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Speaker 1: Welcome to the Black Magic Woman Podcast with Mandanara Bailey.

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Speaker 2: I'm going to kick this podcast off by paying my

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Speaker 2: respects and acknowledging the Kabcab peoples whose land where this

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Speaker 2: vodcast right is being recorded from here on.

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Speaker 3: The beautiful Sunshine Coast.

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Speaker 2: I'd also like to acknowledge their elders past and present,

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Speaker 2: and acknowledged that this always was and always will be

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Speaker 2: Aboriginal land we have never seen in our sovereignty as

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Speaker 2: First Nations peoples living in this country now known as Australia,

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Speaker 2: and as always acknowledging country is continuing an ancient diplomatic

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Speaker 2: tradition that dates back tens of thousands of years in

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Speaker 2: this country. So for non Indigenous Australians that are watching

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Speaker 2: or listening, see the knowledgement of country as an opportunity

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Speaker 2: or even as an invitation for you to participate in

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Speaker 2: the oldest living, continuous culture in world history. So, in

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Speaker 2: saying that, I would now like to introduce my guest

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Speaker 2: today and art. You have been part of my life

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Speaker 2: from Afar now in Sydney, but even as a young girl,

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Speaker 2: I still remember seeing you on stage at Woodford Festival

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Speaker 2: singing run Reader Ruby and Rosie in my head a

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Speaker 2: Daisy Run, Daisy Run, And that's the first time. And

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Speaker 2: I might have been about eleven years of age, that's

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Speaker 2: not that old, but it was quite a long time ago.

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Speaker 2: So I remember he was a singer on stage. And

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Speaker 2: then I was introduced to you more as a young

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Speaker 2: teenager through my mother and my grandmother, the late Marien Watson, as.

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Speaker 3: Well as my dad.

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Speaker 2: But it was actually the women in my life it were,

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Speaker 2: I would say, more connected to you and you or

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Speaker 2: had something to do with you. And it was my

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Speaker 2: mum and my grandmother that I remember yarning about you

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Speaker 2: and talking about how deadly it was. So it's an

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Speaker 2: absolute honor and a privilege to have you as my

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Speaker 2: guest today on the Black Magic Woman Podcast.

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Speaker 4: Thank you for having me, and as another Murray Woman.

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Speaker 4: I also want to acknowledge the country that you sit

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Speaker 4: on and the country that I sit on and rest

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Speaker 4: and create, and that is the categal wangle down here

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Speaker 4: in Sydney.

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Speaker 5: And I'm as you've.

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Speaker 4: Said, my name is Leah Purcell and I'm a goal

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Speaker 4: gungu walka walk murray woman, and thank you for having

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Speaker 4: me on Black Magic Woman podcast.

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Speaker 3: Oh Let's create the magic. I was just going to say.

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Speaker 2: Aunt with all of my guests, I always ask them

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Speaker 2: to introduce themselves and I think it's an amazing way

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Speaker 2: for you to talk about or share with us what

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Speaker 2: you want to share. And at the end, I'm going

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Speaker 2: to wrap up with your buyer, which is a couple

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Speaker 2: of pages long.

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Speaker 3: But can you our listeners.

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Speaker 2: You did already say a bit about your people, your mom,

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Speaker 2: but for people, especially those that are not familiar with

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Speaker 2: Queensland or Murray people and Murray Country, we've got listeners

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Speaker 2: now all around the world.

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Speaker 3: Can you share with us you.

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Speaker 2: Know who your people are, where you grew up. And

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Speaker 2: just a little bit more about to South yep.

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Speaker 4: So my bloodline to country in the Nations that I

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Speaker 4: just ran off there is up in Goa, which is

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Speaker 4: oh CoA up in Winton, so that's near Longridge. That's

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Speaker 4: central North and then you come down that center line

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Speaker 4: to my grandmother's country, which is my mother's mother and

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Speaker 4: that's Gungay so that's out near Mitchell and Roma and

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Speaker 4: then Woker Walker is my spiritual place of birth. We've

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Speaker 4: got historical connection to that country for over one hundred

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Speaker 4: years because that's where my grandmother. She was stolen from

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Speaker 4: Mitchell and placed in Sherburg in nineteen ten, and my

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Speaker 4: grandfather came to Sherburg to live with his mother's sister

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Speaker 4: and they met and married and they had seven daughters

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Speaker 4: out there on Sherberg. They lived in Broadway Street, fourth house,

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Speaker 4: on the right up from the roundabout. And when my

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Speaker 4: mother was fifteen, my grandfather got a job with some

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Speaker 4: white people in the township of Mergen and they left

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Speaker 4: the settlement and they were living out on properties. So

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Speaker 4: I grew up in town. I'm the youngest of seven

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Speaker 4: brothers and sisters, five girls, two boys, and my dad

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Speaker 4: is a white fall but he wasn't present in my life,

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Speaker 4: so it was just me and my mom. He had

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Speaker 4: a little bit more to do with the older ones,

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Speaker 4: but he was married to a white woman and had

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Speaker 4: children with her, but he had six.

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Speaker 5: To my mom.

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Speaker 4: So my mom's my hero, my mother, my father. You know,

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Speaker 4: she gave a lot of time to her mother, looked

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Speaker 4: after her. She was bed ridden for twenty seven years

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Speaker 4: with arthur Rotis and Parkinson's disease. Then she looked after

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Speaker 4: her grand father and unfortunately not long after well, when

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Speaker 4: I turned eight in I turned eighting in August. I

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Speaker 4: had my daughter in September. My mother passed away in October.

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Speaker 4: So unfortunately, you know, when her life was just beginning,

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Speaker 4: it was taken from her. But her death had set

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Speaker 4: me free, So I reckon, that's the greatest gift she

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Speaker 4: could give me to get me out of the situation.

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Speaker 4: Being the youngest, you know, you've got that responsibility to

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Speaker 4: stay there. But I was in an abusive relationship and

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Speaker 4: I had to I had to get out.

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Speaker 5: And I'll often.

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Speaker 4: Say that her gift to me was her passing. So

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Speaker 4: I couldn't go on in life without busting myself to

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Speaker 4: do right by that woman, you know. So and my

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Speaker 4: and my grandmother because she was from that that generation

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Speaker 4: where they had no voice, you know, on her papers

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Speaker 4: when they moved to brand but they were all considered subhuman,

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Speaker 4: like what is that?

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Speaker 5: You know?

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Speaker 4: So I do what I do for my mother and

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Speaker 4: my grandmother because they went through the hard times. And

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Speaker 4: yes there's hard times today, but we're living in a

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Speaker 4: world where we can make a change and make a difference.

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Speaker 4: And that's just my motto. So I'm out there having

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Speaker 4: a crack.

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Speaker 3: I absolutely connected with.

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Speaker 2: It's interesting because I've never ever heard you speak about

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Speaker 2: I've heard you speak about your mother, but I haven't.

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Speaker 2: I didn't know that you passed when you were eighteen.

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Speaker 2: And my mother passed in August, two months after my

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Speaker 2: eighteenth birthday. She was on holidays back in Redfern because

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Speaker 2: we live in Brisbane, then on holidays back in Redfern,

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Speaker 2: and had a heart attack on the block at the

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Speaker 2: age of forty five. And I talk about it every

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Speaker 2: single day because I'm delivering training and we talk about

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Speaker 2: closing the gap and statistics around life expectancy. I share

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Speaker 2: with people my own lived experience and our family history.

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Speaker 2: So straight away when you said August eighteen, I just

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Speaker 2: started to think, hold a minute, there's something here that

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Speaker 2: I can with instantly. And when you said it set

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Speaker 2: you free, you know, with your mum passing. With my

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Speaker 2: mom passing, it felt like we had to grow up

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Speaker 2: a little bit more quicker now to help my dad,

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Speaker 2: who had our grandmother living with us, but also to

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Speaker 2: help my older sisters raise their children. But when I

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Speaker 2: look back at that now, I feel like it was

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Speaker 2: an honor, you know, for dad to see me as

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Speaker 2: the most capable at the age of eighteen to step

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Speaker 2: up and look after four younger children. And now when

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Speaker 2: I look back at those young children and them growing

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Speaker 2: up and them raising their children, just how as black

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Speaker 2: fellows that we drop everything to make sure that our

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Speaker 2: family and our children like that we can keep them

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Speaker 2: and look after them. So thank you for sharing that

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Speaker 2: with us. And what about your husband?

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Speaker 4: And you've got a daughter, yes, yes, well my daughter

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Speaker 4: she's thirty three and I've got two wonderful grandsons from her,

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Speaker 4: they're fourteen and eleven. And you know, as family, we

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Speaker 4: all lived together in the one house, so you know this.

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Speaker 4: We need a new house, so, you know, but we're

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Speaker 4: family and we wouldn't want it any other way. My

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Speaker 4: partner and husband and poor fella, you know, been with

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Speaker 4: me for thirty years.

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Speaker 5: Baine Stewart.

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Speaker 4: He's a new knuckle nug grounpul man from Stradbroke Island.

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Speaker 4: So his mob, his mother's from over there, and his

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Speaker 4: dad is was he always says it a coal miner

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Speaker 4: from Cesnoch All that the white side of his family

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Speaker 4: up that way. And I think we me and main

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Speaker 4: sort of, you know, we we we sort of is

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Speaker 4: it the ying and the yang of each other, you know,

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Speaker 4: It's funny because he grew up with his white dad

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Speaker 4: more with because his mom moved away to Melbourne.

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Speaker 5: And I grew up with my black mom and had

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Speaker 5: not much to do with my white dad.

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Speaker 4: So when we got together, we kind of it was.

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Speaker 4: I loved sitting down unto his dad because I go, oh,

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Speaker 4: this is what it looks like. They have a white dad,

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Speaker 4: you know. And then and then you know, his mom

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Speaker 4: and I'd talk about my family, you know, and then

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Speaker 4: his mum come up and lived with us, so you know,

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Speaker 4: once again just opening that door to to family and

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Speaker 4: and you know that's in important that we're all together

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Speaker 4: and supporting one another. But Bain, back in his early days,

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Speaker 4: was into martial arts and he ran the first indigenous

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Speaker 4: martial arts center in Queensland at west End there and

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Speaker 4: worked over at dunder Lee at the at the you know,

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Speaker 4: the boys, what do you call it those days?

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Speaker 2: It wasn't the youth service, the hostile kind of.

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Speaker 5: Thing hostel yep.

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Speaker 4: So and then boys would come and train with him

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Speaker 4: and work in the gym. So you know, we were

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Speaker 4: always fostering. You know, everyone would call him uncle or

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Speaker 4: Auntie Leer and you know, we had our hands there

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Speaker 4: and a few of them raising them up, or they'd

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Speaker 4: go gone, I'll send you to Uncle Bain, you know,

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Speaker 4: and they'd come and stay with us. But yeah, so

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Speaker 4: he had a big, big connection with them, all them

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Speaker 4: young fellows there, and and then we sort of picked up,

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Speaker 4: and of course I was interested in performing. And one

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Speaker 4: day there we were sort of about three months into

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Speaker 4: our relationship and typical black fall away.

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Speaker 5: So we met by a blind.

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Speaker 4: Date because my cousin worked for his cousin and I

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Speaker 4: went to get a job off his cousin and she said,

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Speaker 4: you don't want to be a secretary.

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Speaker 5: You want to be an actor.

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Speaker 4: And I said, well yeah, and she said he yeah,

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Speaker 4: any good? And I said, oh I think so. And

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Speaker 4: she said, well, I'm not going to squash your dream.

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Speaker 4: She said, I can get you a good man.

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Speaker 5: I said, oh no, I'm right, I'm right. I just

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Speaker 5: finished with a long relationship. I'm good.

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Speaker 4: But we eventually picked up, and then three months into

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Speaker 4: our relationship, I was over at this place and I was,

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Speaker 4: you know, you get comfortable, and I'm there singing in

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Speaker 4: the shower and he come and he said, you you've

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Speaker 4: got a good voice. And I said, I'm not going

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Speaker 4: all I'm already sleaving with you.

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Speaker 3: So you making mom trying to kids up.

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Speaker 4: Yeah, and he said, no, I'm serious, you're you know

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Speaker 4: you're talented.

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Speaker 5: And then he went for a jog. And this is true.

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Speaker 4: Who was cruising up around Musgrave Park. They're coming past

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Speaker 4: Jaggar Arts And in the in the gutter was a

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Speaker 4: yellow piece of paper but it was flipped over and

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Speaker 4: he stopped for some reason and picked it up. And

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Speaker 4: there was a Murray music workshop and there was Uncle Hedley,

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Speaker 4: Gary Cooch and then my relations you know, there was

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Speaker 4: Uncle Oh all their names were good out of my head.

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Speaker 4: Uncle Angus Rabbit was there, Uncle Robin o' chin. You know,

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Speaker 4: legends in our in our community for music, you know.

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Speaker 4: And I said, I know, well their mom, that's my

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Speaker 4: family gone. They run a monk, you know.

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Speaker 5: And I said, and then Bade said no, no, no,

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Speaker 5: you should go. And I went.

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Speaker 4: And it was the best thing that I could have done,

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Speaker 4: because of course I was uncles and you felt, you

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Speaker 4: felt empowered, and you didn't feel silly to ask questions.

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Speaker 5: You know, you didn't feel dumb.

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Speaker 4: You know, if there was might have been Miglou marlbarrand

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Speaker 4: you know, and I would drive them crazy because I

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Speaker 4: just wouldn't move from the Mike dagalia, can you give

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Speaker 4: us a we want to go for smokeo and a

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Speaker 4: cup of tea, you know, And I'd say, you can go.

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Speaker 5: I'm just waiting, and you know, through that he here, Yeah,

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Speaker 5: I'm just waiting.

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Speaker 4: Gone, you can go, And I said, and through that

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Speaker 4: that that that got I had the experience of working

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Speaker 4: with the band we made the little cassette of sharing

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Speaker 4: the load. I wrote my first song and you know,

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Speaker 4: and and and being back up and helping. So having

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Speaker 4: that Murray start, you know, into my career made me

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Speaker 4: feel strong and if I can finish with on that

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Speaker 4: little note there, then your grandmother Anney Maureen wrote through

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Speaker 4: Murray Eyes about stories about Musgrove Park Uni. Kathy Fisher

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Speaker 4: directed it and it was the first sort of theater

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Speaker 4: where it was majority black flow cast and there's only

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Speaker 4: two white fellows. I'm pretty sure.

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Speaker 5: That was in it.

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Speaker 4: And it was our production. And we did it at

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Speaker 4: Jugger Arts there on the lawn. And once again having

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Speaker 4: that Murray start, you know, working with on a cassie

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Speaker 4: g Kathy, she worked me hard, made to go back

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Speaker 4: three times I said, yeah, an't we related?

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Speaker 5: Come on now, and you know, she said, you want.

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Speaker 4: To be in this industry, you work hard, and I'm

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Speaker 4: grateful for that. She taught us how to dance, you know,

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Speaker 4: before we'd go for lunch, she'd make us. We wouldn't

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Speaker 4: even holes mate there in Jaggar before we got that

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Speaker 4: step right, you know. So but it was really I

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Speaker 4: think it was really important, and I felt privileged to

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Speaker 4: have that Murray start in my industry because I wasn't

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Speaker 4: afraid to ask questions I might have if I was

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Speaker 4: just thrown into white fellow mainstream, you know.

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Speaker 2: And I was just going to say in terms of

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Speaker 2: you know, that groundedness and being grounded in culture and

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Speaker 2: around people like Grand who was just amazing with her knowledge,

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Speaker 2: her wisdom, her life experience.

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Speaker 3: You know, she's been around the world.

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Speaker 2: I don't know how many how many stamps that she

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Speaker 2: had in her passport, you know, I didn't even know

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Speaker 2: what a passport was back in them days. But Grand

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Speaker 2: she was never home, always gone. But in terms of

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Speaker 2: the storytelling, Gran was an amazing storyteller and she was

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Speaker 2: known all around the world. And I'll always remember in

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Speaker 2: terms of Murray Ey's I didn't know about Murray Eyes

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Speaker 2: or through Murray Eyes. But I'm now going straight to this,

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Speaker 2: the Drover's Wife, the legend of Molly Johnson. I can't

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Speaker 2: help it because when I watched the movie, you said,

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Speaker 2: there's a bit of a poem.

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Speaker 3: There about.

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Speaker 2: Black is like the color of my skin. Well, Gran

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Speaker 2: wrote a poem black is, And I remember as a

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Speaker 2: little girl in Redfern, we had T shirts. Graan used

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Speaker 2: to make us T shirts green printed, and she'd had

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Speaker 2: black ears, the color of my skin. She used to

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Speaker 2: have different things, but red, yellow, black, she used to have.

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Speaker 2: I remember, like, you know, New York, London, Paris, Redfern,

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Speaker 2: like all these different T shirts growing up, And you know,

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Speaker 2: I just I reckon that was her way way of

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Speaker 2: making sure that we knew who we were and we

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Speaker 2: knew where.

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Speaker 3: We came from.

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Speaker 2: And I just thought of that when I watched the

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Speaker 2: film a couple of weeks ago. There was a poem

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Speaker 2: there is that a poem that you wrote.

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Speaker 4: No, that's that's the song that I that sung in.

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Speaker 4: Sorry that that the character mumbles with the she hums it.

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Speaker 4: I'm trying not to give too much away, but she

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Speaker 4: hums it. So the little voice the mother hums it.

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Speaker 4: But that's an actual Irish lament, So that one was

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Speaker 4: and I was inspired by Nina Simone does a version.

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Speaker 4: But the poem you're talking about from your grandmother. Uncle

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Speaker 4: Henley Johnson put music to that, and back in the

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Speaker 4: day I used to but I didn't realize Arnie Maureen

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Speaker 4: had written that. I've actually only on my music books

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Speaker 4: here I should read to see if he put her

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Speaker 4: name on it.

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Speaker 5: But he put music to.

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Speaker 4: It, and and well I was going to break out,

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Speaker 4: but I got that other song in my head and

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Speaker 4: I used to sing that with my back is the

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Speaker 4: color of my true love's hair, black is the color

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Speaker 4: of my skin. Yeah, so yeah, so that would be

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Speaker 4: that might be your grandmother's pole.

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Speaker 2: There you go. That straightaway resonated with me. And I've

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Speaker 2: already basically said about The Drover's Wife, and it is

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Speaker 2: actually in cinemas now. I do want to talk about

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Speaker 2: the film because I'm and I'm so excited every time

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Speaker 2: us blackfellows see a movie at the cinema, right, we

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Speaker 2: get really excited for our mob because most of the

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Speaker 2: films will never make it into the cinema. And I

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Speaker 2: would say, you know, maybe it's too much or too

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Speaker 2: full on, but I would probably put it down to finances,

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Speaker 2: resources and budget. So there's the book there, the Drover's.

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Speaker 3: Wife, the Legend of Malla Johnson.

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Speaker 2: And now there's the film that roadshow Village is backed.

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Speaker 2: You star in it, you wrote it, produced it, directed it.

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Speaker 2: Uncle Bain, tell us a little bit about how this

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Speaker 2: film came to ban because I know that there's as

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Speaker 2: a whole story behind it.

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Speaker 5: Yeah.

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Speaker 4: Yeah, And I got some little show and tells here

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Speaker 4: for you too. So when I was a little a Yes,

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Speaker 4: when I was little, my mom would tell me I

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Speaker 4: was a mongrel sleeper.

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Speaker 5: I was terrible sleeper, and I slept with her.

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Speaker 4: And I'd always say, Mum, tell me that story about

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Speaker 4: that little girl and that and a sorry little boy

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Speaker 4: and his mother. And what I was referring to was

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Speaker 4: this is Henry Lawson's short story and it's fifteen short stories,

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Speaker 4: and The Drover's Wife was one of them.

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Speaker 5: So my mum would read it to me.

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Speaker 4: And I know that I was five years old because

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Speaker 4: on this page I wrote Dick, Dora, Nip and fluff,

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Speaker 4: and that was from your Grade one readers. So that

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Speaker 4: was a great record of that and this is the

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Speaker 4: this is the article, that's the picture from the drover's

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Speaker 4: wife that's out of the book. And the reason I

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Speaker 4: reckon I connected to this story. I was five years

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Speaker 4: old and I started to use my imagination and I

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Speaker 4: put myself in that story that I was that little boy.

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Speaker 4: I was my mother's protector. As I said before. You know,

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Speaker 4: there was no man around, so I was her protector,

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Speaker 4: and then she was the mother, she was the father, and.

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Speaker 5: The drover's wife was left alone.

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Speaker 4: So her husband would go driving and leave her alone

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Speaker 4: and she'd have to fight off you know, rogue swagmen,

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Speaker 4: men rocking up at her place. You know, the beasts,

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Speaker 4: wild animals, wild dogs, and in this case in this

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Speaker 4: story was a snake. And I think, and you know,

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Speaker 4: we lived on the last street in Mergen. We had

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Speaker 4: a combustion stove, so we had a wood eat. My

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00:18:48,640 --> 00:18:51,439
Speaker 4: mother taught me to split a log for firewood. She

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Speaker 4: taught me to stack a wood heap, and she would say,

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Speaker 4: don't stack it hole or a snake would get under.

365
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Speaker 4: And so those things like recalled me back to that story,

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Speaker 4: and then I carried that story with me for forty

367
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Speaker 4: seven years. This little book was the one thing that

368
00:19:04,840 --> 00:19:07,439
Speaker 4: I went back into that house to grab when my

369
00:19:07,480 --> 00:19:09,880
Speaker 4: mother died. That's the one thing I took. And at

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00:19:09,920 --> 00:19:11,720
Speaker 4: that time, I wasn't going, oh, one day, I'm going

371
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Speaker 4: to make a movie. I was in a violent relationship.

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Speaker 4: I had my daughter on my hip, I had three

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Speaker 4: bags in the car, and I had that book, and

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Speaker 4: I was just worried about where I was going to

375
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Speaker 4: get a feed into bed that night and the next day.

376
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Speaker 4: So you know, jumped down to two thousand and six

377
00:19:25,600 --> 00:19:29,080
Speaker 4: and I was doing the film ginderbyne up in Ginderbine

378
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Speaker 4: with the director Ray Lawrence. And I went out on

379
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Speaker 4: country and on my days off and fell in love

380
00:19:36,320 --> 00:19:38,679
Speaker 4: with the landscape. And I said, we don't utilize it

381
00:19:38,760 --> 00:19:41,760
Speaker 4: enough in our film and television. So anyway, me and

382
00:19:41,840 --> 00:19:44,480
Speaker 4: Bain went out to Mount Kosiosco and you take it

383
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Speaker 4: all in And then I just had this urge and

384
00:19:46,760 --> 00:19:50,200
Speaker 4: I yelled out, I'm coming back and I think I'm

385
00:19:50,200 --> 00:19:52,560
Speaker 4: going to do something, and I think it's going to

386
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Speaker 4: be the Drover's.

387
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Speaker 5: Wife and I'm going to be in it. Then it

388
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Speaker 5: didn it, you.

389
00:19:55,200 --> 00:19:59,480
Speaker 4: Know, echoed around the mountains, and then you know, cut

390
00:19:59,480 --> 00:20:02,840
Speaker 4: to two thous nineteen and I'm on the opposite range

391
00:20:03,359 --> 00:20:05,760
Speaker 4: calling action and cut. So you've got to be careful

392
00:20:05,800 --> 00:20:08,400
Speaker 4: what you put out there, because dreams, you know, wishes,

393
00:20:08,440 --> 00:20:13,160
Speaker 4: become crue. And I guess, but where it all actually

394
00:20:13,200 --> 00:20:17,600
Speaker 4: started was I was a frustrated director in a writer's

395
00:20:17,600 --> 00:20:20,800
Speaker 4: workshop and all these writers were you know, they had

396
00:20:21,119 --> 00:20:25,280
Speaker 4: money thrown at them and actors and drama turks and directors,

397
00:20:25,280 --> 00:20:28,280
Speaker 4: and they were still churning out that same twelve pages.

398
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Speaker 5: And I said, Leah, don't take it out on them.

399
00:20:30,800 --> 00:20:32,600
Speaker 5: Go home and write your own. You might have that

400
00:20:32,760 --> 00:20:34,800
Speaker 5: urge to write again. So I did.

401
00:20:35,560 --> 00:20:37,560
Speaker 4: I pulled that little book off the shelf, that red

402
00:20:37,600 --> 00:20:39,280
Speaker 4: folder was s thicken out, and I said, well, maybe

403
00:20:39,320 --> 00:20:40,160
Speaker 4: it's time for you.

404
00:20:40,720 --> 00:20:42,000
Speaker 5: Sat it beside my computer.

405
00:20:42,119 --> 00:20:45,040
Speaker 4: I didn't reread it because I wanted to use the

406
00:20:45,080 --> 00:20:47,840
Speaker 4: recall of what my mother told me and what I remembered.

407
00:20:48,359 --> 00:20:49,760
Speaker 5: And I sat down and wrote in.

408
00:20:49,760 --> 00:20:51,919
Speaker 4: Seven days the first draft, or I call it a

409
00:20:52,320 --> 00:20:54,560
Speaker 4: I call it a spew. It's just everything just comes.

410
00:20:54,440 --> 00:20:55,480
Speaker 5: Out, ideas and away.

411
00:20:55,520 --> 00:20:58,280
Speaker 4: I went five days for Act one, two days for

412
00:20:58,359 --> 00:21:01,280
Speaker 4: Act two, and then I handed it in for the

413
00:21:01,320 --> 00:21:06,840
Speaker 4: Bell Knaves Fellowship at Belvoir Street Theater in Sydney, and

414
00:21:06,840 --> 00:21:09,880
Speaker 4: and I only had to do fifteen pages. And this

415
00:21:09,920 --> 00:21:13,919
Speaker 4: is true. I got a little late. Don't forget to

416
00:21:14,000 --> 00:21:16,320
Speaker 4: hand in your scripts for the bell Nave things. And

417
00:21:16,359 --> 00:21:18,720
Speaker 4: I said, oh, final notice. And I said I never

418
00:21:18,760 --> 00:21:21,000
Speaker 4: got the first one because I didn't think. I thought

419
00:21:21,040 --> 00:21:24,200
Speaker 4: you had to be a new writer. But it was

420
00:21:24,240 --> 00:21:25,679
Speaker 4: it for anyone if you were as moll. As long

421
00:21:25,720 --> 00:21:28,000
Speaker 4: as you were mob you know, aboriginal torst rate holity,

422
00:21:28,080 --> 00:21:29,040
Speaker 4: you could apply for it.

423
00:21:29,760 --> 00:21:31,800
Speaker 5: So this was True's god.

424
00:21:31,640 --> 00:21:35,080
Speaker 4: This was three point thirty and I rung Bayne and

425
00:21:35,119 --> 00:21:35,880
Speaker 4: he said what do you want?

426
00:21:35,920 --> 00:21:37,320
Speaker 5: I said, what are you doing? He said, no, what

427
00:21:37,840 --> 00:21:38,280
Speaker 5: do you want?

428
00:21:38,560 --> 00:21:40,920
Speaker 4: And I said, well, at five o'clock is the deadline

429
00:21:40,960 --> 00:21:43,960
Speaker 4: for the bell Knaves Fellowship. You've got two hours to

430
00:21:44,040 --> 00:21:47,080
Speaker 4: do an application and even oh true, And I said,

431
00:21:47,080 --> 00:21:49,600
Speaker 4: well I've got the fifteen pages, you do the application.

432
00:21:49,720 --> 00:21:52,280
Speaker 5: So away you went, and one minute to five he

433
00:21:52,400 --> 00:21:53,480
Speaker 5: pressed that send.

434
00:21:53,240 --> 00:21:55,919
Speaker 4: Button and said it's gone. And then you know, my

435
00:21:56,000 --> 00:21:58,880
Speaker 4: only note back was what happens next? So we won

436
00:21:58,920 --> 00:22:02,240
Speaker 4: that fellowship and allowed me to write with some finance

437
00:22:02,280 --> 00:22:05,000
Speaker 4: to help, because my acting gigs are how we pay

438
00:22:05,000 --> 00:22:07,400
Speaker 4: the rent and buy the bread and milk and give

439
00:22:07,440 --> 00:22:10,840
Speaker 4: money out to mob and so to sit down with

440
00:22:10,880 --> 00:22:15,080
Speaker 4: a bit of finance and the script editors. It allowed

441
00:22:15,119 --> 00:22:15,760
Speaker 4: me to come up.

442
00:22:15,640 --> 00:22:17,200
Speaker 5: With the drover's wife the play.

443
00:22:17,800 --> 00:22:22,480
Speaker 4: And this play went on to win major awards like

444
00:22:22,560 --> 00:22:24,639
Speaker 4: a one Book of the Year, which is unheard of.

445
00:22:24,760 --> 00:22:25,840
Speaker 5: A player had never won it.

446
00:22:26,440 --> 00:22:29,640
Speaker 4: And also we sold out in four days. We only

447
00:22:29,640 --> 00:22:32,439
Speaker 4: did thirty three shows. We've only done one season of

448
00:22:32,480 --> 00:22:36,960
Speaker 4: it there. But within that time Bain amazingly got all

449
00:22:37,000 --> 00:22:41,600
Speaker 4: the people that finance film in Sydney to come along

450
00:22:41,640 --> 00:22:44,400
Speaker 4: and see the show and they loved it. They had

451
00:22:44,480 --> 00:22:47,280
Speaker 4: had a first draft placed in and then he sort

452
00:22:47,280 --> 00:22:49,080
Speaker 4: of looked across at them, you know, it was our

453
00:22:49,320 --> 00:22:53,360
Speaker 4: fifth Encrese standing over as it was crazy and the.

454
00:22:53,320 --> 00:22:54,280
Speaker 5: Boy said, what are you done?

455
00:22:54,680 --> 00:22:56,840
Speaker 4: I don't know, just take the bow, you know. I said,

456
00:22:56,880 --> 00:22:58,720
Speaker 4: I was just bored and I wanted to write something.

457
00:23:00,080 --> 00:23:03,280
Speaker 4: They said, Leah, we'd love you to, you know, continue

458
00:23:03,320 --> 00:23:06,560
Speaker 4: on and develop the film out of that. So that's

459
00:23:06,680 --> 00:23:10,520
Speaker 4: kind of how it all sort of worked together. And

460
00:23:10,880 --> 00:23:14,439
Speaker 4: you know, and it opened in Australia nationally, it's going

461
00:23:14,520 --> 00:23:19,160
Speaker 4: to open in the UK and America is not too

462
00:23:19,200 --> 00:23:22,400
Speaker 4: far behind. We've got a meeting with the distributors over

463
00:23:22,440 --> 00:23:24,720
Speaker 4: there next week to work out when that's coming out.

464
00:23:24,760 --> 00:23:27,560
Speaker 4: So it's like pinch me moment, you know, I've just come.

465
00:23:27,880 --> 00:23:31,560
Speaker 4: I was a little girl from a single it's happening, yeah,

466
00:23:31,640 --> 00:23:32,680
Speaker 4: you know, but my mother.

467
00:23:32,560 --> 00:23:34,800
Speaker 5: Was on a single parent pension. We didn't have anything.

468
00:23:34,800 --> 00:23:36,240
Speaker 4: I've got most of my new clothes out of a

469
00:23:36,240 --> 00:23:38,679
Speaker 4: plastic bag from families, you know.

470
00:23:39,040 --> 00:23:41,680
Speaker 5: And we did it tough. When we came to Sydney.

471
00:23:41,760 --> 00:23:44,119
Speaker 5: You know, Bain was working doors.

472
00:23:43,880 --> 00:23:46,159
Speaker 4: And you know, I was doing what you have to

473
00:23:46,160 --> 00:23:49,800
Speaker 4: do and here we are a film you know, nationally

474
00:23:50,520 --> 00:23:56,160
Speaker 4: big name, but no it's still no blankets.

475
00:23:54,600 --> 00:23:56,399
Speaker 3: Is a famous CD title.

476
00:23:56,440 --> 00:24:02,399
Speaker 5: There were yeah, blank lea. You know.

477
00:24:02,760 --> 00:24:07,000
Speaker 2: In terms of I would say the incredible success that

478
00:24:07,080 --> 00:24:10,800
Speaker 2: you've had over you know, what is it, thirty years

479
00:24:10,840 --> 00:24:16,240
Speaker 2: at least. You've been writing, acting, singing very long time.

480
00:24:17,440 --> 00:24:19,359
Speaker 2: A lot of people don't realize it, or maybe in

481
00:24:19,400 --> 00:24:22,040
Speaker 2: the arts they dude that. You know, success doesn't usually

482
00:24:22,080 --> 00:24:25,800
Speaker 2: happen overnight. It's a long, hard slog, but I just

483
00:24:25,800 --> 00:24:27,359
Speaker 2: want to say this, and I'm going to be very

484
00:24:27,359 --> 00:24:31,879
Speaker 2: straight up now. I would say that if he was

485
00:24:31,920 --> 00:24:34,119
Speaker 2: a wide Australian woman that people would know who you

486
00:24:34,200 --> 00:24:38,399
Speaker 2: are and you probably would have rose to fame on

487
00:24:38,840 --> 00:24:41,960
Speaker 2: a whole other level if he was a wide Australian woman,

488
00:24:42,680 --> 00:24:45,880
Speaker 2: and I really do that's my own opinion. But as

489
00:24:45,920 --> 00:24:49,800
Speaker 2: a black woman and someone who's not afraid of telling

490
00:24:49,880 --> 00:24:53,200
Speaker 2: the truth and telling it how it is, that it's

491
00:24:53,320 --> 00:24:55,920
Speaker 2: kind of taken a lot longer for you to kind

492
00:24:55,960 --> 00:24:56,240
Speaker 2: of be.

493
00:24:57,720 --> 00:25:00,600
Speaker 3: Even recognized. And you know, I was very honor to.

494
00:25:00,560 --> 00:25:05,560
Speaker 2: Be part of your Australian Film Walk of Fame, the

495
00:25:05,920 --> 00:25:09,439
Speaker 2: gold Star there outside the Ritz Cinema in Randwick. And

496
00:25:09,520 --> 00:25:12,360
Speaker 2: it was that moment where you were being acknowledged from

497
00:25:12,440 --> 00:25:16,199
Speaker 2: your industry that just in my own opinion, I was

498
00:25:16,240 --> 00:25:18,440
Speaker 2: thinking it was lung overdue.

499
00:25:19,040 --> 00:25:23,000
Speaker 5: Yeah, no, thank you, No, you are absolutely spot on,

500
00:25:23,080 --> 00:25:23,440
Speaker 5: I think.

501
00:25:24,880 --> 00:25:29,080
Speaker 4: And it was because yes, on fair skin, but my

502
00:25:29,200 --> 00:25:32,040
Speaker 4: tongue and my soul is black and with that black tongue,

503
00:25:32,200 --> 00:25:35,400
Speaker 4: i'd speak be a truth teller from way back and

504
00:25:35,440 --> 00:25:36,800
Speaker 4: they were confused as to.

505
00:25:36,760 --> 00:25:37,439
Speaker 5: Where to put me.

506
00:25:38,960 --> 00:25:41,040
Speaker 4: And you know I got because I got my first

507
00:25:41,119 --> 00:25:44,480
Speaker 4: role in police rescue and that wasn't any any race.

508
00:25:44,640 --> 00:25:45,879
Speaker 5: She was just a character.

509
00:25:46,800 --> 00:25:50,479
Speaker 4: But then I got vocal through all the movements that

510
00:25:50,520 --> 00:25:53,159
Speaker 4: we did, like we had the you know, there was

511
00:25:53,200 --> 00:25:56,000
Speaker 4: a big movement for native title when that started. Because

512
00:25:56,000 --> 00:26:00,040
Speaker 4: I did a lot of stuff with Annie Lowadjoor, Donna Hue,

513
00:26:00,280 --> 00:26:03,600
Speaker 4: Noel Pearce and Aiden Ridgeway. There was all us mob

514
00:26:03,680 --> 00:26:06,040
Speaker 4: and I'd just do the singing. I'd sing that song,

515
00:26:06,119 --> 00:26:08,720
Speaker 4: Run Daisy Run, and we went around. So I was

516
00:26:09,040 --> 00:26:12,919
Speaker 4: and in those days, no cameras, no Facebook, no social media,

517
00:26:13,000 --> 00:26:14,320
Speaker 4: so no one sort of knew.

518
00:26:14,080 --> 00:26:15,680
Speaker 5: That we were on the ground trying to.

519
00:26:17,359 --> 00:26:20,639
Speaker 4: Reassure Australia that their hills hoists weren't going to be taken.

520
00:26:21,040 --> 00:26:24,760
Speaker 4: So because of my activism, yeah, the industry wasn't quite

521
00:26:24,800 --> 00:26:27,320
Speaker 4: sure where to put me. And that's why I started

522
00:26:27,680 --> 00:26:31,560
Speaker 4: advocating my own roles or when people like back in

523
00:26:31,560 --> 00:26:35,200
Speaker 4: the ninety six on Fallen Angels, that was an Indigenous role.

524
00:26:35,480 --> 00:26:38,560
Speaker 4: And I was doing consultancy work on there and wasn't getting.

525
00:26:38,280 --> 00:26:39,760
Speaker 5: Paid for it or acknowledged for it.

526
00:26:40,119 --> 00:26:44,119
Speaker 4: But I said, you follows don't know this woman, you know.

527
00:26:45,000 --> 00:26:47,240
Speaker 4: So I was adding to the script and helping with

528
00:26:47,280 --> 00:26:48,639
Speaker 4: the other mob that would come in.

529
00:26:48,920 --> 00:26:51,040
Speaker 5: Good on them for having a go and crack.

530
00:26:51,160 --> 00:26:53,719
Speaker 4: But then I became that's when I realized that I

531
00:26:53,760 --> 00:26:56,119
Speaker 4: could be doing this and I could be writing the

532
00:26:56,160 --> 00:26:59,080
Speaker 4: best roles for me and for other mobs.

533
00:26:59,440 --> 00:27:01,600
Speaker 5: So yeah, you know, I think you're right.

534
00:27:01,640 --> 00:27:04,040
Speaker 4: A few people else have said, or if you're an

535
00:27:04,040 --> 00:27:07,679
Speaker 4: America Leah, you know, the industry is fickle, you know,

536
00:27:08,480 --> 00:27:11,520
Speaker 4: it's small. We still have that thing in Australia, the

537
00:27:12,160 --> 00:27:13,280
Speaker 4: tall poppy syndrome.

538
00:27:13,359 --> 00:27:14,520
Speaker 5: And I've got that from both.

539
00:27:14,320 --> 00:27:17,359
Speaker 4: Sides, black and white, you know, of you know, the

540
00:27:17,400 --> 00:27:20,320
Speaker 4: old crabs in the bucket pulling you down just in case,

541
00:27:20,400 --> 00:27:22,840
Speaker 4: you know where people says, oh, you want to do everything,

542
00:27:22,880 --> 00:27:24,879
Speaker 4: and I go, yeah, well why not if you've got

543
00:27:24,920 --> 00:27:26,159
Speaker 4: the skill and you've got the talent.

544
00:27:26,480 --> 00:27:27,480
Speaker 5: Then would you tell.

545
00:27:27,400 --> 00:27:30,240
Speaker 4: Jonathan Thurston to play half a game because he's too deadly?

546
00:27:31,160 --> 00:27:33,600
Speaker 4: Would you tell Kathy Freeman to not run so fast

547
00:27:33,640 --> 00:27:34,480
Speaker 4: because you're too good?

548
00:27:34,520 --> 00:27:34,879
Speaker 5: Sis?

549
00:27:34,920 --> 00:27:38,400
Speaker 4: You know? So why can't we be as deadly as

550
00:27:38,440 --> 00:27:41,160
Speaker 4: we need to be? And because I know that I've

551
00:27:41,240 --> 00:27:44,200
Speaker 4: done a lot for my community. You know, I've done

552
00:27:44,200 --> 00:27:46,800
Speaker 4: a lot for young people around this country and they

553
00:27:46,840 --> 00:27:49,800
Speaker 4: appreciate it, and they know because they call me mama,

554
00:27:49,960 --> 00:27:50,720
Speaker 4: you know, and.

555
00:27:52,520 --> 00:27:56,880
Speaker 5: I'm so I never ever have done anything selfish, you know,

556
00:27:57,040 --> 00:27:57,800
Speaker 5: It's all for me.

557
00:27:58,320 --> 00:28:01,560
Speaker 4: Where I've given back done at tenfold and all those

558
00:28:01,600 --> 00:28:05,399
Speaker 4: young people that I've worked with, known like Akpa was

559
00:28:05,440 --> 00:28:09,240
Speaker 4: a great example of nearly over two hundred children, young

560
00:28:09,240 --> 00:28:12,520
Speaker 4: people come through there and we had the biggest success

561
00:28:13,119 --> 00:28:18,480
Speaker 4: of you know, the outcomes of mob going into avenues

562
00:28:18,520 --> 00:28:21,520
Speaker 4: within the industry, which I'm very very proud of. Or

563
00:28:21,560 --> 00:28:23,840
Speaker 4: if they didn't go into the industry, they had that

564
00:28:24,000 --> 00:28:29,119
Speaker 4: confidence to to to get work and go forward and

565
00:28:29,800 --> 00:28:32,320
Speaker 4: you know, or even just to just to be in

566
00:28:32,440 --> 00:28:35,720
Speaker 4: someone's space at a time where they might have needed

567
00:28:35,760 --> 00:28:37,280
Speaker 4: someone to give them a hug or give them a

568
00:28:37,320 --> 00:28:40,120
Speaker 4: pep up or you know, show them that there is

569
00:28:40,640 --> 00:28:43,640
Speaker 4: a life out there if you work hard to make it,

570
00:28:43,720 --> 00:28:46,320
Speaker 4: go for it. And me and may have worked extremely hard.

571
00:28:46,920 --> 00:28:50,560
Speaker 4: You know, We've jumped through windows, we went through backdoors.

572
00:28:50,640 --> 00:28:53,320
Speaker 4: We've tackled people on the street to tell them an idea,

573
00:28:54,600 --> 00:28:56,480
Speaker 4: you know, and people go, oh, they.

574
00:28:56,400 --> 00:28:58,640
Speaker 5: Can talk them too, but you know that's the industry.

575
00:28:58,640 --> 00:29:00,960
Speaker 4: You've got to sell your idea. You got to back yourself.

576
00:29:01,280 --> 00:29:03,800
Speaker 4: And if you don't back yourself, then who does If

577
00:29:03,840 --> 00:29:07,240
Speaker 4: we didn't believe, if he didn't believe, of course, yeah,

578
00:29:07,360 --> 00:29:10,840
Speaker 4: we wouldn't be here, you know, And I've always said

579
00:29:10,840 --> 00:29:13,080
Speaker 4: to people, you've got to be proactive. My mother used

580
00:29:13,120 --> 00:29:14,880
Speaker 4: to say to me, well, you make me while Leah,

581
00:29:14,920 --> 00:29:15,920
Speaker 4: You've always got a plan.

582
00:29:16,400 --> 00:29:18,040
Speaker 5: I always had a plan when I was a kid.

583
00:29:18,440 --> 00:29:21,000
Speaker 5: If one thing didn't work, Lea always had a plan

584
00:29:21,080 --> 00:29:21,520
Speaker 5: for another.

585
00:29:21,920 --> 00:29:25,600
Speaker 2: You always one step, one step ahead, a couple of

586
00:29:25,600 --> 00:29:28,040
Speaker 2: steps ahead. And I was going to say, so, really,

587
00:29:28,240 --> 00:29:30,720
Speaker 2: when I look at you and Uncle Bain, it really

588
00:29:30,760 --> 00:29:34,480
Speaker 2: is a team effort, right, our partnership to be able

589
00:29:34,560 --> 00:29:38,480
Speaker 2: to get the film, you know, to be open now

590
00:29:38,640 --> 00:29:42,560
Speaker 2: in cinemas across Australia. So Uncle Bain, so you starring

591
00:29:42,600 --> 00:29:46,360
Speaker 2: it as Molly, Yeah, and you produce it and directed

592
00:29:46,440 --> 00:29:51,800
Speaker 2: and Uncle Bain was also directing you.

593
00:29:51,800 --> 00:29:54,600
Speaker 5: No producer so he was the lead producer.

594
00:29:54,920 --> 00:29:57,320
Speaker 3: So yeah, he was the lead producer.

595
00:29:58,120 --> 00:29:58,680
Speaker 5: Yeah.

596
00:29:58,800 --> 00:30:02,720
Speaker 4: So he he's I get the ideas and he goes

597
00:30:02,760 --> 00:30:06,880
Speaker 4: and sells them. So he worked. We did a co

598
00:30:06,920 --> 00:30:10,760
Speaker 4: production with Bunya Productions because this is our first time

599
00:30:10,840 --> 00:30:14,240
Speaker 4: so we're inexperienced in that. But Bain was at the

600
00:30:14,280 --> 00:30:16,160
Speaker 4: forefront when we had to sit down and have all

601
00:30:16,200 --> 00:30:20,880
Speaker 4: those conversations with philanthropic people that wanted to invest or.

602
00:30:21,080 --> 00:30:25,520
Speaker 4: You know, he was leading that charge of talking up

603
00:30:25,920 --> 00:30:28,680
Speaker 4: who I was talking up the story.

604
00:30:28,760 --> 00:30:30,719
Speaker 5: And he's a great talker and he's a great believer

605
00:30:30,800 --> 00:30:31,040
Speaker 5: in it.

606
00:30:31,520 --> 00:30:37,040
Speaker 4: So he's talked and he's still and he's exhausted right now,

607
00:30:37,160 --> 00:30:40,160
Speaker 4: you know, because he's got he's talking to America, he's

608
00:30:40,160 --> 00:30:42,920
Speaker 4: talking to the UK because we're yet to come out

609
00:30:42,920 --> 00:30:47,920
Speaker 4: over there. You know, he's trying to get as much

610
00:30:47,960 --> 00:30:51,720
Speaker 4: promotion out of the film so that people support it

611
00:30:51,760 --> 00:30:54,480
Speaker 4: and go see it in cinemas because we've got to

612
00:30:54,480 --> 00:30:57,920
Speaker 4: pay back all the money to others before we even

613
00:30:57,960 --> 00:30:59,360
Speaker 4: see a cent of it, you know what I.

614
00:30:59,280 --> 00:31:02,720
Speaker 5: Mean, Big name, no blanket. Still and he'd just working.

615
00:31:03,520 --> 00:31:06,760
Speaker 4: And you know, he's such a good business man as well,

616
00:31:06,760 --> 00:31:08,440
Speaker 4: in the sense of he knows when to push, he

617
00:31:08,520 --> 00:31:09,160
Speaker 4: knows when.

618
00:31:08,960 --> 00:31:09,720
Speaker 5: To step back.

619
00:31:10,160 --> 00:31:16,120
Speaker 4: He's brilliant in how he puts everything together. And packaging

620
00:31:16,200 --> 00:31:18,920
Speaker 4: he's packaging. The biggest compliment that followed Gott was when

621
00:31:18,920 --> 00:31:21,560
Speaker 4: we were in America and someone said, this is the

622
00:31:21,600 --> 00:31:25,000
Speaker 4: best packaging I've ever received. And they were a very

623
00:31:25,040 --> 00:31:28,040
Speaker 4: well known person in a in you know, in my

624
00:31:28,120 --> 00:31:30,240
Speaker 4: I don't know if it was Warner Brothers or one

625
00:31:30,240 --> 00:31:30,480
Speaker 4: of them.

626
00:31:30,800 --> 00:31:32,560
Speaker 5: You know, they went, wow, this is amazing.

627
00:31:32,600 --> 00:31:35,760
Speaker 4: So that was real validation for him and what he does,

628
00:31:35,880 --> 00:31:37,800
Speaker 4: you know, and he's a virgo, so.

629
00:31:37,840 --> 00:31:38,840
Speaker 5: He's very precise.

630
00:31:39,400 --> 00:31:42,960
Speaker 4: And then one other, one other of our investors you know,

631
00:31:43,480 --> 00:31:45,920
Speaker 4: who passed away now bless him, and he was a

632
00:31:45,960 --> 00:31:48,720
Speaker 4: really he was a great mentor. That was Neil bal Knaves,

633
00:31:49,400 --> 00:31:52,640
Speaker 4: a great mentor for Bain and Baane could pick the

634
00:31:52,640 --> 00:31:54,760
Speaker 4: phone up and ask questions and Neil was there to

635
00:31:54,840 --> 00:31:56,040
Speaker 4: answer everything.

636
00:31:56,080 --> 00:31:57,720
Speaker 5: And Neil said some amazing things.

637
00:31:57,760 --> 00:32:00,080
Speaker 4: He said, Baine, you you're spot on in how you

638
00:32:00,160 --> 00:32:02,520
Speaker 4: do business in this industry, and you.

639
00:32:02,560 --> 00:32:04,080
Speaker 5: Too will go a long way, you know.

640
00:32:04,480 --> 00:32:09,480
Speaker 4: And he, you know, we basically fell into it. Well,

641
00:32:09,520 --> 00:32:12,080
Speaker 4: he did managing me by mistake, because I couldn't get

642
00:32:12,120 --> 00:32:14,239
Speaker 4: an agent, and I had a book deal, I had

643
00:32:14,280 --> 00:32:17,800
Speaker 4: a play. I just finished Police Rescue Fallen Angels, but

644
00:32:17,920 --> 00:32:20,960
Speaker 4: their quota for indigenous people was full and they didn't

645
00:32:21,000 --> 00:32:24,479
Speaker 4: want anyone else. So he had to step in and

646
00:32:24,560 --> 00:32:27,720
Speaker 4: start managing me. You know, he's and he used to

647
00:32:27,760 --> 00:32:30,760
Speaker 4: manage boxes and he said them boxes and fighters kick boxes,

648
00:32:30,760 --> 00:32:35,960
Speaker 4: they were easy compared to Yulia.

649
00:32:35,640 --> 00:32:37,360
Speaker 2: Well, it would be it would be hard gear. I

650
00:32:37,440 --> 00:32:41,240
Speaker 2: could not even imagine. And I just like in terms

651
00:32:41,280 --> 00:32:46,440
Speaker 2: of the film and you know philanthropy. I was on

652
00:32:46,480 --> 00:32:49,600
Speaker 2: a workshop yesterday where the deadly brother there in Wa

653
00:32:49,720 --> 00:32:52,280
Speaker 2: or Nungar country named Reese. A big shout out to him,

654
00:32:52,320 --> 00:32:55,720
Speaker 2: my brother who did a session court acknowledge this for

655
00:32:56,600 --> 00:32:59,960
Speaker 2: a lot of the executives from Philanthropy Australia and I've

656
00:33:00,680 --> 00:33:06,360
Speaker 2: just taken a position on Philanthropy Australia's RAP Advisory Group,

657
00:33:07,360 --> 00:33:11,320
Speaker 2: which is pretty deadly and just doing that session and

658
00:33:11,360 --> 00:33:14,600
Speaker 2: listen to another brother talk about his country and doing

659
00:33:14,640 --> 00:33:18,000
Speaker 2: that kind of cultural awareness cultural education piece which I

660
00:33:18,120 --> 00:33:20,920
Speaker 2: do at Black Card. So I was there for two reasons.

661
00:33:21,120 --> 00:33:24,000
Speaker 2: Philanthropy Australian invited me in. Second reason is that I

662
00:33:24,040 --> 00:33:27,560
Speaker 2: wanted to meet the brother, heard of the brother and

663
00:33:27,640 --> 00:33:31,080
Speaker 2: for my own self development and cultural development professional development.

664
00:33:31,720 --> 00:33:33,640
Speaker 3: But I spoke about it at the end really.

665
00:33:33,520 --> 00:33:35,880
Speaker 2: Quickly thought I'd get a word in and I said

666
00:33:35,880 --> 00:33:39,880
Speaker 2: to everybody, I said, The Drover's Wife is out tomorrow

667
00:33:40,160 --> 00:33:41,560
Speaker 2: in cinemas around the country.

668
00:33:42,000 --> 00:33:43,000
Speaker 3: Go out and see it.

669
00:33:43,400 --> 00:33:47,480
Speaker 2: I said, big shout out to the philanthropic sector for

670
00:33:47,920 --> 00:33:51,240
Speaker 2: making this film possible. There's many players that made this

671
00:33:51,320 --> 00:33:53,960
Speaker 2: film possible. I heard art with a live Q and

672
00:33:54,000 --> 00:33:58,720
Speaker 2: a in Sydney the big premiere, and you mentioned Beal Naves,

673
00:33:58,720 --> 00:34:01,360
Speaker 2: and I just want to let the sector know. The

674
00:34:01,400 --> 00:34:04,800
Speaker 2: people sitting in that zoom session, I wanted them to

675
00:34:04,840 --> 00:34:10,480
Speaker 2: know that, you know the fact that philanthropic funding goes

676
00:34:10,520 --> 00:34:13,440
Speaker 2: to about five percent of Indigenous charities across the country,

677
00:34:13,480 --> 00:34:18,400
Speaker 2: only five percent of that money, and I really wanted

678
00:34:18,440 --> 00:34:21,200
Speaker 2: to highlight to them right then and there. You know,

679
00:34:21,400 --> 00:34:23,520
Speaker 2: first of all, kind of pat on the back, deadly

680
00:34:23,560 --> 00:34:29,480
Speaker 2: that philanthropy and philanthropic funding has contrib contributed towards this film,

681
00:34:29,840 --> 00:34:34,200
Speaker 2: but the need for their money to be invested into

682
00:34:34,239 --> 00:34:39,000
Speaker 2: our communities not just you know, you know there's suicide prevention,

683
00:34:39,120 --> 00:34:44,520
Speaker 2: there's unemployment, there's you know, incarceration rates, there's domestic violence.

684
00:34:44,560 --> 00:34:45,760
Speaker 3: There are a whole lot.

685
00:34:45,560 --> 00:34:51,320
Speaker 2: Of services and organizations in our communities that need philanthropic funding.

686
00:34:52,160 --> 00:34:55,840
Speaker 2: But I'd never thought about philanthropic funding for the arts.

687
00:34:56,760 --> 00:34:58,759
Speaker 3: And this is really important.

688
00:34:58,600 --> 00:35:03,560
Speaker 2: That this money they look not look look beyond our

689
00:35:03,560 --> 00:35:06,879
Speaker 2: community organizations that need that funding, but also to make

690
00:35:06,920 --> 00:35:09,200
Speaker 2: sure that they don't leave the arts behind. And there's

691
00:35:09,200 --> 00:35:14,040
Speaker 2: a lot of money that's invested in non indigenous kind

692
00:35:14,080 --> 00:35:18,399
Speaker 2: of communities and film and the arts. But if we're

693
00:35:18,440 --> 00:35:22,000
Speaker 2: really going to when we think about the history in

694
00:35:22,040 --> 00:35:25,040
Speaker 2: this country, if we're going to get to a place

695
00:35:25,040 --> 00:35:30,160
Speaker 2: of reconciliation. In terms of moving forward, it's not a

696
00:35:30,239 --> 00:35:32,120
Speaker 2: term that I like to use. How do we move forward?

697
00:35:32,600 --> 00:35:34,440
Speaker 2: What I always talk about it is how do we

698
00:35:34,480 --> 00:35:40,120
Speaker 2: acknowledge how did we get to the place that we're into,

699
00:35:40,280 --> 00:35:43,800
Speaker 2: How did Aboriginal people arrive here? Or why are Aboriginal

700
00:35:43,800 --> 00:35:47,080
Speaker 2: people in the position that we're in today. Why are

701
00:35:47,120 --> 00:35:49,279
Speaker 2: we dying at the rates that we're dying. You know,

702
00:35:49,320 --> 00:35:52,080
Speaker 2: my mom at forty five, her sister at thirty. I

703
00:35:52,120 --> 00:35:54,560
Speaker 2: know when will Kenya. The life expectancy for an abitional

704
00:35:54,600 --> 00:35:57,680
Speaker 2: man is thirty nine, and that's an abitual community.

705
00:35:57,280 --> 00:35:58,120
Speaker 3: In New South Wales.

706
00:35:58,920 --> 00:36:01,560
Speaker 2: Why were the most macerated people on the planet. Why

707
00:36:01,560 --> 00:36:06,000
Speaker 2: are our children still being removed at such high rates

708
00:36:06,360 --> 00:36:09,439
Speaker 2: from our families and our community? So there's all of these,

709
00:36:09,719 --> 00:36:13,360
Speaker 2: you know, kind of competing issues, I would say, or

710
00:36:13,440 --> 00:36:18,120
Speaker 2: challenges in our community. But the arts and theater, and

711
00:36:18,200 --> 00:36:20,239
Speaker 2: I only know recently because I've joined the board with

712
00:36:20,280 --> 00:36:24,120
Speaker 2: the Queens and Theater Company, how important the arts is

713
00:36:24,360 --> 00:36:30,520
Speaker 2: as a vehicle as a mechanism for all Australians to

714
00:36:30,600 --> 00:36:34,400
Speaker 2: hear stories, especially the Drover's wife, the legend of Molly Johnson,

715
00:36:35,239 --> 00:36:39,040
Speaker 2: and to connect with it and hopefully, you know, to

716
00:36:39,160 --> 00:36:43,720
Speaker 2: start having conversations that need to be had, especially around

717
00:36:43,880 --> 00:36:46,440
Speaker 2: domestic violence, which is a huge issue in this country.

718
00:36:46,800 --> 00:36:48,439
Speaker 2: I don't want to give too much away from the film,

719
00:36:48,440 --> 00:36:52,200
Speaker 2: but I want to say that I hope I hope

720
00:36:52,239 --> 00:36:54,360
Speaker 2: people go out and see it because it's a film

721
00:36:54,719 --> 00:36:56,880
Speaker 2: that needs to be seen and needs to be watched,

722
00:36:57,080 --> 00:37:00,520
Speaker 2: and we need to start having these conversations, especially if

723
00:37:00,560 --> 00:37:04,000
Speaker 2: your organization has a reconciliation action plan, if you've got

724
00:37:04,000 --> 00:37:06,400
Speaker 2: a wrap and you've got deliverables in that wrap for

725
00:37:06,480 --> 00:37:10,560
Speaker 2: your people to educate themselves or to be exposed or

726
00:37:10,560 --> 00:37:14,680
Speaker 2: immersed in aviational culture. This is a film that's going

727
00:37:14,719 --> 00:37:17,640
Speaker 2: to start those conversations. And the theme this year for

728
00:37:17,719 --> 00:37:22,239
Speaker 2: Reconciliation Week it's be Brave, Start Change something like that,

729
00:37:22,719 --> 00:37:26,319
Speaker 2: and the NATOC theme is get up, Stand Up, Show Up.

730
00:37:26,880 --> 00:37:29,000
Speaker 2: So I just think that this film is coming out

731
00:37:29,040 --> 00:37:31,239
Speaker 2: it's such a good time, especially when I think about

732
00:37:31,320 --> 00:37:33,640
Speaker 2: NATOC Week and n RW Week for a lot of

733
00:37:33,680 --> 00:37:36,839
Speaker 2: the corporates that might be watching this podcast. If you're

734
00:37:36,880 --> 00:37:39,920
Speaker 2: thinking about something that you can do with your people's well,

735
00:37:40,160 --> 00:37:42,080
Speaker 2: reach out to black Card and hopefully we can put

736
00:37:42,080 --> 00:37:44,600
Speaker 2: on a private screening or go out and buy a

737
00:37:44,600 --> 00:37:47,880
Speaker 2: couple of hundred tickets and give those tickets to your

738
00:37:47,920 --> 00:37:51,960
Speaker 2: employees or gift it to your clients or even the

739
00:37:51,960 --> 00:37:58,480
Speaker 2: indigenous businesses that you're working with and hopefully are continuing

740
00:37:58,520 --> 00:38:01,719
Speaker 2: to work with into the future. And in terms of

741
00:38:02,000 --> 00:38:05,640
Speaker 2: Umbara Productions, I know that you've got a joint venture

742
00:38:05,640 --> 00:38:07,080
Speaker 2: with Taxi Films, So do you want to share a

743
00:38:07,120 --> 00:38:08,640
Speaker 2: little bit about that with us?

744
00:38:08,960 --> 00:38:13,319
Speaker 4: Yeah, well hopefully in the future near future. Well, we're

745
00:38:13,320 --> 00:38:17,160
Speaker 4: actually right now. We are working on a few Queensland projects.

746
00:38:17,200 --> 00:38:21,640
Speaker 4: So it was an opportunity to come home and connect

747
00:38:21,680 --> 00:38:27,200
Speaker 4: in and have a base there, but also work with

748
00:38:27,600 --> 00:38:31,400
Speaker 4: mob and their stories. So there was through the screen Queensland.

749
00:38:31,840 --> 00:38:36,680
Speaker 4: There was the first draft first Nations Initiative for scripting,

750
00:38:37,320 --> 00:38:41,120
Speaker 4: and I think there was about six. There was quite

751
00:38:41,160 --> 00:38:44,080
Speaker 4: a few and we have to narrow it down to

752
00:38:44,719 --> 00:38:49,120
Speaker 4: six and three out of the six have been constantly

753
00:38:49,160 --> 00:38:51,480
Speaker 4: coming back to me and asking for advice. So I

754
00:38:51,520 --> 00:38:54,319
Speaker 4: said to them they have to be proactive in what

755
00:38:54,400 --> 00:38:59,400
Speaker 4: they do and hopefully, if not with us, or at

756
00:38:59,480 --> 00:39:02,480
Speaker 4: least with someone that we can steer them in the

757
00:39:02,560 --> 00:39:06,680
Speaker 4: right direction to get their work made. So that's exciting

758
00:39:07,480 --> 00:39:11,640
Speaker 4: and hopefully we'll have a few more initiative initiatives.

759
00:39:11,239 --> 00:39:14,000
Speaker 5: To come as we we just had to get through

760
00:39:14,040 --> 00:39:15,279
Speaker 5: the Drover's Wife.

761
00:39:17,040 --> 00:39:20,480
Speaker 4: Launch day and once we're out around the world we

762
00:39:20,560 --> 00:39:23,279
Speaker 4: can then you know, focus in and hone in and

763
00:39:23,640 --> 00:39:26,600
Speaker 4: but you know, it was interesting. I've sort of now

764
00:39:26,640 --> 00:39:29,239
Speaker 4: that Molly Johnson is riding on a horse out there

765
00:39:29,239 --> 00:39:30,560
Speaker 4: in the public in Australia.

766
00:39:31,239 --> 00:39:32,160
Speaker 5: It's been interesting.

767
00:39:31,920 --> 00:39:34,160
Speaker 4: Because my head's been going, oh, what's your next one, Leah,

768
00:39:34,520 --> 00:39:36,800
Speaker 4: And I think I've got a story and it is

769
00:39:36,880 --> 00:39:39,319
Speaker 4: Queensland Base, but that's a lot safe for now.

770
00:39:39,600 --> 00:39:40,279
Speaker 5: But you know what I mean.

771
00:39:40,400 --> 00:39:42,840
Speaker 4: So it's about coming home, it's about helping to employ

772
00:39:42,920 --> 00:39:45,560
Speaker 4: you know, not what what the big thing we need

773
00:39:45,600 --> 00:39:48,439
Speaker 4: in our industry is. I know a lot of mob

774
00:39:48,520 --> 00:39:51,720
Speaker 4: want to be in front of the camera or director

775
00:39:51,760 --> 00:39:55,760
Speaker 4: or writer, but we really need technicians. We need sound,

776
00:39:55,880 --> 00:40:00,640
Speaker 4: we need you know, camera, we need wardrobe, we need makeup.

777
00:40:01,160 --> 00:40:01,400
Speaker 5: You know.

778
00:40:01,680 --> 00:40:05,360
Speaker 4: That's and we get lots of phone calls from people

779
00:40:05,440 --> 00:40:09,319
Speaker 4: going we'd love to have an indigenous attachment to the

780
00:40:09,360 --> 00:40:13,280
Speaker 4: technical side of things working in electrics working in props,

781
00:40:13,800 --> 00:40:17,920
Speaker 4: you know, so I'd encourage and what we will do

782
00:40:18,040 --> 00:40:20,840
Speaker 4: is look at initiatives like that where we encourage that

783
00:40:21,360 --> 00:40:24,120
Speaker 4: side of things as well, because they're great jobs. You

784
00:40:24,200 --> 00:40:27,960
Speaker 4: get to be on set, they're great opportunities. You know.

785
00:40:28,040 --> 00:40:31,120
Speaker 4: It's hard work, you know, are you going to start

786
00:40:31,200 --> 00:40:33,120
Speaker 4: in the at the bottom of the ruck and work

787
00:40:33,160 --> 00:40:33,600
Speaker 4: your way out?

788
00:40:33,680 --> 00:40:34,680
Speaker 5: But I think that's good.

789
00:40:35,000 --> 00:40:37,839
Speaker 4: My aunt always said, well, that's that's your initiation now

790
00:40:37,920 --> 00:40:38,640
Speaker 4: in life.

791
00:40:39,040 --> 00:40:40,760
Speaker 5: You know, we don't have ceremony.

792
00:40:40,320 --> 00:40:42,919
Speaker 4: Anymore, but getting work and working your way up through

793
00:40:43,960 --> 00:40:47,040
Speaker 4: up the ladder is part of your process of growth.

794
00:40:47,800 --> 00:40:49,040
Speaker 5: You take the good with the bad.

795
00:40:50,800 --> 00:40:52,759
Speaker 4: So when she said, because I was there crying to

796
00:40:52,800 --> 00:40:54,279
Speaker 4: her about something and she said, well, look at it

797
00:40:54,280 --> 00:40:55,359
Speaker 4: as initiation, Lea.

798
00:40:55,400 --> 00:40:58,000
Speaker 5: You're wearing your scars on the inside now, you know,

799
00:40:58,080 --> 00:40:59,640
Speaker 5: And that's life. You are to take the good with

800
00:40:59,680 --> 00:40:59,960
Speaker 5: the bad.

801
00:41:00,280 --> 00:41:02,200
Speaker 4: So that's what we hope to do with Umbara and

802
00:41:02,239 --> 00:41:05,560
Speaker 4: Taxi in Queensland, and we are working very closely with

803
00:41:05,640 --> 00:41:08,880
Speaker 4: three projects that hopefully see the day day of what

804
00:41:08,960 --> 00:41:11,439
Speaker 4: is it light of day soon in some sort of form.

805
00:41:13,160 --> 00:41:17,840
Speaker 2: I've heard I've heard there's a Netflix series coming. Well,

806
00:41:18,040 --> 00:41:19,560
Speaker 2: I'm not meant to give that one away.

807
00:41:19,480 --> 00:41:20,279
Speaker 5: Now, no, no, you can.

808
00:41:20,520 --> 00:41:23,440
Speaker 4: But whether it's with Netflix, we're not sure. But what

809
00:41:23,480 --> 00:41:26,279
Speaker 4: it is was we hope give a screamer or a

810
00:41:26,320 --> 00:41:30,920
Speaker 4: broadcaster on board. But it's sort of the next stage

811
00:41:31,000 --> 00:41:33,920
Speaker 4: of the Drover's Wife, the Legend of Molly Johnson. And

812
00:41:33,960 --> 00:41:37,560
Speaker 4: it's going to be a premium a limited TV series,

813
00:41:37,560 --> 00:41:39,520
Speaker 4: so that means it's sort of like a one season,

814
00:41:40,000 --> 00:41:42,839
Speaker 4: but look, I've got stories to cover three seasons if

815
00:41:42,880 --> 00:41:48,960
Speaker 4: people love it that much. But it's a limited TV series,

816
00:41:49,160 --> 00:41:51,880
Speaker 4: so it's eight episodes and where it's set is in

817
00:41:51,960 --> 00:41:53,160
Speaker 4: twenty twenty.

818
00:41:53,239 --> 00:41:54,399
Speaker 5: And when you go see the.

819
00:41:54,280 --> 00:41:56,080
Speaker 4: Film, there's a little girl in the film and that's

820
00:41:56,120 --> 00:41:59,960
Speaker 4: Molly's daughter, Delphi, and in the TV series it's Delphi's

821
00:42:00,040 --> 00:42:03,560
Speaker 4: great great great great granddaughter who was in twenty twenty.

822
00:42:03,840 --> 00:42:06,200
Speaker 4: An incident happens and she's got to go back up

823
00:42:06,200 --> 00:42:09,160
Speaker 4: into the snowy mountains and while she's up there, her

824
00:42:09,200 --> 00:42:14,799
Speaker 4: family's history presents itself and she learns about history and

825
00:42:14,960 --> 00:42:18,120
Speaker 4: connecting all the dots and whilst she's up there, it's

826
00:42:18,120 --> 00:42:23,799
Speaker 4: about her finding her voice and placing yourself. So the

827
00:42:23,840 --> 00:42:28,680
Speaker 4: tagline is her Name's Molly in twenty twenty. She's got

828
00:42:28,680 --> 00:42:31,920
Speaker 4: to go back through eight generations of strong black women

829
00:42:32,239 --> 00:42:35,120
Speaker 4: to find her voice, to find herself.

830
00:42:35,760 --> 00:42:37,560
Speaker 5: So I'm very excited.

831
00:42:37,840 --> 00:42:40,319
Speaker 4: I've got the outlines and I've got to hand it

832
00:42:40,320 --> 00:42:43,640
Speaker 4: in on the thirty first of May.

833
00:42:45,160 --> 00:42:47,719
Speaker 5: And that's just and what it is. It's a pitch document.

834
00:42:48,040 --> 00:42:50,239
Speaker 4: So once we have that pitch document, then we can

835
00:42:50,280 --> 00:42:52,839
Speaker 4: go and pitch the idea to all the streamers and

836
00:42:52,880 --> 00:42:57,280
Speaker 4: broadcasters and you know, we might do a copro production

837
00:42:57,360 --> 00:43:00,719
Speaker 4: as well. So that's when Main steps up up and

838
00:43:00,800 --> 00:43:04,160
Speaker 4: he takes so it's like I make the Coolerman. Well,

839
00:43:04,600 --> 00:43:07,200
Speaker 4: we've got our Coolerman, and I'm putting in whatever I need,

840
00:43:07,239 --> 00:43:08,920
Speaker 4: you know, then gum leaves and a bit of EMU

841
00:43:09,040 --> 00:43:13,800
Speaker 4: feathers and a bit of you know, Lily Pilly or something,

842
00:43:13,840 --> 00:43:15,879
Speaker 4: you know, and then I hand it over to him

843
00:43:16,440 --> 00:43:18,760
Speaker 4: and then he takes it out and sells the products

844
00:43:18,800 --> 00:43:21,399
Speaker 4: and get people to believe in the work, and then

845
00:43:21,440 --> 00:43:22,480
Speaker 4: we get.

846
00:43:22,239 --> 00:43:24,880
Speaker 5: That Bungo and then we can employ mob.

847
00:43:24,960 --> 00:43:27,680
Speaker 4: You know, this is the great thing because majority of

848
00:43:27,719 --> 00:43:30,280
Speaker 4: it there's a lead Indigenous First Nations.

849
00:43:30,680 --> 00:43:32,600
Speaker 5: There's a lead is the female.

850
00:43:32,960 --> 00:43:35,719
Speaker 4: Then there's a First Nations support lead role and then

851
00:43:35,719 --> 00:43:37,640
Speaker 4: there's a whole big family and community.

852
00:43:38,160 --> 00:43:40,560
Speaker 5: So that's what's exciting too.

853
00:43:40,640 --> 00:43:44,359
Speaker 4: We get to employ mob and hopefully there's technicians there

854
00:43:44,400 --> 00:43:48,360
Speaker 4: to come on and work in that aspect of behind

855
00:43:48,400 --> 00:43:49,160
Speaker 4: the scenes as well.

856
00:43:49,160 --> 00:43:50,040
Speaker 5: It would be awesome.

857
00:43:50,520 --> 00:43:52,799
Speaker 2: I think it's so good that you mentioned it because

858
00:43:52,800 --> 00:43:55,640
Speaker 2: the whole world has gone through a skill shortage, staff

859
00:43:55,680 --> 00:43:58,440
Speaker 2: shortage right at the moment, So we need to start

860
00:43:58,440 --> 00:44:02,560
Speaker 2: thinking about especially I know AKPA. I don't think it's

861
00:44:02,600 --> 00:44:06,680
Speaker 2: being funded anymore or it's fallen down. I'm not too sure,

862
00:44:06,719 --> 00:44:09,920
Speaker 2: but I did hear a conversation. So if our own

863
00:44:10,040 --> 00:44:14,560
Speaker 2: you know, Aboriginal performing arts, you know schools are not

864
00:44:14,680 --> 00:44:17,840
Speaker 2: existing anymore, not operating animal, where do our mob go?

865
00:44:18,000 --> 00:44:21,040
Speaker 2: So these are really important conversations for people in the

866
00:44:21,160 --> 00:44:23,920
Speaker 2: arts to start thinking about Light Queens an theater company.

867
00:44:24,480 --> 00:44:27,640
Speaker 3: How are you growing the talent? You know, this younger generation.

868
00:44:28,360 --> 00:44:30,040
Speaker 2: When you look at the fact that we're three percent

869
00:44:30,080 --> 00:44:33,120
Speaker 2: of the population and half of our population are children,

870
00:44:34,000 --> 00:44:37,000
Speaker 2: Like fifty percent of our population are under the age

871
00:44:37,040 --> 00:44:39,000
Speaker 2: of twenty five arts and there are a lot of

872
00:44:39,040 --> 00:44:41,600
Speaker 2: young people that are going to be coming through the

873
00:44:41,680 --> 00:44:45,000
Speaker 2: ranks soon. And there's so many young people at university.

874
00:44:45,080 --> 00:44:48,600
Speaker 2: I think it's the most university enrollments so qut Griffith

875
00:44:48,680 --> 00:44:52,080
Speaker 2: University UQ, I know, probably in Sydney as well than

876
00:44:52,200 --> 00:44:55,080
Speaker 2: ever before. So how do we make sure that that

877
00:44:55,239 --> 00:44:58,680
Speaker 2: pipeline of talent. You know, not everyone's going to be

878
00:44:58,719 --> 00:45:00,560
Speaker 2: on stage, and not everyone wants to be in front

879
00:45:00,600 --> 00:45:03,200
Speaker 2: of the camera, but there's so many other positions, like

880
00:45:03,239 --> 00:45:06,880
Speaker 2: you said, behind the camera for our mobs. So hopefully

881
00:45:07,040 --> 00:45:09,279
Speaker 2: people watching this now start to think, all right, there's

882
00:45:09,280 --> 00:45:12,319
Speaker 2: a skill shortage, and there's going to be opportunities to

883
00:45:12,440 --> 00:45:14,360
Speaker 2: work with people like you aren't, which is going to

884
00:45:14,400 --> 00:45:18,360
Speaker 2: be amazing. And there's probably not many you know, black

885
00:45:18,400 --> 00:45:21,239
Speaker 2: film productions in the country, you know, probably just a

886
00:45:21,280 --> 00:45:24,239
Speaker 2: few or maybe even a handful. So we need to

887
00:45:24,239 --> 00:45:27,000
Speaker 2: make sure that our mob, who are when you think

888
00:45:27,080 --> 00:45:31,400
Speaker 2: about it, you know, the oldest storytellers on the planet.

889
00:45:31,760 --> 00:45:34,240
Speaker 2: We're going to make sure that we're you know, making

890
00:45:34,239 --> 00:45:38,480
Speaker 2: sure that those opportunities or pathways are available, because not

891
00:45:38,520 --> 00:45:42,200
Speaker 2: always will our mob succeed in those white fellow organizations

892
00:45:42,280 --> 00:45:45,799
Speaker 2: or these big film production companies. You know, our mob

893
00:45:45,880 --> 00:45:51,200
Speaker 2: might not feel comfortable or you know, in those environments.

894
00:45:51,200 --> 00:45:53,640
Speaker 2: So we need to make sure that our mob are

895
00:45:53,640 --> 00:45:57,440
Speaker 2: working in organizations or companies where they are feeling you know,

896
00:45:57,520 --> 00:46:01,320
Speaker 2: that sense of you know, connected it and that they belong.

897
00:46:02,480 --> 00:46:03,560
Speaker 5: Yeah, no, exactly.

898
00:46:03,600 --> 00:46:06,800
Speaker 4: And you know it's like this young this next generation,

899
00:46:06,960 --> 00:46:09,600
Speaker 4: they blow me away, you know, of mob. They're so

900
00:46:10,400 --> 00:46:13,640
Speaker 4: they're just so deadly. You know, they're they're they're they're smart,

901
00:46:14,080 --> 00:46:17,680
Speaker 4: they're savvy. You know, they got it going on. And

902
00:46:17,760 --> 00:46:21,000
Speaker 4: I think you know, to know that there's been the

903
00:46:21,040 --> 00:46:25,080
Speaker 4: biggest enrollment since the universities around the country is just

904
00:46:25,680 --> 00:46:28,520
Speaker 4: is music. Our ancestors would be dancing because this is

905
00:46:28,520 --> 00:46:29,120
Speaker 4: what they.

906
00:46:28,960 --> 00:46:31,400
Speaker 5: Want, you know, to achieve.

907
00:46:31,640 --> 00:46:34,720
Speaker 4: You know, we've got to be hungry to achieve because

908
00:46:34,760 --> 00:46:37,239
Speaker 4: all of us will bring our mob with us. See

909
00:46:37,239 --> 00:46:39,520
Speaker 4: that's the thing with us mob. We just when we

910
00:46:39,600 --> 00:46:43,640
Speaker 4: achieve everyone, it's everyone's success. So we need to be

911
00:46:43,800 --> 00:46:48,640
Speaker 4: encouraging on many levels, you know, not just the footballers,

912
00:46:48,680 --> 00:46:52,400
Speaker 4: not just the actors. We need the people at the grassroots,

913
00:46:52,440 --> 00:46:55,359
Speaker 4: you know, of organizations. We need to make sure that

914
00:46:55,800 --> 00:46:58,719
Speaker 4: you know, organizations as yourself is on the board of

915
00:46:59,080 --> 00:47:03,479
Speaker 4: Queensland Theater. Is that what you're on yep, yeah, yeah,

916
00:47:03,719 --> 00:47:06,560
Speaker 4: you know, and to have a black representative in there,

917
00:47:06,840 --> 00:47:09,800
Speaker 4: to be pushing the agenda of how do we employ

918
00:47:09,920 --> 00:47:12,800
Speaker 4: how do we make this place feel safe for mob

919
00:47:13,239 --> 00:47:16,920
Speaker 4: to come and to like me, ask those dumb questions

920
00:47:17,000 --> 00:47:20,279
Speaker 4: where we're all frightened to be shame, you know, but

921
00:47:20,440 --> 00:47:22,839
Speaker 4: have another black face there where we can go, Hey,

922
00:47:23,160 --> 00:47:26,920
Speaker 4: which way you know, and I swear by.

923
00:47:26,800 --> 00:47:29,719
Speaker 5: It, you know, to make that so it is it.

924
00:47:29,640 --> 00:47:33,520
Speaker 3: Is, and I can Yeah, it's an awesome time.

925
00:47:33,680 --> 00:47:34,520
Speaker 5: It's an awesome time.

926
00:47:34,560 --> 00:47:37,640
Speaker 2: I'm just going to have to capitalize, of course, I

927
00:47:37,719 --> 00:47:38,200
Speaker 2: was just gonna say.

928
00:47:38,239 --> 00:47:38,319
Speaker 4: There.

929
00:47:38,520 --> 00:47:40,840
Speaker 2: They are the conversations that we are having at a

930
00:47:41,080 --> 00:47:44,520
Speaker 2: broad level, you know. They are the conversations about how

931
00:47:44,520 --> 00:47:48,440
Speaker 2: do we grow our workforce and also make sure that

932
00:47:48,440 --> 00:47:52,359
Speaker 2: there's budget there to employ our mob, not just in

933
00:47:52,400 --> 00:47:55,759
Speaker 2: the admintal trainee roles, but in all roles across you know,

934
00:47:55,800 --> 00:48:00,400
Speaker 2: the film film, it's film here, I'm English, across film

935
00:48:00,440 --> 00:48:03,799
Speaker 2: and the theater and the arts more broadly. And it's

936
00:48:03,840 --> 00:48:08,080
Speaker 2: really deadly to know that we've got, you know, a

937
00:48:08,400 --> 00:48:13,480
Speaker 2: deadly quantumooker woman who's basically the Minister for the Arts,

938
00:48:13,960 --> 00:48:17,640
Speaker 2: Leanne Enoch. So having someone like her at the forefront,

939
00:48:17,960 --> 00:48:21,880
Speaker 2: when when you think about policy and government funding, to

940
00:48:21,920 --> 00:48:25,399
Speaker 2: have someone like her making sure that there is a

941
00:48:25,440 --> 00:48:29,960
Speaker 2: policy and there is funding available. Then we've got to

942
00:48:30,040 --> 00:48:34,560
Speaker 2: know that in terms of in terms of we can't fail,

943
00:48:34,640 --> 00:48:38,680
Speaker 2: we can't not do what's been mandated from the top down.

944
00:48:38,719 --> 00:48:41,160
Speaker 2: So it's really good to have her support and her

945
00:48:41,760 --> 00:48:43,840
Speaker 2: she's always making sure. She'll bring me every now and

946
00:48:43,840 --> 00:48:47,080
Speaker 2: again and asks me how's everything going. And I'm the

947
00:48:47,080 --> 00:48:49,279
Speaker 2: first one to tell her, yeah, no, these mob right,

948
00:48:49,360 --> 00:48:51,319
Speaker 2: we're going to take a bit more longer to get

949
00:48:51,320 --> 00:48:54,800
Speaker 2: there in terms of building relationships and getting out because

950
00:48:54,840 --> 00:48:58,440
Speaker 2: Queensland is a really big state. And also, you know

951
00:48:58,480 --> 00:49:01,080
Speaker 2: we're in this unique position, isn't because we've got both

952
00:49:01,120 --> 00:49:04,880
Speaker 2: indigenous cultures, So we've got to make sure that the

953
00:49:04,960 --> 00:49:08,759
Speaker 2: stories are being collected and told by both Aboriginal and

954
00:49:08,840 --> 00:49:11,759
Speaker 2: torsha under mob. And I really wanted to say big

955
00:49:11,800 --> 00:49:15,560
Speaker 2: shout out because I've been studying this week doing my

956
00:49:16,320 --> 00:49:20,040
Speaker 2: Masters of Business in Indigenous Business Leadership with the Monash

957
00:49:20,160 --> 00:49:25,120
Speaker 2: University Mob and Katrina Muhammad. She was at Mohammed now

958
00:49:25,160 --> 00:49:29,600
Speaker 2: Katrina Johnson, a deadly sister that's flown over from the

959
00:49:29,719 --> 00:49:33,120
Speaker 2: United States to be in class in Melbourne. I'm not

960
00:49:33,200 --> 00:49:36,480
Speaker 2: on campus this week. I've been at home with my babies.

961
00:49:37,080 --> 00:49:39,319
Speaker 2: But Katerina, when I said to assists, I know we've

962
00:49:39,320 --> 00:49:41,920
Speaker 2: got an assignment you tomorrow, but I need to go

963
00:49:41,960 --> 00:49:44,719
Speaker 2: and do this recording with annie Leah. She said, Oh,

964
00:49:44,800 --> 00:49:47,840
Speaker 2: make sure you tell her that we're all very proud

965
00:49:47,880 --> 00:49:50,520
Speaker 2: of her and how deadly she is. So big shout

966
00:49:50,600 --> 00:49:55,040
Speaker 2: out and big loves from the monash Uni moob who's

967
00:49:55,080 --> 00:49:58,759
Speaker 2: supporting you. But also in terms of just our community.

968
00:49:58,840 --> 00:50:02,920
Speaker 2: You know, you've an absolute inspiration. And you know, I

969
00:50:02,960 --> 00:50:06,320
Speaker 2: hate using the word role model because sometimes role model,

970
00:50:06,400 --> 00:50:08,880
Speaker 2: you know, there's a lot of pressure and responsibility that

971
00:50:09,000 --> 00:50:12,120
Speaker 2: comes with the word role model. But just in terms

972
00:50:12,160 --> 00:50:14,839
Speaker 2: of you being able to contribute what you have, not

973
00:50:14,960 --> 00:50:19,200
Speaker 2: just to our community, but to this country as a whole,

974
00:50:19,239 --> 00:50:21,480
Speaker 2: I just wanted to say thank you, and I know

975
00:50:21,520 --> 00:50:23,359
Speaker 2: I've got to wrap up the yard, but I want

976
00:50:23,400 --> 00:50:26,160
Speaker 2: to say, if there was one thing that you could

977
00:50:26,280 --> 00:50:30,640
Speaker 2: leave our listeners right with, what would it be. If

978
00:50:30,640 --> 00:50:32,800
Speaker 2: it's something to do with the film, or if you

979
00:50:32,840 --> 00:50:35,440
Speaker 2: want to target young people or you want to target

980
00:50:36,040 --> 00:50:38,960
Speaker 2: mainstream Australians or prepare them for the film, I'm going

981
00:50:39,000 --> 00:50:39,840
Speaker 2: to leave that one with you.

982
00:50:41,320 --> 00:50:43,200
Speaker 4: Well, well, there's a couple of things I always like

983
00:50:43,280 --> 00:50:46,600
Speaker 4: to give to the young people. Have a dream, doesn't

984
00:50:46,640 --> 00:50:49,399
Speaker 4: matter how outrageous it is. Because when I told people

985
00:50:49,440 --> 00:50:51,400
Speaker 4: when I was a nine year old girl that I

986
00:50:51,440 --> 00:50:55,080
Speaker 4: wanted to act like Doris Day, Eliza men Ellien, Barbus Streisan,

987
00:50:55,160 --> 00:50:59,480
Speaker 4: people laughed. You know, and have a dream, because I

988
00:50:59,520 --> 00:51:01,680
Speaker 4: think a lot of young people don't. You know, So

989
00:51:02,040 --> 00:51:06,239
Speaker 4: keep dreaming because you know you might get all the

990
00:51:06,280 --> 00:51:08,239
Speaker 4: way there, or you might get halfway, but as long

991
00:51:08,280 --> 00:51:11,799
Speaker 4: as you get somewhere in life. And I tell people,

992
00:51:11,880 --> 00:51:14,200
Speaker 4: you have to be proactive. Don't rely on anyone else.

993
00:51:14,360 --> 00:51:18,480
Speaker 4: Family included, love them, but you have to be in

994
00:51:18,680 --> 00:51:23,440
Speaker 4: charge of your destiny. In regards to the film, I

995
00:51:23,600 --> 00:51:26,880
Speaker 4: hope all Australians and people around the world get behind

996
00:51:26,960 --> 00:51:30,120
Speaker 4: The Drover's Wife, The Legend of Molly Johnson. I worked

997
00:51:30,160 --> 00:51:34,080
Speaker 4: hard on it, and Baine worked hard on Everyone worked

998
00:51:34,080 --> 00:51:36,680
Speaker 4: hard on it. I think it's a special film in

999
00:51:36,760 --> 00:51:39,400
Speaker 4: the sense that I want to bring about debate and

1000
00:51:39,520 --> 00:51:42,440
Speaker 4: conversation in our country. I want us to look back

1001
00:51:42,520 --> 00:51:46,719
Speaker 4: on our past as blackfellows and find the power in

1002
00:51:47,520 --> 00:51:50,120
Speaker 4: where we've come from. Yes, there's a lot of pain

1003
00:51:50,160 --> 00:51:52,680
Speaker 4: and there's a lot of trauma, but we have survived,

1004
00:51:53,239 --> 00:51:54,800
Speaker 4: we continue to survive.

1005
00:51:55,320 --> 00:51:56,360
Speaker 5: There's a reason for that.

1006
00:51:56,880 --> 00:52:03,200
Speaker 4: And I hope that that nonindigenous Indigenous people will will

1007
00:52:03,600 --> 00:52:06,839
Speaker 4: It'll make them just consider and I hope that they

1008
00:52:07,320 --> 00:52:11,520
Speaker 4: have conversations and talk about the issues that are raised

1009
00:52:11,560 --> 00:52:15,040
Speaker 4: and maybe bring about a bit awareness an awareness. But

1010
00:52:15,120 --> 00:52:16,600
Speaker 4: at the end of the day, I also hope that

1011
00:52:16,680 --> 00:52:19,000
Speaker 4: they think that they spend their money wisely. And it's

1012
00:52:19,000 --> 00:52:21,719
Speaker 4: a good drama as well, you know. It is a

1013
00:52:21,800 --> 00:52:24,759
Speaker 4: content warning to all the indigenous mile about there, But

1014
00:52:24,960 --> 00:52:26,880
Speaker 4: everyone who knows my work should know that I'm not

1015
00:52:26,920 --> 00:52:29,480
Speaker 4: afraid to tell the truth. And it'll drive us and

1016
00:52:29,600 --> 00:52:33,400
Speaker 4: we'll be all crying, but it's also releasing, you know

1017
00:52:33,680 --> 00:52:38,120
Speaker 4: as well. And yeah, and I just want to say

1018
00:52:38,200 --> 00:52:40,440
Speaker 4: to you and your sisters, your mother and father will

1019
00:52:40,480 --> 00:52:42,680
Speaker 4: be so proud of what you all have done as well,

1020
00:52:43,440 --> 00:52:47,160
Speaker 4: you know. And and it's just great to see black

1021
00:52:47,239 --> 00:52:50,520
Speaker 4: magic women out there all over, you know, in various

1022
00:52:51,000 --> 00:52:52,200
Speaker 4: positions in the world.

1023
00:52:52,320 --> 00:52:54,480
Speaker 5: Some of them are the best mothers. And that's the

1024
00:52:54,560 --> 00:52:55,279
Speaker 5: hardest job in.

1025
00:52:55,280 --> 00:52:58,440
Speaker 4: The world to people sitting on boards to CEOs and

1026
00:52:58,560 --> 00:53:01,279
Speaker 4: companies run and minister of the arts, you know what

1027
00:53:01,360 --> 00:53:03,800
Speaker 4: I mean. But as long as we back one another,

1028
00:53:04,040 --> 00:53:07,960
Speaker 4: support one another, even if sometimes we disagree with one another,

1029
00:53:08,080 --> 00:53:11,759
Speaker 4: that's okay, but let's not pull each other down.

1030
00:53:11,960 --> 00:53:14,480
Speaker 5: Just keep the praise and rise up.

1031
00:53:15,400 --> 00:53:18,040
Speaker 2: What an amazing way to actually wrap up our yarn.

1032
00:53:18,160 --> 00:53:21,439
Speaker 2: I just want to say, I know that this film

1033
00:53:21,520 --> 00:53:23,480
Speaker 2: is going to be a huge success because I am

1034
00:53:23,560 --> 00:53:28,920
Speaker 2: making sure personally that every single person that has done

1035
00:53:28,960 --> 00:53:33,440
Speaker 2: Black Card training, every single corporate, every single partner and

1036
00:53:33,560 --> 00:53:35,880
Speaker 2: relationship that I built over the last nine years of

1037
00:53:35,920 --> 00:53:39,799
Speaker 2: running our business, they are hearing about the drover's wife

1038
00:53:39,880 --> 00:53:43,680
Speaker 2: every single day in every single workshop and every single

1039
00:53:43,760 --> 00:53:46,520
Speaker 2: yard I'm having even in meetings like with the Philanthropy

1040
00:53:46,560 --> 00:53:49,279
Speaker 2: Australia before they all got off the zoom, I'd just

1041
00:53:49,480 --> 00:53:52,520
Speaker 2: hold a minute, just one more thing. I really want

1042
00:53:52,560 --> 00:53:54,040
Speaker 2: people to go out and watch the film, but I

1043
00:53:54,160 --> 00:53:58,279
Speaker 2: really want people to start having these conversations because it's

1044
00:53:58,320 --> 00:54:01,920
Speaker 2: exhausting for us black fellows to be doing the heavy lifting.

1045
00:54:02,360 --> 00:54:02,759
Speaker 5: That's right.

1046
00:54:02,880 --> 00:54:05,799
Speaker 2: We make up three percent the population and we need

1047
00:54:05,880 --> 00:54:09,040
Speaker 2: the ninety seven percent of the population to support us

1048
00:54:09,560 --> 00:54:11,279
Speaker 2: in doing some of the heavy lifting when it comes

1049
00:54:11,280 --> 00:54:13,520
Speaker 2: to the history of this country. So Art, thank you

1050
00:54:13,640 --> 00:54:15,800
Speaker 2: so much. And I know you're a busy woman, so

1051
00:54:16,560 --> 00:54:18,360
Speaker 2: just an hour of your time. I just want to

1052
00:54:18,400 --> 00:54:21,680
Speaker 2: say thank you. It's not just an hour. I know

1053
00:54:21,800 --> 00:54:24,120
Speaker 2: that there's a lot that's been because of you in

1054
00:54:24,200 --> 00:54:26,839
Speaker 2: terms of these screenings and flying here, zooming here, talking

1055
00:54:26,920 --> 00:54:29,560
Speaker 2: to these people, but to make time for this podcast,

1056
00:54:29,680 --> 00:54:33,320
Speaker 2: I am very very thankful, So thank you, thank you.

1057
00:54:34,480 --> 00:54:40,960
Speaker 2: How amazing and inspirational is aunt Leah Purcell Am? And

1058
00:54:41,040 --> 00:54:43,200
Speaker 2: I'm going to just now share a little bit about

1059
00:54:43,480 --> 00:54:46,279
Speaker 2: art because as black fellows, you know, like, not only

1060
00:54:46,480 --> 00:54:49,279
Speaker 2: don't we have enough time to talk about all the

1061
00:54:49,400 --> 00:54:52,640
Speaker 2: things that we've achieved, but it's also part of our

1062
00:54:52,680 --> 00:54:55,279
Speaker 2: culture that you're brought up to be humble, not to

1063
00:54:55,360 --> 00:54:55,840
Speaker 2: bignature of.

1064
00:54:56,000 --> 00:54:57,920
Speaker 3: So I'm going to do some big noting now for

1065
00:54:58,080 --> 00:54:59,799
Speaker 3: aunt so Art.

1066
00:55:00,120 --> 00:55:03,520
Speaker 2: He is a multi award winning director, actor, writer, producer

1067
00:55:03,640 --> 00:55:08,320
Speaker 2: and showrunner. She has written and directed Landmark Film, TV

1068
00:55:08,640 --> 00:55:12,719
Speaker 2: and theatrical works such as Box, The Pony, You would

1069
00:55:12,760 --> 00:55:16,439
Speaker 2: have seen her in redfer Now, Clever Man, The Secret Daughter,

1070
00:55:16,640 --> 00:55:20,320
Speaker 2: My Life Is Murder, The Twelve and The Drover's Wife.

1071
00:55:20,760 --> 00:55:27,680
Speaker 2: She is an actor Helpman, The Deadly's Australian Directors Guild, Orgie, AFI,

1072
00:55:27,840 --> 00:55:32,040
Speaker 2: Matilda and LOGI award winning and nominated Artist for her

1073
00:55:32,239 --> 00:55:36,560
Speaker 2: outstanding work on iconic feature film, TV and theaters such

1074
00:55:36,600 --> 00:55:41,560
Speaker 2: as Lantana, Ginderbyne and The Proposition Police Rescue, which she

1075
00:55:41,719 --> 00:55:46,600
Speaker 2: mentioned Janet King and she plays Reader in Wentworth, as

1076
00:55:46,640 --> 00:55:49,680
Speaker 2: well as Boxer Pony, The Story of the Miracles at

1077
00:55:49,760 --> 00:55:53,280
Speaker 2: Cookie's Table and of course The Drover's Wife. Her writing

1078
00:55:53,360 --> 00:55:57,520
Speaker 2: has been recognized with the New South Wales Premiers Literary Awards,

1079
00:55:57,600 --> 00:56:02,760
Speaker 2: are Queensland Premier's Literary Award and the Victorian Prize for Literature.

1080
00:56:03,440 --> 00:56:07,840
Speaker 2: In twenty seventeen, she received the Sydney UNESCO City of

1081
00:56:07,960 --> 00:56:11,719
Speaker 2: Film Award, and in twenty twenty one was made a

1082
00:56:11,800 --> 00:56:15,200
Speaker 2: Member of the Order Australia for significant service to the

1083
00:56:15,280 --> 00:56:19,600
Speaker 2: performing arts, to First Nations, youth and culture, and to women.

1084
00:56:20,280 --> 00:56:23,360
Speaker 2: Most recently, she was a twenty twenty one winner of

1085
00:56:23,480 --> 00:56:27,160
Speaker 2: the Asia Pacific Screen Awards Jury Grand Prize for her

1086
00:56:27,320 --> 00:56:32,279
Speaker 2: multifaceted role in her directorial debut, rider, producer and lead

1087
00:56:32,320 --> 00:56:35,400
Speaker 2: actor of the feature film The Drover's Wife, The Legend

1088
00:56:35,560 --> 00:56:41,319
Speaker 2: of Molly Johnson. Currently, Aunt is starring opposite Sigourney Weaver

1089
00:56:41,880 --> 00:56:46,800
Speaker 2: in Amazon Originals The Lost Flowers of Alice Hart, produced

1090
00:56:46,880 --> 00:56:51,800
Speaker 2: by Brunner Papandrea and made up stories and in development

1091
00:56:51,960 --> 00:56:55,279
Speaker 2: on the premium limited series based on The Drover's Wife

1092
00:56:55,400 --> 00:56:59,360
Speaker 2: The Legend of Molly Johnson novel and film. I know

1093
00:56:59,520 --> 00:57:01,920
Speaker 2: that there's a lot there, and I'm sure there is

1094
00:57:02,040 --> 00:57:04,840
Speaker 2: much more to talk about, But like we talked about

1095
00:57:05,000 --> 00:57:08,080
Speaker 2: in our yarn, The Drover's Wife, The Legend of Molly

1096
00:57:08,160 --> 00:57:12,480
Speaker 2: Johnson is now in cinemas across this country, and soon

1097
00:57:12,920 --> 00:57:15,560
Speaker 2: we'll be in the United States and across the UK.

1098
00:57:16,400 --> 00:57:20,240
Speaker 2: Go out and watch it or buy the book, have conversations,

1099
00:57:20,400 --> 00:57:22,960
Speaker 2: and hopefully, like I said, you know, the rest of

1100
00:57:23,040 --> 00:57:26,600
Speaker 2: the country can help us as First Nations peoples in

1101
00:57:26,760 --> 00:57:30,520
Speaker 2: terms of the heavy lifting when it comes to understanding

1102
00:57:30,560 --> 00:57:33,560
Speaker 2: and also owning our history in this country.

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00:57:34,480 --> 00:57:37,520
Speaker 3: So I hope you've enjoyed this yarn. Until next time.

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00:57:37,720 --> 00:57:42,919
Speaker 1: Bye for now, don't forget to follow Black Magic Woman

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00:57:43,040 --> 00:57:46,400
Speaker 1: podcasts on all social media platforms. To keep up to

1106
00:57:46,520 --> 00:57:50,280
Speaker 1: date with the latest episodes and news, head to Blackmagicwoman

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00:57:50,480 --> 00:57:53,200
Speaker 1: dot com dot au. You can rate and review the

1108
00:57:53,280 --> 00:57:56,600
Speaker 1: podcast on iTunes, and please feel free to share the

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00:57:56,680 --> 00:57:58,440
Speaker 1: podcast with your family and friends.