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Screen Australia has updated its guidelines for Drama and Children’s Programs to make clear when the agency will consider investing in second seasons for television.
Niki Aken breaks down the different roles for Aussie TV screenwriters, and shares her experience of co-writing The Hunting for SBS.
Writer, producer and showrunner Dominic Minghella on the highs and lows of creating TV such as Doc Martin, Robin Hood and US series Knightfall.
Comedian Nazeem Hussain talks about the writers’ room of his new Channel 7 sketch series Orange is the New Brown and all the challenges that came with it.
Secure a discounted registration for Content London and apply for a grant of up to $5,000 toward the cost of attending the International Drama Summit now.
The data reveals which dramas – that Screen Australia invested in – attracted the most returns to investors and which companies bought up big.
The Kettering Incident led the pack, but Miss Fisher’s Murder Mysteries was snapping at its heels.
Series one of Mako Mermaids is a big hit abroad – and not just in the children’s drama space. The financial data proves it.
Acorn Media, AMC/Sundance, BBC Television, Netflix and Universal Kids were key buyers of Australian drama in 2017.
Producer Jonathan M Shiff explains why Mako Mermaids is a standout success internationally – and why the local production environment for children’s television has badly deteriorated.
Director Rachel Perkins shares her experience directing the six-part series Mystery Road based on Ivan Sen's film of the same name.
Executive Producer Jo Porter shares her experience developing Picnic at Hanging Rock, the evolution of Australian television and how our stories can perform overseas.