It helps to have something different to offer. Every brand knows that. It’s even better when that something different you’ve always had on offer becomes what’s hot right now.

For the “Australian multi-platform production company, The Feds” its time in the sun has come. The Stable asked The Feds’ co-owner and executive producer, Michael Cook, about having a USP and how to make hay while the sun is shining brightly.

The Stable: Now that we’ve said you have a USP, you’d better describe it.

Michael Cook: The Feds has always been a full spectrum production company, and was created as such. One of the first production companies in Australia to have a digital content offering back in 2007 this model has continued to allow us to grow the depth of our innovative content across all media platforms.

We have always been in the business of broader content. Of developing concepts for commercials, music videos, short length, feature length documentaries and films. The company always intended to diversify and grow with changing opportunities as media and content splinters and grows new shoots. While traditional commercial advertising still plays a core role in our business, our growth spurts come from seizing opportunities in branded entertainment and longer form television projects, both broadcast TV and online platforms.

Our broadcast & entertainment division is showing the fastest growth both locally and in the US & UK markets. We are still the only Australian production company ever commissioned by MTV global in UK. We have network relationships with large international players the likes of Channel 4, BBC, Nikelodeon, MTV, NBC, Fox and a growing number of players in the US.

We also develop and produce innovation initiatives that cross the borders of existing mediums. Several of these multiplatform entertainment projects have won us both state and federal funding grants.

TS: What matters today? What does a production company have to have in its DNA to survive/soar and where are the budding opportunities?

MC: What matters is being flexible and nimble to new ways of working in an ever-changing market. It’s also critical to have a foundation of experience within a business that embraces the new generation of talent that brings a different perspective. The Feds are proud of our collaborative philosophy that allows us to constantly explore new ways of creative development. Beyond the traditional production team we have a group that spans creative strategy, marketing strategy, multiplatform entertainment and broadcast executive producers. Our head of content, Lisa Gray is one of the most influential voices in the future of multiplatform entertainment.

The industry is changing fast and there is no doubt that budgets are becoming more and more challenged. What matters is having multi-talented directors and young creative talent with the skills to work in the increasingly tech-led environment of multi channel film content.

TS: How did Zombie Boot Camp come about and where is it heading?

MC: The Feds have been developing original TV broadcast shows for the last 5 years and have a number of shows in various stages of development, but Zombie Boot Camp was specifically focused on the brief for the MIP formats international pitch competition in Cannes. The hybrid of reality, horror and game show competed with shows from all over the world and won 1st prize.

Warner Bros. International Television Production will now invest up to €25,000 ($A37,000) to develop Zombie Boot Camp. We are also in discussions with US and UK broadcasters for possible commission and distribution of the show.

TS: The New Crowd made you the first Australian production house to be commissioned to produce a pilot for MTV International. How did that happen?

MC: Director, Josh Logue, is one of Australia’s most experienced storytellers in youth entertainment. The New Crowd is a ten-part one-hour documentary series with a twist. Its pilot gave audiences an invite behind the curtains of two counter cultures to get a first hand experience of what it’s like for young people trying to break into the social clique of their choice.

This is how Logue sees its strengths: “The show is made for a global audience and these stories resonate with what young people around the world are experiencing. They are three dimensional characters that everyone can relate to because they could be your friend from school, work or university. What they are feeling is obviously not just in the show’s context; they are seeking a sense of belonging, which is a universal trait of all youth and a topic that really intrigues me as a filmmaker.”

TS: Tell me how you came to sign Josh Logue and what he represents to your business?

MC: Josh Logue is an award winning creative director, graphic designer and director with top tier cred as a creative director for music based content. Attached to his reel are high profile acts like Empire of the Sun, Birds of Tokyo and Architecture in Helsinki. He has directed over 80 music videos, designed 150 album covers and has produced artwork for dozens of music related events, including the ARIA awards and Splendour in the Grass.

And he can work across anything as a director and motion designer – short and long format in genres from music videos and short films to branded content.

TS: What does Paul Goldman add to The Feds’ capabilities?

MC: Director and writer Paul Goldman is one of the Australia’s most visually compelling storytellers – helped immensely by his background as a DoP. Put simply, he captures the most arresting footage whatever the genre.

He is already writing and developing new film and television projects. His resume is filled with music videos, feature films and documentaries that feature big name stars and subjects. His awards showcase is full. For us, he represents expertise in long format branded content and the ability to tell stories in unforseen ways.

TS: Tell me about your relationship with Smuggler

MC: We represent Smuggler’s international roster of directorial talent in the Australian, New Zealand and Asian markets. The relationship gives us capabilities without borders, Smuggler connects us to an exceptional array of top director talent with a forward thinking approach, fluency in non-traditional production and ambitious experimentation in areas beyond the advertising world, all of which are certainly going to impress the Australian market.