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Interview with Sharon Horgan and Rob Delaney for Catastrophe series 3

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Interview with Sharon Horgan and Rob Delaney for Catastrophe series 3We left series two on something of a cliffhanger, with Rob about to speak following his discovery of Sharon’s receipt. Where do we pick it up from?

Rob: Right then. Exactly then.

Sharon: Yeah, it’s from exactly that moment.

Did you know what Rob was about to say, when you shot the end of series one, or did you still have to work that out?

Rob: We didn’t know. We love to leave the series with a big question mark, and figure out the answer afterwards. It’s more fun for us that way, and hopefully there is real and palpable mystery for the viewer as they reach that question mark. If we know what’s going to happen, then they might too, and then why bother?

S: There were a few different routes we could’ve gone, so we kind of had vague ideas, but nothing concrete.

Series three and four were commissioned together. You’ve now shot series three. Do you know where it’s going to go in series four? How far ahead have you planned?

R: No. We did one and two back-to-back, and we really benefitted from taking a little break between two and three, so I think we’re happy to not know what’s going to happen for a little while.

S: We had ideas of stuff that could go in series three when we were writing series two, things like that, but we never knew what the big arc was going to be, or narratively where it was going to take us. We just had a bunch of little ideas, and it worked out okay. So hopefully that’ll happen this time.

Did you write season 3 differently because you knew there would be a season 4? Does that help you creatively, because you know you have more space to tell the story?

R: It’s a stunning act of generosity and a vote of confidence from the network to have them do that, so yes, it does give you a feeling of peace.

S: There were definitely moments where we would say “I think that’s more of a series four idea.”

R: Yeah, so we can figure out what’s going to fit in each episode. You can say “I am curious about that, but no way are we going to be able to squeeze that in,” whereas if we didn’t know there were an additional season commissioned, we might try to shoehorn it in, to everyone’s detriment.

S: I guess the smart thing to do would have been to plan out both series so we knew exactly where it was going over twelve episodes, but we just didn’t have the time to do that. We had to concentrate on getting series three made in the four or five months we had.

Catastrophe is unapologetically crude. Do you enjoy coming up with some of the more creative and colourful bits of dialogue? Do you ever worry about elderly family members watching?

R: Well, I mean elderly people, I have found, when they’re being honest, are also scumbags, and enjoy a little prurient humour as well. So no, I don’t really worry.

S: I used to worry about that sort of thing. But I watched Pulling with my auntie, who’s a nun. I gave my dad the pilot of Catastrophe, because we had it for about a year before it got picked up, and he showed it to so many people. There was some pretty crass stuff in there, there was plenty of sex in it and rude goings on. If he’s happy to show his 70-year-old mates, then I think there’s nothing to worry about really. Although, I’m a little bit worried about episode one of this series.

R: Oh, I know what you’re talking about!

The show is far from sentimental, but it still manages to be strangely romantic. Is that a tough trick to pull off? Do you have to go through it making it less saccharine?

S: We just keep an eye on it.

R: We’re pretty good about it. I remember in season two having to saccharine it up a bit. Our natural inclination is not usually to be too saccharine. If anything like that comes out of our mouth, the other will stop them pretty quickly. You’d rather have your audience come away saying “I think I just noticed that they’re in love” rather than hitting them over the head with it.

Catastrophe very definitely deals with flawed people making the best of a flawed relationship. Is that intentional – to show people that it’s possible to have problems and still be relatively happy?

S: I kind of don’t think their relationship is that flawed. I mean, I guess it is in that they fuck up sometimes, or might let themselves or each other down. But I think they were made for each other. They were born to be together. That’s the most fairy tale and romantic aspect of the whole thing. We’ve burst the bubble pretty quickly with all the bad things that happen. But it feels like a steady, sturdy relationship that shit happens to, and they deal with it. I don’t think they have to try and stay in love. They are in love, they just have to try and stop real life from tipping shit on that.

One of the cornerstones of their relationship seems to be that they make each other laugh. Do you see that as being key to them?

R: I think so, yeah. People say that the largest sexual organ is the brain, and I think the fact that they definitely amuse each other is probably the strongest glue in that relationship.

S: Yeah, definitely. Because I think it’s incredibly important in real life as well. You get on with the people who make you laugh. I love having conversations with smart people, but I don’t necessarily leave it going “I fucking love you!” whereas if I’ve spent an hour laughing with them…

Obviously this series was one of the last things that Carrie Fisher filmed. What was it like getting to know her and working with her?

S: It was a dream come true getting to work with her.

R: A giant privilege.

S: For both of us.

R: She didn’t get to where she is by mistake. She delivers. She’s just hilarious and brilliant. You get what you think you’re going to get, and more. She was just a wonderful, wonderful person.

S: Yeah, she was great to hang around with and great to work with. While you’re completely aware of her legacy and everything she’s done, and it’s completely overwhelming a first, then she’s just this woman who says rude things and cracks you up. And she was really kind as well, just a really kind, wonderful lady.

The show won a BAFTA in 2016. Who has custody of it?

S: We got one each! It was the most exciting bit of the night, realising that we got one each.

R: Some awards we’ve had to divvy up. But BAFTA make one for each named recipient, so thanks BAFTA!

What is it like working with the children on the show? Do you have to get to know them really well so they don’t recoil when you pick them up?

S: They like us!

R: Yeah they like us, and we like them. They’re lovely. Babies are an absolute pleasure. Sonny and Dexter, who are the twins who play Frankie, are a bit older. They’re wonderful, but they’re a little harder to work with, because it’s a super-unnatural situation to be in. Working on set is very artificial and bizarre, and for kids it’s like “Why would we do it again? That’s crazy!” And then you have to be like “Yes, it is crazy, but not only are we going to do it one more time, we’re going to do it 22 more times. “And they’re like “That’s INSANE!” So they’re having a tough time with it, but that’s only because they’re healthy, wonderful children.

S: But we both like the company of kids, we like hanging out with kids, so it makes it easier. When the cameras stop rolling, you can have a laugh with them. But you can’t get them too geed up, because then they’re all hyper. You find yourself going “Shit, why did I tickle him?” You have to know how to play it. But when they bring in a baby or one of the twins, we really enjoy it.

R: On a set filled with smelly adults it’s pretty nice to have a kid come in now and again.

You briefly reference Trump and Brexit in ep 1 of the new series. Will there be any more nods to the way the world is going?

R: Not too much.

S: A tiny bit more Brexit stuff.

R: We’re not trying to make any big comments about that stuff. If you’re alive right now, it’s affecting your life, so we couldn’t not mention it, but as ever, we’re just trying to do it in a way that will create more stress for Rob and Sharon. We’re not trying to fix it!

S: It just came up in that episode because I’m trying to find reasons to get away with behaving the way I did. In the original script it was Brexit and ISIS, and then suddenly that arsehole-buffoon got voted in and we thought “We can’t not mention him!” So we added that in our final read-through.

Rob, you’ve been pretty active of late on Twitter, even by your standards. Is it a relief to be over here and away from the whole shitstorm, or is it frustrating being so distanced and powerless to act?

R: It is weird being over here. And I can’t move back there right now. Not that I want to – we’re happy here, my children go to school here – but it’s weird to not have the option. But he’s got healthcare laws in his sights, and I’m part of a family of five people. And when you have five people, there will be some among them who have what are known as pre-existing conditions, so I can’t responsibly bring my children to a country where healthcare is in such upheaval. So that feels weird. And yeah, I’d like to be outside senators’ offices right now protesting, but I can’t right now. So I’m doing what I can from here.

I read somewhere that you two are planning to do a movie together. Is that a possibility?

S: It’s not in the pipeline. We talk about it A LOT!

R: We talk about it, and then somebody will be like “Hey, get back to set,” or “Where’s that script?”

S: We’d absolutely love to. It’s just a time thing.

Would it be a Catastrophe movie?

S: Not at this point. I think we’d like to try something else. It’d be interesting just to see if something else worked.

When you’re writing, do you guys have more ownership of your own character?

R: No, definitely not. Nothing makes me happier than writing dialogue for the character of Sharon, and have her write it for my character.

S: I think that’s why there’s no stereotypical element to either of them.

When do you start on series 4? Do you need time away from the characters first?

R: It’s a good idea to have a break, to let your mind rest and so you can start to cultivate ideas. So we don’t have a start date, but we’re percolating ideas, I guess.

S: Bit of a break.

Can you ever have a bit of a break, or are you always thinking “Ooh, I might put that into the next series?”

S: You do do that a little bit, yeah.

R: You definitely file things away, I’ve got a ton of stuff in the notes section of my phone. Most of it is fucking insane, though. “Here’s a good idea. What if… Rob walked into a spider’s web!!!”

 

With thanks to Channel 4.

 

Interview With casting director, coach, actress & founder of Sound Advice Kate McClanaghan

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Interview With casting director, coach, actress & founder of Sound Advice Kate McClanahan voice over work1. Tell us a bit about yourself. 

I’m a seasoned casting director, producer, coach, actress and founder of SOUND ADVICE, a unique, one-stop option for unparalleled voice over coaching, and exceptional demo production for all skill and experience levels.

I had been a freelance producer since I was 19 years old, producing commercials for Coca-Cola, McDonald’s, Dodge, JC Penney, FORD, Sprint, SEARS, and Kraft, to name a few. I had always been freelance because I’m a union actress as well. I’ve studied with the Royal Shakespeare in London, and came up through Chicago’s Second City and ImprovOlympic (IO), and even brought 9 shows to the Edinburgh Fringe.

2. What made you start Big House Casting & Audio and Actors’ Sound Advice?

BIG HOUSE came about to service the various casting and production demands that consistently kept coming in the door after I had produced a number of freelance projects for NPR. I was already freelance, I just named it after the enormous, greystone building we worked and lived in, in Chicago.

I started SOUND ADVICE because I couldn’t find a single, reliable source that would take me through the entire process of voiceover training, demo production, branding and marketing the career I was after. There were random people who did pieces, but didn’t have the whole in mind. I wanted a single source that honestly had my best interests in mind, understood my greatest commercial assets (perhaps even better than I did), and could produce my demos well enough to truly advance my career, not just my voiceover!

I began assisting friends, and after coaching and producing more than 100 demos for them and seeing them achieve remarkable results rather quickly, I realized my casting and production skills had a greater purpose!

3. How important is training?

It’s imperative. Without it, regardless of how naturally talented, smart, and mellifluous the voice might be… you’re dealing with a loose cannon. You can’t rely on a talent who doesn’t know their job. Trusting a million-dollar campaign to a complete hack puts everyone’s reputation on the line. And your mettle will be tested. There are no beginner, intermediate and advanced talent in this industry. You’re either a professional… or you’re not. Training defines your professionalism and instills confidence. And commerce is confidence.

4. Any tips for acing an audition?

Instead of trying to second-guess what those auditioning you are thinking, give them something interesting to think about. That’s the job! Besides they honestly aren’t thinking a thing. It’s precisely why you’re there. How would YOU play it?

THINK for yourself! In fact, entertain yourself and you’ll find your audience!

5. How different is voice over acting from acting?

There is very little, if any difference at all. Acting is acting is acting.

Voice acting is closest to film acting than any other medium, because they both demand a very vivid imagination and the desire to tell a story, often in the most constricting conditions. Personality and the ability to self direct are key attributes as well.

Perhaps the greatest difference is the fact that in nearly all voiceover scenarios, you’re all by your lonesome in the booth with no one to play off but yourself.

6. Tell us about your books.

The SOUND ADVICE Encyclopedia of Voice-over & The Business of Being a Working Talent is currently in its third edition. (There will be a fourth sometime next year.) It’s more than 500 printed pages of well-vetted industry insider information as well as How To Get An Agent, the branding, marketing and promotion of your career, to more than 100 printed pages of terms and phrases commonly used in all manner of acting for recorded media.

7. How do you become a successful voice over actor?

Do your homework. Practice. If you were to honestly dedicate 25 to 30 hours a week, what would be considered part-time for any other business, for a year or more to creating a voiceover career for yourself, then the chances of becoming successful in this field is more likely—provided, of course, you have realistic expectations and you wisely allocate your time.

You need a proper Vocal Warm Up, and maintain it 4 to 5 times a week for a solid half hour to 45 minutes at a time. Granted it may take you a couple weeks to incorporate it into your weekly routine, but without it your vocal precision and stamina won’t be as reliable as it should be.

Check out our website www.voiceoverinfo.com. Study up. Listen to a lot of demos.

Listen to our podcasts then email us. We have talent all over the world. Provided you have a reliable computer and stable Internet service, we can generally work with just about anyone from anywhere—we just don’t invite everyone to do a demo. (Our name is on it too. We don’t produce a demo track in an hour. Nearly every other demo production house does.)

Everything we do as SOUND ADVICE, just like in nearly everything in voiceover, is one-on-one. We don’t cookie-cutter anything. And we offer the best insight because we continually survey the industry as to what’s needed and wanted from talent in every aspect of the industry.

 

 

An interview with Liza Lutz – Bestselling author of The Passenger and The Spellman Files

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An interview with Liza Lutz – bestselling author of The Passenger and The Spellman Files – amongst others.              by Margaret Graham

An interview with Liza Lutz - bestselling author of The Passenger and The Spellman Files - amongst others. by Margaret Graham

What made you interested in writing?

I can’t pinpoint a particular realization or event. I guess it comes down to just being interested in people. And then once I discovered that writing could make my world funnier and more interesting, I was pretty much doomed.

Did you find it easy to become published?

In a way, yes. But in another, much more accurate way, not at all. I wrote screenplays for a decade until a friend suggested that I try rewriting one of them, The Spellman Files, as a novel. I did that and sent it to a bunch of agents. One of them saw its potential. Plenty of work ensued, but once I’d revised the draft, the road to publication was relatively short.

If you hadn’t become a writer, what else would you have liked to do?

Brain surgeon.

What is your writing process?

It’s mostly just sitting down and doing the work. I think I have some structural instincts that allow me to come up with an outline pretty quickly once I have a basic idea. I always end up veering away from it, but having that guide helps me avoid the staring-into-the-void thing that plagues a lot of writers. I save staring into the void for my free time.

thepassengerbylisalutzbookinterviewauthor

As well as The Passenger, which Frost recently reviewed, you have written the bestselling series The Spellman Files. Does another series appeal?

Not at the moment. I’m embracing the freedom of being able to tell whatever story I want to tell. Each of my last few books has been a big departure from the previous one, and that seems to suit me well.

What are the problems, and virtues of writing a series? 

One problem with a series is that the more successful it becomes, the more tempting it is to write what you think your audience wants to read. If I’m not writing something I would want to read, things are going to get stale for everyone pretty quickly. The chief virtue is that you can get to know characters to a degree that’s impossible in a standalone book. It’s like having multiple seasons of a TV show instead of an hour-and-a-half-long movie.

What do you like to do when not writing?

Read, watch movies, teach seniors Krav Maga.

You have won the Alex award and been nominated for the Edgar Award for Best Novel, so what’s next?

I’m writing a novel that’s totally different from anything I’ve done before. But I’m not ready to talk about it yet.
The Passenger by Lisa Lutz: Titan books. Paperback and ebook.

 

 

 

Day in the Life of Wendy Walker

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Day in the Life of Wendy Walker

Sometimes I think my friends envision me sitting at a well-organized antique desk, nicely dressed, showered, hair blown dry, nails manicured and sipping a gourmet coffee while I effortlessly type page after page. It’s a very nice dream! The reality is that after seventeen years of juggling kids, a house, writing and my day job as a lawyer the last five of them, I find myself in a constant state of disheveled chaos, scavenging for time and still in my pajamas when my boys get home from school!

 

Here is how it unfolded.

 

After I had my first son eighteen years ago, I decided to stay home to raise my children until they were all in school. I felt lucky to be able to do that and so I took the job very seriously. But after about a year, I felt unfulfilled so I started to write whenever I had free time (which was not very often!). I had two more children in five years and all the while I kept writing. I even wrote in the back of my minivan while waiting for them at pre-school! I picked up the pace after I found an agent who thought she could sell my work. Of course, life is never that straight forward. It was a long road getting to the writing and publication of All Is Not Forgotten. During that time, I published other novels, edited, and eventually went back to work as a lawyer (after fourteen years away from the field).

Day in the Life of Wendy Walker2

But I never gave up the dream of making a career as a writer. I used to tell my boys that it was important to always have a dream, but to also be responsible. I did not stop working as a lawyer. Somehow, I also managed to keep writing. I signed with a new agent and she loved my concept of a psychological thriller based on memory science. I was a bit nervous about switching genres, but I had always enjoyed suspense and thrillers and I was very interested in this story concept. So I dusted it off and wrote All Is Not Forgotten.  It was great advice and I am so glad that my children may get to see my dream come true.

 

Of course, “living the dream” for me, and so many other writers, is far from glamorous! I spend my days juggling promotional work with family obligations and staring down blank pages of the next novel that is dying to make its way out of my overcrowded head. I sometimes fantasize about the world coming to a halt for a day (maybe two) so I can catch up. But that is one dream that will never come true! Still, as I sit here in my pajamas writing this, a long list of things-to-do sitting beside me, I know I wouldn’t have it any other way.

 

All is not Forgotten by Wendy Walker. HQ £12.99

 

 

Interview With Bestselling Author Margaret Graham

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housedivided

What made you get into writing?

Having a 4th child. She was lovely but seldom slept and mithered a great deal. I needed to ‘get away’ even if only for half an hour. So I started writing a book about my mother’s rather interesting life growing up in the North East just after the 1st World War. Halfway down the first page I realised I didn’t really know my mum in that way, only anecdotes. So it became fiction, but based on her life. It’s called After the Storm.

margaretgraham

Did You find becoming a published writer easy?

Not at all. Having embarked on the novel I joined a writing class. I do wish more would these days, or at least learn the basics of structure, and how to edit one’s work. The class was not only crucial but also supportive, because I was working alongside like minded people, and it helped me enjoy the process. Mark you, my writing class had an excellent tutor, and you need to check this out. There are a lot of charlatans out there, selling their services when they know diddly-squat – and charge a lot. If you have the time, try ARVON and other residential courses. Also the weekend Winchester Writing Festival. That’s fantastic.

Then, of course, you reach the stage where you have a manuscript, finished. What next? How to get that publishing contract?

Try and find an agent. But how do you get the interest of an agent. I entered a competition and was one of the Best Entries. This helped when circulating the manuscript. I was finally taken by an agent who knew that Catherine Cookson, who wrote about the North East had just left Heinemann. Mine was a novel about the North East, and the publishers were immediately interested. Mark you, I then had to double it in length, put in a secondary character and sub plot, and do it all in 6 months. I was on my way.

So it is very much about what the publisher needs at a particular time. However, as you can see, the author does need to be flexible, and listen to the experts, and do as they want. Basically we are providing a product, which they have to need in the first instance. Then it has to be tweaked to be the best product you can create. They are invariably right. As a writer, you need patience. Learning to write well took me 4 years. Over those years I was serving an apprenticeship really, lhoning my skills, so that when the time came, I could do as they advised.

What else would you have liked to do?

Be a star. I feel the world has been deprived of a great talent!

What is your writing process?

Find that germ of an idea. Then think, think and think again, to see if it it will run as a novel. I work out the normal world, point of change, the tension, motivation, and totally getting to be the main and secondary characters. Alongside this, because I am invariably writing out of my time and place, I need to research, make notes, become so familiar with the context so that I can swim amongst the period, or situation, without overloading it with show-off details. Therefore I do a lot of reading, and that old chestnut – thinking again. Then, when I have a thorough plan, and by this I mean a chapter by chapter plan I get my head down and write hard for about 8 weeks. Because I’ve been doing it so long I have the experience to get it more or less right, and to create a sound structure. There is only one structure, you know. And it must be followed. It is the author’s ‘voice’ that makes a novel ‘different’. That’s the first draft, then I go through and alter, tweak, edit. So the second I usually sent into my publisher. Writers need to designate writing time. It’s a job, even if you already have a day job, so discipline yourself to create your writing time. You will find you do much of your thinking whilst traveling, driving, working, and at the end of the day you’re a bit further on.

A House Divided is the third Easterleigh Hall novel. How hard is it doing a series?

Hard in a way. You have to remember all the characters inside and out. What are their ages? Appearance, little ways, and then when you start the novel you have to try and make the novel stand alone, though it must also bring previous readers of the series up to date. I think that first chapter is the most difficult.

When can we expect another EH novel?

In a year.

Have you become close to the characters? Oh yes, I become all the characters really. You have to or it doesn’t work.

Can you tell us where the series is going next?

I would imagine into the 2nd world war. Perhaps Tim will go into the secret side of the war, but not quite sure about anyone else yet. It will come to me.

Lizy, me and Matt

What do you like to do when you are not writing? I run my charity, Words for the Wounded, which raises money for the wounded through writing events. We have an annual Independent Author Book Award, and we also run workshops and an annual LitFest. We’ve helped a few writers along in this way. Last year’s winner was picked up by an editor, and others have found that the publicity of being placed has helped their sales. I love working with Frost, and reviewing books, and I do like to play truant and just have a good time.

Any tips for aspiring writers.

Work hard, go to writing classes, and literary festivals, listen to authors talking, and listen to a publishers’ or agents’ advice. READ books, learn how to write short stories, because publication in womens’ magazines promotes sales of your books. Most of all, don’t rush. Do several drafts, edit carefully, and enjoy it. Life’s too short not to.

 

 

A Day In The Life of CJ Carver

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Being an author, people think I get up around midday, go for a long lunch and return home to bang out a few pages before pouring myself a glass of wine and finishing for the day.

Hmmm.  Nice thought.  If only it didn’t take me quite so long to bang out those pages . . .

A Day In The Life of CJ CarverToday I’m woken by the bin men at seven-thirty.  Eyes closed, I’m lying in bed listening to them crashing and banging down the road when, seemingly out of nowhere, an idea begins to form about the next book.  I let it drift.  I don’t try and pin it down.  Gradually it takes a firmer shape and I study it carefully before letting it drift again.

It is this state between waking and sleeping that I find the most valuable for creative thought.  It’s almost like meditation, but not quite, because instead of being clear of thought my mind is occupied with the story I’m trying to tell.  By the time I’m fully awake, I’ve made a handful of notes and am ready to leap into the day.

After a shower, breakfast and a brisk walk, I get stuck in to emails, wanting to clear my mental desk before I start writing.  I’m working on the sequel to Spare Me The Truth, or at least I was until my postie arrives and hands me three parcels, each containing a brand-spanking new hardcover book.  They all look fantastic and although I know I have to read them – I’m on several panels at CrimeFest in Bristol this year with the authors – I really shouldn’t start now.  Or should I?  I flick one open and am immediately captivated by the first page.  This sort of temptation is ever present being self-employed, and I have to force the books away and out of sight.

pic 2 Carver, Caroline 2 credit Steve Ayres

Credit: Steve Ayres

Soon, I’m completely absorbed in my work and don’t notice the time passing until my email pings.  It’s from a psychologist who is helping me research the psychopathology behind serial killers.  Another arrives, this one from a detective inspector in Manchester.  I know it drives the police crazy when writers get things wrong, so I do my utmost to get my facts right, but I have to be careful with research as it can be so riveting, I never get any writing done.

I work on my manuscript until early evening when I have a quick look at Twitter (another terrible distraction) before deciding whether it’s cold enough to light the wood burner.  Or shall I go to the pub?  Writing is a solitary occupation and aside from the postie, I haven’t spoken to anyone all day.  I’d better go to the pub, I decide, and talk to someone or I might go quite mad.

 

©CJ Carver 2016

 

 

Interview with Fitness Expert and Trainer Adrian Collins by Kris Martinez

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Interview with Fitness Expert and Trainer Adrian Collins by Kris MartinezAdrian Collins is one of the best trainers in the fitness industry. His exercise plan, ‘The Social Butterfly Programme’ has been featured in the Mail Online and The Sunday Times Style Magazine. The programme, which is 6-8 weeks is completely personalised to suit individual goals and promises to fit around the schedules of busy professionals.

Being a busy person myself, I was eager to learn more about  the programme and how it works.

When I arrived at Adrian’s gym near Old Street station, I was expecting  to be thrown into a hardcore army style workout, but it was the exact opposite of that.  Instead, Adrian had me do a few simple exercises, which he used to assess my posture. Knowing nothing about me, Adrian was able to deduce that I used to dance. He was also able to see areas where I was tight.

After assessing my posture,  Adrian took me through a few exercises that would not only help me reach my goal of toning up, but also help with my posture issues.

Adrian took the time to get to know me and find out what my goals were. His style of training is brilliant. He uses a mix of pilates and strength training, which keeps things fun and interesting. He also gave me exercises to do on my own time that help with my posture issues. If you are in the London area, I definitely recommend checking him out. For those of you who live elsewhere, Adrian also offers online training. Prices start at £380.

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After our work out, I had the opportunity to ask Adrian some health and fitness questions.

1. What is your theory behind the Social Butterfly Program?

I created the Social Butterfly Program as being a city based trainer I know how hectic people’s lifestyles are. It’s the perfect regime for city dwelling, party loving people with busy social schedules. It’s completely personalised to your goals.  Wether it’s focusing on s desired body type, re alignment or shaping up for a special event, it’s tailor made to make you look fantastic and stay motivated.

2. What do you say to people, who say they don’t have the time to workout?

Time management is needed here.  Usually from my experience being able to fit in a workout in your day structure without making it too much of an inconvenience is key. Try a morning workout HIIT before work or on your lunch break having your meals around this in preparation.. This is why I promote a 15/20 min HIIT to my clients to achieve on their off days from training with me.

3. What tips do you have for people who don’t have access to a gym?

It’s not necessary to have to go and use a gym to create a good workout routine. Many of my clients don’t have gym memberships I use a private hired studio or train in parks or at homes.  There are some great outdoor spaces for working out, try finding a hill or a flight of stairs is one of my recommendations, as you can really get a burn on different intervals using these. And there is a lot you can do with your own body weight for exercises. It is affordable to purchase some basic workout equipment these days. I like using resistance bands with clients which helps with more pull exercises etc..

4. What is the best way to tone up?

Consistency – sticking to a routine and keeping your food clean… This combined with a good resistance based program can work wonders on toning your structure.

But this all relates back to goal setting if you put your mind in the right place and follow a consistent routine with your eating habits sleep and shocking up the exercise program this can create a snow ball effect to your metabolism

5. What is your favourite type of workout and why?

It depends on my mood and if I’m aiming for a specific goal. From boxing pad work to heavy lifting and squating to Pilates.  I rate the Pilates reformer highly, if I’m feeling a bit tight from weights I like the challenge this machine brings when doing specific exercises. Once you get past the basics there are some full on moves which can really challenge your body.

Interview with Fitness Expert and Trainer Adrian Collins by Kris Martinez2

6. What are good pre and post workout snacks?

I try and avoid the idea of snacking (the body works on digestion of foods with insulin response, snacking can screw this up and forces you to hit insulin spikes etc), But you do need to fuel your workouts and get the right ingredients in within 45mins, post workout to optimise muscle recovery.

Key foods that help promote a fuel efficient workout are apples, almonds and post work out protein and carb are needed for muscle recovery. Look to keep this clean as poss if you want to optimise muscle tone, I find white fish or a breast of chicken with sweet potatoes or basmati rice with good greens for fibre to help get this ingredient through your digestive system in optimal time and ease.

7. What exercises do you recommend to get rid of love handles?

Assessing your diet, getting the correct sleep pattern and with an optimal exercise program in place will all help to rid this area if that is your goal.  Targeting muscle groups in isolation can be great for specific toning and look but, if you are unfamiliar with targeted exercises I wouldn’t recommend isolation as there are implications to the rest of your kinetic chain if your technique isn’t spot on. So, for this I would recommend compound exercises and a good Pilates balance / alignment and core routine to help support your structure before upping exercises for isolation..

8. What is your favourite exercise and why?

Again this always changes dependant upon where I am with my own training routine at the time. I do like compound exercise such as deadlifting as this hits my whole body. But, I also enjoy sports as exercise such as swimming, surfing, snowboarding…

9. If you’re out having a drink, what is a good choice to go for?

Other than water! If you tend to have the “occasional” alcoholic beverage try sticking to clear drinks, champaign, vodka tonic… And also try slipping water in between to stay hydrated as this will really have a difference in how you feel the next day. Clear drinks give your digestive system an easier time in dealing with the toxins and the extra H20 helps the system flow these toxins quicker.

10. If your goal is to shed some weight and tone up, how many times a week do you recommend working out? And how long should your workouts be?

Quality rather than quantity, I’ve always said.  Ask yourself next time you hit the gym is this challenging for me? How much time am I spending on moving or am I sat here on my phone breaking my workouts not concentrating on my exercise/movements. Yes there is a key amount of days and time you want to spend in optimising your weight toning goals, that is why I have most clients I see on the Social Butterfly Program take on the intense level with three to four sessions a week.  I also, encourage them to take on the 15 minute HIITs on the days we don’t train usually over the weekends for optimal metabolism boosting effects.

For more workout reviews, interviews, and delicious recipes be sure to follow my blog, at Fit About Town.

 

 

Caroline Moran Raised By Wolves Interview

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Caroline Moran InterviewHow did it feel watching series 1 go out? Where did you watch it, and who with?

I live in Sheffield, so I was at home, and my sister Claire, who is the inspiration for the character Yoko, also lives there. So I would go over to her house to watch it, she would take my phone off me so I wasn’t tempted to look a Twitter, because that’s never a good idea. I found the whole thing very, very, very surreal. Obviously I’d seen every episode a lot, because I’m on set all the way through shooting, and then in the edit. But when it goes out, it feels like opening night in the theatre. Just seeing something you’ve made on television is the pinnacle. It doesn’t get any better than that. I can die happy, right now.

Does it feel very vulnerable; having something you’ve worked on for so long, and is so personal, suddenly out there for criticism?

I kind of have all my anxiety a while before it goes out, actually, when we’re showing it to a few people and getting their opinions. Once it’s out there in the world, there’s nothing else you can do. Hopefully people will enjoy it. If they don’t, hopefully, they’ll enjoy not liking it. I let it go at that point. That’s why I try not to look at Twitter – there’s not really anything I can do at that stage anyway. Luckily, when I go to the supermarket, I’m alright, no-one knows that I wrote that thing on television that they hated last night. I’m not an actor!

Did writing series 2 feel different from doing the first series?

I really wanted to make sure the quality didn’t dip. And we wanted to get a bit more plot in there – we didn’t have a huge amount of that in the first series. And we knew we wanted to get more Della in; we knew that we wanted to get Grampy more into the family. And we knew the characters a lot better, and the actors, which helped us when we were writing. It felt a bit more pressured, because first time round we didn’t know what we were letting ourselves in for. This time, we knew the process, so we felt like we needed to get it right.

You’ve written for theatre in the past. Does writing for TV feel like a very different process?

Most of what I know about writing for TV is what I’ve learned from theatre. I guess the main thing is, in theatre you can tweak stuff. You can see the audience’s reaction, and then change things for the next night based on that. In TV, obviously you can’t do that. That’s where our executive producers are really helpful, because they’ll be that first audience for us.

When you sat down to write series 2, did you know what you wanted to do? Had you kept some stuff back from series 1?

We put everything into series 1 – we totally emptied the coffers. I think you shouldn’t hold back, you need to get it all in there, because you never know if you’re going to get another series. So every trick and joke went into the first series, and we had literally nothing for the second series. When we started brainstorming ideas, we quite quickly got to the idea of the final episode, and actually I wrote that first, I just did a draft over a weekend for that. Once we had that, we knew where we were going. Ultimately, they end up going on holiday in a caravan, which is based on holidays we went on in caravans as kids. We actually went away on location, it felt pretty epic. There were dunes to play with, and a caravan. And I think that’s my favourite episode as well. That was in Formby, north of Liverpool. They had red squirrels there! And it was so beautiful! We had such a great time. We had to evacuate though, because there was a massive storm, and it looked as though the catering bus would tip over.

How involved do you guys get on set?

Pretty involved. I think I’m probably quite irritating. I go on set – I love that bit of it. I can talk to the actors, and the director’s very good at taking suggestions. And then I’m in the edit, which is super-intense. And before that, there’s the writing period. So since May of last year, I’ve had no life – I’ve basically been doing Raised By Wolves. I’m aware that I’m quite mad

How did it feel getting everyone back together for the second series?

It just felt so right, being back with those guys. I’m actually friends with them all now, and really good friends with Rebekah Staton. She’s not Della, so at the end of every day, there’s a period of time when she winds back into being Rebekah. And Rebekah is very feminine and gentle, but has traits of Della. So you get Della plus this really cool woman as well. She’s just awesome. I’d love to write stuff for her forever.

How does the writing process work with the two of you?

We start off in a room together, and we brainstorm. We do big series-wide ideas, just chuck loads of stuff into the pot, and don’t think about structuring anything. And then we go our separate ways, and we start structuring and drafting. We don’t then write together until the very end, when we go through it and tart up lines and put in extra jokes. Or if there’s a crisis. We spend a lot of time on Skype.

Obviously Germaine and Aretha are based on the two of you, and you’ve mentioned that Yoko is based on another sister. Do any other family members think characters are based on them, and does it cause family ructions?

There are actually eight of us siblings – only six in the show; we thought eight was unmanageable, so we dropped two. So there’s been a bit of debate about who got merged with who? There are actually three boys in our family, and only one in the show – we thought it was funnier to just have one boy among all those women. So the boys gave us grief – “Are we that interchangeable that we’ve just merged into one?” We explained that it was for the purposes of comedy. We’ve spoken to various siblings about various things, and they’ve come up with ideas or music suggestions or Wolverhampton phrases, so they’ve been really supportive of it, and they watch the show whenever it goes out.

One of the great things about the show is the performances. Were you involved in the casting?

Yes, in the early days. Helen, who plays Germaine, just walked up to Caitlin at a book signing and said “If you ever make a TV show, can I be in it?” And that’s how they met. Caitlin would have done exactly the same thing. She used to write letters to Comic Relief, and Lenny Henry once replied to her, I think.

So Caitlin took her number?

Yeah, she did. Which is again incredible, because the number of times I’ve given Caitlin a bit of paper with something written on it and she’s lost it. But this one she kept, she didn’t lose it, and about a year later, when the casting started, we got her in, as well as loads of other people. But there was just something about her from the beginning. And with Aretha, obviously we had a whole load of ginger people in a room, auditioning. Although Alexa, who actually plays her, is blonde! And Molly, who plays Yoko, came in to audition for Germaine, and we just thought there was something about her, and we wanted to see her again. We hadn’t cast Della by that point, but then Rebekah Staton turned up. And Phil Jackson as well – the classiest man in television. He’s a prince.

What can you tell us about the series?

Germaine goes on an exploration to discover what it’s like to have a man in her life. Aretha finds a kindred spirit out in the world, and we realise she has a vulnerable side, actually. Yoko reaches adolescence, and becomes very worried about the environment, and extinction of animals. We explore Della’s work life and romantic life. Grampy is living in the coat cupboard, and he has a romantic liaison. Everyone’s got a bit of business