February 1, 2025 • 22 mins
Hi Guys, welcome back to TV Reload. Thank you for clicking or downloading on today’s episode with Michelle Lim Davidson. One of the brilliant actors from The newsreader. Which returns this week on the ABC for its final series.
The Newsreader is brilliant and if you haven’t seen the first two series I am kinda jealous because I would love to go back and have that feeling of watching it for the first time. It is so groundbreaking and well made that in fact its one of the best Australian scripted drama’s of this generation.
The Newsreader follows a few characters POV of the newsroom during the 80’s and Michelle’s character Noelene is one of the three main characters that we have followed through on this trilogy. Her character is Korean Australian and there has been so much to unpack with her character and even more so in series three.
- Michell will unpack the ways in which her character is similar to her own personality and how Michelle was able to contribute this season more than just as an actress.
- We chat about sweet spot of The Newsreader and why this series has highlighted how far we have come and how far we haven’t with some of the biggest issues in this country
- I find out about how recreating the Logies had Kylie Minogue and Daryl Somers sending in their approval to use old footage.
- You will get everything from why this series will end this year, what Michelle thinks her trajectory with her on screen husband played by Steven Peacock and what contribution to her character had her asking for rewrites to make sure the conversation about race in this country was handled correctly.
There is so much to talk about with so many inside revelations. So sit back and relax as we unpack the wonderful world of The Newsreader. Which is back on Sunday the 2nd on the ABC and iview Australia.
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's in the news today, but it was actually on
TV Reload the podcast last week. Thereby, Hey guys, welcome
back to TV Reload. I want to thank you for
clicking and downloading on today's episode with Michelle Lynn Davidson,
one of the brilliant actors from The Newsreader, which returns
this week on the ABC for its third and final series.
The Newsreader is just brilliant and if you haven't seen
(00:22):
the first two series, I'm actually kind of jealous because
I would love to go back and have that feeling
of watching it for the first time. It is so
groundbreaking and well made that, in fact, I'm going to
go as far as saying it's one of the best
Australian scripted dramas of this generation. The Newsreader follows a
few characters point of view of the news room during
(00:42):
the eighties, and Michelle's character Noline is one of the
three main characters that we have followed throughout this trilogy.
Her character is a Korean Australian and there has been
so much to unpack with her character, and even more
so in series three, Michelle will unpack with me the
ways in which her character is similar to her own
personality and how Michelle was able to contribute to this
(01:04):
season more than just being an actress. We will chat
about the sweet spot of the Newsreader and why this
series has highlighted how far we have come and how
far we haven't gone with some of the biggest issues
in this country. I will find out about recreating the
logies and how kind of Minoga and Darryl Summers did
send through some approval to use their footage. We will
(01:27):
get everything from why this series will end this year,
what Michelle thinks of the trajectory with her on screen
husband played by Stephen Peacock, and what contribution to her
character had her asking for rewrites to make sure that
the conversation about race in this series and in this
country was handled correctly. There's actually so much to talk about,
(01:47):
as per usual, with a lot of inside revelations from Michelle.
So guys sit back and relax as we unpack the
wonderful world of The Newsreader season three, which is back
Sunday the second on ABC.
Speaker 2 (01:59):
And I view Hello, how are you?
Speaker 1 (02:02):
I'm doing so well and I have to tell you
right off the bat, I'm so invested in season three.
I'd go as far as saying season three is now
my favorite season so far. Is that weird?
Speaker 2 (02:14):
Oh my goodness. Oh, I'm so thrilled to hear that.
I mean, it was just doing an interview before speaking
to you, but she was the first person I've talked
to outside the people who work on the Newsreaders who've
seen the show, but we didn't really get to talk
about that that much. So I'm so thrilled to hear that.
Thank you for letting me.
Speaker 1 (02:31):
Know, Michelle. It's so funny because I struggle to find
shows that my partner and I both want to watch
together that we really really Wow, he says to me,
is there another episode of The Newsreader?
Speaker 2 (02:42):
Like?
Speaker 1 (02:42):
We need to watch that?
Speaker 2 (02:43):
So how many have you watched?
Speaker 1 (02:46):
I've watched four episodes. I just someone told me this
is going to be the last season of the show.
But I just feel like, because this season is so strong,
I didn't feel like that didn't happen. I feel like
we need more.
Speaker 2 (02:58):
Yes, No, it's we always knew from the start it
was a trilogy, and we always hope that we've had
the opportunity to You know, what TV's like, you never
know if you're going to have the opportunity to do that,
and so I think we're really privileged to finish it
off the way we wanted to put I guess this
is the thing about It's like knowing when to leave
(03:18):
the party.
Speaker 1 (03:19):
Our call it the Seinfeld theory, which is get out
while it's still really good.
Speaker 2 (03:24):
Yes, Yes, and we all because heading into it we
knew it was the final season. There were so many
things that had built up, which I'm sure you're probably
seeing if you've seen kind of quite a bit of
it start to play out like it was super satisfying
as an actor to have that opportunity and also to
be able to contribute to that. Well.
Speaker 1 (03:46):
It's also so delicious, Like I've seen you in seventy
different roles and I always love you as an actress,
but I feel like we're not. It's something there's some
real vitology, there's some real gravitas that you have in
this role. And I always I wonder when you get
to talk to actors, what do you relate to when
it comes to picking up the script and reading this character.
(04:07):
Are there similarities or similar ideals that you share.
Speaker 2 (04:10):
Yes, I mean to quote Michael Lucas as a creator
of the show. He's always an interview saying that everyone's
so different from the characters except for Michelle. Michelle's probably
the most like Norlleen or like Nolen, you know, like
and I find that at first I found that kind
of strange, and then everyone until it will be like,
we've got to admit, this is quite a bit of crossover.
It's doating that both of you. I think maybe what's
(04:33):
unique about Noline for me is that even though I've
never worked in the media or in journalism, I feel
like there's a crossover experiences with working in the entertainment industry,
and I'm able to contribute a lot of I guess
my experience or my perspective into the role. I think
(04:53):
what's unique for me as an actor and as the
series has gone on is that i work a couple
of functions, and so I'm in development in the writer's room.
I help kind of set and contribute to Nolin's story,
and I also work as a cultural consultant, which I
was kind of I give it much more work for
season three. That is kind of I guess actors don't
(05:16):
really get to you can suggest things creative team, but
to have that kind of level of input, so that
it's seeded within the work, it's not something that you
bring in over the top of it. I think that
helps me try to make the role more authentic. But yeah,
like it's kind of w I switch hats. So even
when like if if we're filming at Nolin and Rob's house,
(05:38):
for example, I come in and you know, I collaborate
with the art department. They send me photos of things,
and then I come in separately to my job as
an actor and I come on set and they say, oh,
you need to move this here or blah blah blah,
or know these are the wrong something, or yes this
is good blah blah blah. And so that also is
(05:58):
I mean, such a privilege to be I could pot that,
but it's a completely different hat I wear on the
show as well. So I think that's current of crossover
between myself and Noline's quite strong because of that involvement.
Does that sort of answer your question?
Speaker 1 (06:13):
It really does. And I just think this show to
me because I love television. I've grown up since a
child loving television so much. When I was I think seven,
I asked for the TV Week to be my birthday present,
to have a subscription to the Techne Week and my
dad got to go to the TV week logis for
the first time in the logis that's in episode one
(06:33):
of season three. So the details, no, and the detail,
the perfection of all of the detail is so real
to me. And I was sitting there watching episode one.
I don't want to spoil anything, but there's a moment
where an award goes off and you see Sam's character
going up against Kyler Minoag and Darryl Summers, and I
remember who the award goes to, you know what I mean.
Speaker 2 (06:56):
So like, oh my gosh, yeah, I mean, I just.
Speaker 1 (07:00):
Loved loved television as a child. In an unusual way.
Speaker 2 (07:02):
We had a missing from Darryl. I'm pretty sure.
Speaker 1 (07:04):
It's Daryl, right and won yeah it is, yeah, yeah yeah,
and Daryl, well you want to get Daryl on board,
I can tell you. I've worked with Daryl.
Speaker 2 (07:12):
I'll have you and Kylie as well, kind of know
everyone like they're just people were just so kind of
like I think Kylie Minogue sent to you a message
back through her people being like, oh, how cute is
the footage? I mean, you would have picked up on
the detail, were actually filmed in the exact same room.
Speaker 1 (07:28):
Yeah, I know that I heard.
Speaker 2 (07:30):
Which is so lucky and yeah, to have access to
archival footage and to intercept it with I guess our
modern television making. It's pretty amazing that it did feel
like we were actually at the Logis.
Speaker 1 (07:44):
I met you once, Lois, it was a few years ago,
and so I've seen you in Logis in real time,
and I've seen you at the He's in the eighties,
it's very unusual. You know, there's show tackles sexuality, race, feminism,
abuse of power. I mean, the list goes on. Do
you think that this show sweet Spot is the juxtaposition
of the eighties versus today with how you tackle some
(08:08):
of those issues and putting them up against each other.
Speaker 2 (08:11):
Yeah, I think maybe the eighties. How do I explain
that eighties and the kind of now that overlap that
then diagram? I mean, I want to say that we've
progressed a lot more than we have, and we have
in many ways. But I'm also struck by the amount
of people that work in the media who have told
me how much their experience aligned, especially to Nolein, because
(08:34):
I think we're seeing her work up as a junior
and through the ranks and coming up to be a producer,
and people like, oh, you know, that's exactly you know
what my boss was like in the newsroom. Or I'm
just like, you know, it's great because it means the
show's authentic. But also I've always got Sady Terra and
things like in episode one, which you've seen, where they're
(08:57):
talking about how Norleine has applied maternity leave. Yeah, but
it hasn't been granted that that comes from one of
our real consultants who work in newsrooms in the eighties.
So we have many consultants that work on the show
that feeding and give us, you know, accurate information down
to like auto Q experts and all those kinds of people.
And that's something that actually happened.
Speaker 1 (09:19):
Unbelievable. I mean it's unbelievable. Yes, as that scene happens,
I was googled. You know, that's what's sort of fun
about this as well, Like I was googling on my
phone things because it's so interactive. I was like, is
that right? You know, how long has it been since
women were allowed to go on maternity leave and have
their roles still held? You know, those sorts of things
to me, are really interesting too, and also frightening to
(09:41):
look at where you say, oh my god, that that
hasn't been around for as long as we think it
should have been.
Speaker 2 (09:46):
Yes, And I think what you're talking about that juxtaposition.
I think where the show's success lives is not just
in that. I guess that macro kind of thing of
like we're examine feminism and sexuality and all of the
those things. I think it's because what we do is
we play them out in very kind of human relationships,
like for Noline, and you see them have these conversations
(10:09):
like you've seen the apartheid episode in episode yeah that's
episode four, and yeah, you're seeing kind of that really
tough conversation they have in the kitchen, which you know
is building. You know, we hoped we'd have that from
season one. We always knew we were going to kind
of get to the point where they actually have this
conversation and Norlin actually confronts Robin some way, and people
(10:31):
can connect to that because not being lectured on these moments,
you just seeing two very real people deal.
Speaker 1 (10:36):
With uncomfortable situations. But I was thinking, these are such
likable characters. We love these two so we love watching
them so when we see them in pain, when we
see them and they are uncomfortable, it is so immersive.
And then I wonder whether or not the pressure that
you feel to bring those sort of storylines to the screen,
(10:56):
you know, representing the caxities of multicultural Australia, of what
those conversations have been like and what they're still like.
Speaker 2 (11:04):
Yes, look, there are many elements in annuline storyline that
comes directly from my life or you know, are inspired
by these moments. And we actually went back and forth
on the script for that particular scene quite a bit. Wow,
they're killing Michael and I because I was like, no,
it's not quite right yet. And I think Ado, who
(11:24):
wrote the episode as well, just like in this kind
of like back forward, back and forward, back and forward,
and I was like, no, this is not the right words,
not the right words. And what she wants to do
is say you're not seeing me. And I feel like,
not just racially, but I think it happens in a
lot of partnerships where you're like, are you seeing me
right here right now? The version of me that you
(11:46):
want to believe, or that's easier for you to believe
that are you actually seeing who I am now? And
can you be the person that I need you to
be in support of where I'm at? And that is
that's the kind that's what I find painful watching all
those kinds of scenes because it's it's not what's very.
Speaker 1 (12:06):
Raw, kind of very raw.
Speaker 2 (12:08):
Yeah, yeah, and I think, yeah, we are playing really
good people.
Speaker 1 (12:13):
I mean, I've been in those situations myself where I
think one of my really good friends said to me,
you know, I'm Asian Australian and I feel like I'm
held back in my work. And I said to him, oh,
I don't think that's happening, you know. And the reason
for my motivation of saying that to him is because
I love him and I don't want him to feel
like that. But by simply lying to him about his
(12:35):
truth makes him feel uncomfortable. And what happens in these
dynamics is that you want to say the right thing
to that person to make them feel loved, but that
isn't going to make them feel any better if that's
not that truth.
Speaker 2 (12:48):
Yes, I think it's that kind of it sounds really harsh,
but I don't mean it like this, but like dismissing
that experience. Of course, it's often because the other person
doesn't want to feel uncomfortable, and so you know, it's
a tricky thing to not prioritize your comfort over someone
else's experience. And I think that is so much of
what Rob has done. He just sees the world and
(13:10):
he's treated in such a different way. And because he
treats Noline, we're just like love and care and respect.
He just thinks that there's no problem. There's no problem,
but there is. It's a really big problem.
Speaker 1 (13:22):
I think that's the spaces and places that we find
are the most damaging is when we're in situations where
people are sort of skating over it because they think
they're doing the right thing, which means that you internalize
it more. That's the more dangerous space is where you're
sort of like, I feel like this and you've just
tried to make it something else, and I know that
(13:44):
you're trying to do it for the right reason, but
that is suppressing some very deep mental health issues for me.
I see that.
Speaker 2 (13:50):
Oh yes, I.
Speaker 1 (13:51):
Think that's where the news reader sings is by looking
at all of those minorities in some way and handling
them with some dignity.
Speaker 2 (14:00):
I think you're completely right, and I think as well
as where the show I think really connects to people
is is that we play a lot of those moments
in the shadows. You see that between Dale and in
a lot of his relationships with different characters, Lucie, Helen,
when she's most vulnerable, all those kind of personal scenes.
I guess it speaks to that public private you know,
(14:22):
the public image of being a newsreader and you know
who you are off screen. It really sets us up
to be able to explore those more intricate moments, those
darker moments, truly vulnerable moments, and we get to see
them in a murky, sometimes not very palatable way, And
(14:43):
I think that's what people connect with. But certainly I've
got people from all different backgrounds, not just culturally, but
you know, all like telling me how much they relate
to that partnership between Nolin and Rob and the struggles
for us, you know, them having a baby, having Hannah
(15:04):
is really what kind of helps us move Noline to
really step into I guess herself and be really secure
and be like, this is not what I want for
the woman I am today, This is not what I
want for my child I'm going to have to get
in there and deal with it. And that's, you know,
exciting because it opens us up to There was three
big resolutions. And when I said resolutions, it's not like
(15:26):
we wrap them up in a nice little bow. But
it was three big things that I was very keen
to explore in this season. And it was confronting rob
about his I'm not seeing her and not understanding her
position as a Korean woman working in Australia or just
existing in Australia. The second one was her power dynamic
(15:47):
with Helen. Again very similar but her not because you
haven't seen the episode. I don't think you didn't see it.
Haven't seen episodes five and six, right, No I haven't.
Speaker 1 (15:57):
I mean I'm going to ring Tracy Taylor from publicity
and beg for.
Speaker 2 (16:00):
Them because those episodes kind of start dealing with for
nolein the difference between being a Helen and a Nolean
in the working world and the power and so yeah,
so there was Robert Nolean moment. There was dealing with
Helen and her understanding that being a white woman very
(16:22):
different to being a Kareean woman and some of the
things that she applies to survive just simply are never
going to work for Nolean and I wish we going
to deal with that with Helen. And the other one
was dealing with Willie mcinness's character with Rimsey and the
kind of years of abuse. And so it's kind of
fun because as an actor, it's fun Like I've known
William for a long time, you know, we did a
(16:43):
play together at Melbourne Theater Company way before we shot
The news Reader together, and so it's funny to kind
of be so loud. It is really good at yelling.
Speaker 1 (16:58):
It's amazing, amazing, but it is very accurate. I mean,
I've worked in newsrooms. I've worked as a journalist, and
some of the nastiest things that have ever been said
to me have been in the workplace. And it's sad
to say that that's the reality of it. I remember
getting off from doing a breakfast show where I was
reading for teleprompter and all I could think about was
was reading the teleprompter, okay, and then this, you know,
(17:20):
the general manager came up to me and said that
shirt you were wearing today, that's who you are. You're
Richard Reid, like a really camp news reader. Like you're
like I remember feeling like people might listen to me
hearing that story being retold and think that's not a
negative thing to say. I felt so personally attacked by that.
I was like and I remember going home and couldn't
(17:45):
shake it. I couldn't shake it. And that's what this
show does for Noline, for so many of these characters.
I think in some of these situations, I mean, it's brilliant.
And you know what, Michelle, if you could get an
award for this particular season, like You've been great, but
this particular season and I'm only up to episode four,
(18:06):
you would have to be so proud of what you
bring to it and what the audience feels from you.
And tackling these conversations is hard, and in the form
of art, which is what this is, You're doing it
in such a digestible way that I think everyday Australians
who will watch the show on the ABC will get
to ask themselves some questions about their own humanity and
(18:29):
their own morality of that. So I want to thank
you for being so proud.
Speaker 2 (18:33):
Yeah, oh, that's so kind of you. I feel well,
I just feel very privileged to do what I love
and it is kind of when we finished all finished.
As we were finishing season three, everyone is saying, it's
just been a Unicorn show for all of us, and
it's been such a collaborative process, like you'll hear Anna
(18:53):
talk about on interviews and in interviews and Sam and
myself and you know, all the other people that work
on the show. It's so much of us has invested
into the roles, especially for me because Noline is so
close to who I am, and it's wonderful to hear that.
You know, people can see it and can see that
(19:15):
work and connected to it. And that's all you can
really hope for is an actor, is that people will
I guess see your kind of character with compassion And yeah,
I feel very lucky. So thank you so much for
letting me know. It's very very kind of view. And
as I said, you're like the first person I've got
to really speak to.
Speaker 1 (19:33):
Yeah, I can imagine. I mean, it's a role of
a lifetime, lots of ways. I mean, I think it
will open up so many doors for you internationally as well.
But I think you know people, I know so many
actors that you know want to work and want to
do good work and want to find good roles and
speak to them and it's not it's not given to you,
you know what I mean. So like the opportunity for
(19:53):
you to have that, that's quite amazing, Yes, And.
Speaker 2 (19:57):
I think it's the opportunity to mold it, to be imagined,
knowlling to be what she turned into.
Speaker 1 (20:03):
Yeah, exactly.
Speaker 2 (20:03):
Know, as each season is progressed, I've got to do
more in line, Like she's actually the only other character
other than Helen and Dale, She's the only other time
the serious perspective like you follow her POV. And so
that's kind of unique.
Speaker 1 (20:17):
I mean, putting that up against twelve and Sam Reid
as well, you yourself being put up against these other big,
larger than life characters with actors that are already doing
major have been doing major roles overseas for a couple
of decades, and A Turf has been doing that for
decades now. But you're holding gravitas, like you're holding that
(20:39):
space so well, you know that's not easy. And you know,
I've got active friends who think, oh god, I'm so
nervous about people watching this. What are they going to
think of me?
Speaker 2 (20:47):
You know?
Speaker 1 (20:47):
Where with this, I think people are going to walk
out of their moved by it and not even see
any difference between you know, the actors that are in
this anyway, if you need someone as a hype girl
to bring you every day for the rest if your show,
call me.
Speaker 2 (21:02):
Girl, so emotional thing you so much. So really, I
truly do appreciate that. It's really kind and generous of you.
Speaker 1 (21:10):
No, that's totally fun. I have to let you go
because I've run out of time, but I want to
ask you one last question very quickly. What is something
behind the scenes, something that we won't as an audience
get a chance to see. I don't think silly or
crazy happened, you know while you were shooting the news reader.
Speaker 2 (21:23):
The thing I can think of the most, because it
involved everybody on the show, is that somehow it went
around that we're going to learn the Nutbush and like
not just the cast, the crew, and so we rehearsed
at lunchtime the Nutbush and all those people, all the
like chemist, the grip, the light. We're talking like Emma
(21:43):
gases everyone, Emma Freeman, link emms Lingers And you'll probably
see videos of it on social media because you know,
like it was just really very intense scenes, and then
we played on the Bluetooth speaker and I don't know
when the last time you did the nutpush was. It's
really long. Yeah, it's thirty five degrees and yeah, we're
(22:03):
just not bushed and we're like, okay, we're the goest
filmy serious things now. But that's the kind of that
I think speaks to the culture that Emma and Joel
and Michael have established on set.
Speaker 1 (22:13):
That's brilliant. Yeah, oh my god, I'm obsessed with her.
I have to let you go all the very best,
which I can't wait for Australia to watch it. I
can't wait for you to revel in your moment, you
know which I think you'll get from this. Yeah, all
the very best. Thank you for being so generous with
your time so much.
Speaker 2 (22:29):
Thank you for the interview. I appreciate it.
Speaker 1 (22:31):
No worries, Michelle.
Speaker 2 (22:33):
Thank you guys,
It's in the news today, but it was actually on
TV Reload the podcast last week. Thereby, Hey guys, welcome
back to TV Reload. I want to thank you for
clicking and downloading on today's episode with Michelle Lynn Davidson,
one of the brilliant actors from The Newsreader, which returns
this week on the ABC for its third and final series.
The Newsreader is just brilliant and if you haven't seen
(00:22):
the first two series, I'm actually kind of jealous because
I would love to go back and have that feeling
of watching it for the first time. It is so
groundbreaking and well made that, in fact, I'm going to
go as far as saying it's one of the best
Australian scripted dramas of this generation. The Newsreader follows a
few characters point of view of the news room during
(00:42):
the eighties, and Michelle's character Noline is one of the
three main characters that we have followed throughout this trilogy.
Her character is a Korean Australian and there has been
so much to unpack with her character, and even more
so in series three, Michelle will unpack with me the
ways in which her character is similar to her own
personality and how Michelle was able to contribute to this
(01:04):
season more than just being an actress. We will chat
about the sweet spot of the Newsreader and why this
series has highlighted how far we have come and how
far we haven't gone with some of the biggest issues
in this country. I will find out about recreating the
logies and how kind of Minoga and Darryl Summers did
send through some approval to use their footage. We will
(01:27):
get everything from why this series will end this year,
what Michelle thinks of the trajectory with her on screen
husband played by Stephen Peacock, and what contribution to her
character had her asking for rewrites to make sure that
the conversation about race in this series and in this
country was handled correctly. There's actually so much to talk about,
(01:47):
as per usual, with a lot of inside revelations from Michelle.
So guys sit back and relax as we unpack the
wonderful world of The Newsreader season three, which is back
Sunday the second on ABC.
Speaker 2 (01:59):
And I view Hello, how are you?
Speaker 1 (02:02):
I'm doing so well and I have to tell you
right off the bat, I'm so invested in season three.
I'd go as far as saying season three is now
my favorite season so far. Is that weird?
Speaker 2 (02:14):
Oh my goodness. Oh, I'm so thrilled to hear that.
I mean, it was just doing an interview before speaking
to you, but she was the first person I've talked
to outside the people who work on the Newsreaders who've
seen the show, but we didn't really get to talk
about that that much. So I'm so thrilled to hear that.
Thank you for letting me.
Speaker 1 (02:31):
Know, Michelle. It's so funny because I struggle to find
shows that my partner and I both want to watch
together that we really really Wow, he says to me,
is there another episode of The Newsreader?
Speaker 2 (02:42):
Like?
Speaker 1 (02:42):
We need to watch that?
Speaker 2 (02:43):
So how many have you watched?
Speaker 1 (02:46):
I've watched four episodes. I just someone told me this
is going to be the last season of the show.
But I just feel like, because this season is so strong,
I didn't feel like that didn't happen. I feel like
we need more.
Speaker 2 (02:58):
Yes, No, it's we always knew from the start it
was a trilogy, and we always hope that we've had
the opportunity to You know, what TV's like, you never
know if you're going to have the opportunity to do that,
and so I think we're really privileged to finish it
off the way we wanted to put I guess this
is the thing about It's like knowing when to leave
(03:18):
the party.
Speaker 1 (03:19):
Our call it the Seinfeld theory, which is get out
while it's still really good.
Speaker 2 (03:24):
Yes, Yes, and we all because heading into it we
knew it was the final season. There were so many
things that had built up, which I'm sure you're probably
seeing if you've seen kind of quite a bit of
it start to play out like it was super satisfying
as an actor to have that opportunity and also to
be able to contribute to that. Well.
Speaker 1 (03:46):
It's also so delicious, Like I've seen you in seventy
different roles and I always love you as an actress,
but I feel like we're not. It's something there's some
real vitology, there's some real gravitas that you have in
this role. And I always I wonder when you get
to talk to actors, what do you relate to when
it comes to picking up the script and reading this character.
(04:07):
Are there similarities or similar ideals that you share.
Speaker 2 (04:10):
Yes, I mean to quote Michael Lucas as a creator
of the show. He's always an interview saying that everyone's
so different from the characters except for Michelle. Michelle's probably
the most like Norlleen or like Nolen, you know, like
and I find that at first I found that kind
of strange, and then everyone until it will be like,
we've got to admit, this is quite a bit of crossover.
It's doating that both of you. I think maybe what's
(04:33):
unique about Noline for me is that even though I've
never worked in the media or in journalism, I feel
like there's a crossover experiences with working in the entertainment industry,
and I'm able to contribute a lot of I guess
my experience or my perspective into the role. I think
(04:53):
what's unique for me as an actor and as the
series has gone on is that i work a couple
of functions, and so I'm in development in the writer's room.
I help kind of set and contribute to Nolin's story,
and I also work as a cultural consultant, which I
was kind of I give it much more work for
season three. That is kind of I guess actors don't
(05:16):
really get to you can suggest things creative team, but
to have that kind of level of input, so that
it's seeded within the work, it's not something that you
bring in over the top of it. I think that
helps me try to make the role more authentic. But yeah,
like it's kind of w I switch hats. So even
when like if if we're filming at Nolin and Rob's house,
(05:38):
for example, I come in and you know, I collaborate
with the art department. They send me photos of things,
and then I come in separately to my job as
an actor and I come on set and they say, oh,
you need to move this here or blah blah blah,
or know these are the wrong something, or yes this
is good blah blah blah. And so that also is
(05:58):
I mean, such a privilege to be I could pot that,
but it's a completely different hat I wear on the
show as well. So I think that's current of crossover
between myself and Noline's quite strong because of that involvement.
Does that sort of answer your question?
Speaker 1 (06:13):
It really does. And I just think this show to
me because I love television. I've grown up since a
child loving television so much. When I was I think seven,
I asked for the TV Week to be my birthday present,
to have a subscription to the Techne Week and my
dad got to go to the TV week logis for
the first time in the logis that's in episode one
(06:33):
of season three. So the details, no, and the detail,
the perfection of all of the detail is so real
to me. And I was sitting there watching episode one.
I don't want to spoil anything, but there's a moment
where an award goes off and you see Sam's character
going up against Kyler Minoag and Darryl Summers, and I
remember who the award goes to, you know what I mean.
Speaker 2 (06:56):
So like, oh my gosh, yeah, I mean, I just.
Speaker 1 (07:00):
Loved loved television as a child. In an unusual way.
Speaker 2 (07:02):
We had a missing from Darryl. I'm pretty sure.
Speaker 1 (07:04):
It's Daryl, right and won yeah it is, yeah, yeah yeah,
and Daryl, well you want to get Daryl on board,
I can tell you. I've worked with Daryl.
Speaker 2 (07:12):
I'll have you and Kylie as well, kind of know
everyone like they're just people were just so kind of
like I think Kylie Minogue sent to you a message
back through her people being like, oh, how cute is
the footage? I mean, you would have picked up on
the detail, were actually filmed in the exact same room.
Speaker 1 (07:28):
Yeah, I know that I heard.
Speaker 2 (07:30):
Which is so lucky and yeah, to have access to
archival footage and to intercept it with I guess our
modern television making. It's pretty amazing that it did feel
like we were actually at the Logis.
Speaker 1 (07:44):
I met you once, Lois, it was a few years ago,
and so I've seen you in Logis in real time,
and I've seen you at the He's in the eighties,
it's very unusual. You know, there's show tackles sexuality, race, feminism,
abuse of power. I mean, the list goes on. Do
you think that this show sweet Spot is the juxtaposition
of the eighties versus today with how you tackle some
(08:08):
of those issues and putting them up against each other.
Speaker 2 (08:11):
Yeah, I think maybe the eighties. How do I explain
that eighties and the kind of now that overlap that
then diagram? I mean, I want to say that we've
progressed a lot more than we have, and we have
in many ways. But I'm also struck by the amount
of people that work in the media who have told
me how much their experience aligned, especially to Nolein, because
(08:34):
I think we're seeing her work up as a junior
and through the ranks and coming up to be a producer,
and people like, oh, you know, that's exactly you know
what my boss was like in the newsroom. Or I'm
just like, you know, it's great because it means the
show's authentic. But also I've always got Sady Terra and
things like in episode one, which you've seen, where they're
(08:57):
talking about how Norleine has applied maternity leave. Yeah, but
it hasn't been granted that that comes from one of
our real consultants who work in newsrooms in the eighties.
So we have many consultants that work on the show
that feeding and give us, you know, accurate information down
to like auto Q experts and all those kinds of people.
And that's something that actually happened.
Speaker 1 (09:19):
Unbelievable. I mean it's unbelievable. Yes, as that scene happens,
I was googled. You know, that's what's sort of fun
about this as well, Like I was googling on my
phone things because it's so interactive. I was like, is
that right? You know, how long has it been since
women were allowed to go on maternity leave and have
their roles still held? You know, those sorts of things
to me, are really interesting too, and also frightening to
(09:41):
look at where you say, oh my god, that that
hasn't been around for as long as we think it
should have been.
Speaker 2 (09:46):
Yes, And I think what you're talking about that juxtaposition.
I think where the show's success lives is not just
in that. I guess that macro kind of thing of
like we're examine feminism and sexuality and all of the
those things. I think it's because what we do is
we play them out in very kind of human relationships,
like for Noline, and you see them have these conversations
(10:09):
like you've seen the apartheid episode in episode yeah that's
episode four, and yeah, you're seeing kind of that really
tough conversation they have in the kitchen, which you know
is building. You know, we hoped we'd have that from
season one. We always knew we were going to kind
of get to the point where they actually have this
conversation and Norlin actually confronts Robin some way, and people
(10:31):
can connect to that because not being lectured on these moments,
you just seeing two very real people deal.
Speaker 1 (10:36):
With uncomfortable situations. But I was thinking, these are such
likable characters. We love these two so we love watching
them so when we see them in pain, when we
see them and they are uncomfortable, it is so immersive.
And then I wonder whether or not the pressure that
you feel to bring those sort of storylines to the screen,
(10:56):
you know, representing the caxities of multicultural Australia, of what
those conversations have been like and what they're still like.
Speaker 2 (11:04):
Yes, look, there are many elements in annuline storyline that
comes directly from my life or you know, are inspired
by these moments. And we actually went back and forth
on the script for that particular scene quite a bit. Wow,
they're killing Michael and I because I was like, no,
it's not quite right yet. And I think Ado, who
(11:24):
wrote the episode as well, just like in this kind
of like back forward, back and forward, back and forward,
and I was like, no, this is not the right words,
not the right words. And what she wants to do
is say you're not seeing me. And I feel like,
not just racially, but I think it happens in a
lot of partnerships where you're like, are you seeing me
right here right now? The version of me that you
(11:46):
want to believe, or that's easier for you to believe
that are you actually seeing who I am now? And
can you be the person that I need you to
be in support of where I'm at? And that is
that's the kind that's what I find painful watching all
those kinds of scenes because it's it's not what's very.
Speaker 1 (12:06):
Raw, kind of very raw.
Speaker 2 (12:08):
Yeah, yeah, and I think, yeah, we are playing really
good people.
Speaker 1 (12:13):
I mean, I've been in those situations myself where I
think one of my really good friends said to me,
you know, I'm Asian Australian and I feel like I'm
held back in my work. And I said to him, oh,
I don't think that's happening, you know. And the reason
for my motivation of saying that to him is because
I love him and I don't want him to feel
like that. But by simply lying to him about his
(12:35):
truth makes him feel uncomfortable. And what happens in these
dynamics is that you want to say the right thing
to that person to make them feel loved, but that
isn't going to make them feel any better if that's
not that truth.
Speaker 2 (12:48):
Yes, I think it's that kind of it sounds really harsh,
but I don't mean it like this, but like dismissing
that experience. Of course, it's often because the other person
doesn't want to feel uncomfortable, and so you know, it's
a tricky thing to not prioritize your comfort over someone
else's experience. And I think that is so much of
what Rob has done. He just sees the world and
(13:10):
he's treated in such a different way. And because he
treats Noline, we're just like love and care and respect.
He just thinks that there's no problem. There's no problem,
but there is. It's a really big problem.
Speaker 1 (13:22):
I think that's the spaces and places that we find
are the most damaging is when we're in situations where
people are sort of skating over it because they think
they're doing the right thing, which means that you internalize
it more. That's the more dangerous space is where you're
sort of like, I feel like this and you've just
tried to make it something else, and I know that
(13:44):
you're trying to do it for the right reason, but
that is suppressing some very deep mental health issues for me.
I see that.
Speaker 2 (13:50):
Oh yes, I.
Speaker 1 (13:51):
Think that's where the news reader sings is by looking
at all of those minorities in some way and handling
them with some dignity.
Speaker 2 (14:00):
I think you're completely right, and I think as well
as where the show I think really connects to people
is is that we play a lot of those moments
in the shadows. You see that between Dale and in
a lot of his relationships with different characters, Lucie, Helen,
when she's most vulnerable, all those kind of personal scenes.
I guess it speaks to that public private you know,
(14:22):
the public image of being a newsreader and you know
who you are off screen. It really sets us up
to be able to explore those more intricate moments, those
darker moments, truly vulnerable moments, and we get to see
them in a murky, sometimes not very palatable way, And
(14:43):
I think that's what people connect with. But certainly I've
got people from all different backgrounds, not just culturally, but
you know, all like telling me how much they relate
to that partnership between Nolin and Rob and the struggles
for us, you know, them having a baby, having Hannah
(15:04):
is really what kind of helps us move Noline to
really step into I guess herself and be really secure
and be like, this is not what I want for
the woman I am today, This is not what I
want for my child I'm going to have to get
in there and deal with it. And that's, you know,
exciting because it opens us up to There was three
big resolutions. And when I said resolutions, it's not like
(15:26):
we wrap them up in a nice little bow. But
it was three big things that I was very keen
to explore in this season. And it was confronting rob
about his I'm not seeing her and not understanding her
position as a Korean woman working in Australia or just
existing in Australia. The second one was her power dynamic
(15:47):
with Helen. Again very similar but her not because you
haven't seen the episode. I don't think you didn't see it.
Haven't seen episodes five and six, right, No I haven't.
Speaker 1 (15:57):
I mean I'm going to ring Tracy Taylor from publicity
and beg for.
Speaker 2 (16:00):
Them because those episodes kind of start dealing with for
nolein the difference between being a Helen and a Nolean
in the working world and the power and so yeah,
so there was Robert Nolean moment. There was dealing with
Helen and her understanding that being a white woman very
(16:22):
different to being a Kareean woman and some of the
things that she applies to survive just simply are never
going to work for Nolean and I wish we going
to deal with that with Helen. And the other one
was dealing with Willie mcinness's character with Rimsey and the
kind of years of abuse. And so it's kind of
fun because as an actor, it's fun Like I've known
William for a long time, you know, we did a
(16:43):
play together at Melbourne Theater Company way before we shot
The news Reader together, and so it's funny to kind
of be so loud. It is really good at yelling.
Speaker 1 (16:58):
It's amazing, amazing, but it is very accurate. I mean,
I've worked in newsrooms. I've worked as a journalist, and
some of the nastiest things that have ever been said
to me have been in the workplace. And it's sad
to say that that's the reality of it. I remember
getting off from doing a breakfast show where I was
reading for teleprompter and all I could think about was
was reading the teleprompter, okay, and then this, you know,
(17:20):
the general manager came up to me and said that
shirt you were wearing today, that's who you are. You're
Richard Reid, like a really camp news reader. Like you're
like I remember feeling like people might listen to me
hearing that story being retold and think that's not a
negative thing to say. I felt so personally attacked by that.
I was like and I remember going home and couldn't
(17:45):
shake it. I couldn't shake it. And that's what this
show does for Noline, for so many of these characters.
I think in some of these situations, I mean, it's brilliant.
And you know what, Michelle, if you could get an
award for this particular season, like You've been great, but
this particular season and I'm only up to episode four,
(18:06):
you would have to be so proud of what you
bring to it and what the audience feels from you.
And tackling these conversations is hard, and in the form
of art, which is what this is, You're doing it
in such a digestible way that I think everyday Australians
who will watch the show on the ABC will get
to ask themselves some questions about their own humanity and
(18:29):
their own morality of that. So I want to thank
you for being so proud.
Speaker 2 (18:33):
Yeah, oh, that's so kind of you. I feel well,
I just feel very privileged to do what I love
and it is kind of when we finished all finished.
As we were finishing season three, everyone is saying, it's
just been a Unicorn show for all of us, and
it's been such a collaborative process, like you'll hear Anna
(18:53):
talk about on interviews and in interviews and Sam and
myself and you know, all the other people that work
on the show. It's so much of us has invested
into the roles, especially for me because Noline is so
close to who I am, and it's wonderful to hear that.
You know, people can see it and can see that
(19:15):
work and connected to it. And that's all you can
really hope for is an actor, is that people will
I guess see your kind of character with compassion And yeah,
I feel very lucky. So thank you so much for
letting me know. It's very very kind of view. And
as I said, you're like the first person I've got
to really speak to.
Speaker 1 (19:33):
Yeah, I can imagine. I mean, it's a role of
a lifetime, lots of ways. I mean, I think it
will open up so many doors for you internationally as well.
But I think you know people, I know so many
actors that you know want to work and want to
do good work and want to find good roles and
speak to them and it's not it's not given to you,
you know what I mean. So like the opportunity for
(19:53):
you to have that, that's quite amazing, Yes, And.
Speaker 2 (19:57):
I think it's the opportunity to mold it, to be imagined,
knowlling to be what she turned into.
Speaker 1 (20:03):
Yeah, exactly.
Speaker 2 (20:03):
Know, as each season is progressed, I've got to do
more in line, Like she's actually the only other character
other than Helen and Dale, She's the only other time
the serious perspective like you follow her POV. And so
that's kind of unique.
Speaker 1 (20:17):
I mean, putting that up against twelve and Sam Reid
as well, you yourself being put up against these other big,
larger than life characters with actors that are already doing
major have been doing major roles overseas for a couple
of decades, and A Turf has been doing that for
decades now. But you're holding gravitas, like you're holding that
(20:39):
space so well, you know that's not easy. And you know,
I've got active friends who think, oh god, I'm so
nervous about people watching this. What are they going to
think of me?
Speaker 2 (20:47):
You know?
Speaker 1 (20:47):
Where with this, I think people are going to walk
out of their moved by it and not even see
any difference between you know, the actors that are in
this anyway, if you need someone as a hype girl
to bring you every day for the rest if your show,
call me.
Speaker 2 (21:02):
Girl, so emotional thing you so much. So really, I
truly do appreciate that. It's really kind and generous of you.
Speaker 1 (21:10):
No, that's totally fun. I have to let you go
because I've run out of time, but I want to
ask you one last question very quickly. What is something
behind the scenes, something that we won't as an audience
get a chance to see. I don't think silly or
crazy happened, you know while you were shooting the news reader.
Speaker 2 (21:23):
The thing I can think of the most, because it
involved everybody on the show, is that somehow it went
around that we're going to learn the Nutbush and like
not just the cast, the crew, and so we rehearsed
at lunchtime the Nutbush and all those people, all the
like chemist, the grip, the light. We're talking like Emma
(21:43):
gases everyone, Emma Freeman, link emms Lingers And you'll probably
see videos of it on social media because you know,
like it was just really very intense scenes, and then
we played on the Bluetooth speaker and I don't know
when the last time you did the nutpush was. It's
really long. Yeah, it's thirty five degrees and yeah, we're
(22:03):
just not bushed and we're like, okay, we're the goest
filmy serious things now. But that's the kind of that
I think speaks to the culture that Emma and Joel
and Michael have established on set.
Speaker 1 (22:13):
That's brilliant. Yeah, oh my god, I'm obsessed with her.
I have to let you go all the very best,
which I can't wait for Australia to watch it. I
can't wait for you to revel in your moment, you
know which I think you'll get from this. Yeah, all
the very best. Thank you for being so generous with
your time so much.
Speaker 2 (22:29):
Thank you for the interview. I appreciate it.
Speaker 1 (22:31):
No worries, Michelle.
Speaker 2 (22:33):
Thank you guys,
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