The unique cultural perspective of Australian screen stories can be a sales asset in the global marketplace but only when content strikes universal themes, according to speakers at a Screen Forever conference panel.
Screenwriter Benjamin Law said that international audiences understood Australian content and streamers and broadcasters wanted to exploit that cultural point of difference.
“They really want to lean deeply into the specifics of Australian-ness,” he said. “So we understand the story of ‘girl meets boy’, what that meet-cute is like, but what is the point of difference that Australia can provide? What are our attitudes and how do we see romance differently that might be interesting to an international audience?”
Kathryn Fink, director of television at SBS, said there was a rise of hyper-local content that still had universal themes, pointing to its upcoming Swift Street drama as an example.
“Audiences are much more open now – they’re open to diverse content from all around the world… it’s got to be really very unique but universal.”
The strength of a good story such as Netflix series Boy Swallows Universe was ultimately more important than where it originated from, according to Mary Callery, head of international at Irish production company, ShinAwiL.
“I consumed it as a really, really good story very well told, and that’s really what we should all be focusing on.”
ABC head of programming, acquisitions, and streaming, Roberta Allan, said there was currently strong demand in the UK to make co-productions with Australia.
“It’s actually about the risk factor as well. The cost of production is skyrocketing and people want to be on board at the beginning with partners – they want to pull back their risk individually.”
Catherine Nebauer, head of scripted & kids at Northern Pictures, said Australian children’s TV producers have been exceptional doing co-productions over many years, particularly in the animation sector.
“Fortunately, the Australian dollar is good, but we’re not cheap. That’s another thing that’s quite surprising, particularly for European production companies, that Australia isn’t a cheap place to produce but we’re very cost-effective when they look at the talent that we’ve got on the ground and our production teams. We’re very efficient.”