WEBVTT - Imogen Banks - SAFE HOME - Executive Producer 0:00:00.200 --> 0:00:01.760 It's in the news today, but it was actually on 0:00:01.840 --> 0:00:04.960 TV Reload, the podcast past deep their line Welcome back 0:00:04.960 --> 0:00:07.640 guys to TV Reload. My name is Benjamin Norris, and 0:00:07.720 --> 0:00:10.360 this is your podcast to get all the inside goss 0:00:10.400 --> 0:00:12.959 on the popular TV shows you may be watching from 0:00:13.000 --> 0:00:16.000 around the world. Undeniably, our TV sets are a major 0:00:16.000 --> 0:00:18.560 part of our home entertainment, and yet very little is 0:00:18.600 --> 0:00:21.720 known about how our favorite shows get made. So each episode, 0:00:21.760 --> 0:00:23.919 I've been finding guests that what did I have just 0:00:23.960 --> 0:00:26.400 that little bit deeper into the shows they're currently making, 0:00:26.600 --> 0:00:29.000 so that you can hear all their exclusive stories and 0:00:29.040 --> 0:00:32.000 gain access to the biggest names in Australian television. I 0:00:32.040 --> 0:00:34.840 want to thank you for downloading or subscribing to this podcast. 0:00:34.960 --> 0:00:37.199 I love hearing your feedback, so make sure you leave 0:00:37.240 --> 0:00:40.280 a review or a comment on your chosen podcast platform. 0:00:40.880 --> 0:00:43.840 This chat, I'm joined by executive producer of Safe Home 0:00:43.880 --> 0:00:47.400 on SBS, Image and Banks. Imagen is a TV content 0:00:47.479 --> 0:00:50.360 creator and a bit of a god amongst astrand television, 0:00:50.479 --> 0:00:53.479 who I've dreamt about having on the podcast for many years. 0:00:53.760 --> 0:00:56.920 I loved her work on Puberty Blues a devoured offspring 0:00:57.120 --> 0:01:00.400 like many other people, and I've rewatched Tangled countless times, 0:01:00.520 --> 0:01:03.800 and all these shows you can catch up on streaming platforms. However, 0:01:03.840 --> 0:01:06.600 today I'm here to discuss her collaboration with Anna Barnes 0:01:06.640 --> 0:01:10.080 on the project for SBS called Safe Home. Safe Home 0:01:10.120 --> 0:01:12.640 is an Australian drama mini series set to air on 0:01:12.800 --> 0:01:16.400 SBS this Thursday night at seven point thirty. It follows 0:01:16.400 --> 0:01:19.160 the story of a twenty somethingter professional who leaves her 0:01:19.240 --> 0:01:21.560 job at a prominent law firm to work at a 0:01:21.600 --> 0:01:25.800 struggling family violence legal center. The show tackles family violence, 0:01:25.880 --> 0:01:28.760 power quality and feature some of the best performances I've 0:01:28.800 --> 0:01:31.720 ever seen on television. I will ask Imagen about the 0:01:31.720 --> 0:01:34.800 success of Offspring, Puberty Blues and Tangle, and while we 0:01:34.880 --> 0:01:38.360 never see multiple series runs of our favorite homegrown content, 0:01:39.080 --> 0:01:41.480 we will talk about how the show came about and 0:01:41.520 --> 0:01:44.080 how they managed to tackle domestic violence, which is a 0:01:44.160 --> 0:01:47.319 very difficult subject matter. We will also discuss if having 0:01:47.319 --> 0:01:50.600 a bankable star is necessary when getting shows funded in 0:01:50.640 --> 0:01:53.600 Australia and why this particular cast we're able to knock 0:01:53.640 --> 0:01:55.760 this out of the park. Plus, we will get plenty 0:01:55.800 --> 0:01:58.240 of exclusives from behind the scenes of Safe Home, which 0:01:58.240 --> 0:02:00.680 I can tell you is my favorite series of television 0:02:00.720 --> 0:02:03.720 this year so far. However, let's bring image into the 0:02:03.720 --> 0:02:06.120 podcast and get these formalities out of the way, and 0:02:06.200 --> 0:02:09.600 I really hope you enjoy this episode. Hi, Imagen, how 0:02:09.680 --> 0:02:09.960 are you? 0:02:10.480 --> 0:02:11.720 I'm very well. How are you? 0:02:12.200 --> 0:02:14.440 I'm good? Thank you? Sorry? I should I often say 0:02:14.440 --> 0:02:16.200 how are you to people, but you never really care 0:02:16.280 --> 0:02:17.240 and you're already onto the next. 0:02:17.320 --> 0:02:17.919 Yeah. 0:02:17.480 --> 0:02:19.880 I know, it's such a redumbic quest. Just at anyway, 0:02:20.040 --> 0:02:21.120 I'm great, I'm glad. 0:02:21.320 --> 0:02:23.440 Well, I'm glad. And I have to say right off 0:02:23.440 --> 0:02:26.040 the bat, I am such a big fan of your 0:02:26.080 --> 0:02:28.800 work and of all the shows. I mean, all the 0:02:28.840 --> 0:02:32.560 shows that you have done are a masterclass of Australian television. 0:02:32.919 --> 0:02:33.280 Thank you. 0:02:33.560 --> 0:02:37.560 I've watched Tangle and Puberty Blues and Offspring so many 0:02:37.600 --> 0:02:40.040 times I can't even tell you. There M go to 0:02:40.200 --> 0:02:43.399 when my partner goes into another room and watches something horrific, 0:02:43.440 --> 0:02:46.120 like a scary movie that no one wants to watch. Honestly, 0:02:46.560 --> 0:02:48.040 just amazing TV shows. One. 0:02:48.040 --> 0:02:50.120 I think you should mentioned Tangle because I literally got 0:02:50.120 --> 0:02:50.760 a tasket. 0:02:50.560 --> 0:02:52.600 About an hour ago from. 0:02:52.520 --> 0:02:54.480 John Brawley, who was the Bokay on Tangle. 0:02:54.600 --> 0:02:58.320 Just say Tangle series four, which could just tune into 0:02:58.320 --> 0:02:59.160 their lives now. 0:02:59.280 --> 0:03:01.600 Out of those shows, because you know ed Oxenbold talks 0:03:01.600 --> 0:03:03.440 about you know, he tried to get puberty Blues back 0:03:03.520 --> 0:03:07.280 up and going, and everyone talks about Offspring all Brindina back. 0:03:07.600 --> 0:03:11.000 But for me, I loved Tangle. I just honestly we 0:03:11.040 --> 0:03:13.960 need a season four because the characters were so rich. 0:03:14.320 --> 0:03:16.760 It just felt like you were ripping real life. 0:03:16.960 --> 0:03:20.840 Well we probably were. That's the point, isn't it exactly. 0:03:21.000 --> 0:03:23.200 That's the joy of the story. Yeah, we are. 0:03:23.320 --> 0:03:25.600 And it's funny because you don't often think about I 0:03:25.600 --> 0:03:28.560 don't know, you're always so busy working that that really 0:03:28.800 --> 0:03:30.480 you don't really look back very often. 0:03:30.560 --> 0:03:33.200 Or I got, what did working on Tangle teach you 0:03:33.240 --> 0:03:35.800 though about working on scripto drama here in Australia. 0:03:35.840 --> 0:03:38.080 Well, it's interesting because I actually hadn't been around as 0:03:38.080 --> 0:03:40.000 a producer for long before that at all. 0:03:40.280 --> 0:03:42.600 That was really the first show that I. 0:03:42.680 --> 0:03:45.880 Was involved in the development of. I made a show 0:03:45.920 --> 0:03:48.520 before that, because it took longer to get Tangled up. 0:03:48.680 --> 0:03:52.400 But I made a fock sape show called Dangerous, which 0:03:52.480 --> 0:03:54.040 was the first thing that I was ever involved in 0:03:54.040 --> 0:03:55.800 as a producer, and I co produced that, and that 0:03:55.880 --> 0:03:58.800 was very much my training ground. But Tangle is being 0:03:58.840 --> 0:04:01.880 developed over the court of that. So Tangle kind of 0:04:01.920 --> 0:04:05.880 taught me everything. It taught me what the story room is. 0:04:05.920 --> 0:04:08.040 It taught me how to work with writers. That taught 0:04:08.160 --> 0:04:13.680 me how to kind of integrate stories from life into drama. 0:04:14.120 --> 0:04:16.240 It taught me a lot about direction, actually a lot 0:04:16.240 --> 0:04:17.920 of learned. I learned a lot about. 0:04:17.760 --> 0:04:20.160 Directors and how directors work from Tangle in a way 0:04:20.200 --> 0:04:21.520 that I think when I was in Dangerous, you know, 0:04:21.560 --> 0:04:23.480 I mean, obviously I learned a fusion out on that, 0:04:23.640 --> 0:04:25.760 but I was I was that was very much a 0:04:25.839 --> 0:04:27.680 sinkle to be in kind of you know, just like 0:04:27.839 --> 0:04:29.200 hold your breath and go for it and hope the 0:04:29.279 --> 0:04:32.000 best I learned about casting, you know, I learned how 0:04:32.320 --> 0:04:34.920 about the different decisions that you can make about you know, 0:04:35.400 --> 0:04:37.560 who you work with, and how that kind of impacts 0:04:37.560 --> 0:04:39.440 and affect the on screen dynamic. 0:04:39.560 --> 0:04:42.280 I remember the last season three to me just sort 0:04:42.320 --> 0:04:44.800 of built and built and built, and then a lot 0:04:44.839 --> 0:04:47.160 of that came down to these performances of these young 0:04:47.200 --> 0:04:49.840 people who some of them never worked before, I. 0:04:49.800 --> 0:04:51.920 Know, and most of them still working out to all 0:04:52.000 --> 0:04:55.040 though incredibly you know, I mean, I love, love love 0:04:55.080 --> 0:04:57.520 bucking to you know, Lincoln, you feel because of the him, 0:04:57.839 --> 0:05:00.160 you know, I've seen it all sorts of being and 0:05:00.320 --> 0:05:02.040 he's just such a divid human and I love for 0:05:02.680 --> 0:05:04.320 such a big three Roger Blood, you know, I mean 0:05:04.360 --> 0:05:06.679 that most of them have gone on to keep working. 0:05:06.960 --> 0:05:08.640 I think that just something that you were saying before 0:05:08.640 --> 0:05:11.599 about season three. The things that I've most learned Entangled 0:05:11.680 --> 0:05:14.039 was about serious television. You know, it was the first 0:05:14.040 --> 0:05:15.800 time that I've been involved in show that it has 0:05:15.880 --> 0:05:17.040 been longer. 0:05:16.800 --> 0:05:20.240 Than one season. It's that idea of iteration and the lessons. 0:05:19.839 --> 0:05:22.279 That you learn in season one and how you take 0:05:22.400 --> 0:05:25.800 them into the development of season two and you lean 0:05:25.880 --> 0:05:29.120 into things that you've noticed, things that are working. You 0:05:29.200 --> 0:05:31.119 try and sort of push away from things that weren't. 0:05:31.200 --> 0:05:33.960 No ideas that didn't land in the way that. 0:05:33.920 --> 0:05:37.039 You hope they would. You see relationships. 0:05:36.200 --> 0:05:37.920 Form, and I don't mean, you know, I don't mean 0:05:37.920 --> 0:05:40.839 the romantic relationship. Who has been sort of relationships between 0:05:41.000 --> 0:05:45.200 characters on screen that you haven't really considered because you 0:05:45.240 --> 0:05:47.839 were focusing on another plot or another sort of storyline 0:05:47.839 --> 0:05:49.200 that was being developed. 0:05:49.600 --> 0:05:51.560 So you see opportunity. 0:05:51.080 --> 0:05:53.360 In a season that you're then taken to the next season. 0:05:53.839 --> 0:05:55.400 And that's one of the most. 0:05:55.240 --> 0:05:59.280 Fun things about serious television is that is that you 0:05:59.279 --> 0:06:01.960 get to kind of play with these people that suddenly 0:06:02.080 --> 0:06:05.560 exist in the world, you know, outside of outside. 0:06:05.120 --> 0:06:08.000 Of the collective imagination of a group of people make 0:06:08.040 --> 0:06:08.360 the show. 0:06:08.400 --> 0:06:10.760 They suddenly sort of they are there as characters, and 0:06:10.800 --> 0:06:11.400 so you get to. 0:06:11.480 --> 0:06:14.159 Sit around and consider what you might want seem to do. 0:06:14.720 --> 0:06:16.640 I mean, you've been very lucky, I think in lots 0:06:16.680 --> 0:06:19.400 of ways with the shows. I mean, Offspring had an 0:06:19.440 --> 0:06:22.359 amazing one, like it just kept coming back and people 0:06:22.480 --> 0:06:26.560 kept being more and more involved with these characters. But 0:06:26.640 --> 0:06:29.599 why do you think that shows in Australia don't usually 0:06:29.680 --> 0:06:32.560 see a run as long as something like Offspring? 0:06:32.800 --> 0:06:35.359 Look, it's partly to do with the sort of the 0:06:35.400 --> 0:06:38.799 structural or the structure of the industry. It was partners 0:06:38.800 --> 0:06:40.240 to do with the way that's sort of the tax 0:06:40.320 --> 0:06:42.240 off set work, partners to do with the way that 0:06:42.320 --> 0:06:45.440 options worked with cast. I mean, all of these things change, 0:06:45.560 --> 0:06:48.240 and they have changed since we made Offspring, but at 0:06:48.279 --> 0:06:51.240 the time, you know, I mean it's kind of boring, 0:06:51.320 --> 0:06:53.240 but it's to do with contracts in the way that 0:06:53.279 --> 0:06:56.960 even option actors for three seasons within three years, and 0:06:57.040 --> 0:07:01.240 so those things sort of limit or not a limit, 0:07:01.320 --> 0:07:05.599 but they sort of they I suppose they informed the 0:07:05.680 --> 0:07:08.240 decisions that you make about the way that series works. 0:07:08.520 --> 0:07:10.680 And it was sort of there were some tax advantages 0:07:10.960 --> 0:07:13.920 that ran out at a certain number of episodes, so 0:07:14.000 --> 0:07:16.600 it sort of become harder and harder and harder finance things. 0:07:16.760 --> 0:07:18.920 So a lot of the time it's structural. You know, 0:07:18.960 --> 0:07:21.800 it's got nothing to do with wills. That is to 0:07:21.840 --> 0:07:23.960 do with you know, the way that financing happens. 0:07:24.080 --> 0:07:25.960 You know, it was at a time where Asha Ketty 0:07:26.080 --> 0:07:28.120 was just really hot property, and I guess, yes, we've 0:07:28.160 --> 0:07:29.600 got to see her do party tricks and a lot 0:07:29.600 --> 0:07:33.040 of other things as well. But she must have really 0:07:33.080 --> 0:07:35.120 loved that character to come back, and so must have 0:07:35.200 --> 0:07:37.640 Kat Stewart, you know, you know, option them, and you 0:07:37.680 --> 0:07:41.160 can offer actors money. They have to love these characters 0:07:41.240 --> 0:07:41.920 and want to come back. 0:07:42.000 --> 0:07:42.200 Yeah. 0:07:42.480 --> 0:07:44.000 Well, I was going to say sort of, you know, 0:07:44.080 --> 0:07:46.400 I say all of that, but then most of the 0:07:46.440 --> 0:07:49.160 pass were out of option on Offspring, and you know, 0:07:49.200 --> 0:07:51.760 and they collectively decided to come back. One of your 0:07:51.840 --> 0:07:54.120 jobs of a producer is to create an environment for 0:07:54.200 --> 0:07:56.120 people want to work it, you know. I mean you're 0:07:56.920 --> 0:07:59.480 managing groups of people, and I do think that, you know, 0:07:59.520 --> 0:08:02.000 because if you want to keep people happy and you 0:08:02.040 --> 0:08:04.880 want to keep working with people, then yeah, you have 0:08:04.880 --> 0:08:06.680 to kind of create an environment people. 0:08:06.400 --> 0:08:08.480 Want to return to. So and also you want to 0:08:08.480 --> 0:08:09.480 be making show because. 0:08:09.320 --> 0:08:12.720 People love, you know, seeing anyone to create characters. You 0:08:12.720 --> 0:08:15.760 want the writers to creact characters that you know, cast 0:08:15.840 --> 0:08:16.680 want to inhabit. 0:08:17.000 --> 0:08:20.040 So Nina was such a big part of Ash's. 0:08:19.760 --> 0:08:21.640 Life so long, Billy was such a big part of 0:08:21.680 --> 0:08:22.760 cat Fluff so long. 0:08:23.360 --> 0:08:24.360 It's hard to give that up. 0:08:24.600 --> 0:08:26.920 You ask people like so I felt, you know, they're like, oh, 0:08:26.920 --> 0:08:28.920 we have to we have done at that point. But 0:08:29.120 --> 0:08:31.360 truth be told, you know, I've heard from other people 0:08:31.400 --> 0:08:34.880 that have met Joey Lewis Droppers and Jerry Seinfeld, and 0:08:34.880 --> 0:08:37.000 they're like they want to get out when they get out, 0:08:37.040 --> 0:08:39.240 but then they're like, it's in there, fiber, it's in 0:08:39.280 --> 0:08:39.840 their bones. 0:08:40.200 --> 0:08:40.839 It's also that. 0:08:40.840 --> 0:08:43.040 Thing that you know, those relationships stuff. 0:08:43.080 --> 0:08:44.920 At that point, you know, it's not like real people 0:08:44.920 --> 0:08:47.080 in the real world where you can check in and 0:08:47.120 --> 0:08:49.240 see what they're up to and how they've aged and 0:08:49.280 --> 0:08:51.240 what their relationships, you know, and all the rest of it. 0:08:51.800 --> 0:08:54.720 You know, those lives stop the moment that you stop 0:08:54.960 --> 0:08:58.160 performing Nina and he doesn't exist, you know, there's not 0:08:58.240 --> 0:09:00.360 you can't check in with her. So I think it's 0:09:00.400 --> 0:09:03.719 also that you know they're huge relationships. But I mean 0:09:03.760 --> 0:09:07.360 that was what eight years You know that those calfs 0:09:07.360 --> 0:09:09.559 are playing those roles, and so they are. You know, 0:09:09.600 --> 0:09:12.559 there's a different relationships that you've born with those characters 0:09:12.600 --> 0:09:14.559 that you know you then have to walk away from, 0:09:14.720 --> 0:09:16.040 and I mean it's hard of the time. I think, 0:09:16.200 --> 0:09:18.679 you know, you've never want to see them again in 0:09:18.720 --> 0:09:21.800 moments in moments and then and then you're missing Terribley. 0:09:22.360 --> 0:09:24.360 But the writing was good with that. You know. Sometimes 0:09:24.360 --> 0:09:26.160 you made them do wicked things and then you're like, 0:09:26.240 --> 0:09:29.040 oh God, how can Billy come back from this? You 0:09:29.040 --> 0:09:30.960 know what I mean. You had those moments as an audience, 0:09:31.040 --> 0:09:32.800 thinking God actually going to come back from this. But 0:09:32.840 --> 0:09:34.560 then you just love earning more for the for the 0:09:34.640 --> 0:09:37.080 mistake you would think. You know, I have a really 0:09:37.160 --> 0:09:42.040 embarrassing confession point. Oh, I love the theme song to 0:09:42.120 --> 0:09:46.000 Puberty Blues so much that I've got it and I 0:09:46.160 --> 0:09:50.080 drive around with it in my car. It just was 0:09:50.400 --> 0:09:52.760 I don't know, and for me, I loved I don't know, 0:09:52.800 --> 0:09:54.960 it just it calms me. Because it's kind of a 0:09:55.000 --> 0:09:57.640 dramatic score. People be like, oh my god, this guy's mad, 0:09:58.440 --> 0:10:00.679 but it calms me. Wh I'm driving around in my cart. 0:10:01.280 --> 0:10:02.000 I love hearing that. 0:10:03.040 --> 0:10:04.920 That's hilarious. Well, what's funny. 0:10:04.640 --> 0:10:07.520 To me is that I'm currently because I've got a 0:10:08.000 --> 0:10:10.880 Freendi's Nat pay Fie and I'm staying at a hotel. 0:10:10.920 --> 0:10:13.680 And I'm saying I'm staying in Pudgy at the Pudgy 0:10:13.760 --> 0:10:14.560 Bay Hotel. 0:10:14.679 --> 0:10:16.040 Or don't however at school, but. 0:10:16.040 --> 0:10:19.120 It's above it's been turned into some hotels, but it's. 0:10:19.000 --> 0:10:23.079 Above Lena, which was this you know music that was 0:10:23.400 --> 0:10:25.120 is in music, then that in there. You know, I 0:10:25.160 --> 0:10:26.760 don't want to say hello I am, but in the 0:10:26.880 --> 0:10:30.840 day I think I came here and saw Dragon plays, 0:10:31.240 --> 0:10:31.719 so there you go. 0:10:31.920 --> 0:10:34.320 Oh I'm very jealous. Anyway, people will be like I've 0:10:34.360 --> 0:10:37.040 tuned in because they want to hear about Yeah, I know, 0:10:37.720 --> 0:10:39.920 You're like, come on, get to safe Home. I just 0:10:40.000 --> 0:10:42.160 have to say it's so compelling as a series, you know, 0:10:42.280 --> 0:10:45.520 and I would say it is the most compelling series 0:10:45.720 --> 0:10:48.360 I have seen made here in Australia. And I turned 0:10:48.400 --> 0:10:50.600 around once I watched the four parts and looked at 0:10:50.640 --> 0:10:53.800 my partner, who isn't mad for television like me, and 0:10:53.960 --> 0:10:57.440 he said, that's the best TV series I've ever seen. 0:10:58.320 --> 0:11:01.240 That is really really lovely to be thank you. 0:11:01.760 --> 0:11:04.680 Safe Home, I would say, he's going to find its audience. 0:11:04.720 --> 0:11:06.840 And I wanted to ask you what was the decision 0:11:06.920 --> 0:11:09.160 making process with finding it at SBS. 0:11:09.640 --> 0:11:12.800 Oh, look, it was really fine thing one. It was 0:11:13.120 --> 0:11:16.719 an interesting, it's been a very sort of stuff experience 0:11:16.800 --> 0:11:20.160 of television, this one because I set tindling up really 0:11:20.240 --> 0:11:22.360 at the beginning of last year and we were introduction 0:11:22.520 --> 0:11:27.280 on this in the past last year. Afterwards, the kindling 0:11:27.360 --> 0:11:28.679 up it was. It was one of those sort of 0:11:28.800 --> 0:11:33.199 perfect synchronicities. So Anna Barnes, who wrote it, preout of 0:11:33.280 --> 0:11:34.600 the show so beautifully. 0:11:35.040 --> 0:11:36.920 She had a bible and she had the first. 0:11:36.760 --> 0:11:40.040 Episode and she was sort of pitching it around. 0:11:40.960 --> 0:11:44.199 She was sent to me at the same time as Julie. 0:11:44.000 --> 0:11:48.079 Kuslee at SBS, who's the new positioner there, who was 0:11:48.240 --> 0:11:50.120 previously producer, who. 0:11:50.000 --> 0:11:52.559 Had never met. In fact, she rang me. 0:11:52.720 --> 0:11:54.480 She was rang out of the blue and she said, look, 0:11:54.520 --> 0:11:58.800 you know this project doing around, you should take a 0:11:58.840 --> 0:12:01.880 look at it, you know, I'm just you know, out 0:12:01.920 --> 0:12:02.319 of interest. 0:12:02.400 --> 0:12:04.120 Yea, she just sort of mentioned it anyway. 0:12:04.480 --> 0:12:06.760 It had come to me with you know, I know 0:12:06.840 --> 0:12:09.480 that An was sort of children to very speak about it. 0:12:09.600 --> 0:12:11.439 I read it, and I sort of read it with 0:12:11.760 --> 0:12:15.240 half an eye close because I wasn't necessarily looking to 0:12:15.360 --> 0:12:16.960 make a show about family violence. 0:12:17.280 --> 0:12:18.839 But is it a show? I mean, I'm going to 0:12:18.880 --> 0:12:21.199 get into this world. Well, by the time you'd finished 0:12:21.400 --> 0:12:23.800 working on it, did you think it was about family one? 0:12:23.880 --> 0:12:25.239 Or did you think it was about paraplan? 0:12:25.679 --> 0:12:27.160 But I think that this is the beauty of what 0:12:27.440 --> 0:12:31.040 Anna has constructed, is that if the is about family, 0:12:31.120 --> 0:12:32.120 VINE think it's about. 0:12:31.960 --> 0:12:32.760 So much more. 0:12:33.280 --> 0:12:36.319 And the way that she was able to kind of 0:12:36.559 --> 0:12:41.000 access the material through all sorts of sort of other lenses, 0:12:41.080 --> 0:12:45.280 I suppose. So it wasn't I don't I'm not interested 0:12:45.400 --> 0:12:48.840 in making television that is. 0:12:50.400 --> 0:12:53.160 A chore to watch, you know. I think that I 0:12:53.280 --> 0:12:53.840 want to kind of. 0:12:53.840 --> 0:12:56.079 Consider the audience, want to make me anything, sort of 0:12:56.120 --> 0:12:58.280 consider the audience, And I think that was what was 0:12:58.520 --> 0:13:00.320 so attractive to me about this project. 0:13:00.360 --> 0:13:01.679 But it was about an issue. 0:13:01.440 --> 0:13:05.120 That is so incredibly important, but it cracks the issue 0:13:05.160 --> 0:13:07.599 open for me in a way that a lot of 0:13:07.640 --> 0:13:10.800 the projects that I've previously seen on the subject matter didn't. 0:13:11.200 --> 0:13:13.439 They were sort of felt like, you know, lectures, and 0:13:13.559 --> 0:13:17.640 this felt like a show that was about relationships good 0:13:17.679 --> 0:13:22.439 and bad, and that was bly binary and it's not. 0:13:22.600 --> 0:13:23.880 And I think that was the only thing I liked 0:13:23.880 --> 0:13:25.199 about it was that it was about the kind of 0:13:25.280 --> 0:13:29.000 a slow grind and it's about the as you say, 0:13:29.040 --> 0:13:32.439 it's about power. It's about power dynamics, and it's about 0:13:32.480 --> 0:13:33.920 the loss of power and the loss. 0:13:33.679 --> 0:13:35.319 Of autonomy in relationships. 0:13:35.360 --> 0:13:37.120 And I think that that's sort of lies at the 0:13:37.120 --> 0:13:39.079 bottom of all of these things. But it's something that 0:13:39.120 --> 0:13:41.520 I'm interested in, you know, other dramas that I'm making 0:13:41.559 --> 0:13:44.120 as well. It's sort of it's about that idea of 0:13:45.000 --> 0:13:48.240 lots of instinct and loss of autonomy and sort of 0:13:48.280 --> 0:13:49.000 how that feels. 0:13:49.440 --> 0:13:52.880 And I love that she accessed the material just slightly 0:13:53.000 --> 0:13:54.840 off to the side, so it was, you know, through 0:13:54.920 --> 0:13:55.599 the eyes. 0:13:55.400 --> 0:13:58.640 Of somebody who works in communications that it's very much 0:13:58.679 --> 0:14:02.480 about stories and how we tell stories and the responsibility 0:14:02.520 --> 0:14:04.800 of storytelling and these are all things that al considering, 0:14:05.400 --> 0:14:07.800 you know, in a very different way in setting up 0:14:07.840 --> 0:14:09.439 a new company. It's like, you know, what are the 0:14:09.480 --> 0:14:10.520 stories they want to tell? 0:14:11.040 --> 0:14:13.080 Two are the people I want to work with? How 0:14:13.120 --> 0:14:15.040 do I want to sort of approach this next stage 0:14:15.080 --> 0:14:17.640 of my life? You know, what do I care about? 0:14:17.720 --> 0:14:20.560 What do I value? What's the posion that I'm in now? 0:14:20.680 --> 0:14:23.040 And how can I kind of make you know, how 0:14:23.080 --> 0:14:25.000 can I make a difference in people careers and all 0:14:25.040 --> 0:14:25.880 of those things. 0:14:26.000 --> 0:14:28.680 So I love that this is the show. It was 0:14:28.720 --> 0:14:31.720 about all of these really important issues, but that was 0:14:32.400 --> 0:14:34.120 very much through the lenses of, you know. 0:14:34.600 --> 0:14:37.800 The responsibility storytelling and how we and how the stories 0:14:37.840 --> 0:14:43.480 that we tell aspect our ability to understand situations that 0:14:43.640 --> 0:14:43.920 we're in. 0:14:45.200 --> 0:14:46.680 We all want to level up in our careers. We 0:14:46.720 --> 0:14:48.840 all want to find something new, We want to get 0:14:48.880 --> 0:14:50.720 to that thing. And I feel like you've done this 0:14:50.840 --> 0:14:56.080 with this particular series. And I also really appreciated how 0:14:56.160 --> 0:15:00.120 much we never lost sight of the story with the 0:15:00.240 --> 0:15:04.280 intonated characters. You know, we are following chapter characters, and 0:15:04.360 --> 0:15:06.640 when you watch series like this before, which don't do 0:15:06.720 --> 0:15:09.400 it so well, you're like, ah, it's this character now, 0:15:09.560 --> 0:15:12.200 you know, I'm not as interested. Where with this every 0:15:12.240 --> 0:15:14.760 time you're like it slips over and you're like, oh, 0:15:15.080 --> 0:15:18.040 you know, I need to Yes, I need to needed 0:15:18.240 --> 0:15:21.240 to know more about this. So it's very cleverly put together. 0:15:21.320 --> 0:15:23.160 And it doesn't surprise me that when you talk about 0:15:23.160 --> 0:15:25.880 Anna Bance having a Bible that she was working on, 0:15:26.080 --> 0:15:29.480 that she must have had some really strong understanding of 0:15:29.520 --> 0:15:31.360 how it was all going to come together, because it 0:15:31.480 --> 0:15:32.080 never lets. 0:15:31.880 --> 0:15:34.040 You go, yeah, it really did. I mean, she was 0:15:34.560 --> 0:15:35.840 we were talking about this last night. 0:15:35.920 --> 0:15:38.560 You know what was sort of the difference between the 0:15:38.720 --> 0:15:41.440 end results and what she's sort of imagined. 0:15:40.960 --> 0:15:44.560 And initially pitched and the detailing. There's a lot of detail. 0:15:44.600 --> 0:15:47.120 It's very different to what she originally did, but the 0:15:47.280 --> 0:15:51.320 architecture absolutely was there from the start. You know, the 0:15:51.440 --> 0:15:54.640 ideas were so strong and clear from the start, and 0:15:54.760 --> 0:15:57.560 that's you know, the strength of Anna is as. 0:15:57.040 --> 0:15:59.760 A human being really and as a writer. 0:16:00.240 --> 0:16:05.560 She's so incredibly clear about what she's saying and why 0:16:05.680 --> 0:16:09.800 she's doing it and how she wants how she wants 0:16:09.880 --> 0:16:10.320 to say it. 0:16:10.840 --> 0:16:13.160 Is it harder to make a show with a subject 0:16:13.200 --> 0:16:15.880 matter as important as domestic violence when it comes to 0:16:15.960 --> 0:16:18.920 scriptive drama, because I mean, you know, purity Blues and 0:16:19.120 --> 0:16:20.880 Offspring and all these other ones. You know, they weren't 0:16:20.920 --> 0:16:23.720 tackling something like Likens. So I can imagine when you 0:16:23.920 --> 0:16:25.680 are telling a story like this, you'd have to be 0:16:25.840 --> 0:16:29.880 so careful, you know, the fragility of you understanding what 0:16:29.960 --> 0:16:33.760 the audience is watching. You know, is it triggering? You 0:16:33.880 --> 0:16:36.320 know that all of those things must run through your mind. 0:16:36.720 --> 0:16:38.560 So for you as a producer, like you know, is 0:16:38.600 --> 0:16:40.640 it much harder to make something like this? 0:16:41.280 --> 0:16:42.120 It isn't it easing? 0:16:42.200 --> 0:16:44.640 I mean, I think it looks look it is because 0:16:44.640 --> 0:16:48.320 I think is very much aware of the way of responsibility. 0:16:49.240 --> 0:16:52.040 We had, you know, incredible support. You know, we have 0:16:52.280 --> 0:16:53.920 a lot of people to come and talk to us, 0:16:53.920 --> 0:16:56.720 a lot of people you read, I'm one of a 0:16:56.760 --> 0:16:58.960 lot of people, I mean people in me in that sector. 0:17:00.280 --> 0:17:02.120 And it comes from that step that you know, she 0:17:02.200 --> 0:17:05.119 worked as a communication specialist at a couple of sale 0:17:05.160 --> 0:17:09.560 fees in Victoria, so she knows a lot of people 0:17:09.600 --> 0:17:09.960 in the world. 0:17:10.000 --> 0:17:11.639 Had a little of vise on us and a lot 0:17:11.680 --> 0:17:12.640 of advice. 0:17:12.800 --> 0:17:17.000 And there was very encouraging of the kind of the 0:17:17.280 --> 0:17:19.880 dynamics and the banter and the black humor, which which 0:17:19.960 --> 0:17:22.639 was sort of really nice to have that the permission 0:17:23.240 --> 0:17:26.560