What Do Production Companies Want for Christmas? Work Good Enough to Send the Group Chat

It's that time of year where the sun is growing hotter than ever, people are rushing around to get their gift-shopping done, and bells accompany every song heard in public. But what do Australian production companies most want for Christmas?

Collaboration from clients and agency partners is a top wishlist item. Matt Samperi, executive producer at Mint Films, says being face-to-face with people is the best way to spark creativity, and he wants to see more of it in 2026.

“We’ve had a few more face to face meetings with clients this year than previous, and it’s been the best,” he told LBB.

“We love the convenience of [Microsoft] Teams as much as the next person, but being in the room has a much better vibe – jokes actually land and we get to know our clients much better. Collaboration is more than just a buzz word for us – we live and breathe it – and [collaboration] always works so much better in the room.”

​Victoria Conners, EP at Eric Tom and Bruce, agrees, and adds, “a bit more time in pre-production wouldn't go astray”. Matt Taylor, head of business development and original content at Mighty Nice, wishes for “collaboration and a deep desire to make the best work for the budget” from Mighty Nice's agency partners.

Diversity also ranks highly. Asked what they want from the industry for 2026, Poppet’s founder and EP Nat Taylor says despite some “deeply disappointing DEI [diversity, equity and inclusion] discussions globally this year”, she wants the industry to keep “pushing for better”.

“We’ve spent years talking about change; now’s the time to live it. I’d love to see production continue to be recognised not just as logistics but as a creative craft in itself. And for every person on set, no matter their role, to feel safe, valued, and part of something bigger. The industry’s at its best when we lift each other up and I think 2026 can be the year we really do [that].”

Nat continues Poppet “proudly champions” production that is Inclusively Made, because it makes for better work. Diversity is not “an add-on, it’s the foundation of great storytelling. So here’s to … more diverse voices and a whole lot of magic moments along the way.”

Matt Samperi claims diversity in his team is what brings uniqueness to Mint Films. “All we ask is that everyone keeps being themselves – boldly, courageously and unashamedly – and that with that they keep bringing their best. For many years we’ve said that we’re all about ‘good work with good people.’”

When asked what she wants from her people next year, Nat’s ask is simple: “to keep their spark”.

“Production is hard work, long days, big asks, bigger personalities but it’s also full of magic. I want the Poppet team to keep bringing curiosity, kindness, and that ‘let’s make something amazing’ energy to every job.”

​Tom Slater, EP at Collider and the newly-installed Commercial Producers Council co-chair, wants his people to feel safe, supported and encouraged to grow. “I’m also expecting them to come up with a cool idea for [Collider’s] 25th birthday party next year. Pressure’s on folks.”

But what do prodcos ultimately want from the work? Answers range from the earnest to the witty. Victoria says Eric, Tom, and Bruce wants to “move people” and create work that connects, rather than being filler on someone’s feed.

Matt Samperi asks for work that makes him think. “This really hangs on brave clients backing daring creative [ideas] that we then get the privilege to produce. There’s a special kind of feeling you get when you’re all sitting in the suite together, reviewing the final edits, and sharing the collective pride and excitement of ‘this thing we all made together is bloody awesome.’”

Tom hopes to produce work he can proudly share in the family group chat. “My family are nice and everything,” he quips, but they are also “critics and do not give love heart reactions to any old thing. So I know something is good when I’m eager to throw it to those savages.”

And Nat says Poppet is looking for briefs that give it the opportunity to make “deeply human” projects. If those briefs are funny, all the better.

“I’ll always have a soft spot for comedy scripts,” she says, because “they let me pretend my questionable sense of humour is actually a professional asset. When the work entertains, it connects. That’s the kind of work I want to keep making: stories that make you laugh, think, and maybe even feel a little bit better about the world.”