Crackhead is a new, locally produced dark comedy, and it's getting plenty of positive reviews.
Created and written by actress Holly Shervey, Crackhead is loosely based on Shervey’s own experience of addiction and psychiatric care.
Holly Shervey and her husband, director of the show, Emmett Skilton, explained the creative process behind creating the show.
"When we finally start to take it off the page, I see Holly really embracing it - she mentioned it's cathartic, she is very liberated by doing this."
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Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News talks'b A cracking.
Speaker 2 (00:13):
New local TV series hit our screens this week. Created
and written by actress Holly Shirvey, Crackhead is loosely based
on Holly's own experience of addiction and psychiatric cam I
absolutely love this show and I'm not the only one.
Another review this week is rating it is possibly the
best New Zealand TV show this year. Holly Shervy and
(00:34):
her husband, director of the show, Emmett's Skilton, are in
the studio with me. Good morning to you both.
Speaker 3 (00:40):
Hello, good morning.
Speaker 2 (00:41):
First, I just want to say congratulations. This is so good.
It's pacey, it's darkly funny, it's reverent, it's brilliantly acted
by an exceptional cast. But it also deals with this
serious issue about mental health and addiction. So congratulations on
pulling it off so beautifully.
Speaker 4 (01:01):
Thank you.
Speaker 2 (01:01):
That means so much. Tell me the series drawls on
your own experience, Holly, with addiction and mental health. Why
did you want to use that experience to create the show.
Speaker 4 (01:14):
I think there's something about having lived in experience and
you don't have to fabricate any of the world, and
that makes it really wonderful for not only the team
who were creating it, but the performance because there.
Speaker 2 (01:28):
Are no trips.
Speaker 4 (01:30):
It's I mean, we just had the best time diving
into that lived experience.
Speaker 3 (01:36):
And for you as well. While you were going through
your own care back in the day, you didn't have
a lot of things that you could draw on to go, Oh,
I feel safe going to this place except for maybe
Girl Interrupted.
Speaker 4 (01:47):
Yeah, that's a film I talk about a lot.
Speaker 2 (01:49):
Have you seen it? Yeah? I have Angelina Jolie film.
Speaker 4 (01:52):
Yes, yes, so before I went into psychiatric yet there
was no one sort of to talk about this thing,
and so that was a film i'd seen close to
when I went in.
Speaker 2 (02:05):
And even if but he did have some experience, they
probably didn't talk a lot about it.
Speaker 4 (02:09):
No, not. The only the one New Zealand sort of
blink I had was is it John Kerwin who does
the rugby at Yeah? And is it like young woman
going through this It's kind of hard to identify with that.
But Girl Interrupted was it for me? And I was like, Okay,
maybe it made me feel less alone in my own
struggle with it, and that's sort of always been the
(02:30):
goal with making this show is for anyone who's going
through it to just feel less isolated.
Speaker 2 (02:36):
Holly, are you nervous about opening up about a difficult
and personal time in your life? Oh?
Speaker 4 (02:41):
Yeah, Oh yeah, it's terrifying. But it's also like the
whole Crackhead journey has been hugely cathartic.
Speaker 2 (02:51):
Can I ask, because there's quite a lot of outrageous
things that do happen in this particular mental health facility
that your character Frankie ends up in, how much of
it is based on actual experiences? If you sort of
had to try and do a bit of a percentage
how much you created and how much is really what
you lived?
Speaker 4 (03:10):
I'd say the heart of what Frankie's going through is
what I lived. Some of those more extreme scenarios and
extreme characters we came up with those in the writer's room,
and it was also a way to protect anyone from
real life in our families who were involved. We change
(03:32):
characters and scenarios to protect them.
Speaker 2 (03:34):
Yeah, but how did you find watching Holly's story and
struggle that she went through come to life on screen.
Speaker 3 (03:44):
I was actually riveted by this whole process, To be honest,
I've known Holly for almost fifteen years, and very early
on in our relationship she informed me of this world
that she'd lived before she knew me, and I've always
been fascinated by it, and I've always treated her with
(04:05):
you know, this key and concern of like, oh man,
what did you go through? And then firstly developing and
reading the scripts with with with Holly's work on the
page quite confronting because I go, wow.
Speaker 2 (04:19):
That's this.
Speaker 3 (04:21):
This poor girl sat through this, lived through this, you know,
tried to sleep through this for three months in care
and then when we start finally start to put it
on a page, I see, holy, I'll take it off
the page. Rather, I see Holly really embracing it. That
she mentioned it's cathartic. She is very liberated by doing
this and filming it. Has been very very hard, you know,
(04:43):
watching her relive those things, because Holly's Holly's not really
an actress that phones it in. She's an actress that
relives what she's written or brings to life what she's
what she sees on the page. And so it was
it was a struggle, but yeah, absolute pleasure to be
able to have an end product that is so wretched
with Holly's experience and Holly's skill just smash on the
(05:06):
face on screen.
Speaker 2 (05:08):
Holly having lived in that world. How important was it
for what we see to be accurate?
Speaker 1 (05:14):
Oh?
Speaker 2 (05:14):
That was the most important thing.
Speaker 4 (05:16):
Yea. And the whole team was really great at honoring that,
and if they ever felt stuck with anything, they were
check in and our world, our world was created from
that truth.
Speaker 1 (05:29):
Yeah, it was.
Speaker 3 (05:30):
We never wanted to look at tropes or stereotypes. Every
character has some form of trauma or addiction or mental
health struggle, and the accuracy of what those really were
was very, very important, rather than just what you could
generally chuck on a New Zealand screen, which which often
can happen.
Speaker 4 (05:50):
And even even though it's a comedy and that's what
we're all trying to achieve, the comedy never worked unless
people were playing this really broken truth that sits underneath it.
Speaker 2 (06:01):
Yah're absolutely right. This isn't the first show that you
have written and start in. There were there's been a
couple previously, Awkward Love and Millennial Jenny. But do you
think that this is the best thing in Brittan? Hell?
Speaker 3 (06:11):
Yeah, yeah.
Speaker 2 (06:12):
I was like, how much can I swearm please not
at all. Yes, we'll leave that to Frankie. Yeah, no,
look and Emmett. It's so sure of its tone this series.
I feel like you've lived with this show for a
long time in your head. You knew exactly what you
wanted it to look like and how you wanted it
to feel. Did you have other shows that you kind
(06:33):
of referenced when it came to achieving what you wanted
to achieve on screen?
Speaker 3 (06:36):
Yeah, in a big way. We're massive fans of a
lot of what comes out of the UK. Fleabag was
a big inspiration. I May Destroy You both written and
acted by the same person. So you've got, you know, MICHAELA.
Cole bringing this brilliant character to life through trauma, and
you've got Phoebe waller Bridge bringing this wonderful character life
through trauma. We also loved I Hate Susie, another really incredible,
(07:00):
fast paced show. And then from the States you got
The Bear, which is like really in your face. And
then one of the things that we did while we
were because it's had a lot of breathing space this
show across the maybe seven years of development, right before
we went into pre production, myself Holly and our incredible
cinematographer Dave Cameron sat down and we were like, all right,
(07:21):
show and tell. So we went through every single scene
and went how do we want this to feel? How
do we want this to look? And we would just go,
all right, chuck this up on the big screen. Here's
the toilet scene from Trainspotting where he disgustingly crawls into
a toilet during a massive, massive drug dive. And so
(07:42):
what it meant for us is that we didn't leave
many stones unturned. It didn't involve our actors at that
point yet. So the beauty of that was that we
had this framework that we then sort of explored with
them on set, but we knew damn sure of how
we wanted every scene to go and feel.
Speaker 2 (07:59):
How easy is it to come up with an idea
and get it on air these days in New Zealand.
I mean, it always feels to me it's been a
necessary thing for an actor to come up or create
the work that they want to appear in. But how
necessary is it in today's environment?
Speaker 4 (08:20):
I guess it depends on the story and the performer.
For me, it was completely necessary. It was like it
a story I lost sleepover that just needed it needed
to be told.
Speaker 3 (08:35):
But I think the challenges needing to be told, and
also someone willing to take a risk on it is
a big thing because Crackhead, you know, doesn't doesn't shy
away from being a very confronting, full on show, and
that's not often something that gets funded in New Zealand.
And so it took a while to get people on board.
(08:56):
But once they were on board, they went, let's do
this and then hollywoore.
Speaker 2 (09:01):
You given sort of free license to do what you
wanted once it was up.
Speaker 4 (09:06):
I think, so there were a lot of steps to it,
but because it was such a personal story, I was
given that freedom initially and that's why people jumped on
board in the beginning, like Philipparini who was at Warner Bros.
And then we had an incredible producer, Britta Hawkins and
Tina mclarinet three and so they they trusted my voice,
(09:28):
and I guess that trust kind of grew with each.
Speaker 3 (09:32):
Step and they wanted to keep it intact. Was a
really really important step for them.
Speaker 2 (09:36):
Husband and wife team. So have you guys worked together
before everything?
Speaker 4 (09:42):
Yeah?
Speaker 2 (09:43):
Okay, so you've got this dynamic.
Speaker 3 (09:45):
Awkward Love was Holly's first sort of step into writing,
and it was also my first step into directing. It
was something as an actor I was always on set going, hah,
why are you holding the camera like that? Why do
you have your why are choosing that frame size? Or
why you know in the editing, why are you cutting that?
And so when it came to Holly writing Awkward Love,
(10:06):
which is about the embarrassing date set experience before she
met me, we kind of went, well, I'll direct it
because I know what I wanted to look and feel like.
I think I got enough skill to kind of go,
let's do it. And for Holly it was a great
vehicle as an actress but also as a writer.
Speaker 4 (10:22):
But also you're a wonderful perfectionist, so in every moment,
you feel held, which is what I wanted. And I
also there's a huge fear around this stuff, and I
get to check in with them and I get really
honest feedback and it doesn't happen a lot.
Speaker 2 (10:37):
So I suppose I should ask you it is this
the best thing you've ever directed? Heck?
Speaker 3 (10:40):
Yeah, I loved this from a start to finish. I
am very kind of you to say a wonderful perfectionist.
I I it's.
Speaker 2 (10:50):
Always it always sounds like it means something else.
Speaker 3 (10:53):
I know what you mean, though, I really I will.
I will adjust frame by frame. I will make sure
a sound effect is perfectly accurate. And it's not because
I no, no, it is. It's because I desperately need
it to be exactly right. And I direct, and I
edit with rhythm and beat and make sure that breath
is why you end the scene or start a scene.
(11:14):
All these little bits that people kind of go, what
are you talking about?
Speaker 2 (11:18):
Not a bad trait because you can see it on
the screen.
Speaker 4 (11:20):
I say wonderful because the end result is wonderful. But
it's painful when you're like, WHOA, holy no, But we
get to this wonderful place.
Speaker 2 (11:28):
Yeah, just now we're getting to the truth of us.
Speaker 3 (11:32):
Because the wonderful thing about this as well is Holly
is also very very specific in what she writes and
what she does. So I think it's yeah, we don't
sort of shy away from it being as accurate as
we want it to be.
Speaker 2 (11:43):
Holly, the timing of the show release is lined up
with the birth of your first child, So how's that been.
You've kind of launched two babies into the world.
Speaker 4 (11:50):
Alls, Oh yeah, that mean it sounds fun, but it's
the most intense, terrifying magic, Like so many words come
to mind.
Speaker 2 (11:58):
I don't know how to describe it yet. I'm still processing.
The show's being picked up by HBO and Australia. Are
you hoping that that's just the start when it comes
to go and Global?
Speaker 3 (12:07):
Oh yeah, big time.
Speaker 1 (12:09):
Yeah.
Speaker 3 (12:09):
Yeah. We always had our site set on the international
market when we were making it, so hopefully it finds
that audience over there.
Speaker 2 (12:17):
And I look, I'm only three episodes in and I'm
so hooked, but I'm going to demand the second season.
I hope that one is in the making.
Speaker 4 (12:25):
Oh yeah, there's definitely a lot of story and journey
for these characters.
Speaker 3 (12:29):
Yeah, there's quite a large cliff at the end of
this season, so we really have to make.
Speaker 2 (12:35):
More, please do. Holly and Emmett, thank you so much
for coming in and congratulations on the show. Thank you
very much. Craighead is Shoving on three every Thursday at
nine pm. It's also available to stream on three Now.
Speaker 1 (12:49):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks. It'd be from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudkin
from News talks'b A cracking.
Speaker 2 (00:13):
New local TV series hit our screens this week. Created
and written by actress Holly Shirvey, Crackhead is loosely based
on Holly's own experience of addiction and psychiatric cam I
absolutely love this show and I'm not the only one.
Another review this week is rating it is possibly the
best New Zealand TV show this year. Holly Shervy and
(00:34):
her husband, director of the show, Emmett's Skilton, are in
the studio with me. Good morning to you both.
Speaker 3 (00:40):
Hello, good morning.
Speaker 2 (00:41):
First, I just want to say congratulations. This is so good.
It's pacey, it's darkly funny, it's reverent, it's brilliantly acted
by an exceptional cast. But it also deals with this
serious issue about mental health and addiction. So congratulations on
pulling it off so beautifully.
Speaker 4 (01:01):
Thank you.
Speaker 2 (01:01):
That means so much. Tell me the series drawls on
your own experience, Holly, with addiction and mental health. Why
did you want to use that experience to create the show.
Speaker 4 (01:14):
I think there's something about having lived in experience and
you don't have to fabricate any of the world, and
that makes it really wonderful for not only the team
who were creating it, but the performance because there.
Speaker 2 (01:28):
Are no trips.
Speaker 4 (01:30):
It's I mean, we just had the best time diving
into that lived experience.
Speaker 3 (01:36):
And for you as well. While you were going through
your own care back in the day, you didn't have
a lot of things that you could draw on to go, Oh,
I feel safe going to this place except for maybe
Girl Interrupted.
Speaker 4 (01:47):
Yeah, that's a film I talk about a lot.
Speaker 2 (01:49):
Have you seen it? Yeah? I have Angelina Jolie film.
Speaker 4 (01:52):
Yes, yes, so before I went into psychiatric yet there
was no one sort of to talk about this thing,
and so that was a film i'd seen close to
when I went in.
Speaker 2 (02:05):
And even if but he did have some experience, they
probably didn't talk a lot about it.
Speaker 4 (02:09):
No, not. The only the one New Zealand sort of
blink I had was is it John Kerwin who does
the rugby at Yeah? And is it like young woman
going through this It's kind of hard to identify with that.
But Girl Interrupted was it for me? And I was like, Okay,
maybe it made me feel less alone in my own
struggle with it, and that's sort of always been the
(02:30):
goal with making this show is for anyone who's going
through it to just feel less isolated.
Speaker 2 (02:36):
Holly, are you nervous about opening up about a difficult
and personal time in your life? Oh?
Speaker 4 (02:41):
Yeah, Oh yeah, it's terrifying. But it's also like the
whole Crackhead journey has been hugely cathartic.
Speaker 2 (02:51):
Can I ask, because there's quite a lot of outrageous
things that do happen in this particular mental health facility
that your character Frankie ends up in, how much of
it is based on actual experiences? If you sort of
had to try and do a bit of a percentage
how much you created and how much is really what
you lived?
Speaker 4 (03:10):
I'd say the heart of what Frankie's going through is
what I lived. Some of those more extreme scenarios and
extreme characters we came up with those in the writer's room,
and it was also a way to protect anyone from
real life in our families who were involved. We change
(03:32):
characters and scenarios to protect them.
Speaker 2 (03:34):
Yeah, but how did you find watching Holly's story and
struggle that she went through come to life on screen.
Speaker 3 (03:44):
I was actually riveted by this whole process, To be honest,
I've known Holly for almost fifteen years, and very early
on in our relationship she informed me of this world
that she'd lived before she knew me, and I've always
been fascinated by it, and I've always treated her with
(04:05):
you know, this key and concern of like, oh man,
what did you go through? And then firstly developing and
reading the scripts with with with Holly's work on the
page quite confronting because I go, wow.
Speaker 2 (04:19):
That's this.
Speaker 3 (04:21):
This poor girl sat through this, lived through this, you know,
tried to sleep through this for three months in care
and then when we start finally start to put it
on a page, I see, holy, I'll take it off
the page. Rather, I see Holly really embracing it. That
she mentioned it's cathartic. She is very liberated by doing
this and filming it. Has been very very hard, you know,
(04:43):
watching her relive those things, because Holly's Holly's not really
an actress that phones it in. She's an actress that
relives what she's written or brings to life what she's
what she sees on the page. And so it was
it was a struggle, but yeah, absolute pleasure to be
able to have an end product that is so wretched
with Holly's experience and Holly's skill just smash on the
(05:06):
face on screen.
Speaker 2 (05:08):
Holly having lived in that world. How important was it
for what we see to be accurate?
Speaker 1 (05:14):
Oh?
Speaker 2 (05:14):
That was the most important thing.
Speaker 4 (05:16):
Yea. And the whole team was really great at honoring that,
and if they ever felt stuck with anything, they were
check in and our world, our world was created from
that truth.
Speaker 1 (05:29):
Yeah, it was.
Speaker 3 (05:30):
We never wanted to look at tropes or stereotypes. Every
character has some form of trauma or addiction or mental
health struggle, and the accuracy of what those really were
was very, very important, rather than just what you could
generally chuck on a New Zealand screen, which which often
can happen.
Speaker 4 (05:50):
And even even though it's a comedy and that's what
we're all trying to achieve, the comedy never worked unless
people were playing this really broken truth that sits underneath it.
Speaker 2 (06:01):
Yah're absolutely right. This isn't the first show that you
have written and start in. There were there's been a
couple previously, Awkward Love and Millennial Jenny. But do you
think that this is the best thing in Brittan? Hell?
Speaker 3 (06:11):
Yeah, yeah.
Speaker 2 (06:12):
I was like, how much can I swearm please not
at all. Yes, we'll leave that to Frankie. Yeah, no,
look and Emmett. It's so sure of its tone this series.
I feel like you've lived with this show for a
long time in your head. You knew exactly what you
wanted it to look like and how you wanted it
to feel. Did you have other shows that you kind
(06:33):
of referenced when it came to achieving what you wanted
to achieve on screen?
Speaker 3 (06:36):
Yeah, in a big way. We're massive fans of a
lot of what comes out of the UK. Fleabag was
a big inspiration. I May Destroy You both written and
acted by the same person. So you've got, you know, MICHAELA.
Cole bringing this brilliant character to life through trauma, and
you've got Phoebe waller Bridge bringing this wonderful character life
through trauma. We also loved I Hate Susie, another really incredible,
(07:00):
fast paced show. And then from the States you got
The Bear, which is like really in your face. And
then one of the things that we did while we
were because it's had a lot of breathing space this
show across the maybe seven years of development, right before
we went into pre production, myself Holly and our incredible
cinematographer Dave Cameron sat down and we were like, all right,
(07:21):
show and tell. So we went through every single scene
and went how do we want this to feel? How
do we want this to look? And we would just go,
all right, chuck this up on the big screen. Here's
the toilet scene from Trainspotting where he disgustingly crawls into
a toilet during a massive, massive drug dive. And so
(07:42):
what it meant for us is that we didn't leave
many stones unturned. It didn't involve our actors at that
point yet. So the beauty of that was that we
had this framework that we then sort of explored with
them on set, but we knew damn sure of how
we wanted every scene to go and feel.
Speaker 2 (07:59):
How easy is it to come up with an idea
and get it on air these days in New Zealand.
I mean, it always feels to me it's been a
necessary thing for an actor to come up or create
the work that they want to appear in. But how
necessary is it in today's environment?
Speaker 4 (08:20):
I guess it depends on the story and the performer.
For me, it was completely necessary. It was like it
a story I lost sleepover that just needed it needed
to be told.
Speaker 3 (08:35):
But I think the challenges needing to be told, and
also someone willing to take a risk on it is
a big thing because Crackhead, you know, doesn't doesn't shy
away from being a very confronting, full on show, and
that's not often something that gets funded in New Zealand.
And so it took a while to get people on board.
(08:56):
But once they were on board, they went, let's do
this and then hollywoore.
Speaker 2 (09:01):
You given sort of free license to do what you
wanted once it was up.
Speaker 4 (09:06):
I think, so there were a lot of steps to it,
but because it was such a personal story, I was
given that freedom initially and that's why people jumped on
board in the beginning, like Philipparini who was at Warner Bros.
And then we had an incredible producer, Britta Hawkins and
Tina mclarinet three and so they they trusted my voice,
(09:28):
and I guess that trust kind of grew with each.
Speaker 3 (09:32):
Step and they wanted to keep it intact. Was a
really really important step for them.
Speaker 2 (09:36):
Husband and wife team. So have you guys worked together
before everything?
Speaker 4 (09:42):
Yeah?
Speaker 2 (09:43):
Okay, so you've got this dynamic.
Speaker 3 (09:45):
Awkward Love was Holly's first sort of step into writing,
and it was also my first step into directing. It
was something as an actor I was always on set going, hah,
why are you holding the camera like that? Why do
you have your why are choosing that frame size? Or
why you know in the editing, why are you cutting that?
And so when it came to Holly writing Awkward Love,
(10:06):
which is about the embarrassing date set experience before she
met me, we kind of went, well, I'll direct it
because I know what I wanted to look and feel like.
I think I got enough skill to kind of go,
let's do it. And for Holly it was a great
vehicle as an actress but also as a writer.
Speaker 4 (10:22):
But also you're a wonderful perfectionist, so in every moment,
you feel held, which is what I wanted. And I
also there's a huge fear around this stuff, and I
get to check in with them and I get really
honest feedback and it doesn't happen a lot.
Speaker 2 (10:37):
So I suppose I should ask you it is this
the best thing you've ever directed? Heck?
Speaker 3 (10:40):
Yeah, I loved this from a start to finish. I
am very kind of you to say a wonderful perfectionist.
I I it's.
Speaker 2 (10:50):
Always it always sounds like it means something else.
Speaker 3 (10:53):
I know what you mean, though, I really I will.
I will adjust frame by frame. I will make sure
a sound effect is perfectly accurate. And it's not because
I no, no, it is. It's because I desperately need
it to be exactly right. And I direct, and I
edit with rhythm and beat and make sure that breath
is why you end the scene or start a scene.
(11:14):
All these little bits that people kind of go, what
are you talking about?
Speaker 2 (11:18):
Not a bad trait because you can see it on
the screen.
Speaker 4 (11:20):
I say wonderful because the end result is wonderful. But
it's painful when you're like, WHOA, holy no, But we
get to this wonderful place.
Speaker 2 (11:28):
Yeah, just now we're getting to the truth of us.
Speaker 3 (11:32):
Because the wonderful thing about this as well is Holly
is also very very specific in what she writes and
what she does. So I think it's yeah, we don't
sort of shy away from it being as accurate as
we want it to be.
Speaker 2 (11:43):
Holly, the timing of the show release is lined up
with the birth of your first child, So how's that been.
You've kind of launched two babies into the world.
Speaker 4 (11:50):
Alls, Oh yeah, that mean it sounds fun, but it's
the most intense, terrifying magic, Like so many words come
to mind.
Speaker 2 (11:58):
I don't know how to describe it yet. I'm still processing.
The show's being picked up by HBO and Australia. Are
you hoping that that's just the start when it comes
to go and Global?
Speaker 3 (12:07):
Oh yeah, big time.
Speaker 1 (12:09):
Yeah.
Speaker 3 (12:09):
Yeah. We always had our site set on the international
market when we were making it, so hopefully it finds
that audience over there.
Speaker 2 (12:17):
And I look, I'm only three episodes in and I'm
so hooked, but I'm going to demand the second season.
I hope that one is in the making.
Speaker 4 (12:25):
Oh yeah, there's definitely a lot of story and journey
for these characters.
Speaker 3 (12:29):
Yeah, there's quite a large cliff at the end of
this season, so we really have to make.
Speaker 2 (12:35):
More, please do. Holly and Emmett, thank you so much
for coming in and congratulations on the show. Thank you
very much. Craighead is Shoving on three every Thursday at
nine pm. It's also available to stream on three Now.
Speaker 1 (12:49):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks. It'd be from nine am Sunday,
or follow the podcast on iHeartRadio
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