Talijah Blackman-Corowa is an actor, emerging filmmaker and proud Australian South Sea Islander and Toolooa woman from the Gurang Nation. After completing a Bachelor of Creative Arts in Film and Television, she landed her breakout role as Isabel Baker in the first season of Black Snow. It’s been a busy 2025 for Talijah, who began the year as an AACTA Festival Ambassador, and she can be currently seen as Ainslee in the ABC series Plum, short film See Saw and webseries The Death of Bunny Munro. She will next appear onscreen as Allira in the highly anticipated second season of Deadloch.
After starring in Black Snow, Talijah returned as a Screen Queensland-supported Director’s Attachment for the compelling second season, working alongside directors Sian Davies, Helena Brooks and Travis Fimmel who stepped behind the camera for his directorial debut. 
“Helena reminds me to notice and appreciate the small things and while everyone might be focused on the most obvious element in the room/scene, she’ll shift the spotlight to something overlooked and make it shine,” Talijah said.
“Travis is a remarkable artist. I learned so much from him. He taught me to be brave, to walk into the unknown and trust in my own powers. He reminded me that even as I learn from others, I shouldn’t lose my flame. Travis showed me how to be bold, kind, cheeky and unapologetically myself.”
Talijah had also previously been directed by Sian on season one and was given the opportunity to direct two scenes on her own while working with the accomplished director.
“Sian has a remarkable ability to read her actors individually. She can detect when an actor has lost tempo or tension—perhaps reacting too early or fading by the end—and she knows how to reignite that spark.”
“I directed two sequences in Sian’s block, and the complexity grew significantly. The first was a TikTok-style video which I helped cast and shot various takes unsupervised, working off notes Sian had given me. The second was more intricate—a flashback scene involving two child actors. This scene plays a key role in shaping Detective Cormack’s backstory and the audience’s emotional connection to him and contains an important clue for mystery. I handled casting and coordinated with the department head to ensure we had everything needed.”
Talijah’s acting background deeply influenced how she approached her newfound role. “I understand the vulnerability and preparation it takes to bring a character to life,” she said.
“It’s made me more attuned to the emotional needs of the performers. I know how vulnerable acting can be, so I strive to create a space where actors feel supported enough to dive in and take risks. Being an actor taught me how important it is to connect, to be present and to trust instincts—both mine and theirs.”
Talijah described the differences between acting and directing as a matter of scope and positioning, but still with the same destination in mind.
“As an actor I live inside the character—what they feel, what they want, how they move through the scene. It’s intimate and instinctual. But as a director, I walk next to the characters. I zoom out. I’m thinking about rhythm, tension, tone and how every element serves the story.”
In her time as a Director’s Attachment, Talijah had the opportunity to work closely on those elements, engaging with practitioners across lighting to production design, logistics, post-production and script. She picked up a plethora of lessons from across the departments, tapping into the wealth of knowledge that Queensland’s talented and experienced crew have accrued.
“The sound department’s advice was, ‘If you can’t get rid of it, then show it.’ If a kookaburra keeps laughing over dialogue, shoot B-roll of it. If a construction site is too loud, include it in the master. Make it part of the world,” she said
“The script supervisors taught me that by the time I get into the edit, I’ll have forgotten most of what happened on set. So, I need to communicate clearly with them on the day—where I’d like scenes to start or end, key takes, any specific intentions—so they can pass it on to the editor.”
“The lighting department reminded me that their job isn’t just to light, but also to shape shadow. They can place characters in the dark or the light for the storytelling effect.”
“The props team suggested rehearsing complex hand actions like a dance, especially if multiple takes or angles are needed. It helps with continuity and cuts.”
“Everyone on set operates differently, and that’s the beauty of it. As a director, it’s important to be aware of those differences and support your crew, because their strengths lie in their quirks—even their mistakes. One of the biggest blessings of directing is having the platform to lift others up and help them do their best work.”
Goalpost Pictures’ Black Snow, starring Travis Fimmel, is proudly supported by Screen Queensland through our Screen Finance Fund. Both seasons are now available to watch on Stan.
ATTACHMENT OPPORTUNITIES FOR CREW
WRITER’S ATTACHMENT KATRINA CHANNELLS
