We Interrupt This Broadcast

** We’re postponing our regular monthly wrap-up episode to next week so that we can cover all of the conversations and discussion from Screen Forever. If you’ll be with us on the Gold Coast, make sure you say hello! **In this episode, Aven Yap chats to Kate Separovich, Producer at Lake Martin Films and creator of the Australia in Cinemas newsletter that dives into Australian box office numbers and the current situation for Australian films in Australian cinemas.(If you haven’t already subscribed, it’s a must read!) https://australiaincinemas.substack.comKate has just produced and released Proclivitas, written and directed by Miley Tunnecliffe, and shares some of her experience releasing the film, as well as what actually needs to change if we want Australian films to thrive in Australian cinemas.With the National Cultural Policy Review coming up, this conversation couldn’t be more timely.---Listen to hear Kate discuss:Why box office data is important for producersUnderstanding audience engagementCinemas as cultural infrastructure and their role in supporting Australian filmsFrance’s model for supporting local filmsWhy awareness, availability and habit all matter when ensuring Australian films get seen in cinemasThe upcoming National Cultural Policy review and why it’s importantInsights from producing ProclivitasWhat you can do to support Australian filmsListen to Episode 53 on Spotify, YouTube or Apple Podcasts.If you enjoyed this episode, please subscribe & leave a rating or review to help us reach more listeners for We Interrupt This Broadcast.Make your own submission to the new National Cultural Policy: https://www.arts.gov.au/have-your-say/new-national-cultural-policyFollow Kate and her work:Kate on LinkedIn: https://www.linkedin.com/in/kateseparovichLake Martin Films: https://lakemartinfilms.comAustralia in Cinemas newsletter: https://australiaincinemas.substack.comProclivitas trailer: https://www.youtube.com/watch?v=WtgkX5oHCVIThis Deep Dive interview is hosted and edited by Aven Yap. https://www.linkedin.com/in/avenyapIf you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/weinterruptpodcastYouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/ ⁨@weinterruptpodcast⁩ LinkedIn⁠⁠⁠ https://www.linkedin.com/company/weinterruptpodcastDon’t forget to subscribe & get weekly episodes in your inbox.

In this episode, Robbie chats to Karina Libbey, screen culture specialist and festival director of the Capital Film Festival about what festival curation and audience engagement looks like from a programmer's perspective.They discuss what filmmakers may not know about how to engage with festivals, how a festival entry should read like a resume for your film, and the more you know about your audience the easier it is to program and market your film.Listen to hear Karina discuss:Audience-first programming as a guiding philosophyDefining, building, and challenging a festival audienceProgramming as curation, not just selectionThe role of trust in shaping audience behaviourWhy great films don’t always make the programWhy filmmakers must know who their film is for (and who it isn’t for)The unique power of shared cinema experiencesIf you enjoyed this episode, please subscribe & leave a rating or review to help us reach more listeners for We Interrupt This Broadcast.Follow Karina and her work: https://www.karinalibbey.com.au This Deep Dive interview is hosted and edited by Robbie Miles.If you’re enjoying the podcast, please leave a rating or review, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠

In this episode, Aven chats to Pauline Chan, an award-winning director, writer, and producer with a storied career spanning art-house cinema and international productions, featuring talent such as Jackie Chan, Nicole Kidman and Cate Blanchett.She famously made history by mounting the first two Australia-China official treaty co-productions, and over the past two years has been actively producing vertical series with titles including Divorced to be the Top Heiress for ShortMax and Alpha King, Your Pregnant Luna Escaped for NetShort.Aven and Pauline discuss the business model and production structure Pauline uses on these series, how they fit into her production company’s overall remit, and the ways they might be filling a gap in talent development, providing opportunities for emerging crew.Listen to hear Pauline discuss:How much audiences are paying to subscribe to a microdramaWhy the market for microdramas can be lucrative compared to film or televisionThe structure Pauline’s team puts in place for production and post, to make lower budgets work on their vertical seriesHow vertical series can support emerging talentWhy it makes sense to produce microdramas in AustraliaBuilding cliffhangers into each 1-3 minute episodeThe difference between producing microdramas and working in production servicingPauline’s Big Idea to shape the future of the industryListen to Episode 49 on Spotify, YouTube or Apple Podcasts.If you enjoyed this episode, please subscribe & leave a rating or review to help us reach more listeners for We Interrupt This Broadcast.Follow Pauline and her work:Pauline on LinkedIn: https://www.linkedin.com/in/pauline-chan-b041b540Pauline on IMDb: https://www.imdb.com/name/nm1298625Roaring Pictures: https://roaringpictures.com.auRoaring Pictures Productions: https://roaringpictures.com.au/#productionsThis Deep Dive interview is hosted by Aven Yap and edited by Aven and Kirsty Stark.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠, YouTube or LinkedIn.Don’t forget to subscribe & get weekly episodes in your inbox.

In this episode, Kirsty chats to Leela Varghese, a writer and director, most recently of Lesbian Space Princess, which she co-wrote and co-directed with Emma Hough Hobbs, winning Best Indie Film at the AACTA Awards and the Teddy Award for Best Feature at Berlinale. Leela also wrote and directed the short film I’m the Most Racist Person I Know, which won the Special Jury Award at SXSW and the AACTA Award for Best Short Film.Kirsty and Leela discuss her career trajectory, including the strategies she applied on both recent films to try to build her profile as a director.Listen to hear Leela discuss:strategically aligning project ideas with grant criteria or historical festival programming to give them the best chance of successthe importance of building relationships with festival programmershow bold titles have played a role in her films’ success, and the way they’ve been seen by audiencesworking with distributors and sales agents as part of your festival strategythe relevance of film festivals in an age of social media and streaminghow to pivot and give your project the best chance of market success, while holding onto your creative vision why you should be thinking about distribution as you develop your projectsFollow Leela and her work:Leela on Instagram: https://www.instagram.com/leelavargoose Lesbian Space Princess: https://lesbianspaceprincessmovie.comLesbian Space Princess on Instagram: https://www.instagram.com/lesbianspaceprincessfilmLesbian Space Princess: Official Trailer:https://www.youtube.com/watch?v=Nra14aUNYS8This Deep Dive interview is hosted and edited by Kirsty Stark.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠Don’t forget to subscribe & get weekly episodes in your inbox.

In this episode, Kirsty chats to screenwriter, story producer and script editor Fiona Kelly, about her 30 years’ experience writing for Australian television.Fiona has over 280 episodes of Australian drama to her name on shows including Home and Away, All Saints, Sea Patrol, and recently Scrublands Silver S2 and NCIS Sydney S3.Fiona shares her journey as a screenwriter from her early days to returning to study through a Master of Arts in Screen Business at AFTRS, including her tips for those wanting to forge a writing career today.Listen to hear Fiona discuss:Her initial journey into screenwritingThe changing landscape of televisionThe difference between a writer, story producer and script editorWhy she decided to pursue further studyThe Master of Arts in Screen Business at AFTRSAdvice for aspiring screenwritersHer big idea to change the shape of the industryListen to Episode 44 on Spotify, YouTube or Apple Podcasts.If you enjoyed this episode, please subscribe & leave a rating or review to help the show find more listeners.Follow Fiona and her work:Fiona on LinkedIn: https://www.linkedin.com/in/fiona-kelly-16002056 Fiona on IMDb: https://www.imdb.com/name/nm1282210If you’re interested in the Master of Arts Screen: Business at AFTRS, applications for the 2026 mid-year cohort (commencing August this year) are open now, until the 2nd of June. Designed for a new generation of screen leaders, AFTRS’ Master of Arts Screen: Business is Australia’s foremost creative screen business course. You can find out more at the links below:https://www.aftrs.edu.au/wp-content/uploads/2024/08/MASB-Course-Guide-2025.pdfhttps://www.aftrs.edu.au/award-course/master-of-arts-screen-business/This Deep Dive interview is hosted and edited by Kirsty Stark.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠This episode is sponsored by AFTRS, the Australian Film, Television and Radio School. Head to aftrs.edu.au to find your course and enrol.Don’t forget to subscribe & get weekly episodes in your inbox.

In this episode, Kirsty chats to Screen industry consultant Dan Fahy about the evolving global marketplace for television, focusing on revenue trends, the importance of community, and the impact of data analysis on content creation.Dan outlines the opportunities for producers in a changing market with an emphasis on adaptability and innovation.Plus, the five realities buyers are facing that you should check your content against if you’re involved in the creation of stories.Listen to hear Dan discuss:His work for Paramount, BBC Studios and Nine, and why data analysis is crucial for understanding market trends.The slowing in revenue, leakage of revenue and concentration of revenue that are affecting content buyers globally.How children’s content presents great opportunities that we aren’t capitalising on in Australia.The five ways producers can adapt to make their content more favourable to buyers.Why the future of the industry relies on innovation and adaptability.Follow Dan on LinkedIn: https://www.linkedin.com/in/danfahy100 This Deep Dive interview is hosted by Kirsty Stark and edited by Brandon Boyer and Kirsty Stark.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠This episode is sponsored by AFTRS, the Australian Film, Television and Radio School. Head to aftrs.edu.au to find your course and enrol.

In this episode, Kirsty chats to Enzo Tedeschi, a director, producer, and writer at Deadhouse Films, and how he’s sustained a thriving indie production company through significant industry changes.Enzo has often been at the forefront of experimental production models made possible through changes in technology, from his early crowdfunded feature film The Tunnel, which now has an audience of over 25 million, to work across genre projects and documentary. He discusses audience building, the differences in audience building between documentary and narrative projects, evolving business models and the role of technology in shaping the future of indie filmmaking.Listen to hear Enzo discuss:How the traditional industry prevented Enzo and his team from their planned distribution rollout for The TunnelWhy crowdfunding isn’t the right move for 90% of projectsHow to cast a project in a way that increases its likely pathway to audienceThe importance of recognising - and leveraging - the story behind your projectHow Enzo is using AI on his latest project And much more!Follow Enzo and his work:Enzo Tedeschi on LinkedIn: https://www.linkedin.com/in/enzo-tedeschiEnzo Tedeschi on Instagram: https://www.instagram.com/enzotedeschiDeadhouse TV on YouTube: https://www.youtube.com/deadhousetvEnzo’s website: https://www.enzotedeschi.com.auDeadhouse Films: https://www.deadhousefilms.comThe Tunnel: https://www.thetunnelmovie.netThis Deep Dive interview is hosted and edited by Kirsty Stark.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠This episode is sponsored by AFTRS, the Australian Film, Television and Radio School. Use the code SUMMER2026 for a 15% discount⁠⁠⁠ on all summer short courses. Head to aftrs.edu.au/shortcourses to find your course and enrol.Don’t forget to subscribe & get weekly episodes in your inbox.

* Could you be our next We Interrupt This Broadcast co-host? *Read more and fill out an EOI here: https://forms.gle/oQgAoJXgnQpejfej9In this episode, Julie Eckersley chats to Amelia Darmawan, Co-Founder and Executive Producer at Totem, a company that’s quietly reimagining what a digital-first entertainment business can be.The company designs next-gen content businesses for media companies, brands, and creators, helping great IP reach millions more online.As Director of Strategy & Content, Amelia helps drive innovation across original content, revenue expansion, brand partnerships, and AI-powered workflows.She shares some of what she’s learnt while shaping the next generation of entertainment brands. Listen to hear Amelia discuss:The shift she’s seen across the screen and creative industries over the last 10 yearsHow the benefits can go both ways as we move into true collaborations between traditional media creators and the creatorsphereHow to maximise your IP and reach new audiences onlineHow to understand and work with the algorithmsThe importance of staying nimble as things continue to change and evolveFollow Amelia and her work:Amelia on LinkedIn: https://www.linkedin.com/in/amelia-darmawan-8a5b2541 Totem: www.totem.globalBondi Rescue on YouTube: www.youtube.com/bondirescueTwisted Lunchbox on YouTube: www.youtube.com/twistedlunchboxPeking Duck on TikTok: https://www.tiktok.com/@pekingduk Try Guys on Instagram: https://www.instagram.com/tryguys This Deep Dive interview is hosted by Julie Eckersley⁠⁠⁠ and edited by Brandon Boyer.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠This episode is sponsored by ⁠⁠AFTRS⁠⁠, the Australian Film, Television and Radio School. Use the code INTENSIVE2025 for a 20% discount⁠⁠⁠⁠⁠⁠⁠ on all “intensive” courses until the end of the year.

In this episode, Kirsty talks to Daren Smith of Craftsman Films, a Utah-based independent producer with four features and multiple seasons of TV under his belt. Daren shares how he set up Craftsman Films, as an independent studio, and the new $10 million dollar film fund he’s raising, with the goal of producing ten profitable “blockbuster indies.”He also discusses the challenges of independent filmmaking, including financing, development and distribution, and how he’s addressing these issues through a new model inspired by venture capital structures.---This episode is sponsored by ⁠AFTRS⁠, the Australian Film, Television and Radio School. Use the code INTENSIVE2025 for a 20% discount⁠⁠⁠⁠⁠ on all “intensive” courses until the end of the year.---Listen to hear Daren discuss:The five key challenges of independent filmmakingCraftsman Films’ new model for indie film financingHow to approach a pitch so that private investors will listenThe importance of building your personal brandHow reaching out on LinkedIn beats cold emailingWhy it’s important for a film fund to have a clear thesisThe difference between asking ‘what’ questions and ‘why’ questionsFollow Daren and his work:Daren on LinkedIn: https://www.linkedin.com/in/darentsmithDaren on IMDb: https://www.imdb.com/name/nm2743912Craftsman Films: https://www.craftsmanfilms.coGet your free copy of Blockbuster: https://www.craftsmanfilms.co/blockbuster ---This Deep Dive interview is hosted by ⁠⁠Kirsty Stark and edited by Brandon Boyer.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ | ⁠⁠⁠⁠YouTube⁠⁠⁠⁠ | ⁠⁠⁠⁠LinkedIn⁠---This episode is sponsored by AFTRS, the Australian Film, Television and Radio School. Use the code INTENSIVE2025 for a 20% discount⁠⁠⁠ on all “intensive” courses until the end of the year.

In this episode, Julie talks to prolific producer Steve Jaggi, founder of Jaggi Entertainment, about how he has built one of Australia’s busiest independent studios. Steve unpacks his cradle-to-grave business model - spanning development, financing, production, post, VFX and distribution - and why being relentlessly audience-focused has been key to his global success.He shares candid insights into why legacy systems are struggling, how micro dramas and influencer-led casting are reshaping the industry, and why Australian producers must urgently rethink cost structures and audience engagement. Steve also reflects on AI, direct-to-consumer models, and what kind of leadership is needed to stop the industry’s “slow-moving train” from derailing.Listen to hear Steve discuss:The rise of vertical drama and mobile-first storytelling.Why influencer-driven casting is transforming audience definitions of quality.Rethinking cost, scale and sustainability in production.Preparing for disruption from AI, D2C models, and shifting global power.What kind of leadership the Australian industry needs right now.Follow Jaggi Entertainment:Jaggi Entertainment: https://www.jaggientertainment.com IMDb: https://www.imdb.com/name/nm1863720You Tube: https://www.youtube.com/@jaggi_entertainmentInstagram: https://www.instagram.com/jaggi_entertainmentFacebook: https://www.facebook.com/jaggientertainmentLinkedIn: https://www.linkedin.com/company/jaggientertainment/This Deep Dive interview is hosted by ⁠⁠Julie Eckersley⁠, and proudly brought to you by ⁠⁠⁠⁠⁠⁠⁠⁠CrewHQ⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠Expanding Media⁠⁠⁠⁠⁠⁠⁠⁠.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ | ⁠⁠⁠⁠YouTube⁠⁠⁠⁠ | ⁠⁠⁠⁠LinkedIn⁠Don’t forget to subscribe & get weekly episodes in your inbox.

In this episode, Julie Eckersley talks to Lee Naimo, Head of Creative for Grouse House at Haven’t You Done Well Productions, about the growth of online screen businesses in Australia and how to build a sustainable business model that works for you and your audience.Previously managing the Online and Games Unit at Screen Australia, Lee worked with Australian producers, writers, directors and gamemakers to elevate their projects and careers, and has great insight into how they’re succeeding in the marketplace.Even for those companies working in traditional media, online opportunities will need to make up at least one component of your future business strategy, so this is an episode not to miss!Listen to hear Lee discuss:The evolution of online content in AustraliaInnovative companies in the online spaceHow Grouse House is building opportunities for comedians to get their work in front of audiencesHow revenue stacking leads to sustainable business modelsWhy you should repurpose your existing content to find new audiencesWhat’s happening in the games space in AustraliaPlus, his big idea for the Australian industryFollow Lee, Grouse House and their work:⁠Haven’t You Done Well’s website: https://www.haventyoudonewell.com Grouse House’s website: https://www.haventyoudonewell.com/grouse-houseGrouse House on YouTube: https://www.youtube.com/channel/UCNuaFLcbAeycQAIAW5s7T0QLee Naimo on LinkedIn: ⁠https://www.linkedin.com/in/lee-naimo-689084233This Deep Dive interview is hosted by Kirsty Stark, and proudly brought to you by ⁠⁠⁠⁠⁠⁠CrewHQ⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠Expanding Media⁠⁠⁠⁠⁠⁠.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠Spotify⁠⁠⁠⁠ or ⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠Instagram⁠⁠ | ⁠⁠YouTube⁠⁠ | ⁠⁠LinkedIn⁠

In this episode, Kirsty Stark talks to Sam Jockel, Producer of Australian parenting documentary Seen, which has reached over 30,000 audience members and gone into profit within 4 months of release.Sam comes from outside the film industry, as a serial entrepreneur with expertise in community building across multiple businesses. Seen is her first feature film, and she used her business background to build a hybrid release model, working with distributor Bonsai Films.This is a must-listen episode for anyone interested in building audiences and community around a project. Sam openly shares her experience, including how difficult the process was, and whether it was worth it to challenge the norms of distribution.Listen to hear Sam discuss:Why someone needs to be working on audience building from the moment a film is conceivedHow much she raised at the film’s first fundraising event, and why it was so importantHer choice to build a distribution plan around community screenings, instead of targeting individual ticket salesHer initial reaction to the distribution models she was presented withThe difficulty of managing an impact campaign alone, and whether it was worth itHow Seen planned and managed their release, including the tools and platforms they used, how they ran events and the benefit of their websiteWhat she would pitch to the film industry as an outsider, to make it better for everyoneSam Jockel is an award-winning entrepreneur and content producer with over 15 years of experience, known for founding ParentTV, an innovative parenting platform, and building ALDI Mum and School Mum, online communities with over 650,000 members. Recognised by the World Summit Awards Globally winning the Learning and Education category for the Quality Education SDG, she has also taken on the role of producer tackling the tricky topic of parenting in modern times with the recently released documentary Seen.Follow Sam and her work:Seen’s official website: https://seenthefilm.comSeen Resources: https://seentheresources.comSeen on Instagram: https://www.instagram.com/seendocumentarySam Jockel on LinkedIn: https://www.linkedin.com/in/samjockelParentTV: https://parenttv.comYouTube: https://www.youtube.com/@ParentTVOfficial Trailer:This Deep Dive interview is hosted by Kirsty Stark, and proudly brought to you by ⁠⁠⁠⁠⁠⁠CrewHQ⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠Expanding Media⁠⁠⁠⁠⁠⁠.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠Spotify⁠⁠⁠⁠ or ⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠Instagram⁠⁠ | ⁠⁠YouTube⁠⁠ | ⁠⁠LinkedIn⁠

In this episode, Julie Eckersley talks to Dr. David Court - founder of Compton School, and one of the most influential champions of emerging screen talent in Australia.From the early days of his career in finance and policy to his work advising governments, structuring production deals, and founding Australia’s first business school for creatives, David has seen the screen industry from every angle.This is a conversation about the art of mentoring - why it matters, how it shapes the creative community, and the ripple effects it has long after the advice is given.Key Takeaways:Why mentoring is more than just giving advice.Why the wider screen industry not only benefits from but needs mentoring in order to thrive.Key advice for how to approach a mentor.How to make the most of the mentor/mentee relationship.Whether you’re a filmmaker, a creative entrepreneur, or a leader in any field, this conversation is about connection, guidance, and how the creative industries can thrive through structured knowledge transfer between generations.Follow David and his work:Compton School: https://compton.schoolRAINMAKERS: https://compton.school/rainmakers David on LinkedIn: https://www.linkedin.com/in/david-court-058965/This Deep Dive interview is hosted by ⁠⁠⁠⁠⁠⁠Julie Eckersley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and proudly brought to you by ⁠⁠⁠⁠⁠⁠CrewHQ⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠Expanding Media⁠⁠⁠⁠⁠⁠.If you’re enjoying the podcast, please leave a rating on ⁠⁠⁠⁠Spotify⁠⁠⁠⁠ or ⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠, and we’d love you to forward this episode to a friend!Follow us on: ⁠⁠Instagram⁠⁠ | ⁠⁠YouTube⁠⁠ | ⁠⁠LinkedIn⁠Subscribe and get weekly episodes in your inbox: https://weinterruptthisbroadcast.substack.com