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MURAYA MOORE INTERVIEW
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A Conversation with Eleanor Somerville
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A Conversation with Bonnie Moir
Bonnie Moir is a Melbourne based filmmaker whose has made countless award winning short films and music videos. Her most recent short film – NOT DARK YET – was nominated for the 2024 AACTA Award for Best Short Film. Lately, Bonnie has been working tirelessly on the 6 part television series EXPOSURE for Stan. In our conversation, we dived into how Bonnie writes, her process on set and the future of Australian filmmaking. Read on for more.
Your writing process with such personal and intimate stories like Not Dark Yet.
When making Not Dark Yet I was interested in the duality of freedom and obligation and how they coexist in our relationship to family. I was also interested in revealing the vulnerabilities inherent within our social structures, and to put a human face to something we tend to avoid interacting with.
It was quite a challenging and personal film to make. The lead actor is my dad and I suppose the character playing his son is a version of me (Played beautifully by Nicholas Denton). We finished cutting an initial version of this film which had the perspective tied to the son’s character but we found that there was an inherent connection and empathy that the audience had with the father character, so we ended up only keeping key scenes that we loved from that first version and writing and shooting new scenes from the father’s perspective that fit in with those key scenes and crafting the film from there. So it was ultimately quite an unconventional writing experience!
I have mostly collaborated with other writers but I am trying to get into the practice of writing every day. I tend to write in sporadic short bursts when I feel inspired by something.
On set, what language are you using with the actors? Is it based on the actor or do you always have the same type of language you use?
I’m not totally sure, to answer your question, each actor is different! I love a performance that manages to capture a surprising and unexpected ‘real’ quality. My hope is that I allow actors a space that is supportive to do work that is alive and kinda feral, whatever language I am using!
I heard you say that before you took over for season 2 of Love Me, you had this major moment of doubt / fear. How do you combat this feeling?
Who told you this?! Haha. It’s true. It was the first lot of TV I directed and I was gifted the entire season, it was a daunting and just generally a big prospect. The best way for me to combat that fear was to get stuck into it all and get to work. It’s also not done alone, a director is nothing without the crew – I worked with an amazing team including Ed Goldner (DOP), Marni Kornhauser (Production designer) and my beaut producers Hamish Lewis and Nicole O’Donohue and not to mention those brilliant actors!
Biggest lessons you have learnt from working with Garth Davis and Glendyn Ivin?
I love them both so much. I have been so inspired by working with them. I feel extremely lucky that I had the chance to assist and do second unit work with directors whose work I love and admire. Not to mention such kind and supportive individuals. I hope I absorbed a lot doing that work. I never went to film school, so it’s been invaluable.
You have shot some beautiful music videos with incredible artists. What does your process working with artists look like? Do you bring them an idea or is it more of a collaboration?
It changes depending on the artist. In some cases the artists have a strong concept in mind but others are keen for initial concepts and ideas based on the song – I’ve worked in both ways but have ultimately been lucky with the few music videos I’ve done that the artists have been very collaborative and an absolute joy to work with. I’d love to do more!
When you are on set, where do you like to stand? Next to the video village or up closer with the actors.
Definitely closer to the actors, if i’m too far away I end up manically running back and forth and round in circles. I’ve never really been sat at a video village type set up but maybe the added distance creates a different perspective? One closer to an audience or viewer? It’s interesting to think about!
Your short films, music videos and shows all focus on the human condition and relationships, is this something you think will always stay in your work?
I find that stories like this offer up the most potential for deep performance work and for great actors. I also think it’s the most interesting work visually speaking. But I am open to trying it all!
How the process of creating EXPOSURE has been?
Exposure is a series that I am currently finishing up, I just finished the grade with the amazing colourist Trish Cahill. It is a 6 part mystery-thriller for STAN. I worked with the most crazily amazing team including Nicole O’Donohue as producer and Justin Kurzel and Shaun Grant as EPs via their company Thirdborn, as well as Lucy Coleman as our writer and Aaron McLisky as DOP to name a few.
It was one of the greatest experiences, setting the series up, finding the tone and look, building the jigsaw puzzle of locations and developing the story with the team.
I’m getting excited (and nervous) for people to watch the show. It is coming out soon and I’d love for you to watch it!
Favorite filmmakers and movies?
This is a secret.
Advice to younger filmmakers just starting out who are stuck in that beginning phase?
I’d say to focus wholeheartedly on the experience and process of making the work, the creation of it, not so much the outcome. It should be about making/creating the film, working with that actor or collaborating with that DOP or whatever it is…and the experience and practice of that.
I want to acknowledge that it can be very challenging to go all in for those of us without financial support particularly when starting out. I’d say that perhaps getting a job that is in support of what you want to do ultimately can be helpful. Being a director’s assistant and second unit work was great for that as I got to learn but also I could make short films when in post with other directors. I got that work by reaching out to a director whose work I loved (Garth) and offering to help him on his film Lion on the days I had off my then non film related job.
Where do you want the Australian film scene to move?
There seems to be a general consensus that the work is better elsewhere but so much of the work I have seen that is made here by amazing film makers and crews makes me feel that this just isn’t the case. We make great stuff, but it needs support and validation.
I’m inspired by directors like Kitty Green and Thomas M. Wright, and Goran Stoveleski. I’d love the industry to support and facilitate more work like theirs!
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A Conversation with Archie Waterson
Archie Waterson is an emerging Australian filmmaker who recently completed his biggest project yet – The Couple Across the Way. The drama/comedy follows John and Abbey as they go through the many stages of their tumultuous relationship. The Couple Across the Way encapsulates the bleak life of dating in Australia. Archie and I discuss his process and motivations for the short while also diving into his future. Read on for more.
What inspired you to write this short film?
“I watched a film called the Worst Person in the World. It has these beautiful romantic scenes, but I remember finishing it and thinking, “I will never be able to make this because nothing in Australia is that romantic.” I wrote this big poem that was venting about how unromantic Australia is and that became the intro and then I just kept writing.”
How was the writing process for Couples, what did the day in day out of it all look like?
“I wrote the first draft in a day. Scenes just kept coming to me. The structure was there within a day. At first, it was a very satirical comedy, but it ended up changing into a more dramatic script. I got to about draft 18 and it changed a lot but the structure was always there.”
I remember reading the early one and it was completely different tonally. Was that just an instinctual decision?
“Yeah, it was. The ending was always bleak, and I wanted to always stick with that end. I wanted to make a funny film but end with an emptiness. I had to adjust the tone dramatically so that the ending could work.”
How did you help guide Ruby Gudenswager into such an incredible performance?
“I think it’s all down to casting. I didn’t know she had the ability to cry on the spot like she did. Ruby understood the people in the script. She said it in the audition, and it made it a dead giveaway to me. For the last scene, we just left her outside with the camera by herself. She listened to music and got herself there. You just have to give good actors the space to do it and make sure there comfortable.”
How did you run the set?
“I had a lot of talented friends on board. We were all very prepared and had done so much pre-production. I trusted the DOP (Adam Potts) to set up his side of things. I would just come in, look at the shot and give notes if I needed to. He understood it completely so I could just spend my time with the actors. Other than that I just stand around trying to look serious…”
What did you learn from Couples?
“That’s it okay to be really inspired by films and show that to everyone. Not having that pride to not look original and I just found that learning from these masters was very positive. Another lesson was not to take yourself too seriously. Film isn’t the be all and end all.”
You have recently finished film school, what was the main thing you took away from it?
“You can find people who have the same interests as you. Creative people need that. Going to film school made me feel a lot more comfortable with who I was and what I am passionate about.”
What would you recommend new filmmakers to do in film school?
“Don’t be afraid to want to succeed. I brought this idea on from school that people give you shit for being passionate and intense about things. But at Uni that school mentality is gone. You can be yourself completely and that’s where the best work will come from. Also, do want you want to do. Learn the technical skills but don’t be afraid to completely commit to the thing you want to do the most.”
Favourite films you have been watching recently?
“I just discovered Aki Kaurismaki. He is a Finnish director who has a film out at the moment called Fallen Leaves. It was the first film of his I had seen so I went through and watched all his other big films. But I am always looking for new sources of inspiration.”
What have you been watching lately?
“I have been going over filmmakers I love and looking at their first short films. Like Yorgos Lanthimos, Ruben Ostlund. Just trying to see where their seeds of style and tone began.”
What are you working on right now?
“I am trying to write again. Just writing different sketches, a lot in the comedy space. When I find one that I love I will go through another year of making that film and spending all my money on it. I am just waiting for that sparkle before I dive in again.”
All Stills by Finnian Mullen
Introduction:
For what feels like an eternity now, I’ve wanted desperately to write about the latest A24 feature, ‘Past Lives’, and its subtle brilliances in terms of cinematic storytelling, cinematography, directing, etc.
But, every time I started to write this article, I felt this underlying dread creep within my soul. A solemn dread reminding me that in order to fully analyze and communicate why I believe this film is so impactful. I would first have to re-watch ‘Past Lives’.
And no, it’s not because I found the film boring or dull or bland. The reason why I feared rewatching ‘Past Lives’ was due to the fact that I believe the film is without a doubt, the most tragic and heartbreaking piece of cinema I’ve ever witnessed. The simple concepts of regret, love, bitter-sweet nostalgia, moving on and In-Yun that seem to permeate throughout Celine Song’s directorial debut. Seamlessly blending together into a romantic drama that feels both heart-wrenching to watch, yet, unabashedly easy to relate to.
Celine Song’s first feature film is one that sits with you long after you leave the cinema. It is a true masterclass of storytelling that, unfortunately, has flown under the radar for a lot of cinema-goers, who had been spoiled by the stacked slate of films released in 2023.
And, with ‘Past Lives’ only grossing $14.6 million at the Global Box Office against its $12 million budget, it’s clear that the film unfortunately did not reach the mass audience it deserved to.
However, by analyzing and dissecting Celine Song’s tragic triumph through its story, its visuals and, its themes. I wish to unpack and uncover what elements makes ‘Past Lives’ stand out when compared to other films that released alongside the latest A24 masterpiece.
This is what makes ‘Past Lives’ a Heart Breaking Tale of…What If?
1. The Pain That Comes from…What If?
Written and directed by Celine Song herself. The story of ‘Past Lives’ serves as an almost auto-biographical rendition of Celine Song’s life. Drawing upon her own experiences as a South Korean who immigrated to Canada, Celine Song uses her own life to create the storyline and characters that ‘Past Lives’ revolve around.
The story of ‘Past Lives’ shows the fractured relationship of two South Koreans, Na Young, (portrayed by actress Greta Lee) and Hae Sung, (portrayed by actor Teo Yoo).
‘Past Lives’ narrative deals with how sometimes a love between two people is never meant to be, and the pains that come with moving on in life…even if you’re not ready to.
Editorial Note:
I will be summarizing the plot of Past Lives in the following paragraphs. If you wish to experience the film yourself, (which I highly recommend) or wish to simply read the analytical elements. Then please skip the following paragraphs.
We, the audience, watch as the seeds of Na Young and Hae Sung’s relationship are sown early together from a young age, with the two living together as friends in Seoul, South Korea. However, when Na Young is forced to suddenly immigrate to Canada and subsequently change her name to Nora Moon, the two close friends lose contact with one another for several years.
It isn’t until twelve years later when Na Young and Hae Sung would reconnect over Skype. With Na Young (now Nora Moon), having immigrated a second time to New York City, from Canada.
We watch as Hae Sung and Nora begin to cling to each other as the two rekindle their lost relationship, with Nora even wanting to return to South Korea to see Hae Sung in person again.
However, Nora decides not to go through with her plan to visit Hae Sung in Korea and ultimately, focus on her own goals which require her to stay in New York City. Nora decides not to use her past as a crutch, but instead, to attack her future with no baring on the life she used to live. Nora also makes the difficult decision to cut ties with Hae Sung for a second time. A selfless act to hopefully allow both Hae Sung and herself to move on with their lives separately.
Following another twelve-year time jump. We see how Nora has grown from her last interaction with Hae Sung. She has continued with her goal of making a name for herself in New York, she is an up-incoming play writer living in Queens with her husband, Arthur. An author who Nora met during a artist in residents excursion.
Arthur and Nora live happily together in New York City. However, when Hae Sung is invited by Nora to see her again in America, the now mature Hae Sung will travel from Korea to America to finally reunite with Nora in person after spending two decades apart.
Now, Nora, Hae Sung and Arthur will discuss the needs, wants and desires that each central character of Past Live’s yearns for.
Past Lives carries itself with a level of maturity and restraint that isn’t typically seen in a lot of directorial debuts. Each character within the story expresses emotions and reactions that feel genuinely authentic within the narrative.
Considering that many may find themselves relating to the struggles of either Nora, Hae Sung or Arthur, the film serves not to dramatize or exaggerate the natural tension that comes with ‘Past Lives’ narrative.
Celine Song isn’t afraid to both build up and break down the wants, needs and desires of her main characters. This willingness by the director to have her protagonists simply just discuss what could’ve been reflects the level of maturity ‘Past Lives’ narrative has when it comes with dealing with inner-personal relationships.
2. Nostalgia Through The Lens.
In order for ‘Past Lives’ to communicate its themes of nostalgia, growing up, and letting go through the visual storytelling medium. ‘Past Lives’ Director of Photography, Shabier Kirchner, employed a range of mise en scene elements that complement the films cinematography in order to have ‘Past Lives’ feel uniquely timeless.
In order to achieve this timeless feeling and effect, DOP Shabir Kirchner’s decided to film ‘Past Lives’ with Kodak 35mm film stock. (Film stock similar to everyday disposable cameras available to the public).
Shabir used Kodak 35MM Film Stock as to imbue its audience with a sense of nostalgia. The certain feeling one may get after looking at a nostalgic photo captured on a disposable camera. The film’s lack of camera movement mirrors the idea of making the film feel like a nostalgic photograph.
“My lens choices really came from conversations that Celine and I had about camera movement, or the considerable lack of movement, as many scenes play out with a static camera or imperceptible moves.”
Shabir Kirchner
The idea of having ‘Past Lives’ feel like a moving polaroid memory ties perfectly into the film’s many themes, chief among them being nostalgia and the bittersweet questions of…what-if? As if the audience was watching the film through their own bittersweet nostalgia or memories.
In each frame that Nora and Hae Sung share within the film, the two main characters are always divided/separated from each other, even in the films many tight close-ups. This physical divide symbolically represents Nora and Hae Sung’s inability to be together due to external factors in their lives.
Each shot of Nora and Hae Sung together on screen feels worryingly intimate, as if at any sudden moment, the two may give in to their long dormant feelings for each other. However, thankfully the film’s restraint puts those anxious thoughts to rest. Instead, ‘Past Lives’ visually showcases the divide between our main trio through both character blocking and framing.
In addition to this, the colour work in Past Lives allows the film to communicate its themes of bittersweet nostalgia to its audience on a subconscious level. While on initial viewing, it would seem that very little colour work was implemented on the Kodak 35MM footage, with the sizeable concrete jungles that are both New York City and Seoul constantly swallowing the film’s colour palate in harsh concrete greys and blacks.
However, subtle colour hints of pink’s and orange’s ,(colours often synonymous with the feeling of nostalgia), begin to leak through the concrete grey skyscrapers of Seoul and New York City. The literal rose-tinted colors of the film serve to bring warmth and nostalgia to the frame, further pushing the subconscious narrative that both Shabir Kirchner and Celine Song wish to impart to ‘Past Lives’ audience, making the film feel like a moving polaroid photo, trapped in a simpler, more nostalgic, easier time.
3. In-Yun
There is a certain Korean phrase that permeates deeply throughout Past Lives’ narrative, In-Yun.
As described in Catrina Prager’s article on the topic;
In-Yun is the belief that the interactions between two people in this life are owed to interactions (or near-interactions) in their past lives. The concept suggests that some encounters are not, as we might at first assume, accidental, but rather a cosmic tug on our sleeve. The Universe saying here, this human’s important in your journey.
Catrina Prager – Medium
We the audience, see how Celine Song intertwines this ancient Korean concept with Hae Sung and Na Young’s relationship and character journey’s throughout ‘Past Lives’.
At the beginning of the film, it’s heavily implied by Celine Song that Na Young and Hae Sung are destined to be together in cinematic language, (hence the close up shots and long, quiet pauses between our two main characters whenever they interact).
However, even with the two splitting apart from each other and starting new lives separately in other countries. Both Hae Sung and Nora use the memories of their young connection to keep themselves grounded in reality.
So, when Hae Sung finally gets to meet with Na Young (now Nora Strong) in New York City, far away from Korea and two decades after they first parted ways. Both Nora and Hae Sung are both once again confronted with In-Yun, now manifested as the reconnected relationship between the two main characters.
While the two had physically grown apart, Hae Sung and Nora’s spiritual connection with each other continues to bring the two main characters together, meeting again and again. Yet, the two constantly try moving on from their young and brash relationship, with the two focusing on things that have become more important then a lost relationship.
Yet, it’s Hae Sung and Na Young’s past life together in Seoul that compels and binds the two almost soulmates to reconnect and understand what could’ve been if certain things had changed in their lives.
“If you had never left Seoul…would I still have looked for you? Would we have dated? Broken Up? Gotten Married? Would we have had kids together?”
Hae Sung to Nora during their conversation together.
From the fallout of Na Young and Hae Sung’s undeveloped relationship comes the emotional baggage and accompanying pain of what could of been, commonly associated with grief or loss.
The death of a relationship that should’ve been in this life, but was instead destined for another.
In-Yun in the context of Past Lives refers to the nature of Hae Sung and Na Young’s relationship. The fact the two could have been soul mates in this lifetime, yet, In-Yun dictates that they could instead be together in the next life, or the life after that. But not this one.
Conclusion:
Celine Song’s directorial debut is a heart-breaking masterclass of cinema that blends complex themes with beautiful cinematography, nostalgic colors and engaging dialogue.
The manner in which Past Lives conveys it’s themes of In-Yun, bittersweet nostalgia and growing up is handled with a level of maturity and subtly that is severely lacking in modern cinema in general, let alone a directorial debut.
Furthermore, by pairing Celine Song’s storytelling ability with Shabir Kirchner’s crafty, nostalgic cinematography that makes ‘Past Lives’ feel more akin to a moving polaroid picture. It’s no surprise that A24’s latest masterpiece has received Oscar nominations for both Best Picture and Best Original Screenplay.
Past Lives is a film that sits with audiences long after they exit the theatre, its inability to pull any emotional punches and ability to connect / relate to everyone’s desire for love on a emotional level is why, Past Lives is a heart-breaking tale of…what if?
Written, Curated and Edited by Michael Qualischefski.
David Robinson-Smith is an Australian writer and director who recently completed his festival run of Mud Crab and We Used to Own Houses – two incredible short films that explore class and culpability. David is now focused on writing and directing his first feature film. In our conversation, we discussed his writing process, the short films and the future of Australian film.
MUD CRAB
I heard you say that you drew a lot from you own experience being from Budgewoi. Was writing this a challenge when incorporating your own story and life into a short film?
“It made it a little easier. The short film is an accumulation of stories of people from around here. It is emotionally harder. A lot of the stuff is pulled from real life and people I know. I curated stories into a character that says what I want to say about a place / issue.”
Similar question, but what does your writing process specifically look like? What’s the day in / day out of it all?
“I have kind of evolved since Mud Crab. I was page by page and would just sit down and write to see what happens. Essentially, just waiting for the spark to come. But now I am much more disciplined about it. I have the story and characters mapped out before I ever open Final Draft. I consider watching films and reading as part of the writing process as well. I used to feel guilty about doing it. I also try to be more regimented. The actual writing can be very fast and only takes a few weeks per draft. I need a routine now. Walk the dogs, 9am start writing, do that until 12 for a break and then start again at 1. Wrap up by 5.”
Is it just about writing until your tired or a specific number of hours every day?
“I just go for the same amount of hours everyday. If I am not feeling the actual script writing, I just start researching or watching something instead. Jack Clark from Birdeater says he finishes on a high so the next day he is keen to write it. I also embrace sudden spurts of energy for writing. Like if it’s 8pm and I have had a wine I will write again.”
Another fascinating part of the short film is the decision to contrast the first half with the second half through the colour pallet and time of year. Can you just talk about the motivation behind this creative decision.
“The inspiration for the short is about coming back to your hometown and seeing that guy in the pokie room who has become a different person and reflecting on things you have witnessed that person go through. What you assume they might be holding onto. So the decision was to give that feeling of change. I really needed people to understand that these characters are different people now. Both have grown in their own ways but the past isn’t done with either of them. It was about making sure the viewers are aware that everything has shifted. Along with that I felt like the film needed a shift in mood. The first half is younger, full of people and energy. The second half is darker, less beautiful and more isolating and lonely.”
WE USED TO OWN HOUSES
I heard you say that you have this fear that filmmaking will only be available to those higher socio-economic backgrounds and thereby we will keep seeing the same films being made. Was that kind of the genesis for this project?
“It’s the motivation for the politics behind it. I want to see class discussed more in the industry. I hope my work will accumulate and make a larger point when viewed in totality.”
When you moved back into your hometown to make it, what was that experience like?
“I just get jokes from friends like “it’s not that bad here, is it?” which it isn’t. Due to a series of incidents while growing up in the area, it feels oppressive to me. I can’t fix that and that’s what the film is about. Everyone does it around here where they just kind of clench up when you bring up the issues. When I moved to Newtown when I was 21 it was shocking. I realised how many of the experiences I had weren’t normal. We’ve had a family friend stabbed to death, and I’ve been in court as a witness to a bottling. One incident that sticks with me happened when I was 15, working at Lake Haven Shopping Centre. On a Thursday night break, I walked to the newsagent to read magazines when a drunk man punched me in the head and kept walking. I continued to the newsagent, read magazines, and returned to work without telling my boss, feeling too embarrassed. I completely forgot about the story until I found myself back in the spot where it happened with Jaclyn, and then I told her about it. Her reaction told me a lot. It’s the accumulation of many times like this that leads to the feeling of oppressiveness in an area. It’s not that the area itself is bad, but you can’t untangle your memories from it. Moving back, I realised the area had changed a lot but I still hold onto everything.”
These themes of culpability, violence and exploitation that you have explored throughout your work seem like a golden thread. Do you think it’s what you will continue you focus on?
“I like people who are guilty and aren’t processing it correctly. The feature film is in that world. It definitely has similar undertones and themes.”
The Future
Advice for younger filmmakers?
“Film literacy is probably the most important. Just broadening your perspective in terms of what you like. Having a strong taste is everything. You have to develop your palette and taste. Also, just making as many shorts and music videos as possible. Don’t shy away from your weaknesses. Like if you love camera and don’t feel comfortable with actors, maybe focus on getting better talking with them vice versa.”
More challenging question but what makes a good director on set?
“Other then making good films… You have got to be calm. I don’t like seeing people who freak out or have temper tantrums. You are the leader. Taking time to think and figure out problems is pivotal. Someone who talks to the actors quietly, no one else needs to hear it.”
I heard you say you were writing a feature. Is that still what you are working towards?
“Yep. I am waiting for Screen Australia to go through our application for development funding right now. If approved, that funding will give me 6 months for writing on my budget. I have been writing it for 2 and a bit years. It’s kind of all I do now. I just got signed to Good Oil Films, but I haven’t done an ad… But that will happen at some point this year. My aim is to do that plus features.”
Where do you want the Australian film scene to move?
“I just want to see people take risks on original ideas and filmmakers with something to say. I want to see more complex serious drama feature films. I want to see another Lantana.”
Call Girls is a play originally written by Lauren Harvey and Kelly Hodge. It is now premiering down at the Adelaide Fringe Festival after the success of the excellent web series. I have personally being following Lauren Harvey and Kelly Hodge ever since I first heard about Call Girls over a year ago. It is an extremely funny and original idea that has consistently being executed well in all mediums. Read on for my conversation with the creators.
The Play
Call girls has had a long journey with it starting off as a theatre show, then a web series and now taking it back on the road with the Adelaide fringe festival. I want to go back to the beginning where you two were both writing it. What did this look like, how do you two write together, what was your process creating the show?
“Lauren and I were both doing drama degrees at QUT. We were both working in call centres during COVID. I wasn’t doing any acting, but I was just writing down every single Call.” – Kelly
“I was pretty much doing the same thing at a different call centre. I started working full time when COVID hit and it was awful. You literally couldn’t write some of the shit people say to you. We met and hit it off and we both started bitching about our jobs. I thought of the title and new it was a comedy play. I approached Big Fork for the Brisbane fringe festival about this idea and they said yes so we had to write a script and develop the play. We knew it was going to be a 55 minute play so we gave ourselves 10 scenes.” – Lauren
“We also used so much of our own experience in the play. We just wrote down every funny thing from our time in the Call Centre and compiled it into one document.” – Kelly
What were the core inspirations for the stage play?
“I love Working Dog productions and Rob Sitch. The real Australian sensibility and satirical nature. For the relationships of the girls definitely Broad City. Also, Sorry to Bother you for the web series.” – Lauren
“Definitely Utopia. Also, Gilmore Girls for the friendship between them. The way they can make mundane things really fun is what I got inspired from.” – Kelly
When you were on stage performing, what did this period of your life look like? The day in day out of it all.
“When the first play got put on, we were still writing it. Four days out from opening night we reworked the whole script and cut out half the play. We were also at acting school while doing it. I decided to join a Shakespeare school tour. So I was doing that during the days.” – Kelly
“The morning of opening night, I was listening to the voice recording on repeat trying to learn the lines. We had a “preview” and it was a shambles. It was the night before opening and when we finished performing the response was just silence.” – Lauren.
Did you have any funny moments on stage where things went wrong?
“I fully fucked the lines. But I ended up coming off good because I was improving the lines with the most conviction I could muster. Kelly’s lines were queued off my lines though…”- Lauren
“I had no idea where she was at in the script. My Mum later that night was like “did you forget a few lines there?” I also, spilt a slurpee all over myself. I was a hyper clean character, and I just left it there even though my character would clean it.”– Kelly
The Show
The process adapting it for the web series and working with the team?
“When we were doing Brisbane fringe, Maddy Leite was doing a lot of the tech stuff for the show. Her and Mack Struthers are a partnership and she started talking to him about the show. When we were approached to do the web series, we were both like yes!! Mack and Maddy just came off a web series and wanted to do another one and learn from it.” -Lauren
“Mack got really inspired by the characters and really saw them for what they were. He could see and understand the dynamic.” – Kelly
“So we did a bit of a writing retreat and had a big discussion about the themes and central meanings. It was basically creating a whole new web of interpersonal relationships and getting the story to play out over a longer time period.” – Lauren
“It was a tight turn around between the play and the web series. We finished the year of acting and the play. We then got straight into writing the web series and were filming in January. The big challenge was converting this 50minute play into a 5×5 web series.” – Kelly
Advice for filmmakers trying to get their scripts made or get things moving?
“Running with any idea at the start. I was working full time at a call centre, and I just had this gut instinct that it was a good idea. I didn’t have any resources, but I still put the energy into the idea. Being open at the beginning is pivotal. Also, community. Finding people to make things with.” – Kelly
“Pursuing connections that feel right. Also, you must express your own life because no one else can. You must have self-trust that you have something special to tell the world.” – Lauren
The Future
Now you are taking it to the fringe festival, how are you both feeling about such big event?
“I feel good. After the play, it felt like if we can do this we can do anything. Having worked together and having it written gives me confidence. However, I did sit down with myself and just remember that there is four weeks and still a lot to do. But because of all the work, I trust that it will be well received.” – Kelly
“After we finished the rewrite for Adelaide Fringe, we were just buzzing. We realised how well we knew the characters and the script. I just remember thinking, I just cannot fucking wait to perform this.” -Lauren
If you want to say, what is next for both of you? Are you writing a new show together or focused on performing call girls?
“We have a potential opportunity coming up that will take Call Girls to a whole new level. Personally, I am the lead in the new David Williamson play that’s premiering in Noosa. It’s my first gig outside of acting school so I am very excited. Also, I have a new literary agent as well and am doing a lot of writing in the pipeline.” – Lauren
“We have basically done 4 script rewrites for Call Girls. It’s just enough to keep us very busy for a while.” – Kelly
BUY TICKETS TO THE ADELAIDE FRINGE FESTIVAL BELOW!
https://adelaidefringe.com.au/fringetix/call-girls-af2024
WATCH THE WEB SERIES HERE!