Writer/director Tin Pang joins the podcast to talks about drawing from his own life for his projects, takeaways from taking his series Sell-Out to market, key learnings from directors’ attachments on A Place to Call Home and Home and Away, breaking down what a 1st, 2nd and 3rd assistant director (or AD) does, and how his work in those roles – and others – has set him up to be the director he is today.

Tin’s short films The Pale Moonlight [https://www.threecoinpictures.com/portfolio/the-pale-moonlight/] and Mother, Child [https://www.threecoinpictures.com/portfolio/mother-child/] screened at festivals across the globe, including MIFF, Flickerfest, St Kilda, World-Fest Houston, HollyShorts and Fantasia. He was selected to be a part of MIFF’s Accelerator Lab as well as the Equity Foundation’s Screen Diversity Showcase, which resulted in the short film, Radical Honesty [https://www.threecoinpictures.com/portfolio/radical-honesty/]. Tin has also worked as an assistant director on series including Last King Of The Cross, The Artful Dodger, Erotic Stories, He Had It Coming and upcoming features Street Fighter and Spaceballs 2.

There’s also a call-out in the episode for donations for the short film LITTLE LIME, the writing/directing debut of host Caris Bizzaca. Any support is much appreciated! https://artists.australianculturalfund.org.au/s/project/a2EMn00000Yya6fMAB/short-film-little-lime

Writer/director Tin Pang: directing process, AD takeaways and pitching advice

On today’s episode is lawyer Eve Foreman, who’s the principal of entertainment law practice Macleay William. Eve talks through whether legal requirements differ if your project is low budget or big budget, some of the legal jargon people might encounter, what to do if you need clearances for things like video game characters or songs, terms to expect or look out for if you’re selling your project, and much more.

Eve has worked in the film and television industry for over 20 years, starting with 'hands on' experience in the production office, script department and in continuity and then becoming admitted to practice as a lawyer. She predominately acts for producers across their development, financing, production and distribution work, as well as advising US studios on production work in Australia.

Eve Foreman: navigating contracts, copyright and legal terms for Australian screen projects

SBS Head of Scripted Nakul Legha talks about how to pitch to SBS, the types of series they are and aren’t commissioning, and advice for Digital Originals. Applications are now open for the Digital Originals initiative from SBS, NITV and Screen Australia, and Nakul runs through who is eligible, what they’re looking for, how to make your application stand out and many more Frequently Asked Questions.

Read the guidelines before you apply: https://www.screenaustralia.gov.au/fund/digital-originals-2026/

As Head of Scripted, Nakul leads the commissioning of scripted content at SBS, which includes overseeing Original SBS series, the slate of Digital Originals, and other industry initiatives that amplify new voices. Prior to SBS, Nakul was at Netflix, where he helped establish the streamer’s content strategy in ANZ, and oversaw a slate of original scripted series, feature films and documentaries that included Boy Swallows Universe, Wellmania, Surviving Summer, Love is in the Air, Irreverent and ONEFOUR: Against All Odds.

Nakul Legha: tips for applying for Digital Originals and pitching to SBS Scripted

On the latest episode of Breaking Screen is Christopher Kam, the Head of Development at Typecast and a freelance story producer through his label Kameo Scripted.

Christopher has more than 15 years of experience in the film and television industry, working in both Australia and the UK. Throughout the podcast, he talks about the differences between developing television in Australia compared to overseas; tips on how to give and receive notes; what he’s looking for the first time he reads a script; how to know when a project is market-ready; and much more.

Christopher was a Development Producer at BBC Studios ANZ where he developed Ghosts Australia which was greenlit at Paramount+, and while working in London for nine years, he was Head of Development at Eleventh Hour Films, and Director of Scripted Development at NBCUniversal International Studios, where he was the executive across the first season of Amazon series HANNA and both seasons of the BBC series The Capture. He also script edited the BBC series The Long Song, and started out working in production in Australia on ABC series Glitch season 1 and ABC series Nowhere Boys Season 2, as well as the feature film Cut Snake.

Christopher Kam: developing television in Australia

Screen Producers Australia (SPA) CEO Matthew Deaner joins the podcast ahead of the annual conference Screen Forever, which takes place in late April 2026. The conference is made up of two parts – the online Global Market, and the in-person conference and market, which runs for three days (April 28-30) on the Gold Coast. Throughout the podcast, Matthew gives tips for anyone planning on attending Screen Forever, as well as talking through what Screen Producers Australia is and does, and his thoughts on the state of the Australian industry following a tough 2025.

SPA was also part of the successful, years-long push to introduce local content quotas for streaming services – under the new laws, passed in Parliament in November 2025, streaming services with more than one million Australian subscribers will be required to invest at least 10% of their total program expenditure for Australia—or 7.5% their revenue—on new local drama, children's, documentary, arts and educational programs. In addition, the ABC will also receive a $50 million funding boost over 3 years to support the production of new Australian children's and drama content. On the other side of that bill passing, Matthew also talks to SPA’s focuses going forward, advice for producers, and more.

Screen Forever bootcamp video [https://www.youtube.com/watch?v=cJeo_ajVH2c] 

Screen Forever website [https://www.screenforever.org.au/40]

SPA CEO Matthew Deaner: Screen Forever tips and advice for producers

AP Pobjoy joins the latest episode to talk about the SBS Digital Originals series Homebodies. AP is the creator, lead-writer and one of the directors on the series, which is streaming on SBS on Demand now.

Throughout the podcast, AP talks about the journey of Homebodies – from pitching the idea to Mad Ones producer Cyna Strachan, through to writers’ rooms with people like Charlotte Mars, working with set-up director Harry Lloyd and the challenges of casting those key roles. AP also talks to applying and developing Homebodies through the SBS initiative Digital Originals, takeaways from writing the 6 x 10-minute episodes, and much more.

In Homebodies Darcy (Luke Wiltshire) returns home to look after his estranged mother (Claudia Karvan), but discovers she’s got an unusual housemate: the teenage ghost of his pre-transition self (Jazi Hall).

Watch all episodes: https://www.sbs.com.au/ondemand/tv-series/homebodies

AP Pobjoy: creating SBS Digital Originals series Homebodies 

On today’s episode of Breaking Screen is Lee Naimo. As the Head of Creative for Grouse House, Lee works for Haven't You Done Well Productions, the production company of comedy group Aunty Donna.

As Grouse House says: “Grouse House connects Australia’s most cooked comedians with the freaks who froth it. Curated by Aunty Donna, we produce and showcase internet videos, podcasts and live shows. It’s the home of Australian alternative comedy.”

Throughout the podcast, Lee talks about takeaways from his time at Screen Australia as Head of Online and Games, the upcoming launch of the Grouse House TV streamer, his advice for anyone preparing to pitch (and what Grouse House is looking for), being an internet elder as one third of Axis of Awesome and much more.

Lee Naimo: creating the home of Australian alternative comedy in Grouse House, pitching tips, and advice from an internet elder

Screenwriter and director Hannah Lehmann joins the latest episode of Breaking Screen to talk about her writing process, how making a vertical series prepared her for feature film and TV, dealing with rejection, exploring the realities of working in the screen industry through her writing, and much more.

For her digital series Two Sides, Hannah won an Australian Directors Guild award and a Streamy Award. She created and directed The Unboxing for Seven Studios, and began her career with The Out There, a series she produced and wrote for Instagram.

Read Hannah’s SubStack ‘Still Losing’: https://hannahlehmannworld.substack.com [https://hannahlehmannworld.substack.com/]

Currently, Hannah has a number of projects in development including her debut feature, the semi-autobiographical TV series Mirrorball, produced by Easy Tiger Productions, and several feature film adaptations.

Screenwriter/director Hannah Lehmann: writing process, navigating development, and why rejection will ultimately make you better

Jimpa producer Liam Heyen joins the latest episode of Breaking Screen ahead of the film's  release in Australian cinemas on February 19th.

Directed and co-written by Sophie Hyde, Jimpa stars Olivia Colman as a filmmaker who is forced to reckon with the past when her teenager (played by Aud Mason-Hyde) declares they want to move to Amsterdam to live with their gay grandfather, “Jimpa” (played by John Lithgow).

In this wide-ranging interview, Liam talks about why he was drawn to producing, starting the production company Mad Ones Films with Cyna Strachan in the pandemic, making Latecomers, Erotic Stories, upcoming Homebodies and their first feature film with Jimpa, tips for funding applications, his biggest learnings to date, and much more.

Liam Heyen: producing Jimpa, advice for Digital Originals, and career takeaways

We're joined on Breaking Screen by Michelle Law, a writer and actor who writes for print, theatre and screen. Throughout the episode, Michelle talks about the differences in writing for those three mediums, her writing process, managing her time as a freelancer to avoid burnout, juggling parenting and working in the industry, and much more.

Michelle has been published in numerous Australian books, literary journals, and magazines, and her travel book, Asian Girls are Going Places, was published by Hardie Grant in 2022. 

As a playwright, she’s written Top Coat (Sydney Theatre Company 2022), Miss Peony (Belvoir St Theatre 2023), and the smash-hit play Single Asian Female (numerous, 2017 - 2022), which had sold out seasons across the east coast of Australia as well as in New Zealand. 

In screen, Michelle was the co-creator, co-writer and co-lead of the AWGIE-award winning SBS series Homecoming Queens, as well as writing episodes of Bureau of Magical Things and Safe Home.

This episode marks Breaking Screen's final episode of 2025! The podcast will be back in early 2026.



Michelle Law on writing for stage, print and screen

Get up-to-date on Australian screen industry news and hear from local writers, producers, directors and more. Created and hosted by journalist and screenwriter Caris Bizzaca.

Caris Bizzaca

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