So for the wig, found a shade that did not actually complement my skin on purpose. We wanted to create a character who was trying to give the impression of someone holding it together but deep down they were falling apart. I have to give a lot of credit to my hair and makeup designer, Bethany Swan, and Lynsey Moore, the costume designer. What conversations did you have about her hair and wardrobe, and what were you saying with it? She wears an array of colorful wigs, she shaves her head, she has this sweater that comes and goes. I’m not making it up, so that’s quite sad, isn’t it?Īrabella’s look throughout the show seems very intentional. That plot is lifted, unfortunately, from the reality of someone I know. I wanted to create a story where there were many different types of sexual assault so that we might identify ourselves in the story. I wanted people to perhaps find a way to relate. I definitely wanted to take it outside one person. How did you decide to include another story to mirror Arabella’s journey? Kwame is also assaulted after a consensual encounter with another man, and it is powerful to see a depiction from a different perspective in terms of gender and sexuality. When you actually see somebody take the condom off, when we show it, it doesn’t look gray, does it? It’s so secretive and tricky, this behavior, but when you actually show it and you have a torch tracking someone’s behavior, it’s not very gray. It seems gray and it seems blurry, but all we have to do is shine a torch on it and it will become clear. I think we call this area gray because there’s a lack of transparency. How did you decide to center on these gray areas? The series explores different manifestations of sexual consent - like a character who takes a condom off while having sex with Arabella, or a threesome involving her best friend Terry that’s initiated under false pretenses. And, of course, not only did I have Lou, I had my own therapist. Lou was available to anybody, because the content was triggering for everybody. When occasionally things do get quite tough, you do remember this is your real life, and so I would meet with Lou. And we also had a dramatherapist on standby the whole time, Lou Platt. So it would allow me to get endorphins going and clear my mind and have a moment of solitude. Also I didn’t take a car to work - I cycled to work. There was so much that I was doing that in order to do these things properly I felt like the first thing I had to do was sleep. Two things: I made sure I got at least seven hours of sleep every day. How did you keep yourself safe while you were reliving all of this trauma? You were involved in every creative decision. You wrote all of 12 episodes of this, you co-directed it, you starred in it. I obviously was taking notes for a reason, and it slowly became clear that that reason must have been because I wanted to write it. I wrote that down in my notes app a couple of days later. I didn’t laugh and he didn’t know that I could see him, but I just saw him and thought, “This is absurd.” At the moment that the course of my life was about to change forever, my friend who was babysitting me was playing Pokémon Go. As we waited for the detective to come in, I looked to my friend who was looking after me and realized he was playing Pokémon Go on his phone. I realize I am in this room because something bad has happened to me. I began sort of taking notes half consciously when things would occur, like being in the police investigation room.
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