WEBVTT - BEHIND THE SCENES OF BACK TO THE RAFTERS

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<v Speaker 1>It's in the news today, but it was actually on

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<v Speaker 1>TV Reload the podcast last week.

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<v Speaker 2>I'm how would I describe a television set, oh Man,

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<v Speaker 2>from a headline grabbing point of view, the hack producer

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<v Speaker 2>me says one hundred percent put him in.

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<v Speaker 1>Welcome back guys to TV Reload. My name's Benjamin Norris

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<v Speaker 1>and on this podcast I go behind the scenes with

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<v Speaker 1>the biggest players in television.

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<v Speaker 3>Yeah, great questions.

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<v Speaker 2>The show's about the game.

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<v Speaker 3>There's a lot of great television out there in Australia.

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<v Speaker 1>But I've also got to go behind the scenes with writers.

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<v Speaker 1>The truth is, when I started writing it, it wasn't

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<v Speaker 1>had nothing to do with the news and casting agents

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<v Speaker 1>they know from a casting point of view what they need,

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<v Speaker 1>and editors because that's what we do as editors where

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<v Speaker 1>storytellers them. Not to forget some incredible executive producers who

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<v Speaker 1>are making some of the best TV content in Australia.

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<v Speaker 1>I have been on the program since the beginning and

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<v Speaker 1>it's kind of in my DNA. So thanks for joining

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<v Speaker 1>me each week and I hope the podcast continues to

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<v Speaker 1>give you real insight into the magic of te This

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<v Speaker 1>week on the podcast, I have producer Chris Martin Jones.

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<v Speaker 1>Chris has directed some of the most love scripted drama

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<v Speaker 1>in Australia and as fresh from his work producing Back

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<v Speaker 1>to the Rafters, a reboot of the acclaimed and award

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<v Speaker 1>winning TV series Back to the Rafters, we will focus

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<v Speaker 1>on this exciting new chapter for the Rafter family as

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<v Speaker 1>one of Australia's most loved TV series returns to the

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<v Speaker 1>small screen for the highly anticipated, brand new six part

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<v Speaker 1>series Back to the Rafters, which has already premiered on

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<v Speaker 1>Amazon Prime globally. We will also get an inside scoop

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<v Speaker 1>on how the original run captured the hearts of the nation,

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<v Speaker 1>plus the hurdles it took to bring back the cast

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<v Speaker 1>and crew for this encore series. From Jessica Murray's exit

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<v Speaker 1>to the recasting of her role, we will find out

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<v Speaker 1>who Chris also relates to the most out of the

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<v Speaker 1>Rafters and how COVID shut down production. There's also a

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<v Speaker 1>really fun and Marnas a cute story at the end

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<v Speaker 1>which is definitely going to brighten up your day. However,

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<v Speaker 1>let's get started with today's guest. I'd like to welcome

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<v Speaker 1>to the podcast. It's Chris Martin Jones.

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<v Speaker 2>I just grew up loving TV and wanting to be

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<v Speaker 2>involved in it.

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<v Speaker 1>Australia's favorite TV family is returning.

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<v Speaker 2>You knew that there was still a lot of love

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<v Speaker 2>and demand out there from the audience.

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<v Speaker 4>The kids need us stay our kids, and I missed them.

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<v Speaker 2>We have quite a few hurdles in all sorts of

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<v Speaker 2>different ways.

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<v Speaker 1>This year, the family gets back together again, one rafter

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<v Speaker 1>at a time.

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<v Speaker 2>Very sad that Jess wasn't able to join us, and.

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<v Speaker 1>We were like a real family and we still are.

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<v Speaker 2>We didn't expect it, even in our wildest dreams, to

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<v Speaker 2>be as successful as it turned out to be.

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<v Speaker 1>Hi, Chris, how are you.

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<v Speaker 2>Good morning? I'm very well, Thanks Benjamin.

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<v Speaker 1>I have been in your audience for as long as

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<v Speaker 1>I can remember, certainly very familiar with all of the

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<v Speaker 1>shows that you've worked on over the many years dating

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<v Speaker 1>back to a country practice as a director. What would

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<v Speaker 1>you say is your backbone to the passion of working

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<v Speaker 1>in television.

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<v Speaker 2>I think it all started when I was a kid

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<v Speaker 2>and I just was I love television ever since I

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<v Speaker 2>can remember. I think I grew up in the days

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<v Speaker 2>of you know, all the Aussie TV shows Homicide, Divvy four, Madlock, police.

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<v Speaker 2>I just love TV. And I remember I lived where

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<v Speaker 2>I lived in Sydney. I lived in Chatswood, and I

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<v Speaker 2>was kind of like equally distant between three of the

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<v Speaker 2>main TV stations, Channel two, Channel seven, and Channel nine,

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<v Speaker 2>And even at a very young age, I used to

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<v Speaker 2>go and be in the television audiences whenever they needed audiences.

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<v Speaker 2>I used to be able to I think from the

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<v Speaker 2>age for probably ten or eleven years old, I used

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<v Speaker 2>to be able to walk. It was make a mile

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<v Speaker 2>or to fifteen minute walk to Channel nine and Channel two. Similarly,

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<v Speaker 2>Channel seven was a train ride. But I used to

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<v Speaker 2>go in Sydney audiences and you know, whatever they had,

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<v Speaker 2>whether it was a quiz show or whether it was

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<v Speaker 2>the wrestling was one of my favorites. But anyway, I

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<v Speaker 2>just grew up loving TV and wanting to be involved

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<v Speaker 2>in it.

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<v Speaker 1>It is commonly with people like yourselves, who spent your

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<v Speaker 1>entire career working in this industry, that there's been something

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<v Speaker 1>that's been like an acting bug or a television bug,

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<v Speaker 1>but something bites you and it just never lets you go.

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<v Speaker 2>Yeah. The funny thing is, I'd say this to people

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<v Speaker 2>and it sounds almost incredible, but I find that of

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<v Speaker 2>all the people that I meet on the set, no

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<v Speaker 2>matter what role they in, so many ninety percent of

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<v Speaker 2>them seem to have started from wanting to be an actor.

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<v Speaker 2>That's how they sort of their passion was originally wanting

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<v Speaker 2>to be an actor, and for whatever reason, they didn't

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<v Speaker 2>make it, but they ended up as a camera assistant,

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<v Speaker 2>or they ended up as a grip, or they ended

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<v Speaker 2>up as a script supervisor or whatever. And I actually

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<v Speaker 2>started that way too when I was young. I did

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<v Speaker 2>a lot of acting on my early teens and things

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<v Speaker 2>like that, and was on a few TV shows, But

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<v Speaker 2>then my parents pulled me out of that, so I

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<v Speaker 2>concentrated my studies a bit more so I never went

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<v Speaker 2>back into it. I think that's also part of the

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<v Speaker 2>bug for me, as well as that I wanted to

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<v Speaker 2>be on screen. And I'm really glad I'm not there

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<v Speaker 2>qualers for it, because it's much more precarious profession getting.

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<v Speaker 1>Into your work. If there was a signature Chris Martin

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<v Speaker 1>Jones trait that you would like audiences to know you for,

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<v Speaker 1>what would you say that is in the work that

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<v Speaker 1>you've been creating over the years.

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<v Speaker 2>Look, I think optimism and hope, and you know, look,

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<v Speaker 2>I think I'm kind of like an old fashioned romantic,

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<v Speaker 2>to be honest with you, I got a lot of

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<v Speaker 2>my training, a lot of my grounding in a country practice,

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<v Speaker 2>which was you know the show you know in the

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<v Speaker 2>eighties and nineties with Jim Davin created that, and that

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<v Speaker 2>was this iconic Australian show about you know, iconic Australian

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<v Speaker 2>characters in a small country town, a vet and a doctor.

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<v Speaker 2>But it was a very hopeful show and a very

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<v Speaker 2>added appeal to a lot of people. And it was

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<v Speaker 2>it had a really big heart, and it dealt with

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<v Speaker 2>very difficult themes quite often. It was quite groundbreaking, and

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<v Speaker 2>I talked about AIDS, and I talked about depression, and

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<v Speaker 2>I talked to a lot of really quite difficult subjects.

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<v Speaker 2>But it always did it in a very sort of

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<v Speaker 2>fair and balanced way and very sympathetic. And I think

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<v Speaker 2>it's that, yeah, I think, to be honest with I

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<v Speaker 2>think it's just that's something that I think has followed

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<v Speaker 2>me through everything that I've ever done. To be honest

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<v Speaker 2>with I don't know whether it's just coincidence or it

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<v Speaker 2>seems to be the way that I gravitate towards these things,

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<v Speaker 2>but I do believe in the power of optimism and

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<v Speaker 2>hope and positivity. I think it's a great thing to

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<v Speaker 2>be able to send out the people and for people

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<v Speaker 2>to People are very receptive to that as well, if

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<v Speaker 2>it's done properly.

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<v Speaker 1>Absolutely, And you know your directing credits are simply epic.

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<v Speaker 1>But at one point you decided to jump to producing.

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<v Speaker 1>What inspired you to take that leap after directing for

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<v Speaker 1>so long.

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<v Speaker 2>Well, I've been directing for I think thirty years or

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<v Speaker 2>something like that. I loved it, and the more I

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<v Speaker 2>did it, the more I loved it, and I felt

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<v Speaker 2>like I got to a point where, to be quite

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<v Speaker 2>honest with you, that was probably what twelve years ago

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<v Speaker 2>I think I started producing where I actually it was

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<v Speaker 2>actually getting really physical. I felt like, here I am

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<v Speaker 2>at my agent getting up at like five point thirty

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<v Speaker 2>in the morning and climbing down a mountainside, and you know,

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<v Speaker 2>I was just really hard work. And I was just

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<v Speaker 2>thought to myself, I could do a desk job right now.

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<v Speaker 2>And as it turned out, I got off at a

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<v Speaker 2>job producing Back to the Rafters. I've been working on

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<v Speaker 2>that as a director for some time, and then was

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<v Speaker 2>offered a job I think was series five to take

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<v Speaker 2>over from Joe Porter, who was leaving as the series producer.

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<v Speaker 2>And I've been working on the show a long time,

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<v Speaker 2>so I felt, oh, that's probably a really good transition

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<v Speaker 2>point for me to be able to leap across. I

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<v Speaker 2>know the show very well, I know the actors very well,

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<v Speaker 2>I know the way the show works. It was a

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<v Speaker 2>perfect transition for me, and it came at the right

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<v Speaker 2>time for me as well, when I was ready to

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<v Speaker 2>do something else and move on. And having said that,

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<v Speaker 2>though I misseddirecting a lot, I really loved it. Hopefully

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<v Speaker 2>one day I'll be able to go back into it again.

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<v Speaker 1>I'm sure with the amount of directing credits that you have,

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<v Speaker 1>there'd be lots of people wanting your expertise and your knowledge.

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<v Speaker 1>So I'm pretty sure that door would be opening.

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<v Speaker 2>You never know, let's see. Look. One thing I will

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<v Speaker 2>say though, too, is you know, looking at the world

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<v Speaker 2>right now, and you see there's a lot being made

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<v Speaker 2>and lot being made for streamers and things like that,

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<v Speaker 2>and it's opened up this door for a whole lot

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<v Speaker 2>of new people, which is great. A lot of young

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<v Speaker 2>people coming through, a lot of young people with really

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<v Speaker 2>fresh ideas and fresh look, it's fresh view points of

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<v Speaker 2>the world. So I've got to say that's really exciting

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<v Speaker 2>to see young people coming through the ranks as well.

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<v Speaker 2>And you know, that's another thing to be able to

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<v Speaker 2>do as a producers in fact, encourage people and be

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<v Speaker 2>able to give assistance to people to have their this

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<v Speaker 2>has heard.

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<v Speaker 1>You know, what would you say has been the biggest

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<v Speaker 1>challenge moving from directing to producing.

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<v Speaker 2>I think it's just a personal challenge of being able

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<v Speaker 2>to step back and let go a little bit and

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<v Speaker 2>allow other people to have the sort of control that

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<v Speaker 2>you once had. And that's the thing about producing. It's

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<v Speaker 2>more of a you know, you're a little bit more

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<v Speaker 2>removed from the actual day to day workload. Directing is

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<v Speaker 2>kind of a very hands on, cold face type thing

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<v Speaker 2>where you're actually working on a day to day basis

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<v Speaker 2>for the actors and bring things together and making something.

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<v Speaker 2>At the end of the day, you can look and go,

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<v Speaker 2>I did a good job there, or maybe I didn't

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<v Speaker 2>do a good job there. But producing is a bit

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<v Speaker 2>more distant, So I think that's that's kind of a

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<v Speaker 2>challenge for me mentally sometimes is to be able to

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<v Speaker 2>sort of like be patient and hold back and wait

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<v Speaker 2>to see how it all turns out, because it takes

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<v Speaker 2>a bit longer for things to your influence or any

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<v Speaker 2>decisions you might make to actually be realized.

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<v Speaker 1>Well, with packed to the rafters and a place to

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<v Speaker 1>call home, I think that you've got two of the

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<v Speaker 1>most iconic shows in Australian television history under your belt.

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<v Speaker 1>What would you say is your greatest achievement in your

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<v Speaker 1>television career today?

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<v Speaker 2>Wow, I just look the greatest. I would say longevity.

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<v Speaker 2>To be honest with you, I think that's a great

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<v Speaker 2>achievement to be able to sort of I've been working

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<v Speaker 2>constantly for I think it's nearly forty five years now

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<v Speaker 2>in television. I started off when I was eighteen as

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<v Speaker 2>a stage at Channel seven. That was kind of how

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<v Speaker 2>I started. And I worked my way up and became

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<v Speaker 2>a foot law managerent and first assistant director and done

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<v Speaker 2>many different roles and production manager and even was a

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<v Speaker 2>training cameraman for a while. And I think it's the Yeah,

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<v Speaker 2>I guess if I had to be most proud of

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<v Speaker 2>what I've done, it's that longevity and being able to

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<v Speaker 2>do something that I love and continue doing it to

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<v Speaker 2>the ag I am now.

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<v Speaker 1>I want to know, though, with so many characters that

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<v Speaker 1>you've been instrumental in constructing and bringing to the small screen,

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<v Speaker 1>are there any other shows that might you might enjoy

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<v Speaker 1>breathing life back into.

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<v Speaker 2>That's a good question. There's a lot of them, look

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<v Speaker 2>that I've worked on which I'd love to revisit. You know,

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<v Speaker 2>as I was saying Country Practice one, I know that

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<v Speaker 2>it was even talk about bringing that back at one point.

0:10:03.760 --> 0:10:06.839
<v Speaker 2>I know that there was some production companies that were

0:10:06.840 --> 0:10:10.160
<v Speaker 2>thinking about that because it was such an iconic Australian show,

0:10:10.400 --> 0:10:12.120
<v Speaker 2>it would have to be you know, it was a

0:10:12.120 --> 0:10:14.640
<v Speaker 2>little bit ahead of its time, as I say, in

0:10:14.640 --> 0:10:17.080
<v Speaker 2>the way it dealt with a lot of sort of

0:10:17.280 --> 0:10:19.760
<v Speaker 2>topical issues. But I think that's one that would be

0:10:19.880 --> 0:10:23.320
<v Speaker 2>right to bring back because in the same way that

0:10:23.440 --> 0:10:26.480
<v Speaker 2>Packed to the Rafters created this huge sort of ground

0:10:26.520 --> 0:10:28.280
<v Speaker 2>swell of love for the show because it was so

0:10:28.720 --> 0:10:32.839
<v Speaker 2>uniquely Australian and it spoke to Australians about the country

0:10:32.880 --> 0:10:34.920
<v Speaker 2>they lived in and the kind of people we are.

0:10:35.240 --> 0:10:38.360
<v Speaker 2>And I think Country Practice has that similar sort of

0:10:39.040 --> 0:10:42.440
<v Speaker 2>affection from people, and I think it would be equally

0:10:42.520 --> 0:10:44.839
<v Speaker 2>valid today as it was then. As to whether or

0:10:44.920 --> 0:10:48.360
<v Speaker 2>not that'd be who would do that and what production

0:10:48.440 --> 0:10:50.559
<v Speaker 2>company would be involved, I'm not sure, and whether the

0:10:50.679 --> 0:10:52.720
<v Speaker 2>rights were available, I don't know. I could see that

0:10:52.720 --> 0:10:53.720
<v Speaker 2>as being a good idea.

0:10:54.000 --> 0:10:56.400
<v Speaker 1>I would say, what you do really well in a

0:10:56.440 --> 0:11:00.240
<v Speaker 1>lot of the work is consistent is reflecting back Olian

0:11:00.320 --> 0:11:02.520
<v Speaker 1>society in a way that we can see ourselves, which

0:11:02.559 --> 0:11:04.720
<v Speaker 1>I think is the real currency for why shows can

0:11:04.760 --> 0:11:07.640
<v Speaker 1>be very popular, you know, especially Packed to the Rafters

0:11:07.679 --> 0:11:09.680
<v Speaker 1>as well. I think that's some of the magic of

0:11:10.040 --> 0:11:13.000
<v Speaker 1>us seeing ourselves on screen, which makes us feel like

0:11:13.040 --> 0:11:13.720
<v Speaker 1>we're a part of it.

0:11:13.840 --> 0:11:18.360
<v Speaker 2>Yeah, I agree, there is a real demand for Australians

0:11:18.400 --> 0:11:20.320
<v Speaker 2>to see themselves on screen. I think that's one of

0:11:20.360 --> 0:11:23.280
<v Speaker 2>the great things and great for Amazon to have supported

0:11:23.440 --> 0:11:26.280
<v Speaker 2>bringing Back to the Rafters to the screen because, as

0:11:26.280 --> 0:11:28.240
<v Speaker 2>you say, I think that's why Packed to the Rafters

0:11:28.280 --> 0:11:31.000
<v Speaker 2>was so successful. It showed us as we are and

0:11:31.120 --> 0:11:34.040
<v Speaker 2>showed our unique sense of humor and the way we

0:11:34.120 --> 0:11:36.280
<v Speaker 2>relate to each other and what we're proud of as

0:11:36.320 --> 0:11:39.839
<v Speaker 2>Australians and you know, we understand we're different from other

0:11:39.840 --> 0:11:42.880
<v Speaker 2>people and where this you know, shows like Back of

0:11:42.920 --> 0:11:45.720
<v Speaker 2>the Rafters celebrated that and cured us to Amazon because

0:11:45.720 --> 0:11:48.040
<v Speaker 2>they're taking that to the world now, and we've shown

0:11:48.400 --> 0:11:50.600
<v Speaker 2>with other shows and with our movies that we can

0:11:50.640 --> 0:11:54.199
<v Speaker 2>take that. And Amazon were very supportive of not wanting

0:11:54.240 --> 0:11:57.360
<v Speaker 2>to change too much either, and keeping the vernacular and

0:11:57.480 --> 0:12:00.800
<v Speaker 2>keeping the you know, our unique sense of humor in

0:12:00.880 --> 0:12:03.800
<v Speaker 2>the show and not trying to adapt that to make

0:12:03.840 --> 0:12:06.760
<v Speaker 2>it more universal, because they thought that's what they want

0:12:06.760 --> 0:12:09.640
<v Speaker 2>to celebrate. They want to show Australia to the world,

0:12:09.679 --> 0:12:11.160
<v Speaker 2>and we can be very proud of that.

0:12:11.240 --> 0:12:12.439
<v Speaker 4>I hope.

0:12:13.720 --> 0:12:16.360
<v Speaker 2>We'll have to fit seven people into a two bedroom house.

0:12:16.559 --> 0:12:17.560
<v Speaker 4>I have an air mattress.

0:12:17.559 --> 0:12:22.480
<v Speaker 2>Thank you, two thirty five wonderful years.

0:12:22.880 --> 0:12:24.120
<v Speaker 1>That's quite a responsibility.

0:12:24.280 --> 0:12:26.960
<v Speaker 4>You're up to us. The kids need us, they're in

0:12:27.000 --> 0:12:29.840
<v Speaker 4>their thirties, yours. I want to move back here. I'm going,

0:12:30.960 --> 0:12:31.480
<v Speaker 4>I'm staying.

0:12:34.320 --> 0:12:35.520
<v Speaker 2>What's the deal with you guys?

0:12:36.400 --> 0:12:42.200
<v Speaker 1>You guys blitting us? How did the idea to bring

0:12:42.440 --> 0:12:44.600
<v Speaker 1>back to the Rafters back as back to the Rafters,

0:12:44.679 --> 0:12:46.520
<v Speaker 1>How did the idea to bring this back come around?

0:12:46.920 --> 0:12:50.320
<v Speaker 2>Well, I know Amazon were really interested in finding something

0:12:50.360 --> 0:12:53.400
<v Speaker 2>that would appeal to the Australian audiences and that was

0:12:53.679 --> 0:12:57.199
<v Speaker 2>something that they knew had been very successful, and they

0:12:57.240 --> 0:13:00.439
<v Speaker 2>approached seven and this Bevern Lee, as you know, was

0:13:00.480 --> 0:13:03.319
<v Speaker 2>the creator of the show, and he was very excited.

0:13:03.520 --> 0:13:06.880
<v Speaker 2>He came up with an idea which would be the

0:13:06.920 --> 0:13:09.800
<v Speaker 2>spine of the show, the new show, and bring it

0:13:09.800 --> 0:13:13.480
<v Speaker 2>into the present and make it topical for now as

0:13:13.679 --> 0:13:16.680
<v Speaker 2>the original show was back then, and we all became

0:13:16.800 --> 0:13:19.280
<v Speaker 2>very excited when we started talking about it. And as

0:13:19.280 --> 0:13:21.360
<v Speaker 2>I say, once we heard what Bevan's vision of it

0:13:21.400 --> 0:13:24.480
<v Speaker 2>would be, it seems really relevant and we knew that

0:13:24.520 --> 0:13:26.719
<v Speaker 2>there was still a lot of love and demand out

0:13:26.720 --> 0:13:29.560
<v Speaker 2>there from the audience. But when the show left, it's

0:13:29.600 --> 0:13:32.559
<v Speaker 2>just anecdotally from all the cast. They still get asked

0:13:32.559 --> 0:13:34.600
<v Speaker 2>about it, or were being asked about it on such

0:13:34.640 --> 0:13:36.800
<v Speaker 2>a regular basis. When is it going to come back?

0:13:36.840 --> 0:13:38.679
<v Speaker 2>You know, when are you guys going to get back

0:13:38.679 --> 0:13:41.000
<v Speaker 2>together again? We really miss it and they are all

0:13:41.040 --> 0:13:43.440
<v Speaker 2>really keen to it. I mean, that was such an

0:13:43.559 --> 0:13:46.240
<v Speaker 2>unusual show and I've worked on quite a few of them,

0:13:46.280 --> 0:13:48.959
<v Speaker 2>and the amount of sort of love there was between

0:13:49.000 --> 0:13:50.840
<v Speaker 2>the cast and the crew, it was a really I

0:13:50.840 --> 0:13:52.840
<v Speaker 2>mean it shows there on the screen. It really was

0:13:53.200 --> 0:13:55.480
<v Speaker 2>a family of people who loved working together.

0:13:55.720 --> 0:13:59.120
<v Speaker 1>Had you been personally wondering what all of these characters

0:13:59.120 --> 0:14:02.040
<v Speaker 1>had been up to in the meantime. Had that been

0:14:02.040 --> 0:14:03.640
<v Speaker 1>something you'd been more wondering about?

0:14:03.920 --> 0:14:06.560
<v Speaker 2>Yeah, yeah, I had actually, And that's part of the

0:14:06.640 --> 0:14:08.280
<v Speaker 2>light of the show I think is I think the

0:14:08.320 --> 0:14:10.400
<v Speaker 2>audience probably have been too, so I'll get to see

0:14:10.440 --> 0:14:14.240
<v Speaker 2>when they watched the show. Bevan came up with some

0:14:14.280 --> 0:14:17.560
<v Speaker 2>great backstories for them all to explain, you know, where

0:14:17.600 --> 0:14:20.760
<v Speaker 2>they'd been and how they'd changed and how they hadn't changed,

0:14:21.040 --> 0:14:25.080
<v Speaker 2>and all that will be revealed as you watch Back

0:14:25.080 --> 0:14:25.800
<v Speaker 2>to the Rafters.

0:14:25.920 --> 0:14:28.880
<v Speaker 1>What were some of the hurdles in getting everyone back together?

0:14:29.080 --> 0:14:32.360
<v Speaker 2>Everyone was really keen, Like, as I say, when they

0:14:32.400 --> 0:14:34.760
<v Speaker 2>broke up, it was at the very end of the series,

0:14:35.400 --> 0:14:37.920
<v Speaker 2>way back eight years or seven years ago. Whenever it was.

0:14:38.120 --> 0:14:40.840
<v Speaker 2>Everyone was very sad about it. It was like a

0:14:41.040 --> 0:14:43.760
<v Speaker 2>family breakup, so as soon as people heard about it,

0:14:43.880 --> 0:14:46.320
<v Speaker 2>everyone was so keen. But it was just organizing all

0:14:46.320 --> 0:14:49.120
<v Speaker 2>the schedules, Like you know, obviously Rebecca and Eric have

0:14:49.320 --> 0:14:54.120
<v Speaker 2>very busy schedules, and Hugh Sheridan and Angus and Michael Cayden,

0:14:54.200 --> 0:14:57.360
<v Speaker 2>they were all working constantly just bringing them all back

0:14:57.400 --> 0:14:59.280
<v Speaker 2>together and being able to find a time at which

0:14:59.280 --> 0:15:01.280
<v Speaker 2>they are all about it. It was kind of tough,

0:15:01.360 --> 0:15:03.760
<v Speaker 2>but we had quite a few hurdles in all sorts

0:15:03.800 --> 0:15:06.320
<v Speaker 2>of different ways, but it kind of they always seemed

0:15:06.320 --> 0:15:09.920
<v Speaker 2>to work themselves out despite our constantly thinking that this

0:15:10.000 --> 0:15:11.320
<v Speaker 2>is never going to work out, We'll never get this

0:15:11.360 --> 0:15:13.560
<v Speaker 2>to work. But it kind of magically fell into place

0:15:13.600 --> 0:15:16.160
<v Speaker 2>in so many different ways, not just getting the cast

0:15:16.200 --> 0:15:18.520
<v Speaker 2>back together, but just getting some of the creative team

0:15:18.600 --> 0:15:20.640
<v Speaker 2>back together, and it was like it was meant to

0:15:20.680 --> 0:15:22.720
<v Speaker 2>be in some strange way.

0:15:23.120 --> 0:15:27.000
<v Speaker 1>Was there ever a thought to maybe take Jessica Murray's character,

0:15:27.320 --> 0:15:30.000
<v Speaker 1>to take her out following her departure from Not Coming Back?

0:15:30.040 --> 0:15:32.760
<v Speaker 1>Did you ever think, oh, maybe we'll take that character out.

0:15:33.160 --> 0:15:36.080
<v Speaker 2>Not really, No, I think that we really needed to

0:15:36.120 --> 0:15:39.000
<v Speaker 2>keep the character of Rachel in. It was a show

0:15:39.040 --> 0:15:41.480
<v Speaker 2>about family, It was a show about the dynamics of

0:15:41.480 --> 0:15:44.640
<v Speaker 2>the family, and it would be such a loss to

0:15:44.920 --> 0:15:48.400
<v Speaker 2>lose such an intapril and well loved character. Much as

0:15:48.400 --> 0:15:51.200
<v Speaker 2>we were very sad that jess wasn't able to join us,

0:15:51.640 --> 0:15:54.360
<v Speaker 2>we really wanted to be able to tell the stories

0:15:54.640 --> 0:15:57.240
<v Speaker 2>about the character of Rachel, and we felt the loss

0:15:57.280 --> 0:15:59.640
<v Speaker 2>would have been so great that it would have been

0:15:59.680 --> 0:16:02.800
<v Speaker 2>very difficult to explain that as well to the audience

0:16:03.280 --> 0:16:07.040
<v Speaker 2>without having to go in to probably highlight something we

0:16:07.120 --> 0:16:10.080
<v Speaker 2>probably didn't wanted to highlight anyway, So we wanted to

0:16:10.160 --> 0:16:12.600
<v Speaker 2>keep it about the raft of family and that meant

0:16:12.680 --> 0:16:13.800
<v Speaker 2>everyone in the family.

0:16:14.000 --> 0:16:17.360
<v Speaker 1>Well, I'm not giving anything away about her involvement, the

0:16:17.440 --> 0:16:19.880
<v Speaker 1>character's involvement in the show, but I would say it

0:16:19.920 --> 0:16:22.360
<v Speaker 1>was probably one of the most nervous moments for me,

0:16:22.480 --> 0:16:25.880
<v Speaker 1>is if you are recasting someone who just so iconic,

0:16:26.120 --> 0:16:28.800
<v Speaker 1>but you pull it off. That's not giving anything away.

0:16:28.840 --> 0:16:32.520
<v Speaker 1>You really pull off this character coming back and I

0:16:32.640 --> 0:16:34.840
<v Speaker 1>want to know what was the process like on recasting

0:16:35.040 --> 0:16:36.080
<v Speaker 1>that role. Was it hard?

0:16:36.440 --> 0:16:39.359
<v Speaker 2>Yeah, very hard and very nerve wreaking, and actually say,

0:16:39.800 --> 0:16:42.360
<v Speaker 2>we're all really nervous about it too. We understood a

0:16:42.680 --> 0:16:46.480
<v Speaker 2>what an incredibly talented and wonderful actor Jess Murray was

0:16:46.520 --> 0:16:48.800
<v Speaker 2>and what she brought to the show, and as we

0:16:48.840 --> 0:16:52.360
<v Speaker 2>said earlier, she's much loved an integral part of the show.

0:16:52.520 --> 0:16:55.760
<v Speaker 2>So to find somebody who would be able to do

0:16:55.840 --> 0:16:58.280
<v Speaker 2>that very and you have to find someone very brave,

0:16:58.640 --> 0:17:02.000
<v Speaker 2>and I think we would just like as I said earlier,

0:17:02.040 --> 0:17:04.119
<v Speaker 2>it's almost like these things were meant to be with

0:17:04.200 --> 0:17:07.320
<v Speaker 2>the show just had this great sense of good fortune

0:17:07.359 --> 0:17:10.720
<v Speaker 2>about it and we were able to find and she wasn't.

0:17:10.760 --> 0:17:12.800
<v Speaker 2>It was difficult. She was working in America at the time,

0:17:12.840 --> 0:17:15.520
<v Speaker 2>Georgina a but we'd seen some of her work and

0:17:15.840 --> 0:17:20.080
<v Speaker 2>we knew that she was very capable comedian as well

0:17:20.119 --> 0:17:23.399
<v Speaker 2>as a very strong and capable dramatic actress and she

0:17:23.560 --> 0:17:26.440
<v Speaker 2>was the right age. And you know, looking back on it,

0:17:26.720 --> 0:17:29.240
<v Speaker 2>we were terrified that we wouldn't find anyone. But when

0:17:29.280 --> 0:17:32.080
<v Speaker 2>we found Georgina, we just went, oh my god, she's perfect.

0:17:32.320 --> 0:17:34.280
<v Speaker 2>And it was all very touch and go because she was,

0:17:34.320 --> 0:17:36.480
<v Speaker 2>as I say, working in America at the time, and

0:17:36.520 --> 0:17:38.520
<v Speaker 2>she might not have been able to get here in

0:17:38.600 --> 0:17:40.040
<v Speaker 2>time to do it, but she sort of We just

0:17:40.080 --> 0:17:41.880
<v Speaker 2>squeaked it in and she got here like a day

0:17:41.920 --> 0:17:44.480
<v Speaker 2>before she started it. She was so totally up to

0:17:44.520 --> 0:17:47.840
<v Speaker 2>speed and like I say, incredibly brave and incredibly committed

0:17:47.880 --> 0:17:48.159
<v Speaker 2>to it.

0:17:48.359 --> 0:17:50.480
<v Speaker 1>I reckon she's going to get nominated for something, even

0:17:50.520 --> 0:17:52.280
<v Speaker 1>if it's a LOGI I know the logis have been

0:17:52.280 --> 0:17:54.360
<v Speaker 1>off for two years, but when the logis come back,

0:17:54.400 --> 0:17:57.439
<v Speaker 1>you know, I think she's fantastic. Moving away from that

0:17:57.520 --> 0:18:00.400
<v Speaker 1>and asking about what the writer's room was like, what

0:18:00.520 --> 0:18:02.679
<v Speaker 1>was the writers for him like pitching new ideas for

0:18:02.760 --> 0:18:05.320
<v Speaker 1>these characters. Were you able to be privy to that?

0:18:05.560 --> 0:18:07.560
<v Speaker 1>And I want to know was there any disagreements on

0:18:07.920 --> 0:18:10.640
<v Speaker 1>characters and where they might be now in twenty twenty one.

0:18:11.160 --> 0:18:14.560
<v Speaker 2>Look, it was very very much led by Bevin. Bevin

0:18:14.600 --> 0:18:17.320
<v Speaker 2>had a really strong idea which we all got on

0:18:17.359 --> 0:18:20.720
<v Speaker 2>board with early and about what the show, the sort

0:18:20.760 --> 0:18:23.280
<v Speaker 2>of basis for the show was, which was about a

0:18:23.320 --> 0:18:26.880
<v Speaker 2>relationship of two people, Julian Dave, and what happens when

0:18:27.160 --> 0:18:30.679
<v Speaker 2>you change but you're still in love together. There's still

0:18:30.840 --> 0:18:33.919
<v Speaker 2>the love still there, but you just have different outlooks

0:18:33.960 --> 0:18:35.720
<v Speaker 2>the things that you want to do with your life.

0:18:36.040 --> 0:18:38.960
<v Speaker 2>How do people deal with growing apart whilst they love

0:18:39.000 --> 0:18:41.639
<v Speaker 2>each other? So that was the territory Bevan wanted to

0:18:41.640 --> 0:18:43.840
<v Speaker 2>cover and we all just jumped on board with him.

0:18:43.880 --> 0:18:48.400
<v Speaker 2>Thought that's brilliant and you know, all cudos to Bevin there.

0:18:48.440 --> 0:18:51.520
<v Speaker 2>He came up with such a strong spine to it,

0:18:51.640 --> 0:18:54.360
<v Speaker 2>such great ideas that he was always full of fabulous,

0:18:54.480 --> 0:18:57.240
<v Speaker 2>very topical ideas that spoke to today and the problems

0:18:57.240 --> 0:19:00.439
<v Speaker 2>that people of that age group are going through in

0:19:00.560 --> 0:19:03.680
<v Speaker 2>terms of relating to family and studying their own families.

0:19:03.720 --> 0:19:07.720
<v Speaker 2>And work issues and social issues. I would say Bevan

0:19:07.840 --> 0:19:11.119
<v Speaker 2>is the one from whom all the great character and

0:19:11.240 --> 0:19:14.080
<v Speaker 2>story ideas came from. And you know, he invited us

0:19:14.080 --> 0:19:16.480
<v Speaker 2>to give our opinions, and we all pitched in and

0:19:16.600 --> 0:19:20.480
<v Speaker 2>Amazon had some great ideas as well, and was really

0:19:21.080 --> 0:19:28.000
<v Speaker 2>fruitful and very satisfying collaboration. I guess between all of us, would.

0:19:27.840 --> 0:19:30.280
<v Speaker 3>You mind if Ruby stayed on for a bit? She

0:19:30.359 --> 0:19:32.840
<v Speaker 3>won't need persuading and you can say no, we'd love

0:19:32.880 --> 0:19:37.080
<v Speaker 3>to have her if it helps you notice attention.

0:19:37.119 --> 0:19:38.680
<v Speaker 1>Well, And I didn't like to ask.

0:19:39.680 --> 0:19:40.920
<v Speaker 4>We just need to talk things through.

0:19:42.000 --> 0:19:45.280
<v Speaker 3>But we're just on different sides of a major issue,

0:19:45.680 --> 0:19:47.280
<v Speaker 3>and we certainly don't need Rubes weighing in.

0:19:47.840 --> 0:19:50.440
<v Speaker 4>Whatever works. What does Dave think?

0:19:52.359 --> 0:19:56.640
<v Speaker 3>I'm sure you'll agree when I just decided myself, hopefully

0:19:56.680 --> 0:19:59.960
<v Speaker 3>we'll deal with it and we'll be back to support you.

0:20:00.240 --> 0:20:02.520
<v Speaker 3>Is that what it's about being here or.

0:20:03.760 --> 0:20:08.879
<v Speaker 1>A lot more? What was Rebecca Givney's initial response to

0:20:08.960 --> 0:20:09.440
<v Speaker 1>coming back.

0:20:09.600 --> 0:20:11.840
<v Speaker 2>Oh, she was thrilled, she couldn't wait. You know, she's

0:20:11.880 --> 0:20:15.159
<v Speaker 2>such a warm and lovely person at Rebecca and she

0:20:15.640 --> 0:20:18.600
<v Speaker 2>made these fabulous relationships and you know that family is

0:20:18.640 --> 0:20:21.679
<v Speaker 2>actually almost like her family like it's almost it was

0:20:21.720 --> 0:20:24.520
<v Speaker 2>for all of us. She genuinely, you know, has such

0:20:24.640 --> 0:20:27.000
<v Speaker 2>deep affection for all those people that she's been working with.

0:20:27.320 --> 0:20:28.720
<v Speaker 1>Well, would you say that this cast is some of

0:20:28.720 --> 0:20:31.080
<v Speaker 1>the best chemistry that we've ever seen on Australian television.

0:20:31.119 --> 0:20:33.399
<v Speaker 1>I mean, is there a more iconic family?

0:20:33.720 --> 0:20:36.600
<v Speaker 2>Well, exactly, yeah, it was. The casting was again, it

0:20:36.680 --> 0:20:39.240
<v Speaker 2>was just one of these strange things that were meant

0:20:39.280 --> 0:20:41.480
<v Speaker 2>to be. I remember being there in the very first

0:20:41.560 --> 0:20:43.840
<v Speaker 2>stages of the show. Beside was the director at the time,

0:20:43.880 --> 0:20:46.040
<v Speaker 2>and I directed the pilot, and I was there at

0:20:46.080 --> 0:20:49.040
<v Speaker 2>the initial casting sessions, and I vividly remember the time

0:20:49.080 --> 0:20:51.760
<v Speaker 2>we looked at everyone separately and at the time, first

0:20:51.880 --> 0:20:54.320
<v Speaker 2>Rebecca was the first person to be involved, and then Eric,

0:20:54.359 --> 0:20:57.639
<v Speaker 2>and then we got all the other people from the family,

0:20:57.640 --> 0:21:01.120
<v Speaker 2>and Michael Kiton and then Hugh and Jess Murray were

0:21:01.160 --> 0:21:03.280
<v Speaker 2>the sort of stars of neither of their year. And

0:21:03.320 --> 0:21:07.960
<v Speaker 2>remember going seeing them at the Nier Showcase graduation performance

0:21:08.000 --> 0:21:10.920
<v Speaker 2>of Sweet Charity. It was and they were just such

0:21:11.000 --> 0:21:14.159
<v Speaker 2>talented young stars. They just jumped off the stage and

0:21:14.359 --> 0:21:17.080
<v Speaker 2>anyway we had we'd sent all these people separately, and

0:21:17.119 --> 0:21:19.080
<v Speaker 2>we just wanted to see how they gelled together as

0:21:19.080 --> 0:21:21.199
<v Speaker 2>a family. So we for the first time brought them

0:21:21.280 --> 0:21:24.399
<v Speaker 2>together in this audition room, and it was just magic.

0:21:24.640 --> 0:21:27.600
<v Speaker 2>I so vividly remember it, and they all were just

0:21:28.160 --> 0:21:32.000
<v Speaker 2>instantly bonded and sort of the rest of it at

0:21:32.000 --> 0:21:33.879
<v Speaker 2>that point was kind of easy, you know. It was

0:21:33.960 --> 0:21:35.960
<v Speaker 2>just easy to look at these people and be able

0:21:36.000 --> 0:21:37.720
<v Speaker 2>I'm sure for the writers too, to be able to

0:21:37.760 --> 0:21:40.560
<v Speaker 2>write stories for them. And I guess we had a

0:21:40.640 --> 0:21:43.639
<v Speaker 2>sense that we'd sort of captured some kind of lightning

0:21:43.840 --> 0:21:47.480
<v Speaker 2>moodel but we didn't expect it, even in our wildest dreams,

0:21:47.520 --> 0:21:49.320
<v Speaker 2>to be as successful as it turned out to be.

0:21:49.600 --> 0:21:51.880
<v Speaker 1>How do you work to create a family chemistry? Can

0:21:51.880 --> 0:21:53.679
<v Speaker 1>you remember back in the day whether or not you

0:21:53.720 --> 0:21:56.440
<v Speaker 1>workshop something in particular, and whether or not you used

0:21:56.520 --> 0:21:59.480
<v Speaker 1>that technique again bringing them back, or was it just

0:21:59.640 --> 0:22:00.400
<v Speaker 1>there for them?

0:22:00.560 --> 0:22:01.919
<v Speaker 2>I think it was just there for them, to be

0:22:01.960 --> 0:22:04.000
<v Speaker 2>honest with you, I think it was there for them

0:22:04.160 --> 0:22:07.200
<v Speaker 2>right from the very word go. And even with George Evadis,

0:22:07.240 --> 0:22:10.920
<v Speaker 2>who plays Carbo, who's technically what not one of the family,

0:22:11.000 --> 0:22:13.199
<v Speaker 2>but is one of the Rafters family, you know, and

0:22:13.240 --> 0:22:14.760
<v Speaker 2>then he lived next door to them, and he was

0:22:14.800 --> 0:22:17.560
<v Speaker 2>part of the family, you know, and he'll always been

0:22:17.680 --> 0:22:19.479
<v Speaker 2>over there and they all knew him very well. And

0:22:19.560 --> 0:22:22.679
<v Speaker 2>I remember even George's first audition where he got to

0:22:23.280 --> 0:22:26.400
<v Speaker 2>work with Hugh again. It was just this instant bonding

0:22:26.440 --> 0:22:28.280
<v Speaker 2>and they just felt like they'd known each other for

0:22:28.359 --> 0:22:31.959
<v Speaker 2>ages and it was this magical thing. And when that happens,

0:22:32.000 --> 0:22:34.440
<v Speaker 2>it's such a lovely thing to be witnessed too. And

0:22:34.640 --> 0:22:36.399
<v Speaker 2>we were lucky that we had it on a grand

0:22:36.440 --> 0:22:38.959
<v Speaker 2>scale with like I think, what is it, nine people,

0:22:39.240 --> 0:22:41.080
<v Speaker 2>every one of them just clicked.

0:22:41.280 --> 0:22:44.560
<v Speaker 1>There's a scene where we see those two characters as

0:22:44.600 --> 0:22:48.239
<v Speaker 1>brother and sister come together at the function center and

0:22:48.280 --> 0:22:50.399
<v Speaker 1>they have a very serious bit of dialogue together and

0:22:50.400 --> 0:22:51.840
<v Speaker 1>the chemistry was palpable.

0:22:53.600 --> 0:22:54.840
<v Speaker 4>Said, you're heading out to see dad.

0:22:56.080 --> 0:22:58.000
<v Speaker 1>Yeah, maybe talk some sense into him.

0:22:58.080 --> 0:23:01.280
<v Speaker 4>Oh good luck. We're sort of them to it. I

0:23:01.359 --> 0:23:02.200
<v Speaker 4>get both sides.

0:23:03.040 --> 0:23:07.600
<v Speaker 1>Sad, there are sides like it was just amazing to

0:23:07.640 --> 0:23:11.440
<v Speaker 1>see that believable nature of them being brother and sister.

0:23:11.560 --> 0:23:14.040
<v Speaker 1>And I think that's in episode three, but it was

0:23:14.080 --> 0:23:14.640
<v Speaker 1>just amazing.

0:23:14.920 --> 0:23:17.840
<v Speaker 2>Yes, that's true. Well, look and at the same time,

0:23:18.000 --> 0:23:20.879
<v Speaker 2>I don't mean to demean them either. They're just an

0:23:20.960 --> 0:23:23.600
<v Speaker 2>incredibly talented bunch of people as well. It's not just

0:23:23.760 --> 0:23:26.440
<v Speaker 2>the chemistry, they're also just we're very lucky that we

0:23:26.600 --> 0:23:29.800
<v Speaker 2>just got some really brilliant people right when they were,

0:23:30.000 --> 0:23:32.840
<v Speaker 2>you know, merging onto the scene. You know, well, Angus

0:23:32.840 --> 0:23:34.680
<v Speaker 2>had been around for a while, because he'd been working

0:23:34.680 --> 0:23:36.800
<v Speaker 2>on shows ever since he was I think ten years

0:23:36.840 --> 0:23:39.160
<v Speaker 2>old or something like that. My kids used to watch

0:23:39.240 --> 0:23:42.439
<v Speaker 2>him in H two O and shows like that. But

0:23:42.880 --> 0:23:45.720
<v Speaker 2>Hugh and Jess were fairly new to the scene, and

0:23:46.200 --> 0:23:49.800
<v Speaker 2>Michael Kaid obviously not, and Rebecca and Eric not. But

0:23:50.160 --> 0:23:52.920
<v Speaker 2>you know, they're all just wonderfully talented, some of them

0:23:53.080 --> 0:23:56.640
<v Speaker 2>incredibly experienced actors. And to get a cast, as you say,

0:23:56.640 --> 0:24:00.359
<v Speaker 2>of that caliber where there was absolutely no week link,

0:24:00.680 --> 0:24:01.719
<v Speaker 2>is quite remarkable.

0:24:01.760 --> 0:24:04.280
<v Speaker 1>And also, you know the success of this show comes

0:24:04.280 --> 0:24:06.440
<v Speaker 1>down to everyone can relate to someone on the show.

0:24:06.520 --> 0:24:08.879
<v Speaker 1>So I just was curious as to who you relate

0:24:08.960 --> 0:24:12.320
<v Speaker 1>to out of the rafters. Is there a particular character

0:24:12.320 --> 0:24:13.479
<v Speaker 1>that you've always related to?

0:24:14.920 --> 0:24:17.080
<v Speaker 2>Yeah, I guess as it's changed a little bit. I

0:24:17.080 --> 0:24:21.359
<v Speaker 2>think I always related to Angus McLaren's Nathan. He was

0:24:21.400 --> 0:24:24.000
<v Speaker 2>the youngest of the family, which you know, I am

0:24:24.040 --> 0:24:27.800
<v Speaker 2>too of my family, and he had you know, he

0:24:27.960 --> 0:24:30.959
<v Speaker 2>was always a bit of a dreamer, and I just

0:24:31.320 --> 0:24:34.239
<v Speaker 2>I love the way what Angus brought to that character too.

0:24:34.320 --> 0:24:37.760
<v Speaker 2>It was this sense of slight vulnerability, and you know,

0:24:37.840 --> 0:24:39.960
<v Speaker 2>and I find I really empathized with him. But as

0:24:39.960 --> 0:24:41.840
<v Speaker 2>I go older and I've got kids on my own,

0:24:42.200 --> 0:24:45.520
<v Speaker 2>now I'm beginning to relate to today rafter a lot

0:24:46.480 --> 0:24:49.320
<v Speaker 2>because I see all the frustrations and you know, the

0:24:49.440 --> 0:24:52.320
<v Speaker 2>joy and the at the same time as the anger

0:24:52.359 --> 0:24:55.120
<v Speaker 2>and all those things that you get with kids.

0:24:56.560 --> 0:24:59.400
<v Speaker 4>This is where, for the first time, really upping Dave

0:24:59.520 --> 0:25:01.520
<v Speaker 4>Raft and I don't see why I have to give

0:25:01.520 --> 0:25:03.880
<v Speaker 4>that up to be a good father. Rassmand.

0:25:05.760 --> 0:25:08.360
<v Speaker 1>You know, I know everyone is sick of hearing about COVID,

0:25:08.440 --> 0:25:10.600
<v Speaker 1>But how did COVID affect the production?

0:25:10.880 --> 0:25:14.800
<v Speaker 2>Oh dramatically as it probably does so many other workplaces

0:25:14.840 --> 0:25:17.920
<v Speaker 2>around the world. We were right two thirds of the

0:25:17.960 --> 0:25:20.560
<v Speaker 2>way through production and it started to sort of go

0:25:20.600 --> 0:25:22.880
<v Speaker 2>a bit pear shaped in New South Wales and we

0:25:22.880 --> 0:25:25.720
<v Speaker 2>were sensing that it was things were coming to a head.

0:25:26.480 --> 0:25:28.840
<v Speaker 2>We were closed down I think three and a half

0:25:28.920 --> 0:25:31.959
<v Speaker 2>weeks before we were supposed to finish, so we had

0:25:32.000 --> 0:25:35.359
<v Speaker 2>to take a break and I think four months or

0:25:35.359 --> 0:25:38.959
<v Speaker 2>five months and then regroup. And that was obviously terribly

0:25:38.960 --> 0:25:42.520
<v Speaker 2>inconvenient for everyone really, and you know, I know it

0:25:42.560 --> 0:25:45.760
<v Speaker 2>was terribly inconvenient for lots of people and lots of businesses.

0:25:45.840 --> 0:25:47.840
<v Speaker 2>So but you know, we got there in the end

0:25:47.840 --> 0:25:50.359
<v Speaker 2>and everyone was able to get back and you know,

0:25:50.680 --> 0:25:53.560
<v Speaker 2>swing back into it. And it made a big difference

0:25:53.600 --> 0:25:56.080
<v Speaker 2>the second time around, because suddenly we had to be

0:25:56.160 --> 0:25:59.919
<v Speaker 2>working with lots of ppe and social distancing and very

0:26:00.480 --> 0:26:03.000
<v Speaker 2>rigid protocols that we had to abide by, which I

0:26:03.000 --> 0:26:05.359
<v Speaker 2>think everyone found a bit difficult because it was the

0:26:05.359 --> 0:26:07.560
<v Speaker 2>early days and those for those things were a bit

0:26:07.600 --> 0:26:10.320
<v Speaker 2>more used to it now. But in those days we

0:26:10.440 --> 0:26:14.600
<v Speaker 2>had actors wearing face shields between takes and gloves and masks.

0:26:15.040 --> 0:26:16.879
<v Speaker 2>But looking back at it, I don't think, you know,

0:26:17.040 --> 0:26:20.120
<v Speaker 2>I think, you know, the cast and the crew were

0:26:20.480 --> 0:26:23.439
<v Speaker 2>such professionals they managed to make all that stuff just

0:26:23.480 --> 0:26:25.960
<v Speaker 2>stay in the background, and they were able to deliver

0:26:26.000 --> 0:26:29.720
<v Speaker 2>the fabulous performances that kind of we would.

0:26:29.440 --> 0:26:31.800
<v Speaker 1>Expect from you know, I've ever ever had a conversation

0:26:31.880 --> 0:26:34.439
<v Speaker 1>with you about the idea of including COVID into the

0:26:34.440 --> 0:26:37.040
<v Speaker 1>storylines of the family, you know, trying to set it

0:26:37.080 --> 0:26:39.560
<v Speaker 1>in present day, because I know with Gray's Anatomy, they

0:26:39.600 --> 0:26:43.920
<v Speaker 1>had a very strong conversation between the two main producers

0:26:43.960 --> 0:26:47.000
<v Speaker 1>of that show about whether or not COVID existed in

0:26:47.040 --> 0:26:49.520
<v Speaker 1>that series. I wondered whether or not you guys ever

0:26:49.560 --> 0:26:52.440
<v Speaker 1>talked about whether or not COVID would affect the storylines.

0:26:52.680 --> 0:26:55.000
<v Speaker 2>Yeah, and perhaps if we'd known about COVID when We're

0:26:55.040 --> 0:26:58.040
<v Speaker 2>actually began, it would have been different, But we COVID

0:26:58.040 --> 0:27:01.440
<v Speaker 2>only became an issue way through and by which stage

0:27:01.560 --> 0:27:03.679
<v Speaker 2>was too late to integrate it into the show. But

0:27:03.720 --> 0:27:05.680
<v Speaker 2>it's something that I know people talk about a lot

0:27:05.720 --> 0:27:08.040
<v Speaker 2>these days as to whether or not that would be,

0:27:08.119 --> 0:27:10.040
<v Speaker 2>you know, in any new show. I mean there's always

0:27:10.040 --> 0:27:13.000
<v Speaker 2>that who knows. It's so unknowable, Like by the time

0:27:13.040 --> 0:27:15.760
<v Speaker 2>a show starts being written to the time it gets

0:27:15.800 --> 0:27:17.920
<v Speaker 2>to be on screen can be up to a year.

0:27:18.200 --> 0:27:20.040
<v Speaker 2>So who knows where COVID is going to be at

0:27:20.040 --> 0:27:22.600
<v Speaker 2>that point. It might be completely gone and people might

0:27:22.600 --> 0:27:24.440
<v Speaker 2>not even want to talk about it, or it might

0:27:24.480 --> 0:27:26.880
<v Speaker 2>be still with us and you know, very much a part.

0:27:26.920 --> 0:27:29.160
<v Speaker 2>So it's very it's a bit of a risky thing

0:27:29.240 --> 0:27:31.679
<v Speaker 2>to do. I think it was never really part of

0:27:31.720 --> 0:27:34.560
<v Speaker 2>our thinking too at the time, because as I say,

0:27:34.640 --> 0:27:38.359
<v Speaker 2>we're already all the scripts were completely written by that stage,

0:27:38.359 --> 0:27:40.000
<v Speaker 2>and we're too late to introduce it.

0:27:40.440 --> 0:27:42.800
<v Speaker 1>A good thing to talk about is why audiences should

0:27:42.840 --> 0:27:45.880
<v Speaker 1>come back From your perspective, you know people obviously there

0:27:45.960 --> 0:27:47.920
<v Speaker 1>is a fan base that are going to come back,

0:27:48.000 --> 0:27:51.280
<v Speaker 1>which is undeniable. But what about new audiences. Why do

0:27:51.320 --> 0:27:54.080
<v Speaker 1>you think new audiences should join in at Back to

0:27:54.119 --> 0:27:54.720
<v Speaker 1>the Rafters.

0:27:54.920 --> 0:27:58.480
<v Speaker 2>Well, I think it's for people who didn't discover how

0:27:58.480 --> 0:28:00.560
<v Speaker 2>good it was the first time around. Way I could

0:28:00.560 --> 0:28:04.840
<v Speaker 2>probably suggest, because I think now with Amazon we're fortunate

0:28:04.960 --> 0:28:06.600
<v Speaker 2>enough to be able to present it to a new stage.

0:28:06.600 --> 0:28:09.280
<v Speaker 2>And I think there is a very universal theme about

0:28:09.320 --> 0:28:11.680
<v Speaker 2>Packed the Rafters, which I think we're touching everyone. And

0:28:11.720 --> 0:28:13.680
<v Speaker 2>we spoke about this a lot, you know when we're

0:28:13.680 --> 0:28:16.560
<v Speaker 2>talking about the writing, which is it's about family. It's

0:28:16.560 --> 0:28:19.679
<v Speaker 2>about you know, the difficulties and the joy and the

0:28:19.800 --> 0:28:23.720
<v Speaker 2>sorrows and everything that goes with family. And that's something

0:28:23.880 --> 0:28:26.919
<v Speaker 2>that we all share. Every human being alive on the

0:28:26.920 --> 0:28:30.040
<v Speaker 2>planet as at one point and still does come from

0:28:30.040 --> 0:28:32.560
<v Speaker 2>a family. And so no matter which culture you're from,

0:28:33.119 --> 0:28:36.840
<v Speaker 2>whilst some of the dynamics might be different, we all

0:28:36.880 --> 0:28:39.680
<v Speaker 2>have that common bond you know of people that have

0:28:40.160 --> 0:28:42.440
<v Speaker 2>raised us and love us and care for us. So

0:28:42.480 --> 0:28:46.280
<v Speaker 2>I think that being the central theme of rafters, I

0:28:46.280 --> 0:28:49.400
<v Speaker 2>think that's a very universal theme and I think it's

0:28:49.400 --> 0:28:52.120
<v Speaker 2>one that we deal with with kind of honesty, but

0:28:52.160 --> 0:28:55.000
<v Speaker 2>at the same time celebrating it and sort of affirming

0:28:55.440 --> 0:28:57.280
<v Speaker 2>the idea of family and friendship.

0:28:57.560 --> 0:29:01.120
<v Speaker 1>How important would you say streaming services are descriptive reality

0:29:01.240 --> 0:29:02.360
<v Speaker 1>in Australia at the moment.

0:29:02.600 --> 0:29:05.640
<v Speaker 2>Yeah, well, that's right, and it's they're terribly important because

0:29:05.680 --> 0:29:09.400
<v Speaker 2>the world has changed a lot now with interactional streaming services.

0:29:09.440 --> 0:29:12.760
<v Speaker 2>And I certainly you know, what I watch free to

0:29:12.800 --> 0:29:15.160
<v Speaker 2>weear television for is very different these days than what

0:29:15.240 --> 0:29:18.200
<v Speaker 2>I used to watch it before. Some much more things

0:29:18.240 --> 0:29:20.880
<v Speaker 2>that are much more timely. It's in my opinion anyway,

0:29:20.880 --> 0:29:24.120
<v Speaker 2>you know the current affairs and sport and news. I

0:29:24.240 --> 0:29:27.040
<v Speaker 2>tend to be watching free to wear for and I've

0:29:27.040 --> 0:29:29.080
<v Speaker 2>become used to us. I suppose a lot of us

0:29:29.120 --> 0:29:31.920
<v Speaker 2>have is being able to watch drama when I want

0:29:31.960 --> 0:29:33.560
<v Speaker 2>to watch it how I want to watch it, and

0:29:33.560 --> 0:29:35.720
<v Speaker 2>that's the beauty of the streaming service, as you can say,

0:29:35.720 --> 0:29:37.760
<v Speaker 2>how I'm going to watch all six episodes in one

0:29:37.800 --> 0:29:40.680
<v Speaker 2>go on Sunday night after I've had dinner, you know,

0:29:40.840 --> 0:29:43.160
<v Speaker 2>rather than having to wait each Tuesday night at seven

0:29:43.200 --> 0:29:46.560
<v Speaker 2>point thirty. That ability to be able to choose your

0:29:46.640 --> 0:29:48.840
<v Speaker 2>time means a lot to me, and I suppose it

0:29:48.880 --> 0:29:50.920
<v Speaker 2>does to a lot of people. And I think that's

0:29:51.000 --> 0:29:54.040
<v Speaker 2>what streaming has done. It's probably taken some of the

0:29:54.560 --> 0:29:57.520
<v Speaker 2>drama focus away from the free tooware networks, and that

0:29:57.760 --> 0:30:01.920
<v Speaker 2>ease of viewing or the audiences is something it's hard

0:30:01.920 --> 0:30:02.840
<v Speaker 2>to go back from.

0:30:02.920 --> 0:30:04.920
<v Speaker 1>Well, I want to also ask you just the last

0:30:04.960 --> 0:30:07.800
<v Speaker 1>two questions about the show coming back is what was

0:30:07.840 --> 0:30:10.920
<v Speaker 1>your favorite moment from the original pack to the Rafters?

0:30:11.200 --> 0:30:12.520
<v Speaker 1>And then after that, I'm going to ask you what

0:30:12.560 --> 0:30:15.800
<v Speaker 1>your favorite moment without giving anything too without giving too

0:30:15.840 --> 0:30:17.120
<v Speaker 1>much away it is from the new series.

0:30:17.280 --> 0:30:20.280
<v Speaker 2>My favorite moment was probably the first episode, because I

0:30:20.320 --> 0:30:23.240
<v Speaker 2>did the pilot and then went on to as a director,

0:30:23.320 --> 0:30:25.920
<v Speaker 2>that is, and then directed the first episode, and I

0:30:25.920 --> 0:30:31.520
<v Speaker 2>think just seeing how kind of uncannonly well it all

0:30:31.520 --> 0:30:34.960
<v Speaker 2>clicked together Bevans and Anthony Ellis who wrote it, and

0:30:35.040 --> 0:30:39.000
<v Speaker 2>Bevans who created it, and all the cast just clicked

0:30:39.040 --> 0:30:41.400
<v Speaker 2>and it was just one of those kind of miraculous

0:30:41.440 --> 0:30:44.000
<v Speaker 2>things that no one kind of expected and I've worked

0:30:44.040 --> 0:30:45.840
<v Speaker 2>and I had worked on a lot of shows to

0:30:46.000 --> 0:30:49.520
<v Speaker 2>let and some successful shows as well, but this just

0:30:49.560 --> 0:30:53.600
<v Speaker 2>have something that so instantly came together without seemingly that much.

0:30:53.840 --> 0:30:55.320
<v Speaker 2>I was going to say effort, but there was a

0:30:55.320 --> 0:30:58.600
<v Speaker 2>lot of effort behind it, but we didn't have to

0:30:58.640 --> 0:31:01.240
<v Speaker 2>try and pull tricks, just all works. So I think

0:31:01.280 --> 0:31:03.200
<v Speaker 2>that was my favorite moment of the whole thing, just

0:31:03.720 --> 0:31:05.640
<v Speaker 2>to see that there would be there right at the

0:31:05.640 --> 0:31:07.959
<v Speaker 2>beginning and just see how it all clicked together.

0:31:08.280 --> 0:31:12.000
<v Speaker 1>The first series was just so iconic, and nothing prepared

0:31:12.040 --> 0:31:14.520
<v Speaker 1>me for the storyline with Rachel. You know, in the

0:31:14.520 --> 0:31:17.160
<v Speaker 1>first series, I think it was episode three, and I

0:31:17.200 --> 0:31:19.840
<v Speaker 1>think in some ways it kind of looked a bit glossy,

0:31:20.240 --> 0:31:23.600
<v Speaker 1>and then you delved really deep with this moment, you know,

0:31:23.640 --> 0:31:25.960
<v Speaker 1>sort of going over the edge with alcohol addiction. You know,

0:31:25.960 --> 0:31:28.280
<v Speaker 1>it was such an explosive television moment, you know, so

0:31:28.360 --> 0:31:29.959
<v Speaker 1>early on in this series, and I think a lot

0:31:30.000 --> 0:31:31.880
<v Speaker 1>of people were thinking, you know, what the hell.

0:31:33.240 --> 0:31:35.120
<v Speaker 4>So what's going on in my calling the police?

0:31:35.520 --> 0:31:36.240
<v Speaker 3>She doesn't want that?

0:31:37.360 --> 0:31:41.000
<v Speaker 4>It was Daniel. Yeah, I'm gonna take his head off.

0:31:41.120 --> 0:31:42.200
<v Speaker 1>It's not going to solve anything.

0:31:42.280 --> 0:31:43.880
<v Speaker 4>What am I supposed to do. He bashed my daughter.

0:31:44.080 --> 0:31:44.880
<v Speaker 3>She wants to see you.

0:31:46.480 --> 0:31:47.920
<v Speaker 4>I thought you said she was asleep.

0:31:48.680 --> 0:31:53.280
<v Speaker 1>She wants her dad. Amazing. It really hooked me and

0:31:53.360 --> 0:31:55.720
<v Speaker 1>kept me a part of watching the series all the

0:31:55.720 --> 0:31:58.960
<v Speaker 1>way to the end. Is there a storyline with any

0:31:59.000 --> 0:32:01.320
<v Speaker 1>of the characters in this next series that you think

0:32:01.440 --> 0:32:03.280
<v Speaker 1>is your favorite.

0:32:03.920 --> 0:32:06.840
<v Speaker 2>I'm just having there's several of them. I'm just trying

0:32:06.880 --> 0:32:09.120
<v Speaker 2>to think which one I am most in touch. Again,

0:32:09.200 --> 0:32:12.920
<v Speaker 2>I feel Nathan's storyline Angus McLaren's one is one I

0:32:13.000 --> 0:32:17.400
<v Speaker 2>really because it's it's this vulnerability that he brings to

0:32:17.480 --> 0:32:20.520
<v Speaker 2>that role and things don't often go right for him.

0:32:20.520 --> 0:32:24.640
<v Speaker 2>And again I'm not giving anything away, but he finds

0:32:24.680 --> 0:32:27.800
<v Speaker 2>his piece by the end of the series, and it's

0:32:27.800 --> 0:32:29.960
<v Speaker 2>a wonderful thing. It's just a really great journey for

0:32:30.080 --> 0:32:32.280
<v Speaker 2>him in this series, and that's one that I personally

0:32:32.320 --> 0:32:36.160
<v Speaker 2>really find very kind of I can relate to, and

0:32:36.200 --> 0:32:38.520
<v Speaker 2>I find it very emotional even talking about it, actually,

0:32:38.560 --> 0:32:41.640
<v Speaker 2>because he comes from a very sort of dark place

0:32:41.800 --> 0:32:45.400
<v Speaker 2>and then through all these wonderful things that happened to him,

0:32:45.640 --> 0:32:48.240
<v Speaker 2>ends up in a much more joyful place by the

0:32:48.360 --> 0:32:48.720
<v Speaker 2>end of it.

0:32:48.800 --> 0:32:50.800
<v Speaker 1>Yeah, Well, I think that's quite amazing. You know, a

0:32:50.840 --> 0:32:53.280
<v Speaker 1>lot has changed in the world. Was there a pressure

0:32:53.280 --> 0:32:55.800
<v Speaker 1>to be mindful of inclusion with this new series? I

0:32:55.800 --> 0:32:58.000
<v Speaker 1>mean it has been reported that even with the Sex

0:32:58.000 --> 0:33:00.120
<v Speaker 1>and the City reboot that they wanted to make make

0:33:00.120 --> 0:33:02.360
<v Speaker 1>sure that a person of color and a non binary

0:33:02.440 --> 0:33:05.680
<v Speaker 1>character was included. Did that affect anything in the way

0:33:05.720 --> 0:33:07.320
<v Speaker 1>in which this series was being planned?

0:33:07.800 --> 0:33:10.320
<v Speaker 2>Yes, it did, look it was and as you say,

0:33:10.320 --> 0:33:12.800
<v Speaker 2>the world's changed a lot even in this short time

0:33:13.200 --> 0:33:16.760
<v Speaker 2>between the series is and there was a recognition that

0:33:16.800 --> 0:33:20.120
<v Speaker 2>we should be able to reflect, you know, the reality

0:33:20.160 --> 0:33:23.960
<v Speaker 2>of modern Australia. And Amazon were really keen to do

0:33:24.040 --> 0:33:26.000
<v Speaker 2>that as well, and they I thought they had a

0:33:26.000 --> 0:33:29.680
<v Speaker 2>wonderful expression that they wanted the show to reflect the

0:33:29.760 --> 0:33:32.280
<v Speaker 2>diversity of their audience, which was you know, when you

0:33:32.280 --> 0:33:35.000
<v Speaker 2>think about it, it was just a really honest and

0:33:35.520 --> 0:33:39.440
<v Speaker 2>a great attitude to have. And that's what we tried

0:33:39.480 --> 0:33:43.160
<v Speaker 2>to do. And again Bevan and came up some great

0:33:43.200 --> 0:33:46.360
<v Speaker 2>ideas and some great characters, which I think we're all

0:33:46.400 --> 0:33:48.840
<v Speaker 2>really proud of actually in that we've been able to

0:33:48.880 --> 0:33:51.520
<v Speaker 2>sort of again just reflect the more modern Australia.

0:33:51.600 --> 0:33:54.080
<v Speaker 1>Yeah. Absolutely, And you know who had changed the most

0:33:54.320 --> 0:33:56.560
<v Speaker 1>from the first run, you know, was there kind of

0:33:56.560 --> 0:33:59.600
<v Speaker 1>a proud popa bear moment for you interacting with some

0:33:59.640 --> 0:34:02.320
<v Speaker 1>of the young characters or even any of the actors, Like,

0:34:02.360 --> 0:34:03.680
<v Speaker 1>who do you think had changed the most?

0:34:03.840 --> 0:34:08.120
<v Speaker 2>Well, that's a spooky thing, but no one really, you know,

0:34:09.080 --> 0:34:14.040
<v Speaker 2>in that time, no one. It was also familiar. I'd

0:34:14.080 --> 0:34:17.360
<v Speaker 2>have to say nobody. Again. I keep coming back to

0:34:17.400 --> 0:34:20.080
<v Speaker 2>Angus becaus Angus had done quite a lot of very

0:34:20.120 --> 0:34:24.320
<v Speaker 2>different roles in between. I'd seen him just kind of

0:34:24.360 --> 0:34:27.120
<v Speaker 2>stretch his wings a little bit more, and he'd gone

0:34:27.200 --> 0:34:30.719
<v Speaker 2>back to drama school as well, and so he was

0:34:30.760 --> 0:34:34.960
<v Speaker 2>really focused on trying to, you know, get as much

0:34:35.040 --> 0:34:38.960
<v Speaker 2>experience as possible. And he had changed himself personally in

0:34:39.000 --> 0:34:42.240
<v Speaker 2>a really good way, but his character remained the same

0:34:42.520 --> 0:34:45.360
<v Speaker 2>on screen. That was the funny thing. I remember the

0:34:45.400 --> 0:34:47.960
<v Speaker 2>first day. I was there on the first day of

0:34:48.120 --> 0:34:51.160
<v Speaker 2>shooting of the new series, Back to the Rafters, and

0:34:51.200 --> 0:34:52.960
<v Speaker 2>we were shooting at the Boat Club in Sant Susi,

0:34:52.960 --> 0:34:55.560
<v Speaker 2>which was one of our established locations from the previous series,

0:34:55.600 --> 0:34:59.360
<v Speaker 2>where Dinah works and where Ben worked, And that was

0:34:59.400 --> 0:35:01.759
<v Speaker 2>our first day on the shoot, and I remember the

0:35:01.800 --> 0:35:04.640
<v Speaker 2>scene vividly. It was a scene with Merity and George

0:35:04.680 --> 0:35:09.680
<v Speaker 2>hiv Artist and Hugh and then there was another scene

0:35:09.719 --> 0:35:14.560
<v Speaker 2>with Rebecca and we all just were stunned because it

0:35:14.600 --> 0:35:17.640
<v Speaker 2>felt like only yesterday. It was just getting back into

0:35:17.640 --> 0:35:20.880
<v Speaker 2>these comfy old slippers and getting back on set again,

0:35:21.080 --> 0:35:23.720
<v Speaker 2>and it felt like just a couple of days had passed.

0:35:23.760 --> 0:35:27.440
<v Speaker 2>It was just such a familiar experience for everyone. It

0:35:27.480 --> 0:35:31.080
<v Speaker 2>was almost kind of spooky. Here we were many years later,

0:35:31.480 --> 0:35:32.480
<v Speaker 2>nothing had changed.

0:35:32.800 --> 0:35:35.279
<v Speaker 1>Well, my last question that I ask everybody before they

0:35:35.320 --> 0:35:38.640
<v Speaker 1>go is what is an amazing story from behind the scenes,

0:35:38.640 --> 0:35:41.120
<v Speaker 1>so behind the scenes of Back to the Rafters that

0:35:41.239 --> 0:35:44.560
<v Speaker 1>maybe the audience would appreciate something that we might not

0:35:44.640 --> 0:35:45.000
<v Speaker 1>have seen.

0:35:46.000 --> 0:35:48.600
<v Speaker 2>Well, here's kind of one of my favorite stories is

0:35:48.640 --> 0:35:51.080
<v Speaker 2>that right in the peak of the pandemic, what it

0:35:51.120 --> 0:35:52.759
<v Speaker 2>was just start. Sorry it wasn't the peak. It was

0:35:52.760 --> 0:35:55.239
<v Speaker 2>when it was just beginning. We had to shut the

0:35:55.239 --> 0:35:57.200
<v Speaker 2>show down. As I said, we have two thirds of

0:35:57.239 --> 0:35:59.520
<v Speaker 2>the way through the shoot, and it was my job

0:35:59.560 --> 0:36:01.560
<v Speaker 2>was used to the guy out there on set and

0:36:01.640 --> 0:36:05.279
<v Speaker 2>just basically stopped production and just get everyone assembled in

0:36:05.320 --> 0:36:08.120
<v Speaker 2>the back garden. And it was of the house we

0:36:08.120 --> 0:36:10.960
<v Speaker 2>were shooting at in Cavalita and nearly all the cast

0:36:11.080 --> 0:36:13.800
<v Speaker 2>was there and all the crew. We gathered them to stop,

0:36:14.239 --> 0:36:16.600
<v Speaker 2>got the first assistant director to shut the show down,

0:36:16.840 --> 0:36:19.000
<v Speaker 2>bring everyone out in the back guard. That was very somber.

0:36:19.080 --> 0:36:21.200
<v Speaker 2>I think people knew what was coming, because you know,

0:36:21.280 --> 0:36:23.960
<v Speaker 2>the COVID numbers were getting serious, and everyone was really

0:36:24.120 --> 0:36:26.719
<v Speaker 2>terrified about what was going to happen. And I were

0:36:26.719 --> 0:36:28.680
<v Speaker 2>standing in this back garden of this bit off a

0:36:28.719 --> 0:36:30.800
<v Speaker 2>little house which had a swing set behind me, a

0:36:30.920 --> 0:36:33.839
<v Speaker 2>kid's swing set, and I was addressing the cast and

0:36:33.880 --> 0:36:37.520
<v Speaker 2>the crew, among them being a little cast by the

0:36:37.560 --> 0:36:41.440
<v Speaker 2>six year old boy who plays Edward Rafter, and I said, look, sorry, guys,

0:36:41.440 --> 0:36:43.160
<v Speaker 2>we're going to have shut the show down. We don't

0:36:43.160 --> 0:36:45.279
<v Speaker 2>know what's going to happen when well when we'll be

0:36:45.320 --> 0:36:48.000
<v Speaker 2>able to start back up. And everyone was very somber.

0:36:48.040 --> 0:36:50.520
<v Speaker 2>People were losing their jobs and it was a very

0:36:50.560 --> 0:36:52.280
<v Speaker 2>sad moment. And at the end of it, I said,

0:36:52.400 --> 0:36:55.760
<v Speaker 2>are there any questions and anybody could I answer anything?

0:36:55.800 --> 0:36:58.120
<v Speaker 2>And everyone was silent and just looked around. And then

0:36:58.160 --> 0:37:00.640
<v Speaker 2>little Casper put his hand up and I said Caspar

0:37:00.719 --> 0:37:03.160
<v Speaker 2>and he said, I play in the swings now. And

0:37:03.200 --> 0:37:05.600
<v Speaker 2>it was just this great moment that broke everyone up

0:37:05.640 --> 0:37:08.000
<v Speaker 2>and everyone started to laugh and it just broke this

0:37:08.120 --> 0:37:11.000
<v Speaker 2>It was this magic moment that almost felt like a

0:37:11.040 --> 0:37:14.279
<v Speaker 2>moment that had been written for Rafters. It just, you know,

0:37:14.320 --> 0:37:17.120
<v Speaker 2>it was this sort of this the sort of innocence

0:37:17.120 --> 0:37:20.000
<v Speaker 2>of youth and the sort of that kind of It

0:37:20.040 --> 0:37:22.640
<v Speaker 2>was a very grounding moment in a very difficult time

0:37:23.000 --> 0:37:25.359
<v Speaker 2>for a lot of people, just to bring you back

0:37:25.400 --> 0:37:29.440
<v Speaker 2>down to worth again and everyone. It was very moving everyone.

0:37:29.560 --> 0:37:32.359
<v Speaker 2>It just lifted everyone's spirits at a very difficult time.

0:37:32.480 --> 0:37:34.319
<v Speaker 1>Well, Chris, I have been in your audience for a

0:37:34.400 --> 0:37:37.319
<v Speaker 1>very long time, and I'm so appreciative of you coming

0:37:37.360 --> 0:37:40.640
<v Speaker 1>on here and sharing all of your knowledge and wisdom

0:37:40.840 --> 0:37:43.600
<v Speaker 1>on your back catalog, but also talking about Back to

0:37:43.640 --> 0:37:46.720
<v Speaker 1>the Rafters getting rebooted. And I really hope that everyone

0:37:46.760 --> 0:37:49.520
<v Speaker 1>that's listening to this podcast tunes in and gets a

0:37:49.600 --> 0:37:51.919
<v Speaker 1>chance to catch up with them, because there's something quite

0:37:51.960 --> 0:37:54.919
<v Speaker 1>magical about the Rafters. And I thank you for your

0:37:55.160 --> 0:37:56.080
<v Speaker 1>hard work on the show.

0:37:56.200 --> 0:37:57.920
<v Speaker 2>Well, thank you, it was a pleasure of talking to you.

0:37:58.160 --> 0:38:05.279
<v Speaker 2>Benjamin four