With the Covid-19 lockdown forcing Sydney arts precinct Carriageworks into voluntary administration, the embattled cultural sector is bracing for worse to come.

In Hearts and Bones, director Ben Lawrence explores masculinity and trauma through the story of a war photographer befriending a South Sudanese refugee. He speaks here about how his experience of parenthood has influenced his work, and the parallels between himself and his father, director Ray Lawrence. “Through the period of writing Hearts and Bones and being involved in Ghosthunter, the idea of being a father, what it means to raise a young boy in this era, all became fascinating to me.”

As the RSPCA reports a boom in pet adoptions during the coronavirus lockdown, the author and his partner have also welcomed a new addition to their household.

Inspired by the interactions between his young daughters, Joe Brumm created a one-minute pilot that would become the kids’ television juggernaut Bluey. Here, he discusses the challenges of writing the show and reminisces about the blue heelers of his childhood. “Each episode has a number of components to make it good … It’s not just about coming up with a funny game.”

As a co-creator of the new ABC series Stateless, Cate Blanchett hopes to challenge Australian attitudes towards asylum seekers, particularly as the climate crisis threatens to displace many more people. “The rhetoric of protection and the language has separated Australians from their humanity, and encouraged the public through a lack of transparency in information to tolerate or ignore human rights abuses that are going on offshore.”

The power of Vernon Ah Kee’s latest show, The Island, lies in its ability to spotlight the experiences of First Nations people and refugees as the antithesis of privileged white Australian culture.

Tommy Murphy’s Packer & Sons at Belvoir examines the inherited and inherent misbehaviour and barbarism of Australia’s best-known media dynasties.

A screen actor since he was 10 years old, Damon Herriman is all too aware of the precarities in his line of work. He speaks to Steve Dow about the ups and downs of his career and his new film, Judy and Punch. “It has a dark fairytale vibe. You can watch Judy and Punch as an allegory or a feminist revenge tale, or you could watch it as a really entertaining fairytale fable, or both.”

At age 60, dancer and choreographer Yang Liping is still going strong, determined to keep the cultural traditions of China’s ethnic minorities alive. She speaks about her 50-year career and her striking new version of Stravinsky’s Rite of Spring. “I want to fill the movement with traditional culture and art to make it more solid, more relevant, and more how I think contemporary dance should be.”