WEBVTT - EUREKA PRODUCTIONS MAKES IT'S MARK ON THE WORLD 0:00:00.320 --> 0:00:03.640 Welcome back to TV Reload. My name's Benjamin Norris, and 0:00:03.680 --> 0:00:06.240 on this podcast, I'll be going behind the scenes with 0:00:06.360 --> 0:00:08.040 the biggest players in television. 0:00:08.680 --> 0:00:10.960 Kicking off today's episode. I think you. 0:00:10.960 --> 0:00:13.360 May notice, but I have a cold. It's been a 0:00:13.560 --> 0:00:16.400 shocking week for me and the main piece of advice 0:00:16.440 --> 0:00:19.040 that I have for you all is lock your phones 0:00:19.079 --> 0:00:21.720 and don't bummdll celebrities in the middle of the night. 0:00:22.320 --> 0:00:24.840 Imagine the most famous person in your phone and then 0:00:24.920 --> 0:00:28.400 imagine you called them at an ungodly hour. I am 0:00:28.520 --> 0:00:33.320 simply mortified. This week in TV land, RuPaul's down Under 0:00:33.360 --> 0:00:36.320 has launched on stand and I'm super excited about what 0:00:36.400 --> 0:00:39.199 audiences think about that. So hit me up on Twitter 0:00:39.360 --> 0:00:40.519 and let me know your thoughts. 0:00:40.800 --> 0:00:41.360 How do we. 0:00:41.520 --> 0:00:45.280 Compare against the other international formats. I also want to 0:00:45.280 --> 0:00:49.199 recommend that everyone start watching Mayor of Easttown. It's on 0:00:49.320 --> 0:00:51.920 Binge and it's one of the best scripto dramas I've 0:00:51.960 --> 0:00:55.320 ever seen. It's stars Kate Winslett and you won't believe 0:00:55.320 --> 0:00:57.440 me until you've seen it, but it is easily her 0:00:57.520 --> 0:01:01.320 best role. Today on today's episod so I'll be chatting 0:01:01.320 --> 0:01:05.120 with co CEOs at Eureka Production. These boys have taken 0:01:05.160 --> 0:01:09.040 their incredible knowledge producing shows on Channel nine ten seven 0:01:09.080 --> 0:01:12.560 a SBS plus Foxtelle and gone large by taking on 0:01:12.640 --> 0:01:16.560 the world. In twenty sixteen, both Chris Culvinor and Paul 0:01:16.600 --> 0:01:20.800 Franklin co founded Eureka and with their position as co CEO, 0:01:21.200 --> 0:01:23.560 they have led the company to be a world leader 0:01:23.680 --> 0:01:28.080 in unscripted Today, Eureka Productions has launched over twenty fourth 0:01:28.240 --> 0:01:31.640 series in the United States, Canada and Australia, and in 0:01:31.680 --> 0:01:36.200 twenty nineteen the company produced over ninety hours of programming. 0:01:36.959 --> 0:01:39.440 This year alone, we have seen shows like Holy Moly 0:01:39.520 --> 0:01:42.960 on Channel seven, Amazing Race on Channel ten making a 0:01:43.000 --> 0:01:46.080 big splash, and there is plenty. 0:01:45.440 --> 0:01:46.279 More to come. 0:01:46.800 --> 0:01:50.040 So let's get started with today's guests. It's Chris Culvinor 0:01:50.240 --> 0:01:51.160 and Paul Franklin. 0:01:52.280 --> 0:01:54.480 As much as people say they might dislike elements of 0:01:54.520 --> 0:01:56.160 the shew we dislike the show, doesn't. 0:01:55.960 --> 0:01:58.520 Mean they're not watching it. This is Holy molyy. 0:01:59.360 --> 0:02:02.440 We obviously work with Disney on the Holy Molly format 0:02:02.440 --> 0:02:06.000 internationally and they were blown away. 0:02:06.320 --> 0:02:08.919 Welcome to the Amazing Rights Australia. 0:02:09.280 --> 0:02:11.639 The shows are only as good as the people making them. 0:02:12.240 --> 0:02:16.200 They're some of the greatest stories that's in Australia and 0:02:16.240 --> 0:02:16.960 the history. 0:02:17.320 --> 0:02:19.200 We try to empower people so that they feel like 0:02:19.200 --> 0:02:20.560 they've got a real voice in the room. When it 0:02:20.600 --> 0:02:21.519 comes to creativity. 0:02:21.960 --> 0:02:24.799 We're all about carrying on in our dad's footsteps. 0:02:25.000 --> 0:02:26.400 Crigy. It's the OI. 0:02:27.080 --> 0:02:30.320 The truth is everyone at Eureka, and Paul and I included, 0:02:30.480 --> 0:02:32.799 are very passionate about the shows that we make. 0:02:33.360 --> 0:02:35.000 Well Gooday, guys, how are you both? 0:02:35.120 --> 0:02:37.200 Yeah? Very well, that's mate, How are you you good? 0:02:37.440 --> 0:02:38.079 I'm really good. 0:02:38.080 --> 0:02:41.000 But I understand that you two are the busiest people 0:02:41.080 --> 0:02:44.400 in show business, so I am so grateful for your time. 0:02:44.720 --> 0:02:46.679 We never do this stuff. Yeah, you're the only person 0:02:46.680 --> 0:02:47.720 who've done something Eye is with. 0:02:47.760 --> 0:02:51.119 So yeah, guys, we're doing the research for today's podcast. 0:02:51.200 --> 0:02:53.600 I spoke with a lot of the industry peers, and 0:02:53.720 --> 0:02:56.600 every single person I spoke to they said that you're 0:02:56.639 --> 0:03:00.200 both great to work with. People really admire you. They 0:03:00.240 --> 0:03:02.600 all want to work with you, which is great. Paul, 0:03:02.880 --> 0:03:05.000 is it a challenge or a choice to try and 0:03:05.240 --> 0:03:08.520 create such a fun but productive production space that crews 0:03:08.560 --> 0:03:09.160 want to work on. 0:03:09.480 --> 0:03:11.840 Well, it's a challenge in the sense that you do 0:03:11.880 --> 0:03:13.520 want everyone to have a fun time, but you've got 0:03:13.520 --> 0:03:15.640 to get a big job to get done well. What 0:03:15.680 --> 0:03:18.040 we've found is especially in the Australian market because we 0:03:18.480 --> 0:03:20.680 make shows for here, but also the US, there's a 0:03:20.680 --> 0:03:23.800 attraction I think to work on fresh products, and I 0:03:23.800 --> 0:03:26.200 think people get enjoyment and fun out of that. I mean, 0:03:26.440 --> 0:03:28.400 I'm inclined to sort of tell people when we make 0:03:28.400 --> 0:03:29.800 a new show it's like, well, I don't know how 0:03:29.800 --> 0:03:31.480 to make it either, So if you want to come 0:03:31.480 --> 0:03:34.240 on an adventure with people who might not know exactly 0:03:34.280 --> 0:03:34.800 what we're. 0:03:34.600 --> 0:03:36.320 Doing, we could use your help. I mean, that's the 0:03:36.360 --> 0:03:39.280 secret to any people people involved. But we try to 0:03:39.360 --> 0:03:40.840 keep it fun. I mean, you know, the shows are 0:03:40.840 --> 0:03:42.280 what it's all about at the end of the day. 0:03:42.480 --> 0:03:44.040 I mean, I think Chris and I are smart enough 0:03:44.080 --> 0:03:46.040 to know that it's actually the people that make the shows. 0:03:46.080 --> 0:03:47.480 It's not just the two of us trying to work 0:03:47.480 --> 0:03:49.280 out how to make and we need a great. 0:03:49.080 --> 0:03:51.800 Team around us, which we try to empower people so 0:03:51.840 --> 0:03:53.240 that they feel like they've got a real voice in 0:03:53.280 --> 0:03:54.680 the room when it comes to creativity. 0:03:54.880 --> 0:03:57.080 And yeah, I think that's part of the pill. 0:03:57.160 --> 0:03:57.360 Chris. 0:03:57.360 --> 0:04:00.720 I can imagine trust as a producer is via. Do 0:04:00.800 --> 0:04:03.800 you find that creating that trust I guess with the 0:04:03.840 --> 0:04:06.080 talent on screen and the people that are working for 0:04:06.120 --> 0:04:07.000 you is important? 0:04:07.200 --> 0:04:10.280 Yeah? Absolutely. I mean I think trust on every level 0:04:10.360 --> 0:04:12.720 is important. As you said, it's the trust of the 0:04:12.720 --> 0:04:16.040 broadcast or the platform that they have in Eureka, it's 0:04:16.040 --> 0:04:18.320 the trust that we have in our staff. And what 0:04:18.360 --> 0:04:20.840 Paul said then is the shows are only as good 0:04:20.880 --> 0:04:23.640 as the people making them, So a lot of what 0:04:23.680 --> 0:04:26.919 we do is attracting the best talent, nurturing the best talent, 0:04:27.000 --> 0:04:30.000 and trying to foster the best talent. So there needs 0:04:30.040 --> 0:04:32.520 to be trust there, but equally, there needs to be 0:04:32.560 --> 0:04:35.960 an environment for people to really have a go and 0:04:36.080 --> 0:04:36.800 really kind. 0:04:36.680 --> 0:04:37.799 Of prove themselves. 0:04:38.360 --> 0:04:42.080 So absolutely trust is essential and key and certainly something 0:04:42.240 --> 0:04:43.760 I don't think we've had. 0:04:43.640 --> 0:04:45.120 Any real problems with. 0:04:45.240 --> 0:04:48.640 Because the truth is, everyone at Eureka, and Paul and 0:04:48.720 --> 0:04:52.039 I included, are very passionate about the shows that we make, 0:04:52.440 --> 0:04:55.760 and so that passion is really what drives all the 0:04:55.800 --> 0:04:57.440 sort of creative forces behind it. 0:04:57.520 --> 0:04:59.640 Well, Chris, while we've got to there, just ask how 0:04:59.720 --> 0:05:01.640 did you Rica Productions get started? 0:05:02.240 --> 0:05:05.200 So Paul and I had been working together almost for 0:05:05.240 --> 0:05:08.559 about twelve years prior to starting Eureka, so we'd worked 0:05:08.560 --> 0:05:12.960 at Fremantle Australia, Shine Australia, and then most recently we 0:05:12.960 --> 0:05:16.400 were both living in the States working for Shine America. 0:05:16.520 --> 0:05:20.920 So I was running development there and Paul was running programming, 0:05:21.200 --> 0:05:24.159 and our contracts both ended at the same time. We 0:05:24.200 --> 0:05:26.600 looked at each other and thought we'd been doing this 0:05:27.080 --> 0:05:29.480 for other people for a long time, sort of you know, 0:05:29.560 --> 0:05:32.159 two sides of the coin. And we both knew we 0:05:32.240 --> 0:05:35.680 had very different skill sets, but complementary skill sets. So 0:05:36.400 --> 0:05:40.760 I guess, bravely or naively or stupidly, however you want 0:05:40.760 --> 0:05:42.560 to look at it, we just thought let's take a 0:05:42.640 --> 0:05:45.640 risk and let's go out on our own. And there's 0:05:45.680 --> 0:05:48.320 been huge amounts of learning in the last six years 0:05:48.520 --> 0:05:51.080 of growing Eureka. There's been ups and downs ause. I'm 0:05:51.120 --> 0:05:55.400 sure everyone in this industry experiences, but really we started 0:05:55.400 --> 0:05:56.919 from you know, with Paul and I in a we 0:05:57.080 --> 0:06:00.679 work space six years ago and it was a company 0:06:00.680 --> 0:06:04.080 that didn't have any pipeline at all. We didn't have, 0:06:04.160 --> 0:06:06.200 you know, a great big format in the bank. It 0:06:06.400 --> 0:06:09.400 literally was like, let's start with a whiteboard and let's 0:06:09.440 --> 0:06:12.000 start with the relationships that we had, and I think 0:06:12.040 --> 0:06:14.640 one of the things that we're really grateful for is, yes, 0:06:14.720 --> 0:06:17.919 we took a risk, but there's so many broadcasters and 0:06:18.080 --> 0:06:20.360 networks around the world that took a risk on us, 0:06:20.839 --> 0:06:23.720 and certainly we wouldn't be where we're at without that 0:06:23.800 --> 0:06:25.280 support and that belief as well. 0:06:25.320 --> 0:06:26.760 You know, I was looking at the amount of shows 0:06:26.760 --> 0:06:28.480 that you guys are making at the moment. 0:06:28.400 --> 0:06:31.280 And it's madness. It's actual madness. 0:06:31.600 --> 0:06:34.640 Paul, in the last five years, did you expect that 0:06:34.720 --> 0:06:37.479 the business would grow so big so quickly? 0:06:37.760 --> 0:06:39.760 Maybe not so quickly. 0:06:40.240 --> 0:06:42.120 I think because Chris and I came out of big 0:06:42.160 --> 0:06:45.560 companies like Freemantle and AENEML, Sean and Sean America, and 0:06:45.600 --> 0:06:48.719 you get used to having the big corporate business with 0:06:48.800 --> 0:06:52.640 toys around you and access to a lot of support, 0:06:52.800 --> 0:06:55.080 I guess, and I think because we were coming out 0:06:55.160 --> 0:06:57.919 of that, it doesn't work like that. You do go 0:06:58.000 --> 0:07:00.360 back to pretty much a standing start, to Chris point, 0:07:00.440 --> 0:07:02.039 so you haven't got a big show in your back 0:07:02.040 --> 0:07:04.040 pocket that you know is going to generate money coming 0:07:04.040 --> 0:07:06.880 through the door. So I think at the outset we 0:07:07.000 --> 0:07:08.960 probably had, we probably thought we would have done better 0:07:08.960 --> 0:07:10.840 in the first year or two, but it's a hard, 0:07:10.880 --> 0:07:13.880 hard grind. It might feel quick people on the outside, 0:07:13.920 --> 0:07:16.360 but it's been six years, so to us it's been 0:07:16.480 --> 0:07:18.360 a bit of a mountain the whole way. It still 0:07:18.360 --> 0:07:21.280 feels like a mountain every day. So so it doesn't 0:07:21.320 --> 0:07:23.680 feel as rapid as it might appear in a couple 0:07:23.720 --> 0:07:25.840 of sentences when you describe that way. 0:07:26.080 --> 0:07:28.400 Nothing ever happens in a straight line. You know, when 0:07:28.400 --> 0:07:31.840 you read people's autobiographies, you're always like, Wow, these people 0:07:31.880 --> 0:07:34.000 just must have been really lucky. But you know, you 0:07:34.200 --> 0:07:38.280 delete so much space, you know, and the bits in between, 0:07:38.440 --> 0:07:40.160 you know, you just sort of keep it rolling. But 0:07:40.640 --> 0:07:43.960 you both have contributed to the landscape of television consistently 0:07:44.000 --> 0:07:46.440 for your entire working careers. I like to ask, at 0:07:46.560 --> 0:07:49.800 what stage in your career did you realize that you 0:07:49.800 --> 0:07:52.240 know you've made it, Chris, what show was it for 0:07:52.320 --> 0:07:55.560 you where you thought, I'm good at this and I'm 0:07:55.600 --> 0:07:56.800 proud of the work that I'm doing. 0:07:56.960 --> 0:08:00.600 I think every single show that you go into, I 0:08:00.640 --> 0:08:03.080 think there's a level of passion and there has to be. 0:08:03.680 --> 0:08:06.560 You know, you're right, like, we've both been doing this 0:08:06.600 --> 0:08:08.840 for a long time, and I think you can look 0:08:08.880 --> 0:08:12.320 at shows that seeing pivotal in your career. One thing 0:08:12.360 --> 0:08:14.200 that I look back on it I'm very proud of. 0:08:14.240 --> 0:08:17.120 It's not a show that I created or did anything 0:08:17.160 --> 0:08:20.760 like that. I worked with the Fantasies bringing The Apprentice 0:08:20.800 --> 0:08:23.920 to Australia and that show had never been done in 0:08:23.920 --> 0:08:25.440 Australia and it was a show that I was a 0:08:25.520 --> 0:08:28.400 huge fan of. And you know, I worked with the 0:08:28.440 --> 0:08:30.720 CEOs of that company at the time to help bring 0:08:30.760 --> 0:08:33.800 it out and that was just an incredible experience of 0:08:33.960 --> 0:08:36.640 building a format from the ground up. And I remember 0:08:36.720 --> 0:08:39.640 Paul and I doing the first screen test with Mark 0:08:39.679 --> 0:08:41.880 Burris back in the day to try and find who 0:08:41.960 --> 0:08:43.360 is going to be that boss figure. 0:08:44.200 --> 0:08:47.000 The team that makes the most money wins, get on Twitter, 0:08:47.120 --> 0:08:49.920 get on Facebook, get on the telephone, raise money for 0:08:49.960 --> 0:08:52.000 your charity. Of course, there's another side, there'll be a 0:08:52.040 --> 0:08:56.480 losing team. From the losing team, someone will be fired. 0:08:57.640 --> 0:09:00.559 So that was a show that really out as a 0:09:00.640 --> 0:09:02.160 kind of a turning point in my career. 0:09:02.679 --> 0:09:05.400 And then I think in terms of a show. 0:09:05.160 --> 0:09:08.560 At Eureka that was pivotal to our success was a 0:09:08.559 --> 0:09:11.640 show we did for Netflix called Dating Around, which was 0:09:12.040 --> 0:09:15.360 an original take and a twist on the dating genre, 0:09:15.520 --> 0:09:18.600 and it was one of Netflix's first unscripted shows. So 0:09:18.720 --> 0:09:22.280 from I guess a company trajectory point of view, that 0:09:22.400 --> 0:09:25.920 proved to the marketplace that not only could we execute shows, 0:09:25.960 --> 0:09:28.520 but we were able to come up with new takes 0:09:28.520 --> 0:09:31.800 on genres and original ideas, and that put us on 0:09:31.840 --> 0:09:34.680 the path for a lot of networks around the world 0:09:34.840 --> 0:09:37.880 trusting us with new ideas, and so that one stands 0:09:37.920 --> 0:09:40.360 out as well as an original show that was really 0:09:40.400 --> 0:09:41.600 defining for our company. 0:09:44.400 --> 0:09:46.560 S Oh hi, are you Nick? 0:09:46.880 --> 0:09:50.200 Yes, I'm nervous, but like I've never been on bline 0:09:50.240 --> 0:09:50.720 people before. 0:09:50.920 --> 0:09:53.360 So me there, I'm like the bitty girl, but I've 0:09:53.400 --> 0:09:56.640 never done in drug and y oh yeah, I love them. 0:09:56.880 --> 0:10:00.560 Oh my god, this conversation just took a really interesting turn. 0:10:01.160 --> 0:10:05.120 Just to first Blaine Dads, who, well, what was it 0:10:05.280 --> 0:10:05.920 with your work? 0:10:05.960 --> 0:10:09.119 I mean, Master Chef. I can imagine taking Master Chef overseas. 0:10:09.440 --> 0:10:10.520 That must have been a moment. 0:10:10.600 --> 0:10:13.240 I mean, look, you, Master Chef's been very good to me, 0:10:13.440 --> 0:10:15.199 you know, having been there from the first series in 0:10:15.240 --> 0:10:18.719 Australia and going out to England and you know, researching 0:10:18.760 --> 0:10:20.520 it and working out the format and all the rest. 0:10:20.559 --> 0:10:23.480 And then getting like I spent six months traveling helping 0:10:23.559 --> 0:10:26.160 roll it out on the place like France and significantly 0:10:26.200 --> 0:10:26.880 in the US. 0:10:27.160 --> 0:10:29.960 But when I think back, two shows stand out for me. 0:10:30.080 --> 0:10:32.680 One is back in the nineties, I worked to Channel 0:10:32.760 --> 0:10:35.439 nine as like a field producer and I got to 0:10:35.440 --> 0:10:37.760 ask to work on a show called Changing Rooms, which 0:10:38.160 --> 0:10:38.920 not many people. 0:10:38.679 --> 0:10:40.679 Would remember they might do from back in the day. 0:10:40.720 --> 0:10:42.880 It was very, very popular at the time, and when 0:10:42.880 --> 0:10:44.520 I went for the job interview, I said I know 0:10:44.520 --> 0:10:47.600 nothing about home renovation. I like, I don't think I'm 0:10:47.640 --> 0:10:49.079 the guy, and they said, no, no, we've heard you get 0:10:49.080 --> 0:10:50.600 along long with people want you to do it. It 0:10:50.640 --> 0:10:53.600 was Eric Dwyer and David Barbert and David Barbat does 0:10:53.760 --> 0:10:56.000 block now. And I did the show and it did 0:10:56.040 --> 0:10:58.000 really well, and then I moved to London. It was 0:10:58.040 --> 0:11:00.120 like nineteen ninety nine and I was like, oh, well, 0:11:00.120 --> 0:11:01.160 I've done that show. I don't want to do that 0:11:01.200 --> 0:11:03.600 show again. And I got approached by the BBC to 0:11:03.720 --> 0:11:06.920 make Changing Rooms for the BBC One and naively, I 0:11:06.920 --> 0:11:07.960 didn't realize. 0:11:07.640 --> 0:11:09.640 Just how big the show was. And I tried to 0:11:09.640 --> 0:11:11.360 do other shows and what else have you gotten? And 0:11:11.400 --> 0:11:13.120 they said we really want you to do this show 0:11:13.440 --> 0:11:14.160 and I did. 0:11:14.000 --> 0:11:16.600 It, and in England that was kind of a turning 0:11:16.600 --> 0:11:18.240 point because it was like, I think we're getting like 0:11:18.280 --> 0:11:20.120 fifteen million viewers on a Monday night. 0:11:20.200 --> 0:11:22.240 You know, it's just massive. In the year two thousand 0:11:22.280 --> 0:11:23.240 and I was, I. 0:11:23.160 --> 0:11:25.280 Was show running that and I don't think I quite 0:11:25.320 --> 0:11:28.319 realized until later just how big it was. But because 0:11:28.360 --> 0:11:30.000 of that, it opened a lot of doors in London 0:11:30.040 --> 0:11:32.120 for me. I lived in London for about seven years, 0:11:32.120 --> 0:11:35.920 so that was a really significant format. Interestingly, started in Australia, 0:11:36.040 --> 0:11:37.920 got to London and that's where it took off. 0:11:38.080 --> 0:11:38.760 The flip of that. 0:11:38.920 --> 0:11:40.520 The next show that which was pivotal for me, was 0:11:40.559 --> 0:11:44.200 Biggest Loser, because I did the Biggest Loser in England. 0:11:44.240 --> 0:11:46.240 I did the first series there and it was a nightmare. 0:11:46.320 --> 0:11:48.199 It was just like there was no budget. 0:11:48.240 --> 0:11:49.240 It was had leaning on the show. 0:11:49.280 --> 0:11:51.640 It was like eight episodes and it was I was 0:11:51.640 --> 0:11:55.040 literally geting up at five am, driving into the countryside, 0:11:55.480 --> 0:11:59.360 shooting waynes eliminations, grabbing the tapes, driving back at midnight 0:11:59.480 --> 0:12:00.959 and walking the edit the next day. 0:12:00.960 --> 0:12:02.160 I was a really Skelton crew. 0:12:02.520 --> 0:12:05.680 The reason that was SIGNIFICA was a really classic reality 0:12:05.920 --> 0:12:08.680 storytelling and that's where I really learned most of my 0:12:08.800 --> 0:12:12.040 chops in the reality space because I had to because 0:12:12.040 --> 0:12:14.760 it was a skeleton crew. And again it was at 0:12:14.760 --> 0:12:16.760 that time that the Mark and carf Fantasy or a 0:12:16.800 --> 0:12:18.560 Crackerjack rang me up and said we want to do 0:12:18.559 --> 0:12:21.000 it six nights a week, which is consider coming back 0:12:21.000 --> 0:12:22.800 to live in Australia. And that's when I came back, 0:12:23.360 --> 0:12:25.319 and so all the skills, the hard week that I've 0:12:25.320 --> 0:12:27.800 done in London was down. Of course, that show, the 0:12:27.840 --> 0:12:30.880 first season was massive when it came out. They're probably 0:12:30.880 --> 0:12:34.640 the ones where I benefited immensely. And you know, Master 0:12:34.760 --> 0:12:38.360 Chef obviously is a significant product, but you know a 0:12:38.400 --> 0:12:39.280 lot of what Master. 0:12:39.120 --> 0:12:41.520 Chef has was born out of learning how to strip 0:12:41.520 --> 0:12:43.440 a show, like we did with The Biggest Loser. That's 0:12:43.440 --> 0:12:46.679 where the basis of a challenge of night and all 0:12:46.679 --> 0:12:48.760 that sort of thing we did that in Loser and 0:12:48.800 --> 0:12:51.280 then and then of recent stuff, Holy Moley is kind 0:12:51.280 --> 0:12:54.840 of our biggest show, and especially in America. I just 0:12:54.840 --> 0:12:57.560 came back from filming season three and four, and yeah, 0:12:57.640 --> 0:12:59.680 the show is it's just it's just such a great show. 0:13:00.240 --> 0:13:02.120 It's a real calling card for our company over there. 0:13:02.200 --> 0:13:03.640 So it's my favorite. 0:13:03.679 --> 0:13:05.480 Some of the shows that are in production at the moment, 0:13:05.559 --> 0:13:09.000 like you know, Holly Molly USA and Lux Listening Byron 0:13:09.040 --> 0:13:12.800 Bays Full Bloom and Frogger. Just cherry picking two of 0:13:12.840 --> 0:13:16.640 these shows, Paul, can you talk to me about Froger? 0:13:16.720 --> 0:13:20.120 Immediately I thought of the Arcade game because that's my jam. 0:13:20.160 --> 0:13:22.280 I grew up in the eighties. So am I writer? 0:13:22.360 --> 0:13:24.360 Is that basically what that show is based on. 0:13:24.720 --> 0:13:27.280 Chris was the one who had the idea for the show, 0:13:27.400 --> 0:13:29.959 so and he spotted the brand, and you should. 0:13:29.679 --> 0:13:30.560 Answer this, yeah. 0:13:30.600 --> 0:13:33.160 I mean, I think with the success of Holy Molly 0:13:33.679 --> 0:13:35.560 in the States, a lot of people were coming to 0:13:35.600 --> 0:13:40.319 Eureka and asking what was our next big physical competition show. 0:13:40.640 --> 0:13:42.480 And it took us a bit of time to find, 0:13:42.679 --> 0:13:44.959 you know, what it should be. And I was actually 0:13:45.040 --> 0:13:47.839 at MIP and I was walking past a Konami stand. 0:13:47.920 --> 0:13:51.080 Kanami are the publishers of the actual video game, and 0:13:51.120 --> 0:13:53.360 there was a big Frogger logo, which was they were 0:13:53.360 --> 0:13:56.440 actually trying to pitch the show as an animation. But 0:13:56.559 --> 0:13:58.520 in that moment when I looked at this logo and 0:13:58.559 --> 0:14:01.880 I just saw that word Froger it just occurred to me, like, 0:14:02.000 --> 0:14:05.520 what a great brand, what a great platform for building 0:14:05.720 --> 0:14:10.199 an unscripted competition series from because very rarely does one 0:14:10.320 --> 0:14:14.880 word just elicit nostalgia, illicit fun, and you can almost 0:14:15.040 --> 0:14:18.520 envisage the show just by hearing that one word. So 0:14:19.040 --> 0:14:22.240 you're as exactly right. The show is going to be 0:14:22.360 --> 0:14:24.760 based on the video game, obviously, but it is like 0:14:25.120 --> 0:14:29.000 stepping into an eighties video game. We're actually shooting that 0:14:29.080 --> 0:14:32.640 in Sydney and we've got two Olympic sized above ground 0:14:32.680 --> 0:14:36.400 pools that we're building with these incredible worlds based on 0:14:36.400 --> 0:14:37.480 the video game level. 0:14:37.560 --> 0:14:39.520 It is possibly the biggest. 0:14:39.280 --> 0:14:42.360 Unscripted show that's ever been made in the country, and 0:14:42.400 --> 0:14:45.200 it's really exciting to have the opportunity to make it 0:14:45.280 --> 0:14:48.720 in Australia with local talent, with local producers, for an 0:14:48.720 --> 0:14:52.360 international audience. We're very, very excited by the show and 0:14:52.400 --> 0:14:53.720 can't wait for the world to see it. 0:14:53.880 --> 0:14:55.800 And then Paul I guess I'll go with you this 0:14:55.880 --> 0:14:59.320 time with lux listening. Is this an Australian version of 0:14:59.360 --> 0:14:59.960 Selling Sunset? 0:15:00.200 --> 0:15:00.440 It is? 0:15:00.720 --> 0:15:03.040 Yeah, it's got a bit of the Selling Sunset to it, 0:15:03.160 --> 0:15:06.160 you know, big characters, glamorous looks, it's a great way 0:15:06.160 --> 0:15:08.560 to showcase Sydney in the East and summers of Sydney 0:15:08.600 --> 0:15:10.440 in the real estate market. It's got a bit of 0:15:10.440 --> 0:15:12.680 that million dollar listening to it as well. But yeah, 0:15:13.120 --> 0:15:15.080 it is of that world as much as it is 0:15:15.080 --> 0:15:17.720 about buying and selling houses, it's about the people who 0:15:17.720 --> 0:15:20.200 exist in that world and how they operate day to day. 0:15:20.240 --> 0:15:22.160 And you know, we're really proud of that show. It's 0:15:22.160 --> 0:15:22.720 really slick. 0:15:22.800 --> 0:15:25.880 Amazon have been great partners on it in supporting it, 0:15:25.960 --> 0:15:28.160 like they've really backed it, and the marketing for it's 0:15:28.160 --> 0:15:29.800 going to be massive. It's a big swing for them, 0:15:29.840 --> 0:15:32.960 and I think I think you'd be pretty impressed how 0:15:32.960 --> 0:15:34.320 it showcases the city. 0:15:34.480 --> 0:15:35.720 Yeah, and i'd just add to that. 0:15:35.800 --> 0:15:39.480 I mean, I think where it's distinctively different from the 0:15:39.520 --> 0:15:40.680 shows you mentioned. 0:15:40.440 --> 0:15:42.200 Is just the characters that we've found. 0:15:42.480 --> 0:15:44.240 And I think the great thing about the sort of 0:15:44.280 --> 0:15:47.240 docu soap genre is they're really defined by the characters 0:15:47.320 --> 0:15:51.880 in the shows. So we've got three incredible agents which 0:15:51.880 --> 0:15:54.560 are obviously kind of unlocking this incredible real estate in 0:15:54.560 --> 0:15:57.680 the Eastern suburbs, and hand on heart, it's some of 0:15:57.720 --> 0:15:59.760 the most incredible real estate that. 0:15:59.720 --> 0:16:02.480 I think has ever been seen on a TV show. 0:16:02.520 --> 0:16:05.200 I mean, you can only imagine the sorts of houses 0:16:05.200 --> 0:16:08.160 that we can have a window into. And that's where 0:16:08.200 --> 0:16:11.280 I think this show will not only showcase the Sydney 0:16:11.320 --> 0:16:14.080 market to Australia, but I think the well will just 0:16:14.080 --> 0:16:15.720 be blown away by some of the property. 0:16:15.800 --> 0:16:18.280 Oh yeah, being on set was I was in awe 0:16:18.360 --> 0:16:19.520 of some of the property. 0:16:19.560 --> 0:16:22.200 If you forget how beautiful Sydney is, and I think 0:16:22.240 --> 0:16:24.520 that's a good point. The international market will just go, 0:16:24.920 --> 0:16:27.000 oh my god, because you know, we've there no expense 0:16:27.040 --> 0:16:29.080 on the visuals, you know, with the harbor. 0:16:29.120 --> 0:16:31.160 As that backdrop, and Chris is right. 0:16:31.200 --> 0:16:34.800 The agent's three agents that we feature are just compelling characters, 0:16:34.880 --> 0:16:36.520 you know as they go through the highs and lows 0:16:36.560 --> 0:16:39.320 and buying and selling houses and the people they interact with. 0:16:39.480 --> 0:16:41.760 Well a little Bertie told me that the casting is 0:16:41.800 --> 0:16:44.760 so good on that show that there's some one person 0:16:44.800 --> 0:16:47.840 that's been cast that is like when you cast Generallyana 0:16:47.960 --> 0:16:50.520 on a Real Housewives of Melbourne, like just something really 0:16:50.800 --> 0:16:53.920 iconic and something really excited to look forward to. So 0:16:54.120 --> 0:16:55.920 I got no more details than that. I don't know 0:16:55.920 --> 0:16:59.200 if that person's male or female, but I did hear 0:16:59.280 --> 0:17:01.560 that it's some amazing casting. 0:17:01.880 --> 0:17:05.440 Yeah, it's a plus talent and they're equally it's their 0:17:05.480 --> 0:17:10.120 talent who have been so open and generous with their lives. 0:17:10.200 --> 0:17:12.840 I mean, often, you know, you find people who are 0:17:12.880 --> 0:17:17.840 quite guarded, understandably so, but the three real estate agents 0:17:17.840 --> 0:17:20.600 who we're working with, they just like opened up their 0:17:20.640 --> 0:17:23.720 lives and it's a really compelling watch. 0:17:23.960 --> 0:17:26.320 Stepping back just a little bit and thinking about you know, 0:17:26.359 --> 0:17:29.360 you guys sounding so Australian, Paul, was it really hard 0:17:29.359 --> 0:17:31.359 to crack into the US market the way that you did? 0:17:31.480 --> 0:17:34.000