Matt Vitins, Managing Director, Northern Pictures

Matt Vitins has followed a career shaped less by design than by curiosity and courage. It’s a path that defies neat categorisation—which, as he might tell you, is exactly the point. From legal briefs to broadcast slates, from Allens to the helm of one of Australia’s most prolific independent production companies, Matt has witnessed—and helped navigate—a global industry in flux. He sat down with us to talk all things law, television, career journeys, leadership and who should play him in a biopic.

Matt Vitins never set out to be a lawyer. His journey began with a fascination for broadcasting policy during his arts degree at Melbourne University. 'Towards the end of my degree I got really interested in broadcasting law, which is quite specific as a policy area', he recalls. That interest was sparked by an academic, Jock Given, who framed broadcasting law as a battleground of public interest versus corporate power, intertwining politics, technology and societal influence. 'It was a late 90s version of rivals, with big personalities in the broadcasting arena. I was hooked', Vitins reflects.

Encouraged by his mentor, Vitins pursued a law degree at Sydney University to gain a deeper understanding of the legislative process and policy debates. This decision set him on a fast track to Allens, beginning with a summer clerkship in 2006.

A foundation in law and policy

Vitins' early career at Allens was formative, and he settled—unsurprisingly—in the Communications, Media, and Technology (CMT) group, which later rebranded to Technology, Media, and Telecommunications (TMT). Under the leadership of Ian McGill and alongside notable colleagues like Valeska Bloch and Gavin Smith, he thrived in an environment rich with intellectual challenge and professional growth. 'It was a dynamic period, and I loved it', he reflects with genuine fondness. 'I was working on deals that tested the edges of broadcasting policy, but that also dragged me more into corporate and M&A work'.

It was a late 90s version of rivals, with big personalities in the broadcasting arena. I was hooked.

During this time he also co-authored a textbook on media law with David Rolf, a professor at Sydney University. 'I covered off all of the broadcasting chapters. David is prominent in defamation law and that was always something I was interested in as well, alongside those things that are part of media law, but probably more adjacent, being privacy and contempt'.

After nearly five years at Allens, Vitins sought to deepen his academic understanding by pursuing a Master of Laws at Harvard. His focus remained on technology, communications and media networks, but his time in the US also exposed him to the vibrant startup culture, broadening his perspective on how legal frameworks can support innovation. 'The entrepreneurial culture over there was fascinating, particularly when you look at all the supporting infrastructure around startups, the professional services like VCs, law firms and accountants, which—at least at the time—wasn't as obvious back home'.

After a year in a US firm, he returned to Australia and rejoined Allens in the Melbourne office, where he became involved in the firm's startup initiative, Allens Accelerate. However, his career took a significant turn when he was approached by Matchbox Pictures, a then-emerging production company backed by NBC Universal. 'I'd worked previously on the NBC acquisition, so we had a relationship. When Matchbox reached out to me in 2015, it felt like the right time to move because it combined the excitement of a startup with the backing of a major US company', he says.

Leadership in media and content creation

At Matchbox Pictures, Vitins navigated the complex world of media law, particularly in the realm of reality TV. It’s a job that requires dexterity. One moment he might be overseeing production schedules or negotiating rights; the next, he’s assessing market shifts in an industry being rapidly reshaped by global streaming giants, evolving audience habits and generational shifts in content consumption. 'What I discovered is that the TV business has just enough structure to make it navigable, and just enough instability to make it thrilling'.

His role also required balancing creative freedom with legal compliance and finding the sweet spot between firmness and flexibility. 'On my first day I was called into the office of the managing director who told me bluntly that my job was to tell Kylie Washington [the executive producer of 'The Real Housewives'] where the line was and not to cross it. I went for coffee with Kylie the next day and she said, "Matt, I decide what goes into this show, got it?” And I did. So I was probably more flexible than firm; maybe that's why they liked me', he says with a chuckle. And the show? 'Yeah, The Real Housewives probably generated more letters to and from lawyers than any other program I've worked on'.

Over nearly a decade, he rose through the ranks—from business affairs manager to director of business and legal affairs, and eventually to Chief Operating Officer. Along the way, he played a pivotal role in delivering acclaimed projects such as Stateless (ABC), Creamerie (TVNZ), and the upcoming Netflix series The Survivors.

The changing landscape of television

The television industry, both globally and in Australia, has undergone significant transformations. Vitins notes that the shift from a broadcast market to a more fragmented, user-choice-driven landscape has fundamentally altered how content is produced and consumed. 'We have so many options now, and the challenge is how to cut through the noise', he explains.

There's definitely a general mood now in the industry to take more risks with original content.  

In Australia, the industry also faces unique challenges due to its smaller market size and competition with other English-speaking countries like the US, UK and Canada, where budgets are traditionally much larger. This cautious approach can then stifle innovation, as networks are reluctant to take risks on unproven ideas.

However, there is a growing recognition that original, riskier content can resonate both locally and internationally. 'Look at Bluey', says Vitins. 'It's the biggest show in America and it's so deeply, authentically Australian'. He suggests the domestic industry should embrace our unique cultural perspective as a competitive advantage. 'The one thing that we have that no one else has is that we're Australian, and we've got to back that. There's definitely a general mood now in the industry to take more risks with original content. The 'less risk' strategy wasn't paying off as well as expected'.

However, there is a growing recognition that original, riskier content can resonate both locally and internationally. 'Look at Bluey', says Vitins. 'It's the biggest show in the world and it's so deeply, authentically Australian'. He suggests the domestic industry should embrace our unique cultural perspective as a competitive advantage. 'The one thing that we have that no one else has is that we're Australian, and we've got to back that. There's definitely a general mood now in the industry to take more risks with original content. Of course there can be a value in Australian creatives working under a brand—NCIS: Sydney is the first Australian show to crack US primetime—however, our biggest international hits are original'.

Reflections on leadership and the future

Now at Northern Pictures, Vitins inherits a company riding high on international acclaim. Under his predecessor, Peter Anderson, the studio earned accolades including an International Emmy and multiple Primetime Emmys. Vitins is poised to build on that legacy, bringing a global perspective and a deep understanding of both the creative and commercial sides of the business. But he also acknowledges how much of his time at Allens continues to inform the way he goes about work today.

Reflecting on his career, he highlights the influence of mentors like Ian McGill, Gavin Smith and Andrew Ailwood. 'The leaders I admired most were educators, focused on bringing through the next generation of lawyers', he says. This ethos of mentorship and development is something he strives to emulate in his own leadership style, and it's not lost on him how many other colleagues from Allens—and in particular, TMT lawyers—have ended up in similar positions. 'Rob Gibson and Caz Fitzgerald at Easy Tiger, John Butt at Endemol Shine, Nick Sinclair at Freemantle, Page Henty at RACAT Group, Deb Doctor and Ailwood...we all benefitted heavily from our time at the firm'.  

Vitins' outlook for the industry is optimistic. He sees opportunity locally and internationally and says it's an exciting time to be involved in television, be they corporate or creative. 'Northern Pictures is an exceptional company, experiencing success in Australia, the US (with Love on the Spectrum) and UK (with Austin)’, he notes. 'My goal is to ensure we continue to do so—by backing bold ideas, nurturing talent and staying relentlessly audience-focused'.

Oh, and who'll play him in the Matt Vitins biopic?

'Let's see if Jude Law is available'.