Written by Steven Vagg
Lou Sands is the writer of the new Australian comedy Audrey.
So tell me about Audrey.
Audrey is a strangely relatable Australian dark comedy about Ronnie Lipsick (Jackie Van Beek), a former soap star who crowns herself ‘Mother of the Year’. . But he’s stuck in a slow-burning hell of unfulfilled dreams and suburban purgatory. Her acting career ended prematurely due to an unplanned pregnancy. Now she has a husband who doesn’t care about her more than her poor Wi-Fi connection, and kids who think she’s just there to do their laundry. Then, when their eldest daughter Audrey (Joséphine Brasier) conveniently falls into a coma, Ronnie finally gets his chance to become the star he was meant to be by living Audrey’s life. Meanwhile, Audrey’s husband (Jeremy Lindsay Taylor) regains popularity by producing Christian porn, and her second daughter Nora (Hannah Diviny) grows up in the spotlight left behind by Audrey’s coma. Basically, everyone’s life gets better when Audrey checks out. ”
How did you get involved?
“Oh, yeah, I dragged everyone else into it — because this is my idea, my story, my script. I wrote what became ‘Audrey’ a while ago. But it floated around for years, getting a little attention here and there. But nothing clicked until I met (director) Natalie Bailey. She was the missing piece that made it all happen, but it made for the movie we made and the ridiculously talented cast and crew that made it possible. ”
At the risk of defamation, do you draw any inspiration from real life?
“No, not directly. But certainly, people may identify with it. Isn’t that the essence of art? The world we see, or the world we want to see. Is it to reflect? Audrey is influenced by the struggles and stories around me and what I see in the media: fame, failure, shame, redemption, love… They are the ones I know. People? No. But to tell you the truth, I’ve yet to meet a narcissist who isn’t interested in me at all.
Please tell us about yourself. Avoid incorrect paragraph lengths in one paragraph.
“Well, since you asked…I’m a writer. (pause) Okay. I’m a writer who wanted to be a screenwriter after watching the US indie scene explode in the late ’90s. Movies like “Happiness”, “But I’m a Cheerleader”, “The Clerk”, “Before Sunrise”… To be honest, back then you couldn’t throw a stick without hitting a great script. Here in Australia, we’ve had some unique Australian gems too, including Two Hands, Muriel’s Wedding and The Castle (Aussies always love a good laugh), but what a strange childhood this is. If you’re wondering what inspired it? Well, I wasn’t allowed to watch Neighbors growing up (my mom didn’t believe in cul de sacs), but Magnum P.I. We were allowed to binge-watch L.A. Law, Remington Steele — oh, and my dad watched all the bootlegged Spanish movies. My nan couldn’t watch “The Neighbors.” My mother finally relented when I told her that it was affecting my social standing at school. So I got a supervised neighbor. When it comes to writing, I’m drawn to stories that subvert expectations, and honestly, most outsiders do that naturally just by existing. And that’s my subjectivity in everything I write. ”
How has the script changed over time?
“It’s definitely evolved. When I first wrote it, I was young and I probably identified more with Nora and her relationship with her sister. But then life happened and I was younger. As I grew older, had children, and saw my career stagnate a bit, Ronnie suddenly became more relatable to me, with a level of empathy and understanding that I didn’t have before. My work kind of grows with me and it’s all connected. In the end, I focused on Ronnie, but I still have my own. I’m thinking about what I can do to help.”
What was the development process like?
“Natalie came on board and introduced us to producer Michael Wren, which allowed us to secure funding and focus on developing the script. “We also had Keith, who is a bit of a legend in the industry, able to secure funding and focus on developing the script. I started working with Thompson as a script editor, and it was pretty seamless. Everything I wanted to write and explore was supported, which is basically every writer’s dream. Not really, but if you believe in your vision, that kind of criticism is welcome. It only makes your work better.”
You met the director at an industry speed dating event, right? Do they actually work?
“I think taking risks pays off. I met Natalie that day. She was my last ‘date.’ I joined the company with a mixture of optimism and trepidation. At the time, I had just been told by people who were supposed to be in my corner that I don’t have a career in this country and frankly never will. I was even told that no one in the Australian film and television industry wanted to work with me. But I wasn’t completely convinced. So, I registered for this event, met Natalie, and became a fangirl of her. Because she’s worked with French, Saunders, and Armando Iannucci. I mentioned Audrey in passing, but at the time there was a different director. However, Fate had other plans, and less than a year later, Natalie was officially appointed as director. Of course, sometimes those things work out, but most of the time I think it’s about trusting your instincts and sticking with it long enough for the “no” to turn into a “yes.” ”
Please tell us about the cast. Is there anything that stands out?
“Where do I start? They’re all great. Jackie Van Beek is an absolute masterclass in this movie. Ronnie is a complex character that’s difficult to pull off, let alone make likable.” It’s difficult (because for some reason we expect female characters to be “likable”). But Jackie makes the morally ambiguous Ronnie not only understandable but funny and relatable. Jeremy Lindsay Taylor — What a revelation. This man is a natural clown. It’s a beautiful piece of work about a crumpled Cormac finding his groove again. Hannah Diviny is uncompromising, fearless and impossible to take your eyes off. Josephine Brasier — She has an uncanny ability to switch from vulnerable to hostile to completely sympathetic within the span of a single scene. Will Fraser Anderson play the fateful Romeo? wonderful. Aaron Faaoso as Burke? wonderful. Gale Baranton as Lucinda? She surprised me and turned me on a little bit. But to be honest, some of the bit roles are real gems for me – Janda St. James, Tiare Brooks, Tracy Filmer, Wendy Locke, Ngoc Huang, Vivian Avitia, Monette Lee – they are They all really had their own personalities and brought so much to the film.”
Jackie Van Beek is also a screenwriter, what did you think of her script?
“As for whether she actually memorized the lines, yes, she did. But from a writer’s point of view, the real advantage of having Jackie is that she gets it. helped me understand why I made the choices I made regarding Ronnie, and all she suggested was digging deeper into the “why” and supporting the intent of the scene. ”
You were (or were you?) an actor, so why didn’t you take your time in front of the camera?
“Well, I stopped doing stand-up because I realized that I didn’t want to be seen. Performance-wise, it’s a bit of a problem. But technically, I’m in movies as an extra. The rooftop scene. So here I am, standing behind Hannah, helping her keep from rolling into the driveway. It was either me or the wooden block, but she chose me, and Babs McNeil was born. Jackie and I created this whole backstory for Babs between takes, but tragically, none of it made it to the screen. Let’s just say there are layers to Babs.
The whole “you can’t make fun of anything these days” thing comes mostly from old white comics, but Audrey doesn’t seem to have a problem with it, and even has some trouble with taboo topics (e.g. people in wheelchairs). I feel the resistance. Will you navigate it?
“Let’s work smarter. Being smarter makes us more interesting. There’s no need to punch down when you can punch sideways. Even better, punch up. I’ve been asked how I was able to raise funds for what I do, and my answer is simple. It’s not politically incorrect. This is the world we live in, and this is how people act. If you want to talk about these things, have fun together, and bring it to the forefront, you have to approach it differently. At the heart of comedy is extreme action. So be radical. Don’t come from a place of fear. It’s a slippery slope to hate. It comes from curiosity and a desire to understand. ”
How dark can you get in a dark comedy?
“As dark as the characters’ truths hit them, I honestly don’t know if I’ve reached my darkest point yet, but I always make sure I have a heart somewhere in my heart.” I have a heart in the dark, a heart in the heart of darkness…Okay, I’ll stop. But really, it’s about balancing the two. When you’re in the dark, it’s something to do. You have to give it something to hold on to, otherwise it’s just dark.”
What did you have to cut that you didn’t want to cut (i.e. which loved one did you kill)?
“There was a TikTok dance scene that got a lot of attention. It looked great on paper, but in editing it was decided that before Ronnie did the TikTok trauma dance next to Audrey’s comatose bed, they’d be more together.” Interestingly, that scene was an actual video that my husband sent me of the mother doing the trauma dance while the child was in the hospital. She has her own reality show now…I mean, you can’t make stuff like this up (well, I can and I can make it). .”
Do you have any particularly interesting memories while filming?
“As I watched the crew, I gradually realized what kind of film we were making. Every day, their reaction was incredible. They would sneak out on their lunch break and read the script. I was looking to see what kind of moral boundaries they were going to push next, and it made me laugh that Aaron and Jeremy had a little dance party before a few scenes. I was so relieved that I was walking around to the side. To be honest, there wasn’t a day on set that I didn’t laugh. Well, maybe someday, but that’s for the memoir.”
What are you doing now and what’s next?
“My husband, John Kachoyan, and I are developing a dark comedy television series based on his cancer experience. I’m also working on several film and television projects here and in the United States. They are all my ideas and have the unique touch that you would expect from my work. I will continue to direct and produce, ideally in a location with a swim-up bar and kids club. I want to go on vacation (not for me, but for my son). I’ve been in this industry for a long time, and now that the doors are finally opening, I want to walk around the industry and take every opportunity that comes my way. I’m here.”
Audrey will be screened at the Brisbane International Film Festival. Click here to view tickets.
