THE QUICK READ
Producer Emile Sherman says developing material that can be co-commissioned is the holy grail of television drama production. What he means by co-commissioning is attaching more than one broadcaster or other type of distribution platform before going into production, each one being from a different country. There were four such partners attached in advance to Top of the Lake, the Oscar winner (for the feature The King’s Speech) explains here in an interview.
The benefit of co-commissioning for producers is that buyers pay considerably more before a show goes into production than they would if they purchased the rights after completion. Keeping them all on the same page can be a juggle though! Sales opportunities in other territories and to other buyers will still be available for the finished show. The benefits for those who sign on early include securing ownership of the project and the kudos that goes with that – they get to have the premiere screening in their territory for example – and the privilege of feeding into creative decisions such as casting.
For many primetime Australian television dramas, however, co-commissioning is not an option because the shows don’t have Top of the Lake’s exceptional pedigree – Jane Campion (An Angel at my Table, The Piano) being attached as director offered buyers quality assurance and a significant marketing hook.
The more traditional financing route for independent Australian producers is to: focus in on the needs of whatever broadcaster, subscription television operator or streaming service has agreed to screen a show first locally; attach an international television distributor; and use those commitments to apply for government funding. They then assist the distributor to sell the show either as it is being made or after it has been finished. (Co-productions have more than one broadcaster attached but that’s another whole story.)
This financing scenario is behind most of the other interviews below, which are with the producers and distributors of the most successful Australian dramas currently on Screen Australia’s books. (“Successful Australian dramas” in this context means those that have sold comparatively well internationally. See here for more information.) These interviews attempt to identify what it is about these particular dramas that lead to them attracting distributors, buyers and, ultimately, international audiences. There is also discussion of the international sales scene generally.
The positives for Australian drama include: Australian cast becoming better known and more attractive to buyers; the number of major distributors attaching themselves again and again to local shows; the growing number of distributors stepping up not just with advances but also with development finance; and increased demand from new subscription video on demand and streaming players, which is shaking up the way deals are done and creating new opportunities.
The negatives include the fiercely competitive nature of the global marketplace and the fact that most countries are keen to make their own drama rather than watch someone else’s. But these negatives are not just applicable to Australia.
As for that pesky Australian accent, opinions vary on whether it is a positive or a negative. In other words, Australian shows are made in the English language but is it English that anyone else can understand?
What’s also clear from the interviews is that attracting sales is like a courtship. The distributor sets a strategy in place and woos the buyers with enticing scripts and cast, stunning production stills, compelling trailers and footage, and with luck, awards in the home territory. The earlier the producer sets up a close relationship with the distributor the better.
The big hope of both the producer and distributor is that new seasons are commissioned because only then will revenues grow exponentially. But they also know that, to put it bluntly, high local ratings determine whether a new season is commissioned and international success doesn’t matter one iota. It’s just one of the conundrums producers ponder.
