Before appearing on Neighbours, what sort of acting work had you done?
I’d worked predominantly in the theatre before Neighbours, both musicals and drama. I’d also done several guest roles on television, each lasting only days or weeks. So the 2 years and 2 months on Neighbours was my longest TV experience.
What inspired you to pursue acting?
Hard to say, as I never didn’t want to act and sing. I used to watch lots of old movie musicals with my Dad. Our whole family is musical and there were artists often in the house. So the main decision was to go straight to drama school from high school, rather than study something academic first (as a back-stop). Not necessarily sensible, but that was the moment of commitment I suppose.
You first appeared on Neighbours in 1992, what was it like to join the iconic show?
Interestingly enough Neighbours came at a time when I was getting a lot of theatre work, so actually I received the offer while standing in a friend’s apartment in London. And I was unsure whether to accept or not. I was very much in love with a guy from England (who is still a dear friend) and I didn’t want to go that far away from him. Then again we were too young (as we saw it) to ‘settle down’, so the Muses insisted I follow my career. I would have preferred not to sign a 2 year contract, rather something shorter. But I wasn’t given that option. I decided this was a lifestyle change as well as an opportunity to develop my television craft and live in a great city like Melbourne... so those things excited me and challenged me as much as the idea of ‘being in Neighbours” which felt a little nebulous. Once I was there, on set, the best part was meeting and bonding with the immediate Robinson/Martin family, all of whom became very dear to me: Anne, Alan, Ian, Marnie, Troy and Rebecca.
I’d worked predominantly in the theatre before Neighbours, both musicals and drama. I’d also done several guest roles on television, each lasting only days or weeks. So the 2 years and 2 months on Neighbours was my longest TV experience.
What inspired you to pursue acting?
Hard to say, as I never didn’t want to act and sing. I used to watch lots of old movie musicals with my Dad. Our whole family is musical and there were artists often in the house. So the main decision was to go straight to drama school from high school, rather than study something academic first (as a back-stop). Not necessarily sensible, but that was the moment of commitment I suppose.
You first appeared on Neighbours in 1992, what was it like to join the iconic show?
Interestingly enough Neighbours came at a time when I was getting a lot of theatre work, so actually I received the offer while standing in a friend’s apartment in London. And I was unsure whether to accept or not. I was very much in love with a guy from England (who is still a dear friend) and I didn’t want to go that far away from him. Then again we were too young (as we saw it) to ‘settle down’, so the Muses insisted I follow my career. I would have preferred not to sign a 2 year contract, rather something shorter. But I wasn’t given that option. I decided this was a lifestyle change as well as an opportunity to develop my television craft and live in a great city like Melbourne... so those things excited me and challenged me as much as the idea of ‘being in Neighbours” which felt a little nebulous. Once I was there, on set, the best part was meeting and bonding with the immediate Robinson/Martin family, all of whom became very dear to me: Anne, Alan, Ian, Marnie, Troy and Rebecca.
Are there any similarities between you and Julie?
Can you hear me laughing? Well, my Mum says that I always call out like Julie when I get to the house - “I’m home” – as if expecting a big welcome. Well, why not? I’ve usually been away for a time. Ha ha.
I am passionate like Julie, I guess, sometimes a hot head (or red head). But I’m very different in terms of my positivity, openness and adventurousness. I’m not manipulative. And I think I have more friends :). Anyway I don't have a husband to nag to death so can’t be similar in that way.
Seeing as Julie was an original Robinson, what was is like working with Alan Dale and Anne Haddy?
I adored working with both of them. It was a definite privilege and we became friends – as in we met outside the set/filming. I missed them both a lot after it was over. When I had to film Jim Robinson’s death scene, the angle of the camera was such that they had to move him out of the way and, for the reverse shot, I had to focus instead on an orange on the floor. It was so silly I wanted to laugh. But to get into the mood I thought about how much I was going to miss him, and the sadness of the scene just washed over me.
I was very sad when Anne passed away some years later, but absolutely delighted when Alan did/does so well in the US. There’s nothing I’d like more than to sit down with a wine and chat to them both again. One day.
What was it like working with your on-screen family Ian Rawlings, Marnie Reece-Wilmore, Troy Beckwith and Rebecca Ritters?
I know this sounds like the publicist told me to say it, but really the answer, again, is that I loved them. These people made my experience on Neighbours into something precious, when otherwise such things can get to be quite a slog. And when it did get tough – too many scenes or story lines, production challenges that you had to accommodate – we would talk and laugh and get each other through. We were SO lucky to work so well together, to giggle and tease and flirt and support each other. We really should have a reunion. We’d miss Anne hugely, but still we should, in Melbourne one day.
Were there any story lines or scenes that you particularly enjoyed, or disliked, filming?
In the first year in particular, I really liked working with the Alessi Family. They were also a good match of personalities, talented and easy to get along with. I mean, how could you not like the loveable George Spartels? Or Dan Falzon? In particular I grew close quickly to Felice Arena who played Marco Alessi. We are still dear friends and I’m grateful to Neighbours for that.
I enjoyed working with many actors on Neighbours, including guest actors on the series. However I struggled with the episodes when Julie was written as too ‘out there’. I don’t mean provocative or antagonistic, that was her function in the show, I mean when there wasn’t sufficient justification (reality) for the tussles she found herself in. For example, and I’ve said it before, I was very uncomfortable with the scenes involving racism in the street. I felt the growing multiculturalism in Australia meant television (especially a soap as popular as it was at the time) had a responsibility to show diversity without making a big deal out of it. Or if they really wanted to tackle the subject, then it should have been written with more depth and sensitivity – explored the issue more holistically than it did.
I didn’t like it either, when there was a storyline between the characters of Rick and Debbie having sex (under age) without any discussion about contraception or protection. It felt irresponsible. But actors don’t usually get to control these things.
I know it was banned in the UK – apparently the only episode ever banned – but I did enjoy playing all the scenes when Julie let her hair down (for once) and was flirting with Philip to help him... let’s say ‘get motivated’ in the bedroom. That was more like me, the real Julie. :) And it was amusing that the episode was banned where she dressed up in suspenders and a school uniform. I’m not saying these matters can’t or shouldn’t be taken seriously, censorship definitely has a role, but I felt it was more innocent than many things which were regularly allowed to go to air so in that sense it was overhyped.
Are there any cast members you wished to of worked with more?
I’m glad you didn’t ask me were there cast members I didn’t want to work with! I always enjoyed having a laugh with Scott Michaelson on set, and Tom Oliver, and it would have been great if Troy Beckwith had been in the show more often – his role being only part-time. He and I were terrible flirts together - before I reached the age when I naturally started to like and date younger men :). And how could I not mention Caroline Gilmer, she was always great to work with and still a friend, though I don’t see her or Tony enough.
Can you hear me laughing? Well, my Mum says that I always call out like Julie when I get to the house - “I’m home” – as if expecting a big welcome. Well, why not? I’ve usually been away for a time. Ha ha.
I am passionate like Julie, I guess, sometimes a hot head (or red head). But I’m very different in terms of my positivity, openness and adventurousness. I’m not manipulative. And I think I have more friends :). Anyway I don't have a husband to nag to death so can’t be similar in that way.
Seeing as Julie was an original Robinson, what was is like working with Alan Dale and Anne Haddy?
I adored working with both of them. It was a definite privilege and we became friends – as in we met outside the set/filming. I missed them both a lot after it was over. When I had to film Jim Robinson’s death scene, the angle of the camera was such that they had to move him out of the way and, for the reverse shot, I had to focus instead on an orange on the floor. It was so silly I wanted to laugh. But to get into the mood I thought about how much I was going to miss him, and the sadness of the scene just washed over me.
I was very sad when Anne passed away some years later, but absolutely delighted when Alan did/does so well in the US. There’s nothing I’d like more than to sit down with a wine and chat to them both again. One day.
What was it like working with your on-screen family Ian Rawlings, Marnie Reece-Wilmore, Troy Beckwith and Rebecca Ritters?
I know this sounds like the publicist told me to say it, but really the answer, again, is that I loved them. These people made my experience on Neighbours into something precious, when otherwise such things can get to be quite a slog. And when it did get tough – too many scenes or story lines, production challenges that you had to accommodate – we would talk and laugh and get each other through. We were SO lucky to work so well together, to giggle and tease and flirt and support each other. We really should have a reunion. We’d miss Anne hugely, but still we should, in Melbourne one day.
Were there any story lines or scenes that you particularly enjoyed, or disliked, filming?
In the first year in particular, I really liked working with the Alessi Family. They were also a good match of personalities, talented and easy to get along with. I mean, how could you not like the loveable George Spartels? Or Dan Falzon? In particular I grew close quickly to Felice Arena who played Marco Alessi. We are still dear friends and I’m grateful to Neighbours for that.
I enjoyed working with many actors on Neighbours, including guest actors on the series. However I struggled with the episodes when Julie was written as too ‘out there’. I don’t mean provocative or antagonistic, that was her function in the show, I mean when there wasn’t sufficient justification (reality) for the tussles she found herself in. For example, and I’ve said it before, I was very uncomfortable with the scenes involving racism in the street. I felt the growing multiculturalism in Australia meant television (especially a soap as popular as it was at the time) had a responsibility to show diversity without making a big deal out of it. Or if they really wanted to tackle the subject, then it should have been written with more depth and sensitivity – explored the issue more holistically than it did.
I didn’t like it either, when there was a storyline between the characters of Rick and Debbie having sex (under age) without any discussion about contraception or protection. It felt irresponsible. But actors don’t usually get to control these things.
I know it was banned in the UK – apparently the only episode ever banned – but I did enjoy playing all the scenes when Julie let her hair down (for once) and was flirting with Philip to help him... let’s say ‘get motivated’ in the bedroom. That was more like me, the real Julie. :) And it was amusing that the episode was banned where she dressed up in suspenders and a school uniform. I’m not saying these matters can’t or shouldn’t be taken seriously, censorship definitely has a role, but I felt it was more innocent than many things which were regularly allowed to go to air so in that sense it was overhyped.
Are there any cast members you wished to of worked with more?
I’m glad you didn’t ask me were there cast members I didn’t want to work with! I always enjoyed having a laugh with Scott Michaelson on set, and Tom Oliver, and it would have been great if Troy Beckwith had been in the show more often – his role being only part-time. He and I were terrible flirts together - before I reached the age when I naturally started to like and date younger men :). And how could I not mention Caroline Gilmer, she was always great to work with and still a friend, though I don’t see her or Tony enough.
You were lucky enough to be part of the show when it celebrated its 2000th episode in 1993. What was it like being part of the historic moment? Other than the onscreen party for Helen, how did the cast and crew celebrate?
Do you know, I actually can’t really remember. I remember posing for photographs. And I remember a cake. But I can’t recall much else – other than that shooting and learning lines continued as always. A soap opera is relentless for that!
It was much later before I went back to university and did a Masters of Commerce, after which I ended up working as a project manager (amongst other things). I looked back to the times when the actors would rush into the production office asking to change shooting schedules (myself included), without any real understanding of how complex a request that actually was... and how difficult it is to schedule and control a relentlessly unending flow of work/output. I wished I’d understood it better!
What was it like taking on a role that had already been established by another actor? How much did you try to emulate Vikki Blanche’s portrayal?
I didn’t really try at all to emulate Vikki. I trusted that they’d cast me – as they said – because I looked similar, and because in the audition I followed their direction to get the same kind of energy and pushiness of the character. So I just let that work for me.
The funny thing was that I rented a lovely apartment in South Yarra, in Melbourne, for the duration of the contract – and Vikki lived on one of the lower floors! Small world. I think she was the one laughing when I had to leave at 5 or 6am to get in the make-up chair!
Both the roles of Julie and Philip were recast when you arrived in 1992. What was it like for you and Ian Rawlings to enter the show as established characters with so much onscreen history?
We both did our research on the ‘back story’, but we concentrated on what was in front of us really, on building a relationship with each other (on and off screen). And Ian was an utter delight. He is kind, easy to get along with, wise in a quiet and considered way, supportive and respectful without being a push-over, a great sense of humour, and a good kisser! :) I loved him, and his lovely wife. It would be great to see them again one day.
Julie was shown to be interfering and gossipy. One storyline saw he accuse the new Chinese family of eating the Martin’s dog. What did you think of this characteristic and choice of story line?
Oh, I’ve mentioned that above. Yeah, didn’t like it. And many people in the general public were upset by that storyline, understandably so. I’ve told the story in a few interviews over the years, about the time a Vietnamese taxi driver threw me out of this cab when he realised who I was. He spoke very quickly, told me I was offensive and “that bad Neighbour” and waved his arms at me and left me on the side of a busy by-pass/motorway.
Near the end of Julie’s time on the street, she was very emotional and somewhat unstable. What was it like portraying someone in that mindset and how did you get into character?
It was exhausting actually. The storyline was that she was totally cracking up/breaking down so as to lead to a suicide. Many scenes were fairly extreme, one after the other. It was impossible to play them with moderation too, because you didn’t know necessarily what was coming at you when you got the next pile of scripts. It would switch from near hysterical scenes to ‘business as usual’ house-hold stuff. (Though actually that had often been a part of the way they wrote for the character.) If I’d know they were going to confuse the ending, and not make it a clear suicide, then no doubt I’d have played the scenes differently, with more subtlety. But in a soap you can only try to be true to what’s in front of you at the time. You don’t have the luxury of a series with a plotted beginning, middle and end narrative, to shape the arc of the character’s journey.
Also it was only on the day of shooting of the big fall from the tower that the network issued an instruction to change the suicide to a mysterious fall. So it kind of messed up any realism of what had been going on before. That’s why many viewers remained confused for so long “did she fall or was she pushed”. For years I was asked that question in the oddest places – on top of the Eiffel Tower, in the Andes, in the Daintree Rainforest. The power of television is surprising.
I do remember enjoying that particular day filming down on the Mornington Peninsula (a lovely place I used to visit in my free time, great wine too). We shot some scenes right up the top of the tower, tied for safety. Then I had to fall off a make-shift reconstruction of the tower onto a big gym matt. No stunt double :)
Do you know, I actually can’t really remember. I remember posing for photographs. And I remember a cake. But I can’t recall much else – other than that shooting and learning lines continued as always. A soap opera is relentless for that!
It was much later before I went back to university and did a Masters of Commerce, after which I ended up working as a project manager (amongst other things). I looked back to the times when the actors would rush into the production office asking to change shooting schedules (myself included), without any real understanding of how complex a request that actually was... and how difficult it is to schedule and control a relentlessly unending flow of work/output. I wished I’d understood it better!
What was it like taking on a role that had already been established by another actor? How much did you try to emulate Vikki Blanche’s portrayal?
I didn’t really try at all to emulate Vikki. I trusted that they’d cast me – as they said – because I looked similar, and because in the audition I followed their direction to get the same kind of energy and pushiness of the character. So I just let that work for me.
The funny thing was that I rented a lovely apartment in South Yarra, in Melbourne, for the duration of the contract – and Vikki lived on one of the lower floors! Small world. I think she was the one laughing when I had to leave at 5 or 6am to get in the make-up chair!
Both the roles of Julie and Philip were recast when you arrived in 1992. What was it like for you and Ian Rawlings to enter the show as established characters with so much onscreen history?
We both did our research on the ‘back story’, but we concentrated on what was in front of us really, on building a relationship with each other (on and off screen). And Ian was an utter delight. He is kind, easy to get along with, wise in a quiet and considered way, supportive and respectful without being a push-over, a great sense of humour, and a good kisser! :) I loved him, and his lovely wife. It would be great to see them again one day.
Julie was shown to be interfering and gossipy. One storyline saw he accuse the new Chinese family of eating the Martin’s dog. What did you think of this characteristic and choice of story line?
Oh, I’ve mentioned that above. Yeah, didn’t like it. And many people in the general public were upset by that storyline, understandably so. I’ve told the story in a few interviews over the years, about the time a Vietnamese taxi driver threw me out of this cab when he realised who I was. He spoke very quickly, told me I was offensive and “that bad Neighbour” and waved his arms at me and left me on the side of a busy by-pass/motorway.
Near the end of Julie’s time on the street, she was very emotional and somewhat unstable. What was it like portraying someone in that mindset and how did you get into character?
It was exhausting actually. The storyline was that she was totally cracking up/breaking down so as to lead to a suicide. Many scenes were fairly extreme, one after the other. It was impossible to play them with moderation too, because you didn’t know necessarily what was coming at you when you got the next pile of scripts. It would switch from near hysterical scenes to ‘business as usual’ house-hold stuff. (Though actually that had often been a part of the way they wrote for the character.) If I’d know they were going to confuse the ending, and not make it a clear suicide, then no doubt I’d have played the scenes differently, with more subtlety. But in a soap you can only try to be true to what’s in front of you at the time. You don’t have the luxury of a series with a plotted beginning, middle and end narrative, to shape the arc of the character’s journey.
Also it was only on the day of shooting of the big fall from the tower that the network issued an instruction to change the suicide to a mysterious fall. So it kind of messed up any realism of what had been going on before. That’s why many viewers remained confused for so long “did she fall or was she pushed”. For years I was asked that question in the oddest places – on top of the Eiffel Tower, in the Andes, in the Daintree Rainforest. The power of television is surprising.
I do remember enjoying that particular day filming down on the Mornington Peninsula (a lovely place I used to visit in my free time, great wine too). We shot some scenes right up the top of the tower, tied for safety. Then I had to fall off a make-shift reconstruction of the tower onto a big gym matt. No stunt double :)
Julie fell to her untimely death in 1994, what led to your decision to leave the series? What did you think of Julie’s exit?
It was my choice to leave the show at the end of my 2 year contract. They were surprised, and I was surprised they hadn’t told me they wanted to keep me. We tried to negotiate a contract whereby my character would go away for X weeks or months and then return semi-regularly. However the management at the time weren’t at all agreeable or flexible in the way they handled that ‘negotiation’, it wasn’t at all pleasant, so I said that as I’d already given notice of my departure perhaps we should just leave it at that; until and if I returned from the UK, where I was heading to follow my love of the theatre. They weren’t happy. And that’s when it was decided they would ‘kill me off’.
But I’d promised myself I would not fall in love with the money and that I wouldn’t stay in the series for more than 2 years. I needed to honour that promise to myself. I was too young to want or be looking for secure employment. I had too many artistic things still to do. People have to judge these things based on their own path and where they are at in their lives. It’s different for everyone.
Are you still in touch with any of your former co-stars?
I’m especially still in touch with Felice Arena (aka Marco Alessi). He is a very successful and prolific children’s author. I’m very proud of him and he’s helped me a lot to get my writing career off the ground.
You left twenty years ago, what have you done since moving away from Ramsay Street?
As I said, I went to university to do a Masters of Commerce. I have worked in Arts and Events management, including managing venues/performing arts centres. I have worked as a fundraising professional, a project manager and consultant.
I have continued to sing freelance. While living in Italy for example I had a jazz band. And I used to play piano and sing in restaurants and bars to make a living. I love Tuscany and would go back tomorrow if there was enough work – or when I make my fortune!
Creatively, my biggest stride in the last 8 years has been as a writer. I have been writing every day since 2008 and it’s currently my biggest focus.
In fact, I have a new book coming out on the 22nd July: TO KISS OR NOT TO KISS. You can read the introduction, or sign up for a free chapter at: www.juliemullins.co.uk
Or go direct to: www.amazon.com/author/juliemullins
I’d love it if my fans from Neighbours days bought my book. There is definitely a theatrical theme, and lots (I hope) to make you laugh. Girls especially will like the romance! And the short stories in that book will tell you a lot about what I’ve been doing before and since Neighbours! (Hopefully without the boring bits :) )
How much input did you have into your storylines? Is there anything you would have changed about the character or her story?
We made occasional suggestions for storylines, slight adjustments to dialogue, but, no, I didn’t have input really. The ‘machine’ driving the show forward – making a movie or more a week – just does not allow for that.
Were you a fan of Neighbours before you joined the cast? Do you watch the show these days?
I used to watch it occasionally, yes, the same now. But I am so rarely at home at the time that Neighbours goes to air, so I’ve never watched any soap really regularly. (Though catch up TV helps right?) But I enjoy it when I do. And when I’m living in the UK it reminds me nicely of home. I like seeing Alan Fletcher too, who I’ve known for many years and always enjoyed.
But you know, even when I was on the show I used to miss it. There’d be hundreds of scenes that I never saw.
Finally, for a show that nearly didn’t make its first anniversary, it’s surpass 7000 episodes and celebrate the 30th anniversary. What do you think is the secret of the ongoing success of Neighbours?
Good question. I think it has something to do with the Aussie spirit. There is buoyancy about life in a big country with wide open spaces, sand, surf and sunshine, that I think comes through in Australian television even when the setting is urban. Characters are colourful. Serious topics can be interspersed easily with light-hearted banter. Outdoor scenes are easy to shoot (comparatively), which adds good light and energy to a programme; not to mention make the actors look better, as studio lighting on a soap is often harsh. The production side of Neighbours also changes regularly – new blood, new ideas – and I think that is important for keeping a long-running show fresh. The producers think about music and mood, which has always helped. It’s a contemporary setting, (comparatively) warm weather so costumes can reflect the Australian culture and be bright, without costing a fortune. All these things add up to the success of a show. Good direction – directors that can be creative within really challenging timeframes – is a must. And actors, all the actors, need to come up with the goods.
If there was one recipe all shows would be a hit, but certainly Neighbours is doing something right. It’s had better patches and worse patches – like long marriage I suppose – but it’s kept renewing itself, kept looking for new ways to stay fresh, and that ultimately shows.
Congratulations Neighbours!
It was my choice to leave the show at the end of my 2 year contract. They were surprised, and I was surprised they hadn’t told me they wanted to keep me. We tried to negotiate a contract whereby my character would go away for X weeks or months and then return semi-regularly. However the management at the time weren’t at all agreeable or flexible in the way they handled that ‘negotiation’, it wasn’t at all pleasant, so I said that as I’d already given notice of my departure perhaps we should just leave it at that; until and if I returned from the UK, where I was heading to follow my love of the theatre. They weren’t happy. And that’s when it was decided they would ‘kill me off’.
But I’d promised myself I would not fall in love with the money and that I wouldn’t stay in the series for more than 2 years. I needed to honour that promise to myself. I was too young to want or be looking for secure employment. I had too many artistic things still to do. People have to judge these things based on their own path and where they are at in their lives. It’s different for everyone.
Are you still in touch with any of your former co-stars?
I’m especially still in touch with Felice Arena (aka Marco Alessi). He is a very successful and prolific children’s author. I’m very proud of him and he’s helped me a lot to get my writing career off the ground.
You left twenty years ago, what have you done since moving away from Ramsay Street?
As I said, I went to university to do a Masters of Commerce. I have worked in Arts and Events management, including managing venues/performing arts centres. I have worked as a fundraising professional, a project manager and consultant.
I have continued to sing freelance. While living in Italy for example I had a jazz band. And I used to play piano and sing in restaurants and bars to make a living. I love Tuscany and would go back tomorrow if there was enough work – or when I make my fortune!
Creatively, my biggest stride in the last 8 years has been as a writer. I have been writing every day since 2008 and it’s currently my biggest focus.
In fact, I have a new book coming out on the 22nd July: TO KISS OR NOT TO KISS. You can read the introduction, or sign up for a free chapter at: www.juliemullins.co.uk
Or go direct to: www.amazon.com/author/juliemullins
I’d love it if my fans from Neighbours days bought my book. There is definitely a theatrical theme, and lots (I hope) to make you laugh. Girls especially will like the romance! And the short stories in that book will tell you a lot about what I’ve been doing before and since Neighbours! (Hopefully without the boring bits :) )
How much input did you have into your storylines? Is there anything you would have changed about the character or her story?
We made occasional suggestions for storylines, slight adjustments to dialogue, but, no, I didn’t have input really. The ‘machine’ driving the show forward – making a movie or more a week – just does not allow for that.
Were you a fan of Neighbours before you joined the cast? Do you watch the show these days?
I used to watch it occasionally, yes, the same now. But I am so rarely at home at the time that Neighbours goes to air, so I’ve never watched any soap really regularly. (Though catch up TV helps right?) But I enjoy it when I do. And when I’m living in the UK it reminds me nicely of home. I like seeing Alan Fletcher too, who I’ve known for many years and always enjoyed.
But you know, even when I was on the show I used to miss it. There’d be hundreds of scenes that I never saw.
Finally, for a show that nearly didn’t make its first anniversary, it’s surpass 7000 episodes and celebrate the 30th anniversary. What do you think is the secret of the ongoing success of Neighbours?
Good question. I think it has something to do with the Aussie spirit. There is buoyancy about life in a big country with wide open spaces, sand, surf and sunshine, that I think comes through in Australian television even when the setting is urban. Characters are colourful. Serious topics can be interspersed easily with light-hearted banter. Outdoor scenes are easy to shoot (comparatively), which adds good light and energy to a programme; not to mention make the actors look better, as studio lighting on a soap is often harsh. The production side of Neighbours also changes regularly – new blood, new ideas – and I think that is important for keeping a long-running show fresh. The producers think about music and mood, which has always helped. It’s a contemporary setting, (comparatively) warm weather so costumes can reflect the Australian culture and be bright, without costing a fortune. All these things add up to the success of a show. Good direction – directors that can be creative within really challenging timeframes – is a must. And actors, all the actors, need to come up with the goods.
If there was one recipe all shows would be a hit, but certainly Neighbours is doing something right. It’s had better patches and worse patches – like long marriage I suppose – but it’s kept renewing itself, kept looking for new ways to stay fresh, and that ultimately shows.
Congratulations Neighbours!
Interviewed July 2015