Q& A

Sunday Tasmanian - Tassie Living - - Television - with MATT KING

MATT King had a his­tory of play­ing cra­zies ( re­mem­ber Peep Show, Skins, Rock­n­Rolla ) and seemed an un­likely choice to be Clau­dia Kar­van’s soul mate Henry Mal­let in Spir­ited – par­tic­u­larly when his on-screen love was once wed to hot­tie Rodger Corser. King’s back for an­other sea­son and spoke to Dianne But­ler about the joy and pain of play­ing a ghost. Q. Spir­ited is a great show . . . but some­times it’s so sad!

A. Def­i­nitely. Par­tic­u­larly by episode two. There are sev­eral sad episodes but that’s the re­ally sad one, I think, when Suzy ( Kar­van) just can’t see Henry. Q. Have you been a ro­man­tic lead in any­thing be­fore?

A. Never. Ever, ever, ever. I’ve done freaks and weirdos and drug-us­ing mu­sos – Henry’s all of that as well – but I’m never ever the ro­man­tic lead. It’s one of the main things that made me want to do this in the first place. It’s a rare op­por­tu­nity. It’s usu­ally the Rodger Corsers who get the gal. Q. And you also get to sing. Henry was in a punk band be­fore he died. Do you do your own singing?

A. I do, yeah. I’ve recorded a cou­ple of songs for this se­ries, se­ries one I did three songs . . . and I’ve recorded a cou­ple of bal­lads for this se­ries. I’m no singer but what you see is me. Q. Do you think there’ll be a third sea­son?

A. I re­ally, re­ally hope so. I put my hand up and said I will def­i­nitely come back for an­other se­ries. Jump at the chance . . . I just love the job. It’s my favourite job that I’ve done prob­a­bly. Q. You came to acting late.

A. Yeah, I did. I dreamed of be­ing an ac­tor as a child. I used to just ab­so­lutely love be­ing in school plays, dress­ing up, get­ting to be some­one else, then I kind of left school, ended up on build­ing sites, labour­ing for years, then I be­came a chef. I’d kind of for­got­ten all about it. But once I started to do stand-up, I started to see that was a good ap­pren­tice­ship to learn­ing the skills you needed as an ac­tor. It’s a re­ally good place to learn per­for­mance and los­ing in­hi­bi­tions and be­ing brave and all the things I think you need to be an ac­tor. I don’t think you need to go to drama school; I think you need to do stand-up.

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