[3] Noah & Saskia speaks directly to today's young people about the technologies which are changing the way we communicate.

[7] Saskia goes into an Internet chatroom called Webweave seeking revenge on a guy who stole her music and ends up starting one of the most important relationships of her life.

[6] Saskia feels that her new relationship with Max Hammer is absolutely perfect, except for the fact that he's in the UK and she's in Australia...and that he thinks she's someone else entirely.

[6] Turns out he's actually a 14-year-old science dweeb called Noah who knows that Indy would run screaming if she ever learned the truth about Max Hammer.

[2] Noah & Saskia commenced pre-production in February 2003 and was the Foundation's major project in production for the following financial year.

[1] "The series straddles three worlds – England, Australia, and cyberspace- as well as the fantasy space inside Noah and Saskia's minds where their alter egos live.

At one level it is 'a boy meets girl story' but it is asking profound questions that young people struggle with, about 'the self' and about how you form relationships."

[1] Claire Henderson and Tammy Burnstock, from the ABC, and Elaine Sperber, from the BBC, participated in the writers' workshop.

[8] Chris Anastassiades and Robert Greenberg were commissioned to develop the concept further and continued to write scripts for the series the following year.

Would they hide behind the idealised selves they'd created on the Internet, or gradually come to trust each other more because they felt safe from the usual peer group pressures and scrutiny?” Elaine Sperber, Head of Children's Drama at the BBC.

[5] Paul Nichola became part of the development team to devise the Web World (WebWeave) for the series and the visual effects to integrate the story ideas.

Furthermore, the two-halves are very different stylistically; Saskia directly addresses the camera and has flashbacks and daydreams, while Noah's side is shown objectively.

[9] Patricia Edgar and Pino Amenta, series' Director, worked in the UK with the BBC crew to shoot the six episodes featuring Noah and his story.

To ensure the two characters appeared to be looking directly at each other, three different versions of Saskia's half of this shot were filmed, with Hannah Greenwood looking at Noah stand-ins of three different heights.

To bring Noah & Saskia's world of real teens and cyber dual identities to life, the production team used a unique combination of live-action, animation and visual effects.

[9] Throughout the series, the actors playing Noah and Saskia interact with live action versions of Indy and Max Hammer in "real life" settings, while animated versions of Indy and Max separately interact with each other in a number of animated internet environments, including an online chat-room called "Web Weave".

[9] Distinctive looks were carefully designed for each of the various live action and animated environments, so that shifts in perspective throughout the story are instantly recognisable to the audience.

[9]The ACTF's children's drama series, Noah & Saskia premiered with a special one hour episode on the ABC on 4 May 2004 at 5pm.

[10] In 2002, Patricia Edgar stood down as Director after 20 years to focus on the production of Noah and Saskia, which was to be her parting gift to the ACTF.

[11] On 22 October 2004, Sam Carroll, co-writer of Noah & Saskia, won the AWGIE Award for 'Best Children's Television Drama' (C Classification) for the episode "Extra Spicy".

[5] Along with a novel and accompanying teaching resources, Noah and Saskia is a unique educational package for English text studies, multiliteracies, Internet issues, media production and ICTs.

[11] "A rich and exciting blend of live action, animation and visual effects, Noah & Saskia is a welcome and innovative new series".

!” Bree, www.noahandsaskia.com[10] "The central idea sounds simple, but as the concept developed, we also started to explore the notion of self-revelation…would Noah and Saskia hide behind the idealised selves they had created on the internet, or gradually come to trust each other…” Elaine Sperber, Head of Children’s Drama, BBC[10]