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PODCASTS TRANSCRIPT – CHOREOGRAPHER COREY BAKER

March 11, 2021

News > News > Podcasts transcript – Choreographer Corey Baker

CHOREOGRAPHER COREY BAKER EXPLAINS HOW AN IDEA HE HAD IN THE SHOWER WENT ON TO
BE COMMISSIONED AS PART OF BBC ART’S 2020 CULTURE IN QUARANTINE PROJECT AND
WATCHED BY MILLIONS ALL OVER THE WORLD.

Set to Tchaikovsky’s famous swan theme, 27 elite ballet dancers from renowned
companies across the world performed a modern-day Swan Lake from their own home
filled baths. The man behind the magic of this online video, Corey Baker, is a
classical and contemporary choreographer, and former dancer from New Zealand. In
our first episode of The Space Arts podcast.

Below follows a transcript of the conversation.

Corey Baker, choreographer

SPEAKERS

COREY BAKER, FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE, CLARE FREEMAN,
PODCAST PRODUCER

COREY BAKER 00:01

It’s all about ‘Who is it for? And why are you doing it?’ I think we live in a
world where – I certainly feel the responsibility that – you shouldn’t really
just create art for the sake of creating art.

CLARE FREEMAN, PODCAST PRODUCER 00:15

That’s the voice of Corey Baker, the first of many guests on The Space arts
podcast. And welcome to a series which we hope will encourage you, just like
Corey did, to reach out to us and apply for future arts and cultural funding
opportunities with our agency.

Welcome to The Space arts podcast. Hello, I’m Clare Freeman. I’m an associate
with The Space. I support their immersive audio and podcast projects as a
freelance mentor. Throughout this podcast, I’ll be joined by Chief Executive of
the organisation Fiona Morris, who you’ll hear from in a moment.

If you’ve not heard of us before, then The Space is an agency which supports
those working in the arts sector, it’s you included, if you’re interested, pop
over to the website – thespace.org – to find out about our latest commissioning
rounds, and a ton of resources which are referenced throughout this series.

So let’s start with a bit about today’s guest. Someone who’s been through the
application process with The Space multiple times, not just his recent project
with the BBC Culture in Quarantine series and the Swan Lake Bath Ballet film.
Over the years, we’ve watched and supported award winning international dancer
and choreographer Corey blossom in the digital world. But when he first asked
for our help a few years ago, he was full of energy and big ideas, just not too
sure where to start when it came to making a digital piece of work really fly.
Safe to say, he is now one of the many Space digital graduates. And fortunately
for you, he shares a few tricks of the trade and lessons learned during this
episode. So this is for those of you who are curious of how to turn an idea you
have in the shower into an online video watched by millions. It’s a conversation
Corey, Fiona and I recorded at the tail end of 2020. First up Fiona started by
explaining how on earth Corey came to work with The Space a few years ago,

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 02:33

I think the first time I met Corey, he bounced into my office in Birmingham,
pretty much the human equivalent of a Labrador, I would actually say

COREY BAKER 02:43

I’ve been called a pit bull before, I’ll take a Labrador

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 02:47

Roll over these years. He had just completed and a couple of short film projects
and he wanted to come and find out what we were what we were up to at The Space
and whether or not we could help him. So we began – I had a long conversation
then about how making films is brilliant and great. But if you’re going to be
publishing them online, how do you reach an audience? How do you make sure that
all that work and effort and blood, sweat and tears that you put into that
project actually results in other people seeing it.

So that was a conversation we began and then Corey applied to one of our
commissioning rounds – that we have annually – and we commissioned a film, in
which he went to the Antarctic. I will let him tell you about that because it
was quite extraordinary. But it’s a wonderful film. And we were delighted to
support him on the making and the distribution of that. And then more recently,
Corey was one of the 25 artists selected for the BBC Arts Council England
Culture in Quarantine projects. But we’ll probably go into that in a minute.

CLARE FREEMAN, PODCAST PRODUCER 03:47

Yeah, I mean, I have to say as someone who doesn’t have a bath in my house, I
did get bath envy. And if you’re someone listening, who hasn’t seen the Swan
Lake Bath Ballet, we’re putting a link in our episode description to this work
so you can see it. 27 ballet dancers across the world. Not just any kind of
ballet dancers but some who were pretty well known. And it was all done pretty
much using smartphones, it was done remotely. And what I start to find ironic
about this Corey, this started with an idea that you had in the shower, not the
bath but the shower

COREY BAKER 04:30

You’re right. I think I have all my good ideas – if I can call them good ideas –
in the shower. And you know what, there’s science behind that. I don’t know if
I’ve talked with Fiona about that before, but I have a – sorry for the visual
this may be planting for people – but I have (in the shower), a little
waterproof notepad and a waterproof pencil that sits next to my anti dandruff
shampoo. And I use it, whenever I come up with an idea, to scribble it down,
because honestly, that’s the only place! And I’m no scientist as we can clearly
tell. But it’s about being naked and free and open and the heat and water
hitting your head. It stimulates dopamine and all of that. And so yes, I, I had
the idea for Swan Lake Bath Ballet in the shower, which ended up being one of
the commission’s via The Space, the BBC and Arts Council England for Culture in
Quarantine, which you have kindly said, there’s a link into on this podcast. So
if you haven’t seen it, I recommend seeing it! Join the 7 million people plus,
who have seen it so far, because it is a hilarious three minute film. Yes,
celebrating dance and creativity with 27 incredible dancers around the world.

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 05:50

Can I point out that basically, this was the first week of a global pandemic
lockdown worldwide. And Corey decides he’s going to get multiples of dancers to
do this in their bathroom. So yeah, that is one hell of a shower.

CLARE FREEMAN, PODCAST PRODUCER 06:04

So the thing is – and we actually also have a great resource in the resources
section of The Space website, which talks about this – about how you get to
green light, how you take these ideas and turn them into propositions. How do
you go from having the confidence of having this kind of idea in the shower to
knowing how to pitch it, how to think about what the right audience is? What
what kind of steps do you take when you leave the shower? I guess, apart from
put some clothes on? Yeah,

COREY BAKER 06:56

So maybe I’ll use the example of ‘Antarctica; The First Dance‘ my first Space
commission, because that had a much greater run up and development period to get
it greenlit. I mean, in terms of generating ideas. I have about 562 ideas
juggling at any one point. You can’t see it, because it’s a podcast, but I’m
showing you my notepads with different ideas. And as in when I develop an idea,
it goes into a notepad. And the idea then gets scribbled a little bit more and
more and more, and I add it into it until that idea feels fully formed, then it
can get its own dedicated Notepad. And I talk with friends and people I trust
about ideas and get their reactions to it.

And in fact with Swan Lake Bath Ballet, the first person I told said, that’s a
terrible idea. It’s awful, don’t do it. And I often think when that happens, I
push harder on the idea, because I’m sort of like a toddler. And if you say no,
I will go ‘well, I’m going to do it’. And that helps, actually. I really spend a
long time generating the idea, looking at different facets of it, looking at the
meat and the bones and the structure of any type of idea. And I very much create
the vision in my head of it. And that really simply allows me to communicate it
clearly to a commissioner or funding partners. And that really is key. Because a
vision is what people want to get excited about. And if you can communicate it
in a clear enough way and get people excited about it then everyone’s going to
jump on board and help you do it. That’s all great. And well, when you’re doing
it in a meeting when you’re trying to translate that in a paper application,
that can be also really difficult.

I suffer from dyslexia and ADHD and I find it a real struggle to to translate my
energy and vision for an idea onto paper. And, you know, I think we’re getting
application processes that allow for video submission. And I think The Space is
one of them, which is really, really great.

And as Fiona said earlier, it’s all about ‘Who is it for? And why are you doing
it?’ I think we live in a world now where – I certainly feel the responsibility
– that you shouldn’t really just create art for the sake of creating art for
your own purpose. I mean, that’s lovely. And trust me I say, sometimes I really
wish it could just be like that. But if we are spending money and resource and
people’s time we really want it to affect and get to other people. And I a big
part of The Space and my process – an artist anyway – and something I encourage
everyone to do is to think Who is this for? And how am I going to get it there?
Because it’s so easy to say I want to make a viral film, that’s going to reach 7
million people. But actually, there is a real, you know, greenprint to be able
to do that.

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 10:16

I agree. And I think I would say, in particular, with Corey, you know, he’s had
a focus about how to develop a digital practice, that isn’t just one film. And
that would be the other thing, I’d say, you know, you can invest everything in
one project, but it’s still got to – if you’re going to publish online – it’s
got to be about the profile for you, what you believe in, what you want to say
to audiences, that will go beyond that one project to the next project, and the
next project – because online is a is a hard space. And Corey will definitely
confirm that – you have to work hard at it, the making of the film is sometimes
the least difficult bit of it. The the funding of it – which Corey is amazing at
– just networking, and constantly keeping up that sense of enthusiasm.

As he said, it’s exactly that, you’ve got to be able to describe that project
simply, easily in a way that people are going to remember it. And you’ve got to
be clear that it is your focus at that point in time. And you may have to go
back to them, you may have to go back some quite a few times to actually make
that land. But you can’t then make it a destination in and of itself, it’s got
to be about Corey, what Corey stands for, because that online environment, and
those audiences want to have a dialogue. They don’t want to sit there passively,
just looking at one project, and then moving on to something else they want to
feel involved in seeing. And that means engaging. And that’s takes time, as
Corey will attest.

CLARE FREEMAN, PODCAST PRODUCER 11:47

I think that’s really refreshing to hear because some people might look at, wow,
7 million, it’s on Iplayer here. That’s just lucky. But actually, I think what
you’re saying is no, there is pre thought to it, you know, there are steps that
we can take to control mechanisms. I guess the thing that I’m also thinking is,
you know, a lot of people might think whether it could be contemporary or
classical dance is often performed with people, you gauge the energy, use the
vibe of the audience to bounce from. And then when you switch to digital, you
don’t always get that kind of immediate dopamine, as you said, dopamine kind of
hit. So how has that been different for you? To just almost tweak your head so
that you don’t physically see the audience when you perform?

COREY BAKER 12:36

Great question, Claire. I have. So you’re right in saying that dance is a lived
experience. It’s not like a piece of artwork that you can take home and put on
your wall, you can’t do that with dance. And it’s purely about sweat, blood and
tears on that stage and feeling that sweat flick from a sexy dancer onto your
hair in the front row – to enjoying the patterns and the depth and that live
camaraderie in the theater, it’s an amazing feeling and nothing will ever take
away from that.

And as a creator of that world and now a creator of film and dance, it is
completely different. And you’re creating – yes the audience is crossover for
sure. But as we all know, you know we’re all, i’m sure, subject to scrolling
through the gram or YouTube and you watch it for six seconds (the six second
rule) and no – bored, bored, bored ,bored. It’s a lot harder to hold a digital
space. It’s very very different to when you’re creating for that live space
because basically you’ve trapped them in that theatre they’ve paid for a ticket,
you can do what you want on the day – you’re prisoner for a little while and I
love that – but the the worlds are different. The audiences are different. And
you have to create differently.

It’s taken me, I think, about six films now to really understand that and I’m
incredibly turned on by the algorithms and the patterns and studying the other
films that I’ve made and seeing the peaks and troughs of viewership. Where does
someone switch off? Where do most people switch off? Why is that? Is it the
music? Okay, so I need to add a bigger crescendo here because this is a 30
seconds moment. Is this where people are going to shut off more? And I love
that.

It’s a blueprint to to create in a way and I’ve started dabbling in that
advertisement world. And, knowing learning from that, as well, which, you know,
is sickening and sells your soul. But there is elements of that that can help
frame the artwork that you want to do. And I’m not scared of that. I know some
artists will, you know, be like, you dirty, dirty person and turn their nose up
to it. And I totally respect that. But I find it a way to frame the hierarchy
that you want to create, so that you’re able to make it accessible for a large
audience.

CLARE FREEMAN, PODCAST PRODUCER 15:32

You’re engaging in it really rather than resisting it to. That curiosity of ‘how
can I use this to filter into my creative process’? rather than be like, it’s
something I just know, I have to do? Oh, yes. Do something. Anything?

COREY BAKER 15:48

Yeah, yeah, exactly. And also, in addition, I am a choreographer of stage stuff,
as well, I didn’t go to choreography school for that I just started making – you
learn on the job.

When I started making films, I did two or three little short miniature films,
without any knowledge. (I laugh at thinking about how I would have been
communicating to the directors of photography, the cameraman, and others). And I
actually went to the Met film school in London for six months, and I did a film
course in practical filmmaking, so that I could better equip myself in the
language, the grammar, and technicalities of working with the camera and film.
And I have to say, that really made a huge difference. I want to just be honest
and transparent about that. So you know, I do, I did get skill training with
that, and it really, really has helped.

But at the end of the day, it was grammar. And I know that not everyone’s gonna
be able to go and do that or want to do that. Really, all I learnt confirmed
what I knew, it gave me confidence, and it gave me some words that I could find
out on YouTube. But that I did do that. And it helps solidify what I know and
pushes me to where I am now.

CLARE FREEMAN, PODCAST PRODUCER 17:11

It’s really humble that you’re able to admit and say, ‘I don’t know about this,
but I’m going to go and find out more’. I guess some people might know The Space
as a place where there are commissioning rounds, there are funding
opportunities. But they might not necessarily know about the support that’s
offered by associates like me, and there’s a whole family of people connected to
The Space. Can you just give people an insight into the commissions? What was
the support that The Space was able to offer you, right from your first project?
And what impact has that had?

COREY BAKER 17:57

Well, I think when we got commissioned to make ‘Antarctica: the First Dance‘,
that was such a mammoth project, and it all was pinned around this trip to
Antarctica, and to make the First Dance and make this film. And in addition to
that, we also got a commission to direct a documentary. I also got commissioned
to do a month exhibition at the Science Museum. So off this one initial film
that The Space commission, all of these other projects happened. And one of the
things that I think a film can do, or what I’m interested in, is figuring out
how – if you’ve got that as your way of connecting with lots of people – how you
use that to build a ladder to your other work, or other things going on.

The Space’s audience and development team were incredibly helpful, because at
that point, I really had no idea. You know, I knew, oh, let’s get it in
BuzzFeed. Oh, let’s get it. Let’s get the BBC or let’s get some celebrities to
tweet it. I mean, it doesn’t take rocket science to know that that’s what you
want. But actually doing that is a whole other thing. And it was a real fun
adventure, to go on with the team at The Space. And then all of those really
practical contacts that we made and those connections then followed on to all
the other work that we’ve done. And those Excel sheets, the patterns, the
format, knowing that you need to plan it months and months in advance… all the
work that we do.

We put a premiere of a film where it’s gonna be because we know of the marketing
things we’re going to do till that point, it doesn’t have to be as formatted as
maybe I’m describing it. I spammed – I shouldn’t say this – but I spammed
journalists on Twitter. I’d just tweet them and I’d private message them until
some of them would reply back with their email address, and then I’d email them
the link and I’d ask them to write something about it. And, that’s how that
happens, you know, sometimes. So there’s all of that and when you get enough,
pinpoints from different areas, then other people pick it up.

And for dance, it’s kind of easy, it’s easier to get in our immediate bubble and
get them to do it. But what’s really interesting and hard is to break into the
the outer bubble of non art. And then when you get that, then it sort of spirals
and it can build up. We’ve been really trying to nail that before the other
films that we’ve been doing and The Space have been so helpful. I’ve just
caught up on email at times and been like, ‘hey, I’ve got this question about
this’. And because we’re in that family, I’ve been very lucky with the
information I’ve received back from The Space across all the projects I’ve done.
And in the two Commission’s – that ‘Antarctica’ and ‘Swan Lake Bath Ballet’ –
the support on everything has been great…. from what pictures should be the
cover picture to the blurb or the credits. Things that you don’t really think
make a difference in the impact of the film and its audience reach, but they
really do.

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 21:45

And I think the point Corey is making brilliantly is, it’s not about being
formulaic. It’s not about saying, here’s a way of getting your film to go viral
online. But it is about acknowledging that the bit that comes after the making
actually takes as much pre planning. In the same way that you wouldn’t go and
make a film without thinking about what your locations are, or thinking about
your choice of equipment, the lenses for the cameras, actually, there’s just as
much work involved in publishing it. And the publishing is the bit that I think
is most alien to lots of artists. That still it’s a bit new. To get into that
publishing world. And that has a whole other requirement, which Corey has been
tremendous at – taking it and then just running with.

CLARE FREEMAN, PODCAST PRODUCER 22:34

It is interesting about the timing of it because when I work with a podcast
series, for theatre companies that have been supported by The Space, I’ve kind
of divided it into thirds. So there’s the planning for the first, the funding,
the budgeting. The second third is the making, the editing. And then the last
third is the marketing, the publishing, the getting it out.

Almost thinking about it as a three part story, I suppose. And understanding
that it needs a team. You can have an idea in the shower on your own, but you
need a good family, a good team in your own company that have a plethora of
skills. Because, just like running a business, you might be crap at dealing with
money, but you could be great at schmoozing with the sales. So, having the right
kind of collective of people that you collaborate with really makes a
difference, right?

COREY BAKER 23:28

150%. And, but also just for devil’s advocate, if there’s artists listening to
this, that doesn’t have a team, you can also do it yourself. And you just have
to be a persistent toddler. Work day and night. It’s not fair, it’s really hard.
But that’s, that’s how I started making my first films. And there’s a journey
that you go on.

In hindsight, I really remember feeling and thinking, ‘How do I get a team? How
do I?’ It’s easy to say that, but how do you actually do that? How do you get
the money? How do you get the support? How do you go from having an idea to a
team? And I remember having literally done everything myself. And then – as
Fiona spoke about earlier – I went out and spoke to Fiona. When I made a few
things and realized, Oh, yeah, this is the trajectory I want for myself. But I
need some skillset development and I need to know some information I need to
know who to talk to. So you have to just be really proactive.

And as an individual, especially in COVID times it is very, very difficult. But
creativity and having being a creative person is the best armour you’ve got
because you’re able to come out with different ways of doing everything and come
up with creative solutions for everything. And then you just have to be a
persistent toddler, which I am very good at. That’s probably my best trait
without crossing the line. The line to pissing people off which often I do get
very, very close to. But you know, you just have to nudge, and push and, well
know where you want to go, but then nudge and push in that direction, if that’s
people online to share your film, or if that’s people to help make your film,
whatever,

CLARE FREEMAN, PODCAST PRODUCER 25:22

Sometimes passion makes the difference.

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 25:25

Yes. And I think ‘pissed off’ is a strong expression, Corey, I’d say just a
little bit of eyeball rolling from the person that gets your email or your DM

COREY BAKER 25:36

I can feel it globally all the time. I press send, and then I like, I can feel
it – there’s the eyeroll – all the time, all the time. And it will never stop.

CLARE FREEMAN, PODCAST PRODUCER 25:51

There is something like, you know, the passion that we have with some of these
ideas, and quite often in the industry that we work as well. It is something
that encompasses seven days a week, it is not a Monday to Friday, nine to five
job. I’m also kind of intrigued, particularly in the year that we’ve had, how do
you put some boundaries in place, protect yourself and also, like, cope, you
know, with anxiety, mental health? Actually some of these ideas could fall down,
or they don’t go through? What structure do you have in place to deal with that?
We’re hearing about the ‘7 million views’ successful, Corey, but I’m imagining
behind closed doors, there’s actually some tough times go in there, too.

COREY BAKER 26:42

Yeah, I mean, I was just crying before this podcast! I wasn’t actually, but I
make a joke of it. ….. I’m glad you brought it up, because it’s very, very real.
And what you’ve just highlighted so articulately is that creativity, and passion
for projects isn’t a structured format. And sometimes creatives – especially in
the dance world – we get used to formatting it into a format. So you know
whether that’s ‘another dance today, from nine to five, during the week’, you
go, ‘oh’ and your brain and body kind of align. ‘Oh, now it’s time to be
creative and fun’. And then it’s Netflix, food, sleep, you know, and you can
create a system like that. But creativity isn’t structured, it can’t operate in
times. And sometimes, you know, you have those days, your heart and soul just
feel empty, or some days, you’re like, ‘I’ve got nothing to do I’ve got all this
energy, what am I going to do? I want to do this’. And what’s really hard is
when that’s not matched, or shared with other people.

And I would say for every ‘Yes’ we get, there’s truthfully 500 other projects we
have pitched and that I have been so passionate about and that I want to do,
where commissioners or people have said ‘No’, or just haven’t replied to. And
it really hurts. It’s really, really hard work internally to deal with all that.
And you can get in your head about it, it can just make you feel crap. And it
can start to affect your mental health, your physical health and the other work
that you’re doing. It can feel very, like you don’t understand me, you don’t get
it. But one needs to meditate through that, or at least I do. And find other
ways of having those creative outlets, like I go for a run, I do yoga, I play
the piano, I scribble in my notebooks, I talk to friends about ideas, and that
way, it just gets released a little bit more. So you’re not bottling it all up.
I don’t know if that helps. I think I just went on a random tangent.

CLARE FREEMAN, PODCAST PRODUCER 29:12

No, it’s good to hear that. You know, sometimes it just takes that one ‘Yes’,
that just keeps you going for another few months or so

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 29:21

I think it’s really important to set your own goals around what success looks
like for you. I hate that expression. But it sums up the point. And you know, as
you said, Clare, Corey, with your 7 million views…..But actually, Corey will
admit that sometimes, for the right projects in the right place, just knowing
that 10 people that he really really wanted to communicate with about a
particular part of his art form – and getting their response back to that can
mean as much if not more than knowing that 7 million people looked at something.

So it’s about what – as an artist – if this is about not having your audiences
right in front of you in a physical space – what is it that you want to have by
way of dialogue, and I think, that means you’re not necessarily having to be
curated by a commissioner. There is an opportunity with online publication to
grab the reins of this. But if that’s going to succeed, you’re going to have to
be (as Corey knows, and is brilliant at) so targeted about who you want to talk
to and where you want to talk to them. And, I think people set their own kind of
audience engagement around that. And they can set an audience engagement of 100
people, if they can tell me why it really matters that those 100 people connect
with that piece of art and have a conversation with you. Because that may be a
great deal more meaningful than just pulling up on someone’s Instagram feed. So,
I think it is about knowing what you want that to be.

CLARE FREEMAN, PODCAST PRODUCER 31:01

Couldn’t agree any more. And ironically, that seems like a good place to wrap up
because one of the other tools that we’ve put in the episode description for
this is a link to that Online Audience Toolkit, in which The Space provide some
of the things that Corey has talked about, you know, thinking about where is
this gonna go? Why do you want to connect with this audience, the pros, the
cons, the do’s, the don’ts, and how you measure success in a meaningful way.
Exactly what Fiona said. And Corey it’s been amazing to kind of meet the man
behind the magic as I called you. Did you see what I did there? On a T shirt?
Are you any good at card tricks, or just dance?

COREY BAKER 31:41

I’m a proper kind of magician, I like the sort of like big boxes and, you know,
lots of colourful camp, hankerchiefs, card tricks, there’s a little bit too much
technique in there. And just like my dance, I was more ‘show’ than ‘technique’.

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 32:00

And those kind of magic tricks don’t work on a podcast,

COREY BAKER 32:03

They do not.

CLARE FREEMAN, PODCAST PRODUCER 32:07

If you would like to find out more about Corey’s work….Corey do you just want to
reel off the names of the projects? We’ll put a link to the website, but just
reel off the names of the projects that you’ve just done, so people can go check
those out.

COREY BAKER 32:20

Sure. So the very first Space commission was ‘Antarctica; the First Dance‘,
which is a dance film, it’s four minutes long to a London Grammar track shot
completely in Antarctica. Some films that we’ve released this year – ‘Spaghetti
Junction‘, filmed in Birmingham, with Hong Kong Ballet and Birmingham Royal
Ballet, under the famous spaghetti junction, two minutes, it was for World Earth
Day, ‘Lying Together‘ another film to FKJ, the band, flippin great band, go
check them out, filmed completely on skyscrapers in Hong Kong, for the United
Nations Environmental Programs, World Environment Day with the BBC. And then of
course, when we haven’t stopped talking about it Swan Lake Bath Ballet, which
you should definitely go and watch. And let’s get that out to 8 million views,
shall we?

CLARE FREEMAN, PODCAST PRODUCER 33:03

And we would also like you to follow and subscribe to this podcast. If you can,
do click on those links. So you get notified the moment that our next few
episodes and series are released. And if you are interested in finding out more
about The Space about them, about us, then check out thespace.org where you’ll
find information about latest commissioning rounds, webinars, blogs, links to
watch or sample some of the work that The Space has already supported. Fiona are
you off to have a bath now or you just take a shower?

FIONA MORRIS, CREATIVE DIRECTOR OF THE SPACE 33:30

a shower I need inspiration. So no bath – shower!

CLARE FREEMAN, PODCAST PRODUCER 33:40

I feel like I never have to have bath envy ever again. Thank you, Corey. Thank
you to everyone. We’ll be back for another episode.

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