THE PRO-FILE

"BEING A LEAD" (Part Two) In Part One of this interview Sara Wiseman explained how from primary school days she didn't see herself as an actor, how she came to be offered the lead in "Mercy Peak", the the twist and turns of the audition process. Plus her views about the importance of optimism. In Part Two Sara continues to explain the experience of settling in to her role as the series gets underway and she also describes her organizational process.

Richard: So here you are - your first lead in a series! What was it like being inducted into the series?

Sara: There was much more pressure on me than in comparison to "Jackson's Wharf" which was very much an ensemble. Because there was a lead figure, the powers that be have a lot more imput about you as a product. So I became aware of the marketability of what I am. So there were people scrutinizing my hair colour, what make-up I should be wearing and what clothes. There were screen tests and people saying, "I like that" and "I don't like that". I felt very much like a product.

Richard: What did that do for the confidence?

Sara: Oh, it's horrible! Horrible! But Geoff Cawthorne who was the director for that first block was wonderful. He was obviously quite aware of how I was feeling and he was setting up a new series as well … so we both were stepping out into something else and … um … he just took me under his wing and looked after me and I felt very safe with him. I could confide in him about where I was at… whether it was about acting or the set. I was quite comfortable being on set but I realized that there was a lot more riding on my performance than ever before. So that's how it was all pre-production - but when we started working I let all that go and just trusted that Geoff would get the performance that he wanted. I think the pre-production was the hardest because we hadn't actually started work yet. It was just all the preamble … (Sara takes a deep breath).

Richard: It can be dealing a lot with external things can't it?

Sara: But at the same time that's part of it. So this time around (this interview occurred early in the second series) I was a lot more aware that I would be getting the hair checks and I would be getting the screen checks. They are not trying to freak you out they just want the best they can for the show. And so I was a lot more aware of that and a lot more comfortable with it this time.

Plus we knew everyone. And the work is out there already and the response has been really good so it wasn't like we were trying to create something that wasn't there as it was last time.

Richard: You had come back with confidence after good reviews.

Sara: Yeah! Yeah!

Richard: So when you read a script - what are the first things you are looking for?

Sara: If I get an episode script, you mean?

Richard: Yes.

Sara: We are all so familiar with our characters now but initially it was finding out how that person spoke or the way they talked about other people or the way other people talked about them. That kind of thing. What they said about themselves. All those normal points that you do when you read a script. Those four major points.

Richard: What your four major points? Everyone has different ways of going about these things.

Sara: The four major points I have always been told about are the inevitable facts of the script. What actually happens - the plot line. What my character says about themselves. What my character says about other people. And what other people say about my character. So then you get an idea of were you stand with everyone and the way you speak and the way they speak. Therefore you can gauge how you appeal to them.

Richard: It's all very practical material.

Sara: Yes. All the basic stuff. Then I look for the moments … the turning points … the moments of realization … or any moment that sticks out. There is always the blah scenes where you have got to get information across but then there is always a turning point for the character and those are the moments where you go … ah-huh … that's what I am driving towards.

Richard: Well I can see that preparation in your performance in that you're turning points … and they don't necessarily happen in an instant for you, they might happen through out the scene (it might take you a while to turn the corner) … are all very clear.

Sara: There is a wonderful subtlety in the writing for Mercy Peak it's so under written … well maybe not under written … it's that you can see that it's in the moment between those two lines that it happens … so you can work towards that … it's a really nice gift to be given and I think that's why it works so well.

Richard: So gaining that information so you can make your choices is the first part of your assessment?

Sara: Yeah.

Richard: And what's the next step?

Sara: What's the next step? I do a continuity diary once I have read it. I read it a couple of times. I read it … just (whoosh) … through really quickly and then go back and point it out. And when I am doing that I'll mark up my script, do my continuity diary … cos once you go out of order and you are shooting you can always refer back to where you were with that person last time and how you were with them. So I do all my home work so it's all marked and high lighted and …

Richard: Does it look pretty?

Sara: It looks great. All colour coded. Then I go to the read through and sometimes to rehearsal. Sometimes not. Though, sometimes there's a rehearsal.

Richard: Is rehearsal something you want? Or are you happy to go out there with out any?

Sara: No, no. Rehearsals are always valid … especially if it's a turning point for the character … or it's very medical.

Richard: But you don't get much rehearsal … because you're the lead you are in it a lot of scenes and there's not much time left for rehearsal?

Sara: Not a lot no. But at the same time even just talking about it like we did before is really useful. So when you go in and you are blocking you go - "OK so these are the points" because you've done your homework and you've talked about things so you are comfortable with them … and you have maybe talked about that you are not comfortable with too … and you've got all that out of the way. Then you can go onto the actual set and see what comes up in rehearsal.

Richard: A really clear view of story is something that always seems to be there in your performance. Even if we haven't had time to talk about it your homework translates really well. So you feel confident when you hit the set do you?

Sara: Usually … depending on how heavy the day before has been … and depending how many scenes I have got and how well my lines are in and everything. I used to be paranoid about line learning but I have worked out a technique for myself now that seems to be the most effective and the most efficient … which is with the Dictaphone. It gets me listening rather than looking at the page so that's really good.

Richard: When did you decide that the listening was more important than looking at the page?

Sara: When I tried that technique before and the lines haven't been as secure. And you can't give a good performance if you are not confident with what you are about to say because you are to busy searching and you can't engage. So I found that having to keep my eyes up and just hear the voice … cos I'll just record the other persons lines in a monotone - I wont give anything to it … and leave a gap so I can react to that … rather than having to read on the page and not look at the next line and so on.

Richard: Interesting. That's an on going issue for actors - particularly when they come to television. How do you learn that much that quickly?

Sara: In fast turn around television it is.

Richard: So line learning is important because the confidence you appear to have on the set seems to be a significant factor in the freedom it gives you to try things. You seem to confidently venture forth. Confidence seems to be a major major factor …

Sara: It's huge.

Richard: ... and you seem to be a wonderful embodiment of it.

Sara: Good. I think its like … it's just such a safe environment there are no hassles on set, there are no primadonas, there is no-one kicking up stink, everyone gets on really well … so immediately you feel very warm and welcome and when you feel comfortable and relaxed you will take risks. Or you will try things. And you might get a note saying that doesn't work don't do that but you don't take it personally.

Richard: So there is nothing lost by such an adventure.

Sara: That's right. And other times you'll get "That's great lets use that" … it's a nice place … it's like working out I guess. But because I am here so much it's a lot easier for me than for someone who comes on for one afternoon and has to jump on the tread mill.

Richard: Playing a guest role is another scene altogether. Sara, how important is the business side of an actor's career for you? Does that play a role?

Sara: Yes, it does. There are certain things that I wouldn't do now. Not out of arrogance … but if I don't feel inspired to do a script I'll find any other way of paying the rent. Sometimes you have to do your commercial or your piece of terrible TV because you have to pay the rent that week but I just feel now that after having such a gift as this and having such a wonderful scripts to play with if I am not inspired by something I would find it very hard to go along with it. I think that's changed a lot. Whereas before hand when I was just grabbing at anything … and it was great experience …but I have been very blessed with what I have been given here so I am going to be more picky now.

Richard: If you were to itemize one thing that you have learnt from your first leading role … what would it be?

Sara: To be humble because its really nice to get all this admiration and respect and complements from people … and I certainly don't want to belittle that because that's cool … but at the same time six months down the track it could be the end of Mercy Peak and … I could be at the bottom of the heap again … and if you've been prancing around going "How wonderful am I!" … then … I am just far too aware that television can be incredibly fickle and if your not a producer at the top of the chain then you are … totally at risk. So just do the job as best you can and get over it. (Laughs)

Many thanks to Sara for dealing so clearly with so many specific aspects of her preparation and process.

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