You know, like those older 0:08:50.080 --> 0:08:52.920 music radio stations that when you're a kid, your parents 0:08:52.960 --> 0:08:55.600 are playing in the car and then all of a sudden, 0:08:55.880 --> 0:08:58.240 you're in the car now listening to the Gold radio 0:08:58.240 --> 0:09:01.120 station because Alanis Morisset's come on, and you just realize 0:09:01.160 --> 0:09:03.360 that you've fitted into. 0:09:03.080 --> 0:09:05.480 That category finally, you know what I mean, Like, it's. 0:09:05.320 --> 0:09:08.640 Now okay, I'm I'm at the age now ABC is 0:09:08.760 --> 0:09:12.199 just going to be my primary channel, you know, And I. 0:09:12.240 --> 0:09:14.600 View I love that story, Ben, because I had that 0:09:14.720 --> 0:09:19.679 exact experience with RN, like Radio National, because I always 0:09:19.880 --> 0:09:22.680 used to listen to like Triple J. And then yeah, 0:09:22.720 --> 0:09:24.880 there was just this moment where I just found myself 0:09:25.000 --> 0:09:27.520 landing on RN, and I was like, wow, yep, I'm 0:09:27.520 --> 0:09:30.120 definitely at a time in my life, but that is 0:09:30.160 --> 0:09:30.800 more relevant. 0:09:31.080 --> 0:09:35.800 Yeah, Brett as the head of ABC's well as ABC 0:09:35.920 --> 0:09:38.280 head of Drama, what sort of involvement do you have 0:09:38.440 --> 0:09:40.720 on a series like Significant Others? 0:09:40.800 --> 0:09:42.840 I mean, how do you over see a project like this? 0:09:43.200 --> 0:09:45.439 Well, look, my involvement in this one. This has very 0:09:45.520 --> 0:09:49.160 much been you know the work of Lou who's been 0:09:49.200 --> 0:09:52.160 sort of overseen this and I should say before Lou 0:09:52.240 --> 0:09:55.560 that the project has been with the ABC for several years, 0:09:55.600 --> 0:09:58.120 so I've seen you know, a number of executive producers 0:09:58.160 --> 0:10:01.599 and development executives working across feeding into the scripts and 0:10:01.640 --> 0:10:04.199 those sorts of things over a number of years. So 0:10:04.760 --> 0:10:07.160 you know, in some respects on Johnny cum lately on 0:10:07.240 --> 0:10:09.640 this project. So it's been an absolute thrilled to come 0:10:09.679 --> 0:10:14.040 to something that's so developed and so so beautifully authored, 0:10:14.120 --> 0:10:17.640 I think is what appeals on this project so much 0:10:18.080 --> 0:10:20.440 so as a general rule, I sort of, you know, 0:10:20.640 --> 0:10:23.960 my involvement with this one has been you know, towards 0:10:24.000 --> 0:10:26.319 the back end of it, towards the production end of it, 0:10:26.600 --> 0:10:29.400 as it gets, as the casting starts to happen, as 0:10:29.440 --> 0:10:32.079 the shoot happens, and as yet it's happened, and as 0:10:32.120 --> 0:10:36.000 we line up that wonderful ABC machine which is getting 0:10:36.080 --> 0:10:39.520 all the various other ABC elements together in terms of 0:10:39.520 --> 0:10:42.200 promoting and marketing and publicity and all those sorts of 0:10:42.240 --> 0:10:45.160 things and giving its best shot to reach an audience. 0:10:45.520 --> 0:10:47.840 Well, I'm just fascinated by the title head of Drama, 0:10:48.000 --> 0:10:50.000 and I'd love to know sort of what the day 0:10:50.000 --> 0:10:52.559 in the life of you looks like, not necessarily a 0:10:52.960 --> 0:10:54.920 day in the life. But more what does your role 0:10:55.040 --> 0:10:57.000 involve for people who might not understand it. 0:10:57.400 --> 0:11:00.320 So a clarification first, At the moment, it is acting 0:11:00.360 --> 0:11:02.840 head of Drama, So I'm quick to point that out 0:11:02.880 --> 0:11:07.320 that our wonderful esteem leader Sally Riley is currently I believe, 0:11:07.400 --> 0:11:11.800 so I'm filling those enormous shoes Albert for a temporary 0:11:12.400 --> 0:11:15.400 time at the moment. But what the role looks like 0:11:15.760 --> 0:11:19.640 is it's just you know, having an oversight predominantly on 0:11:19.720 --> 0:11:21.840 the stuff for this sort of on air at the moment, 0:11:22.240 --> 0:11:24.640 so that you're familiar with the slate that's on air, 0:11:25.000 --> 0:11:27.920 and there's you know, there's consideration of thinking, and this 0:11:28.080 --> 0:11:30.080 is very much shared among the team. We've got a 0:11:30.120 --> 0:11:34.560 fabulous team of incredibly capable people, and we have very robust, 0:11:34.720 --> 0:11:38.560 engaging conversations about when we get submissions in and we 0:11:38.679 --> 0:11:43.920 share our scripts on shows oftentimes well we'll share an 0:11:44.000 --> 0:11:47.560 edit of something. So it's having an oversight of the 0:11:47.600 --> 0:11:50.199 shows that are on air and a strategy towards what 0:11:50.240 --> 0:11:53.400 we all collectively think the audiences might be looking for 0:11:53.480 --> 0:11:56.800 in twelve eighty months time or you know, in some instances, 0:11:57.080 --> 0:12:00.400 given the length and gestation of development. You know, I 0:12:00.440 --> 0:12:03.640 was trying to have a thought about what audiences might 0:12:03.640 --> 0:12:05.280 be looking for in two or three years. 0:12:05.559 --> 0:12:07.280 Yeah, absolutely, Louise. 0:12:07.400 --> 0:12:11.120 I think what really captivated me about this project from 0:12:11.160 --> 0:12:14.160 the get go is how beautiful the project looked from 0:12:14.160 --> 0:12:17.080 the promo. It looks like a TV series, just as 0:12:17.120 --> 0:12:20.200 polished as say, Big Little Lies or any other project 0:12:20.240 --> 0:12:21.640 from around the world. 0:12:22.000 --> 0:12:24.079 Is that an interesting thing for me to say to you, Well, 0:12:24.120 --> 0:12:25.720 I love that, and. 0:12:25.640 --> 0:12:28.480 That's fantastic, and I think that you know, what's really 0:12:28.520 --> 0:12:31.880 interesting about that statement is that I think it reflects 0:12:31.920 --> 0:12:35.520 definitely the ambition of the team, and you know, you 0:12:35.640 --> 0:12:37.920 always hope that it will come through on the screen 0:12:37.960 --> 0:12:40.000 in the same way that you imagine it. But I 0:12:40.040 --> 0:12:44.560 think as well, what this project had was that Tony 0:12:44.640 --> 0:12:49.400 Krowitz directed all six episodes. And you know, I've been 0:12:49.520 --> 0:12:52.840 following Tony's work since he did the short featured you 0:12:52.920 --> 0:12:57.040 Boy years ago, and I think he's an incredible director 0:12:57.280 --> 0:13:01.520 and brings a sort of not only beautiful performances and 0:13:01.679 --> 0:13:04.480 allows that space for the actors to create, but he 0:13:04.559 --> 0:13:07.960 also brings a beautiful visual style that I think is 0:13:08.920 --> 0:13:11.720 it isn't about it's not showy, it's not trying to 0:13:11.720 --> 0:13:13.400 be like, oh look at me, you know, it's sort 0:13:13.400 --> 0:13:16.640 of it has a groundedness and an authenticity to the 0:13:16.720 --> 0:13:19.640 sort of place and the characters. And I think as well, 0:13:19.640 --> 0:13:21.520 the other thing I love about this series to your 0:13:21.559 --> 0:13:24.800 point about the look and feel, is that it's set 0:13:25.080 --> 0:13:29.280 all around you know, Malabah and Little Bay and that 0:13:29.320 --> 0:13:33.640 sort of side of Sydney that we don't often see 0:13:33.640 --> 0:13:36.200 in this way. I guess. I even actually had a 0:13:36.240 --> 0:13:38.720 text from a friend who lives in Melbourne going where 0:13:38.760 --> 0:13:40.920 in Sydney was that shot? You know, it just sort 0:13:40.920 --> 0:13:43.720 of I think that that's an intriguing element to it 0:13:43.760 --> 0:13:48.760 as well, because the sea is such a character, and 0:13:48.800 --> 0:13:52.000 I love that sort of real specificity of place that 0:13:52.040 --> 0:13:52.680 it delivers. 0:13:53.240 --> 0:13:55.760 Yeah, I think that there's something very other world if 0:13:55.760 --> 0:13:58.200 you've done that walk, and I mean all Sydney Siders 0:13:58.240 --> 0:14:02.840 will know it, from Kuji through to Bondi, you can't 0:14:02.880 --> 0:14:06.280 help but feel like the sea is a character. It 0:14:06.360 --> 0:14:11.520 looks all consuming, it looks dangerous, it looks enticing, it's beautiful, 0:14:11.800 --> 0:14:14.760 and I think that's kind of a great landing place 0:14:14.800 --> 0:14:16.520 for where you'd want to set a story like this, 0:14:16.720 --> 0:14:18.480 because they are some of the themes. 0:14:18.520 --> 0:14:22.040 You know, yeah, I agree, and I think that the 0:14:22.240 --> 0:14:26.479 connection that probably Sydney Siders, but a lot of Australians 0:14:26.520 --> 0:14:29.080 who live on the coast have is as you say, 0:14:29.240 --> 0:14:32.800 that thing about the water drawing us to it, but 0:14:32.960 --> 0:14:37.040 also being really aware that it is you know, it 0:14:37.080 --> 0:14:41.800 has its own violence and chaos that it can also 0:14:42.160 --> 0:14:45.200 consume you with. So I mean, I love the way 0:14:45.200 --> 0:14:49.320 they've shot the series and that character of the ocean. 0:14:49.680 --> 0:14:51.520 Well, just following on from that, have we come a 0:14:51.560 --> 0:14:54.560 long way with Australian projects and is there a need 0:14:54.640 --> 0:14:57.120 to make sure that the quality of our shows look 0:14:57.320 --> 0:14:59.320 just as good as say HBO. 0:15:00.120 --> 0:15:03.120 I think there is. I think you know, we we 0:15:03.160 --> 0:15:06.040 with our commissions, we you know well as a general rule, 0:15:06.080 --> 0:15:09.000 we are working with international partners on them, so there 0:15:09.040 --> 0:15:12.680 is that expectation that they will have that premium look 0:15:12.760 --> 0:15:15.640 and feel to them. So I think that's and you know, 0:15:15.720 --> 0:15:18.080 you certainly look at some of the other shows that 0:15:18.120 --> 0:15:20.560 we've put out more recently sort of I'm thinking of 0:15:20.600 --> 0:15:23.360 Mystery Road and The News Reader, and they all tend 0:15:23.400 --> 0:15:26.960 to have a very you know, a premium drama feel 0:15:27.040 --> 0:15:29.320 to them. So I think that's absolutely the case. 0:15:29.800 --> 0:15:33.720 Oh, the News reader. I'm just I just loved that 0:15:33.840 --> 0:15:36.280 series so much, and I know you've got the second 0:15:36.280 --> 0:15:38.440 series in the Cancer for people listening to this podcast 0:15:38.520 --> 0:15:41.400 right now. We are so lucky to have Sam back 0:15:41.480 --> 0:15:44.240 playing in that role and anatol like I just think, 0:15:44.400 --> 0:15:47.400 especially after Sam Reed had been in interview with a vampire, 0:15:47.640 --> 0:15:49.960 you know, I think the world's just about to discover him. 0:15:50.120 --> 0:15:53.400 So I absolutely agree. Yeah, what sort. 0:15:53.240 --> 0:15:56.440 Of scripted drama is the ABC looking at it the moment? 0:15:56.480 --> 0:15:59.360 Are there any kinds of themes or guides that need 0:15:59.400 --> 0:16:02.440 to tick a box to excite you? Well? 0:16:02.480 --> 0:16:05.600 Look, I think the things that will always work for 0:16:05.720 --> 0:16:08.480 us are you know the staples of your sort of 0:16:08.520 --> 0:16:12.360 crime shows. You know, you know we've we've generally always 0:16:12.400 --> 0:16:14.280 had something that's sat in the crime because we know 0:16:14.360 --> 0:16:16.800 that our audience, we've got a large and oil audience 0:16:16.800 --> 0:16:20.760 that gravitates towards crime. So you know, crime is always 0:16:20.760 --> 0:16:22.800 a staple for us. But of course it's sort of 0:16:22.880 --> 0:16:24.760 you know what we're looking for and I guess look, 0:16:24.800 --> 0:16:27.440 everyone is looking for is same but different, you know, 0:16:27.560 --> 0:16:30.800 looking for that twist on crime and to pull Mystery 0:16:30.880 --> 0:16:33.400 Road out as the example you know that was. You know, 0:16:33.480 --> 0:16:36.560 it's a crime, it's a proceed it's got procedural elements 0:16:36.600 --> 0:16:39.360 to it, and it's got an overarching story, but gee whiz, 0:16:39.400 --> 0:16:42.600 it takes you to an environment that no audiences have 0:16:42.640 --> 0:16:45.360 been to before, so you know, and it's the lushness 0:16:45.360 --> 0:16:48.160 of the landscape and actually you know the terror of 0:16:48.160 --> 0:16:50.800 that landscape as well, the Mystery Road takes you to. 0:16:51.080 --> 0:16:54.120 So you know, there's an example of a crime show 0:16:54.240 --> 0:16:58.520 but with incredibly unique Australian elements that plays internationally. So 0:16:59.080 --> 0:17:02.000 crime is always a stable for us. I think, you know, 0:17:02.040 --> 0:17:05.399 where Significant Others has landed has shown that there is 0:17:05.440 --> 0:17:09.919 a great appetite now we know, for relationship drama, for 0:17:10.000 --> 0:17:12.399 something that's set within a family where it's you know, 0:17:12.720 --> 0:17:18.560 we can explore the messiness of contemporary Australian families. So 0:17:18.840 --> 0:17:21.680 that's that's sort of something that's been of great interest 0:17:21.760 --> 0:17:23.880 in putting to the market and the market has responded 0:17:23.920 --> 0:17:29.399 favorably to that. And then beyond that, I think we're 0:17:29.440 --> 0:17:32.920 always interested in things that have some sort of sort 0:17:32.960 --> 0:17:36.560 of factual underginning, so they're about something and this is 0:17:36.600 --> 0:17:39.919 where Newsreader tapped so very nicely into the nostalgia, but 0:17:39.960 --> 0:17:43.640 it was also about recognizable news events and it had 0:17:43.680 --> 0:17:46.960 that heft that it was able to speak to our 0:17:47.080 --> 0:17:49.879 news audience as well, which is an enormous audience that 0:17:49.920 --> 0:17:52.160 comes to the ABC for its news and current affairs. 0:17:52.480 --> 0:17:54.639 So that was kind of the secret source of the 0:17:54.640 --> 0:17:58.080 news reader, along with the fantastic team that brought that 0:17:58.160 --> 0:18:00.560 to us. But that was also an added of that, 0:18:00.640 --> 0:18:03.560 but was able to speak to various ABC audiences, not 0:18:03.680 --> 0:18:05.440 specifically our drama audience. 0:18:05.720 --> 0:18:09.400 Have we ever thought about why Australia and Australian filmmakers 0:18:09.520 --> 0:18:15.600 and content creators have been so successful in crime. It's 0:18:15.640 --> 0:18:17.880 been so successful and we've been telling crime so well 0:18:17.920 --> 0:18:20.200 for so long, But I wonder why that is. 0:18:20.680 --> 0:18:22.439 Yeah, look, I'm not sure. I mean, my background was 0:18:22.480 --> 0:18:24.840 sort of on Blue Healers, so I was fortunate enough 0:18:24.840 --> 0:18:28.359 to have three three years in the script department of that, 0:18:28.520 --> 0:18:32.760 so I've become very very across the procedural and the 0:18:32.760 --> 0:18:34.920 week in, week out and the serial strands and all 0:18:34.920 --> 0:18:37.440 that stuff. I think it's sort of you know Australian 0:18:37.440 --> 0:18:41.160 writers have in the past, or certainly the current batch, 0:18:42.040 --> 0:18:43.800 that was the training ground, that was where you came. 0:18:43.880 --> 0:18:46.719 You came through one of the long running serials, your 0:18:46.760 --> 0:18:49.440 home and away or your neighbors. So you're really well 0:18:49.480 --> 0:18:52.480 skilled at being able to write that style of show 0:18:52.560 --> 0:18:55.840 right relationship stuff, and be very nimble to be able 0:18:55.840 --> 0:18:59.880 to affect change on those shows, and or you would 0:18:59.880 --> 0:19:02.840 be sort of writing in the crime procedural. So you know, 0:19:03.160 --> 0:19:07.080 it's really paying off now in massive dividends and particularly 0:19:07.080 --> 0:19:09.400 with you know, even with significant others. We've got that 0:19:09.480 --> 0:19:11.840 writer's list and you look through the writer's list that 0:19:11.920 --> 0:19:15.720 was on significant others, and each of them have incredibly 0:19:15.760 --> 0:19:18.199 unique skills that they all brought to the table. You know, 0:19:18.320 --> 0:19:22.800 we've got that mystery element, we've got a police investigative element, 0:19:23.000 --> 0:19:26.560 we've got high end relationships stuff going on, and that 0:19:26.640 --> 0:19:29.240 all tracks back to I think, you know, our writers 0:19:29.240 --> 0:19:31.840 having been able to come up through the ranks and 0:19:31.880 --> 0:19:33.080 work on shows like those. 0:19:33.160 --> 0:19:35.040 I'm just going to say that I think that crime 0:19:35.520 --> 0:19:38.000 as a genre travels so well as well. And you 0:19:38.040 --> 0:19:41.240 think about the kinds of shows that we you know, 0:19:41.520 --> 0:19:44.879 have taken on board here from you know, other countries, 0:19:44.920 --> 0:19:47.280 and you know, you know, I just think it's one 0:19:47.280 --> 0:19:51.040 of those subject matters that really people love to dive 0:19:51.119 --> 0:19:53.280 into and get that sort of because you can be 0:19:53.400 --> 0:19:56.320 so specific to your place. You know, there's a sort 0:19:56.359 --> 0:19:59.440 of specificity to the town it's set in, all the 0:19:59.520 --> 0:20:02.879 city set in, and that that in a way is 0:20:02.920 --> 0:20:05.680 what also helps it travel because it allows people and 0:20:06.200 --> 0:20:08.080 you know, around the world to see something and an 0:20:08.080 --> 0:20:11.680 insight into a community that perhaps they hadn't had access 0:20:11.720 --> 0:20:12.280 to before. 0:20:12.640 --> 0:20:14.639 A great example of that, I guess is Animal Kingdom. 0:20:14.680 --> 0:20:17.040 You know, you look at that movie that came out, 0:20:17.160 --> 0:20:20.800 and it's just something that's sat in the Zechist you know, 0:20:20.800 --> 0:20:22.439 it's sat in a world that could have been in 0:20:22.480 --> 0:20:25.840