Australian director Shannon Murphy series Dying For Sex earned Emmy nod

Fill: So, what was the “hinge memory olan that directed you to actively directing you as a career in your life?

Cm: I was 13 years old, and my first drama teacher in Caulfield Linguty, Joachim Matschosss, which I still communicate with, wrote in my Drama book, “You should really think of it as a profession”. I had no idea what this really meant because it was fun for me, and I enjoyed doing it, but I didn’t know what kind of life it could do. But he put this idea in my head …

Fill: And the effect of Sydney’s joining his own Nida in 2007?

Cm: It was the best year of my life to be honest. I liked to be surrounded by people who were as enthusiastic as I was about the theater and take them as seriously as I am. I just admired that school, teachers and classmates. I liked listening to directors, choreographers and designers and listening to how they did and how they did things.

Fill: Continue.

Cm: In Nida, he was about the meticulousness of being an informed artist. There was always a lot of pressure to ensure that you were in the forefront of the entire creative industry – and rightly – and rightly -. And the only way to do this is that you see a lot of art and theater and opera and everything you can do, so you know who everyone is, and you know what art is in the world right now, so you can be in front of Zeitgeist. And now I’m taking this very seriously in my daily life. I am always in galleries and staying adventurous and creative, and that’s what makes me an artist.

Fill: So without a hard play book, do you work with a knowledgeable instinct?

Cm: Yes. Years later in the rehearsal rooms and then nida and then aphthae [the Australian Film Television and Radio School].

Fill: And so when you move from the theater to film and television, what would you say in the approach?

Cm: I think the performance style I created with actors. I want it to be grounded and convincing, but I’m not afraid to force excessive performances – because I think people are too extreme. I probably love the color coming from growing up and looking at Hong Kong port, and my whole life is neon lights. I can also say that I have a dark and unusual sense of humor, but it comes from living in many countries and understanding many different comedy, right? And music. Nothing caught the mood better than the right music.

Fill: For your first feature film, Babyteeth, At the Venice Film Festival in 2019, 15 minutes?

Cm: Yes, that was crazy. We just finished at the last minute, so we had no idea how to respond. We never knew where people were going to get, where people would cry. That’s why he was quite crushing. We were very stressful for whether it was good. Obviously, standing applause helped us feel better.

Fill: How do you get the best performances from your actors? Are you someone who wants to buy 50?

Cm: I love to have an affordable relationship with them and to be with each other. We must get to know each other beyond being a professional together. No, I don’t shoot too much, and when I repeat them, they are always quite different. I trust myself very much about when I get something and I can move forward quite quickly. I do not want to excessively intellect it. I want to find out how to transform this character with its movements, not just being a talking head.

Fill: “Cut!” After shouting! And, “A winding for this day, people”, all of them hurry up to midnight?

Cm: No. I have a little photographic memory, so when it comes to the content I have taken, I don’t have to watch anything again later. And to be honest, I don’t really like to look at any of them until I finish it because I find it confusing. In this form of art, the scenes can move to different points, so you cannot plan every transition from each scene to another, because this scene can end at the end of the project.

Fill: And when they’re all finally going home, are you buried for six months? To bring them all together?

Cm: Yes. And this is a little more lonely process because I’m always fighting. But at least the most amazing editor is the Australian Steve Evans, and at that time it makes my life really exciting because there is a great reason why it is very competent in music and a great music in my work. And at the end of a shoot, I come to the editing cabin as a person’s exhausted bark and revives me in a creative way.

Fill: How Die for sex Meet your desk and what is the pioneer of the story?

Cm: Molly and his best friend Nikki was based on a podcast about a woman. When both actors and Molly learn that they are dead from cancer, she realizes that there is no sufficient sexual experience and diversity in her life and therefore begins to explore when she leaves. When I read Sinopsis, I liked it. I knew it would be a really strong tone.

Fill: What is tonal challenge?

Cm: When I read and I really love interesting tone on the page, but start to wonder how to do it with all other elements of visuals and performance and music? And I know it will be difficult to be right. Die for sex He could easily meet as a bad taste and had to be handled carefully. And so we were all on the ship with this, and you can have a scene that talks about sexual abuse and makes a fart joke at the same time.

Fill: When you go to Emmys, will you make a prepared speech if you win, or will this be bad mixed?

Cm: Yes. I’m so nervous about speaking community, there’s no way to write anything, because I’m not getting up and wing. I’m not an artist.

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Fill: Well, if Negative Bad Karma, let’s practice a little. “Thank you, thank you all!

Cm:… My daughter Dylan. 10 years old and when I started to television, it was only six months old and she took this journey along with me all the way. ” My daughter likes to hang out on the set and we always have great, creative people in our house. That’s why life is richer. Being a single mother is a bit challenging in this industry, but at the same time I feel that this industry supports it incredibly – especially in London where I live – and never seems like a disadvantage, which is really good.

Fill: Now you have an Emmy nomination, and perhaps an Emmy itself, we can assume that you nailed Zeitgeist with your business. How do you define this Zeitgeist in 2025?

Cm: Right now, we need to feel a little positive about the future. Being better to each other and being better for the environment without didactic in any way and being really interesting in storytelling and style are the things that will echo with people, especially if you can do it with a sense of humor, energy and history.

Fill: Good glory.

Cm: Thank you.

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