We Interrupt This Broadcast

Loani Arman sits down with Mandy Walker AM ACS ASC, the Oscar nominated cinematographer behind Elvis, Hidden Figures, Mulan and Tracks, and the first woman to lead the American Society of Cinematographers in its 106 year history.
Mandy talks about breaking into camera departments when few women were there, the mentors who backed her, and why wants to open doors for other women in camera.
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Listen to hear Mandy discuss:
The mentors who championed her in her early career
How she builds collaborative sets between departments
The story-led way she prepares for a shoot, while being ready to pivot when things change on the day
How she approached scenes in Elvis to allow the actors space to perform
Why she isn't scared of AI, and what remains fundamentally human about cinematography

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Further information about Mandy Walker AM ACS ASC:
Mandy's website: https://www.mandywalkerdp.com
Mandy on Instagram: https://www.instagram.com/mandywalkerdp/?hl=en
Mandy on IMDB: https://www.imdb.com/name/nm0907999

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This Deep Dive interview is hosted and edited by Loani Arman.
If you're enjoying the podcast, please leave a rating, and we'd love you to forward this episode to a friend!

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Follow us on:
Instagram - https://www.instagram.com/weinterruptpodcast
YouTube - https://www.youtube.com/@weinterruptpodcast
LinkedIn - https://www.linkedin.com/company/weinterruptpodcast

Kirsty Stark sits down with the team behind Leviticus: Writer/Director Adrian Chiarella, Producer Sam Jennings (Causeway Films), and Distributor Marc Wooldridge (Maslow Entertainment) for Part 2 of a two-part conversation about what it takes to make a million dollars at the Australian box office.
If you missed Part 1, head back to last week's episode, #77.
The queer horror feature reached almost 1.5 million dollars domestically, and in this conversation the three share what happens on the ground when you make a sale at Sundance, the strategy behind opening weekend, and how to turn audience members into fans.
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Listen to hear Adrian, Marc and Sam discuss:
What actually happens in the 48 hours after a Sundance screening
How to choose the right partner when you have multiple offers on the table
Why going day and date with the US gave Leviticus the advantages of a global release
The accidental in-season Q&A strategy that gave the film's theatrical run a boost
What number you need to hit on opening weekend to reach a million dollars
How involving and empowering their audience helped turn viewers into passionate advocates

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If you enjoyed this episode, please subscribe & leave a rating or review to help us reach more listeners for We Interrupt This Broadcast.

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Further information after listening to the episode:
Leviticus Trailer: https://www.youtube.com/watch?v=WXuK0vlFxII
Leviticus on Letterboxd: https://letterboxd.com/film/leviticus-2026
Adrian Chiarella on Instagram: https://www.instagram.com/adrianchiarella/
Sam Jennings on Instagram: https://www.linkedin.com/in/samantha-jennings-89674621
Maslow Entertainment on Instagram: https://www.instagram.com/maslowentertainment
Sam Jennings on LinkedIn: https://www.linkedin.com/in/samantha-jennings-89674621
Marc Wooldridge on LinkedIn: https://www.linkedin.com/in/marc-wooldridge
Maslow Entertainment: https://www.maslowentertainment.com
Causeway Films: https://www.causewayfilms.com.au

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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!

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Follow us on:
Instagram - ⁠⁠⁠⁠⁠https://www.instagram.com/weinterruptpodcast⁠⁠⁠⁠⁠
YouTube - ⁠⁠⁠⁠⁠https://www.youtube.com/@weinterruptpodcast
LinkedIn - ⁠⁠⁠⁠⁠https://www.linkedin.com/company/weinterruptpodcast⁠⁠⁠⁠⁠

Kirsty Stark sits down with the team behind Leviticus: Writer/Director Adrian Chiarella, Producer Sam Jennings (Causeway Films), and Distributor Marc Wooldridge (Maslow Entertainment) for Part 1 of a two-part conversation about what it takes to make a million dollars at the Australian box office.
The queer horror feature reached almost 1.5 million dollars domestically, and in this conversation the three share how they got there, from an idea developed through VicScreen’s Originate program to their breakout Sundance premiere.
Come back next week for Part 2, where they’ll discuss what happens on the ground when you make a sale at Sundance, the strategy behind opening weekend, and how to turn audience members into fans.
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Listen to hear Adrian, Sam and Marc discuss:
Why horror is intrinsically theatrical and how they positioned Leviticus for both queer and broad horror audiences.
Causeway Films’ financing strategy for the film, which allowed them to build a theatrical model that wasn’t centred on international pre-sales.
What Maslow looks for in a script, concept and pathway to market before saying yes to distribution.
The casting and packaging process and what actually mattered when putting the project together.
Why they kept news about the film quiet through production and launched it as a breakout festival film.
How they planned their Sundance premiere, including pre-screenings, PR and festival strategy.
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If you enjoyed this episode, please subscribe & leave a rating or review to help us reach more listeners for We Interrupt This Broadcast.

---
Further information after listening to the episode:
Leviticus Trailer: https://www.youtube.com/watch?v=WXuK0vlFxIILeviticus on Letterboxd: https://letterboxd.com/film/leviticus-2026
Adrian Chiarella on Instagram: https://www.instagram.com/adrianchiarella/
Sam Jennings on Instagram: https://www.linkedin.com/in/samantha-jennings-89674621
Maslow Entertainment on Instagram: https://www.instagram.com/maslowentertainment
Sam Jennings on LinkedIn: https://www.linkedin.com/in/samantha-jennings-89674621 Marc Wooldridge on LinkedIn: https://www.linkedin.com/in/marc-wooldridge
Maslow Entertainment: https://www.maslowentertainment.com
Causeway Films: https://www.causewayfilms.com.au
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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 - ⁠⁠⁠⁠⁠https://www.instagram.com/weinterruptpodcast⁠⁠⁠⁠⁠
YouTube - ⁠⁠⁠⁠⁠https://www.youtube.com/@weinterruptpodcast
LinkedIn - ⁠⁠⁠⁠⁠https://www.linkedin.com/company/weinterruptpodcast⁠⁠⁠⁠⁠

Loani and Robbie cover all of your screen industry news from September, digging into the Screen Queensland funding cuts, 46 production jobs going at the ABC, and what it means to lose an internal champion on a project.
They discuss the reboot-heavy upfronts, the reversal on the ABC Indigenous department, and the new Shared Ground initiative.
Plus the Emmys, the Tilly Norwood “interview”, the cancelled Clayton Jacobson ACS workshop, upcoming conference and festival appearances for the team, and what they’ve been watching.

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Links to topics mentioned in this episode:

Screenworks Regional to Global conference: https://screenworks.com.au/opportunities/regional-to-global-2026/

SPA report on Screen Queensland funding cuts: https://www.screenhub.com.au/news/industry-news/screen-queensland-screen-producers-australia-response-2707269/

WITB Media Watch mention on Screen Queensland cuts: https://www.abc.net.au/mediawatch/episodes/cut/107125420

ABC cutting 46 production jobs: https://if.com.au/abc-slashes-46-production-roles-across-its-screen-division/

ABC lifting drama slate to twelve shows for 2027 (IF Magazine): https://if.com.au/as-the-abc-expands-its-scripted-slate-rachel-okine-outlines-what-it-wants-next/

Streamer upfronts and reboots (McLeod's Daughters, Wentworth: Halfway Home): https://deadline.com/2026/09/stan-mcleods-daughters-revival-angourie-rice-stuck-up-stupid-1237104979/: https://if.com.au/binge-opts-for-some-tough-love-in-2027-to-keep-post-colin-from-accounts-comedy-momentum/

ABC reversing plan to overhaul Indigenous department: https://www.lamestream.com.au/exclusive-abc-backflips-on-indigenous-tv-closure-will-continue-in-existing-divisions-for-now/

Shared Ground Indigenous co-production initiative: https://www.screenaustralia.gov.au/indigenous-screen-organisations-from-canada-aotearoa-new-zealand-and-australia-launch-new-international-co-production-initiative/

Northern Pictures wins three Emmys for Love on the Spectrum: https://www.filmink.com.au/public-notice/australias-northern-pictures-wins-three-primetime-emmy-awards-for-love-on-the-spectrum-season-four-at-the-78th-primetime-creative-arts-emmy-awards/

Tilly Norwood AI "actor" Piers Morgan interview: https://www.hollywoodreporter.com/business/digital/tilly-norwood-interview-1236700405/

Asia Pacific Screen Awards nominations and program: https://www.asiapacificscreenawards.com/about

In The Frame Queensland: https://screenqueensland.com.au/events/in-the-frame-screen-queensland-practitioners-forum-2026/

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This episode of We Interrupt This Broadcast was hosted and edited by Robbie Miles and Loani Arman.

Follow us on:
Instagram: https://www.instagram.com/weinterruptpodcast
YouTube: https://www.youtube.com/@weinterruptpodcast
LinkedIn: https://www.linkedin.com/company/weinterruptpodcast

This episode is sponsored by ⁠⁠⁠Getty Images⁠⁠⁠, home to market-leading creative and editorial content from the world’s best photographers and videographers.

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Aven Yap speaks with Arran Birchenough from our podcast sponsor Getty Images in the show’s first deep dive into archive.
Busting the stereotype that archive is only relevant for historical documentaries, Arran explains why it matters for scripted and factual producers alike. He unpacks the difference between copyright and intellectual property rights, and how the same shot can carry very different risk depending on the story and how it’s used.
Arran also shares his story of joining Getty in 2001 at the time of the September 11 attacks, and talks about Getty’s ethically trained AI tool.
If you’ve ever had questions about licensing images or footage for use on a project, this episode is a great place to start.

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Listen to hear Arran discuss:
Why archive is not just vintage historical footage but contemporary news and pre-shot creative content
The difference between copyright and the intellectual property rights inside licensed content, and where the risk actually falls
Why the same Sydney Harbour Bridge shot carries wildly different risk depending on how the story is told
Why you should talk to an archive house during development to build your projects around sizzle reel or pitch content, not come in during the pressure of post-production
How Getty’s AI tool is trained only on licensed, released content and indemnified for on-screen use
How licensing can be reworked around ad revenue for YouTube channels

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If you enjoyed this episode, please subscribe & leave a rating or review to help us reach more listeners for We Interrupt This Broadcast.

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Further information about Getty Images:

Website: https://gettyimages.com

LinkedIn: https://www.linkedin.com/company/getty-images

Instagram: https://www.instagram.com/gettyimages

YouTube: https://www.youtube.com/user/gettyimages

Getty Images Scripted Services: https://engage.gettyimages.com/86dwgnc9c-ScriptedContent-APAC#/en/Getty_Images

Getty Images Archive: https://engage.gettyimages.com/the-archive#/en/modal/home

Arran Birchenough on LinkedIn: https://www.linkedin.com/in/arranbirchenough

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This Deep Dive interview is hosted and edited by ⁠Aven Yap.
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!

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Follow us on:
Instagram - ⁠⁠⁠⁠https://www.instagram.com/weinterruptpodcast⁠⁠⁠⁠
YouTube - ⁠⁠⁠⁠https://www.youtube.com/@weinterruptpodcast⁠⁠⁠⁠
LinkedIn - ⁠⁠⁠⁠https://www.linkedin.com/company/weinterruptpodcast⁠⁠⁠⁠

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Thanks to ⁠Getty Images⁠ for sponsoring this episode. If you’re looking for historical, contemporary or creative footage, head to ⁠⁠⁠⁠⁠gettyimages.com⁠⁠⁠⁠⁠.