How Nicole Delprado Builds Lasting IP by Mastering Genre, Format and Creative Leadership
Posted on: Feb 24, 2026
Photo Credit: Nicole DelpradoAustralian writer, director and producer Nicole Delprado is carving out an inimitable career. With over 15 years experience across production, development, marketing and screenwriting, she’s on a mission to turn original genre and children’s IP into household names. Delprado has developed, directed and produced works of every medium, from online series (Shippers) to TV series (Fox Hunt), short films (Bad Vibrations) to feature films (Stunners).
Based in Western Sydney, Delprado was named a Screen Producers Australia One to Watch in 2019, subsequently founding her production company, Pike Salto, to create exceptional entertainment that propels iconic Aussie IP into the heart of pop culture.
Key Insights
- Founding Pike Salto shifted Nicole Delprado from simply making projects to strategically building original IP with long-term cultural impact.
- Genre and format decisions are driven by audience experience, feasibility and a genuine creative obsession that can sustain years of development.
- In development, clarity of vision and communication often matters more than the raw strength of the idea itself.
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Looking back, what were the most decisive moments that shifted you from making projects, to intentionally carving out a career?
The shift happened when I realized I didn’t just want to make projects, I wanted to build recognizable worlds, characters and original IP [intellectual property] that could have longevity in the pop-culture zeitgeist. Founding Pike Salto was the turning point. It forced me to think long-term and strategically, not just creatively.
At the same time, I’ve been working in development for years, pitching constantly, and reading hundreds of pitch decks. That exposure changed how I thought about the industry. I could see very clearly where projects were falling down, not because the ideas were bad, but because they weren’t positioned with confidence or clarity.
That combination, building my own slate at Pike Salto while seeing the development process from the inside, is what shifted me from making projects to actively shaping a career. And in 2026, it led me to launch Nicole Write Now, a development consulting arm of Pike Salto.
Given your hugely impressive ability to work across genres, how do you decide which genre is right for a particular idea?
I’m very clear about what I want to make, and I have to genuinely love it. I’m a huge genre nerd, and I’m not interested in making straight drama. I love horror, sci-fi, action, thriller and animation. I’m interested in stories underpinned by iconic characters, distinctive worlds and the potential for a dedicated fan base.
For each idea, I start with the emotional engine and the audience experience. Genre becomes the clearest and most efficient way to deliver that experience. It sets expectations immediately and tells the audience how to engage with the world. It gives the project rules to play within and a shared language with the audience. If the genre doesn’t naturally serve the idea, or if I’m not personally obsessed with it, I know it won’t sustain the years of work required to bring the project to life, or earn a place in the pop-culture conversation.
You’ve also worked across almost every format a filmmaker can work across. How do you approach format choice?
Format is always a balance between audience and feasibility. I ask where the audience actually is and how they’re consuming content, and then I look honestly at what I can realistically get off the ground.
Some ideas need long-form space. Others work better as digital or animation-led projects. I don’t believe in forcing ideas into formats that sound impressive, but are impossible to make. At Pike Salto, we choose formats that give the world and characters the best chance to exist, grow and reach people, rather than sitting permanently in development.
Development is often a major hurdle for emerging filmmakers. What have you learned about positioning projects for support that you wish you’d known earlier?
After years of working in this space, the biggest thing I’ve learned is that development funding decisions are rarely about whether an idea is good or bad. In my opinion, the difference between a “maybe” and a “yes” is clarity. It’s about whether the idea is being communicated succinctly and demonstrates a coherent plan for the next steps. It’s not uncommon for a strong project to fall down simply because the core idea isn’t being articulated well.
That’s what led me to launch Nicole Write Now at the start of 2026. Through workshops and development consulting, I want to share what I’ve picked up over the years, and help emerging filmmakers learn how to clearly express their ideas so decision-makers can immediately understand them, connect with them, and bring them closer to that elusive “yes.”
As someone who writes, directs and produces, where do those roles most conflict? How have you navigated these tensions when wearing multiple hats on the same project?
Wearing all three hats at once can be overwhelming, and if you’re not careful, it’s a fast track to burnout. What I’ve learned, especially through running Pike Salto, is that I don’t need to be all three things on every project. Filmmaking is collaborative, and part of sustainability is knowing when to step back and let others lead. When I do take on multiple roles, I’m very deliberate about compartmentalizing my time.
At the same time, I don’t think it creates tension. These three roles should not be antagonistic to each other, whether you’re doing all of them or working with others. Having experience as a producer and director has absolutely made me a stronger writer. Understanding how a project is actually made, and especially how it will be edited, brings a lot of clarity to the page.
It helps me write with intention and a strong sense of how the story will function on screen. Being strict about which hat I’m wearing, and when, helps protect the work, the people involved and my own longevity in the industry.
On longevity, what skills are you deliberately developing now to prepare for the next stage of your career?
At this stage of my career, I’m focused on building sustainably and thinking long-term. That means developing leadership skills, strengthening my IP strategy and building teams that can help Pike Salto grow. Doing the Screen Australia x ACTF Kids IP incubator really opened my eyes to the direct-to-audience space, and I’m experimenting in that space.
I’m also currently navigating my first international co-production, which has been a huge learning curve and has reinforced how important it is to stay adaptable.
I’m constantly upskilling and I’m not shy about asking questions when I don’t understand something. Hosting development workshops through Nicole Write Now is part of that future, too. It allows me to share what I’ve learned through years of development and pitching, support emerging filmmakers and contribute to a healthier creative ecosystem while continuing to build my own slate of pop-culture-driven projects.
Key Takeaways
- Think beyond single projects and focus on creating worlds, characters and IP that can live and grow across platforms.
- Choose genres and formats that serve the story and your audience, not just what sounds impressive on paper.
- To move a project from “maybe” to “yes,” articulate your concept with precision, confidence and a clear plan for next steps.
This interview has been edited and condensed.
Special thanks to Nicole Delprado for her time. You can follow Delprado on Instagram or YouTube for development-based comedy and advice videos, and pikesalto.com for news on upcoming projects.
Tahlia Norrish is an Aussie-Brit actor, writer and current MPhil Candidate at the University of Queensland’s School of Sport Sciences. After graduating from both The Liverpool Institute for Performing Arts (Distinction, Acting & Musical Theatre) and Rose Bruford College (First Class Hons, Acting), Tahlia founded The Actor’s Dojo — a coaching program pioneering peak performance and holistic well-being for actors.
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