. The two-time Oscar winner first conceived of the drama in her kitchen in 2013. A conversation about immigration with writer Elise McCredie sparked an ambition to thread together stories about people caught up in the Australian border control system. It’s a subject that has particular personal resonance for Blanchett, who is an ambassador for the United Nations High Commissioner for Refugees .
Blanchett and co-creator Tony Ayres spoke to Deadline about the six-part series before heading to Berlin. We also caught up with Matchbox managing director Alastair McKinnon separately. The interviews are weaved together below, and edited for length and clarity. What was perhaps more hidden for us was the experience of the bureaucrats and the guards who also come in contact with that system, who experience PTSD and dislocation from their sense of humanity. It’s when we start to fold those experiences into the story that it really came to life.
Deadline: Cate, how have you found the experience of working on your first high-end TV project? And why was TV right for: Not by design but by happy default, I was involved in two limited television series quite simultaneously:. There’s so much out there. It’s finding the right form to tell a story. A story will tell you which way it needs to be told if you’re alive to it.
We’re experiencing a world that is very foreign to most people in Australia and most places in the world. These are people you don’t know. What we were trying to do was bring these people to life in a fully-fleshed way. TV goes into people’s living rooms and we share our lives with these strangers and the longer we spend, the less strange they become.
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