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Yes, you've got an exciting week coming up and you've had a very busy few months. I understand in the film making industry, and, um, you're launching a Internet based film Web series. Can you tell us about that? Cool. So it's called Potluck, and it's a Web series that is, um, sit around three friends who make a pact at their potluck dinner, and then each episode plays out at a different potluck [00:00:30] dinner throughout the season. So it's, uh, six episodes we've just filmed Episode one, and we're madly putting that together to have a launch for, um in two days time, which I'm very excited about. Um, and so and once we've launched it, we it will be available online, and we are getting all the resources in place to film the rest of the series. And where would people find it online? Um, at WWW Potluck Web series dot com Now the the idea for the potluck [00:01:00] Web series? Where does that come from? And as a you know, someone who's been around the dyke communities for quite a while. Potluck certainly rings a bell. Um, can you talk to your inspiration for this? Uh, I guess it's the same for me. I've, you know, I've been around the communities for a long time. I've been to more than my fair share of, like, dinners and and, you know, over the last many years, and I think I I decided that a Web series was gonna be my next project and I'd been watching a few Web series. [00:01:30] And just like the idea of being able to create, create something that could essentially travel anywhere in the world, for starters but also could be freely available to an audience that I feel like often isn't really well served in mainstream media. And so I you know, I started thinking about a Web Series idea, and then I and I a lot of my stories and and stories that I'm interested in telling have queer characters kind of at the heart of it. And as a filmmaker, um, I am definitely interested [00:02:00] in exploring different aspects of the community. And so, um, I decided, you know, that I that I wanted to write a Web series. I then struck on the character of dibs who is a a kind of a shy, butch woman who I feel like any representations that I have seen of Butch on screen, uh, are often either really kind of TV safe, you know, quite sort of, um, soft butch or, you know, certainly really quite sharp. And in presentation and things like that, or else if if [00:02:30] you if I ever do see anyone that has a kind of butch staunchness, their character is almost always just aggressive in one line. You know, it's it's unusual to see butch characters that have any depth or complexity or, um, you know, kind of an exploration of the gentle, you know, side of their nature and things like that. And so So this character of Debs came along first, and and then I was thinking, OK, what am I going to do with her? And, um and I struck on this kind of friendship between her and her best mate meal and, um, and that they each, [00:03:00] you know, brought something to the table in terms of, um, what they offered each other. And they're very different characters. So Mel is quite, you know, vivacious and confident, and, um and so you know. So these two women have been each other's best friends for a really long time, and because of that, they, you know, always have each other's backs, and they always push each other forward. And so I kind of came up with the idea of the two of them in that relationship. And then I thought, I need to bring a third person in, which was Beth, who is, um, sort of, you know, really warm [00:03:30] and and, um and kind of lovely and and the kind of the heart to this friendship in terms of, you know, making everything, getting these guys together and and sharing food and things like that. And so and then the idea of food came into it for me because I think food is such an important part of culture and friendship and love. And so I thought, like dinners and, um yeah, so so and I started thinking about potluck, and then the more I thought about a potluck initially I was thinking about it as a kind of a one off and where that would lead to. And then I thought, Actually, there's quite a cool, [00:04:00] um, thing that can happen in a recurring potluck set up. And so in Episode one those three characters make a pact that then is going to play out at the potluck dinners for the rest of the episode. So right are we know what he does, or is it giving away too much? So, um, basically, Deb's character had her heart broken six years ago and has just kind of shut down on any kind of relationship with anyone ever since. And her best friend, Mel, is, uh, pretty smooth with the ladies, and, [00:04:30] um and so they kind of sit in polar opposites where Mel, you know, is hooking up with different people really regularly. And Debs is just quite shut down. And, um, and then Beth is Mel's kind of ex girlfriend. And, um so basically, the pact that gets laid down by Beth is that Mel has to keep her hands to herself until Debs gets her hands full. And, um and then Mel kind of put something a pact back on Beth that involves a discussion with to have with her mother. [00:05:00] So, um yeah, and so then that gets driven the whole way through the series, and it allows for a whole bunch of other characters to come in and shake things up. Have you written the full series? Yeah, I have. So I've written a couple of draughts of the full series. I'll be going back to probably do another run over everything before we shoot the rest of the series, So yeah. So how long have you been working on the project? Um, I was thinking about that. So I first started thinking about it over a year ago. Possibly even longer. [00:05:30] Um, but yes, I first started thinking about it a long time ago, and, um and I kind of I had some other projects going on, and it sort of, especially if you're writing, you can't afford to just have one thing. You know, you have to have a bunch of different projects going on at a time and because it takes so long to develop them. And so I had I had this idea and I and I sort of started off. A big part of the writing process Is that kind of initial marination? Sometimes, you know, it's the form forming it in my head, and and I had a couple of conversations with people about different things. And then, um, I'd [00:06:00] started, I'd work with Robin on another project that Rob. Um So Robin, Robin Murphy is the producer for potluck, and we'd worked together on another project, and at the time, I kind of thought that I might do a dramatic Web series. And so I guess we were kind of, um, checking each other out for that, you know, And and anyway, so, Robin, you know, really early stages. Um, I sent her the first draught of the first episode, and we kind of had a chat about where it might go from there and things like that. And then I wrote out, um, the first draught of the whole series [00:06:30] at the start of this year. And then from there, I kind of focused. I refined that whole draught a little bit and then, uh, focused on Episode one because we knew we were going to make that first. When when you were thinking about the characters. Were you thinking particular age groups? Were you kind of Did you have a quite a full idea of who these people were? I was, um yeah, I think you know, In addition to hardly ever seeing representations of lesbians on screen, there's actually [00:07:00] whole all kinds of characters that we hardly. But if we do get to see versions of them, their roles are often quite defined. And so I was really interested in looking at the stories of, you know, women in their thirties and forties and, um, that this wasn't, you know, about a bunch of, um, lesbian kind of teenagers. I feel like that is a market that is really well served and and not necessarily where I wanted to to, um, spend my time. And so, um and partly that's [00:07:30] probably my own kind of stage of life, but also just that. Actually, there's. There's all sorts of interesting things that happen in women's lives around that age and often those characters. When we do see them on screen, they're somebody's mother or wife or girlfriend and and not necessarily the story being about them in their own right. And so I was quite interested in having three women, um, who are in that age group and looking at kind of what what's going on in their lives. How did you go about casting for it casting. [00:08:00] So as a writer, I can, you know, put these words on the page, and it all sort of seems to make sense and everything like that. And then he comes casting. And so, um, I always knew that casting Debs was going to be a real challenge. Um, and it was it sort of essentially kind of put the project on hold for about four months longer than we had hoped, but that that's just how it works sometimes. Um, but so we we kind of had some initial, uh, auditions. [00:08:30] We had a number of people that we knew we wanted to approach already, and we did. And then we sent out info to casting agents and things like that with, um with character bios and a bit of an indication of what we're looking to. And then, um, we still weren't getting what we needed with Debs. And, um, and I'd always had a plan that I was gonna cast Debs first and then cast the other two depending because I had a really open age scale. I think I put I believe I put something like, um 30 [00:09:00] to 55 down for my kind of, um, character description, which is just I probably mess with the casting agents a little bit, you know? Yeah, Um, but the reason that I did that was because I you know, as much as I had Deb's character and Deb story in mind, I also knew that that was really open to being developed based on who we cast. And actually, what was most important was talking about us, you know, a kind of person and and looking at, um, finding that right kind of person to play the role. And so and we had [00:09:30] some fantastic people. You know, it There's an interesting thing that happens between having to switch from writing something to directing it. And, you know, as a writer, I've I've put my words down and I'm imagining how it is in my head. And then and then when you look at your options for casting and you start going, OK, well, this person brings this part of Debs, and this person brings this part of Debs. And so, um, we were kind of lucky in that we had some good options. Uh, yeah, it was a real challenge. So I ended up making a video [00:10:00] to kind of send out to, you know, Are you our Debs and just trying to throw the net really wide. We knew we got kind of one chance to lock off the casting, and so it was worth waiting. And it was worth holding the project up to make sure we got the right person. So and, um yeah, and then we we've cast Angie Rift, who brings amazing experience. A really great vibe is very different from Debs and as a person, um, and just has this kind of ability to, um, [00:10:30] you know, she brings a different depth than than I imagined as a writer, but she also brings some really cool stuff out in Debs that I hadn't realised was in there as well. So which is pretty cool. Cool. And Angie, um, I've known Angie from when she was living in Wellington. I think she's in Auckland now. Yeah, So she's she's flying in and out. And she is. Yeah. So not only are we making you know, a really quite. We're pushing our budgets as hard as we can, but we've actually cast two actors from Auckland as well. So the [00:11:00] other one is Nikki, who is, um, cast as Mao and I think um, you know it. It's not like we had no options in Wellington, but there's a when we were doing auditions and getting, um, you know, tape sent and things like that. It you, you know, when you found your characters and so and once you've seen that, you know, you don't concede for a budget or whatever, you just go, OK? We just need to make a plan for that, you know, for flights and accommodation and all that [00:11:30] sort of stuff that it brings on. Um, so, yeah, I think in an ideal world, we would have cast from Wellington for lots of reasons. Um, one is that I feel like firstly, um, you know, I've been out in Wellington since the early nineties, and it's a community that I really am interested in in, um, showcasing, I guess. You know, um and so I think it helps you know that Angie's lived spent time in Wellington and understands, [00:12:00] you know, things about the community here and as well because I think that brings, um, an understanding to her role for for Debs, which is cool. How are you? Um, bringing the community of Wellington into this or how How are you showing? Showing it? We've had to change the plan for that. Um, so when I when I first kind of, uh, was looking at the vision for this part of, um, part of me was thinking about how this was going to look on screen and was aware that, [00:12:30] you know, the action takes place in in within, kind of, um kitchens and lounges and stuff like that. And I wanted to create a a really big, vibrant world, you know, and particularly a big, vibrant Wellington. And so I had a vision that all the episodes were going to open and close with, um, with shots of, you know, every day, Wellington lesbians going about their business. And I've gone around and shop at a few places and things like that. And we had really fantastic engagement from the community. And then, as we've kind of cut the story and cut it together, the [00:13:00] two things don't fit. So, um, which has been a little bit of a shame in some ways, But in other ways, I also kind of, um it is helping influence what I'm gonna do with other episodes and how I'm going to bring that community in because there are quite a few opportunities for that to happen. So, um, yeah, it hasn't been a wasted exercise at all. Um, it's always interesting how things translate from either my head or the page onto the screen. And I think you know, you everything [00:13:30] that that we're trying to do is to serve that experience on screen. So sometimes you have to make really tough decisions like that. Um, yeah. So, um, given that, um, this sounds like there's quite a bit of expense, and I know that anything involved with film involves a lot of people, a lot of equipment. How are you managing to fund this? Yeah, So we had, um, some support from the emerging artist Trust who basically gave us an amount of money that, [00:14:00] uh, meant that we could treat the the pilot the first episode, Um, which is what we've done. We We filmed that three weeks ago, three weekends ago. And, um, you know, being able to do that has only happened because we've had amazing support from our cast and our crew, and also a number of industry people. You know, we've had, um fantastic people offering equipment and even, you know, things like vehicles. And, um, some of my lovely people who, you know, made food to feed everyone on set, which felt [00:14:30] so incredibly appropriate for potluck. And, um, yes, we've We've caught in a lot of favours, and I think in lots of ways it's, um it's so nice because the the the kind of the of the of the project involves passion and people being invested in and and everyone making it together. And that's been really fantastic. It's also really hard to keep asking favours from people. It's, um and you know, as much as possible. [00:15:00] We've tried to make sure that there's always something in it for other people as well. Sometimes it's just about supporting us to make content that they actually want to see um, sometimes, like in terms of our crew roles and things like that. Um, we've approached this as trying to give opportunities for people to step up. So, um and particularly in some of the key roles as well. So people who have experience and have been working in the industry and just, you know, kind of need that chance to step into the HOD or, um, get another, you know, really [00:15:30] good credit on their, um, on their CV S and stuff for future work. So So you've been you. You've done this sort of thing yourself, I guess. Yeah. Um, so I'm I'm actually I still feel like a bit of a baby when it comes to the film industry. You know, I'm, um four years since I graduated from from the film school. And, um, I have learned massive amounts in that time. I've made some really cool projects which have been fantastic, and, um and yeah, [00:16:00] I think you know, I've I've benefited so much from the help of some really, uh, far more experienced than I am people who have given me opportunities. And so I really want to be able to do the same thing for other people wherever possible as well. I think it's a big part of the spirit of the industry, and it's certainly one of the things that attracts me to the film industry and particularly with the women. You know, I've worked in situations where, uh, you know, women aren't maybe so supportive of each other, but my experience in film is. You know, I just had these amazing [00:16:30] women who have just kept giving, you know, opening things up for me and giving me opportunities that yeah, that I really appreciate. And I do feel, um, you know, in terms of someone who's reasonably new to the industry, I'm a lot older than other people and and in the same sort of situation and that has real pros and cons, you know, like it definitely I think, has really helped because there's so much more that I maybe understand about the world than I did when I was 20. And you know, things like time and money and stuff like that. [00:17:00] Some of those real fundamental kind of parts of making projects happen. Um, and then, you know, the flip side is, you know, it's it's just huge, and it takes over your life. And as you get kind of older and and, you know, more aware of how important friends and family and just actually having a healthy balance and stuff can be, then it's harder sometimes to kind. They, um you know what you're signing up for and you know how much of your life it's gonna take But I guess that's, um you know, for me. That's why it's so important [00:17:30] that I'm working on projects that I am really passionate about that I really want to see on screen. So? So to see this on screen, you've got a boost. Um, funding project going that you've managed to avoid talking about so far. And I think I think, you know, you should just put it out there. Sorry, Robin. Sorry. Um, yeah. So we, um basically, we, uh, in order to fund the rest of the series, we you know, we had the funding to shoot the pilot, and we always wanted to approach it like that. Um, you know, for me, [00:18:00] I want people to watch this and make a decision about whether they want to see more. And, you know, if they want to see more, then the way they can help make that happen is to support our boosted campaign. Um, it's gonna be free to air, and so you know it. You could look at it in in a way of, you know, if you're going to pay for a ticket to it, then you'd be doing it kind of at the boosted level. Um, and I think the, you know, crowd funding campaigns are huge and take a lot of energy, but they're also really great opportunity [00:18:30] for, um, an audience to become engaged and actually choose to support projects that they care about. So, um yeah, so we we've had a really good response so far. We've got a few more weeks running of our campaign. We need to get all the money to get any of it. So that's, um, quite a challenge. But, um, and then we also have on top of the booster campaign, we have some, um, other funding that we've, you know, applied for and and things like that in order to to shoot it and all that. Um on top [00:19:00] of all of that, we still, uh, you know, our cast and our crew has still have signed up for this project on, um, much lower rates than you know you might otherwise get in an industry because I guess because each of them, um uh, care about making it happen as well. And that has really paid off on set, like just a whole bunch of people that are committed and excited about the project, and it's been really cool. So you're you're aiming for 22,000? I think it was 20. [00:19:30] Yeah, 22.5 1000 which, um, you know it by the time you feed, everyone move. Everyone have all the equipment, the locations, the costumes, the props. You know, it's just such an expensive business. It's Yeah, And you know that that amount of money we are making go really far. And unfortunately, you know, that's one of the areas that Robin and I, uh, both [00:20:00] kind of are on the same page on and and that we we, um we don't spend money on anything. We don't have to, you know. But at the same time, um, we're really good at making the money that we do have stretched as far as possible because you do see it on screen. Is there anything different about making a Web series compared to some other type of series like TV? And there's so many different possible answers for that, um, I think there's there's a there's [00:20:30] a freedom in making a Web series and that, you know, essentially anyone can do it and they can put it up online, and there's no, um, gatekeepers from distributors or networks or any of that thing. So there's no one saying, uh, you can or can't make this content. Um, there's also, uh, no rules around time, you know, you can make an episode that's 30 seconds long. Or you could make one that's three hours long if you were that way inclined. And I think, um, the [00:21:00] for me personally, I think a story tends to fall naturally into certain kind of durations. And the each episode that, uh, for potluck is gonna be about I say this. I'm putting a stake in the ground at the all vary, but it's probably gonna be about 7.5 to 8.5 minutes long, and then the finale is going to be a little bit longer because everything sort of builds towards that six episode. Um, but for me, you know, I kind of imagine that the audience, you know, some of them will sit down and and make an effort to kind of put their lives on hold to watch [00:21:30] it, and a lot of people will watch it and amongst their day or, you know, send the link to their friend who will just be, you know, click on it and passing. And I think a lot of content gets shared like that online. And so we are. Um you know, the episodes are pretty short and snappy and and power packed for each time, so But you're saying that you you've you've got the pilot sorted, but you need the money to finish the other ones. Yeah. So we, um basically, once we get all the money in place through boosted and, [00:22:00] um, the other money that we've got happening in addition to that, then we will be going into our next shoot in earnest, which is likely to be February, March next year. So and we're going to shoot, Um, you know. So the first episode was shot over one weekend, and whereas now we're going to shoot the next five episodes in a block. Yeah. So which is going to be very intense? It's, um it's just huge. The amount of work that goes into it is just huge, but, um, yeah, so we'll be shooting them in a block of, um, sort of 2 to [00:22:30] 3 weeks, intense full time shooting and then off the back of that, we'll start powering into cutting them all together and getting them all nicely packaged up to send out into the world. So which also takes a lot of time. Um, yeah, And so we're still working out at the moment, Um, whether when we release them, it's in one valve swoop or whether we're gonna look at releasing them once a week. And you know things like this. So many different options. That's the thing. With Web series, you're in control. And there's all sorts of variables and and all sorts of pros and cons [00:23:00] for any which way you go. But so for people to keep, um, sort of in the loop around what's happening with it. You've You've got a Facebook page potluck Web series and you've got your website for it. Is there any any other ways that people can find out about what's going on? When, when it's on next? Cool. Yeah, so we're also, um, just in the process of we'll have a Twitter account up and running soon, I think which, um you know, I haven't had that much to do with Twitter, so [00:23:30] that's gonna be an interesting one, but hopefully, uh, I won't have to. I think I've got someone else who's all over that, which is great. Um, we we we've also got our own YouTube, uh, YouTube page as well YouTube channel for, like, Web series and also the page. So all the videos and the behind the scenes and all the episodes going to go up there as well, but yeah, So I think, you know, in terms of, uh, where everything is going to be housed for episodes and everything, our website is probably the best port of call and then [00:24:00] our Facebook page just for keeping up to date with progress. And, you know, we're trying to make sure that we, uh, and keeping our it's almost like, um giving people front receipts to this whole project. You know, we're sort of showcasing it at every step, and our audience have been really engaged already, which is fantastic. It's pretty. Um, it's great to get people's responses and, you know, have them kind of send comments and stuff at different times about either something that we've posted up for them or questions that they have about the series. And Facebook is such a good outlet for that [00:24:30] because it seems to be a lot of interest going on it. And I've seen I've seen you write things about, um, how you've drawn the characters and that some of it seems to be coming from you and your personality and having a little bit of that in there and also that people might recognise a bit of themselves. I think there's a song about there. There may be there may be. Maybe we should make that our theme song. Um, it's quite interesting. So, you know, like my writing process is [00:25:00] I. I kind of develop an idea, and I get it to a point. And then I've kind of got that first read, which in this case was Robin as my producer. And and then I do a bit more work and and sometimes, you know, I have a couple of really fantastic people who give me feedback on projects at different stages, and then I always like to do. At a certain point, I like to do a read through, you know, and and sometimes that's a read through with actors. And in this case, I did a read through with a bunch of friends of mine and, um, which was a really [00:25:30] cool. You know, it's an important there's such a difference between how something sounds to the ear to how it looks on the page. And, you know, I can pretend to read it through in my head, and it's mildly kind of, um, suits the purpose, but yeah, So basically, we got together, had some food read through the whole series, you know, together with people, kind of cast as a character and things like that. And so in lots of ways, that was my first audience. And, um, I was so nervous and [00:26:00] and, you know, and then had kind of a chat about different things. That happened. And there were a couple of moments in that read through where someone recognised something where they had also been there for that moment. Or that was related, you know, to something that had happened to them or to others around us. And I guess, you know, sometimes I think that's quite often the way for me as a writer. I write a lot of stories that, uh, are not necessarily about myself, but the world that I'm in, You know, and [00:26:30] and, um yeah. So sometimes, you know, friends and family get caught up in that niche as well. So it was pretty funny when someone had a realisation and just kind of looked at me across the group. And we laughed, you know, about a particular line that was said so Yeah. And I think, um, you know, it's not like I intend to be a magpie, and I'm sitting there making notes about everything my friends say or anything like that. But certainly things stick in my head, and I'm I'm I'm quite, uh I love banter and dialogue and, you know, and I have this [00:27:00] great group of friends who are endlessly entertaining to me, you know, And and sometimes those things do just kind of sit with me, and I'm like, Yeah, I'm gonna use that at some stage. And where where have you used locations like friends Places or No. So Robin, who is our producer, is also a location, scout and manager. Very handy, very handy. And so, Robin, um, went out scouting around Wellington and found us beautiful locations for Episode one. [00:27:30] And so we, um Yeah, we, you know, Basically, it's a case of finding the locations and having the conversations with people who own them live in them things like that, about what it is we're doing and what we need. And and, you know, there's kind of a standing joke within the industry, which is, you know, never have a film film crew in your house, you know, because it is pretty intense. But at the same time, you know, we knew that we had a fully professional crew. And so, um, you know, as much as you can ever kind of say [00:28:00] that nothing will go wrong that you know, our crew, we're definitely going to be in these spaces and really respectful of them. And they absolutely are, um which is cool and so particularly because, you know, the series is largely set inside, and sometimes that can mean that you end up with something on screen that can get a little bit flat. But, um, but our our kind of hero location, which is Mel's apartment, is just beautiful. And, um, and the lovely, lovely man who owns it has just been so supportive [00:28:30] and, you know, read the script and was excited to support it and things like that as well. So it's been very cool. Yeah, so that's your first location. And do you keep returning there or do they share it around as a support, like dinner going around the different houses? So we largely keep returning to Mel's apartment. So, um, we've also in Episode one, we've also been to Beth's House, and, um, we're yet to yet to discover Deb's house, but that does does come in. But yeah, so the the potluck dinners [00:29:00] themselves largely take place in Mel's apartment. But there's some other stuff that happens outside the potluck dinners that is going to give people a taste of a broader Wellington and, um, a broader world than just, you know, Mel's dining table, which is quite cool. So are you open to flexibility in the script at all, or is it pretty much nailed? It's pretty close to nailed Um, no I, I absolutely am. I think, um, I know that, you know, even just off the back of shooting Episode one, [00:29:30] that there's room for me to push further, uh, with the other episodes and and I'm looking forward to finding some time in January when that's gonna happen. Um, but also, you know, my, uh, you know, I I work on things at a script level and, you know, try and push them as far as I can. And then once you've got your cast on board and again, you know, I've got such a talented cast. We've got Angie, who's, you know, got all sorts of experience in in the UK in front of the screen class is also a singer and a vocal coach. We've got Nicky, who's [00:30:00] a filmmaker, um, in her own right and churning out some amazing stuff. And then we've got Tess, who's a toy facade graduate and also a writer and director and making some fantastic stuff as well. And so I would be an idiot not to look at collaborating with them on, um, developing the characters and really kind of pushing the action that happens within within the series and and, you know, we we've already started that process with Episode one. We spend a bit of time in rehearsals and, um, you know, leading into the shoot, [00:30:30] and and part of that is about building them, building those characters, you know, it doesn't work If I try and apply something concrete onto them and tell them to be that person, they have to kind of feel it and own it. And And, you know, that work I feel like is already paying off by what we get to see in episode one, and we're only gonna get better. Yeah. So? So the way that people can support the project would be to view it as soon as possible after it's released and then spread the word, I guess. Yeah, absolutely. [00:31:00] Yeah. Um, view it. Spread the word, if you have the ability to support it through the boosted campaign as well would be really fantastic. You know, we we really want to make this series, and we've got a bunch of people who are really, um, excited about making it. And the only way we can is if we can get that money in place. So, um yeah, share it, send us feedback. Tell us what you like. Tell us if there's anything that you don't like. I'm not saying that we'll necessarily, you know, change everything about it, but it's always so sometimes you send things out [00:31:30] and you into this great void and you get no response and you don't you know, unless you actually have a physical conversation with someone you don't know how that's working or not. So, yeah, thanks very much. And, um, yeah, congratulations on it. And thanks for bringing us something that is really new for New Zealand. Anyway, I'm not sure about the world in terms of a lesbian Web series, but I imagine it's breaking new ground. Yeah, I think, um, there are there's There's definitely [00:32:00] lesbian Web series out there and there's a huge scale of them. You know, there's there's certainly ones that, um, you know, maybe not so memorable. And then there's some really great ones and entertaining ones as well. And And yeah, this is, um it's a comedy, so everything's kind of heightened going on in here. But at the same time, I'm trying to, um, do that within a realm of characters that you can recognise and maybe know And, um, you know, or, uh, close to yourself. So I think it is kind [00:32:30] of unique in that sense, and it's certainly unique coming from New Zealand, and it will be really interesting to see how that goes internationally. whether there's, you know, interest and kind of what happens down here in the end of the world. So it launches on December, the so it launches online at nine o'clock New Zealand time, December the first, and that's WWW dot potluck Web series dot com.
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