Rob Galluzzo: A head full of dreams

Australia and New Zealand-based production company FINCH was founded by Rob Galluzzo in 2011 and, since then, has built a reputation as a multi-faceted company as comfortable producing great TV work as it is experimenting in the tech space. 

Its various partnerships [with Nakatomi/m ss ng p eces/Songbird] and interests [social media citizenship campaign 36 Months/animal welfare programme The Lion’s Share] highlight its diverse – and successful - approach to creativity. Galluzzo. talks about the company’s key tenets, the excitement of the unknown, and why the industry hasn’t changed as much as people might think. 

From a creative perspective, can you tell us what FINCH stands for, and why you decided to create the company? 

FINCH believes in adventure. All of the value is in the discovery, not the destination. It’s why the business keeps naturally evolving. Our two tenets are imagination and compassion. 

All of the value is in the discovery, not the destination.

As a dyslexic, building a business structure that works for me was liberating. I always struggled to be a good employee in regular, system-run businesses. 

FINCH is diverse in its approach to advertising and beyond; how do you think these elements enrich the company, yourself and/or the wider world?  

Our belief in adventure, imagination and compassion all work towards us being fulfilled in our work. Something we value at FINCH. As for enriching the wider world, let’s see. Each adventure finds us in the most interesting of situations. All enriching in one way or another. 

Above: FINCH was one of the production companies behind Oscar-nominated documentary, Porcelain War.

What one piece of FINCH work stands out for you as a marker of what defines the company? 

It’s hard to think in terms of each project. I prefer the challenge of cultural impact, community and activity. So, I sometimes look back on the last 12 months to take stock. 

I have realised the power of freedom. Freedom to choose the work we engage with. Freedom to behave well. 

I think 2025 was the year that best defined the company. We were nominated for an Oscar [Porcelain War, for Best Documentary Feature], drove legislation change in Australia [36 Months], and we were ranked fourth for the Palme d’Or at Cannes. 

How has the industry changed since you founded FINCH?  

It hasn’t. Of course, it will always look different. There have always been friends, holding company power struggles, tough budgets, indie agencies opening or closing. There have always been companies that are truly striving to make wonderful, beautiful work that moves people. And then there have always been companies that care primarily about making as much money as they can for the shareholders. 

More specifically, how have you changed since you founded FINCH? 

I have realised the power of freedom. Freedom to choose the work we engage with. Freedom to behave well. Freedom to truly embrace an adventurous spirit and not be shackled to the language and tropes of the industry.  

Above: FINCH's work for Telstra.

Why did you choose Liam Ratliff as your Innovator? 

Most emerging talented people I’ve met understand the latest in tech and are native in AI. What struck me with Liam is that he had all that, but also deeply understood ideas. Not just the power and importance of them, but how to organise them. His ability to explore how to bring them to life was refreshing. He was just as interested in the exploration of the why and the how as he was in the what. 

Who are the people that championed you early on in your career, and in what way? 

[Creative] Shaun Branagan was the first grown-up in the ad world who believed in me. Remarkably, he gave me space and freedom to better understand myself and how I might succeed.   

He probably doesn’t know it, but Jon [Kamen] is the visionary that helped me break out of what I thought a production company was.

Peter Buckley is an extraordinary, free-thinking creative being who has shown me that it’s possible to be wildly imaginative, non-compliant in meetings, and still be charming, respectful and effective. 

[Radical Media Chairman] Jon Kamen. He probably doesn’t know it, but Jon is the visionary that helped me break out of what I thought a production company was. Radical Media continues to stand alone in its unique place in the market. Because of Jon, I felt confident to build FINCH in a way that was free to explore and constantly evolve without definition and without restriction.  

Above: The short film, What is Dyslexia?, directed by Kyra Bartley through FINCH.

New talent is the lifeblood of the industry, but do you think the industry, as a whole, gives enough support to those trying to break through?  

No. I understand the desire for holding companies to collect more revenue through in-house production company endeavours; they have tried for the last 20 years. Now, with consolidation and scale, as well as a call from clients to find efficiencies in ‘lower budgets’, the opportunity for us to develop new directors has diminished dramatically. 

Most don’t realise that production companies invest hundreds of thousands of dollars in the first few years of a young director’s career. 

Most don’t realise that production companies invest hundreds of thousands of dollars in the first few years of a young director’s career. Without these opportunities, we’ll see fewer new talented directors shine through. The industry will start to feel that impact over the next few years. 

What new skillsets will directors and producers need in the years to come? 

The same as they always have. All good production companies trade on trust and taste. Trust that the producers will support and deliver on the unique taste and vision of the director. 

What excites you about advertising, both now and in the years ahead? 

I don’t know. That’s the point. I’m excited about our continual belief in adventure. Invariably that leads us to where others aren’t.  

Rob Galluzzo's nominated Innovator is Liam Ratliff. You can read his interview here.