Anne Maree Sparkman
What is your name and your current role?
Anne-Maree Sparkman. Series Producer of Bondi Vet.
Could you please outline for us a brief history about your time in the media industry.
I have worked in the television industry since 1977. Originally I was involved as a news journalist and then moved into a role hosting and compiling feature pieces for Channel 9’s Wide World of Sports. I became an executive producer of sport and then made the move to a series producer with WTFN in 2004. Since then I have produced a variety of lifestyle, ob doc and factual programs.
How did the idea for Bondi Vet come about? Was this an original format?
My WTFN bosses, Daryl Talbot and Steve Oemcke came up with the concept. Dr Chris Brown was already working for us on another program “Talk to the Animals”. He was such outstanding talent, it was obvious he was a natural to have his own show.
Bondi Vet has been described as ‘reality,’ or ‘popular factual television’ television, do you agree? What do you believe draws the distinction between ‘reality’ and ‘factual-programming.’
I think many people are confused about the difference between reality and factual programming. Still beats the hell out of me. I think the lines are very blurred...but I’ll give it a shot. In large scale reality shows such as Masterchef, Big Brother or Amazing Race...producers orchestrate a scenario in which the reality then unfolds. I would regard programs such as Border Security or RPA to be factual programming. The production team wait for real life, authentic stories to unfold. They cannot go out and do casting for appropriate characters and arrange glossy sets in which to film.
Where do ‘creatives’ fit into the production process of a show like Bondi Vet, is factual programming as creatively sterile as it is perceived to be?
The creative for Bondi Vet lies in the philosophy of the program. We believe the love that owners have for their pets is endless and often inspirational.
Our outstanding field producing team are always searching for the emotion, the humour, the quirkiness of the various cases that arrive at the Bondi clinic. What makes our show appeal so broadly is our connection to the owners and their relationships with their animals and with Chris. That is about empathy and imagination as to how you film the story and how you script and edit it.
How do you believe audiences approach the reality, or factual programming genre in 2011?
Reality programs didn’t exist when I started my career!! Now it’s such a large part of the television diet and people seem to want more and more.
Three years ago, they were announcing the death of reality but it is still powering on.
How big is the team that works on Bondi Vet? How does this compare to other productions?
We have a pretty steamlined team compared to other productions. We basically operate with one team in the field, and with three post producers and two editors. Of course there is also a variety of people involved in colour grading, audio mixing, music etc.
What is it about Bondi Vet do you think that makes it so popular with audiences?
As mentioned before, it’s the humanity of the program and the genuine warmth of Chris. People can relate to the stories. We also hope its a polished final end production on which a great deal of care is lavished!!
How do you think the structure of the narrative as self contained and varied in terms of the few stories that are begun and concluded each week as a consideration to Bondi Vet’s popularity and approachability?
Within a half hour format, it can be challenging to present three different stories. There are many decisions to be made as to what “gold” will be left on the cutting room floor. We try to make sure our viewers feel they get to know all the people involved in each episode. Story telling is king but variety does help to appeal to a broader audience.
There seems to be a general assumption that factual programming is easier or simpler to make than drama. What is your view on that assumption?
I have never made drama but from the outside looking in, I would assume it’s a much bigger, more expensive beast to navigate. Obviously there would be a huge raft of costs involved with sets, actors and all the ancillary costs. The difficult part of factual programming is the frustration of waiting for the stories to unfold and not being in control of outcomes. It must be fun to write scripts and already know what the ending will be!!
How do the stories for Bondi Vet come to be?
Most of them come from waiting in the reception area of the Bondi clinic. Clearly you have to be right there. The first few minutes of an emergency are the crucial moments. Five minutes and you could be too late. We also are involved with Wires, a wildlife rescue group and the Australian Reptile Park.
Plus we do receive requests sometimes from the public to help animals with problems. If we can, we will.
During our Research, we have found that audiences ‘silently expect’ a happy ending. As a producer how do these societal ethics effect which stories air and do you take preference on cases with positive outcomes to help fulfil this expectation?
Interesting. Some of my most memorable stories from Bondi Vet have not had happy endings. You find that in situations where pets die, you sometimes form stronger bonds with the owners that will last for a long time. Chris gets very involved and is shattered when he does lose an animal.
I think the honesty and rawness of that does touch audiences. Clearly you don’t want to traumatise your viewers with too much grief. There is a balance. The other consideration is the wishes of the owners. They decide whether they want the story to be aired or not. In some cases, it might be about public education which could prevent other animals suffering and you will find that most animals lovers would prefer for that message to get out.
SASH and other locations such as Australian Reptile Centre feature regularly in the show. What is the relationship between Bondi Vet and these centres (is it hard to get location approval or are venues generally responding positively?)
We have a great relationship with both Sash and the Australian Reptile Park. It is about trust and respect. The level of professionalism and care at both those venues is outstanding. The fact that we can show that to a broad audience is a plus.
Do you think a show like Bondi Vet could have been as successful say 10 years ago?
As the factual genre was already very popular when BV came along, I’m sure that helped its success. But I’ve always believed the strengths of the show would always have found an audience.
Any advice to students seeking to enter the Australian Television Industry particularly in factual programming (or even in general)?
On a general basis first. Production of television is time consuming, challenging work. If you think that getting into television will be glamorous and a pass to exotic locations and famous people, reconsider immediately. It can lead to all sorts of amazing opportunities but first it requires passion, commitment and sheer hard work. You must love what you do. Taking short cuts is the fast track to failure. In terms of getting into television.
My background started with newspaper journalism and story telling and shifted to the magic of story telling with beautiful pictures and sound. Starting as on air talent and being responsible for researching and writing my own stories did make it a lot easier transition into producing. If you are trying to get into television straight out of university, you may need to be flexible about your starting role. You may have to take on what appear to be fairly pedestrian, tedious tasks to work your way into a producing role. You will need years of experience to feel ready to take on the myriad of challenges in producing any show.
Anne-Maree Sparkman. Series Producer of Bondi Vet.
Could you please outline for us a brief history about your time in the media industry.
I have worked in the television industry since 1977. Originally I was involved as a news journalist and then moved into a role hosting and compiling feature pieces for Channel 9’s Wide World of Sports. I became an executive producer of sport and then made the move to a series producer with WTFN in 2004. Since then I have produced a variety of lifestyle, ob doc and factual programs.
How did the idea for Bondi Vet come about? Was this an original format?
My WTFN bosses, Daryl Talbot and Steve Oemcke came up with the concept. Dr Chris Brown was already working for us on another program “Talk to the Animals”. He was such outstanding talent, it was obvious he was a natural to have his own show.
Bondi Vet has been described as ‘reality,’ or ‘popular factual television’ television, do you agree? What do you believe draws the distinction between ‘reality’ and ‘factual-programming.’
I think many people are confused about the difference between reality and factual programming. Still beats the hell out of me. I think the lines are very blurred...but I’ll give it a shot. In large scale reality shows such as Masterchef, Big Brother or Amazing Race...producers orchestrate a scenario in which the reality then unfolds. I would regard programs such as Border Security or RPA to be factual programming. The production team wait for real life, authentic stories to unfold. They cannot go out and do casting for appropriate characters and arrange glossy sets in which to film.
Where do ‘creatives’ fit into the production process of a show like Bondi Vet, is factual programming as creatively sterile as it is perceived to be?
The creative for Bondi Vet lies in the philosophy of the program. We believe the love that owners have for their pets is endless and often inspirational.
Our outstanding field producing team are always searching for the emotion, the humour, the quirkiness of the various cases that arrive at the Bondi clinic. What makes our show appeal so broadly is our connection to the owners and their relationships with their animals and with Chris. That is about empathy and imagination as to how you film the story and how you script and edit it.
How do you believe audiences approach the reality, or factual programming genre in 2011?
Reality programs didn’t exist when I started my career!! Now it’s such a large part of the television diet and people seem to want more and more.
Three years ago, they were announcing the death of reality but it is still powering on.
How big is the team that works on Bondi Vet? How does this compare to other productions?
We have a pretty steamlined team compared to other productions. We basically operate with one team in the field, and with three post producers and two editors. Of course there is also a variety of people involved in colour grading, audio mixing, music etc.
What is it about Bondi Vet do you think that makes it so popular with audiences?
As mentioned before, it’s the humanity of the program and the genuine warmth of Chris. People can relate to the stories. We also hope its a polished final end production on which a great deal of care is lavished!!
How do you think the structure of the narrative as self contained and varied in terms of the few stories that are begun and concluded each week as a consideration to Bondi Vet’s popularity and approachability?
Within a half hour format, it can be challenging to present three different stories. There are many decisions to be made as to what “gold” will be left on the cutting room floor. We try to make sure our viewers feel they get to know all the people involved in each episode. Story telling is king but variety does help to appeal to a broader audience.
There seems to be a general assumption that factual programming is easier or simpler to make than drama. What is your view on that assumption?
I have never made drama but from the outside looking in, I would assume it’s a much bigger, more expensive beast to navigate. Obviously there would be a huge raft of costs involved with sets, actors and all the ancillary costs. The difficult part of factual programming is the frustration of waiting for the stories to unfold and not being in control of outcomes. It must be fun to write scripts and already know what the ending will be!!
How do the stories for Bondi Vet come to be?
Most of them come from waiting in the reception area of the Bondi clinic. Clearly you have to be right there. The first few minutes of an emergency are the crucial moments. Five minutes and you could be too late. We also are involved with Wires, a wildlife rescue group and the Australian Reptile Park.
Plus we do receive requests sometimes from the public to help animals with problems. If we can, we will.
During our Research, we have found that audiences ‘silently expect’ a happy ending. As a producer how do these societal ethics effect which stories air and do you take preference on cases with positive outcomes to help fulfil this expectation?
Interesting. Some of my most memorable stories from Bondi Vet have not had happy endings. You find that in situations where pets die, you sometimes form stronger bonds with the owners that will last for a long time. Chris gets very involved and is shattered when he does lose an animal.
I think the honesty and rawness of that does touch audiences. Clearly you don’t want to traumatise your viewers with too much grief. There is a balance. The other consideration is the wishes of the owners. They decide whether they want the story to be aired or not. In some cases, it might be about public education which could prevent other animals suffering and you will find that most animals lovers would prefer for that message to get out.
SASH and other locations such as Australian Reptile Centre feature regularly in the show. What is the relationship between Bondi Vet and these centres (is it hard to get location approval or are venues generally responding positively?)
We have a great relationship with both Sash and the Australian Reptile Park. It is about trust and respect. The level of professionalism and care at both those venues is outstanding. The fact that we can show that to a broad audience is a plus.
Do you think a show like Bondi Vet could have been as successful say 10 years ago?
As the factual genre was already very popular when BV came along, I’m sure that helped its success. But I’ve always believed the strengths of the show would always have found an audience.
Any advice to students seeking to enter the Australian Television Industry particularly in factual programming (or even in general)?
On a general basis first. Production of television is time consuming, challenging work. If you think that getting into television will be glamorous and a pass to exotic locations and famous people, reconsider immediately. It can lead to all sorts of amazing opportunities but first it requires passion, commitment and sheer hard work. You must love what you do. Taking short cuts is the fast track to failure. In terms of getting into television.
My background started with newspaper journalism and story telling and shifted to the magic of story telling with beautiful pictures and sound. Starting as on air talent and being responsible for researching and writing my own stories did make it a lot easier transition into producing. If you are trying to get into television straight out of university, you may need to be flexible about your starting role. You may have to take on what appear to be fairly pedestrian, tedious tasks to work your way into a producing role. You will need years of experience to feel ready to take on the myriad of challenges in producing any show.
