Diversity Spotlight – Interview with Monica Sayers

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Monica Sayers, is an Australian-Chinese actress and yoga teacher who has worked extensively in different performance mediums over the past 15 years in Australia, the UK and Ireland. She has worked on a number of top television series including Love My Way, All Saints, Home and Away, The Clinic (Ireland) and The Royal (UK) and Sydney Theatre Company’s Australian Graffiti and Chimerica and is currently starring in Melbourne Theatre Company’s Hay Fever.

 

JOY: What is your cultural background?

MONICA: Chinese with dash of Incan blood! My great grandfather was part Chinese and South American.

JOY: When and where did you graduate?

MONICA: I studied The Journey at Actors Centre Australia in 1998, before graduating from the NIDA acting course in 2004.

JOY: Who were your role models growing up & why?

MONICA: My mother Barbara was a very big role model in my life, as were my 2 grandmothers, May See and Lily.

Barbara sang in talent quests, was a model for fashion house, Mr Simons, and met my father whilst singing in the band called Parker. They fell in love and became a duo, playing in RSL clubs, cabaret venues and cruise ships. I grew up watching my mum perform regularly whilst holding down a full time job and run a household – I thought she was Superwoman! She was creative, witty, charismatic, yet she was down-to-earth and pragmatic.

My grandmother May See was an extraordinary woman of strength and dedication to her family’s survival during challenging times in China and Hong Kong. She had learnt to speak English at a young age – an invaluable tool utilized time and time again throughout her life. She fought tooth and nail to protect her kids and mother from the Communist party and was courageous and daring in her efforts. Her memoirs have been published by my aunt – Phoebe Sayers, a book called ‘Tomorrow is Another Trial’ a truly unbelievable recount of May See’s journey and her mother’s (my great grandmother’s) life.

My grandmother Lily was the happiest person I ever met! She would smile and laugh mid sentence and just light up a room with her little cackle. She was an animated storyteller and very expressive and emotional. She could cry at the drop of a hat and was soooo in the moment – she could never hold a grudge for very long. She was always the first to laugh at herself and not take things too seriously.

I cherish all that I learnt from these three women and miss them all everyday.

JOY: What made you want to get into the industry?

MONICA: Seeing my parents doing their cabaret act over my childhood and into my young adult life, it made me think having a career in the entertainment industry was possible and not out of the ordinary. Sure they had other day jobs and needed to juggle parenting, but they just made it work. When my sister was born, they stopped doing the tours and settled down in Sydney, but continued to perform.

JOY: How did you get started in your career?

MONICA: I studied music, art and drama in high school; I was in the choir and I used to learn piano, ballet and jazz dancing. I took singing lessons – opera as well as contemporary. I did TV commercials and catalogue modelling: There was no way I was ever go down a different path really – but I made sure to get a few back up jobs to keep the bank balance (and my father!) happy. In my late teens, I joined an extras agency and did some time on Heartbreak High. It grew from there.

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JOY: Do you think there have been positive changes in the industry in regards to stereotype casting or do you think we still have a long way to go?

MONICA: I think in some areas we are making great steps forward to balancing out stereotypes but I also feel, because we do have those characters that are based on real people, it’s hard to break the mould. I think what’s important here is there’s nothing wrong with using stereotypes, so long as they don’t stay confined in that box. Let there be more information about the character come through – something that you might not expect from them. What I find interesting is the thing you’d least expect from something that looks a certain way. Not only do the audience recognise those stereotypes, but I think the wider community can learn from them too. There’s still a way to go yet but certainly heading in the right direction.

JOY: How do you think diversity can be improved in the industry?

MONICA: Seeing people for their talent and skill and not for the colour of their skin, the sound of their accent, or the frizz of their hair.

JOY: What is your breakthrough role?

MONICA: I played Calpurnia in the satirical spoof Dead Caesar at the Sydney Theatre Company in 2007’s second season; directed by the amazing and passionate Tamara Cook, written by the Chaser team, Chris Taylor and Andrew Hansen. It was a hilarious piece and I got to sing on top of a baby grand piano!

JOY: Where do you hope to see yourself in 10 years time?

MONICA: I would love to try a hand in directing and possibly producing. Definitely still acting, perhaps in something of my own.

JOY: What advice do you have for future up and coming actors?

MONICA: Keep at it, don’t let anyone tell you you can’t do it, find a way to make it work if this is why you live and breathe. Also, stay healthy, keep fit and sane (because it’s an insane business and world!) and have a laugh on a regular basis. Oh, and be super nice to stage management and crew – they are our rocks!! No one wants to work with a diva or an ass and word gets around quick so play nice people! :) Also keep a healthy portion of reality on your plate – it’s easy to get swept away when things are flying high or to spiral into a black hole and not know how to climb out. Remember you are not defined by your job or a single review or lack of auditions or the number of awards you win! For me, acting is part of my life – a big part – but I know I need a balanced perspective to be able to have longevity in the industry and there are natural ups and downs. Be prepared. Take action and find other things that make you happy and fulfilled.

Photos by Joe Chan & Susan Le Strange.

 

“Colourblind Casting Prevails” (Joy’s interview with Tony Ayres in this month’s MEAA magazine)

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Interview with Remy Hii (Marco Polo, Better Man, Neighbours)

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Remy Hii is an Australian actor. He attended the National Institute of Dramatic Art for three years and appeared in various theatre productions before being cast in television. Hii starred as Van Tuong Nguyen in the miniseries Better Man and was cast as Hudson Walsh in the soap opera Neighbours in 2013 and currently starring in Marco Polo. Hii was born to a Chinese-Malaysian father and an English mother. His early theatre work was with The Emerge Project an arm of Switchboard Arts. There he performed in a number of original productions in Brisbane by local playwrights between 2005 and 2007. From 2009 to 2011 he attended the National Institute of Dramatic Art (NIDA) in Sydney where he graduated in 2011. I was lucky to interview Remy who’s currently filming for Marco Polo.

1) When you were growing up who were your role models on Australian TV &    Film?

I actually grew up as a young kid in Papua New Guinea; we didn’t have television reception out there so my grandparents in Sydney would send out the TV guides from back home, and I’d highlight the shows I wanted to be taped, and they would mail back VHS tapes for us to watch. Gary Sweet in Police Rescue was a pretty big part of my life back then. Sadly looking back to my younger years, I don’t recall there being many faces of colour on our screens to look up to.

2) What made you want to break into Australian TV / Film?

I’ve always been motivated to succeed in this industry, as an artist, to be able to tell stories that excite me and in turn excite others. To get people passionate about Australian stories again. My friends and I always bemoan the often heard line “It was good… for an Australian film”. Somewhere along the line our storytelling stopped connecting with the audience: it stopped reflecting the country that many of us are living in; and yet there is a strong push now for new voices to be heard and that is something I want to be a part of.

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3) How did you get started in your career?

A fantastic co-op theatre company in Brisbane run by Dr. Errol Bray allowed me to hone my craft as a young actor and recognise the importance of new writing in Australia. It was through performing there that I was asked to audition for a new play at the Queensland Theatre Company – The Estimatorwritten by David Brown. It won the Queensland Premier’s Drama Award in 2006 and I was playing the title role to sold out shows for an extended season. It was a wonderful induction into the industry, and cemented for me the idea that perhaps there was a place for me as an actor in Australia.

Coming from theatre in Brisbane, Film and Television seemed like this unattainable and mysterious thing. I found myself being sent for roles like Asian Gambler in East West 101, Asian Nerd in The Strip, and Asian Ladyboy in SeaPatrol. It wasn’t until I graduated from NIDA that other options started opening up for me, and chances to play interesting characters who were more than their skin colour or racial stereotype started to present themselves. Looking back, I’m kind of glad I never got the part(s).

4) Do you see a positive change to colour blind casting in Australian TV / Film and Theatre?

This is a really tough question to answer, as I can only speak from personal experience and sometimes it seems like we’ve really made it and sometimes it feels like we’re back living in the 50’s. I think we are making baby steps towards a place that  reflects the wonderful variety that is our nation. It’s slow, and there’s a long way to go but television is no longer the same as when I was young and diversity on our screens meant the other variations of white like Greek and Italian.

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5) What changes would you like to see in the TV & Film industry?

More risks. Some of our countries greatest runaway hits have come from projects that the commercial networks would recoil from. Shows like The Slap, Please Like Me and Redfern Now have all found success and audiences here and overseas, and they refused to be safe – from casting to themes and subject matter. Rather than being afraid of what makes us different, we should be embracing it.

6) What more do you want to achieve in the future?

I feel like I’ve barely even begun! I’ve been working for the last few months on the second season of Netflix’s Marco Polo. It’s a very big budget, action heavy production requiring hundreds of actors and extras, hours and hours of physical training, fight choreography and punishing hours on set. It’s an incredibly rewarding process, and I’m thrilled to be a part of it, but I’m looking forward to coming back home and getting back to the theatre. Just a stage and that magic connection between the actor and the audience.

Photos courtesy of Remy Hii and Australians in Film 

A Law Unto Themselves ( Joy’s Interview with Benjamin Law)

I had the great pleasure of interviewing Benjamin Law for

MEAA magazine’s Autumn edition 2015.

Click on the article below…

Benjamin Law article

Benjamin Law and Joy

Q and A interview with Benjamin Law about diversity

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Benjamin Law is a Sydney-based journalist, columnist and screenwriter, and has completed a PhD in television writing and cultural studies. He’s also member of M.E.A.A. as a freelance writer.

Benjamin is the author of two books—The Family Law (2010) and Gaysia: Adventures in the Queer East (2012)—and the co-author of the comedy book Shit Asian Mothers Say (2014) with his sister Michelle and illustrator Oslo Davis. Both of his books have been nominated for Australian Book Industry Awards.

Benjamin is also a frequent contributor to Good Weekend (The Sydney Morning Herald/The Age).

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What made you want to write your story – The Family Law?
I’d been writing personal columns for frankie for a while, and I noticed the ones that made reference to my family – especially my mum – got a great response. Which isn’t surprising, really – my mum is pretty hilarious, unique and baffling, in the way that only mothers can be. And after I wrote longer pieces for an anthology called Growing Up Asian in Australia, my now-editor approached me, asking if I had a book up my sleeve. Part of what motivated me to write The Family Law was this idea of writing a book I wish I’d read as a teenager. One with a hilariously dysfunctional Chinese-Australian family.

 

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After writing your story, what steps did you take in order to get your story / screenplay seen by a network or producer?

I didn’t actually seek out screen options myself. I think my publisher would’ve had chats with production companies, and the book was also on people’s radars after a certain point. But when I heard Matchbox Pictures and Tony Ayres – whose work I’d admired for years before we even met  – were interested, I knew they were the ones for me.
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Your screenplay will obviously open doors for diversity…however will your screenplay also be open for “colourblind casting?” 

I’m only on the show as a writer, so I don’t get to call those shots.
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Can you reveal how many roles will be Asian? 
What I can say is that roughly 90% of the cast is explicitly written as Chinese-Australian, so we’ll need the majority of actors to have Asian faces. There are a handful of other roles which are specifically for Eurasian actors, and some roles are definitely white. As for the other roles, I reckon that can and should go to as many different actors as possible!

 

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When you were growing up in Australia, who were your role models on television and / or film and why? 

 
There weren’t a huge number of Asian faces on telly when I was growing up. My family and I used to point at the TV and scream in excitement if there was an Asian on TV: “THERE’S AN ASIAN ON THE TEEEE-VEEEEEEEE!” But there was definitely celebrity chef Elizabeth Chong, on Good Morning Australia, and Dr Cindy Pan on sex/life, and I remember seeing Clara Law’s beautiful feature Floating Life, which affected me a lot. But I’d usually look overseas for Asian representation on screen. I mean, I watched The Joy Luck Club A LOT. But it’s getting better nowadays, and reality TV has done heaps to reflect how diverse Australia actually is. You see a lot more Asian-Australians in local comedies and dramas, but not nearly enough.
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What are you looking forward to in the future on Australian television?
I’m really looking forward to Lawrence Leung’s kung-fu comedy Maximum Choppage on ABC2 next year.
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