How The Monkeys Learnt Not to Play It Safe with Tim Minchin
We all know that feeling of sitting in a red velvet chair amongst hundreds of other people. Everyone is chatting away, taking selfies to post on their Instagram stories or flipping through the program. The house is loud, you can barely hear your own voice let alone the person sitting next to you.
Then without warning, the lights start to go down and a hush moves over the crowd. It’s silent except for the noise of the curtain being drawn. It’s a goosebump inducing, hair tingling, heart racing, tears swelling type of feeling.
And then the show starts.
The Sydney Opera House has housed that particular feeling for the past 50 years. It was built as a statement of support to the arts. It has become a place where a classical ballet can share the stage with a emo rock band. It’s where Juliet’s balcony can be used for a rousing war speech. It’s where comedians can be political.
The Sydney Opera House is laced in both tradition and rebellion. Most importantly, It is a home for artists and art lovers and one that is rightfully celebrated within Australia.
Barbara Humphries is a executive creative director at The Monkeys, part of Accenture Song. Alongside her was CCO Tara Ford and director, Kim Gehrig had the challenge and privilege of putting together the 50th anniversary celebration. Together with some of Australia’s most iconic artists and created a spot design to remind audiences that the Sydney Opera House will always be home to those who dare to think differently.
LBB’s Casey Martin spoke to Barbara and Tara on their inspirations, and why they didn’t play it safe.
LBB> Firstly, what an amazing spot! It’s utterly brilliant. When working with Aussie legend, Tim Minchin and the iconic Sydney Opera House, what was the one thing you knew you’d have to include in this spot?
Tara> Thank you. It was an amazing project to work on with so many talented collaborators. From the outset we knew it had to celebrate the arts and do so in a big and joyful way. The building is just so iconic that we felt whatever we did had to live up to its audacity and all it represents. But, if I had to choose one thing, I think it would be that it had to feel inspiring.
LBB> When working on a production as huge as this one, what were the challenges and what did you learn?
Barbara> With an ambitious idea like this, the people you partner with are everything. Kim Gehrig is a creative force, phenomenal both in her talent and the energy she brings to the idea. She goes deep and leaves no stone unturned, which is something I was lucky enough to witness on Berlei a few years back. So many ideas came from just spending a lot of time in the space with DOP Stefan Duscio and the incredible Pip Smart, EP at Revolver. They really made the impossible possible, but they also kept things fluid in order to make something better at every opportunity. Tim also brought a lot of great ideas to the filming process.
I’m just in awe of all of them.
LBB> Slicing between footage of current Australian artists absolutely nailing it and the negative response of some of the Australia public when the Opera House was first being built is emotional and inspiring. What was the inspiration behind this choice?
Tara> When faced with a radically new concept, something defiantly creative, new and unknown, the first reaction is often one of rejection and fear. This is generally true, and it certainly was for The Sydney Opera House which had haters back in the day. Few people have the bravery to back something new and challenging, it is easier to do that after success. We wanted to show that first conservative response to something so spectacular. It’s a reminder to open your mind and embrace the things that at first may seem unreasonable and different.
LBB> As someone who has looked up to the Opera House, what was the most important thing you wanted to convey during this spot to all the artists and art lovers sitting at home watching?
Barbara> Art matters, creativity matters, and we need more of it in the world! It’s so important to be exposed to as much of it as possible, from as many different sources, and as many different voices as we can, and resist the pull of the familiar. That’s why The Sydney Opera House is so important. Not just a potent symbol of brave thinking in and of itself, but so valuable in terms of the types of performances, talent and ideas we have access to.
I think there’s another aspect to our message too that’s really important: that creativity and bravery of thought are not just the sole preserve of artists, performers and famous voices. I love that the central message of this song is that this creative, brave spirit exists in all of us.
LBB> Working with Australian artists that have shaped our culture, Tim Minchin, Jimmy Barnes, John Bell, Courtney Act, Ziggy Ramo, Zahra Newman just to name a few, how did you go about consulting with each artist to showcase their unique take on the arts?
Tara> The starting point was the concept and the song itself, that had to resonate with the artists first. We then looked at which part of the song would suit their personalities, personal story or talents. Some had a connection to the existing lyrics while others wrote their own or improvised.
We tried to make sure there was a good mix of classic Australian talent as well as up and coming. In their own ways they were all creative risk takers who connected with the concept.
LBB> Talk us through the technicalities of the shoot, what was the most difficult shot to get and what was your favourite?
Barbara> The Opera House is constantly busy, and we often had to nail each shot in terrifyingly short times due to another performance being on stage immediately after. It was all in from day one – the Sydney Opera House team, Tim, the artists – everyone gave so much to this idea to make it what it is.
In terms of a favourite, I really love the ending on the steps. The choreography, Tim’s writing, the music and huge cast come together and the joy is infectious. We had a crowd gathered who cheered after every and the energy was super fun. Except for a few disgruntled brides who were planning some wedding pictures on the steps that day, everyone had a blast and it shows.
LBB> Do you consider yourself as someone who plays things safe, or do you take the challenges and risks?
Tara> In my career I have always sought out new challenges when I’ve started to feel too comfortable which has seen me live in four different countries and five cities. As for my private life, well I have four boys so that should tell you a few things...
LBB> What have you seen at the Opera House that blew your socks off?
Barbara> I have to admit that being in the empty revamped concert hall, hearing the SSO perform the song with Tim on stage just gave us all goosebumps – and it was such a privilege to witness a one-off performance in an empty venue. The acoustics are just incredible.
Also have great memories from seeing Nick Cave there a few years back. There’s no such thing as a bad experience at the Opera House, the space itself is so special.
LBB> Was it scary being tasked with celebrating something that houses so much pride within the nation?
Tara> It was one of those projects that had that ‘electric’ feeling about it. Sounds a bit cheesy but it’s quite an honour to be tasked with, so there was definitely pressure but it wasn’t scary. We all knew we had to get it just right and were up for the challenge. I believe it’s that kind of creative tension that often leads to the best work.
