![]() ![]() So that does make it more kind of accessible and mainstream in a way because it’s Comedy. “Comedy is this kind of thing that can both get you out of grimness -because a lot of the history is really grim- but it can also take you further into it. That’s just something that I’m always kind of really (drawn to) … the comedy aspect of it is something that is something that people go ‘Comedy? That’s a bit weird.’ It’s a bit of a sell, but at the same time, it’s also a sugar coating on the pill,” she said. “I think what drew me to it was the impossibility of the task, to be honest. “People are open to subject now, but you then have to persuade the broadcaster, this subject can play.”Ĭomedian Zoe Coombs Marr also explained how she used Comedy to make the content of ABC’s Queerstralia more accessible. “I think the approach is that you treat it like any other subject, which is that you don’t make any assumptions that people are going to be on your side. “The twist in it is that we, as makers, be challenged to make the work play to the broadest possible audience – because otherwise the economics don’t add up. “But I just think that there’s been such a big paradigm shift in the last five, six years, and this is the perfect opportunity to make the work, and make the approaches. It was all lip service to diversity,” he said. I’ve been working in this business for over 30 years, and I would have said in the first 25, nothing really changed. Speaking on a ‘Getting Queer-ious’ panel, he confirmed real change in the way people are open to queer pitches. Trailblazing producer / director / writer Tony Ayres, whose queer work dates back to 1992, was last week asked at the Australian International Documentary Conference whether network commissioners were now more open to LGBTQIA+ content.Īyres extensive credits include The Slap, Nowhere Boys, Clickbait, Glitch, Stateless, Fires, Barracuda, The Devil’s Playground, Underground: The Julian Assange Story and The Family Law.
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