WEBVTT - Claudia Karvan on saying goodbye to another iconic character 0:00:08.520 --> 0:00:11.520 Hello, and welcome to the Stellar podcast Something to Talk About. 0:00:11.560 --> 0:00:14.280 I'm Sarah La Marquin, your host, and every week I 0:00:14.320 --> 0:00:16.119 sit down with some of the biggest names in the 0:00:16.160 --> 0:00:19.640 country because when Australia's celebrities are ready to talk, they 0:00:19.680 --> 0:00:20.680 come to Something. 0:00:20.400 --> 0:00:21.120 To Talk About. 0:00:22.440 --> 0:00:26.439 Claudia Carvin is one of Australia's most acclaimed actors. She's 0:00:26.480 --> 0:00:29.120 been at it since she was ten years old, producing 0:00:29.160 --> 0:00:33.080 and creating television series since her early thirties. If you 0:00:33.120 --> 0:00:36.280 think back to some of Australia's most beloved TV shows 0:00:36.320 --> 0:00:39.360 and film there's a good chance Claudia was in it. 0:00:39.880 --> 0:00:42.320 From The Secret Life of Us to Love My Way, 0:00:42.479 --> 0:00:46.199 to The Heartbreak Kid, to Spirited and now Bump. Claudia 0:00:46.360 --> 0:00:49.240 has a lot to talk about, and today on Something 0:00:49.240 --> 0:00:53.239 to Talk About, she does just that from a wardrobe 0:00:53.280 --> 0:00:55.240 malfunction on National TV. 0:00:55.400 --> 0:00:58.600 And I was like, Oh, that looks like quite a 0:00:58.640 --> 0:00:59.120 bit of my. 0:00:59.160 --> 0:01:00.720 Boob on the TV. 0:01:02.400 --> 0:01:04.120 I'm like, oh, dear ooops. 0:01:04.760 --> 0:01:07.720 The quote unquote unhappiest job of her career. 0:01:08.040 --> 0:01:08.840 It's a tough job. 0:01:09.040 --> 0:01:11.360 I felt like I was an adult and I was 0:01:11.400 --> 0:01:13.760 playing a very adult role, but I was only that 0:01:13.959 --> 0:01:16.559 nineteen and away from home. And the content was quite 0:01:16.800 --> 0:01:19.160 There's a lot of intimacy and nudity. 0:01:19.000 --> 0:01:21.480 And the real life inspiration for love my way. 0:01:21.720 --> 0:01:25.600 I was with Jazz and you know, my stepdaughter was 0:01:25.840 --> 0:01:30.320 my best friend's daughter. I was the godmother, so there 0:01:30.400 --> 0:01:33.320 was lots of sort of blurred lines there. 0:01:33.319 --> 0:01:36.400 And of course how she's feeling in the lead up 0:01:36.440 --> 0:01:39.320 to her very final scenes of Bump going to air. 0:01:39.640 --> 0:01:42.119 Claudia Carvin, Welcome to the Stellar Podcast. 0:01:42.400 --> 0:01:43.240 Thanks for having me. 0:01:43.440 --> 0:01:45.679 Nice to be here, lovely to have you here. 0:01:46.680 --> 0:01:49.920 I'm very excited to talk to you about the final 0:01:50.120 --> 0:01:53.760 season of Bump, which is premiering on Boxing Day. But 0:01:53.760 --> 0:01:57.040 before we get to that, I'd actually love to maybe 0:01:57.040 --> 0:01:59.360 go back a bit and look back on your career. 0:01:59.480 --> 0:02:00.760 Take a little bit of a walk. 0:02:00.600 --> 0:02:04.480 Down memory lane with you, Claudia, because last year you 0:02:04.560 --> 0:02:07.360 were made a Member of the Order of Australia for 0:02:07.480 --> 0:02:11.280 service to the film and television industry. I mean quite 0:02:11.320 --> 0:02:14.600 the honor. Was that a moment that gave you pause 0:02:14.800 --> 0:02:18.639 to reflect on your career because it's been for decades 0:02:18.680 --> 0:02:20.720 that you've been working in this industry. 0:02:20.800 --> 0:02:23.760 Now, I know, I know I'm not very I'm not 0:02:23.880 --> 0:02:26.359 very good at ceremony. My children came with me. That 0:02:26.480 --> 0:02:28.880 was the best pit about it. My son dressed up 0:02:28.880 --> 0:02:30.640 in a suit and they. 0:02:30.560 --> 0:02:31.480 Were pretty impressed. 0:02:32.040 --> 0:02:33.520 And yeah, I wasn't. 0:02:33.680 --> 0:02:37.000 Prepared for the sort of the beautiful pomp and ceremony 0:02:37.040 --> 0:02:40.160 around it, So yeah, I did realize, oh, that was 0:02:40.440 --> 0:02:46.520 a very important recognition, and the medal itself was very beautiful. 0:02:46.080 --> 0:02:52.639 The location at a government house was stunning, and all 0:02:52.639 --> 0:02:55.520 the other people who were being honored, I mean, you know, 0:02:55.600 --> 0:02:58.120 they were like fighting bush fires and. 0:02:59.480 --> 0:03:01.639 Remarkable all feats. 0:03:01.639 --> 0:03:03.800 And my children are like, so, wait a minute, you 0:03:03.880 --> 0:03:04.799 just got this because you. 0:03:04.760 --> 0:03:05.560 Want to LOGI. 0:03:07.520 --> 0:03:09.560 And then now I'm sort of fighting over it, going well, 0:03:09.560 --> 0:03:10.920 who's going to get it when you die? 0:03:12.320 --> 0:03:13.280 Did that get settled? 0:03:15.360 --> 0:03:16.960 I think that because they get you get a small 0:03:17.000 --> 0:03:18.519 one and an address one. 0:03:18.520 --> 0:03:19.760 You get three, so. 0:03:20.639 --> 0:03:22.200 You know, there's plenty to go around. 0:03:22.680 --> 0:03:23.400 I don't need to fight. 0:03:23.680 --> 0:03:27.680 Do you have the proverbial or literal trophy cabinet? Because 0:03:27.720 --> 0:03:30.680 that's right. There has been a LOGI. There's been a 0:03:30.760 --> 0:03:34.440 lot of awards and recognition in your career. Now that 0:03:34.480 --> 0:03:39.080 you have that medal for this honor, is there somewhere 0:03:39.080 --> 0:03:40.600 where it all sits. 0:03:41.080 --> 0:03:46.120 Ah, it just sits in my office, and yeah, I 0:03:46.160 --> 0:03:47.840 just don't want to turn into one of those people 0:03:47.960 --> 0:03:50.800 like in thirty or forty you goes And I won 0:03:51.000 --> 0:03:55.839 all these awards like boring people to tears with all 0:03:55.920 --> 0:03:59.400 my incredible achievements. I just I actually look at them 0:03:59.400 --> 0:04:02.440 and I go, hmmm, what rest did I wear? When 0:04:02.440 --> 0:04:04.800 I want when I won that one? Because it's always 0:04:04.840 --> 0:04:08.000 it's always about what shoes and what dress did you wear? 0:04:08.200 --> 0:04:10.760 What hair and makeup did you get done, who did 0:04:10.760 --> 0:04:13.480 you go with, how much wine did you drink or 0:04:13.520 --> 0:04:16.240 not drink? What was the entertainment? So it's sort of 0:04:16.240 --> 0:04:19.320 a little bit like a photo album, and it's sort 0:04:19.320 --> 0:04:22.520 of fun or really embarrassing when you have like a 0:04:22.560 --> 0:04:26.560 wardrobe malfunction, which I once had. So whenever I look 0:04:26.600 --> 0:04:28.360 at that award, I go, uh huh uh ah. 0:04:28.480 --> 0:04:29.320 That was that one? 0:04:30.320 --> 0:04:32.640 And what happened there? And was that in the era 0:04:32.720 --> 0:04:35.279 of social media or was it in a time where 0:04:35.320 --> 0:04:37.479 maybe you kind of got away with it a little 0:04:37.680 --> 0:04:39.880 more then a little less than you might today. 0:04:40.760 --> 0:04:43.200 Well, I was sitting in the airport lounge and I 0:04:43.360 --> 0:04:47.640 was you know, it was daytime morning, you know, morning television, 0:04:48.839 --> 0:04:52.039 and I was like, oh, that looks like quite a 0:04:52.080 --> 0:04:54.159 bit of my boop on the TV. 0:04:55.839 --> 0:04:59.160 I'm like, oh dear, whoops loo. 0:04:59.200 --> 0:05:02.400 Could see it happens, doesn't it. You know, it's okay. 0:05:02.440 --> 0:05:06.280 It doesn't sound like it was justin Timberlake Janet Jackson's 0:05:06.320 --> 0:05:08.600 you know, super level wardrobe. 0:05:08.640 --> 0:05:11.279 It was not too offensive, and all the mums in 0:05:11.279 --> 0:05:12.280 the playground were very. 0:05:12.240 --> 0:05:12.720 Sweet to me. 0:05:12.760 --> 0:05:14.920 When I arrived to pick up my daughter that day, 0:05:14.960 --> 0:05:16.560 They're like, that's fine, you boob look. 0:05:16.400 --> 0:05:19.120 Great, well that look this is love. I love I 0:05:19.160 --> 0:05:21.679 love this about women and look. To be honest, anyone 0:05:21.760 --> 0:05:26.720 that's been anywhere near that's right, any experience around breastfeeding 0:05:27.120 --> 0:05:29.120 has for the rest of their life. It's like, who 0:05:29.200 --> 0:05:32.599 hasn't inadvertently exposed breast. 0:05:32.920 --> 0:05:35.240 It is hard once you've been breastfeeding in public to 0:05:35.320 --> 0:05:37.640 sort of take them seriously anymore. It's like, wait a minute, 0:05:37.640 --> 0:05:40.160 I was allowed to have them out every five minutes 0:05:40.240 --> 0:05:40.920 once upon a time. 0:05:40.960 --> 0:05:41.360 That's right. 0:05:41.560 --> 0:05:41.880 You can't. 0:05:41.920 --> 0:05:43.800 You can't just put that genie back in the bottle. 0:05:43.920 --> 0:05:44.640 That's right. 0:05:45.000 --> 0:05:47.799 You've been acting since you were ten. When you were fourteen, 0:05:47.839 --> 0:05:52.480 you start alongside Judy Davis in High Tide. You told 0:05:52.520 --> 0:05:56.400 Stella four years ago, I didn't know who Judy was. 0:05:56.800 --> 0:06:00.000 I didn't know who Jillian Armstrong was. I certainly didn't 0:06:00.000 --> 0:06:03.440 do any research. There wasn't the internet. I was just 0:06:03.480 --> 0:06:09.279 a fourteen year old girl. I love the innocence of that. 0:06:09.400 --> 0:06:13.320 For one of a better word, what are your memories 0:06:13.360 --> 0:06:18.440 of that time and do you feel that, like every 0:06:18.520 --> 0:06:21.680 experience that happens, that that is just such a reflection 0:06:21.960 --> 0:06:24.640 of the time. As you say, you couldn't do research 0:06:24.680 --> 0:06:27.120 because he didn't have access to the Internet, but that 0:06:27.240 --> 0:06:30.159 also meant that you weren't thinking about a lot of 0:06:30.200 --> 0:06:32.400 the things that I imagine a fourteen year old girl 0:06:32.440 --> 0:06:35.599 would go on to set on that experience in twenty 0:06:35.680 --> 0:06:36.280 twenty four. 0:06:37.120 --> 0:06:38.120 Yes, that's right. 0:06:38.440 --> 0:06:41.840 Well, it's interesting because at the time I also wasn't 0:06:41.880 --> 0:06:45.680 aware that very few films are directed by women. I mean, 0:06:46.200 --> 0:06:49.640 gender was not on my radar at all. I was 0:06:49.680 --> 0:06:53.359 a fourteen year old girl. So looking back at it 0:06:53.480 --> 0:06:56.200 now with the wisdom of hindsight and being able to 0:06:56.240 --> 0:07:01.000 see it in context, I was working with four not one, 0:07:01.080 --> 0:07:05.440 not two, not three, but four extraordinary women. So Jillian Armstrong, 0:07:05.440 --> 0:07:09.000 who had already done my brilliant career, Judy Davis, who'd 0:07:09.440 --> 0:07:12.920 been in David Lene Films and you know, been nominated 0:07:12.920 --> 0:07:19.720 for Oscars, and Laura Jones wrote it an extraordinarily beautiful script, 0:07:19.720 --> 0:07:21.520 and she was on set all the time, and she 0:07:21.640 --> 0:07:25.320 was in the rehearsals, and she was so humble and 0:07:25.360 --> 0:07:29.280 so unassuming and so observant. She had such a beautiful 0:07:29.320 --> 0:07:34.440 spirit about her. I feel like, I to me, she 0:07:34.560 --> 0:07:37.800 was a real writer. That's the first time I had 0:07:37.800 --> 0:07:39.560 anything to do with like what does a. 0:07:39.480 --> 0:07:41.280 Writer look like? What is their vibe? 0:07:41.720 --> 0:07:44.600 Which again I wasn't very conscious of, but I definitely 0:07:44.600 --> 0:07:49.280 look back in that and go, wow, writers, writers are beautiful, 0:07:49.320 --> 0:07:51.960 and there's such an integral part of the whole process, 0:07:52.320 --> 0:07:56.280 and they're often you know, tucked away like that. They're 0:07:56.280 --> 0:07:58.520 not praised enough for you know, they're not on the 0:07:58.520 --> 0:08:02.320 red carpet very often. So she was beautiful. And then 0:08:02.520 --> 0:08:08.280 Sandra Levy who produced it, so I just thought I 0:08:08.280 --> 0:08:10.120 didn't even question that. But I look back on that 0:08:10.200 --> 0:08:13.720 now and think, wow, what a great entry into the 0:08:13.760 --> 0:08:17.880 film industry, because you know, from my perspective, it's like, well, 0:08:17.920 --> 0:08:21.160 there's nothing going wrong here, this is all pretty good. 0:08:21.800 --> 0:08:23.960 And then was it a bit of a shock because 0:08:24.000 --> 0:08:26.000 obviously at the latter part of your career, which I 0:08:26.120 --> 0:08:28.280 love to talk to a bit later on, especially as 0:08:28.320 --> 0:08:32.080 a producer, you have worked with and encourage and help 0:08:32.160 --> 0:08:35.680 foster and partner with a lot of female creatives. But 0:08:35.960 --> 0:08:40.840 then you would have, I imagine, realized as most actors do, oh, well, 0:08:40.880 --> 0:08:45.960 most directors are men. Certainly for people working internationally, they 0:08:45.960 --> 0:08:48.600 may go their entire career on a film that is 0:08:48.679 --> 0:08:52.280 only ever directed by a man. So then when did 0:08:52.320 --> 0:08:57.079 that beautiful sort of innocence I suppose, get a bit 0:08:57.120 --> 0:08:59.520 punctured of realizing that, yeah, that was a bit of 0:08:59.720 --> 0:09:01.240 an normally that experience. 0:09:01.200 --> 0:09:05.440 Well, actually the run continued because I had Nadia Tass 0:09:05.679 --> 0:09:09.800 directed me in The Big Steal, Laurie mckinnis directed me 0:09:09.840 --> 0:09:13.000 in Broken Highway, which I went to cann Film Festival 0:09:13.040 --> 0:09:18.160 with Megan Simpson. Humorman directed me and Dating the Enemy. 0:09:18.480 --> 0:09:23.319 So my personal anecdotal experience was there are women everywhere. 0:09:23.559 --> 0:09:25.720 So when the stats. 0:09:25.240 --> 0:09:28.120 Came out when they did the Gender Matters before they 0:09:28.160 --> 0:09:31.320 started the Gender Matters initiative at Screen Australia and I 0:09:31.400 --> 0:09:33.720 was on the board of Screen Australia, I think at 0:09:33.720 --> 0:09:36.400 that time was it just about to be so they 0:09:37.280 --> 0:09:39.640 these figures came out and I was looking at them going, 0:09:39.760 --> 0:09:44.400 I just don't make I don't see evidence of that. 0:09:44.440 --> 0:09:46.960 I don't understand that. I can't work that out. 0:09:47.160 --> 0:09:51.960 It just wouldn't compute. And so it took a situation 0:09:52.360 --> 0:09:56.319 like with a beautiful, very very very talented director called 0:09:56.400 --> 0:10:01.360 Lucy Gaffey who I think she was in maybe her 0:10:02.000 --> 0:10:06.319 late thirties, and her short film came across my desk 0:10:06.480 --> 0:10:07.520 and it was. 0:10:09.360 --> 0:10:10.959 Brilliant, really like. 0:10:12.200 --> 0:10:14.160 Stunning, and I was like, I've got to work with 0:10:14.160 --> 0:10:17.560 this director, and so we pulled out all stops and 0:10:17.640 --> 0:10:20.360 gave her a shadow directing role, which meant she got 0:10:20.360 --> 0:10:24.840 to it's like a sort of talent escalation initiative, and 0:10:24.920 --> 0:10:27.040 she got to do her one episode and she's never 0:10:27.080 --> 0:10:29.720 looked back. She was amazing on Doctor Doctor, a Tony 0:10:29.800 --> 0:10:32.360 McNamara written script who's gone on to win awards for 0:10:32.400 --> 0:10:36.360 the great and like he's he's extraordined Oscar nomination, Oscar nomination, 0:10:36.559 --> 0:10:39.800 like amazingly talented writer. So she directed one of his 0:10:39.880 --> 0:10:42.839 episodes and she came up to me at the rap 0:10:42.880 --> 0:10:46.360 party and said, you've You've changed my life, like you've 0:10:46.400 --> 0:10:48.600 given me a career, and I'm like, no, I haven't. 0:10:48.600 --> 0:10:51.200 That's ridiculous, what a stupid that's a stupid thing to say, Like, 0:10:51.440 --> 0:10:54.680 you can't give me credit for that. You are a 0:10:54.840 --> 0:10:58.440 very talented person and you would have got you would 0:10:58.440 --> 0:11:01.319 have got a job anyway. And she was like, nah, 0:11:01.440 --> 0:11:04.080 I have been knocking on doors for years and no 0:11:04.120 --> 0:11:06.840 one has given me an opportunity. And I saw her 0:11:06.880 --> 0:11:08.319 the other day and she said, I've just come from 0:11:08.320 --> 0:11:10.000 AFTR Rest and I just told that story. I tell 0:11:10.040 --> 0:11:14.960 that story everywhere I go. Now, the position that I'm in, 0:11:15.000 --> 0:11:18.520 the very privileged, luxurious position I'm in, is I can 0:11:18.640 --> 0:11:21.520 do that for a lot of people, men and women 0:11:21.559 --> 0:11:24.240 are like but it's the best part of my job. 0:11:25.080 --> 0:11:27.680 I mean, it's just so amazing. I imagine to get 0:11:27.679 --> 0:11:30.560 that sort of feedback, because as you say, you were 0:11:30.640 --> 0:11:33.800 a bit oblivious to it, clearly actually disputed the fact 0:11:33.800 --> 0:11:36.640 that that was you. But to hear that is got 0:11:36.640 --> 0:11:40.120 to be talked about. The awards and the accolades. I'm 0:11:40.120 --> 0:11:42.400 in its moments like that that I have to be 0:11:42.440 --> 0:11:44.600 the most rewarding. I imagine, that's right. 0:11:45.000 --> 0:11:46.320 I often get asked that question. 0:11:46.360 --> 0:11:48.360 It's one of the most difficult questions to be asked, 0:11:48.480 --> 0:11:50.520 is like what does success mean to you? 0:11:50.559 --> 0:11:53.800 And my brain always goes blank. Oh god, I don't know. 0:11:54.120 --> 0:11:56.840 But that is what it means being able to do 0:11:56.880 --> 0:11:59.240 something like that. I have to remember that that's going 0:11:59.320 --> 0:11:59.920 to be my next down. 0:12:00.000 --> 0:12:03.280 So when someone says, yes, exactly exactly what does success 0:12:03.360 --> 0:12:05.600 mean to you? You know what to say. You mentioned 0:12:05.679 --> 0:12:08.760 dating the enemy there, and so I thought I might 0:12:08.840 --> 0:12:12.960 actually ask you about some comments that David Stratton made. 0:12:12.960 --> 0:12:15.240 He was on the Stellar podcast with me a couple 0:12:15.320 --> 0:12:18.079 of months ago, and I was talking to him about 0:12:19.080 --> 0:12:22.520 romantic comedies as a genre in Australia and said, it's 0:12:22.559 --> 0:12:25.640 not something that we as a nation have done an 0:12:25.640 --> 0:12:29.040 awful lot of. And I called out Paperback Hero, the 0:12:29.080 --> 0:12:32.560 film that you did in nineteen ninety nine opposite Hugh Jackman, 0:12:32.960 --> 0:12:37.920 and David said, you've got to get absolutely the right 0:12:37.960 --> 0:12:41.760 actors to do rom com well. And Claudia's peerless in 0:12:41.800 --> 0:12:44.000 that respect. She could have done a lot more. She's 0:12:44.040 --> 0:12:49.240 a wonderful comedian and a wonderful actor. Lovely praise there 0:12:49.440 --> 0:12:51.720 from David. But what do you think about that? 0:12:52.360 --> 0:12:56.400 I think that it I guess before Bridget Jones Diary, 0:12:56.480 --> 0:12:59.800 it sort of felt like an American trope maybe, so 0:13:00.480 --> 0:13:05.679 when we tried to go foray into it as Australians, 0:13:06.960 --> 0:13:09.360 I think we were sort of carrying a lot of 0:13:09.360 --> 0:13:13.400 baggage and so both those films actually didn't do very 0:13:13.400 --> 0:13:18.160 well at the box office Paperback Hero and Dad in 0:13:18.160 --> 0:13:21.040 the Enemy. But you know, they've I think they've sort 0:13:21.080 --> 0:13:26.600 of aged reasonably well and people they're pretty good films. 0:13:26.600 --> 0:13:29.800 They're solid films, but I think the perception from the 0:13:29.800 --> 0:13:32.800 Australian audience was none of that's the Americans do that 0:13:32.880 --> 0:13:36.439 well and it's not an Australian genre and we can't 0:13:36.440 --> 0:13:41.200 do it. So yeah, it probably was. It didn't do 0:13:41.240 --> 0:13:43.160 well in the box office, but then we did very 0:13:43.160 --> 0:13:46.400 well on DVD Dadding the Enemy. People really embraced it, 0:13:46.720 --> 0:13:48.520 and a lot of people still do come up to 0:13:48.559 --> 0:13:50.080 me and go, you know, that was one of their 0:13:50.080 --> 0:13:55.360 favorite films. I mean, it's totally stupid, but I mean, honestly, 0:13:55.440 --> 0:13:59.880 it's like surely every actress's dream to be a man 0:14:00.400 --> 0:14:04.520 pretending that they're just getting their period. The first time, 0:14:04.960 --> 0:14:08.920 that was one of the most enjoyable scenes to man cry. 0:14:09.200 --> 0:14:11.440 It was so much fun. I was with Lisa Hensley 0:14:11.760 --> 0:14:16.200 when I did that scene, and yeah, she was hilarious. 0:14:16.240 --> 0:14:18.120 She's like, you know that, you know the man crying 0:14:18.160 --> 0:14:19.280 that they don't cry. 0:14:19.320 --> 0:14:24.240 They don't cry when they cry it so it's so 0:14:24.360 --> 0:14:26.120 true of fascination. 0:14:26.560 --> 0:14:31.320 He paid off in that moment. My last question about 0:14:31.360 --> 0:14:35.080 your work in the nineties would be about working on 0:14:35.320 --> 0:14:38.600 The Heartbreak Kid, which came out in nineteen ninety three. 0:14:38.840 --> 0:14:43.120 I know you've been asked about this role over the years. Again, 0:14:43.280 --> 0:14:45.800 a few years ago you told Stella that you had 0:14:46.240 --> 0:14:48.840 a few concerns looking back on that. In fact, you 0:14:48.880 --> 0:14:51.800 said it was the unhappiest job of my career. First 0:14:51.840 --> 0:14:53.960 of all, you said you felt so embarrassed that you 0:14:54.000 --> 0:14:57.320 played a Greek girl. Can you imagine how I would 0:14:57.360 --> 0:15:00.280 be taken down today? And then, as you said, you 0:15:00.320 --> 0:15:02.960 were nineteen at the time and your co star Alex 0:15:03.000 --> 0:15:07.400 Demitriartes was seventeen, there was no such thing as what 0:15:07.440 --> 0:15:11.560 we would now call an intimacy coordinator on set. And 0:15:11.600 --> 0:15:14.040 then of course the fact that your character was a 0:15:14.080 --> 0:15:16.680 teacher and he was a student. So there's a lot 0:15:16.760 --> 0:15:19.640 going on in that film. I mean, I think sometimes 0:15:19.680 --> 0:15:22.840 we lack nuance in our conversations about, oh, you just 0:15:22.880 --> 0:15:25.080 can't get away with anything today. And then I think 0:15:25.080 --> 0:15:28.520 there's a really positive conversation about how far we've come 0:15:28.560 --> 0:15:31.600 with things. Get through the middle somewhere there's just hottering 0:15:31.720 --> 0:15:34.800 moments that were of their time. Yes, i'd love, like, 0:15:34.880 --> 0:15:36.760 I say, just to ask you a bit about how 0:15:36.800 --> 0:15:38.240 you feel about that film now. 0:15:39.280 --> 0:15:41.640 Yeah, look, I haven't watched it again. And again it 0:15:41.680 --> 0:15:44.600 was another sort of rom com, wasn't it. I had 0:15:44.600 --> 0:15:47.520 a great conversation with someone recently where they're like, didn't 0:15:47.880 --> 0:15:50.840 the sex didn't bother me? And the fact that you 0:15:50.920 --> 0:15:52.800 were not great didn't bother me. It was the fact 0:15:52.800 --> 0:15:56.360 that that boy was pretty much stalking you and like 0:15:56.760 --> 0:15:59.040 in this day, and I was like, that's really not 0:15:59.120 --> 0:16:01.960 a turn on. And they thought it had sort of dated, 0:16:01.960 --> 0:16:03.800 which I thought was really interesting. 0:16:03.840 --> 0:16:04.880 No one had brought that up. 0:16:05.000 --> 0:16:07.880 Now, that wasn't in my list with it. 0:16:07.800 --> 0:16:09.400 It was very interesting, isn't it. 0:16:09.760 --> 0:16:14.000 But I think, you know, yes, some people say, oh, 0:16:14.080 --> 0:16:17.480 are we over apologizing for the things that have done 0:16:17.480 --> 0:16:20.000 in the past, And I just think I think we 0:16:20.040 --> 0:16:24.040 can't overcompensate. You know, there's a lot of conversations that 0:16:24.120 --> 0:16:26.280 should be had and need to be had. I mean, 0:16:26.560 --> 0:16:30.120 I am sort of being lighthearted about the Greek thing. 0:16:30.160 --> 0:16:33.560 I'm so everyone I know who's Greek. Look, you are 0:16:33.600 --> 0:16:36.760 an honorary Greek. We are very proud that you were 0:16:36.800 --> 0:16:38.880 a Greek. Like no, no one holds it against me. 0:16:40.080 --> 0:16:43.960 But as for the you know, the storyline, Now that 0:16:44.040 --> 0:16:47.840 I am a producer, I feel like, you know, I 0:16:47.880 --> 0:16:50.040 was hired to play a role. I didn't write it, 0:16:50.080 --> 0:16:52.000 I didn't direct it, I didn't produce it. So it's 0:16:52.360 --> 0:16:55.760 that storyline I don't take responsibility for. I was a 0:16:55.840 --> 0:16:58.160 nineteen year old girl, and you know it. It was 0:16:58.200 --> 0:17:00.880 a It was a tough job. I felt like I 0:17:01.000 --> 0:17:03.840 was an adult and I was playing a very adult role. 0:17:03.920 --> 0:17:06.240 But I was only in that nineteen and away from home, 0:17:06.280 --> 0:17:08.879 and the content was quite There's a lot of intimacy 0:17:09.080 --> 0:17:14.119 and nudity, and yeah, it probably wasn't that equipped to 0:17:14.119 --> 0:17:17.320 do it. I got through and I did it, but yeah, 0:17:17.359 --> 0:17:20.240 it wasn't. It was my favorite job. But Alex is 0:17:20.240 --> 0:17:23.440 great and it was a really great film. Nicolethuris is amazing. 0:17:23.520 --> 0:17:26.879 He One of the best things about that job is 0:17:26.880 --> 0:17:30.120 that Alex Demitritis had never acted before and we had 0:17:30.160 --> 0:17:34.280 about I think it was maybe three to four weeks, 0:17:34.480 --> 0:17:39.119 which is unheard of in a rehearsal space, just the 0:17:39.160 --> 0:17:42.200 two of us with Nicole Thuris, who was the acting coach, 0:17:42.720 --> 0:17:46.200 doing the Misner technique. He was amazing. Nicola Theuris and 0:17:46.240 --> 0:17:51.160 I learned a lot. And the Misner technique is really intense, 0:17:51.280 --> 0:17:52.600 like you've got nowhere to hide. 0:17:52.760 --> 0:17:53.120 It's this. 0:17:54.080 --> 0:17:56.480 The essence of it is you repeat and you repeat, 0:17:56.520 --> 0:18:00.439 and you repeat until you've worn that line. Then you 0:18:00.480 --> 0:18:03.800 move to the next line, and it does embed the 0:18:03.880 --> 0:18:08.240 scene into this sort of deep, subterranean level. It's very 0:18:08.400 --> 0:18:12.240 very good. I don't use it anymore because it sort 0:18:12.240 --> 0:18:16.400 of triggers me. It's really hard, but it's very very good. 0:18:16.480 --> 0:18:19.199 And Nicole theros was amazing on that, so I really 0:18:20.400 --> 0:18:21.240 I love that job. 0:18:21.359 --> 0:18:21.800 For him. 0:18:22.720 --> 0:18:24.040 I was going to say, I mean, at the risk 0:18:24.080 --> 0:18:26.280 is sounding tweet and like I'm trying to package up 0:18:26.320 --> 0:18:29.680 that experience with a neat little Christmas bow. It is 0:18:30.520 --> 0:18:34.399 also sounds as though a affirmation of the fact that 0:18:34.480 --> 0:18:39.200 even the most challenging parts of your career, and if 0:18:39.200 --> 0:18:42.159 that was one of the most unhappiest jobs, that it 0:18:42.320 --> 0:18:47.399 still had these amazing takeaways from it, including that extreme 0:18:47.600 --> 0:18:50.159 experience of yeah, an acting degree in the course of 0:18:50.200 --> 0:18:51.480 three or four weeks. 0:18:51.440 --> 0:18:54.400 Always as someone introduced me to the word a dialectic 0:18:54.480 --> 0:18:59.480 experience recently and it's really changed my outlook, which is 0:19:00.119 --> 0:19:02.560 you can you can feel and experience two things at 0:19:02.600 --> 0:19:06.239 the same time and they don't invalidate themselves. Like you know, 0:19:06.320 --> 0:19:08.200 you can be happy and sad at the same time. 0:19:08.359 --> 0:19:11.000 You can love and hate someone at the same time. 0:19:12.160 --> 0:19:14.080 And I love that because it just gives you the 0:19:14.119 --> 0:19:19.040 freedom to feel feel both those things and they yeah, 0:19:19.040 --> 0:19:21.120 they live alongside each other. 0:19:23.000 --> 0:19:25.360 And coming up Claudia on how she fell in love 0:19:25.440 --> 0:19:29.080 with producing and creating TV and what she's got planned 0:19:29.160 --> 0:19:33.720 after Bump. I would then now really love to talk 0:19:33.760 --> 0:19:37.040 a little bit more about the work that you have 0:19:38.240 --> 0:19:41.960 co created, your work as a producer. I mean it 0:19:42.040 --> 0:19:45.840 includes all five seasons of Bump. You mentioned Doctor Doctor, 0:19:46.359 --> 0:19:50.800 and of course I love to talk about love my 0:19:50.920 --> 0:19:55.000 way And when did that fire first start to burn 0:19:55.040 --> 0:19:56.080 a little bit in you? 0:19:57.640 --> 0:19:57.880 Well? 0:19:58.480 --> 0:20:00.560 Did I did a bit of behind the scenes on 0:20:00.640 --> 0:20:02.840 Secret Life of Us, so I directed one block. So 0:20:02.920 --> 0:20:06.840 that opened up my world because I was only aware 0:20:06.880 --> 0:20:10.640 of the on set life. I hadn't envisaged a story room, 0:20:10.720 --> 0:20:14.080 I hadn't envisaged the writing process. I hadn't envisaged the 0:20:14.240 --> 0:20:17.800 edit and what happens in post, so you know, as 0:20:17.800 --> 0:20:19.640 an actor, I was like, well, it's just all about 0:20:19.680 --> 0:20:21.439 what happens on set, and it's all about the actors. 0:20:21.480 --> 0:20:25.119 Of course, you know, quite sort of self focused. So 0:20:25.160 --> 0:20:29.960 it was really creative to see where the stories start 0:20:30.040 --> 0:20:34.159 and where they end. And when I went behind the camera, 0:20:34.240 --> 0:20:39.640 I my curiosity was peaud and then John Edwards sort 0:20:39.640 --> 0:20:43.119 of recognize the sort of leadership ability in me and 0:20:43.160 --> 0:20:46.760 suggested that we develop a show together and produce a 0:20:46.760 --> 0:20:47.320 show together. 0:20:47.680 --> 0:20:50.080 Producing was never on my radar. I never even knew 0:20:50.119 --> 0:20:50.360 what a. 0:20:50.320 --> 0:20:53.520 Producer did, and if I did give it some thought, 0:20:53.560 --> 0:20:56.520 I would have thought, really boring job. You may as 0:20:56.520 --> 0:20:58.600 well be an accountant or something. I had no idea 0:20:58.720 --> 0:21:01.520 that it could be so creative. So when John and 0:21:01.560 --> 0:21:09.720