Invisible Boys is a runaway success, thanks to director Nick Verso, who knows a thing or two about teenage television dramas.
Congratulations on Invisible Boys reaching the No.1 spot on Stan! How has the reaction been?
It’s been lovely, with a lot of people reaching out on social media. We had a beautiful premiere, and everyone has had an open heart toward this show, which is the most positive thing to have.
Bringing a story, particularly a novel, to the screen is no mean feat. How did you visualise and prepare?
I operate very instinctively and emotionally. The book has beautiful characters that everyone responds to. It’s connected with audiences, but there’s not much of a plot, which is, in a way, great for an adaptation because you can fashion your own. It gave us a chance to go a little deeper and explore and add things, such as the marriage plebiscite, which came out of logistics first, and the politics came second. I was developing all this in 2020 when the COVID lockdown began and writers were wondering, “Do we have to add masks into TV? Are crowd scenes now gone?
Director, Writer and Producer Nicholas Verso, Invisible Boys – Photograph by David Dare Parker
So, you were able to shift the timeline?
I optioned the book and then thought of setting the show before Covid, to avoid all that and draw upon the marriage plebiscite, and the lingering feelings we all felt. That became very interesting, and the blood started boiling – that’s a good time to start writing!
What did you think of the cast?
Our casting director, Marianne Jade, has been with me all through my career. She knows I like to work with new talent rather than the usual suspects, and it was interesting to find four incredible actors. I wrote the show’s version of Matt for Joe Klocek, whom I’d worked with before and love dearly. I knew he would bring something special to the role. Zach Blampied, who plays Hammer, came through one of our writers, Declan Greene, who knew him through theatre. Our concern was finding someone who could act and pull off football moves, and Zach nailed it. Aydan Calafiore, we all know from The Voice, but the question was, can he act? And he can – incredibly well. I was amazed at his bravery and courage. He’s so fearless, especially in episode two, where Zeke’s quite exposed, and he dived right in. And then there’s beautiful Joseph Zada as Charlie. We saw so many great boys for that role, but Joseph had an unpredictability that I loved.
“I get frustrated when I watch sex scenes and they don’t show the accuracy.”
Declan Greene has featured in DNA, especially with his early work with Sisters Grimm.
That’s how we met. We came up through theatre together – we were theatre brats. I did Audio Visual design on some of his early plays like Rageboy and A Black Joy. Declan is such an incredible writer and has a great eye for character and a wicked sense of humour! He was exactly the right tone I wanted for the show. All the writers were, including Allan Clarke and Enoch Mailangi. I was lucky to have such a great team.
Zach Blampied as HAMMER, Aydan Calafiore as ZEKE CALOGERO, Director, Writer and Producer Nicholas Verso, Joseph Zada as CHARLIE ROTH & Joe Klocek as MATT JONES, Invisible Boys – Photograph by David Dare Parker
Invisible Boys is not the first teen drama you’ve directed. Others include Swift Street, Itch, The Unlisted, Nowhere Boys, Grace Beside Me and Snake Tales. How did you find that genre, or did it find you?
The teen audience is so lovely to create for, because they’re so engaged and responsive. When we think back to that time in our lives, it all felt so deep and high stakes. Our hearts were opening and feeling these emotions for the first time. It’s a lovely space to work in, and Australia makes some of the best kids’ TV in the world. You get a chance to do things you can’t normally do in drama. In Nowhere Boys, we created worlds with visual effects and great sequences, and in Crazy Fun Park, I got to build a theme park!
“I’ve had responses particularly around episode nine, where people have said, “I’d love my dad to watch this”.
What was your first big break?
It feels more like a string of breaks. To me, there’s always another mountain to climb. I did a short film called The Last Time I Saw Richard, and I feel that was the first thing I made that truly ‘showed’ me. In that, I nailed my voice. There was a wonderful queerness to it, and my mixing horror with emotion was very well received. In many ways, it’s still the thing I’m most proud of. That led to Boys in the Trees, which went to the Venice Film Festival, and you never forget an experience like that. I like to keep building on each project. Keep setting sail for your next destination!
What do you think of Holden Sheppard’s overall story? Is it something you relate to?
Absolutely. I think the strength of it lies in the four archetype characters, with four entry points for people. That gives enough space for the audience to project themselves into the story. We’re quite faithful to the first couple of episodes, and then the writers explored the characters on their own terms. Each writer stepped into the character’s shoes with their own experiences. As a result, the characters started to morph and shift, and we went down slightly different paths, which was exciting.
Nick Verso with the cast at the premiere of Invisible Boys
And that brought about a multilayer of themes?
Yes, in our research, we began finding little breadcrumbs such as the canola farmers’ issue and the impact behind bees. It’s a love book, and we didn’t want to deviate too much, but we also wanted to bring something new. I write very close to the bone and wanted to bring in my own experiences, and so did the other writers. Even the actors were similar with their own little Easter eggs, like wearing personal jewellery or hiding things in the set to make it their own. They had their secrets about what they were expressing, and it was beautiful to watch.
There’s the whole component of sex and sexuality too, which was daring – cum shots on the mirror!
We wanted to be messy (Laughs). I get frustrated when I watch sex scenes and they don’t show the accuracy. As a teenager when you’re finding your way, you’re looking for clues, and look to film and porn to guide you, because you’re not going to ask your parents. Then, when you’re in the reality of the moment, it’s like, “Oh, no one warned me this would happen!” You shouldn’t have to feel embarrassed. It’s all natural, and we went with what happens – boys are messy creatures! I was also looking for the humour where I could, because life can be ridiculous at times.
“The opening shot of Invisible Boys is a direct homage to the opening of Fire Walk with Me.”
In terms of audiences, do you expect straight people to relate as well – especially parents?
I very much hope so. I didn’t want to only preach to the choir. Even though the piece can be aggressive, volatile and firm in its stance, I still want it to reach right across. I didn’t want to make something for one subculture or minority. Pia Miranda, who plays Zeke’s mum, is so brilliant and loved. I’m hoping her fan base will come across. They might not like what they see, but if they go on the journey, for me, that’s a win. I feel that in society, we’ve all chosen our team and have our guard up, but it would be lovely to keep a conversation open. I’ve had responses particularly around episode nine, where people have said, “I’d love my dad to watch this”. I’d love for straight men to watch that episode because it has nothing to do with sexuality. It’s about masculinity, mental health and communication between a father and son. My work has always existed in an in between space and never fully queer.
Will we be seeing a continuation of the series?
Being number one is a step in the right direction! I’ve worked on enough shows to know to always leave something in the tank. I’m never not thinking ahead, but TV is so brutal. You have all these brilliant shows that get cancelled after one season, so you want a show to feel complete and whole, in case it doesn’t continue. But you also don’t want it so closed that it suddenly feels like ripping it open again for a second season. But I know what season two will be and what it explores. There’s a lot more room in the characters, but we’ll have to wait and see. I’m at the mercy of the gods!
Who in the industry inspires you?
When I watched episode one of Invisible Boys at the premiere, I realised how much I admire David Lynch, who had recently passed away. He changed my life. I discovered Twin Peaks as a teenager, and the opening shot of Invisible Boys is a direct homage to the opening of Fire Walk with Me, which is my favourite all-time film. I’m standing on the shoulders of queer giants, and I wanted to honour them. I remember in high school, my friends were in shock because they saw a film with two guys kissing and were appalled. It was Edward II by Derek Jarman. I discovered his work and then Gregg Araki’s Mysterious Skin and Ana Kokkinos’s Head On. They were my two go-tos for Invisible Boys to have that level of excellence and rawness. As a teenager, the work of Araki, Kokkinos and Jarman terrified me with what I was stepping into. Especially for someone learning about their sexuality. In the show, I also pay homage to Neil Armfield with Holding The Man and Sumner Locke Elliott’s Careful He Might Hear You in Hammer’s plot line.
Nick Verso
Invisible Boys also had a great soundtrack. You even managed to get Kylie.
I had to! I have an incredible soundtrack supervision team called Electric Dreams, and they know how much I love a needle drop. It’s easier than you think, but sometimes you need to get personal permission. For instance, when I had The Beautiful People in The Boys in the Trees, I had to write to Marilyn Manson personally. His work has often been misconstrued, like when he was blamed for Columbine. For Invisible Boys, I wrote to Nick Cave to use two of his songs. Stranger Than Kindness was written by Anita Lane, who lived next door to me. She passed away during COVID, and I wanted to honour her. It was very meaningful to me as she was such a light to people. Any song I put in a show has some weight behind it, like This Boy’s In Love by the Presets was specifically included.
What’s next up for you?
Hopefully, a film called The Surface of Venus, which is about the Scott Johnson murder in the Sydney gay-hate murders of the 1980s and 1990s. It’s currently going through financing and casting. I researched it for two years before I could even pick up my pen. There were thousands of pages of court transcripts to read, but the script is ready, and there’s a great team behind it. Over two years, I got to know Scott’s brother Steve and his family.
“For Invisible Boys I wrote to Nick Cave to use two of his songs.”
You also directed an episode of In Our Blood. How did you find that experience?
It was wonderful because I’ve known Bill Bowtell for many years. He’s been incredibly kind to me and so many of us in the gay community. I couldn’t believe it when I got the call asking if I was interested. The chance to tell Bill’s story and honour everything he did for our community! The privileges I live with are due to him. It was also celebrating the queer women, because they don’t always get honoured for the incredible work they did at that time. The cast were incredible. Tim Draxl is now a dear friend. It was an honour to play a small piece in the telling of that history.
Invisible Boys is steaming now on Stan
Follow Nick on Instagram @verseyverse
