Flying high with FINCH

What is it that makes FINCH and its work stand out?

At FINCH we believe in adventure. And this sense of adventure informs all decisions in the business – whether that’s how we embolden our directors to treat on scripts, the type of projects we’re drawn to, the people we hire. Everything.  

We have a varied and versatile roster of directors that can bring their vision and authentic voice to a project, with a strong focus on craft and quality. We also have multiple EPs with different backgrounds, strengths and disciplines, but all with a strong desire to make things, not just talk about them. We approach every project with curiosity and action. Our evidence of exploration makes us interesting, I think. 

What is the impact of the win for FINCH, and for you? 

Internally, it’s a great reward and recognition for all the hard work and passion of our staff and directors. That’s important after a busy, sometimes exhausting year. 

At FINCH we believe in adventure.

Externally, shots is such a respected publication that has championed craft and creativity for decades, so to the wider industry it helps position FINCH as an adventurous, ideas-focused company that will care for and push the best ideas coming out of an agency, regardless of budget or form.  

What kind of culture do you foster at FINCH? 

One that is both adventurous and compassionate. We’re committed to generosity. The majority of our directors have been with us since the beginning of their careers. Most of our producers started on the front desk. We really care about people and their career development. 

The majority of our directors have been with us since the beginning of their careers.

We want our people to operate in that exciting space just out of their comfort zone. They feel supported and empowered, but also challenged. 

What, for you, are FINCH’s stand-out pieces of work? 

Standout work for me in the past 12 months has been The Public Diagnosis for The Brain Cancer Centre, I’m Dying Inside for Modibodi, Sport is Our Sport for TAB and Become A Winter Person for Tourism Tasmania.

How did you approach your role as head judge of the Direction and Casting category, and what’s your view on the work across the APAC region you’ve seen this year? 

Does the direction and casting elevate the idea? That was the central framework I tried to take into the process and impress on the other jurors. I thought the best work was exceptional, but a little thin after the best few pieces. That was a common theme across different regions this year from what I’ve seen. 

Making bold, risk-taking work is difficult in an uncertain economic climate.

My analysis is that making bold, risk-taking work is difficult in an uncertain economic climate. More guard rails are being put up to keep work friendly, non-offensive and contained within an easily identifiable reference point, and that sort of work isn’t wholly (or in some cases, remotely) original. 

How would you describe the creative climate in the APAC region? 

A bit fearful and safe, with a handful of exceptions. 

There’s too many examples of fearful to name – just a lot of derivative, uninspiring work out there. But a handful of great pieces have been a beacon of light. 

What do you think will be the challenges and the opportunities of the coming year? 

The challenges are well documented – macroeconomic forces, decreased consumer spending. And then, as a result, guiding conservative clients into adventurous, creative, exciting places. 

I think branded entertainment or entertainment on brand is an exciting opportunity.

I think branded entertainment or entertainment on brand is an exciting opportunity for us at the moment. EP Loren Bradley is now heading our newly formed Entertainment division. Her first project in the role was creating a five-part, 45-min per episode brand-funded reality TV show. The Big Trip is a perfect example of how brands can show up differently for audiences, a concept that we are so excited by at FINCH Entertainment. 

What are the top three pieces of work from outside of FINCH that have stood out for you this year? 

Sammakorn NOT Sanpakorn out of Thailand was batshit crazy and wonderful. Orange WoMen’s Football was original and thought-provoking. Telstra Better Network was bold, brave, well-crafted and inspirational work.