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Podcast Season 2: Episode 4 – The Studio of the Fostered Heroes

Redcar and Cleveland Council’s Wendy Medd and Blue Cabin Associate Artist, Nic Golightly, explain how they supported members of The Studio of the Fostered Heroes

A group of care-experienced children and young people aged between eight and 21 from Redcar and Cleveland in North East England are creating a short film to explain what it’s like to be in care.

Hear from Redcar and Cleveland Council’s Wendy Medd and Blue Cabin Associate Artist, Nic Golightly, who explain how they supported members of The Studio of the Fostered Heroes to share their experiences in a safe and creative environment.

Find out more about The Studio of the Fostered Heroes at https://wearebluecabin.com/project/the-studio-of-the-fostered-heroes/

You can catch up with all episodes so far at wearebluecabin.com/podcast, or wherever you get your podcasts.

Produced and mixed by Will Sadler of Anya Media.

Transcript

Please note that this transcript is auto-generated and therefore will contain some errors and natural pauses in conversation.

[00:00:00] DAWN: Welcome to the creative life story podcast, where we explore how a creative approach to life story work can help children and young people who are in care, make sense of their past and build a brighter future. A new model for life story work is being rolled out in the northeast of England. And this podcast shares the latest learning and investigates how it could help improve the lives of care experienced children and young people across the country.

[00:00:41] My name is Dawn Williams, and I am an associate at Blue Cabin, one of the partners on this exciting work in the region. Now, in our last two podcasts, we have had international guests from Australia. and regional guests from Leeds, but today we are much closer to home in Redcar and we are going to be hearing about a film which is being created by a group of children in care who have named themselves the Studio of the Fostered Heroes.

[00:01:15] I am absolutely delighted to welcome to our podcast studio two guests who have been at the heart of this work. Wendy Med is Service Manager for Children in Our Care, Leaving Care and the Fostered Service for Redcar and Cleveland Council and as part of her role she supports the Children in Care Council.

[00:01:37] And Nick Golightly is a graphic designer and visual artist based in Middlesbrough and also an associate artist for Blue Cabin. A really warm welcome to you both this snowy morning. Welcome. Hi Dawn. Thank you. Wendy, I wondered if you would like to start off and share with us a bit about your work in Redcar and Cleveland and also maybe a bit about the role of a children and care council.

[00:02:06] WENDY: I’ll start with the latter. So, the role of the, uh, uh, Children in Care Council is, um, a group of young people come together who are care experienced or are leaving care, or have left care, and it’s an opportunity for them to spend, to, to, to share care. And their own experiences, and those are the experiences that only that group, um, have experienced being in care, having a disrupted home life, coming into local authority care, um, having a social worker, maybe having placement, placement moves.

[00:02:45] So it’s an opportunity that these young people can come together and share those experiences. The majority of the children. Um, uh, don’t, uh, don’t understand. The majority of children in Redcrone Cleveland don’t understand what it’s like to be a child in care. But our children in care do. So it’s a, it’s a, uh, opportunity where they get together on a monthly basis.

[00:03:10] Um, and, um, To talk about their experiences and we channel that in a, in a very, very positive way. So we channel that in a way of how can we educate, how can we tell important people who are charged with making decisions about what it’s like to be a child in care? What you would like, how we are, how the officers who serve you, how can we do it better?

[00:03:34] And and also very importantly, our elected members, those members who have been, um, appointed, um, to serve the council and to be corporate parents to these young people. So we meet on a monthly basis. We have a number of gender items, um, and we have a group of five or six young people who age range from 10 years old to 18.

[00:04:00] DAWN: So quite a big age range then, and so a way of hearing children’s voices, but at all sorts of different levels. So other children in the borough, but also strategic policy makers as well. Absolutely. Yeah. Wow. And Nick, so would you like to say a bit about. How you as an artist fitted into this work? Were you, were you given a brief?

[00:04:30] How were you invited in to work with this group of children and young people?

[00:04:36] NIC: The call came from, um, Blue Cabin as it ordinarily does, like on the Batman phone, um, lighting the scene. to say that Redcar and Cleveland Council are interested in sort of showcasing the stories of young people who are care experienced in order to inform their corporate parents, their peers and others that might not understand what it is to be in care.

[00:05:00] And so, um, I was in right at the beginning, the initial meetings about what can this be? What can it look like? Um, previously with Blue Cabin, I had made some films, so, um, some hand drawn films as part of my work, um, along with Filmmaker, and those had gone down a storm, and it was, as an artist, that was something that I was interested in exploring further with young people, that moving image, that it’s not just, in terms of a graphic designer as well, something not being static, but something that captures somebody’s attention and informs them in a creative way.

[00:05:36] And so I brought that to the table and through conversations. going forward. We then shaped together a project. Um, the funding wasn’t even in place at this point. It was a kind of Red Crane Cleveland Council came to Blue Cabin and said, we want to do something with you. We have the young people. We have the, the environment in which this can happen.

[00:05:58] What’s the magic that can happen? Which is an amazing brief to have really, isn’t it? That we want an outcome that showcases these young people, gives them a voice, and also does something brilliant in terms of sharing that narrative, so that they feel empowered by telling that story. So, yeah, I was involved right from the get go really, and then to find out that Red Cross and Cleveland Council were able to fund this, that Blue Cabin could put together a program that works, a project that worked with young people, um, the virtual school said that they would like to be involved and come along, Wendy’s been in all of the sessions, so it’s not just been us kind of asking questions of these young people and sort of going, tell us this, tell us this, tell us this, and we’ll make a film.

[00:06:40] It’s very much been a collaborative approach right from the start. From Redcar’s position, really, meeting Blue Cabin in the middle, um, and so that’s why, and that, in spite, that has a trickle down effect, doesn’t it, really? Because that meant that it felt like a really collaborative space to be in, and the young people wanted to call themselves a studio, which says everything, doesn’t it?

[00:07:02] And from there on out, we then honoured that.

[00:07:04] DAWN: What you’re describing is a really amazing collaborative process. Wendy, I wonder what that was like for you. Are you an artist or were you bringing your artistic skills to the table? What was that like in terms of building that collaboration? I’m afraid

[00:07:19] WENDY: I’m not an artist,

[00:07:19] DAWN: as,

[00:07:20] WENDY: as, as Nick and the young people will, will tell you.

[00:07:24] I think there was a lot of fun at PORC at, uh, at my, uh, uh, non artist skills. I think it’s important to role

[00:07:31] DAWN: model things though, Wendy. Your drawings. Absolutely.

[00:07:36] WENDY: Absolutely. And I think we quickly found out our, uh, young people’s artistic skills were far advanced than mine. And I think Nick, Nick touches on something.

[00:07:46] Um, really important and just in terms of the beginning of the collaboration, which was really important that togetherness, she describes that togetherness. She described that will. So what that did is provide a framework. It provided a platform for us to go to our young people who again, this was a new venture for them, so it provided we were confident.

[00:08:10] In what we wanted to deliver and we were confident in being able to deliver that to them in a way that wouldn’t be prescriptive. It wasn’t about we’re going to tell you what we want you to do. This is an opportunity for you to, um, we, we, we’ll see how it develops and that’s, that’s what we did. That’s some, that’s some ask.

[00:08:33] So there’s a lot of trust in that. Nick describes how that planning stage is really essential for us as a, as a, as a local authority, as a team to get ourselves together to have that shared vision. And I think that’s been probably one of the most important factors because that joint vision has been, um, it’s been embedded in the project and the young people have carried that on.

[00:08:57] And I think that’s been really important. Possibly one of the, um, the most remarkable things of the, of the old project so far for me.

[00:09:06] NIC: And I think sometimes there’s that perspective, the perception of avoid risk, avoid asking the difficult questions with these young people. What, but what Blue Cabin and Redcar and Cleveland Council have provided is a safe space to ask those questions and to run the risk almost in a safe way of sort of saying, What do you think to those young people?

[00:09:27] And that’s great, isn’t it?

[00:09:29] DAWN: Really lovely to hear, um, how a healthy partnership between strategic partners is, is cementing the work before we even get into the work with the, into a room with the young people. So, Nick, what were the sort of considerations that you thought about in the design of the workshops?

[00:09:54] What were some of the things that you did in those early sessions with the young people?

[00:09:58] NIC: What I really considered was, you know, we had a kind of a loose design brief. We knew the parameters of what we were create, potentially creating. Um, we knew that we had, um, I think at this point it was maybe seven sessions ahead of Um, with me, solely me, before we brought in a filmmaker and a script writer.

[00:10:20] Um, and so what I utilized those sessions, what I saw them, saw them as were sort of an establishment of trust, really, amongst us all, and not to go booling in there with, we’re making a film, let’s do it now, but really taking fairy steps. And I think I’ve learned that from my all about me creative life story work with blue cabin.

[00:10:42] I utilized some of the, um, session kind of plans and the ways that I work and engage young people. And so really we, we kind of, We took it quite slowly. We did some doodle jams. We, um, wrote little envelopes, which I’ve still got, which we’ve to open yet, of what they expect from these sessions. So we’ll, we’ll open those when the film is, is finished and we’ll reflect back on what they were expecting.

[00:11:11] So what I did was I kind of brought together all that previous learning and training as a Blue Cabin Associate Artist and a, as a, and a, freelance practitioner and kind of tentatively worked with these young people. We made sure that we talked about studio rules, that we talked about our expectations of the space and each other.

[00:11:30] We talked about who would be in the room. Um, so there was, um, Rick, Rebecca Rogers from, um, Redcar and Cleveland council. Um, and, um, Who works quite closely with the, the, um, Children in Care Council. We had, um, different staff from the virtual schools coming into each of the sessions. So there was a bit of a turnover and a bit of a change there.

[00:11:53] And then we had Wendy come into the sessions as well. And so what I was, and then we had someone from Tuned In in Redcar. And so what I was really mindful of doing is sort of making that space safe so that the young people knew that when we ask questions of them regarding their experiences and their life story, that it wasn’t in any way sort of abrupt or, you know.

[00:12:17] But actually we’d built towards that. So we did that through creative activities. We threw paper aeroplanes. We, um, wrote books of what, what questions they would like to be asked. Or what questions they don’t like being asked as care experienced young people. And it was really an open and honest kind of discussion.

[00:12:34] Um, So that was quite a nice starting point because it meant that when the scriptwriter and the filmmaker, Laura and Ruth, came in and worked with us, we were established as a group and they had that element of trust.

[00:12:46] DAWN: And Wendy, that, that lovely description of, um, Collaboration and, uh, relationship building, um, feels perhaps a different way to that you were usually working.

[00:13:02] What was the, what was the role that you were playing in those sessions to, uh, Support the work of Nick and support the young people in the session.

[00:13:13] WENDY: So, so I went into this checking out, I guess, if you, if, if you like. So I, I, I was going in there with a bit of a, a bit of a temperature check. How does it feel for our young people?

[00:13:23] These are, you know, we, we’re very privileged to work with these young people and just to, to, to, and obviously it was the, there was a, from my perspective, there was a, there was a, um, I had a couple of apps on. One was, but it was around the young people, what their experiences were like, it was almost quite aware that they might be really putting themselves out there in terms of sharing information and just to make sure that that was a comfortable place to do that and to make sure that that had been, as Nick said, the ground rules, the contract, the verbal contract or You know, I’d been we don’t we all understood what that was that that was and how young people had that trust and relationship.

[00:14:11] So for me, it was, it was about making sure that they had some really safe space. We were going into their lives, their experiences. If, if at that point in time we weren’t there, but for me, it was if we get into that safe space, is it safe for these young people to be sharing their experiences? And it was almost to, to, to, to be there, I guess, as in my role as a corporate parent to make sure my children were sort of safe.

[00:14:42] NIC: And Wendy also ensured that we were, um, experimental in the drinks that we drank. So she brought into the, she brought into the, the four kind of mixing orange juice and blackcurrant juice to make a nice punch. I think that was quite essential as well, Wendy, wasn’t it?

[00:14:59] WENDY: That, that, that from my from my grandma experience.

[00:15:01] These young people hadn’t, hadn’t experienced a mixture of black, current and orange youth before. And I think that was quite vital. That was quite vital to building the trust and relationship. And actually, I think, um, Letting our young people know that there was, there was going to be a fun element to it.

[00:15:19] So it was almost, um, it was relaxed. It was coming in, I guess, as a, coming in as a, as a sort of a manager. It was, it was just making sure that all our, you know, we were all sort of on the same page. We’re all comfortable with one another and we could be as silly as we want, but you found where we had a piece of work to do as well.

[00:15:37] But

[00:15:37] DAWN: I think that’s a really important point that you make there. I know we’re laughing, but about, um, about being silly and about some of the other adults in the room, you know, throwing those paper aeroplanes or drinking the, drinking the punch cocktail that’s being created. It’s really, really important because that’s, that’s about setting, setting the boundaries and the rules of the way the group will work together as well.

[00:16:05] Will: This is a very short break to remind you that this show is available to listen to on Apple Podcasts, Google Podcasts, Spotify. Audible and many other platforms search creative life story work wherever you get your podcasts Okay back to the show

[00:16:25] DAWN: nick. What was some of the other um, What were some of the other things that you remember from those sessions sparkly moments or there might have been more challenging moments from?

[00:16:34] the uh from the studio sessions with the With the with the young people

[00:16:40] NIC: so I suppose I always start a project Um, with a real awareness of who is in the room, who the young people are and how they might respond. And you’re all sort of strangers to each other in that initial session. Um, but as the weeks went by, it really became apparent that we had seven individual young people, obviously, with very different experiences, very different skill sets.

[00:17:03] From, um, a 10 year old who was very active and would like to move around the room and ask what needed doing next before we’d even done the first activity, um, to, um, older young people, young adults who were sort of leaving care or in supported accommodation, who were coming from work and, you know, talking about their nails that they’d had done.

[00:17:23] Um, but really it was kind of making space to say, Those are great nuggets of information. Let’s all work together in this space. Right, these are the materials we’ve got. Today we’re going to do some doodling, or today we’re going to do some writing. What kind of film would you like to produce? Here’s some techniques.

[00:17:42] So we did a bit of stop frame animation of them writing. So I set up a sort of rig, so a lighting rig and an overhead camera so that they could see how their work could move across the screen. Um, And then we brought in, um, Ruth Johnson and Laura Degnan. So Ruth’s a, um, scriptwriter, theatre producer, director.

[00:18:06] And Laura Degnan is a filmmaker and writer as well in her own right. And so when they came on board, we had all of these different bits. So we had the paper aeroplanes, we had our, um, rules of our studio. We made, um, selfie spoons that represented ourselves. So we thought about self. And then we’d also made, um, our houses and the people who lived within those houses.

[00:18:33] And we’d mapped out where we’d all been through our lifetime. So we’d sort of thought about, um, the grounds in which we might kind of, um, plant the seeds of what this film would then be.

[00:18:45] DAWN: Wendy, what, would you like to say a bit, are you able to say a bit about some of the, uh, some of the, the messages that those young people wanted to share with other children in Redcar and council members and other strategic policy makers?

[00:19:04] What were some of the messages that they wanted?

[00:19:08] WENDY: One of the, one of the messages was about, was around, this is my space, or this is my experience, this is my private life. Um, and some of the difficulties that, um, either people will ask them, um, about their experience to child in care clumsily, or not. ask them at all.

[00:19:29] So it was almost about, um, how confusing that must be for our young people in terms of having a voice.

[00:19:35] DAWN: Nick, would you like to say, I’m really quite interested in, um, you’ve mentioned lots of almost like jigsaw pieces in the bringing together of, of this film. Would you like to say something about the editing process and how that was navigated with the group?

[00:19:53] NIC: When we’d made all these visuals and Laura and Ruth joined us. We spoke about how it would look visually. So did they want to make like a, a live action, um, film? So it’s, you know, a, a sort of a normal, as you’d say, sort of a normal film that you might see on the telly, or did they want to make something that was stop frame and was, they wouldn’t create all the props for it.

[00:20:17] And so we looked at some examples of different working methods, um, And they chose stop frame. But what was really key in that was they wanted to have, um, play a part in all of the aspects of it. So they wanted to make all of the sort of set up and all of the props, but then they also wanted, were quite interested when we spoke about it, making foley sounds.

[00:20:41] So the crunching of footsteps, the swirling of the See the birds, the seagulls in the sky, all of those. And so what they then got an insight into is the process of creating all of those things. So they made all of the props. They made the backdrop backdrops and really got an insight into what it is to be an artist, a filmmaker, a director, that the script was written and then rewritten.

[00:21:03] And we did about four read throughs that were all recorded. And then from that, we’ve then. pieced those, like you said, those jigsaw pieces together, um, and made little snippets of the film as we’ve gone along. So recently, I think, was it our last session, Wendy, when Linda came along, who’s head of quality?

[00:21:20] Yes, it was, yeah. Yeah. And that was the first time that Linda had come to a session, um, since I’d met her sort of online, virtually. And we showcased some of the work that we’d done, bringing in the sound and also the visuals that we’d made, which is a slow process, um, but attention to detail is really key.

[00:21:40] And we turned the lights on after showing it, you know, this sort of Three second clip or something and I don’t know whether Linda would mind me saying, but she was dabbing her eyes because It was really quite an emotional moment because she’d been there right at the beginning and she could see exactly how the young people had then developed this thing that they were really proud of.

[00:22:00] You know, they talked about it in the, um, what’s the meeting called, Wendy, where they, um, the young people presented what they were doing sort of in the middle of the project. So in terms of the, in terms of the corporate parenting meeting? That’s it, yeah. Yeah, so Linda had had a bit of an insight into it at that point, um, we’d put, I’d put a presentation together with the young people and they presented, um, to the corporate parent board and then, so it was quite new to Linda to see what we’d produced and obviously it had, it triggered quite an emotional response, like of pride as well and then she turned to one of the young people in the group and said, this has come from you.

[00:22:38] This has come from your comment. This has come from one sentence that you said about people not understanding. She did use the words, it’s your fault, but in a kind way. Um, and that was a really beautiful moment as in that thread. I know we talk about that quite a lot in Blue Cabin, don’t we? That sort of golden thread.

[00:22:56] Just, you know, it made perfect sense of what was going on. So we’re currently in the, Laura and I are currently in the studio stage of putting all these bits and pieces together because it does take quite a lot of time. But the young people’s voices will be in the film. We did set up a studio setup in tuned in, in red car and had them actually physically in the film, so their hands, um, are in there and we’ve got photographs of them sort of like running around within the film.

[00:23:24] So. Totally in it. It’s 100 percent theirs.

[00:23:28] DAWN: Lovely there to give the example almost of your, um, the little snippets, um, work in progress, being shown back at another council meeting. So even halfway through your project, you’re threading in that voice is being, um, heard in other spaces as well. Without even, you know, The film being made, it’s having an impact, isn’t it?

[00:23:53] WENDY: And on that Dawn, I know that we’ve spoke, the young people did talk at the Corporate Parenting Board about the piece of work, um, that they’re doing, and we had a Corporate Parenting Board, uh, just last week, and members are really excited about this. Uh, project. Again, it was asked, okay, when are we going to see it?

[00:24:15] Um, really excited. And as Nick said, they’re not going to be disappointed. I know Linda came, um, not being involved in it. So she came from an outside perspective, but just to have been privileged to hearing some of the young people’s stories were done in a, done in a really, really informative way. Um, I think we can all get emotional about children in care, but this has been done in a way that’s, um, very upbeat, very informative, and very outcome focused as well.

[00:24:46] DAWN: And so, Wendy, just on that, I wonder what are your Your hopes when the film is, um, is, is finished, the final edits have been done. What ambitions do you have for that film? Where it will be used, who will see it? What, what do you dream?

[00:25:05] WENDY: Okay. So, so the, so the film, there’s, there’s two aspects for me is it, one is the film and one is the young people, they’re both combined, but just picking up that point about the film, that film for me is, is.

[00:25:17] Uh, will be presented to corporate parents in the first instance and it, it will, they will, I think, stand in the shoes, if you like, and we’ve done some, some stuff around in the film, um, about, about, about, about shoes and feet and it’s about having, I’m confident that our elected members, councillors, will be able to stand in the shoes of our young people and really understand what it feels like To be, um, to, to, to, to be a child in care, and what’s important to them, and I guess how, as a corporate parent, um, we should be, we should be sort of responding to them, so that, that, so that would be the first, that’s going to be the first place it’s going to land.

[00:25:58] I think then secondly, that then has to go into the wider, um, Uh, why the council in terms of, um, the, the, um, the senior management team in terms of the, uh, chief executive in terms of, um, supporting the message that no matter where you are, whether you are a bin collector, whether you are cutting grass, whether you were the chief executive of the organization, you are a corporate parent first and foremost.

[00:26:24] And these are the young people you serve. And I, uh, I have open ambition that, that will be rolled out. I would love it to be rolled out at, um, new starter events. When, um, when, when we have, uh, new people starting, the local authority to say, Redcliffe and Cleveland are a child, uh, child centered organization.

[00:26:44] We take our responsibilities. Uh, to children in care very seriously and this is what we want you to know about our, our, our children and their experiences and what are you going to do? What are you going to, what’s your part? What part are you going to play in that? No matter what role you are in the organization, what part are you going to play?

[00:27:04] So that for me, Is a, is going to be, is sort of profound in terms of the longer lasting, maybe years to come, local authority strategic plan. But the other thing, I’ll sort of, um, sort of capture, keep hold of, take forward, is the relationships that have been built through the project. It’s the, It’s been a privilege to see some of the young people at the age, at their age and, and development and how they’ve actually moved in terms of confidence, being part of this piece of, piece of work.

[00:27:39] And now they’re a group and they’ve had an experience that, that, that. Nobody will ever be able to take away that experience will stay with them. Um, Lifelong they’re going to produce a piece of work They’ve opened into the shed their experiences and uh, uh, you know in a venue some of them Had some similar experiences some different experiences, but they’ve got a common goal And for me for the obvious a group going forward Those positive heroes Um, uh, sort of the blueprint to take it forward as well.

[00:28:16] So that’s how, uh, profound the impact has been for me, both on a strategic and a, and a child centered, um, point of view.

[00:28:25] DAWN: Goodness, what an important film. What an important film that’s being made. And Nick, um, for the, for the film and for some of the other films, Other ways that you might use this work, what are your hopes and ambitions, uh, as an artist for the, for the work that you’ve created with these other young artists?

[00:28:47] What are your dreams where it might fly to?

[00:28:50] NIC: Well, it’s amazing to be in a space with young people who have, like I said, lots of different skills that they bring to the table. So we’ve got, we’ve got young illustrators there who’ve got amazing, amazing skills. Um, who’ve. Who’ve enhanced this, this film far, you know, in a far superior way than I could have sat in a room doing it on my own.

[00:29:10] And so, um, What we’ve done is we’ve created a visual that kind of honors that, but looks like a studio. So it is, it’s, you know, people are stepping into our shoes, but also our studio. And they’re taking a journey on, uh, along sort of a path of adventure that we’ve been on. So it, it’s It’s visually, it makes sense to the young people in terms of the materials we’ve used, how we’ve set a scene that has got different bits and pieces that we’ve made in there.

[00:29:38] It’s quite playful, but also what it does because of the method of making it. You know, when you make a stop frame animation, each frame, like a film is, each frame is a photograph. And so what we’ve got there is we’ve got hundreds upon thousands of photographs, but that then Which interests me as a graphic designer because they’re all automatically visuals that can live another life.

[00:30:01] So that can become, um, posters, an ad campaign, whatever the council wants to then envisage out of that. Which is great because it means it’s not just a standalone moving image piece. It’s something that kind of has a longevity to it and a life outside of that. And that means that we can reach other people and we can inform other people.

[00:30:21] about the work that we’ve done and these young people’s voices. I also think that there’s snippets within there, you know, it’s a five minute film, which is quite long, but also there’s kind of five little films in there. So at one point, the young people kind of got, went off script, didn’t they, Wendy? We asked them some questions, the one young person just said, never.

[00:30:43] One young person whose voice has been quite quiet from the beginning, not necessarily being heard in the space, attended every session, so creative, so beautifully eloquent when they do speak. Suddenly, within the script readout, their voice just boomed out from nowhere, talking about their experience, and where they’ve been, and where they live, and who looks after them, and that they are loved.

[00:31:06] And suddenly it was like, whoa, hang on, this isn’t This is what we hoped for, but this isn’t how This is such an unexpected surprise. And we all sat there. I think afterwards there was a round of applause, wasn’t there, Wendy? Because we were just like, Oh my You know when the, the hairs on the back of your arms just stand on end and you’re like, Oh my God, like what?

[00:31:26] Like, this is amazing! They so get this, and they so want to say their bit. Um, and so, I think it’s, um The film’s one thing, but actually there’s so much other stuff surrounding that, um, that has just, will just filtrate into so many other unseen, probably, aspects of those young people’s lives, but also all of ours as the staff that have worked on it, really, the team.

[00:31:53] DAWN: What’s the timeline that you’re working to now? When do, when do you think the public will be able to go onto Blue Cabin’s website and be able to see the film and the images that have been created?

[00:32:07] NIC: So, the original time frame, we would have been looking at about sort of December time to showcase this.

[00:32:12] But Um, I had a big operation, um, a few months ago and we were at a point with the film where we were sort of talking together about this is where we’re at but for it to be amazing we need more time. So what was brilliant was we could go back to Blue Cabin. And Redcurrant Cleveland Council and say, to make this the thing it should be, the brilliant thing it should be, we need more time.

[00:32:36] So, like I said before, we’re currently in the studio and making the thing, but it’s probably going to be the new year in which it’s launched with that kind of, Let’s bring some light to those darkened months, um, and celebrate 2023 and who these young people are in that, in that, in that year.

[00:32:53] DAWN: What an incredible conversation this morning.

[00:32:56] I absolutely can’t wait until the new year to, um, see the film and everything else that has been created. Wendy and Nick, thank you so much for, uh, sharing. Uh, the studio of the fostered hero story this morning, um, and maybe what we need to do in the new year is make another podcast with those young artists in the room as well.

[00:33:21] Maybe that’s something that we could look forward to doing. That would be, that would be, that would be like the full stop at the end of the film then, wouldn’t it?

[00:33:29] NIC: That’s it. And I think they’d totally be up for that. They’ll totally be up for that. Like. Wouldn’t they, Wendy? Yes,

[00:33:33] WENDY: it would be, it would be, it would be fun.

[00:33:36] It would be fun. I’m going to guarantee it would be fun.

[00:33:39] DAWN: Well, we will definitely do that. Look at us doing live planning in a podcast again. Okay.

[00:33:50] Whether you’re a foster carer, someone who has experience of the care system, or you work with children and young people, we hope this episode has given you an insight into how we could make life story work better for young people. You can find out more about our show at wearebluecabin. com forward slash podcast, and we’d really love to hear your thoughts.

[00:34:14] You can record and send a direct question or message to the show via the website, and you can tweet us at weareblue. Blue Cabin. If you’d like to listen to future episodes, remember to subscribe. Wherever it is, you usually get your podcasts. And if you’re using Apple Podcasts, please do leave us a review as it really helps others to find our show.

[00:34:37] Bye for now.

[00:34:40] Will: The theme music on this show is by Madder Fan, sourced from Pixabay and used under license. You’ve been listening to an Anya Media production for Blue Cabin. Find out more at anyamedia. net forward slash podcasts.

Produced and mixed by Will Sadler of Anya Media. You can subscribe wherever you get your podcasts by clicking one of the following links:

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