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Guesswork Tv, which is a part of the Token Group owned by Kevin Whyte, has produced a few of Australia’s favorite exhibits together with Rosehaven, Exhausting Quiz, The Weekly, Deadloch and Please Like Me.
Manufacturing firm identify?
Guesswork Tv
When was the corporate based?
Guesswork began in 2012 however it’s a part of the Token Group has been energetic in TV manufacturing because the late Nineteen Nineties, primarily by way of our work with Roving Enterprises.
The place are you based mostly and which states did you movie in for 22 / 23 productions?
Now we have places of work in Collingwood in Melbourne and Surry Hills in Sydney. In 22/23 we shot primarily in Victoria, NSW and Tasmania, however Queerstralia managed to get just about in all places else. We additionally labored with Graham Norton’s firm, So Tv, to supply a Hannah Gadsby particular in London final 12 months.
What number of full-time equal workers and what number of does it broaden to throughout manufacturing?
Now we have a core staff of eight plus help from throughout the Token Group – it blows into the tons of when we have now a number of exhibits operating like we did in 2022 with Deadloch, Queerstralia, The ABC Of and the Thinkative productions Exhausting Quiz and The Weekly With Charlie Pickering.
What’s your possession mannequin and who’re key principals?
Guesswork is a part of Token Group which incorporates the artist administration corporations Token Artists and Inventive Illustration and the touring enterprise, Token Occasions. The group is owned by Kevin Whyte (pictured, proper). Thinkative can also be a part of the household and that’s co-owned with Chris Walker and Charlie Pickering.
Guesswork principally collaborates with Token Group purchasers to develop their authentic concepts.
Describe the genres you specialize in for manufacturing?
Our inventive path is led by the tribe of artists we work with, so we simply blindly observe them into no matter is subsequent after which reverse engineer it into a technique.
Having stated that, comedy is residence turf. Our scripted exhibits, led by Tanya Phegan, are all humorous however with compelling and immersive storytelling. Now we have a robust stand-up heritage so we love studio exhibits with a stay viewers and we have now made numerous comedy specials alongside our touring enterprise. Having Jon Casmir within the staff to assist us make distinctive docs like Queerstralia is an actual privilege.
What have been a few of your notable credit and with which broadcasters / streamers?
The Weekly & Exhausting Quiz (ABC), Please Like Me (ABC/Pivot), Rosehaven (ABC/SundanceTV), Frayed (ABC/Sky/HBO Max), Queerstralia (ABC), The ABC Of (ABC), Deadloch (Prime Video), Get Krackin (ABC) and numerous get up specials together with Hannah Gadsby’s Nanette and specials for Netflix, Prime Video, Stan, ABC and Paramount Plus.
What’s arising in your slate and what number of initiatives are in energetic improvement?
Now we have new seasons of Exhausting Quiz and The Weekly to make and we hope to see a second season of Deadloch. We’re effectively superior on a brand new half hour comedy and an grownup animation in addition to a number of scripts about to be pitched, which we have now developed with help from VicScreen. 2023 was an enormous 12 months for improvement and we now have the scripts to indicate for it. We’re additionally creating a brand new talent-led factual collection for one of many broadcasters, which we hope to shoot in Q3.
Do you obtain unsolicited materials, what are you searching for, how ought to folks pitch initiatives?
We don’t take a look at unsolicited materials from exterior of our purchasers and collaborators. Now we have a really specific mannequin. A lot of our purchasers work with different producers, however we solely actually take a look at concepts created by or for our purchasers, who might then usher in collaborators from exterior.
What change would you most prefer to see relating to commissions?
At a authorities stage we have to see a quota regime and phrases of commerce that give Australian program makers an actual likelihood to construct sustainable companies to help and develop the content material that all of us wish to see extra of. It might even be nice to see a clearer path for producing scripted exhibits which can be principally for Australian audiences. Making exhibits for the world is thrilling however there can be a cultural hole if we cease making exhibits for ourselves – in the intervening time you possibly can’t actually finance scripted TV right here with out a global associate.
Everyone seems to be making an attempt their greatest to get nice exhibits to display screen however the headwinds are actually windy in the intervening time and the structural challenges will want structural options. Additionally, we would favor it if nobody handed on any of our exhibits.
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