How I Got Here: Actor and Tiny Disco Producer Grace O’Sullivan on the importance of versatility
PHOTOGRAPHY BY MATTHEW KRUEGER
WORDS BY IZZY WIGHT
“It can also be difficult to pursue two roles you love. People will often tell you to pick one. Don’t listen to them.”
Have you ever stalked someone on LinkedIn and wondered how on earth they managed to land that wildly impressive job? While the internet and social media might have us believe that our ideal job is a mere pipe dream, the individuals who have these jobs were, believe it or not, in the same position once, fantasising over someone else’s seemingly unattainable job.
But behind the awe-inspiring titles and the fancy work events lies a heck of a lot of hard work. So what lessons have been learnt and what skills have proved invaluable in getting them from daydreaming about success to actually being at the top of their industry?
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Welcome to How I Got Here, where we talk to women who are killing it in their respective fields about how they landed their awe-inspiring jobs, exploring the peaks and pits, the failures and the wins, and most importantly the knowledge, advice and practical tips they’ve gleaned along the way.
This week we speak to Grace O’Sullivan, actor and a Producer at Melbourne-based creative agency, Tiny Disco. Day-to-day, Grace helps create magic on the “femme-filled” sets of Tiny Disco while pursuing an acting career on the side. While it doesn’t leave her with a surplus of free time, Grace loves the ever-evolving balancing act of casting, producing, acting and set-building.
Having the pleasure of knowing Grace personally, I can say her passion, dedication and warmth are palpable. It’s important to never underestimate the power of people skills (particularly in the creative industries), which is why Grace’s ability to make everyone feel special is such an asset. Here’s what she’s learnt along the way.
What do you do and what’s your official job title?
I’m an actor and a producer. I currently work full-time as a producer at Tiny Disco, a groovy creative agency that focuses on making beautiful content.
Take us back to when you were first starting out. Did you study to get into your chosen field, or did you start out with an internship/entry-level role and climb the ladder? Tell us the story.
I had always known that I wanted to act and produce, I just wasn’t sure how to get there. So naturally, after high school, I enrolled in a law degree. I stuck it out for about a year and a half until I could no longer convince myself that being a lawyer was practically a performance in itself, right?! My heart just wasn’t in it.
I was also trying to find my feet in the acting world (I still am). I didn’t have an agent, so instead I drove to every casting director workshop going and auditioned for the least dodgy short films I could find on Facebook. I ended up being cast in a guest role on Neighbours, which I reprised in the spin-off series, Erinsborough High. People describe Neighbours as a well-oiled machine, and that’s a pretty accurate depiction – I learnt a lot and I learnt it very quickly.
Post Neighbours and mid-pandemic, I was starting to get itchy feet and began to feel slightly unsatisfied with my lack of agency. So during momentary lockdown lifts, I jumped onto any shoot that would have me as a production assistant (mostly friend’s music videos). Through that (and a bit of word of mouth), I started booking some freelance production gigs. During this time, I also completed an internship at Melbourne Fringe Festival. The internship opened my eyes to the admin-heavy nature of production, and I would say ultimately was my first real foray into the world of producing.
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I ended up reaching out to Fremantle Media, the production company that runs Neighbours, to throw my hat in the ring and let them know that if they ever needed a freelance production assistant (or a runner, as the show calls it), I was their gal. After an initial “Thanks, we’ll keep you on file,” they rang me a few hours later. Someone had pulled out, and they wanted to know if I could come in next week. I sort of never left after that, freelancing weekly at Neighbours whilst finishing off my honours year at Monash.
I then discovered this very pink, very cool creative agency called Tiny Disco on Instagram after reading a How I Got Here feature on my now-boss, Chelsea Morley. Of all things, hey! It happened at the perfect time as they were in the process of hiring, and I was weeks away from submitting my honours thesis. One online interview later (we were at the tail end of our hardcore lockdowns) and I had landed the job.
What challenges/hurdles have you faced getting to where you are now? Can you tell us about one in particular?
The initial foot in the door is always a challenging hurdle to cross – but keeping your foot in the door can be just as tricky. Freelancing is a big part of production work, and the freelance game is both a blessing and a beast. You get to work with so many different creatives on a week-to-week basis, but you’re always on that hustle for the next job.
That’s what I love about Tiny Disco, getting to experience the best of both full-time and freelance work. Although our team is predominately in-house, we hire contractors for most shoots so are always engaging with new creatives (I’m also obsessed with our in-house team, so hanging with them every day is hardly a chore).
It can also be difficult to pursue two roles you love. People will often tell you to pick one. Don’t listen to them. I love producing and I love acting – I think that they genuinely complement each other. Just make sure you apologise to your friends when you don’t always have time to return their texts (friends, I love you and I’m sorry).
What do you want people to know about your industry/your role?
The scope of producing is so broad, it’s kind of incredible. It’s one of those industries where you could have a million roles over a lifetime, all while staying within the same job. You get what I mean? You can produce films, music videos, festivals, advertisements, podcasts and radio shows… it’s never-ending and ever-evolving!
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Jumping across from film/TV to the advertising world felt both seamless and like landing on a new planet. I remember on my first day at Tiny Disco having to quickly Google a lot of the ad-world lingo (e.g. OOH means out-of-home advertising). But you pick up these things pretty quickly.
What’s the best part about your role?
I love being on set at Tiny Disco. Our sets are femme-filled and femme-focused. There are so many beautiful, creative minds coming together in one space to make something happen. People often come onto our sets at Tiny Disco and note how different it feels – it’s that femme energy, baby!
What would surprise people about your role?
I think people would be surprised at how many jobs fall under the producing banner. At Tiny, we build the sets, we book the locations and we the cast talent… being on the other side of the casting process has been such an experience for me.
You learn that casting is both personal and not-so-personal. I just love watching people’s casting tapes. Everyone is so singular and inspiring. I admire the different ways in which people choose to show up in the world. It’s something I try to take with me and remember when doing my own auditions.
What skills have served you well in your industry?
Versatility and vulnerability. Oh, and people skills. In the production world, things change on set all the time. An idea that you thought would work may flop. You have to be willing to throw what you had intended out the window and roll with what’s happening in front of you.
I also think vulnerability is core in an industry that is so fast-paced, glamorous and intense. Admit when you’re wrong, and when you don’t know something. It’s a nice little reminder to others, and to yourself, that we’re all human and figuring shit out as we go.
What advice would you give to someone who wants to be in a role like yours one day?
There is no clear pathway for jobs in the creative sphere. It’s not linear, which can be frustrating and daunting, but it’s also freeing. I didn’t get into drama school and was bummed when I didn’t. But then I found other great acting classes, and I worked my way into production assisting gigs, and then into producing.
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So, my advice would be to try not to fret about the route. Instead of fretting, re-direct that energy into getting out there and onto whatever set you can. Jump on your ideas, make things with your friends, create the things you’re not seeing but want to see, reach out and follow up. Remember that the game is long and sustainability is important, so look after yourself.
What about a practical tip?
I’m a sucker for a cold call, email or message – just make sure it’s a well-researched one. Let people know you love their work and highlight what about it you really enjoyed. If you do reach out, it’s important that it’s personable and specific to whoever it is. You never know what it could lead to, and I love a ‘never know’…
Read the rest of the How I Got Here series here.
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