WEBVTT - EXPOSURE - STAN AUSTRALIA - LUCY COLEMAN 0:00:00.200 --> 0:00:01.760 It's in the news today, but it was actually on 0:00:01.800 --> 0:00:05.080 TV Reload the podcast last week They're Life. Hey guys, 0:00:05.120 --> 0:00:07.280 welcome back to TV Reload. I want to thank you 0:00:07.280 --> 0:00:10.479 for clicking and downloading on today's episode with Lucy Coleman, 0:00:10.520 --> 0:00:13.240 who is the creator of Exposure, which is now on 0:00:13.320 --> 0:00:14.440 STAN Australia. 0:00:14.600 --> 0:00:16.000 The whole series is actually. 0:00:15.720 --> 0:00:18.759 Available to view on their streaming service, and I suggest 0:00:19.000 --> 0:00:21.639 whilst the story is quite bleak at times, it is 0:00:21.680 --> 0:00:24.560 still something I don't think we've really seen before and 0:00:24.600 --> 0:00:28.640 it's worth definitely checking out. Lucy Coleman is an Australian 0:00:28.640 --> 0:00:32.960 screenwriter and director, producing original work under her label Loosey's 0:00:33.000 --> 0:00:38.000 Hell Productions. Lucy Coleman's first TV experience is this series Exposure, 0:00:38.000 --> 0:00:40.879 which premiered on STAN Australia on the twentieth of June. 0:00:41.120 --> 0:00:44.000 Lucy is the creator and sole writer of the six 0:00:44.120 --> 0:00:47.960 thirty minute series episodes. Commissioned by STAN and partnered by 0:00:48.000 --> 0:00:51.400 All Three Media, the series is produced by Justin Cozell, 0:00:51.760 --> 0:00:55.760 Sean Grant and Nicole Donahue under the newly established production 0:00:55.840 --> 0:00:59.160 banner Thirdborn. The series is something that was born out 0:00:59.160 --> 0:01:01.960 of a real life sitution situation but has inspired a 0:01:02.000 --> 0:01:05.800 fictitious crime drama that is quite bleak and yet quite 0:01:05.840 --> 0:01:08.800 beautiful at the same time. I will talk about how 0:01:08.840 --> 0:01:12.360 this project was greenlighted, what parameters were given by the 0:01:12.440 --> 0:01:16.240 streaming service, and even how they created the young voices 0:01:16.280 --> 0:01:19.720 and nuances for these characters. We will unpack the darker 0:01:19.760 --> 0:01:22.520 themes and how Lucy wants people to approach this story, 0:01:22.680 --> 0:01:24.759 including survivors of sexual assault. 0:01:25.080 --> 0:01:25.920 There's actually so. 0:01:25.920 --> 0:01:29.280 Many great actors in this series, including Alice, the protagonist 0:01:29.280 --> 0:01:32.080 and Essie, but Lucy will talk about the bravery of 0:01:32.160 --> 0:01:35.240 some of the male actors had during the shoot as well. 0:01:35.600 --> 0:01:38.200 You will find out a little tease about what Lucy 0:01:38.280 --> 0:01:41.560 is up to next and why female driven stories will 0:01:41.640 --> 0:01:44.640 always be important to her. There's actually so much to 0:01:44.760 --> 0:01:47.200 unpack with Luce, and I hope you can sit back 0:01:47.200 --> 0:01:50.600 and relax as we delve into the wonderful world of 0:01:50.640 --> 0:01:54.640 the stand original series Exposure. I want to kick this 0:01:54.720 --> 0:01:58.520 off by saying, this series is so groundbreaking, and I 0:01:58.600 --> 0:02:01.280 feel like, you know, it's a lot darker than we've 0:02:01.320 --> 0:02:04.000 seen of anything of this genre. How do you feel 0:02:04.040 --> 0:02:07.480 about people sort of saying a series like this is groundbreaking. 0:02:07.600 --> 0:02:11.800 It's the intention of what we very much were wanting 0:02:11.960 --> 0:02:15.280 to do. I think it's completely in line with how 0:02:15.360 --> 0:02:18.520 authentic we wanted to be with the series, and I 0:02:18.600 --> 0:02:26.440 think with exploring such a bold, complicated, nuanced female character 0:02:26.480 --> 0:02:31.000 at the forefront, people having very different reactions to Yeah, 0:02:31.080 --> 0:02:33.640 I think it was absolutely kind of where we were 0:02:33.680 --> 0:02:37.160 wanting to go. We very much had intentions for it 0:02:37.320 --> 0:02:41.080 to be of its own unique world. 0:02:41.280 --> 0:02:43.880 I think, Yeah, I just don't think of seeing anything 0:02:44.000 --> 0:02:46.240 like it. I was in Warburton with my partner. We 0:02:46.240 --> 0:02:49.079 were lucky enough to get a preview of the series, 0:02:49.400 --> 0:02:51.320 so we were sort of flying in a little blind 0:02:51.360 --> 0:02:54.320 and we put it on and it was like disappearing 0:02:54.680 --> 0:02:57.799 into a world. And I have a podcast on television, 0:02:57.960 --> 0:03:01.520 so I watch a lot of Telly. I can't remember 0:03:01.880 --> 0:03:05.080 disappearing into a world in a way like this that 0:03:05.200 --> 0:03:08.680 felt so real and felt so raw and had me 0:03:08.760 --> 0:03:13.280 sort of often really confronting issues that I think people 0:03:13.320 --> 0:03:15.760 talk about on the surface a lot but don't feel 0:03:16.040 --> 0:03:19.200 comfortable enough to say doesn't make any sense to you. 0:03:19.480 --> 0:03:23.040 Absolutely, it's actually really validating and lovely here, So thank 0:03:23.080 --> 0:03:24.320 you say that. 0:03:24.960 --> 0:03:27.360 I just like it was such a world, you know, 0:03:27.400 --> 0:03:30.040 and I think, you know, we it might not be 0:03:30.160 --> 0:03:32.640 for everyone. I have to say that, because maybe people 0:03:32.720 --> 0:03:35.680 don't like bleak content, or maybe people don't like real 0:03:35.760 --> 0:03:39.080 issues being put up against their faces like this. But 0:03:39.160 --> 0:03:42.800 it's so powerful and it's so rich. I guess I 0:03:42.800 --> 0:03:45.119 should just say congratulations on doing something like this. 0:03:45.520 --> 0:03:46.880 Thank you, thank you so much. 0:03:46.920 --> 0:03:49.320 That really means a lot, because we have we have 0:03:49.440 --> 0:03:52.560 realized since kind of putting it out that it is, 0:03:53.240 --> 0:03:55.280 you know, that it sort of sits in a slightly 0:03:55.800 --> 0:04:00.680 divisive space. But I think that the art that I've 0:04:00.720 --> 0:04:03.960 always been drawn to the most has also been divert 0:04:04.320 --> 0:04:07.480 just sorry, what's the word I'm trying to say, charming? 0:04:07.760 --> 0:04:10.480 I sive. So I think that we very much were 0:04:10.480 --> 0:04:13.200 wanting to swing for the rafters and do something that 0:04:13.320 --> 0:04:18.839 felt incredibly authentic and contemporary and rich and bold and 0:04:19.600 --> 0:04:22.360 just really go there. And it was incredible to work 0:04:22.400 --> 0:04:24.600 with a creative team that were all wanting, they were 0:04:24.640 --> 0:04:25.640 all on board to. 0:04:26.200 --> 0:04:27.320 Take those risks. 0:04:27.680 --> 0:04:31.120 And it's definitely project that I'm so deeply proud of 0:04:31.520 --> 0:04:33.560 to be able to put out into the world as 0:04:33.920 --> 0:04:34.720 lay it as it is. 0:04:35.160 --> 0:04:38.239 Yeah, put your name on that, That's what I said, Yeah, totally. 0:04:39.320 --> 0:04:41.719 I mean, this is a difficult subject matter in a 0:04:41.760 --> 0:04:44.040 way because I really want to be sensitive about it. 0:04:44.080 --> 0:04:47.719 But for you personally using your own story as a 0:04:47.760 --> 0:04:50.360 part of a tent pole to how you created the 0:04:50.360 --> 0:04:52.680 rest of it around it, I feel like this must 0:04:52.760 --> 0:04:55.880 have been quite cathartic for you. Has this been either 0:04:56.120 --> 0:04:59.080 very cheap or very expensive psychological session for you? 0:05:00.600 --> 0:05:03.520 It's been a unique psychological session. 0:05:03.960 --> 0:05:06.080 I like, I'm in the session with you, do you 0:05:06.120 --> 0:05:06.719 know what I mean. 0:05:06.640 --> 0:05:09.239 Like when I'm totally totally I think it's. 0:05:09.080 --> 0:05:10.560 Cathartic, I really do for you. 0:05:11.000 --> 0:05:13.760 Yeah, No, it very deeply was. 0:05:14.320 --> 0:05:16.520 I think it's something that I'll write about in time, 0:05:16.839 --> 0:05:19.360 probably through the means of some kind of literary essays, 0:05:19.400 --> 0:05:21.960 as opposed to making another show or something that was 0:05:22.120 --> 0:05:26.600 quite an extraordinary I think once in a lifetime experience 0:05:26.839 --> 0:05:31.239 of literally being in development on a show and going 0:05:31.320 --> 0:05:36.320 through my own process of acceptance of having literally pitched 0:05:36.320 --> 0:05:39.719 a show still in a place of denial, you know, 0:05:39.880 --> 0:05:43.040 working on a series, and then going through that process 0:05:43.040 --> 0:05:47.279 of acceptance along with Jax the protagonist those sort of 0:05:47.560 --> 0:05:51.520 you know, penultimate and ultimate episodes. But yes, just to 0:05:51.640 --> 0:05:54.960 sort of also clarify, you know, it is very much 0:05:54.960 --> 0:05:57.760 a work of fiction. It is by no means auto fiction. 0:05:58.120 --> 0:06:02.200 It's the story of Kell and the chase of do 0:06:02.320 --> 0:06:05.040 not message was is absolutely not my real life. It's 0:06:05.160 --> 0:06:09.200 very much more that the trauma and the maladaptive behaviors 0:06:09.279 --> 0:06:12.040 that I was. That was sort of the nighting point 0:06:12.160 --> 0:06:14.880 from which I wanted to explore in the series. 0:06:15.240 --> 0:06:16.840 How do you think it will sit though? Like, how 0:06:16.880 --> 0:06:18.760 do you think the show will sit with people who've 0:06:18.800 --> 0:06:22.120 experienced sexual assault though? Because I can imagine for you 0:06:22.200 --> 0:06:24.719 that this has been quite cathartic, and I haven't experienced 0:06:24.720 --> 0:06:26.599 sexual assaults, so I don't want to I can't put 0:06:26.600 --> 0:06:28.440 the hat on. But how do you think that lands 0:06:28.440 --> 0:06:31.120 with them? Do you think it'll be a cathartic experience 0:06:31.120 --> 0:06:32.800 for them or would you be concerned for them to 0:06:32.800 --> 0:06:34.200 sit down and unpack this. 0:06:34.839 --> 0:06:35.960 I think that's going. 0:06:35.760 --> 0:06:38.560 To be a very unique experience for the viewer, So 0:06:38.920 --> 0:06:41.480 I think there. You know, there's trigger warnings at the 0:06:41.520 --> 0:06:44.600 beginning of each episode that are completed to be taken seriously. 0:06:44.960 --> 0:06:50.080 But then I received a really heartwarming message from an 0:06:50.680 --> 0:06:54.359 old friend of mine from back during my undergrad days, 0:06:54.520 --> 0:06:57.680 who I haven't seen in probably ten years, who reached 0:06:57.680 --> 0:07:02.080 out to me and said how incredibly meaningful the series 0:07:02.120 --> 0:07:05.400 had been to her, that she too had gone through 0:07:05.800 --> 0:07:09.400 similar experiences and had gone to therapy and had to 0:07:09.480 --> 0:07:14.360 kind of process that for herself, but she just was 0:07:14.480 --> 0:07:18.800 so she just felt so comforted by seeing Jax being 0:07:18.800 --> 0:07:19.480 this very. 0:07:19.560 --> 0:07:21.400 Complicated young woman. 0:07:21.720 --> 0:07:24.680 And you know, we kind of back and forth in 0:07:24.720 --> 0:07:27.720 a dialogue, and I think what was really meaningful to 0:07:27.800 --> 0:07:30.600 me that this friend expressed was that she said that 0:07:30.680 --> 0:07:33.520 this is something that is going to give other people 0:07:33.520 --> 0:07:36.920 that might not have the words to put their own 0:07:37.200 --> 0:07:40.240 story into that this will be a tool for other 0:07:40.280 --> 0:07:44.240 people to unpack something for themselves that they may not 0:07:44.320 --> 0:07:48.360 necessarily have, that have the capacity or the words to 0:07:48.600 --> 0:07:49.440 be able to do that. 0:07:49.760 --> 0:07:53.040 You know, it's interesting. It's one of my biggest mantress 0:07:53.080 --> 0:07:56.720 is to share your story. And it's sometimes so powerful 0:07:57.160 --> 0:08:00.840 to see someone going through something when you felt particularly 0:08:00.960 --> 0:08:03.560 alone by that. So seeing that isn't just you, or 0:08:03.560 --> 0:08:06.080 it hasn't just happened to you, that you're seeing it 0:08:06.160 --> 0:08:08.200 visually put in front of you like that can actually 0:08:08.200 --> 0:08:11.000 be quite a beautiful process, I think in some way, 0:08:11.320 --> 0:08:13.200 and that you go, oh, I'm not alone, Like this 0:08:13.240 --> 0:08:15.280 has not just happened to me, and I've seen that 0:08:15.320 --> 0:08:17.040 in shows where things that have happened in my life 0:08:17.040 --> 0:08:19.480 have been mirrored, and I've found it to be quite pathetic. 0:08:19.560 --> 0:08:22.560 So I do hope that's that's how it's going to land. 0:08:22.960 --> 0:08:24.120 Yeah, I hope so too. 0:08:24.320 --> 0:08:26.640 And I think that that was very like, that was 0:08:26.680 --> 0:08:29.800 so wholeheartedly my intention of wanting to tell this story 0:08:30.000 --> 0:08:32.680 was to allow people to not feel so alone. 0:08:32.920 --> 0:08:34.320 I think you do that. I think you do that 0:08:34.360 --> 0:08:34.880 really well. 0:08:35.120 --> 0:08:37.760 And I think you don't cheat the audience either on 0:08:37.920 --> 0:08:40.960 sparing us, where I think in television we've seen that before, 0:08:41.000 --> 0:08:43.200 where there's this sort of caution of oh no, we 0:08:43.240 --> 0:08:45.400 can't be that confronted or we can't be that real. 0:08:45.920 --> 0:08:47.920 You haven't cheated us at all with any of that, 0:08:48.160 --> 0:08:50.560 And it's so powerful and it's bold and it's very 0:08:50.640 --> 0:08:51.520 risky to do, you know. 0:08:52.040 --> 0:08:55.520 Yeah, totally. I think that it was kind of hilarious. 0:08:55.559 --> 0:08:57.839 The day that the show came out, there was sort 0:08:57.880 --> 0:09:02.960 of a commentary from like an in the media was questioning, 0:09:03.520 --> 0:09:05.600 is this really the female experience? 0:09:05.840 --> 0:09:08.040 And if so, then Jesus fuck. 0:09:08.400 --> 0:09:13.920 And I found that so deeply offensive and so incredibly reductive, 0:09:14.040 --> 0:09:17.280 because yes, this is the female experience and if you 0:09:17.400 --> 0:09:19.120 felt confronted by that as a. 0:09:19.000 --> 0:09:22.600 Man, then that's great because. 0:09:22.600 --> 0:09:25.960 You should know what there's you know the effects of 0:09:26.040 --> 0:09:29.240 men's trauma is having so deeply on women. It's like 0:09:29.360 --> 0:09:31.920 I sort of I was joking them with my friends. 0:09:31.920 --> 0:09:33.800 I mean, did this man want a front row seat 0:09:33.840 --> 0:09:36.800 to me at twenty seven? Because you know, if it 0:09:36.800 --> 0:09:39.480 could have been almost even bleaker than what has ended 0:09:39.559 --> 0:09:43.120 up on screen. I'm so proud of this show and 0:09:43.160 --> 0:09:45.600 the creative team and just everyone being as bold as 0:09:45.640 --> 0:09:50.000 they've been, because I think it hasn't shied away from 0:09:50.040 --> 0:09:53.800 trying to gloss it up or layer it with, you know, 0:09:53.960 --> 0:09:59.880 trying to make it easier or less gray or more digestible. 0:10:00.080 --> 0:10:03.960 It's kind of just really stuck true to being to 0:10:04.120 --> 0:10:06.560 the sort of hell that that experience can be. 0:10:07.240 --> 0:10:10.320 I've read somewhere that you referred to this in a 0:10:10.360 --> 0:10:13.600 way about the northern Beaches of Sydney to puberty blues. 0:10:13.640 --> 0:10:15.439 There was a reference to that, and the thing that 0:10:15.520 --> 0:10:18.640 stuck with me in your referential ability to look at 0:10:18.679 --> 0:10:23.479 nineteen eighty one to twenty twenty four. It's so surprising 0:10:23.960 --> 0:10:26.719 how little, very little we have come since then, and 0:10:26.760 --> 0:10:30.560 how toxic masculinity still exists, and that toxic culture can 0:10:30.640 --> 0:10:33.160 even still be happening, and why aren't we addressing that, 0:10:33.520 --> 0:10:35.920 you know, why aren't men wanting to be more accountable? 0:10:36.120 --> 0:10:38.360 It was just an interesting reference point, it is. 0:10:38.440 --> 0:10:41.240 I know, I was bit nervous then when I read 0:10:41.280 --> 0:10:43.480 that quote that and I had said that because I was. 0:10:43.480 --> 0:10:45.880 Like, oh, no, I hope that all the bitches don't 0:10:45.880 --> 0:10:46.280 turn on me. 0:10:47.080 --> 0:10:48.880 They probably will, but you know, that's the thing. 0:10:48.920 --> 0:10:51.199 If you want to be bold and if you want 0:10:51.240 --> 0:10:53.360 to join the conversation, if you want to make a difference, 0:10:53.600 --> 0:10:56.040 you have to take big swings. And I think that 0:10:56.080 --> 0:10:58.760 this show is taking some very big swings. And I 0:10:58.800 --> 0:11:01.319 also think, you know, act as like Sean Keenan. I'm 0:11:01.400 --> 0:11:03.280 hoping I'm saying his name right, because I've seen him 0:11:03.280 --> 0:11:05.920 lots of stuff. But even he taking this role on 0:11:06.000 --> 0:11:08.000 I thought was really brave of him. 0:11:08.200 --> 0:11:09.880 Because so brave of him. 0:11:10.160 --> 0:11:13.520 Yeah, and how incredible, by the way, is his performance? 0:11:13.720 --> 0:11:16.960 I like, oh it really is it? Really? 0:11:17.320 --> 0:11:19.840 It is both so brave of him and it's such 0:11:19.840 --> 0:11:24.240 an extraordinary performance. We were all just flawed by the 0:11:24.280 --> 0:11:25.319 work that he had done. 0:11:25.559 --> 0:11:28.280 And then with Alice as well and Essie They're both 0:11:28.440 --> 0:11:30.880 just brilliant in this show like that every minute that 0:11:30.920 --> 0:11:32.760 they're on screen, and it's a lot of heavy lifting 0:11:32.760 --> 0:11:33.240 for Alice. 0:11:33.480 --> 0:11:37.160 They are both so ingrained into their roles. Were you 0:11:37.240 --> 0:11:39.560 worried about because I'm not an actor, so I don't 0:11:39.559 --> 0:11:42.440 necessarily understand the process of that, or I don't understand 0:11:42.480 --> 0:11:45.240 each actor's individual process with how they connect to a character. 0:11:45.480 --> 0:11:48.720 But were you worried for the actors immersing themselves into 0:11:48.720 --> 0:11:51.240 some of these characters about how that might leave a 0:11:51.320 --> 0:11:53.000 lasting effect on them? 0:11:53.320 --> 0:11:59.200 I think that Alice is such an incredible professional, still 0:11:59.320 --> 0:12:02.600 a young woman herself, but she has been acting since 0:12:02.640 --> 0:12:08.080 she was fourteen and has developed the most extraordinary process 0:12:08.080 --> 0:12:10.520 for herself. I mean, watching her every day on set 0:12:10.760 --> 0:12:15.800 was a complete and utter masterclass, and so I'm sure 0:12:15.800 --> 0:12:20.320 that it was instilled into Alice what that process was 0:12:20.360 --> 0:12:21.880 for her to be going in and out of a 0:12:21.960 --> 0:12:26.319 character on set when we had more sensitive issue days. 0:12:26.640 --> 0:12:29.760 We also then had an intimacy coordinator there as well 0:12:29.760 --> 0:12:32.960 as a mental health nurse there to also help that 0:12:33.160 --> 0:12:36.360 characters go in it to move between being a character 0:12:36.400 --> 0:12:39.280 and coming back out of character. We took all of 0:12:39.280 --> 0:12:43.360 that very seriously, but Alice just I think has over 0:12:43.559 --> 0:12:47.520 time developed an incredible process and craft for herself. It 0:12:47.600 --> 0:12:51.079 was really because she's in literally every single scene of 0:12:51.120 --> 0:12:54.520 the entire show, so she was on set working the 0:12:54.559 --> 0:12:59.120 longest hours and she just brought it every day, every minute. 0:12:59.160 --> 0:13:01.239 It was just incredible to watch. 0:13:01.520 --> 0:13:03.760 Which I could imagine would be really hard because how 0:13:03.800 --> 0:13:05.320 long was the shoot for? Like how long were you 0:13:05.320 --> 0:13:05.800 shooting this? 0:13:06.160 --> 0:13:07.160 About six weeks? 0:13:07.440 --> 0:13:09.719 So like think about that, like six weeks in that 0:13:10.080 --> 0:13:13.520 mindset that she created because she is on screen warts 0:13:13.559 --> 0:13:17.040 and all, and when you're watching this show, you feel 0:13:17.200 --> 0:13:20.440 such a such a consistent mood that she creates as 0:13:20.440 --> 0:13:24.040 an actress. Yeah, that never lets you go as an audience, 0:13:24.160 --> 0:13:25.959 like you can't turn away. 0:13:26.240 --> 0:13:29.360 I know, She's It's really remarkable. 0:13:28.960 --> 0:13:30.719 And I can imagine putting a show like this out 0:13:30.720 --> 0:13:33.280 there is like a really clever way to address And 0:13:33.280 --> 0:13:34.920 I kind of was touching on this before, but the 0:13:35.000 --> 0:13:38.120 issues you know in Australia and confronting the elephant in 0:13:38.120 --> 0:13:40.560 the room when it comes to domestic violence. You know, 0:13:40.640 --> 0:13:44.600 how important was that for you to start that conversation? 0:13:45.240 --> 0:13:47.120 Have you seen that because this show's now been out 0:13:47.160 --> 0:13:50.640 for a week, have you seen that conversation being discussed 0:13:50.679 --> 0:13:51.760 because of this show. 0:13:52.000 --> 0:13:55.000 I haven't yet, and I hope that the show does 0:13:55.120 --> 0:13:59.920 proliferate that conversation. More so, I think what has been 0:14:00.080 --> 0:14:05.400 and really touching is the messages that I'm receiving from women. 0:14:05.920 --> 0:14:07.679 I think that's been the most. 0:14:07.840 --> 0:14:10.800 That's you know, that was my exact reason for wanting 0:14:10.800 --> 0:14:14.240 to put this out, and so receiving those messages from 0:14:14.240 --> 0:14:17.679 women about feeling seen, about feeling heard, about having their 0:14:17.720 --> 0:14:21.880 experiences seen on screen, the appreciation for the show, that 0:14:22.160 --> 0:14:24.720 has been the most affecting for me. 0:14:25.280 --> 0:14:28.120 I wonder about the writer's room as well, because I kept, 0:14:28.240 --> 0:14:32.440 you know, what's done exceptionally well. But this dialogue that 0:14:32.480 --> 0:14:34.920 you have created for these young people in this show 0:14:35.480 --> 0:14:38.160 is so well put together. Is that all you in 0:14:38.200 --> 0:14:40.960 the writer's room? Did you have younger voices coming in 0:14:41.000 --> 0:14:43.080 to make sure that that sounded that way? 0:14:43.480 --> 0:14:46.000 That's not me. We didn't have writers' rooms. 0:14:46.000 --> 0:14:48.720 Our writers' rooms per se were myself and the producers, 0:14:49.000 --> 0:14:51.400 who are extraordinary creatives themselves. 0:14:51.920 --> 0:14:53.720 But yeah, no, we didn't have writers' rooms. 0:14:53.800 --> 0:14:56.840 I went away and was kind of, you know, at 0:14:56.880 --> 0:14:59.840 the helm of all the scripts and that I think 0:15:00.200 --> 0:15:02.760 that just just come through from my life, you know, 0:15:02.880 --> 0:15:06.920 like that's just come through from my youth and my friends. 0:15:07.000 --> 0:15:10.800 And I think that, I, yeah, that's just kind of 0:15:10.880 --> 0:15:16.800 come through from my kind of scrappy, scraby twentiesn't. And 0:15:17.440 --> 0:15:22.680 I've always been someone that has heavily invested in friendships. 0:15:22.680 --> 0:15:26.200 That's always been at the kind of the forefront. They've 0:15:26.200 --> 0:15:31.120 always been my most deepest and meaningful relationships. So I 0:15:31.160 --> 0:15:34.840 think that that sort of banter and naturalism between friends 0:15:34.920 --> 0:15:37.600 is just so just so part of kind of who 0:15:37.680 --> 0:15:38.560 I am as a creator. 0:15:39.120 --> 0:15:44.040 It's done so well and it's creating authentic voices and 0:15:44.080 --> 0:15:46.480 I don't know, you know, it's interesting you sometimes speak 0:15:46.520 --> 0:15:49.120 to younger audiences about what they're watching on TV, like 0:15:49.160 --> 0:15:51.960 are we losing the younger audience because they aren't seeing themselves? 0:15:52.120 --> 0:15:54.360 So I think it's so potent to make sure that 0:15:54.400 --> 0:15:56.960 we're representing them in ways in which that they can 0:15:57.000 --> 0:15:59.800 connect to as well. And I genuinely feel like this 0:16:00.520 --> 0:16:04.600 he's doing that is bringing younger audiences to television. 0:16:04.880 --> 0:16:07.880 Yeah, totally. I really hope that we achieved that as well. 0:16:08.160 --> 0:16:09.600 Think that you know, when I was a young woman, 0:16:09.800 --> 0:16:12.360 it was sort of like it frustrated me so like, 0:16:12.400 --> 0:16:14.360 this is in the comedy realm. But it frustrated me 0:16:14.400 --> 0:16:16.680 so much that there was sort of this all these 0:16:16.760 --> 0:16:20.240 like male comedy sex comedies like super Bad and The 0:16:20.240 --> 0:16:22.600 in Betweeners, and I loved, you know, I love The 0:16:22.600 --> 0:16:24.800 in Betweeners, but I was like, where where the for 0:16:24.840 --> 0:16:25.720 the female versions? 0:16:25.720 --> 0:16:27.640 And it was sore on the podcast Don't worry, Lucy, 0:16:27.760 --> 0:16:28.360 keep going. 0:16:28.320 --> 0:16:30.400 Okay, good, Yeah, And it was great to see kind 0:16:30.400 --> 0:16:33.760 of you know later dairy Girls come out, yeah and 0:16:34.040 --> 0:16:38.400 speak to the female experience of those years, and I 0:16:38.440 --> 0:16:41.640 think that, yeah, I very much wanted to really, yeah, 0:16:41.760 --> 0:16:45.120 connect to that twenties audience and connect to that twenties youth, 0:16:45.600 --> 0:16:49.400 and yeah, very much, you know, be giving this show 0:16:49.440 --> 0:16:49.760 to them. 0:16:50.280 --> 0:16:52.120 Well, we all want to be seen. We all want 0:16:52.120 --> 0:16:53.560 to be seen on screen. You know. 0:16:53.680 --> 0:16:57.240 That's the commit that's the currency between us, is to 0:16:57.320 --> 0:16:58.960 be seen. And I think you've done that in a 0:16:59.000 --> 0:17:01.120 way that there's going to so many people that haven't 0:17:01.120 --> 0:17:03.280 been seen like this before. You know, the show was 0:17:03.280 --> 0:17:07.280 commissioned by Stan and partnered with all three Media. How 0:17:07.400 --> 0:17:10.320 free did they allow you to make this project the 0:17:10.359 --> 0:17:13.399 way you wanted to make it? Did they give you 0:17:13.480 --> 0:17:15.600 notes when the final scripts happened and said to change 0:17:15.640 --> 0:17:18.639 a thing like what was your relationship, making sure that 0:17:18.680 --> 0:17:21.080 the product was what you wanted it to be, and 0:17:21.119 --> 0:17:23.680 also listening to what those voices were saying. 0:17:23.720 --> 0:17:26.400 Stan and all three were incredibly liberating. 0:17:26.960 --> 0:17:30.840 I think that we were so lucky to have female commissioners, 0:17:31.600 --> 0:17:34.440 you know. I think that was just has been such 0:17:34.920 --> 0:17:39.000 a huge, like amazing grace moment for us to have 0:17:39.400 --> 0:17:44.400 women overseeing the project because they so innately got what 0:17:44.440 --> 0:17:46.960 we were saying and what we were wanting to do 0:17:47.040 --> 0:17:50.400 and wanting to achieve, and they just entirely backed us 0:17:50.640 --> 0:17:56.600 and championed us, and which was just really unbelievable because 0:17:57.320 --> 0:18:01.120 you can hear horror stories in that space of a creator. 0:18:01.400 --> 0:18:04.040 Really what ends up hitting the screen was really not 0:18:04.359 --> 0:18:06.679 close to what they intended, and this is just so 0:18:06.760 --> 0:18:09.920 the opposite of that experience. We couldn't have worked with 0:18:10.320 --> 0:18:13.919 people who understood us were just so generous and collaborative 0:18:13.920 --> 0:18:14.280 with us. 0:18:14.320 --> 0:18:16.600 So, yeah, they were really amazing and. 0:18:16.840 --> 0:18:19.720 It's important to have that took a part of Imagine 0:18:19.760 --> 0:18:24.480 impact the script developing program. Did that allow you to 0:18:24.520 --> 0:18:26.920 be bold and make bold choices with your scripts? Is 0:18:26.960 --> 0:18:28.600 that sort of a space that you found that. 0:18:29.359 --> 0:18:31.960 Yeah, I mean the lab was a very early and 0:18:32.040 --> 0:18:35.760 small part of the process, because you know, really development 0:18:35.880 --> 0:18:39.720 ends up becoming a long, multi year long process. But 0:18:40.520 --> 0:18:43.960 I think it was sort of being championed by such 0:18:44.160 --> 0:18:47.679 independent like you know, Sean and Justin and Nicole of 0:18:47.760 --> 0:18:51.640 Thurborn Films as such independent come from such an independent 0:18:51.680 --> 0:18:56.320 filmmaker background, and I think that's where the strengths of 0:18:56.359 --> 0:18:59.199 being able to be so bold and authentic with voice 0:18:59.680 --> 0:19:04.439 came from. Was from these incredible filmmakers with their own 0:19:04.440 --> 0:19:09.960 incredible careers who value voice and authenticity as such a 0:19:10.040 --> 0:19:12.760 kind of mantlepiece of their own. I think that's where 0:19:13.119 --> 0:19:17.400 that sort of belief came from to be like, well, fuck, yeah, 0:19:17.520 --> 0:19:21.639 I'm getting handed the reins to do something really unique here, 0:19:22.000 --> 0:19:24.760 and no one was telling me to kind. 0:19:24.600 --> 0:19:28.880 Of you know, pull back full back, or. 0:19:29.000 --> 0:19:31.600 Can you just take a few edges off here and 0:19:31.640 --> 0:19:34.119 there and smooth it out? And I don't know about this, 0:19:34.240 --> 0:19:36.359 and I don't know about that, And it was really 0:19:36.359 --> 0:19:39.480 an environment to be encouraged to be as bold as possible. 0:19:39.520 --> 0:19:41.160 Well, I think that's something that you must have learned, 0:19:41.160 --> 0:19:43.080 because I mean I was also saying that you know, 0:19:43.119 --> 0:19:46.640 you shadowed justin with Nitrom and that movie was such 0:19:46.680 --> 0:19:50.119 a sensitive subject matter and Australian media seemed to so 0:19:50.320 --> 0:19:53.760 prepredacious about that story being made into a film. But 0:19:53.840 --> 0:19:56.920 I thought, if you're going to learn to turn off 0:19:56.920 --> 0:20:00.159 the outside noise and stay true to yourself and oh 0:20:00.280 --> 0:20:02.760 was the grit, I think working on a film like 0:20:02.800 --> 0:20:05.199 that must have taught you how to do it. 0:20:05.359 --> 0:20:09.480 Yeah, And I think just having really feminist values is 0:20:09.640 --> 0:20:12.880 very much what teaches me to do that too. I 0:20:12.960 --> 0:20:16.600 just want to see so much progress in the space 0:20:16.680 --> 0:20:19.359 of women's stories. I just hope that I can be 0:20:19.400 --> 0:20:22.520 a part of continuing to break down barriers of versions 0:20:22.560 --> 0:20:26.479 of women that people feel like are acceptable for screen, 0:20:27.080 --> 0:20:29.720 because I think as we continue to put these more 0:20:29.760 --> 0:20:32.840 bold and daring female protagonists out there, like promising younger 0:20:32.840 --> 0:20:36.640