{"id":2452,"date":"2022-11-09T09:30:10","date_gmt":"2022-11-09T09:30:10","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=2452"},"modified":"2025-01-17T17:04:33","modified_gmt":"2025-01-17T17:04:33","slug":"meet-the-maker-vanessa-alexander-writer-the-great","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/the-industry\/meet-the-maker-vanessa-alexander-writer-the-great\/","title":{"rendered":"Meet the Maker: Writer, Director and Producer Vanessa Alexander"},"content":{"rendered":"

Vanessa Alexander talks to us about her career journey to becoming a director, producer and award-winning writer.<\/span><\/h2>\n

Vanessa Alexander defies categorisation. An award-winning writer, director, and producer, Alexander has worked on projects as wide-ranging as\u00a0Power Rangers,\u00a0Love Child,\u00a0The Great<\/em>, and\u00a0Vikings: Valhalla<\/em>.<\/p>\n

Her citizenship status follows suit. Born in New York to a New Zealand father and an English mother, Alexander now resides in Newcastle, Australia after stints in Paris and the UK.\u00a0Add to this five children, one foster son, two ex-husbands, and a mid-life crisis at clown school, then it\u2019s clear to see why Alexander is \u201crarely short of inspiration.\u201d<\/p>\n

What initially sparked your love of the arts?<\/h3>\n

I grew up in a family where there was a lot of science, but my father actually played the piano really well. His mum had played the piano in movie houses. My father loved taking us to musicals and plays – I don\u2019t know what his master plan was, to take us to all those and then imagine that we would want to be doctors!<\/p>\n

My mum taught me to read when I was really young. When I was six, I went to school and was [moved] up two years, so I graduated from high school when I was 15. I was a super good reader and spent my whole childhood reading, so I always thought I was going to be a novelist.<\/p>\n

Your career has been tremendously varied – writing, directing, producing – was this always the plan?<\/h3>\n

No, there\u2019s no plan. I feel like life is really hard if you\u2019re a woman because it\u2019s a lot to juggle the expectations on you, as a mother and the expectations on you at work. I don\u2019t know if it\u2019s true now, but in my generation, you had to be 50 times better than every man\u2026 My joke [is] as a woman, you\u2019re \u2018emerging\u2019 and then you\u2019re dead.<\/p>\n

I had an existential crisis after a few seasons of\u00a0Power Rangers<\/em>. I used to wake up in the night – I called it \u2018the dream of the hundred thousand vaginas\u2019 – where my entire female ancestry would visit me in my sleep and be like, \u201cWhat are you doing?\u201d<\/p>\n

So I went to Paris, taught at the International Film School, and studied with Philippe Gaulier – the French clown who trained Sacha Baron Cohen. At the end of that year, we moved back to Australia and I was essentially starting my career again in another country at 42.<\/p>\n

I could not get work in Australia. I could not get work, straight up. Eventually, I abandoned directing and decided to return to writing. I ended up in the UK for my ex-husband\u2019s sabbatical, so I had to give up all my Australian work. I used the time there to get an agent and went through an entire year of meeting, meeting, meeting. Never got any work.<\/p>\n

I came back to Australia, separated from my husband, and had no work because I\u2019d given it all up for the sabbatical. So I boarded a flight back to the UK and went into the story room for\u00a0Tin Star<\/em>.\u00a0I\u2019ve done a lot of writer\u2019s rooms [since] and it was a very prescient thought because once I started doing them, I got a lot of work.<\/p>\n

On the topic of writer\u2019s rooms, how do you approach being the lead writer?<\/h3>\n

If you\u2019re the lead writer, usually you write the pilot, or the series is your idea, or you\u2019re commissioned to take an original piece of IP [intellectual property] and find the television-relevant take. I do that, but I actually also like not doing that. I\u2019ve learnt a lot by being a \u2018right-hand man\u2019 for other people or working in their writer\u2019s room. Everybody brings their own weird strengths to the writer\u2019s room, but in the end, as the lead writer, it\u2019s your problem to solve.<\/p>\n

How involved have you been in the casting process?<\/h3>\n

For the first 10 years of my career, I always directed or produced things I wrote – sometimes all three –\u00a0 so I was always involved. In something like\u00a0Vikings<\/em>\u00a0or\u00a0The Great<\/em>, you can suggest people, but ultimately it\u2019s the lead writer and producer\u2019s decision.<\/p>\n

With\u00a0Vikings<\/em>, Jeb [Stuart] shared the final auditions with us. Obviously, it\u2019s nice to be able to say what you think, but it\u2019s primarily helpful as a writer because you go, \u201cOh, I hadn\u2019t seen that in that character\u201d. Actors bring their own stuff, right? So eventually it becomes writing for the actor. [For example], I found it really helpful to\u00a0see\u00a0Emma [played by Laura Berlin]. I found that character weirdly hard to write. Then once I saw her audition, I was like, \u201cAh!\u201d It just makes it easier to write.<\/p>\n

Do you notice common threads when you reflect on the actors you\u2019ve most enjoyed working with?<\/h3>\n

My favourite actor I\u2019ve ever worked with is Robyn Malcolm, a New Zealand actress. I love her. She\u2019s got so much warmth and naughtiness and spark, and she can bring that to really diverse characters that don\u2019t all feel the same.\u00a0I think something special that those actors have, is this thing – it\u2019s like they\u2019re carrying an energy where you want to watch them.<\/p>\n

I\u2019ve got a lot of respect for actors. It\u2019s a hard job. And mostly, I think actors are very generous with each other. Good actors give each other a lot.<\/p>\n

Given the journey you\u2019ve had, what does \u2018success\u2019 mean to you today?<\/h3>\n

When I was younger, I thought about whether I was successful or not, whether this hadn\u2019t worked out because I wasn\u2019t good enough. What I\u2019ve come to see is that it\u2019s actually a crap way of thinking.<\/p>\n

A lot of female writers ask me, \u201cHow do you deal with imposter syndrome<\/a>?\u201d And I think imposter syndrome is a sign you\u2019re thinking too self-centred. You\u2019re really thinking about yourself and your own insecurities. You have a duty to all the women who have gone before you, to improve women in other people\u2019s stories, or to take up that space and open the window for the next person behind you.<\/p>\n

It\u2019s not about how successful you are, it\u2019s [about] should this story be told? What stories haven\u2019t been told? What stories need to be told? It\u2019s really an act of duty.<\/p>\n

Your career alone is astounding, but it\u2019s made all the more impressive by the fact you\u2019re a mother of six. Do you have any strategies that make this possible?<\/h3>\n

I should write a book! This is my number one piece of advice: be average. In their teenage years, they\u2019re going to hate you anyway. Women are way too hard on themselves.<\/p>\n

The other [tip] is bags. You need bags. Not just school bags – you need music bags, swimming bags, soccer bags. They\u2019ve got to be different colours, and you put them up on hooks, and everything goes back in the bag. You\u2019ll reacquire five hours a week!<\/p>\n

Thanks for your time Vanessa. We have\u00a0tips for writing your own work<\/a>\u00a0on our website and plenty more inspirational\u00a0interviews with industry professionals<\/a>\u00a0if you’d like to read more.<\/em><\/p>\n

\"\"<\/span>Tahlia Norrish is an Aussie-Brit actor, writer, and current MPhil Candidate at the University of Queensland’s School of Sport Sciences. After graduating from The Liverpool Institute for Performing Arts (Distinction, Acting and Musical Theatre) and Rose Bruford College (First Class Hons, Acting), Tahlia founded The Actor’s Dojo<\/a> \u2014 a pioneering coaching program centred on actor peak performance and holistic wellbeing.<\/i><\/em><\/p>\n

Headshot credit: Ben Wilkin<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Vanessa Alexander talks to us about her career journey to becoming a director, producer and award-winning writer. Vanessa Alexander defies categorisation. An award-winning writer, director, and producer, Alexander has worked on projects as wide-ranging as\u00a0Power Rangers,\u00a0Love Child,\u00a0The Great, and\u00a0Vikings: Valhalla. Her citizenship status follows suit. Born in New York to a New Zealand father and […]<\/p>\n","protected":false},"author":28,"featured_media":3030,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[35],"tags":[112,189,145],"class_list":["post-2452","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-industry","tag-making-work","tag-producing","tag-writing"],"acf":[],"yoast_head":"\nMeet the Maker: Writer, Director and Producer Vanessa Alexander | Spotlight<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.spotlight.com\/news-and-advice\/the-industry\/meet-the-maker-vanessa-alexander-writer-the-great\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meet the Maker: Writer, Director and Producer Vanessa Alexander | Spotlight\" \/>\n<meta property=\"og:description\" content=\"Vanessa Alexander talks to us about her career journey to becoming a director, producer and award-winning writer. 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