A thank you is just a thank you, but I think it’s worthwhile putting my Kill Climate Deniers thank yous down in a blog post, because acknowledging my collaborators – as best I can – becomes a kind of map of the project. Something as diffuse and extended as KCD comes into focus when you look at the range of people involved, the network takes a sort of shape. Given that you can’t wrap a boundary around a project – I used to think you could, I was wrong – maybe the best thing you can do is to start to sketch the nodes and links?
I’m really grateful, and also I’m growing much more into the act of looking at a project by its list of credited names, acknowledgements, because those lists are the beginning of a guide to how work happens, in this world.
Julian Hobba + Aspen Island Theatre Company
Kill Climate Deniers came into being thanks to Julian Hobba’s invitation to write a new script for his company Aspen Island. Julian shepherded the first draft into being through a series of conversations, and it was Julian that managed to secure funding to drive the script forward into an actual shape. He directed the development and the radio play recordings that were sampled to make the album.
Insofar as the script has a shape and form, it’s Julian that provided the dramaturgical advice. And he manifested and produced a huge amount of the structure behind the project’s development – thoughtfully, generously and intelligently. Julian got what I was trying to do straight away, and guided the work there with such calm precision.
Which, also: a shout out to the performers who took part in the script development and the recording. Clare Moss, Miranda Borman, Emma Strand, Sarah Walker, Emma Hall, Rachel Roberts, Cathy Petocz and Ellie Garran. The script was written in/for their voices – I can’t imagine Gwen Malkin as anything other than Clare Moss’ interpretation, for example.
Reuben took part in the first script development as a musician, and it was Reuben that suggested the play might work well as a radio play. That evolved into Reuben taking on the massive task of writing and recording an entire album of original tunes, and constructing the audio world of the story, including producing the Listening Party and an amazing live set.
Reuben’s style is just an inspiration, and I’ve been in love with the music he makes under all his various guises for many years. Collaborating with him was such a pleasure – so easy, so simple, and then he turns around and breaks out phenomenal surprises all the damn time; like the first time he played me Music to Shoot Climate Activists To.
Nick Wilson + Clan Analogue
Although Clan Analogue has been an incredibly generous supporter from the outset, I’m singling Nick out because his contribution has just been above and beyond, constantly. I don’t know how a record label works normally, but from the first time we talked about releasing KCD through Clan, he was 100% behind what we were doing, and incredibly sharp and responsive.
The whole fact of getting to release a record through a storied label like Clan is pretty incredible, and the lovely thing which I learned through the experience is that it really is a clan, in the sense of being a collective of great humans who help each other make art. Shout outs also to Martin Koszolko, Nick McCorriston, Wade Clarke and Kimmo Vennonen for remixes, mixing advice and mastering.
Longtime collaborator Gills Schwab gave me the nudge to take the work further after the first script development, and her opinion counts for a lot with me. I hassled her to contribute some illustrations for the playscript, and she came up with a gorgeous set of pictures, which have totally shaped my conception of the characters. Gills is one of the peeps who understood the aesthetic I was angling for with this project long before I could coherently articulate it – that’s a very special skill.
Karmin Cooper + New Best Friend
This one is massive. Karmin and I worked closely together on You Are Here back in the day, and since then, she’s been an incredibly generous supporter of my work with regard to design.
In the case of Kill Climate Deniers, I went to Karmin and asked for her help putting together some collateral around the project. What she – and New Best Friend – provided went way, way beyond that. Karmin designed the project website, most of the marketing material, created a logo for the project, and then, because she’s an extraordinary human beind, brought in New Best Friend designer Liam Cotchett to design the printed playscript / ebook.
If you’ve seen the script, you’ll understand that this was a massive undertaking. Liam did an incredible job, and NBF saw the project all the way through to completion, on every front.
I don’t even know how to explain how big a thing this is. Just to say that the project wouldn’t even begin to approach the standard it’s at without New Best Friend. And also, the lesson learned, which is: just trust Karmin.
My older bro is a film-maker and also very, very media-literate, for reasons pertaining to his job. So he first kicked in some very pertinent advice about Parliament House, about how to approach that institution, and then he took the time to produce the outstanding short film (featuring Clare Moss and Emma Strand) introducing people to the project.
I roped in Sarah to take part in the project as a performer for the radio play recording, and leaned on her then to take a few preliminary photos. She was willing, but she made me promise that we’d actually have a proper photoshoot, because she had some ideas for some concept images.
The end result was way beyond what I could’ve expected – stunning fire and ice images on a cloudy beach, with Georgie McAuley holding a molotov cocktail… I don’t know how Sarah sees what she sees when she imagines things, but she is very good.
image by sarah walker
Another very close collaborator, Jordan and I spent a good chunk of this year working together in a concrete office at Melbourne University, writing and thinking about the future. Along with being a source of good advice in general, Jordan also took on the task of adapting Kill Climate Deniers into a feature film script, which is incredible. (A couple of the best gags in the KCD solo show were stolen from Jordan’s script.)
Jordan then put his hand up to direct the music video for Bolted. The concept was entirely his, and he did all the production and direction, for what turned out to be a bizarrely effective and beautiful creation. Also shout out to Dan von Czarnecki, Sophie Hayward, Amanda Lissant-Clayton, Sam Burns-Warr, Ben Hamey, and Georgie McAuley again, for the dancing.
This is just an example of how strange and varied and lovely the support for this project – playwright Eric Gardiner is the most astute tracker of the far-right commentariat that I know, and so I turned to him for help producing the Which Right Wing Commentator Are You? personality quiz. Eric went above and beyond, and basically created the thing entirely by himself – and it’s brilliant – for nothing, out of the goodness of his heart. Which is one of those things where people’s generosity really keeps surprising me.
image by sarah walker from the 2016 you are here fest
You Are Here Festival
When YAH agreed to take on the first public outing of KCD there was a real risk, as far as we knew, that it would be a real headfuck with regard to getting attacked by internet trolls. But Adelaide Rief and Vanessa Wright were completely unfazed, and helped shape the solo show from its earliest form, and gave me a whole load of support and trust in the execution of it. Plus they provided the best possible context for the work – a Saturday night festival party event. Yes.
Much love to the whole festival crew for manifesting it into being – and to Ginger Gorman, Mark Fletcher and Bernie Slater for jumping on board with the panel, and to CMAG, Shane Breynard and Mick Bailey for hosting it too.
And a nod to Vanessa also, because it was her that observed, back in March, that the most interesting thing about this project was that it was a moving target. That thought has been swirling around in my head since then, leading to this, among other things.
I’ve been aware from the start that this project needs outside eyes to help frame the strategic side of things. My parents have been a good sounding board, as has Jack Lloyd, my brother Chris, Brenna Hobson, Natalie Reiss, and many others here and there. But Lande Norris has been the person who’s most effectively steered it away from bad mistakes.
My experience of Yolande, from the first weeks I knew her, is that when it comes to arts and politics, she has a longer range perspective than anyone else I know – far, far better than mine. With KCD, Lande was the person who told me bluntly when I was going in the wrong direction, and reminded me, gently and clearly, who this work was for, and to not get distracted by the noise around it.
Always the advice I needed, at the moment I need it.
Possibly the single greatest contributor to the KCD project, Gabby helped me tie the whole thing together. Looking at the tangle of different strands to this project, Gabby helped me find a way to talk about the thing in a vaguely coherent way. And to strategise how all these different elements might find their way out into the world, when and where and through who.
I think one of the most incredible things that Gabby provided was that when I was staring at what seemed like a blank wall, in terms of ‘I have no money, no audience and no place to start’, she was able to break that down into achievable, comprehensible goals and starting places. Guidance, encouragement and a shitload of very practical wisdom. Making things seem possible – that’s a pretty powerful skill.
My parents, and Emily Stewart
Any project of sufficient size is enough to get on top of you, to shake you up and make you doubt yourself. It’s funny, when you start something yourself, you don’t even have the structure of, say, a university degree – you’re making it up as you go along. There’s a lot of room in there for you to panic and lose your way.
A lot of good humans had my back at different times throughout the making of this, but always, unfailingly, my parents, when I sat down and chatted with them. And Emily, who never let me hit a wall, never let me panic or go around in circles.
How much any piece of art, any creative project, is just a meeting point for a lot of people’s efforts, just a space in which people come together to care.