Fremantle Australia splits off unscripted slate to Eureka, names permanent CEO

International prodco and distributor Fremantle is restructuring its Australian operations, splitting off production of its unscripted formats to Eureka Productions and consolidating drama, documentary, and factual production under Fremantle Australia’s ...
February 24, 2022


International prodco and distributor Fremantle is restructuring its Australian operations, splitting off production of its unscripted formats to Eureka Productions and consolidating drama, documentary, and factual production under Fremantle Australia’s interim CEO Greg Woods, whose role has now been made permanent.

Under the new structure, Woods will retain oversight of Fremantle factual formats Grand Designs and Restoration Australia while growing the label’s documentary and scripted production slate. “I am incredibly excited to be taking up the reins at Fremantle, and [am] looking forward to the opportunities that lie ahead,” said Woods in a news release announcing the restructure.

Eureka, meanwhile — which Fremantle took a majority stake in last year — will take over all of Fremantle Australia’s entertainment, reality, and competition formats, including Australia’s Got Talent and Australian Idol. Based in Los Angeles and Sydney, the company has produced dozens of unscripted series for both the U.S. and Australian markets since it was launched in 2016 with financing from Fremantle.

“We couldn’t be more thrilled to have Eureka representing and producing Fremantle’s amazing unscripted catalogue, which includes some of biggest entertainment, reality, and game shows in the world,” said Eureka co-CEOs Chris Culvenor (pictured left) and Paul Franklin (right). “All [of us] at Eureka are truly excited to be bringing these formats to life in Australia.”

About The Author
Andrew Tracy joined Realscreen as associate editor in 2021, following 17 years as managing editor of the award-winning international film magazine Cinema Scope. From 2010 to 2020 he also held the position of senior editor at the Toronto International Film Festival, where he oversaw the flagship publication for the organization’s year-round Cinematheque programming and edited its first original monograph in a decade, Steve Gravestock’s A History of Icelandic Film. He was a scriptwriter and consultant on the first season of the Vice TV series The Vice Guide to Film, and his writing and reporting have been featured in such outlets as Cinema Scope, Reverse Shot, Sight & Sound, Cineaste, Film Comment, MUBI Notebook, POV, and Montage.

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