🎄 Merry Christmas! While lounging this silly season watching John Le Carré’s The Night Manager on SBS On Demand, I thought I’d finish up these notes. Here’s a throwback from what I learned from attending SBS Scripted zoom webinar earlier this year.
For context, SBS is an Australian public broadcaster. Their 2023-2024 Annual Report shares this about its charter:
The SBS Charter sets out our principal function: multicultural broadcasting and digital media services that inform, educate and entertain all Australians, and reflect our multicultural society
I often attend talks like these as it keeps me updated on what the networks want. So you can imagine my excitement when I saw this advertised and signed up right away. Here are some takeaways:
In the zoom room, we were greeted by SBS Development Executive, Scripted Catherine Kelleher. On her play list is Irish series, Kin (2021). Julie Eckersley, SBS Head of Scripted chipped in and shared that Love and Death (2023) was on her play list and mentioned that while true crime is not really an SBS network feature, “We’re culture makers and not sure if (crime) is the culture we want repeated. It’s interesting that Love and Death is in the true crime world, but it was interesting because of the fresh spin put on it,”.
The panel then explored what would constitute a pitch.
- A pitch is a summary of your project.
- A pitching document is a marketing document.
- Writers often find it difficult to make their writing document into a marketing document.
- Often a pilot episode accompanies the pitch.
- It’s your idea in a short story.
- You need to be really muscular especially in the summary of your idea, in order to be clear to grab someone’s attention.
When we get a pitch deck, it’s the first impact.
Loani Arman, SMS Commissioning Editor, Scripted
It’s key to focus on creating an engaging script.
How does one create a propulsive narrative?
“It’s how you keep the story moving, don’t let the flies into our mouth!
We get scared when the drama gets bigger, how that narrative moves along in every scene to your story.
An example is a situational narrative, things happening side by side.
This is what we’re absolutely looking for in your story,” said Julie.
Loani added that the momentum of a story is built by characters, and from that, you will then understand why characters make those choices. She proposed that, “we somehow aren’t good at doing this in this country,”.
“We are looking at content at much shorter forms and that’s why we’re moving towards propulsive narratives because we don’t want viewers to get ahead of your story but be intrigued at every step of the way,”.
Julie asked Catherine about the “dos and dont’s” from submissions received.
“The main issue with emerging level submissions were the lack of clarity.
Often, the concept was not clear, the story was not fully developed and pitches received that had too much unnecessary detail, so it fell short.
A good hook is an example of what could be missing from some of the pitches,” said Catherine.
The panel discussed Appetite, an SBS series about food delivery drivers taking on the corporations.
Catherine really liked the hook in that series.
Another example highlighted, While the Men are Away, is an SBS original produced by someone who used to produce feature films. That someone is the amazing award-winning director Elissa Down (The Black Balloon) who leads the series, with co-creator, writer and director Monica Zanetti directing episode seven.
Aside, I read on the AFTRS website that Elissa Downs will be facilitating a short course in Directing. Exciting!
“People were not understanding SBS.
We don’t commission children’s content. So, it’s crucial that you are specific to the broadcaster that you’re pitching to.
Ask yourself if it reflects the network’s charter.
Is what you’re pitching in reflective of the SBS charter?”, said one of the panelists.
Catherine suggested filmmakers be authentic and ask the question if you are the right person for that story.
Is it a hooky read?
Is there a voice there?
Does it sound robotic, or does it draw you in while bringing you into the material and builds?
Loani agreed that a good hook is crucial. Here are some of her points:
- Sometimes it’s hard to work out what a series is about… because the concept or story engine goes from episode to episode.
- One of the biggest mistakes we’ve seen in submissions is the ability to build enough stories to deliver over 8 episodes, at 30-minutes each.
- A void that’s missing from the pitch is really a marketing document.
- We’re looking for the perspective to this project, the personality of the show within the script.
- Also, if it’s not this project, what’s next? It’s a tough and competitive industry. What’s next though? What else have you got? It’s something about knowing someone has more than that one idea. As a creative, I’d certainly pitch by asking what they were looking for, and it’s usually the OTHER THING that’s on your slate that’s of interest. You’re not pitching just one project but you and your work.
Julie shared that it’s important to have sense of auteurship in your work.
If pitching an equity and inclusion (DEI) story, check with Michelle Cheng, Head of Creative Diversity, in SBS’s Television and Online Content division. Michelle was also co-chair at the Screen Diversity Inclusion Network (SDIN) from June 2021 to June 2023.
Michelle types in message in the chat box.
“Across our commissioned TV shows, we are looking for content that helps SBS to meet our diversity targets for onscreen, offscreen roles & career progression.
We also have practical inclusion tips for more inclusive casting, crewing & creating culturally safe spaces in TV & Film,” she added.
Julie suggested filmmakers write a pilot without going to anyone.
“When you’re pitching to us (SBS), remember we’re investing public money in your idea, and we need to know that the team behind you can deliver,”.
The panel shared an example of Tig Terera, a Zimbabwe-born, Melbourne-based new producer, who he was matched with Magpie Pictures. Swift Street is a series that was developed with Magpie Pictures, and the series aired on SBS (Listen to a Screen Australia interview with Tig here).
Loani suggested that those who are interested, could start by referring to the SBS pitch deck guide, “because those are the questions we ask when reading materials. It also depends on where you are at in your career. We welcome the opportunity to work with people at all levels. But come in with a pilot script so that we know you know how to deliver,”.
Anna Barnes came without a producer to SBS but worked with them together to find one.
“You don’t need a director attached, but if you are a producer, you will need writers to deliver,”.
There’s also a warning not to come in too early.
When you’re pitching to people who have read too much work, just be careful because that first impression may not go down well.
Q&A time!
Tony Sharples asked if an ensemble storyline is acceptable versus the traditional protagonist driven stories.
Julie said a great craft is most important.
She added, someone came to them with a biopic, but they were asked to push the format more. So that case would be breaking it from an hour to half an hour. How can you unlock the most creative story possible?
Catherine Gillard mentioned that Catherine Kelleher was emphasising the need for the pitch to be in the best place it can be. She asked if a strong production/industry strategy assist, especially for emerging creatives? (e.g. producers that will be reached out to, market strategies, etc.)
Loani said that the commissioning strategy needs to align with the pitch. If you are aligned to what we (SBS) have said, then we would try to give as much feedback as possible, but it’s not our job to give too detailed a feedback.
What is SBS looking for?
Julie said that they are genre agnostic, so you could pitch in sci-fi, romance, big family dramas with a twist, 4×1, 8×30, 6×1.
- That the script thrills us
- That you have the team to deliver
- Keep practicing your craft.
Bec Fingher – asks a question about proof of concept.
Adrian Tood Zuniga asks a question about pitching an 8×1 dramedy: “If I have a pilot, and I’m constructing a bible, how many fleshed-out episodes do you want to see outlined in the bible? Is it important to outline all 7 episodes (following the pilot)? Or is it about seeing 3 or 4 to give a sense of the show’s arc and direction?
Julie said a mood reel is good, as it gives a strong visual take. But she advised those pitching to “keep us on our toes because there’s so much content out there,”.
Julie asked viewers if their story can sustain 8 episodes?
- You don’t need to put it in the pitch deck, but we want to know if there’s enough story to carry through.
Catherine added that diversity is important. So, make sure your team is strong. Don’t forget we make 3-4 show per year, so it’s really competitive!
- Submit a pitch deck and a first episode pilot.
The panel shared that an anthology series is coming up, and that they took the idea from Donna, using erotica and sexuality from diverse points of views. A queer man with disability, a First Nations man, etc. The premise is erotic stories, and there’s nothing holding them together except for that.
- Thinking about fresh ways about pushing it better.
It’s not about doing just comedy but say, romantic comedy is a big yes!
Romance is just a joyful place to be, and global trends is that light romantic comedy are winners!
- The panel shared that they have a show that’s shooting 5 weeks in Australia, 3 weeks in India and that they are open to the idea for co-productions and work with distributors.
“SBS only wants to see Season 1 stories. Don’t pitch too many seasons,”.
And that’s wraps it up. I hope these notes have helped you.
Disclaimer: These notes are written from my personal perspective with the intent of sharing what I learned with my fellow MASB students at AFTRS.