Julia Savage talks 12-day filming schedule on new Aussie miniseries Mix Tape
Aussie actress Julia Savage is just 18 years old, but already she has marked more than a decade in the industry.
The teenager has a Best Actress AACTA nomination under her belt for her incredible performance in the 2022 psychological drama Blaze, and has starred opposite leading Australian actors Simon Baker and Guy Pearce.
Savage will now appear alongside fellow AACTA nominee Teresa Palmer and British actor Jim Sturgess in the upcoming four-part Aussie miniseries Mix Tape, which premieres on BINGE on June 12.
And even though she began acting at seven years old, starring on hits such as The Clearing and Mr Inbetween, the young star doesn't take any of it for granted and is always ready to give it her all.
Julia Savage stars in the upcoming Binge Original Series Mix Tape. Picture: LisaThe 18-year-old has been in the acting industry since she was seven years old. Picture:'Every time I'm on a set and I'm lucky enough to be invited to come on, I'm so grateful,' she told news.com.au from the Sydney set.
'I've been very lucky to grow up in an environment surrounded by adults who are validating me in my craft and following creative physics pursuits and my passions. But sets are my favourite place in the world. It's something I'm very lucky to be able to do at the level and with the people that I do.'
In Mix Tape, Palmer and Sturgess play former 80s high-school sweethearts Alison and Daniel who are now living in Sydney and Sheffield, respectively, but reconnect in the modern world through songs from their shared past.
Stream Mix Tape on BINGE from June 12, available on Hubbl.
The cast of Mix Tape (from left to right) Ben Lawson, Julia Savage, Teresa Palmer, Jim Sturgess, Chika Ikogwe and Jacqueline McKenzie filmed for 12 days in Sydney and the Southern Highlands. Photo credit BINGE
Savage plays Alison's daughter Stella, who triggers her memories about Daniel. And when a chance encounter brings the former flames together after 20 years, they are forced to confront their past.
Savage and Palmer filmed intensely for 12 days in Sydney and the NSW Southern Highlands before production on the Lucy Gaffy-directed film moved to Dublin, Ireland.
The filming schedule was intense, but Savage was ready to do the hard work on the miniseries, which is based on the critically acclaimed novel of the same name by Jane Sanderson.
Filming of the flashback scenes then took place in Dublin with Rory Walton-Smith and Florence Hunt playing the younger versions of Palmer and Sturgess' characters. Photo: Binge
'It has been a whirlwind, but it's been amazing. I just take it one day at a time every day and do the best I can do,' Savage said. 'I think in an industry where the projects you create can't go forward without every single person giving their 100 per cent, it's so important to remember that this really is the most collaborative kind of art you can make and it's the most labour-intensive art you can make.
'I think remembering that and remembering that everyone here is doing a job and they're all here to make art and make something beautiful.'
Sturgess and Palmer play high school sweethearts Daniel and Alison who reconnect through songs from their past. Picture: Binge
Young Alison (Hunt) and Daniel (Walton-Smith) fall in love as teenagers before life takes them in different directions. Picture: Supplied
Naturally, Palmer – a soon to be mum-of-five – took Savage under her wing on set and the young star can't sing her praises enough.
'Teresa is one of the most beautiful people inside and out. She's really a ray of sunshine. She always makes me laugh on set,' Savage said.
'In terms of having to play mother-daughter, it's always felt very easy with Theresa. It's never felt there was anything forced and there was always just this amazing sense of trust between us and I'm really grateful to have had that.'
Savage puts on an incredible performance as Palmer's troubled daughter Stella in the miniseries. Picture: Binge
Palmer's Alison is triggered by Stella's circumstances and grows nostalgic of her life with Daniel. Picture: Binge
And it's not just Palmer who has given Savage some sage advice on set. The rising star says Simon Baker was a great father-figure three years ago when they filmed Blaze, where she played a young girl who, after witnessing a violent event summons an imaginary dragon to help her process her trauma.
'When I worked with him on Blaze, he was very nurturing as my father,' she said. 'I've learned a lot of amazing things from the actors I've worked with. They've given me lots of life lessons, especially to do with my craft. I really take with me things like pause, take your time and to not think about what's going on around me and just do what I'm here to do.'
Savage and Simon Baker in the 2022 film Blaze, which earned her a Best Actress nomination at the AACTAs. Picture: Causeway films
'It's been very validating, especially in an industry where I'm usually the youngest person on set, to have older actors trusting me and trusting what I'm doing and helping me to do the work.'
Despite her success at such a young age, Savage says she has faced her fair share of criticism. But she drowns out the noise by surrounding herself with the right people.
'I'm younger, so there's obviously a little bit of scepticism regarding whether I'm happy doing what I'm doing,' she said. 'I can attest to the fact that I definitely love this job, but it's definitely something that you learn to deal with.
'But everyone's been super supportive. It's amazing to have such a strong foundation of support, be it on crew, be it your family, be it your friends. It's a very valuable thing to have.'
Mix Tape premieres Thursday, June 12 at 8:30pm on BINGE, available on Hubbl and watch On Demand on Foxtel
Originally published as Rising star Julia Savage talks 'whirlwind' 12-day filming schedule on new Aussie miniseries Mix Tape
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
News.com.au
an hour ago
- News.com.au
Aussie industry on the brink of collapse: Insiders speak out
A company that spectacularly collapsed owing $7.5 million gives a glimpse into Australia's entertainment industry as it struggles to come back from the 'devastating' impact of the pandemic, with fears hit shows are becoming too hard to stage. revealed that David Venn Enterprises had thrown an 'extravagant' party to celebrate the Sydney season of Elvis: The Musical Revolution in 2023 when it was potentially trading insolvent, according to a liquidator's report, and went bust a year later. Now insiders are speaking out about the challenges the Australian entertainment industry faces after a 'rollercoaster ride' over the past five years. A mass skills exodus, the cost of living crisis and soaring expenses have made it difficult to even mount a production, while Aussie audiences appetite for familiar shows has made new breakout hits almost impossible. Making art has become 'pretty challenging', said Melbourne Fringe Festival director Simon Abrahams, who is seeing audiences booking tickets last minute. He said the organisation's core costs have soared by just over 50 per cent, compared to 2019, while government funding hasn't kept pace. 'I really do believe there has never been a harder time to make art than right now simply because costs have risen, the income hasn't risen at the same level, insurance is costing more, and the marketplace is unpredictable,' he warned. 'We will see people leave the sector and see artists and producers saying 'It's too hard I can't do this anymore and it's not financially viable'. The reality is as a city we need and want people to make art and present things we can see and inspire us. It changes our lives and helps us see things differently. 'I am worried that if we don't see more support coming to artists and producers that people won't be able to make the dollars stack up.' Do you have a story? Contact Who is left to take the risks? This tough time is particularly hitting artists, with disappearing profits which were already razor thin and 'skyrocketing' costs smashing touring, according to Theatre Network Australia's interim general manager Steph Spiers. 'Small companies and independent artists may not know if a season of a show is going to break even until sometimes halfway through the run because people aren't booking until the day of the show,' she explained. 'That has a flow on impact on stress levels and the mental health of artists that are weathering that changed condition.' The fallout from the pandemic includes a skills shortages particularly in technical and production roles, Live Performance Australia's Matt Francis said, while it's now 30 to 50 per cent more expensive to put on a production and tour. But these conditions also have concerning implications for the diversity of Australians in arts and entertainment, Ms Spiers cautioned. 'It also means people that aren't in position to take that kind of risk are maybe being excluded. As you need to have a certain level of financial safety net and not have caring responsibilities and other kinds of constraints in order to feel comfortable about putting on a show and not even know if it's going to pay for itself,' she said. 'We have concerns around equity when things in the arts get really tight because essentially it means only one type of person can be an artist, who has a fair amount of privilege and financial safety nets, and we know it's not representative of all Australians.' Artists left to suffer on struggle street Australians are keen on live performances with 30.1 million ticketed attendances in 2023 including theatre, musical theatre, ballet, dance, opera and children performances bringing in $3.1 billion in revenue, according to Live Performance Australia. 'That's more tickets than sold to all of the major sporting codes combined,' Mr Francis added. But the industry has been showing cracks in recent times. previously reported on another Australian producer Bass Fam, who had hit shows at the Sydney Opera House and major festivals but was slammed by performers who haven't been paid, leaving them thousands of dollars out of pocket. He has promised to pay back the money when he has the funds. It also revealed a government scheme had paid out almost $750,000 to dozens of former employees of the collapsed company behind the Elvis musical. Ms Spiers said while these cases were not 'common', it was 'sad and disappointing' for those involved. 'Producing is an exercise in investing and it's essentially taking a risk and what those situations have revealed is it ends up being independent artists who bare the brunt of the risk, which is not good enough,' she said. 'Because they are not the ones who will see the profit if things go really well but they are the ones who suffer if things don't go well.' There is no question that 'some shows are struggling' but all the big major theatres are full, Mr Abrahams noted. 'It doesn't feel empty but by and large, it feels like it's familiar material that is coming, even new works like Beetlejuice, which is great to see a new Australian musical by Eddie Perfect, but it's a brand that people know,' he added. 'Annie is coming back and Beauty and the Beast. The works that are succeeding are lighter entertainment and brands that people know and feel really familiar and fair enough that's what the world needs right now – something comforting.' 'Unnerving' audience changes Years of lockdowns, particularly in Melbourne, have fundamentally changed audiences although he said it's a trend being seen worldwide, Mr Abrahams added. 'People want great experiences and they want to have their minds blown but they don't want to plan as far as ahead. They want to see how they are feeling. But they are coming, with 75,000 buying tickets to a fringe show last year in three weeks, and that's nearly $3 million that makes its way into artists' pockets,' he revealed. 'But they are not booking their tickets three months in advance. They are booking the day of and day before. That is both unnerving and for bigger commercial producers they have costs like wages, theatre rentals, marketing costs you have to be able to cashflow that and it's not easy to do.' Vas Katos has been in the entertainment industry for 30 years and his company Anthem works with clients such as Live Nation and invests in Broadway and West End shows. He said Covid had hurt the industry long term, particularly small commercial theatre productions and independent artists. 'Taylor Swift and Harry Potter are a treat and people want to buy tickets for them but I do feel for small companies and producers,' he said. 'Covid has been a seismic change to audience behaviours as well as the cost of living.' He is calling on tax incentives to be introduced for investment in the arts. 'Recipes for poor mental health' All experts have called for better funding for the arts industry in Australia. The 'volatile' environment means more money is desperately needed, said Mr Abrahams, particularly to give entrepreneurial producers support to takes risks. 'We know that people come and see a show and have dinner beforehand and have a drink afterwards and park their car and it supports the economy of the city. We have to do more to support producers to get more art happening,' he said. He wants to see increased funding from all levels of government and arts to be part of the election pitch from parties in Victoria's state election next year. 'I would like to see both sides fight it out on who can do more for arts, creativity and innovation. At the centre of Melbourne and Victoria's identity, we are the cultural capital of Australia and that's going to be at risk unless we continue to invest.' The Melbourne Fringe festival brings in a $23 million economic return to Victoria when it receives just $367,0000 core funding from the state, he added. The arts get such a small amount of funding compared to other areas, agreed Ms Spiers. 'It is really only a tiny drop more to support those artists to have careers that aren't just recipes for poor mental health. I think everyone deserves the chance to be able to pay their bills and not be stressed about putting food on the table,' she said. 'There is only so long workers can subside the costs of making art and entertainment through their own unpaid labour. Everything is considered a hard cost of putting on a show except artists's time. 'They are the ones who are asked to cut their rates or take a bit less but no one is asking the graphic designer or poster printer or the people driving the trucks to work for less.' previously revealed the turmoil cast and crew faced inside the production of Elvis: The Musical Revolution as the company began to succumb to financial struggles, with an artist revealing how it 'messed' with their lives while an unpaid superannuation bill of $440,000 racked up. Mr Venn pointed to ticket sales not meeting expectations and broader financial risks such as high operating costs and unpredictable revenue leaving little margin for error in the industry. He previously said he regretted the impact of the company's collapse on those affected and remained committed to doing the right thing where circumstances allow. Path to 168 more productions a year Live Performance Australia (LPA) is pursuing the government to introduce a live theatre tax incentive based on a UK model. He said it would allow a certain percentage of pre production costs to be offset against tax or provide a rebate for not-for-profits. 'We see a production incentive beneficial to attract more investment and it has been a gamechanger for the industry in UK,' he said. 'If we are able to encourage more investment in more productions that builds a pipeline of work that creates more certainty and opportunities for artists and performers and they can have more confidence to pursue their craft.' The introduction of a 40 per cent tax offset for the costs of live theatre production would support the creation of more than 4000 new jobs and 168 new productions, adding almost half a billion dollars in industry value too, according to LPA. The organisation is also calling on the government to provide more support for young people to participate in the performing arts, including through vouchers to attend live performance events. Sold more than 10m tickets worldwide Meanwhile, Theatre Network Australia's most recent survey of independent Australian artists found more than half of respondents were retraining or considering moving into a different industry amid concerns the bounce back wasn't happening and careers weren't sustainable. 'That was last year and obviously things have gotten even tighter in the last 12 months,' Ms Spiers said. 'It's been a number of years now and that takes a toll on people. They might have a bit of buffer to weather a couple of bad years but once those couple of years turns into three or four or five people have to take stock and not everyone can afford to stay in the industry when it's not sustainable.' Yet Australia has a history of making great shows including The Picture of Dorian Gray recently featuring Sarah Snook, which won two Tony awards, and RGB about the US legal legend Ruth Bader Ginsburg, Mr Francis said. 'Moulin Rouge was an Australian made production that is now touring the world. It has sold more than 10 million tickets globally,' he said. 'We have the runs on the board in making theatre and putting shows on stage that are as good, if not better, than we would see on the West End in London or Broadway. 'Australian producers have well deserved international recognition, fantastic performers, brilliant technical and production crews, but we need to support and facilitate investment in helping make work and building achievements.'
Daily Telegraph
3 hours ago
- Daily Telegraph
AFL 2025: Jack Ginnivan pulls finger at Adelaide fans, video, fine, after Hawthorn's loss to Adelaide, latest news
Don't miss out on the headlines from AFL. Followed categories will be added to My News. Hawthorn young gun Jack Ginnivan is the latest AFL player set to be sanctioned for giving the bird to Adelaide supporters. Ginnivan was caught on camera pulling his finger to Crows fans while walking off Adelaide Oval after the Hawks' 14-point loss on Friday night. The 22-year old, who's set to cop a $1000 fine for the incident, took to Instagram to respond to a video of the act with the comment: 'Best coin spent.' FOX FOOTY, available on Kayo Sports, is the only place to watch every match of every round in the 2025 Toyota AFL Premiership Season LIVE in 4K, with no ad-breaks during play. New to Kayo? Get your first month for just $1. Limited-time offer. Jack Ginnivan caught on camera giving the bird to Crows fans. Jack Ginnivan responded to a video of him flipping the bird. Ginnivan would join the likes of Geelong's Bailey Smith and West Coast's Harley Reid in getting fined for the middle-finger salute in 2025. 'There was definitely a one-fingered salute from Jack Ginnivan,' Herald Sun reporter Jon Ralph said on Fox Footy. 'I think we call that the Bailey Smith ... the going rate is $1000, we saw Bailey Smith double-finger salute and also Harley Reid earlier in the year. 'That's what (Ginnivan) does, that's Hok-ball for you.' Ginnivan was among Hawthorn's best players on Friday night, finishing with 20 disposals and two goals. The youngster's post-game bird weren't his only cheeky antics on the night, with Ginnivan turning to the crowd after kicking an epic goal on his left foot late in the third quarter and pointing to his ear. Originally published as 'Best coin spent': Ginnivan responds after giving Crows fans the bird as young Hawk to be fined
News.com.au
3 hours ago
- News.com.au
Aussie wife confronts husband's mistress, exposes cheating issue
A woman left 'destroyed' by her husband's cheating decided to confront the 'other woman' on live radio – sparking a debate about how men and women are treated when it comes to infidelity. The wife, named Kylie, had a dramatic and emotional showdown with her husband's mistress Sophie, on the Kyle & Jackie O Show recently. During the segment, Kylie pleaded with her to stop affair, stating through tears: 'You sleeping with my husband is ruining my life.' Sophie, who works with the married man, appeared to already know about Kylie, stating their relationship was 'sexual' and insisting her husband 'does love you'. But while knowingly sleeping with a married man is widely seen as morally wrong, many viewers weighed in on social media to condemn Kylie, pointing out she should be 'confronting the husband'. 'The responsibility is on her husband. 100 per cent on her husband,' one argued on social media. 'It's the husbands fault. He has done the betrayal,' another agreed. While one declared: 'As much as the mistress has no morals, its not her job to be loyal, it's the husband's. He made the vows, not the mistress! HE is the reason she is broken!' The tendency to blame the 'other woman' in cases of infidelity, rather than the cheater, exposes a stark discrepancy between societal expectations on men and women, says University of Melbourne social scientist Associate Professor Lauren Rosewarne. 'Women are expected to be able to temper their libidos in ways that our culture pretends men can't,' Dr Rosewarne told previously. 'Women have also long been tasked with [the] duty of sexual gatekeeping – that they are somehow not only responsible for their own desires, but also for men's too; that somehow the duty is on them not to tempt men. 'Obviously these ideas are underpinned by antiquated gendered stereotypes that many people still clutch to.' Dr Rosewarne added that 'if the man is married and he has an affair, he has wrecked his home'. 'Blaming the other woman just allows us to frame the man as some kind of hapless victim to his penis, rather than an adult who made his own decisions,' she said. In this case, Kylie has laid blame on her husband's mistress, rather than challenge the man she married – and many noticed this apparent act of internalised misogyny after a video of the on-air confrontation went viral. 'People need to step off the mentality of 'she knew the wife existed'. So what? She owes that woman nothing. She isn't hurting her. He is. It's like drinking poison and expecting somebody else to [dead emoji]. Nobody in the world owes you kindness, respect etc. The people who love you and care for you should supply that willingly and if they don't, they are not your people,' commented one. 'It's 100 per cent on the husband!!! Why is she not calling him out?' asked another. During the call – which initially aired in June but was reshared on the Kyle & Jackie O Show TikTok account on Friday – Kylie tells the hosts she found out a couple of months ago that her husband was having an affair after stumbling across a text message. After discovering multiple messages on her husband's phone, she turned to the radio show for help 'confronting' the mistress. 'Hey Sophie, I know that you don't know me, and I know that I probably haven't even been mentioned, but I believe that you are sleeping with my husband,' she said. Sophie replied by stating the affair was 'still continuing', prompting Kylie to beg her to stop. 'I just want you to know how much this is affecting me,' she said. 'You sleeping with my husband is ruining my life.' Sophie, who appeared to know her bed buddy was married, explained their relationship was purely sexual before adding: 'He does love you though. I don't know if that makes it better.' When Kylie gets distressed by the revelation that she knows, a visibly shocked Kyle Sandilands and Jackie O Henderson point out, with Sandilands stating: 'It's not just Sophie's fault, it's also your husbands'. It's difficult to pinpoint exactly how many Australians have affairs, but studies suggest that a significant portion of marriages experience infidelity.
