Tag Archives: Carole Sklan

Australian drama: Short and sweet wins the day

Australian viewers have embraced short-run dramas but are less receptive to new local series this year. DQ investigates the drama landscape down under.

In the increasingly competitive world of television drama, broadcasters and producers are working harder than ever to retain viewers over the course of a series.

Nowhere is that more true than in Australia, where ratings have shown miniseries to be the most popular form of drama on air this year, to the cost of longer-running dramas.

Miniseries House of Hancock averaged 2.17 million viewers on Nine Network
Miniseries House of Hancock averaged 2.17 million viewers on Nine Network

Audiences are also relating to homegrown stories, both across free-to-air channels and on pay TV.

The top-rating Oz dramas in the first eight months of this year were both miniseries. Shine Australia’s Catching Milat, which follows the police hunt that led to the arrest of serial killer Ivan Milat, attracted an average national consolidated audience of 2.46 million on the Seven Network.

Meanwhile, CJZ’s House of Hancock, starring Mandy McElhinney as Australia’s richest woman Gina Rinehart and Sam Neill as her husband Lang Hancock, averaged 2.17 million for Nine Network.

Some broadcasting executives acknowledge it is increasingly difficult to launch long-running dramas. Yet despite an apparent shift in audience tastes towards shorter-run fare, Seven Network director of production Brad Lyons tells DQ: “In the end, good stories well told will win out. We firmly believe there’s a place for long-running drama and will continue to pursue it with vigour as we always have.”

Budget cuts imposed by the federal government have forced commissioning changes at public broadcaster ABC, which is continuing to back longer-running dramas, if only due to the cost of producing and promoting miniseries that may only be on air for two or three weeks.

ABC commissioned several original dramas, including Matchbox Pictures’ six-hour series Glitch, a paranormal mystery about a small-town cop who discovers six naked people at a graveyard. Sony Pictures Television-owned prodco Playmaker Media’s eight-part Hiding, meanwhile, follows a Queensland family who are placed in witness protection.

Although neither scored big overnight numbers, the consolidated figures including catch-up viewing were encouraging, particularly for Glitch, which was available on the ABC’s iview platform concurrent with the broadcast premiere.

Elsewhere on the ABC, season three of December Media’s The Doctor Blake Mysteries, starring Craig McLachlan as a country doctor and police surgeon, achieved an average national consolidated audience of nearly 1.6 million.

Matchbox Pictures' Glitch aired on ABC
Matchbox Pictures’ Glitch aired on ABC

The third season of Every Cloud’s Miss Fisher’s Murder Mysteries, featuring Essie Davis as the glamorous 1920s private detective, averaged 1.4 million on the channel.

And prodco Ruby Entertainment’s two-part The Secret River (main image), with Oliver Jackson-Cohen (Mr Selfridge) as an English convict who is transported to colonial New South Wales in 1805 and Sarah Snook as his free-settler wife, drew more than one million viewers on the ABC.

“We have had to pull back on miniseries as they are very expensive and we can now only support the occasional mini or telemovie,” says ABC head of fiction Carole Sklan.

“This is unfortunate, as ABC fiction has had tremendous success in recent years with miniseries telling stories of remarkable Australians – such as Paper Giants, ANZAC Girls, Carlotta, Cliffy, Mabo and Devil’s Dust – and literary adaptations like The Slap. Also, when we return successful series such as Rake, Janet King and Jack Irish, there are fewer opportunities for new shows.”

The Nine Network enjoyed strong ratings with two Playmaker productions, including the second season of Love Child, set in 1970 at a Kings Cross home for unwed mothers and the adjacent maternity hospital. The fourth run of House Husbands, which stars Gary Sweet, Firass Dirani, Rhys Muldoon and Gyton Grantley as stay-at-home dads, launched in August, with the premiere attracting a consolidated average of 1.381 million viewers.

Nine co-head of drama Andy Ryan says: “Audiences have so much choice now that dramas have to work harder to capture and retain the public’s imagination. True stories have worked extremely well for all the networks, as have series like Love Child and House Husbands that tap into a broader social conversation.

“There is a thirst for novelty in drama, but the ratings prove there is also a big audience for stories that reflect and explore Australian life. It’s crucial that dramas start strongly and boldly. It will always be a challenge to sustain this intensity over a long-running series, but shows like House Husbands prove it is possible.

Shine Australia's Catching Milat
Shine Australia’s Catching Milat

“A major change over the past few years has been the growth in time-shifting. Our consolidated audience is consistently more than 250,000 higher than the overnight figure, which can be a 20% or more increase on an already dominant show. But as a commercial network, we also want to maximise our overnight audience.”

Love Child’s second run averaged 1.6 million viewers per episode, with the overnight national audience of 1.228 million accounting for 76% of viewing and the remainder coming from time-shifted, encore and longform video viewing. Its third season recently wrapped.

At Network Ten, romantic comedy-drama Wonderland drew an average capital-city consolidated audience of 537,000. Due to premiere on Ten later this year is FremantleMedia’s telemovie Mary: The Making of a Princess. The show chronicles the real-life fairytale romance of a Sydney real-estate agent and Crown Prince Frederik Andre Henrik Christian of Denmark, and stars Emma Hamilton and Ryan O’Kane.

Also coming to Ten is Shine Australia’s telepic Brock (working title), which will dramatise the life of Australian motor-racing champion Peter Brock, a complex man plagued by self-doubt who died when his car crashed during a rally in Western Australia in 2006.

Network head of drama Rick Maier says: “Wonderland was generally well received and we were happy with the production, but we just failed to find a sufficient audience. Longform series are now without doubt the hardest to launch successfully.”

However, Maier adds: “The strength of the idea drives commissioning at Ten. Shortform and event dramas are not necessarily a focus. As always, we have plenty of options and our planning is usually 12 to 18 months ahead.”

Nine co-head of drama Andy Ryan
Nine co-head of drama Andy Ryan

ABC’s Sklan is enthused about Endemol Australia’s upcoming six-hour series The Beautiful Lie, a contemporary reimagining of Leo Tolstoy’s classic novel Anna Karenina. The sprawling saga of adultery, scandal, manners and mayhem involving three enmeshed families across three generations stars Sarah Snook, Benedict Samuel, Rodger Corser, Celia Pacquola, Daniel Henshall, Sophie Lowe, Alexander England, Catherine McClements, Dan Wyllie and Gina Riley.

The exec feels vindicated by her decision to greenlight Glitch and Hiding, viewing both as groundbreaking for Australian TV. “It’s extremely important for the national public broadcaster to showcase a mix of a dramas and to support a diverse quality slate of stories, storytellers, styles and genres,” she says.

“Every commission is risky; it’s a leap into the unknown. There are no safe shows. Sometimes they defy expectations; sometimes everything coheres and the show is better than the individual parts.

“Hiding was a bold hybrid genre of crime and family drama that explored the everyday parental challenges of raising teenagers but in a high-stakes world. Glitch was the first Australian paranormal drama series.

“We took an additional risk for Glitch with our binge strategy on iview, which audiences responded to very positively. In fact, Glitch has become the most popular iview title so far this year, recording more than one million plays to date. Consolidated national figures plus iview make a huge difference and better represent the way people choose to enjoy drama anywhere and anytime. Drama is consistently iview’s most popular genre.

“The ABC is not driven by ratings alone. It’s not only about broadest possible reach but also the deepest possible engagement. Critical acclaim and awards, social media and audience feedback for our edgier shows can be intensely appreciative. The compelling, original political thriller The Code (of which Playmaker is shooting a second season) and the exuberant, satirical legal drama Rake (Essential Media and Entertainment is making a fourth season) are also great examples.”

Hiding, a 'bold hybrid genre of crime and family drama'
Hiding, a ‘bold hybrid genre of crime and family drama’

Chris Oliver-Taylor, MD of Glitch producer Matchbox, says: “If you take the overall results, the huge iview numbers, the critical acclaim and the quality of the work, we think Glitch is an incredibly successful show and one that we expect to have future series and strong international appeal.”

Playmaker Media co-founder David Taylor says the brief for Hiding was to attract a younger audience to the ABC. The show ranked as the number one scripted series for the 16-24 demographic and second overall on the channel across all slots.

“There is obviously more competition in the scripted space with audiences now having so many on-demand options for viewing drama,” Taylor adds. “As producers, it’s our job to create a must-watch experience that taps into the zeitgeist. All shows can be binge-watched six months after telecast. We strive to create dramas that have a water-cooler element that get people talking week after week.”

Seven’s Winners & Losers, which follows the lives of a group of best friends as they deal with life’s ups and downs, drew a combined average audience of 1.56 million in 2014. This year the ratings dropped but Lyons says the “consolidated figures are really good, often hitting 900,000. That’s a great result.” Last December the network commissioned a fifth season.

Lyons was also delighted with the ratings for Seven Productions’ Winter, a sequel to the telemovie The Killing Field, which featured Rebecca Gibney as a detective who investigates the murder of a 23-year-old woman in a fishing town south of Sydney.

One local story to feature heavily in the last year was that of Gallipoli, the First World War campaign that took place 100 years ago in April. Endemol Australia’s Gallipoli, which covered the bloody eight-month battle of Australian and New Zealand troops against those from Turkey, launched with more than one million viewers on Nine but went into a steep decline.

Ryan says: “There is no denying that audience numbers were lower than expected, but this was a phenomenon repeated around the world with First World War-themed dramas and documentaries. The centenary of the First World War hasn’t captured the public imagination as much as we thought it would four years ago when we embarked on the series. Even so, Gallipoli was a superb production about a story of enormous national significance.”

By comparison, Deadline Gallipoli, a coproduction between Matchbox Pictures and actor Sam Worthington’s Full Clip, which explores the campaign through the eyes
of four war correspondents, drew a consolidated average audience of 203,000 on pay TV platform Foxtel’s drama channel Showcase. That ranked as the third largest consolidated audience ever in the channel’s history, trailing Game of Thrones and Screentime’s 2011 Australian miniseries Cloudstreet.

Winter, a sequel to the telemovie The Killing Field
Winter, a sequel to the telemovie The Killing Field

Those ratings marked Deadline Gallopoli out as one of the best-performing local dramas on pay TV, alongside the third season of FremantleMedia Australia’s prison drama Wentworth (on Foxtel’s SoHo) and Banished, a coproduction between Jimmy McGovern and Sita Williams’ RSJ Films and See Saw Films that aired on BBC First.

Banished, co-commissioned with the UK’s BBC2, marked the debut local production for BBC First. It chronicled the lives, loves, relationships and battle for survival in penal colony Sydney and starred David Wenham, Russell Tovey, Myanna Buring, Julian Rhind-Tutt and Ryan Corr.

The first episode reached a gross audience of 293,000, the highest ever launch title on BBC First, according to BBC Worldwide (BBCWW). The seven episodes pulled in a cumulative gross audience of 1.8 million, the highest-rating BBC First title to date.

Tim Christlieb, BBCWW director of channels for Australia and New Zealand, says: “We are delighted by how Banished has been embraced by audiences on BBC First. The show delivered audiences well above the primetime and timeslot averages for the channel.”

On SoHo, Wentworth season three achieved a consolidated average of 313,000 viewers per episode, up 8% on season two’s average of 290,000. FremantleMedia Australia head of drama Jo Porter says: “Wentworth has proven to be a wonderful critical and ratings success both locally and globally, and can now be seen in 89 territories worldwide. It was voted the most outstanding drama at the Australian Subscription Television and Radio Association Awards in 2014 and 2015. We have started production on season four, which will see Wentworth become Foxtel’s longest-running Australian drama series.”

Asked about the long- versus short-form drama issue, Porter agrees that the current appetite among viewers is for miniseries and telemoves “based on noisy, strong stories that stand out in a crowded schedule.”

She concludes: “As we have seen with Wentworth, there is absolutely still a market for ongoing series. Our job is to ensure we hold the audience from the first frame and give them enough reasons, through character and plot, to keep coming back week after week.”

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Behind the scenes at Aussie prodco Essential Media and Entertainment

Australian prodco Essential – behind such shows as Rake and Jack Irish – is spreading its wings internationally. DQ looks at the company’s story so far and gets the inside track on its forthcoming content.

Australia’s Essential Media and Entertainment is going global. The prodco is developing a raft of dramas intended as coproductions with international broadcasters and distributors.

Essential head of drama Ian Collie: Not called ‘Jolly Collie’ without reason
Essential head of drama Ian Collie: Not called ‘Jolly Collie’ without reason

The list of potential partners is impressive – Ian Collie, partner and head of drama at the firm, is discussing numerous projects with the BBC, Channel 4, Lifetime, Sundance Channel, StudioCanal and other broadcasters and distributors.

“We are developing drama projects that are international in scope and would or could work more for those markets than for home broadcasters,” he says.

The plan is to expand the company’s slate from locally commissioned dramas such as Jack Irish (top) and Rake (both for Australian pubcaster ABC) and The Principal (for SBS).

The internationally targeted slate includes Trust and Arc of Fire. The former has Rake’s Richard Roxburgh attached to star as a charismatic cult leader, a former corporate high flyer who creates a grassroots movement of followers who are perceived as a threat to the established order.

Sarah Lambert (creator of Playmaker Media’s Love Child) came up with the concept and will write it alongside Blake Ayshford (Devil’s Playground, The Code, Nowhere Boys) and Kris Mrksa (Glitch, The Slap, Janet King).

Arc of Fire is being developed by Australian author Peter Temple (who wrote the Jack Irish novels and The Broken Shore, the latter adapted as a telemovie by Essential for the ABC) and Mrksa. It’s an international manhunt thriller set in a world where everyone is under surveillance, based on Temple’s novel In the Evil Day.

Two other projects being pitched to international broadcasters are Eden, an eco-thriller surrounding a biotech company in Tasmania, created by Brisbane-based writer Anthony Mullins and Collie; and Open Heart, a psychological thriller about organ transplantation, on which Collie is collaborating with producers Vicki Sugars and Claudia Karvan.

“Although the demand for TV drama in Australia is high, somewhat paradoxically it is harder to get shows away,” Collie says. “Broadcasters like the ABC and SBS are experiencing budgetary cutbacks, as are the federal and state financing agencies, and there are more players in the drama arena, so competition for slots is fierce.

Guy Pearce in Jack Irish
Guy Pearce in Jack Irish

“In essence we are reverse-engineering the process by going to an international player first with our stories and wonderful array of talent often attached, getting those players to drive the development and editorial, and then maybe later looking for an Australian co-financing partner, whether that be a terrestrial broadcaster or a subscription VoD platform.”

Essential’s scripted push in the US is headed by Simonne Overend, an Aussie who has worked for RGM Artist Group, the ABC, BBC4, Disney, Roadshow, Film Victoria and United International Pictures.

Overend, the Los Angeles-based VP of drama development, is working with Monumental Pictures’ Alison Owen and actress Natascha McElhone (Solaris) on a contemporary miniseries inspired by the classic novel Little Women. Scripted by Jordan Roberts (Disney’s Big Hero 6), the show will follow four sisters during a military scandal as their family loses its fortune and finds itself at odds with the conservative and traditional society.

The project was developed by Owen, director Julie Anne Robinson and Overend before McElhone came on board as a producer and the lead actress. The producers are looking for a pilot commission after the ABC network let its option lapse.

Essential’s exports to the US have not been without problems. The US remake of Rake wasn’t renewed last year when the legal drama’s ratings on Fox plummeted after the premiere drew 7.1 million viewers.

Peter Duncan, who co-created the original with Roxburgh, created the 12-episode US series, which was produced by Essential Media and Fedora Entertainment in association with Sony Pictures Television.

With the benefit of hindsight, Collie believes broadcast network viewers struggled to warm to Keegan Deane, the sleazy criminal lawyer played by Greg Kinnear, because the character had few redeeming qualities. He thinks the show would have been more suited to a cable network whose viewers have an appetite for edgier fare.

Duncan, who served as the showrunner with Pete Tolan, says “there were too many voices” involved in the production, typified by a casting meeting he attended where 23 people sat around the table.

The US version of hit Essential show Rake, starring Greg Kinnear
The US version of hit Essential show Rake, starring Greg Kinnear

Meanwhile, the Fox network opted not to proceed with a Jack Irish remake after ordering the script for a pilot adapted from Essential’s trio of telepics, which starred Guy Pearce as a former criminal lawyer turned private investigator and debt collector.

From that experience, Collie came to one conclusion: “We need to take a stronger role in driving US versions of our shows. The script for Jack Irish lacked spark and wit and freshness; it was a bit predictable.”

The plan now is to focus on the six-part Jack Irish series, which again stars Pearce with Marta Dusseldorp as Linda, Jack’s ex-wife, and is due to start shooting in August.

“That will give us a better template from which we can renew our efforts for a remake,” says Collie, a former lawyer who co-founded Essential in 2005 with Chris Hilton and Sonja Armstrong. Head of children’s entertainment Carmel Travers became a partner in 2009.

The series will introduce a love interest for Irish and see Linda, a journalist, sent to the Philippines on an assignment. Andrew Knight, Matt Cameron and Andrew Anastasios wrote the scripts, while the directors are Mark Joffe (House of Hancock, A Place to Call Home), Daniel Nettheim (Glue, Line of Duty) and Jonathan Teplitzky (Broadchurch). Knight is producing with Collie.

ABC head of drama Carole Sklan says: “The tele-features had huge appeal for our audience and did such tremendous work in reaching a broader viewership that we spoke with Ian about the possibility of Guy Pearce coming back for an extended run.

“We were thrilled that Guy enjoyed the collaboration so much and that he was able to take the time from his career in Hollywood. The world of Jack Irish – the pubs, clubs and horse racing – features an ensemble of such colourful regular characters that it lends itself to a returning drama series. The show is so distinctively Australian in what it says and how it says it. It showcases so many fabulous Australian talents in writing, directing, acting and production that this was the perfect opportunity to continue to deliver to the audience more of this idiosyncratic crime drama.”

Production of the fourth series of Rake, meanwhile, is due to start in Sydney on September 28. “The great challenge is to keep surprising even more and to keep the audience on their toes,” says Duncan.

The Principal follows the fallout after a student is found dead on the grounds of a tough Sydney school
The Principal follows the fallout after a student is found dead on the grounds of a tough Sydney school

From Essential’s origins as a producer of factual, which is still a mainstay of its business, the company has significantly expanded its drama slate, which started with Rake in 2010. One recent deal saw Stan, the subscription VoD platform co-owned by Nine Entertainment and Fairfax Media, which launched in January, announce a development deal with Essential for Enemies of the State.

The six-part political drama is based on a controversial Australian High Court judge and attorney-general, the late Lionel Murphy, whose life was marked by assassination threats, scandal, police spies and charges of attempting to pervert the course of justice, of which he was acquitted.

The project is being developed by Collie with Duncan and writers Tony Jones (host of the ABC’s current-affairs show Q&A) and Robert Connolly (Paper Planes). Duncan says his research for the show uncovered many aspects of Murphy’s life that were “ridiculously bizarre and fascinating.”

The commissioning of local content on Stan is overseen by Nine Network’s drama heads Andy Ryan and Jo Rooney plus Stan director of content and product Nick Forward. Ryan says he was attracted to the Murphy project as “an epic, Shakespearian tragedy of a man.” Asked to define a Stan show, he says: “Daring, noisy, high quality and something that feels exclusive – above and beyond what you will see on free-to-air TV. We are not subject to the same constraints as FTA, which is liberating for producers and programmers.”

Stan is looking for international co-financiers for both Enemies of the State and a TV series based on Greg Mclean’s Wolf Creek horror movies, produced by Screentime and Mclean’s Emu Creek Pictures. “There is a huge amount of interest from overseas producers, distributors and broadcasters in Australian drama,” Ryan says.

Meanwhile, the inspiration for Trust goes back some years to when creator Sarah Lambert was working in the US on a documentary about a quasi-scientific cult that was banned in France but had set up a base in Canada.

“What struck me the most during the filming was how bright and relatively normal their followers appeared to be, despite devoting their lives to a leader who professed to have been taken by aliens, tithing their incomes to him and buying into a pretty out-there philosophy,” she says.

“My fascination with what drives people to lose themselves in these groups has continued and, after years of collecting articles, reading books and watching docs on the subject, it seemed to me that there was so much great material to base a drama series on.

“But I wanted to take a very different approach, something that hadn’t been done before. So I started developing an idea and wrote up a three-page concept. Around that time, Ian Collie and I were looking for projects to work on together and I pitched the show. It turns out Ian has a similar fascination for the subject matter – we started batting the concept around, and out of it came Trust.”

Also on Essential’s development slate is Future Boy, a 6×30’ sitcom being developed with the assistance of state agency Screen NSW. The creator is Tristram Baumber, whose self-funded comedy series The Cleanists screened in 2013 on the UK-based cable channel Showcase. Baumber also created Timothy, a comedy special that aired on the ABC last October as part of a seven-day initiative in support of Mental Health Week.

Future Boy follows a 22-year-old party girl living in a shared house who finds her hedonistic lifestyle turned upside down when her 45-year-old son from the future turns up. Essential’s scripted development producer Rachael Turk, who is producing, likens the show to a cross between The Big Bang Theory and Girls.

Collie sees a favourable climate for producing drama for Australian and international broadcasters, despite budget cuts to the ABC and SBS and limited opportunities at the financially struggling Network Ten. The Seven Network, he acknowledges, is a “harder nut to crack” because much of its content comes from Seven Productions.

“TV drama is healthy and, with more players like Stan in the market, we see more openings for drama,” Collie continues. “We always look for projects that have broad international appeal. For example, The Principal is in the crime genre and should be able to travel. Formats can sell more widely than finished programmes.

“The Principal covers issues such as equality of education, tolerance, masculinity and violence, father-and-son relationships and diverse ethnic groups of Muslims, Pacific Islanders and Asians. Thematically it should resonate widely.”

Alex Dimitriades plays the title character in the series, produced by Collie, which revolves around a high school in Sydney’s tough, multicultural south west. The principal’s attempts at reform are making headway until a 17-year-old student is found dead on the school grounds. The screenplay is by Kristen Dunphy and Alice Addison, based on an idea by Collie, Turk and, later, Dunphy, inspired by several real-life principals of Sydney schools.

Director Kriv Stenders (who directed Red Dog and is now preparing sequel Blue Dog) relished the chance to work on his first TV drama. “Ian approached me last year and we developed the scripts with the writers,” he says. “I found working in TV is a far more fluid and democratic process and more creatively liberating than films. TV drama is essentially a longform movie.”

SBS executive producer of drama Sue Masters says: “Ian Collie is assuredly one of the world’s most outstanding producers so when he presented to us a drama inspired by the inspirational-teacher genre coupled with a murder mystery especially designed for an SBS broadcast, we were instantly engaged. Ian inspires and attracts first-class talent both in front of the camera and behind the scenes

“Kriv Stenders has used the stark, minimalist architecture of a high school to underpin a high-octane murder mystery that is both compelling and deeply appealing. He wanted to create an Australian ‘suburban noir look and feel,’ which is very on-brand for SBS with acquisitions such as The Bridge and The Killing and more recent international dramas that are yet to hit our screens.”

In February Essential opened an office in Queensland headed by screenwriter Roger Monk as a scripted development producer, funded by state agency Screen Queensland’s Enterprise program, which is also supporting Ludo Studio, Bunya Productions, Matchbox Pictures, Two Little Indians and Hoodlum.

Monk, whose credits include Matchbox Pictures’ Nowhere Boys, December Media’s The Doctor Blake Mysteries and Every Cloud Productions’ East of Everything, is working with Essential’s Collie and Travers to source Queensland-originated stories and storytellers, develop and foster existing relationships with Queensland practitioners and provide a conduit to emerging talent.

Children’s head Travers is co-developing Camp Crazy with Brisbane-based Carbon Media, a teen comedy drama series set in northern Queensland that will follow the adventures of six misfit teens who are thrown together in a remote destination to solve the ultimate mystery.

On the feature film front, Collie is developing King of Thieves, a caper movie based on the true story of the infamous Australian ‘Kangaroo Gang,’ which fleeced millions of pounds worth of jewellery, fine clothes, linen and white goods from department stores in London in the 1960s and 1970s. It will be a coproduction with Trademark Films’ David Parfitt, whose credits include My Week with Marilyn, The Madness of King George, Shakespeare in Love and TV’s Parade’s End.

The script is by Andrew Knight (who co-wrote Russell Crowe’s The Water Diviner and multiple episodes of Rake) and journalist Adam Shand, who authored the book King of Thieves: The Adventures of Arthur Delaney and the Kangaroo Gang. Federal funding agency Screen Australia has supported the development.

With Ruby Films’ Alison Owen, Collie produced Saving Mr Banks for the Walt Disney Co., which raked in US$83m in the US and US$112m at cinemas worldwide.

Collie believes a key part of Essential’s success in drama lies in collaborations with a group of talented producers and writers including Duncan, Roxburgh, Knight, Ayshford, Dunphy, Mrksa, Cameron, Addison, Lambert, Claudia Karvan and Liz Doran. “We like to work with people who have similar cultural sensibilities,” he says. “We give a lot of autonomy to our writers.”

That respect is warmly reciprocated by the creative community. “I think you only have to look at Essential’s shows to understand their approach to drama,” says Lambert. “Rake, Jack Irish, The Broken Shore and The Principal. They make shows that they would want to watch. They never talk down to their audiences. It’s sophisticated storytelling that’s brave, funny and smart. They’re not afraid to tackle complex subject matter and high-concept ideas. They’re really supportive of writers taking risks, always encouraging you to push the boundaries to produce your best work.

“Ian’s a great producer. He’s funny and smart and has strong story instincts. He’s very experienced and a real pleasure to work alongside. He’s attracted a brilliant development team around him who are a passionate and inspiring bunch. The bottom line is Essential is doing exciting work both here and overseas and it’s nice to be working with them – not to mention a lot of fun.”

Duncan’s association with Collie goes back to 2004 when he directed the ABC telemovie Hell Has Harbour Views, which starred Matt Day, Lisa McCune and Dusseldorp and was Collie’s first drama production.

When Duncan and Roxburgh came up with the idea for Rake, based on a brilliant but troubled guy whom Roxburgh knew at university, they turned to Collie, who by then had co-founded Essential. “We have both learnt a lot over the past 11 years,” says Duncan. “It’s so important to have the right people in front of and behind the camera. At Essential is a very fair and friendly group of people. When you go there you don’t feel you are dancing with the devil, which I could say about others.”

A former executive director of the Arts Law Centre of Australia and the Australian Directors Guild, Collie has a long list of factual credits including Australia on Trial, Whatever: The Science of Teens, The Making of Modern Australia, Rogue Nation, The Catalpa Rescue, A Case for the Coroner, Art House, The Shadow of Mary Poppins and The Original Mermaid.

Knight, another frequent collaborator, says: “Ian has a great creative eye and he trusts creative people. We do most of our deals with a handshake. We have never had a financial argument or a big creative argument.”

Broadcasters are similarly glowing in their assessment of Collie and his team. SBS’s Masters says: “As a former lawyer, for Ian there is no detail of the production that is too unimportant. However, his love for storytelling propels him to push the envelope creatively and he has unstoppable energy and vision in nurturing and showcasing the talents of the team he puts in place for a production.

“Moreover, he is not called ‘Jolly Collie’ without reason. Despite huge work stresses, Ian maximises every working moment to celebrate the craft with fun and enjoyment. On all of his productions, Ian draws the most inspiring and multi-award-winning team because he personifies what is the very best of the collaborative film and television industry.”

Nine’s Ryan observes: “Ian made a big impression with Rake and Jack Irish. He assembles talented people around him, which is the key to successful projects and a sustainable business.”

Sklan of ABC is similarly full of praise: “Ian and the Essential team are highly supportive of some of our most creative voices in television. Ian’s real skill is identifying highly creative and intelligent people and generating a process where they can do their best work.

“On Rake they’ve enabled creator, writer, producer and director Peter Duncan to express his vision across the life cycle of the project, and supported Peter, Richard Roxburgh and Andrew Knight in bringing us a highly entertaining television series that often dazzles with its wit and inventiveness.

“Ian’s personable nature is part of his very collegial approach to developing and producing drama. Drama is a complex, difficult and time-consuming art form – there are so many elements to get right. Ian is a highly effective problem solver. Being able to have positive and fruitful discussions at each stage is really critical to making the best programmes, and Ian is always a joy to work with for everyone involved.”

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