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Speaker 1: I talk a lot on this podcast about how important

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Speaker 1: it is to be playful in your work, how important

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Speaker 1: that it is to fully commit. But playful my like

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Speaker 1: you know, fasting around at work on a clock, but

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Speaker 1: playful as a way to discover creative ways to solve problems,

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Speaker 1: to be more productive as a team, to keep a

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Speaker 1: team engaged, and to fully commit, not like put a

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Speaker 1: ring on it, but to like, look, if we're going

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Speaker 1: to do this, if I'm going to do this, I'm

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Speaker 1: going to put absolutely everything I got into this and

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Speaker 1: then we'll just see what happens. Now, in my experience,

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Speaker 1: those two things combined, some pretty incredible things start to happen.

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Speaker 1: But my outcomes from that combination things like I don't know,

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Speaker 1: writing songs for the tour that I did around the book,

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Speaker 1: or making the news show which played at the Melbourn

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Speaker 1: Comedy First of all, twice my outcomes to what happens

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Speaker 1: when you.

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Speaker 2: Do those two things together. They pale in.

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Speaker 1: Comparison when you look at the outcome that occurs when

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Speaker 1: you mix an incredible ability to communicate with your body

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Speaker 1: through dance in an expressive, emotive and freaking hilarious way.

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Speaker 1: Smack is an la based dancer. She grew up in

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Speaker 1: Southeast Queensland in breod Engineero in Brisbane. Now you may

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Speaker 1: not recognize her name, but if I told you that

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Speaker 1: she's also known as a hydraulic press girl, you probably

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Speaker 1: have an idea of who I'm talking about. If not,

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Speaker 1: I'll put a link in the show notes. You can

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Speaker 1: click there right now and then you'll go, oh ah saa.

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Speaker 1: I just think she's fantastic. She's such an inspiration. You

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Speaker 1: can hear it in a voice. Her journey is extraordinary

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Speaker 1: and I just love how much she loves to do it.

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Speaker 1: It's so freaking cool and I can't wait for you

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Speaker 1: to hear this the first that I have to play

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Speaker 1: some ads back after the break, Good day, welcome to

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Speaker 1: the show. This is better than yesterday, helping you make

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Speaker 1: today better than yesterday.

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Speaker 2: Since twenty thirteen, every episode. My name's olsh Againsberg. Thanks

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Speaker 2: for being here.

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Speaker 1: I'm a podcaster, I'm a best selling author. I'm a husband,

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Speaker 1: I'm a dad, I'm a stepdad. I am now a

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Speaker 1: standing desk owner and, as much as I am pained

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Speaker 1: to say it, a walker of a desk under desk treadmill.

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Speaker 1: I mean, look if the Harley Davidson, the sauna and

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Speaker 1: the cold plunge weren't danger signals that I'm a fifty

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Speaker 1: year old man. So coming to the trappings of my demographic.

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Speaker 1: The fact that I now just casually stroll at one

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Speaker 1: point five kilometers an hour, well, I write keynote, addresses, columns,

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Speaker 1: emails that should be enough to tell you that if

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Speaker 1: I'm not careful, golf could be next. Thank you so

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Speaker 1: much for all the questions. If you want to get

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Speaker 1: in on Monday's Q and A get on the newsletter

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Speaker 1: that's w week. Just drop a comment on the newsletter.

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Speaker 1: You can get on there ask any question you like,

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Speaker 1: or follow me on Instagram and drop me.

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Speaker 2: A message at either spot. So smack. She is just

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Speaker 2: the best, incredible.

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Speaker 1: When I was in Melbourne for the Melbourne and National

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Speaker 1: Comedy Festival with the News Show, she came out to

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Speaker 1: the apartment where I was living with Hege and we

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Speaker 1: had a chat. Now that was lucky because normally she

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Speaker 1: lives in Los Angeles. However, she was in Melbourne because

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Speaker 1: her collected performances of Hydraulic press Girl were at that

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Speaker 1: very point being exhibited as an installation at the National

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Speaker 1: Gallery of Victoria. It was extraordinary, just big screens all

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Speaker 1: over the place with her doing these pieces. And I

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Speaker 1: reached out to her and asked her to come on

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Speaker 1: the show, because look, she really is. She's this kid

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Speaker 1: from Brisbane who super early on just knew exactly what

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Speaker 1: she wanted to do and how she wants to do it,

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Speaker 1: and she pushed for it just so joyfully, so playfully

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Speaker 1: well at the same time pursuing mastery and her craft

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Speaker 1: of dance and editing and visual art. Things just opened

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Speaker 1: up in front of her again and again and again.

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Speaker 1: Her pathway is uncommon, but there's commonalities.

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Speaker 2: In her story to other people have had on the show.

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Speaker 1: And I really hope listening to it gives you the

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Speaker 1: same g up that it did make, because it certainly

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Speaker 1: put the wind up me. If you still know how

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Speaker 1: I'm talking about it, it's go and have a look

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Speaker 1: at it, all right, you'll go, Oh, that's who she is.

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Speaker 2: She's that guy, And she's.

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Speaker 1: Just basically a woman who used her body to mimic

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Speaker 1: things getting squished by a hydraulic press. But what they

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Speaker 1: did is it catapulted her career into an entirely different level.

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Speaker 1: I wanted to get her on because as a former

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Speaker 1: dance dad, I just wanted to be able to show

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Speaker 1: what can happen when a kid. No, they might have

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Speaker 1: been a dance that maybe in a football or maths

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Speaker 1: or physics or in or whatever drama you name it,

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Speaker 1: but what happens when a kid and their coaches or

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Speaker 1: their teachers and their parents.

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Speaker 2: Just support them so much.

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Speaker 1: Never tell them to tone it down, never say go

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Speaker 1: on and get a real job, or hey, multi level

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Speaker 1: marketing sounds good, why don't you do that? But no,

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Speaker 1: they supported this kid to the point where the vision

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Speaker 1: for the child's life that they had when they were

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Speaker 1: a teenager, a couple with the thousands of hours of

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Speaker 1: hard work directed at that vision, ultimately made the vision

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Speaker 1: become a reality. She's magnificent, hilarious, delightful and look, I

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Speaker 1: know you'll be floating on there after listen to how

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Speaker 1: she takes on them lot, enjoy the show. Thanks for coming. Smoke.

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Speaker 1: It is odd calling you that I'm not gonna like

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Speaker 1: because I grew up in Brisbane in the eighties.

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Speaker 3: Yeah yeah, I didn't know it was a drug until

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Speaker 3: I went to America and everyone's like, oh my god,

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Speaker 3: you must do drugs. I'm like, what's the drug? Just

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Speaker 3: my name? But yeah, it's a strange I get people

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Speaker 3: are very hesitant. Some people are like absolutely refuse to

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Speaker 3: say it, and I'm like, well, I gave myself that

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Speaker 3: nickname when I was eight, so wow, it kind of

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Speaker 3: stuck around.

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Speaker 1: No, it's good, but yes, it was a there's a

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Speaker 1: tism song about it. Really, yeah, it was about.

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Speaker 3: There's a lot of songs smacked that. There's all sorts

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Speaker 3: of things. I got a whole.

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Speaker 1: Album do you do you do? I've been aware of

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Speaker 1: your work for a while and then you put up

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Speaker 1: a video of when you did the routine from the

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Speaker 1: Mask and I just saw that and I was or

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Speaker 1: you're fifteen or sixteen, Yeah, like just fucking fearlessly at

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Speaker 1: that age. I saw that. I'm like, that is teacher

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Speaker 1: after teacher after teacher going yes, yes, yes, yes, do it,

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Speaker 1: do it, do it. It blows my mind that you

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Speaker 1: had the people around you to go you should keep

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Speaker 1: doing this is the thing you should do. Do do that.

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Speaker 1: And it's just such a for me. It was just

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Speaker 1: such a testament to everyone that drive you there and

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Speaker 1: took you there and said, no, that thing, do more

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Speaker 1: of that thing. That's just it's just fucking extraordinary. Do

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Speaker 1: you remember my moment on stage where it didn't feel

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Speaker 1: where you looked forward to being on stage?

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Speaker 3: Maybe at the very beginning, but no, I was super

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Speaker 3: lucky to have that kind of relaxed environment. And I mean,

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Speaker 3: I guess I wasn't ever really out of control, so

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Speaker 3: people weren't telling me no. Maybe I just was doing

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Speaker 3: it enough where they're like, that's funny, that's keep going.

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Speaker 3: So I was just always encouraged. I never felt I've

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Speaker 3: never had guidance or pressure to do anything other than

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Speaker 3: what I've wanted to do. I guess. So I was

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Speaker 3: just luckily enough in that environment. So I never felt

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Speaker 3: uncomfortable on stage. I never felt forced. It was almost

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Speaker 3: the opposite where I was like, is anyone here got

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Speaker 3: to say no to me?

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Speaker 1: You're from Brisband from Logan, Yeah.

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Speaker 3: Shayla Park know you were from Brisbane where all over?

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Speaker 1: Okay, Sheila Park, I might sit corrupt there. It's a

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Speaker 1: it's a very different part of the city now.

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Speaker 3: I feel like such a tourist when I go back.

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Speaker 1: I really don't. You were to school in the town.

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Speaker 3: I moved around a lot, but because my brother kept

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Speaker 3: getting expelled. But I did Logan primary schools a couple

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Speaker 3: and then I did Spring at high school. And then

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Speaker 3: I went to this really awesome high school called Queens

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Speaker 3: and Academy for Creative Industries. But I was part of

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Speaker 3: the part of the cohort. So it opened up the

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Speaker 3: year I went, and it was only thirty kids in.

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Speaker 1: This Where was it in Kelvin Grove Calvin Grove High?

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Speaker 3: No, I mean well next door to yeah.

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Speaker 1: Because I remember when I yeah, exactly, it's fucking awesome.

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Speaker 1: Did you have to audition?

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Speaker 3: I did? And you know what, because I was a

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Speaker 3: dancer mostly. I've always been really into like physical comedy

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Speaker 3: and stuff, but dancing was my main training as a kid.

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Speaker 3: And then when this school came about, no one knew

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Speaker 3: what it was. It didn't exist yet. A friend of

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Speaker 3: mine was like, I'm going to audition. I'm like, okay,

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Speaker 3: So I went in. So my mom was always late

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Speaker 3: to everything, So as a kid, I was late to

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Speaker 3: every dance competition, every dance class, every school everything, and

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Speaker 3: I was really frustrating. So I'm never late now. I

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Speaker 3: was a little bit late last night actually to the show. Anyway,

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Speaker 3: that's not the point, but.

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Speaker 1: You were quite early this morning.

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Speaker 3: Yes, no, I'm pretty prompt, and I think I got

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Speaker 3: that because I'm trying to balance out my childhood. But anyway,

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Speaker 3: so I was late to this audition and I missed

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Speaker 3: the whole thing.

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Speaker 1: Fuck.

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Speaker 3: So I turn up. It'sack Qt coven Grove and I

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Speaker 3: don't know where I'm going. My mom's waiting in the car.

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Speaker 3: I'm walking down the hallways and I'm like, I don't

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Speaker 3: know where are you?

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Speaker 1: Twelve? No?

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Speaker 3: Or fifteen fifteen?

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Speaker 1: All right, so you're going in for the grade eleventh grade? Twelve?

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Speaker 3: Yeah, ten and eleven twelve?

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Speaker 1: Oh wow? So your mom's waiting in the car. Yeah

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Speaker 1: for this, like fuck off? Audish walking you in?

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Speaker 3: No? No, no. She was very supportive but didn't need

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Speaker 3: to be there. I just did everything on my own

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Speaker 3: kind of thing.

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Speaker 1: Oh wow.

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Speaker 3: So I went in found this lady. I was like,

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Speaker 3: is there an audition? And I'm doing a dance or

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Speaker 3: something and she's like, sorry, Dohl, that's done. And I'm like, oh,

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Speaker 3: well I had it and she's like okay, well yeah,

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Speaker 3: what are you going to do?

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Speaker 1: And I'm like what is that?

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Speaker 3: That?

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Speaker 1: The person he was supposed to see?

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Speaker 3: I think it was the end up being like the

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Speaker 3: vice principal or someone. It was someone in admin, someone

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Speaker 3: important enough, but it wasn't the person that was like,

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Speaker 3: I don't even know who was meant for your traditioning

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Speaker 3: in front of but I was like, oh, I have

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Speaker 3: a dance and she's like, oh, well, do you have

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Speaker 3: a song, And I'm like, like singing. He was just like, yeah,

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Speaker 3: do you have an instrument? I'm like no, I just

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Speaker 3: have a dance, and she's like, all right, show me.

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Speaker 3: So I did some contemporary dance on the carpet. That's

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Speaker 3: all I remember. And then you had to do a test, which,

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Speaker 3: you know what not my forte but somehow I passed.

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Speaker 3: And then I get in go to school first day

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Speaker 3: and I'm like, okay, we have to like find the

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Speaker 3: dance room or something. Walking around doesn't exist. Asking people

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Speaker 3: and they're like, there's no dance studio here. So I'm like, wait,

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Speaker 3: what kind of school is this? And then I found

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Speaker 3: out dance does not exist there. So you only have

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Speaker 3: four subjects to major in theater arts, visual arts, music,

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Speaker 3: or film. And I'm like, okay, I guess I'll just

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Speaker 3: do ah or like theater or something, so yeah, dance

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Speaker 3: did not exist at all. That it's there now because

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Speaker 3: I went back to actually teach last year, which was fun.

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Speaker 3: But anyways, Yeah, so I did audition to get in.

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Speaker 1: How did the wrong thing? How? Because g who is

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Speaker 1: our elder, she started when she was four? How did

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Speaker 1: you come to dancing?

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Speaker 3: Yeah? I started when I was five in tap class.

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Speaker 3: I think it's because I was incredibly shy as a kid,

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Speaker 3: so like someone suggested going to dance. My mom dropped

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Speaker 3: me off at a dance studio. I think she paid for

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Speaker 3: like six weeks in advance, so I actually remember because

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Speaker 3: I was five, it was like have the faint memory

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Speaker 3: of it, crying in the corner, just like not participating.

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Speaker 3: But then by week six there was a small performance

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Speaker 3: at the Hypotome and Logan.

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Speaker 1: Which was at the time the largest shopping center in

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Speaker 1: the Southern Hemisphere.

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Speaker 3: Yes, very proud of it's beautiful now. I went there recently.

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Speaker 3: Oh my god, people wear shoes now. But it was

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Speaker 3: one of those things where there's video of this. So

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Speaker 3: I'd never participated in class. But we're all toddlers and

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Speaker 3: we all get up on stage and then we did

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Speaker 3: two performances, like one at the morning, one in the afternoon.

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Speaker 3: In the morning the video, I'm just standing at the

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Speaker 3: back and then but I participated like I knew the dance.

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Speaker 3: And then in the second video you see the dance

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Speaker 3: teacher push me to the front and I'm like leaving

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Speaker 3: the group. And then I guess from there, I just

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Speaker 3: stayed at the dance school because I got the hang

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Speaker 3: of it. But that dance studio did have drama classes

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Speaker 3: as well, so after you do a little bit of dancing,

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Speaker 3: it was not a strict dance studio at all. It

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Speaker 3: was very playful, very relaxed. So we would like muck

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Speaker 3: around in the dance studio and then we'd all go

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Speaker 3: to the drama class and play games. And I think

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Speaker 3: I just naturally got a knack for like physical comedy

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Speaker 3: and like using my body because that's what I had

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Speaker 3: training in. So then, yeah, drama classes definitely was where

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Speaker 3: a character came out, and I was so encouraged to

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Speaker 3: play around on stage in the dance routines. So we

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Speaker 3: would do like dance competitions and then I would walk

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Speaker 3: in the middle of the routine. I would have like

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Speaker 3: a comedy solo, like I would be playing the characters

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Speaker 3: on stage and my teachers just let me.

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Speaker 1: Dance is one of those things that people may not

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Speaker 1: look at as a you know, if people think, oh,

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Speaker 1: weekend sport, you know, they think footage, Yeah, yeah, they

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Speaker 1: think footy, they think they think soccer, they think netball,

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Speaker 1: I think whatever. For people who might not kind of

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Speaker 1: have an idea about what dance can do for a kid,

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Speaker 1: what would you say, or you know, whether it be

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Speaker 1: dance or whether it be soccer or cricket or whatever.

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Speaker 1: You know, there's the trope of the dance teacher lady

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Speaker 1: with the cane banging it on the floor of the studio,

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Speaker 1: or the soccer coach going I understand why people might

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Speaker 1: have done that for a while. Yeah, but I don't

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Speaker 1: know if it turns out in the end like a

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Speaker 1: twenty five year old professional who will have the mindset

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Speaker 1: to do something unorthodox in a moment.

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Speaker 3: Of pressure and actually love every moment of it. Yeah,

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Speaker 3: I think that's the thing. Like it is whenever I

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Speaker 3: talk to my friends professional dancers, performers, it's more common

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Speaker 3: that you do have the strict environment. It really is.

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Speaker 3: But I was super lucky where I don't know how

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Speaker 3: that happened, where my interest still stayed enough, and I

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Speaker 3: honestly think that I've never once not enjoyed any part

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Speaker 3: of what I do. Ever, I've never had to adapt

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Speaker 3: to even an adult mentality. Since I was about eight.

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Speaker 3: It's been like this for me, so like every day

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Speaker 3: is the same. I've enjoyed every single part of it.

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Speaker 3: I've felt very independent with it. I've always been able

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Speaker 3: to just do what I want and somehow it's worked out.

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Speaker 3: But I think that the actual passion for that is

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Speaker 3: what kept me going. And if someone was telling me no,

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Speaker 3: I'd be like, no, I'm not interested. I probably would

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Speaker 3: have given up one hundred percent.

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Speaker 1: When how does your early experience affect the way that

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Speaker 1: you teach When.

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Speaker 3: You do teach, Oh yeah, I think I love teaching

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Speaker 3: and trying to encourage kids to merge different things together.

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Speaker 3: I've never just been a one trick pony. I think

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Speaker 3: what is more exciting to me, and that's just who

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Speaker 3: I was inspired by as well. Should talk about later

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Speaker 3: is I probably would get bored if I was just

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Speaker 3: doing one thing. So I'm like, merge everything. It doesn't

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Speaker 3: have to be like, oh, dance merged with comedy because

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Speaker 3: I can go hand in hand. But what about fashion?

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Speaker 3: What about music, what about singing? What about actual painting,

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Speaker 3: visual arts, what about maths? I don't know. If you

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Speaker 3: can just kind of bring all your hobbies together, you

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Speaker 3: can probably create something stronger and unique and individual and

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Speaker 3: you know, part of your personality. So whenever I teach,

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Speaker 3: I try to encourage that because a lot of young

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Speaker 3: dancers only no dance and sometimes only one style and

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Speaker 3: only one way, and I'm like, branch out, create something

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Speaker 3: for yourself, because at some point you won't have a leader,

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Speaker 3: so you have to be able to do it yourself,

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Speaker 3: like actually learn to manage yourself and not really lie

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Speaker 3: on someone telling you what to do.

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Speaker 1: There very few art forms that have seen just this

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Speaker 1: hockey stick of iteration than dance. Because of the visual

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Speaker 1: nature of communication through YouTube. There'd be a kid in

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Speaker 1: Logan who's never seen the way that an African kid

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Speaker 1: can do that thing with their neck while their feed

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Speaker 1: are doing something different. You know, in the mid two thousands,

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Speaker 1: you never saw it. And then now you're looking at

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Speaker 1: six kids on red dirt doing this thing and they're like,

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Speaker 1: I think I want to do that. And then now

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Speaker 1: there's the Brisbane version of that thing. And then some

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Speaker 1: kid in Portugal goes, hey, I've just seen this kid

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Speaker 1: in Brisbane do this thing. I'm going to do this thing,

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Speaker 1: and there's just this's this complete, astounding kind of mixture

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Speaker 1: of styles that has never happened in any art form.

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Speaker 3: I don't think that blows my mind. I kind of

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Speaker 3: joke about this, but it's kind of real. I'm like,

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Speaker 3: the first time I saw hip hop dancing, I was

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Speaker 3: probably twenty like actual authentic hip hop choreography that done well.

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Speaker 3: And I'm like, kids these days have so much accessibility.

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Speaker 3: They can just like find anything and see any version

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Speaker 3: of it, from like prom amateur beginner to absolute professional.

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Speaker 3: Like they can actually find anything and see it, and

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Speaker 3: if they like it, they can find more and they

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Speaker 3: can learn it just by themselves. So I think I

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Speaker 3: love encouraging people and young kids to use the resources

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Speaker 3: like that, and I think, you know, we are as

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Speaker 3: society encouraging that. But then sometimes I feel like people

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Speaker 3: also shunning that because it's like the unknown of like

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Speaker 3: is it going to affect you in the long run

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Speaker 3: of like how much screen time you have, like even

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Speaker 3: just that, I'm like, I don't know, the Internet's been

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Speaker 3: amazing for me. It can be life changing overnight, so

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Speaker 3: like safely run with it. But yeah, I mean as

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Speaker 3: a kid, I didn't know anything. I've only ever had

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Speaker 3: one dance teacher in my life. It was the same lady.

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Speaker 3: We did the same choreography every year, so we'd never

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Speaker 3: actually I know it was kind of from like Michael

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Speaker 3: Michael Jackson music video, so it was good qull it choreography.

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Speaker 3: But yeah, I feel like I have no idea where

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Speaker 3: I could have been if I actually just had the

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Speaker 3: insight and like resources of just knowledge.

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Speaker 1: Yeah, the basis that it sounds like the basis that

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Speaker 1: you were given of being confident in your ability to

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Speaker 1: learn a choreography, to learn some moves. But also that's

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Speaker 1: the bass and then you can go and play on

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Speaker 1: top of that. Yeah, and here's the space where that's

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Speaker 1: going to work. That set you up to then explore everything.

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Speaker 3: Yeah, you know what really set me up. And I

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Speaker 3: always give him a shout out as franquently that was

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Speaker 3: my absolute biggest inspiration.

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Speaker 1: Frank Woodley.

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Speaker 3: So when I was about eight, I saw Lena Woodley

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Speaker 3: the TV series obviously my favorite TV show, and that

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Speaker 3: was what made me start experimenting with because he does

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Speaker 3: stunts He does physical humor obviously, comedy, writing, directing, art music,

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Speaker 3: he does everything Colin Lane as well, but frequently I

378
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Speaker 3: thought he was so flexible, so I started mimicking him

379
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Speaker 3: just in the lound room, and that's what made me

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Speaker 3: start doing stunts my own, like acrobatic tricks, dance tricks,

381
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Speaker 3: falling over for a laugh, clowning. It was I literally

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Speaker 3: learned from just watching him. I really remember at eight

383
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Speaker 3: years old because I was like a Halloween talent show

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Speaker 3: and I was like, oh, I'm going to do a

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Speaker 3: thing like Franquently. So I kind of just mimicked him

386
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Speaker 3: and did like a little performance and won the talent

387
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Speaker 3: show and I was like, Okay, I'll keep going. But

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Speaker 3: because of my dance training, obviously I was able to

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Speaker 3: execute it and in my own way because I can.

390
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Speaker 3: I was like already trained and flexible, and I knew

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Speaker 3: musicality and choreography, so I was able to add to it.

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Speaker 3: So it was always layering already. But yeah, that was

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Speaker 3: my resource. It's just Laane normwardly.

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Speaker 1: So the show that you did last night at News Show,

395
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Speaker 1: when we did the pilot role was played by Colin Lane.

396
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Speaker 3: You know you message that to me and my heart

397
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Speaker 3: skipped a beat.

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Speaker 1: I was like, yeah, crazy, be thrilled to meet you.

399
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Speaker 1: So was the moment that you got to this high

400
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Speaker 1: school in Queensland? Because I know what it's like. I

401
00:20:20,080 --> 00:20:21,760
Speaker 1: didn't do very well in my high school and I

402
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Speaker 1: went and I was a roady for like a year.

403
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Speaker 1: I got two hernias and hearing damage. And then I

404
00:20:27,320 --> 00:20:30,760
Speaker 1: went to Taife and studied contemporary music. And I'm sitting

405
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Speaker 1: in this class like, oh you're my people.

406
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Speaker 3: Oh this is nice.

407
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Speaker 1: Did you get that feeling when you're at that high school?

408
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Speaker 3: No, hard, No, that's what I think. There was maybe

409
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Speaker 3: one other person that did dance there, but she was

410
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Speaker 3: more ballet and I couldn't relate. I never did ballet.

411
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Speaker 3: We only did jazz and tap. So we're dancing to

412
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Speaker 3: disco music or eighties music. I can't relate to ballerinas.

413
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Speaker 3: So I was the only dancer that And it was

414
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Speaker 3: a new school, very small amount of people, mostly musicians,

415
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Speaker 3: which I wasn't so I would just be in the

416
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Speaker 3: theater room by myself every lunchtime. We also had MacBooks

417
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Speaker 3: and it was like the first time I had a computer.

418
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Speaker 3: And so Photo Booth was an iMovie I was blown

419
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Speaker 3: away with. So that's because I've always loved editing, which

420
00:21:16,760 --> 00:21:19,800
Speaker 3: is what helps my day to day career now. So

421
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Speaker 3: I was making short films. I have all of them still,

422
00:21:22,000 --> 00:21:25,560
Speaker 3: but I'll just make music videos. It's just lip syncing

423
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Speaker 3: and dancing, choreographing and editing, and I'll do that all

424
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Speaker 3: day long during class, outside of class, during lunchtime, and

425
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Speaker 3: I loved it so much. Occasionally I would have friends

426
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Speaker 3: that would let me force them into it as well.

427
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Speaker 3: So then I was like getting my director hat on,

428
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Speaker 3: and then I would make that somehow work into my assignments.

429
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Speaker 3: So then for my art assignment, I would be like,

430
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Speaker 3: I'm just going to make a little music video, but

431
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Speaker 3: make it a little bit artsy, so I come pass.

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Speaker 4: Well.

433
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Speaker 3: Then I actually started doing local musical theater and I

434
00:21:53,560 --> 00:21:55,560
Speaker 3: really did find a great group of people there. So

435
00:21:55,560 --> 00:21:59,560
Speaker 3: that was outside of school. School I was never interested in. Honestly,

436
00:21:59,600 --> 00:22:01,960
Speaker 3: I was super bored. But if I had iMovie and

437
00:22:02,000 --> 00:22:03,800
Speaker 3: I could edit, I was having a blast. But it's

438
00:22:03,880 --> 00:22:04,680
Speaker 3: just by myself.

439
00:22:04,720 --> 00:22:06,760
Speaker 1: So what's what I hear from you talking about the

440
00:22:06,800 --> 00:22:08,560
Speaker 1: I movie and talking about that on your mac wiok Pro.

441
00:22:08,680 --> 00:22:11,920
Speaker 1: That's just sets and reps, it's just repetition, repetition, repetition, repetation. Okay,

442
00:22:11,920 --> 00:22:15,600
Speaker 1: because talent is one thing, it truly is, yet the

443
00:22:15,960 --> 00:22:17,920
Speaker 1: true once you've got to get it to the complete

444
00:22:18,000 --> 00:22:21,520
Speaker 1: subconscious muscle memory, like doing it without even considering it,

445
00:22:21,560 --> 00:22:23,600
Speaker 1: and then operating layers and layers and layers above that

446
00:22:23,680 --> 00:22:25,440
Speaker 1: without having a think about putting the clutch, and when

447
00:22:25,440 --> 00:22:29,000
Speaker 1: you're changing gears that only comes from reps, only comes

448
00:22:29,000 --> 00:22:31,199
Speaker 1: from flight miles, and that same when you're getting into

449
00:22:31,320 --> 00:22:32,920
Speaker 1: you know, musical theater and just doing it and doing

450
00:22:32,880 --> 00:22:35,240
Speaker 1: it and doing it. At what point did you start

451
00:22:35,280 --> 00:22:38,800
Speaker 1: to think about, like after school, because how many professional

452
00:22:38,880 --> 00:22:42,080
Speaker 1: dancing jobs that are in Australia. Not that many cruise.

453
00:22:41,840 --> 00:22:44,080
Speaker 3: Ships is all I knew. Cruise ship was the only

454
00:22:44,480 --> 00:22:46,439
Speaker 3: dream that I ever heard of. And I was like, oh,

455
00:22:46,480 --> 00:22:47,720
Speaker 3: I don't really like the ocean, So.

456
00:22:47,680 --> 00:22:50,879
Speaker 1: I never competitive eating at sea? Yeah, maybe not so.

457
00:22:51,000 --> 00:22:52,880
Speaker 3: I remember I did one audition for a cruise ship,

458
00:22:53,280 --> 00:22:55,960
Speaker 3: probably at like seventeen, and I got offered a contract

459
00:22:56,240 --> 00:22:59,159
Speaker 3: and I don't know, no one was telling me what

460
00:22:59,200 --> 00:23:01,480
Speaker 3: to do. I had no men to for some reason,

461
00:23:01,480 --> 00:23:03,800
Speaker 3: I was like, nah, I literally turned down the best

462
00:23:03,880 --> 00:23:08,000
Speaker 3: dance opportunity in Bridgeman, and I don't know what made

463
00:23:08,000 --> 00:23:09,480
Speaker 3: me turn it down, but it's just kind of like

464
00:23:09,560 --> 00:23:10,520
Speaker 3: not interested in it.

465
00:23:10,960 --> 00:23:12,280
Speaker 1: Have you ever been on a cruise ship.

466
00:23:12,359 --> 00:23:13,240
Speaker 3: No, I'm not interested.

467
00:23:13,680 --> 00:23:18,119
Speaker 1: No, No, covered there like it'd be that that's your cabin,

468
00:23:18,240 --> 00:23:21,800
Speaker 1: but it's there's no window, and you know, why would

469
00:23:21,800 --> 00:23:23,600
Speaker 1: I want that in your free time? You get to

470
00:23:23,640 --> 00:23:27,840
Speaker 1: go up on deck with the other people that will Yeah.

471
00:23:28,359 --> 00:23:31,399
Speaker 3: Yeah, for some reason I had seen or heard enough

472
00:23:31,440 --> 00:23:35,440
Speaker 3: from someone where I was like, that doesn't sound satisfying

473
00:23:35,920 --> 00:23:38,760
Speaker 3: to me at that point. I'm not kidding. Since like

474
00:23:38,800 --> 00:23:41,120
Speaker 3: eight years old, I've been exactly how I am now.

475
00:23:41,760 --> 00:23:46,040
Speaker 3: Every day I'm doing multiple different things. I'm performing, I'm editing,

476
00:23:46,080 --> 00:23:49,040
Speaker 3: I'm filming, I'm choreographing, I'm directing, I'm writing. So there's

477
00:23:49,080 --> 00:23:52,800
Speaker 3: so many things that a cruise ship felt very limiting. Yeah,

478
00:23:52,880 --> 00:23:56,120
Speaker 3: so I was like dancing every night, No, thank you. Also,

479
00:23:56,160 --> 00:23:58,639
Speaker 3: I'll always take I'll always take the easiest route. So

480
00:23:58,640 --> 00:24:01,040
Speaker 3: I'm like, actually dancing. There's a lot of work.

481
00:24:02,000 --> 00:24:04,480
Speaker 1: So at what point, because you've been in America for

482
00:24:04,480 --> 00:24:06,760
Speaker 1: a long time, but what point do you overseas start

483
00:24:06,800 --> 00:24:07,840
Speaker 1: to become an option?

484
00:24:08,240 --> 00:24:11,040
Speaker 3: Okay, so I never dreamt about it at all. I

485
00:24:11,200 --> 00:24:15,720
Speaker 3: was really lucky my first professional audition. So I lived

486
00:24:15,720 --> 00:24:19,040
Speaker 3: in Brisbane and there's like one agent up there at

487
00:24:19,040 --> 00:24:21,119
Speaker 3: the time, and I hadn't signed with them yet, but

488
00:24:21,160 --> 00:24:23,280
Speaker 3: they were like, oh, there's an audition that you can

489
00:24:23,280 --> 00:24:26,080
Speaker 3: do in Sydney for a theater show where they need

490
00:24:26,160 --> 00:24:28,399
Speaker 3: dancers who can do acrobatics. And I was kind of

491
00:24:28,440 --> 00:24:31,119
Speaker 3: self taught circus, so I had quite a lot of

492
00:24:31,160 --> 00:24:34,560
Speaker 3: acrobatics up my sleeve. So they didn't represent me, but

493
00:24:34,640 --> 00:24:37,000
Speaker 3: they gave me the information. I flew myself down. I

494
00:24:37,000 --> 00:24:41,240
Speaker 3: think I was seventeen, maybe almost eighteen, but I was

495
00:24:41,240 --> 00:24:42,919
Speaker 3: in my first year at UNI, and at UNI I

496
00:24:43,000 --> 00:24:45,640
Speaker 3: was doing art because I knew that was the easiest

497
00:24:46,280 --> 00:24:48,399
Speaker 3: I'm always going to take the easiest way. I was like,

498
00:24:48,440 --> 00:24:51,120
Speaker 3: I could do full time dance, but that's dancing every day,

499
00:24:51,240 --> 00:24:53,640
Speaker 3: or I could do art and sit around and make

500
00:24:53,680 --> 00:24:56,680
Speaker 3: an art thing the hour before it's due and pass,

501
00:24:56,760 --> 00:25:00,840
Speaker 3: which I did. I was I always do art, but anyway,

502
00:25:00,880 --> 00:25:03,480
Speaker 3: so I did this audition. I flew myself down to

503
00:25:03,520 --> 00:25:07,240
Speaker 3: Sydney and I thought it was for King Kong the Musical.

504
00:25:07,680 --> 00:25:10,040
Speaker 3: I just knew they needed dancers who could do acrobatics.

505
00:25:10,560 --> 00:25:12,159
Speaker 1: I'm an ape it.

506
00:25:12,920 --> 00:25:14,960
Speaker 3: Yeah, but I knew I didn't have to sing. That's

507
00:25:14,960 --> 00:25:16,919
Speaker 3: why I was like, I'll go because I always had

508
00:25:16,960 --> 00:25:18,800
Speaker 3: a fear of singing. Like I loved it, but I

509
00:25:18,800 --> 00:25:22,359
Speaker 3: don't know. Movement was always my thing. So I went

510
00:25:22,640 --> 00:25:26,639
Speaker 3: and at the audition they then tell us it's for

511
00:25:26,680 --> 00:25:30,160
Speaker 3: How to Train Your Dragon DreamWorks. So there was a

512
00:25:30,200 --> 00:25:35,240
Speaker 3: massive arena show that toured and I got the lead role. Wow,

513
00:25:35,520 --> 00:25:38,280
Speaker 3: And they my callback was six months later because they

514
00:25:38,320 --> 00:25:41,760
Speaker 3: auditioned around the world for this role and some reason

515
00:25:41,880 --> 00:25:44,760
Speaker 3: I got it. So I was like, Okay, my life

516
00:25:44,880 --> 00:25:47,800
Speaker 3: just changed. Now I'm going to America. Well I thought

517
00:25:47,800 --> 00:25:50,520
Speaker 3: it was America straight away, but we it was for

518
00:25:50,720 --> 00:25:52,800
Speaker 3: do you know, just to so you know. But the

519
00:25:53,560 --> 00:25:56,960
Speaker 3: company Walking with Dinosaurs who create that. They built the

520
00:25:57,119 --> 00:26:00,360
Speaker 3: dragons so they were life sized dragons and with the

521
00:26:00,400 --> 00:26:02,960
Speaker 3: actors in it. There was no dance. It was like weapons,

522
00:26:03,000 --> 00:26:05,440
Speaker 3: stunt choreography, wires flying around on.

523
00:26:05,680 --> 00:26:10,000
Speaker 1: One of those ones where there's a voice actor through

524
00:26:10,040 --> 00:26:10,840
Speaker 1: the PA or were.

525
00:26:10,720 --> 00:26:12,800
Speaker 3: You on the more it was it was me Yeah,

526
00:26:12,840 --> 00:26:18,119
Speaker 3: it was stage acting so cool, fighting dragons, flipping big

527
00:26:18,280 --> 00:26:20,120
Speaker 3: it's doing nun chucks. It was crazy.

528
00:26:20,240 --> 00:26:22,439
Speaker 1: Where was so Obviously there's a ship ton of rehearsal

529
00:26:22,480 --> 00:26:22,720
Speaker 1: for that.

530
00:26:23,000 --> 00:26:25,120
Speaker 3: Yeah, we did three months to create the show because

531
00:26:25,160 --> 00:26:27,680
Speaker 3: I was still building the dragons. It's like the most

532
00:26:27,720 --> 00:26:30,320
Speaker 3: it was labeled the most ambitious theater show at the time,

533
00:26:30,480 --> 00:26:33,480
Speaker 3: like worldwide, and it was with DreamWorks. So the writers

534
00:26:33,480 --> 00:26:36,760
Speaker 3: of the movie were there every like Steve Jeffrey Katzenberg

535
00:26:36,840 --> 00:26:39,119
Speaker 3: was there to watch the rehearsals. It was crazy.

536
00:26:40,000 --> 00:26:40,840
Speaker 1: Where were you rehearsing?

537
00:26:41,000 --> 00:26:43,880
Speaker 3: Fox Studios in Sydney, Oh wow, for three months. They

538
00:26:44,080 --> 00:26:46,280
Speaker 3: it is an arena sized show, so they needed so

539
00:26:46,400 --> 00:26:49,080
Speaker 3: much space. So we did that for three months. Opened

540
00:26:49,119 --> 00:26:52,480
Speaker 3: in Melbourne, did Sydney, did Brisbane, New Zealand, and then

541
00:26:52,640 --> 00:26:56,000
Speaker 3: we went to America. And because it's Streamworks, they got

542
00:26:56,040 --> 00:26:59,119
Speaker 3: me a visa in five minutes. Yeah, because they have power,

543
00:26:59,800 --> 00:27:01,719
Speaker 3: so I didn't even know about visas. I don't mean,

544
00:27:01,720 --> 00:27:05,240
Speaker 3: if anyone is thinking about moving to America, it's difficult.

545
00:27:05,320 --> 00:27:08,040
Speaker 1: If you're trying years and thousands, it's.

546
00:27:07,880 --> 00:27:11,080
Speaker 3: Difficult and expensive and there's so much involved, and it's

547
00:27:11,520 --> 00:27:12,600
Speaker 3: felt a bit scammy.

548
00:27:12,880 --> 00:27:15,000
Speaker 1: They weren't as you'll not doubt see you on various

549
00:27:15,000 --> 00:27:17,560
Speaker 1: cable news channels. They won't take everyone, yep, but they

550
00:27:17,600 --> 00:27:21,480
Speaker 1: do take the best. Yes, well that's how you got in, mate,

551
00:27:21,480 --> 00:27:22,199
Speaker 1: that's how you got in.

552
00:27:22,320 --> 00:27:24,960
Speaker 3: Well, I was very lucky that I got in through

553
00:27:25,040 --> 00:27:28,640
Speaker 3: DreamWorks initially. So then we did North America, we did

554
00:27:28,680 --> 00:27:29,520
Speaker 3: Canada and there.

555
00:27:29,560 --> 00:27:32,560
Speaker 1: So you're on the road for like what two years? Fuck?

556
00:27:33,320 --> 00:27:33,960
Speaker 1: What is that?

557
00:27:34,480 --> 00:27:36,320
Speaker 3: I was eighteen when I started and I was I

558
00:27:36,320 --> 00:27:38,879
Speaker 3: think the youngest in the cast. And the cast was international.

559
00:27:38,960 --> 00:27:41,720
Speaker 3: There were only three Australians in it. They had the

560
00:27:41,760 --> 00:27:46,440
Speaker 3: most amazing circus performance from France, from England, actors from La.

561
00:27:46,720 --> 00:27:48,760
Speaker 1: It's just casing. You've got people who've done Cirk and

562
00:27:48,800 --> 00:27:49,400
Speaker 1: things like this.

563
00:27:50,200 --> 00:27:52,040
Speaker 3: No, because we were all a bit of like odd ball,

564
00:27:52,320 --> 00:27:54,719
Speaker 3: but it could have been. But it wasn't like we

565
00:27:54,720 --> 00:27:57,520
Speaker 3: were all had our own personality I think, so we

566
00:27:57,520 --> 00:28:01,640
Speaker 3: weren't like strict circ The people were amazing.

567
00:28:01,320 --> 00:28:02,280
Speaker 1: But anyway, yeah, cool.

568
00:28:02,600 --> 00:28:05,000
Speaker 3: There was like two hundred people traveling with us.

569
00:28:06,040 --> 00:28:09,440
Speaker 1: Are you like staying? Is it We've got to deal

570
00:28:09,480 --> 00:28:11,240
Speaker 1: with the Marriott and you're staying.

571
00:28:11,359 --> 00:28:11,560
Speaker 4: Yeah.

572
00:28:12,359 --> 00:28:16,480
Speaker 3: Touring was amazing. Yeah, considering if we're going to compare

573
00:28:17,280 --> 00:28:20,479
Speaker 3: tours as a dancer in LA, I mean in America,

574
00:28:20,520 --> 00:28:23,440
Speaker 3: which is like backup dancing for artists. You know, obviously

575
00:28:23,480 --> 00:28:25,440
Speaker 3: Taylor Swift is in her own league and she's amazing,

576
00:28:25,520 --> 00:28:26,400
Speaker 3: but it's.

577
00:28:26,280 --> 00:28:28,120
Speaker 1: Pretty six of those jobs in the world.

578
00:28:28,280 --> 00:28:30,800
Speaker 3: Yeah, exactly, it's the same people and it's kind of

579
00:28:31,280 --> 00:28:34,560
Speaker 3: they get better, but for the most part, backup dancing

580
00:28:34,800 --> 00:28:38,400
Speaker 3: on tour is really hard work and not always the

581
00:28:38,400 --> 00:28:42,520
Speaker 3: best perks. You know, it's It's not something I ever

582
00:28:42,560 --> 00:28:45,560
Speaker 3: aspired to do, but touring as one of the lead

583
00:28:45,760 --> 00:28:50,200
Speaker 3: actors in a Dream Ex production was the Besnys and

584
00:28:50,280 --> 00:28:52,680
Speaker 3: I fell into this and I was like, in the

585
00:28:52,880 --> 00:28:55,120
Speaker 3: moment of touring, I knew that that was probably the

586
00:28:55,160 --> 00:28:57,160
Speaker 3: best touring experience I could ever get, So I was

587
00:28:57,200 --> 00:29:00,880
Speaker 3: like done with that. Cool. But we actually ended the

588
00:29:00,880 --> 00:29:03,560
Speaker 3: show because Dream has suddenly sold it to China, the

589
00:29:03,920 --> 00:29:06,720
Speaker 3: entire production, so we all kind of got fired. But

590
00:29:06,880 --> 00:29:09,800
Speaker 3: we were in California at the time and an agent

591
00:29:10,280 --> 00:29:13,040
Speaker 3: saw the performance and reached out and they were like,

592
00:29:13,120 --> 00:29:15,880
Speaker 3: if you we know you're Australian, if you're ever wanting

593
00:29:15,920 --> 00:29:18,280
Speaker 3: to move here, we can sponsor you for the visa.

594
00:29:19,000 --> 00:29:20,880
Speaker 3: So the next day I caught the train to that office,

595
00:29:20,960 --> 00:29:22,200
Speaker 3: knocked on the door and I.

596
00:29:22,120 --> 00:29:23,880
Speaker 1: Was like, you're the one person on the train in

597
00:29:23,880 --> 00:29:25,080
Speaker 1: Los Angeles.

598
00:29:27,560 --> 00:29:32,040
Speaker 3: House survived, Yeah, came out alive. But I knocked on

599
00:29:32,080 --> 00:29:33,800
Speaker 3: the door and they were like who are you? And

600
00:29:33,840 --> 00:29:36,760
Speaker 3: I was like, hi, someone saw me perform last night.

601
00:29:37,000 --> 00:29:39,280
Speaker 3: This was the show I'm in And you said you

602
00:29:39,280 --> 00:29:42,520
Speaker 3: would be a sponsor and they were like okay, and

603
00:29:43,160 --> 00:29:45,000
Speaker 3: then they signed it and so I moved. It was

604
00:29:45,080 --> 00:29:47,400
Speaker 3: an overnight decision, honestly, because I had a flight to

605
00:29:47,400 --> 00:29:48,200
Speaker 3: go home that week.

606
00:29:48,400 --> 00:29:52,840
Speaker 1: Wow. I was twenty yeah, holy shit.

607
00:29:53,400 --> 00:29:55,960
Speaker 3: And I'd saved every penny because I'm pretty frugal like that,

608
00:29:56,120 --> 00:29:58,560
Speaker 3: So I was fine. I had no commitments. My family

609
00:29:58,920 --> 00:30:03,120
Speaker 3: don't really not close or affectionate, so I wasn't ever

610
00:30:03,240 --> 00:30:05,040
Speaker 3: had I never had someone being like, oh I wish

611
00:30:05,080 --> 00:30:06,960
Speaker 3: you were home, So I never had that. I didn't

612
00:30:06,960 --> 00:30:09,400
Speaker 3: have a home base. It felt like, so I'm like,

613
00:30:09,760 --> 00:30:11,600
Speaker 3: I'll just stay in La.

614
00:30:11,240 --> 00:30:12,920
Speaker 1: Just in case your mom here is this, or your

615
00:30:12,960 --> 00:30:15,160
Speaker 1: parents or family. It's like, it's not that they don't

616
00:30:15,160 --> 00:30:18,560
Speaker 1: love you, there's no between you. I know this feeling

617
00:30:18,560 --> 00:30:20,520
Speaker 1: because I lived overseas for a long time too, and

618
00:30:20,800 --> 00:30:23,280
Speaker 1: some families are like, oh man, yes miss you.

619
00:30:23,320 --> 00:30:25,280
Speaker 3: Man. Yeah, you feel the guilt. I kind of didn't

620
00:30:25,320 --> 00:30:25,600
Speaker 3: feel that.

621
00:30:25,840 --> 00:30:29,200
Speaker 1: I've recalling my parents going, you know, like, what do

622
00:30:29,240 --> 00:30:32,320
Speaker 1: you think we worked for? Like, of course, you go, joy,

623
00:30:32,760 --> 00:30:34,680
Speaker 1: this is what this is what we want to go do.

624
00:30:34,600 --> 00:30:36,720
Speaker 3: It, I think, And that's the same as I was

625
00:30:36,680 --> 00:30:39,520
Speaker 3: a kid. I never felt limited, I never felt the pressure.

626
00:30:39,880 --> 00:30:44,240
Speaker 3: I was never guilt tripped into anything. I never felt like, yeah,

627
00:30:44,640 --> 00:30:49,320
Speaker 3: it was unusually easy for me to just move to

628
00:30:49,360 --> 00:30:51,360
Speaker 3: America overnight. But I'd also been on the road for

629
00:30:51,400 --> 00:30:54,480
Speaker 3: two years, and those years it's like when you're growing up,

630
00:30:54,640 --> 00:30:57,280
Speaker 3: like eighteen to twenty, I was discovering who I really

631
00:30:57,400 --> 00:31:01,080
Speaker 3: was as an adult, and like also with people that

632
00:31:01,800 --> 00:31:05,080
Speaker 3: I've never done drugs or anything, and I've never been drunk,

633
00:31:05,480 --> 00:31:07,680
Speaker 3: and in those years that would have been the time

634
00:31:07,760 --> 00:31:10,640
Speaker 3: where I probably could have and everyone else was and

635
00:31:10,680 --> 00:31:11,800
Speaker 3: I was like, I'm just going to get out a

636
00:31:11,800 --> 00:31:13,960
Speaker 3: hot chocolate from the cafe instead. So I was really

637
00:31:14,120 --> 00:31:17,240
Speaker 3: already so set on who I was, and I felt

638
00:31:17,320 --> 00:31:20,200
Speaker 3: so independent and I'm just doing my little iMovie, doing

639
00:31:20,240 --> 00:31:23,320
Speaker 3: some YouTube videos. I was. I've always been content just

640
00:31:23,360 --> 00:31:27,000
Speaker 3: doing my own thing. So thankfully the tour aspect of

641
00:31:27,040 --> 00:31:30,360
Speaker 3: it didn't take over, and I didn't have any weird.

642
00:31:30,120 --> 00:31:35,560
Speaker 1: Experiences monotony of I'm guessing because it's such a big production,

643
00:31:35,600 --> 00:31:37,560
Speaker 1: you'd be doing a couple of days at least in

644
00:31:37,600 --> 00:31:40,800
Speaker 1: every spot, so you're not bags down six hours after

645
00:31:40,840 --> 00:31:42,840
Speaker 1: you get off stage, and then at a boss.

646
00:31:42,800 --> 00:31:44,719
Speaker 3: Go go go. And I was doing media because the

647
00:31:44,720 --> 00:31:47,360
Speaker 3: two lead roles was constant media every day.

648
00:31:47,680 --> 00:31:49,280
Speaker 1: Yeah, fantastic.

649
00:31:49,280 --> 00:31:51,240
Speaker 3: It was really fun. I learned a lot. I had

650
00:31:51,280 --> 00:31:54,560
Speaker 3: so much fun with it. But I'm just really lucky

651
00:31:54,600 --> 00:31:58,680
Speaker 3: that I didn't. I just was so confident in who

652
00:31:58,720 --> 00:32:01,640
Speaker 3: I was as a person, didn't need to. I'd never

653
00:32:01,640 --> 00:32:03,880
Speaker 3: felt peer pressured to do anything other than what I

654
00:32:03,920 --> 00:32:08,760
Speaker 3: love and am. So when the tour ended unexpectedly, I

655
00:32:08,840 --> 00:32:11,880
Speaker 3: was fine because it wasn't the same for everyone. Some

656
00:32:11,880 --> 00:32:15,040
Speaker 3: people really struggled to then, like what do you do next?

657
00:32:15,640 --> 00:32:18,480
Speaker 3: You know, like savings were gone, so things like that.

658
00:32:18,760 --> 00:32:20,600
Speaker 3: But that's why it made it. It was really easy

659
00:32:20,600 --> 00:32:23,280
Speaker 3: for him to ned have just moved to La found

660
00:32:23,360 --> 00:32:26,080
Speaker 3: a little apartment on craigslist. I knew what craigslist was

661
00:32:26,120 --> 00:32:26,680
Speaker 3: at that point.

662
00:32:26,920 --> 00:32:28,640
Speaker 1: You can find all kinds of things on craiglist, so

663
00:32:28,640 --> 00:32:29,840
Speaker 1: I'm glad you found something nice.

664
00:32:29,880 --> 00:32:32,200
Speaker 3: I found my first few jobs on there, like short

665
00:32:32,200 --> 00:32:32,880
Speaker 3: film stuff.

666
00:32:32,880 --> 00:32:35,680
Speaker 1: You can also find very very strange employment. Yeah, but

667
00:32:35,680 --> 00:32:37,720
Speaker 1: it's not what you think it is on Craigslist. No.

668
00:32:38,000 --> 00:32:41,000
Speaker 3: Luckily I was smart enough to not do anything like that.

669
00:32:41,200 --> 00:32:44,360
Speaker 3: It was more like I was like fascinated by it.

670
00:32:44,680 --> 00:32:47,240
Speaker 3: I like learned by just researching. So that's the other

671
00:32:47,240 --> 00:32:49,040
Speaker 3: thing is when you moved to LA. I think a

672
00:32:49,040 --> 00:32:51,240
Speaker 3: lot of people have mentors or at least one other

673
00:32:51,280 --> 00:32:53,960
Speaker 3: person they know. I didn't know anyone. I knew one person.

674
00:32:53,960 --> 00:32:57,040
Speaker 3: We weren't close, yeah, and they weren't in mental position.

675
00:32:57,240 --> 00:33:01,120
Speaker 3: So again, I've always been so self a fifi and independent.

676
00:33:01,200 --> 00:33:03,200
Speaker 3: So I'm like, well, I've got a laptop and I

677
00:33:03,320 --> 00:33:06,560
Speaker 3: just googled stuff. I'm like, how do you get an audition? Wow?

678
00:33:06,920 --> 00:33:09,400
Speaker 3: How do you do anything? So when I found Craigslist,

679
00:33:09,840 --> 00:33:13,800
Speaker 3: I started looking at talent auditions because my agent was

680
00:33:13,840 --> 00:33:16,840
Speaker 3: only for dance, and I was like, well, I'm more

681
00:33:16,880 --> 00:33:19,160
Speaker 3: than dance, and I already knew at that point, even

682
00:33:19,200 --> 00:33:24,720
Speaker 3: having never done much in Australia. So I started googling

683
00:33:24,760 --> 00:33:29,280
Speaker 3: for TV auditions, short films, and I booked my first

684
00:33:29,280 --> 00:33:31,840
Speaker 3: audition as a lead in a short film, and then

685
00:33:31,840 --> 00:33:33,840
Speaker 3: it went to the Hollywood Film Festival and I mean

686
00:33:33,880 --> 00:33:37,680
Speaker 3: it's like a student film, like university student, but a

687
00:33:37,760 --> 00:33:41,920
Speaker 3: huge experience still, like it was a week long on set,

688
00:33:42,160 --> 00:33:43,200
Speaker 3: you know, it was professional.

689
00:33:43,520 --> 00:33:45,960
Speaker 1: At what point did you start to figure out that

690
00:33:46,600 --> 00:33:50,320
Speaker 1: this kind of trajectory isn't the thing that is everybody's experience.

691
00:33:50,360 --> 00:33:52,440
Speaker 1: At what point did you start to go, there's something

692
00:33:52,440 --> 00:33:54,160
Speaker 1: that I'm doing that is different from other people.

693
00:33:54,360 --> 00:33:57,400
Speaker 3: I knew immediately, Yeah, and this is what I really

694
00:33:57,440 --> 00:33:59,720
Speaker 3: took away from the high school I went to. I

695
00:33:59,800 --> 00:34:02,960
Speaker 3: knew how to be self efficient and how to manage myself.

696
00:34:03,280 --> 00:34:06,720
Speaker 3: So every job I did, it's you know, everyone talks

697
00:34:06,720 --> 00:34:09,640
Speaker 3: on set, you just hear things, especially when the dance community,

698
00:34:11,160 --> 00:34:13,520
Speaker 3: it just felt like a lot of people waiting around

699
00:34:13,760 --> 00:34:19,080
Speaker 3: and I'm like why So I don't know what it was,

700
00:34:19,120 --> 00:34:23,799
Speaker 3: but I've always had that encouragement that my ideas are

701
00:34:23,840 --> 00:34:27,840
Speaker 3: okay and my plan is okay, because since I was

702
00:34:27,880 --> 00:34:30,879
Speaker 3: a kid, no one was really like, oh, that might

703
00:34:30,960 --> 00:34:33,319
Speaker 3: not work, and so far I had a good track

704
00:34:33,360 --> 00:34:36,120
Speaker 3: record for the things I wanted to do would happen.

705
00:34:36,440 --> 00:34:38,799
Speaker 3: And I was also never really disappointed in the things

706
00:34:38,800 --> 00:34:42,120
Speaker 3: that didn't happen, because I'm like, yeah, it's fine, that's

707
00:34:42,120 --> 00:34:46,040
Speaker 3: my Australian personality where it's like no worries. I think

708
00:34:46,080 --> 00:34:47,520
Speaker 3: that that's a very Australian thing.

709
00:34:47,680 --> 00:34:49,040
Speaker 1: Do you learn from the things that I want?

710
00:34:49,640 --> 00:34:52,799
Speaker 3: Yeah, I mean naturally there's auditions I didn't get, but

711
00:34:52,920 --> 00:34:55,680
Speaker 3: I never took it to heart. I think I just

712
00:34:56,040 --> 00:35:01,040
Speaker 3: really learned early on that rejection is kind of I

713
00:35:01,080 --> 00:35:03,439
Speaker 3: don't need to worry about it. It's going to happen

714
00:35:03,440 --> 00:35:06,879
Speaker 3: every day, but also won't happen every day for other things.

715
00:35:07,080 --> 00:35:09,919
Speaker 3: I just it never affected me to a point where

716
00:35:09,920 --> 00:35:10,759
Speaker 3: I couldn't keep going.

717
00:35:10,800 --> 00:35:14,080
Speaker 1: That's amazing. Because the job surfing has the wrong name.

718
00:35:15,160 --> 00:35:17,960
Speaker 1: They should call it paddling, getting smashed in the face,

719
00:35:18,000 --> 00:35:20,800
Speaker 1: and a lot of waiting around. Absolutely, because that is surfing.

720
00:35:21,480 --> 00:35:23,839
Speaker 1: That's what it is. You do eight seconds on a wave.

721
00:35:24,000 --> 00:35:25,840
Speaker 1: If you're lucky, it's like three.

722
00:35:25,680 --> 00:35:27,319
Speaker 3: Seconds, and maybe someone might see it.

723
00:35:27,920 --> 00:35:29,799
Speaker 1: Who cares if they see it? Do you enjoy it?

724
00:35:29,960 --> 00:35:33,040
Speaker 1: That's it. The rest is paddling, smash, getting smashed in

725
00:35:33,040 --> 00:35:36,640
Speaker 1: the face, waiting your turn, waiting, waiting, acting or dancing

726
00:35:36,719 --> 00:35:40,000
Speaker 1: or whatever is getting told no, we've found someone better

727
00:35:40,680 --> 00:35:43,080
Speaker 1: most of your life, and then every now and again

728
00:35:43,360 --> 00:35:47,760
Speaker 1: getting hey, we want you, And if if you expect

729
00:35:47,760 --> 00:35:49,719
Speaker 1: that the hey, we want you is the thing that's

730
00:35:49,760 --> 00:35:51,680
Speaker 1: going to make you feel better. You are not going

731
00:35:51,719 --> 00:35:56,520
Speaker 1: to get it doing that job. That's a real it's

732
00:35:56,520 --> 00:36:00,480
Speaker 1: a real problem. Most of it is, nah nuts. You

733
00:36:00,600 --> 00:36:02,880
Speaker 1: just have to understand you have to be cool with

734
00:36:02,960 --> 00:36:06,799
Speaker 1: who you are and you have to be cool. It's this,

735
00:36:07,320 --> 00:36:10,480
Speaker 1: Charlie always says. Charlie Causton says, it's a fast yes

736
00:36:10,640 --> 00:36:12,520
Speaker 1: or a slow now.

737
00:36:12,800 --> 00:36:15,960
Speaker 3: And it's so true. And I experienced that all the

738
00:36:16,000 --> 00:36:20,120
Speaker 3: time today. Yes, that all the time. But I don't

739
00:36:20,160 --> 00:36:24,000
Speaker 3: know what it was in my young brain that was

740
00:36:24,080 --> 00:36:27,920
Speaker 3: like that's okay, who cares? And I just keep going.

741
00:36:27,960 --> 00:36:30,080
Speaker 3: I don't know where that came from, but I knew

742
00:36:30,080 --> 00:36:32,719
Speaker 3: that that was important to keep. So I think I

743
00:36:32,880 --> 00:36:36,719
Speaker 3: actively worked to keep that mentality because every job I did,

744
00:36:36,760 --> 00:36:39,239
Speaker 3: I'd find people who weren't like that, and I was like, well,

745
00:36:39,239 --> 00:36:42,399
Speaker 3: that's why you're stressed, that's why you're panicking, that's why

746
00:36:42,440 --> 00:36:44,759
Speaker 3: you're thinking. You're giving yourself a deadline and you're like,

747
00:36:44,800 --> 00:36:47,000
Speaker 3: after three months, i've got to move home. I was like,

748
00:36:47,040 --> 00:36:48,560
Speaker 3: I don't want to feel like that. I don't like

749
00:36:48,560 --> 00:36:53,080
Speaker 3: feeling stressed. I don't like feeling like that it's not

750
00:36:53,120 --> 00:36:55,680
Speaker 3: going to work out like doubt. I'm like, it's not fun.

751
00:36:55,920 --> 00:36:58,080
Speaker 3: You know, obviously you feel it at points, but I'm like,

752
00:36:58,080 --> 00:37:00,480
Speaker 3: that's kind of really not fun to feel like that.

753
00:37:01,040 --> 00:37:04,680
Speaker 1: Tell me about what role, because it sounds like, no

754
00:37:04,719 --> 00:37:06,279
Speaker 1: matter what, even when you're on the road, even in

755
00:37:06,320 --> 00:37:08,360
Speaker 1: your hotel room somewhere you're jumping on a dragon for

756
00:37:08,360 --> 00:37:13,200
Speaker 1: the three hundredth time, you are always creating something. Tell

757
00:37:13,239 --> 00:37:17,960
Speaker 1: me about that. What role is creating and constantly creating

758
00:37:18,200 --> 00:37:21,960
Speaker 1: play in keeping you calm and being okay with getting

759
00:37:21,960 --> 00:37:22,320
Speaker 1: told no.

760
00:37:22,719 --> 00:37:26,200
Speaker 3: That's the lead role in my life. That is what

761
00:37:26,280 --> 00:37:29,480
Speaker 3: keeps me going every day. When I was in Brisbane

762
00:37:29,560 --> 00:37:31,760
Speaker 3: still like from sixteen, when I was in high school

763
00:37:31,760 --> 00:37:34,560
Speaker 3: sixteen to eighteen, before I got this job, that was

764
00:37:34,640 --> 00:37:40,360
Speaker 3: you know America. I was loving comedy. I tried to

765
00:37:40,360 --> 00:37:43,200
Speaker 3: stand up a little bit, but I did. I forced

766
00:37:43,200 --> 00:37:45,040
Speaker 3: my friend into a comedic duo. We did a little

767
00:37:45,040 --> 00:37:48,520
Speaker 3: slapstick thing. I did class clowns. We won in Brisbane

768
00:37:48,520 --> 00:37:50,920
Speaker 3: and came down to micf When I was like sixteen,

769
00:37:51,280 --> 00:37:52,840
Speaker 3: so I was trying to be in that. I was

770
00:37:52,880 --> 00:37:55,640
Speaker 3: watching comedy every weekend. My mom took me to comedy

771
00:37:55,640 --> 00:37:59,680
Speaker 3: shows every weekend as a kid, so that was my

772
00:37:59,719 --> 00:38:02,000
Speaker 3: main thing. And then at the high school I was at.

773
00:38:02,239 --> 00:38:07,000
Speaker 3: My theater teacher was so encouraging because the main final

774
00:38:07,000 --> 00:38:11,120
Speaker 3: assessment in school was you had to in theater basically

775
00:38:11,360 --> 00:38:15,000
Speaker 3: choose a department, whether it be the actor, the director,

776
00:38:15,080 --> 00:38:17,719
Speaker 3: the writer, the designer, and you had to present it

777
00:38:17,760 --> 00:38:21,800
Speaker 3: like pitched that department for a production and I was like, well,

778
00:38:21,880 --> 00:38:23,400
Speaker 3: I don't know which one to choose because I like

779
00:38:23,480 --> 00:38:25,640
Speaker 3: so many of these roles, and he's like, just do

780
00:38:25,719 --> 00:38:28,400
Speaker 3: them all. Then, so I created an entire production for

781
00:38:28,480 --> 00:38:31,719
Speaker 3: my assessment instead of just one department. I put it

782
00:38:31,760 --> 00:38:33,960
Speaker 3: on at school and then I pitched it to a

783
00:38:34,040 --> 00:38:36,719
Speaker 3: comedy festival and we got picked up. And then in

784
00:38:36,719 --> 00:38:38,440
Speaker 3: my last year of high school, I was performing in

785
00:38:38,480 --> 00:38:43,040
Speaker 3: comedy festivals with my own show at the Brisbane Powerhouse

786
00:38:44,000 --> 00:38:48,120
Speaker 3: and I was like, Okay, I think I can do this,

787
00:38:48,560 --> 00:38:52,600
Speaker 3: so that I think honestly, just creating my own thing

788
00:38:52,760 --> 00:38:54,880
Speaker 3: was what I was already used to because in Brisbane

789
00:38:55,560 --> 00:38:58,680
Speaker 3: back then there is less opportunity, so I didn't even

790
00:38:58,800 --> 00:39:01,399
Speaker 3: know that you're supposed to wait for opportunity. I don't

791
00:39:01,400 --> 00:39:03,719
Speaker 3: think I knew that I was taught you create it,

792
00:39:04,360 --> 00:39:05,880
Speaker 3: and I just ran with that. So when I went

793
00:39:05,920 --> 00:39:09,400
Speaker 3: to LA and not people are creating. Obviously I'm generalizing,

794
00:39:09,440 --> 00:39:12,600
Speaker 3: but for the most part people are waiting, and I

795
00:39:12,640 --> 00:39:16,560
Speaker 3: was like, why Yeah, But then I've been there for

796
00:39:16,560 --> 00:39:22,160
Speaker 3: eleven years. I have been incredibly fortunate, and I think

797
00:39:22,200 --> 00:39:24,759
Speaker 3: I found my strengths and weaknesses and ran with what

798
00:39:24,840 --> 00:39:29,000
Speaker 3: I could. But I really fell into the trap. It's

799
00:39:29,040 --> 00:39:31,879
Speaker 3: not a trap, it's basically also the dream of doing

800
00:39:31,920 --> 00:39:35,400
Speaker 3: other people's work. So I'm auditioning in roles I have

801
00:39:35,480 --> 00:39:39,080
Speaker 3: no creative saying I and then on set where I

802
00:39:39,120 --> 00:39:41,040
Speaker 3: can't even kind of like the show last night when

803
00:39:41,040 --> 00:39:43,680
Speaker 3: I was explaining, when you're on set, you feel like

804
00:39:43,760 --> 00:39:46,040
Speaker 3: as the only talent in the job, whether you're the

805
00:39:46,080 --> 00:39:49,640
Speaker 3: only one on screen, you think you are kind of important. Yeah,

806
00:39:49,680 --> 00:39:52,640
Speaker 3: you can't even get you can't communicate with anyone. You're

807
00:39:52,640 --> 00:39:54,840
Speaker 3: stuck in a room. People are telling you how to dress,

808
00:39:54,880 --> 00:39:57,680
Speaker 3: how to act, how to look, how to stand. You

809
00:39:57,719 --> 00:40:00,879
Speaker 3: don't even get say like what, you don't at any

810
00:40:00,920 --> 00:40:05,520
Speaker 3: control at all. I fell into that for about eight years.

811
00:40:06,480 --> 00:40:09,040
Speaker 3: But I was really fortunate because that is a career

812
00:40:09,400 --> 00:40:13,880
Speaker 3: where I was very consistently working, mostly in TV commercials,

813
00:40:13,920 --> 00:40:19,480
Speaker 3: which I love because it's kind of it's not it's

814
00:40:19,520 --> 00:40:22,799
Speaker 3: pretty easy, Like as a performance point of view, as

815
00:40:22,800 --> 00:40:26,080
Speaker 3: someone who's trained in dance, standing on set to do

816
00:40:26,160 --> 00:40:29,120
Speaker 3: a Google commercial is pretty easy. Physically getting there is

817
00:40:29,120 --> 00:40:32,320
Speaker 3: a hard part. Yeah, the actual work is just standing

818
00:40:32,360 --> 00:40:35,920
Speaker 3: and being patient, Yeah, and just cooperating.

819
00:40:36,040 --> 00:40:37,000
Speaker 1: Yeah, hurry up from wait.

820
00:40:37,120 --> 00:40:38,240
Speaker 3: Yeah, So that's kind of easy.

821
00:40:38,400 --> 00:40:42,920
Speaker 1: Yeah. And America has a very different pay scale for

822
00:40:43,440 --> 00:40:48,560
Speaker 1: performers than Australia in that the money that you get

823
00:40:48,560 --> 00:40:51,600
Speaker 1: paid for commercials, and I know this from the voice

824
00:40:51,600 --> 00:40:54,560
Speaker 1: over side of things, you get residuals. If they roll

825
00:40:54,600 --> 00:40:57,919
Speaker 1: that over, they'll pay you. That thing will pay every

826
00:40:57,920 --> 00:41:01,560
Speaker 1: time it plays on that telling this in Milwaukee, here's

827
00:41:01,600 --> 00:41:05,440
Speaker 1: a check thank you mailbox. Money that doesn't done not

828
00:41:05,480 --> 00:41:07,480
Speaker 1: happen here, and I don't know how long it's going

829
00:41:07,520 --> 00:41:11,200
Speaker 1: to happen in the States because it's tough to compete.

830
00:41:12,040 --> 00:41:17,080
Speaker 1: But that career that you know, you obviously work very

831
00:41:17,080 --> 00:41:19,759
Speaker 1: hard to maintain that you don't accidentally keep those jobs.

832
00:41:19,840 --> 00:41:23,200
Speaker 1: You're probably dancing all the time, you're either taking or

833
00:41:23,320 --> 00:41:25,799
Speaker 1: doing classes every week. You're like making sure that you stay.

834
00:41:26,320 --> 00:41:28,600
Speaker 1: You got to keep your splits over the summer kids,

835
00:41:28,719 --> 00:41:32,040
Speaker 1: your keep your splits over the summer. That's always got

836
00:41:32,080 --> 00:41:35,640
Speaker 1: to do that. But that what that does, it gives

837
00:41:35,640 --> 00:41:39,240
Speaker 1: you the freedom to choose to create when you're offset,

838
00:41:40,160 --> 00:41:43,880
Speaker 1: which is I'm guessing of one ends up with an

839
00:41:43,880 --> 00:41:46,239
Speaker 1: installation of the National Calorie of Victoria.

840
00:41:46,800 --> 00:41:50,000
Speaker 3: Well, see, that's the thing. So I really was. I mean, yes,

841
00:41:50,080 --> 00:41:53,759
Speaker 3: behind the scenes work is NonStop, but I've always loved

842
00:41:53,760 --> 00:41:56,239
Speaker 3: every part of that, so obviously the cliche didn't feel

843
00:41:56,239 --> 00:41:58,920
Speaker 3: like work because I love every part of it. But

844
00:41:59,040 --> 00:42:01,759
Speaker 3: even to the point where I felt like I did

845
00:42:01,760 --> 00:42:04,279
Speaker 3: everything on my own and I was super okay with it.

846
00:42:04,400 --> 00:42:06,880
Speaker 3: So you know, the standard in this industry is, oh,

847
00:42:06,880 --> 00:42:08,920
Speaker 3: you got to have head shots, you got to have

848
00:42:09,000 --> 00:42:12,040
Speaker 3: a resume, you got to have a website, and a

849
00:42:12,080 --> 00:42:13,719
Speaker 3: lot of people can't do that by themselves, and I

850
00:42:13,760 --> 00:42:15,680
Speaker 3: was like, why, I'm just going to do it. So

851
00:42:15,760 --> 00:42:18,799
Speaker 3: then I became a photographer and I was doing my

852
00:42:18,840 --> 00:42:21,200
Speaker 3: head shots and I loved editing. Since I was younger,

853
00:42:21,520 --> 00:42:23,359
Speaker 3: I learned how to use photoshop. I was then doing

854
00:42:23,400 --> 00:42:26,960
Speaker 3: other people's headshots, getting some pocket money that way. I

855
00:42:27,000 --> 00:42:29,800
Speaker 3: was editing people's show reels because I've always loved editing

856
00:42:30,480 --> 00:42:32,880
Speaker 3: and then I learned how to make a website, like

857
00:42:32,920 --> 00:42:36,080
Speaker 3: it's stuff you can do. I'm doing the bare minimum.

858
00:42:36,120 --> 00:42:38,960
Speaker 3: I'm not, like, you know, a high level at it.

859
00:42:39,040 --> 00:42:41,840
Speaker 3: But I never felt like I had to rely on

860
00:42:41,880 --> 00:42:47,480
Speaker 3: anyone else, because relying on other people was like time consuming, hard,

861
00:42:49,040 --> 00:42:51,520
Speaker 3: possibly a lot of rejection, more rejections. So I'm like,

862
00:42:51,640 --> 00:42:53,319
Speaker 3: let's just figure it out on my own, do what

863
00:42:53,360 --> 00:42:56,759
Speaker 3: I can. But I was so lucky the flow that

864
00:42:56,840 --> 00:42:59,800
Speaker 3: I had seemed to work, and for years I was

865
00:42:59,880 --> 00:43:02,520
Speaker 3: just doing commercial after commercial after commercial. I'm done about

866
00:43:02,560 --> 00:43:07,439
Speaker 3: seventy it's and they're all different contracts. That's not saying

867
00:43:07,440 --> 00:43:10,799
Speaker 3: that all jackpots in any sense, but I felt very

868
00:43:10,840 --> 00:43:13,319
Speaker 3: consistently working, and a lot of those had nothing to

869
00:43:13,320 --> 00:43:15,719
Speaker 3: do with dance. So on the other end, I'm doing

870
00:43:15,840 --> 00:43:18,640
Speaker 3: dance stuff. But I really noticed that auditioning for dance,

871
00:43:19,440 --> 00:43:24,400
Speaker 3: just auditioning, not even the job, is so much work,

872
00:43:25,080 --> 00:43:26,760
Speaker 3: Like you have to stand in line for ten hours

873
00:43:26,760 --> 00:43:29,279
Speaker 3: in the sun. You don't possibly even get into the

874
00:43:29,360 --> 00:43:32,360
Speaker 3: dance studio to dance because there's thousands of people for

875
00:43:32,440 --> 00:43:36,080
Speaker 3: a job that's probably already cast. I was like, that's discouraging.

876
00:43:37,040 --> 00:43:38,640
Speaker 3: I want to do it, but what else can I

877
00:43:38,680 --> 00:43:42,520
Speaker 3: do you as well that will keep me satisfied creatively

878
00:43:42,800 --> 00:43:45,560
Speaker 3: and just like just sort I'm not relying on that.

879
00:43:45,960 --> 00:43:47,520
Speaker 3: And that's why I always like to teach people not

880
00:43:47,560 --> 00:43:50,520
Speaker 3: to just to have one thing. I think, just do

881
00:43:50,600 --> 00:43:54,120
Speaker 3: as much as you can. But it was actually the

882
00:43:54,160 --> 00:43:58,439
Speaker 3: pandemic that gave me some downtime because this was full time,

883
00:43:58,560 --> 00:44:01,959
Speaker 3: all one hundred percent. I never had a holiday day off.

884
00:44:03,000 --> 00:44:05,280
Speaker 3: The pandemic forced everything one to have a day off

885
00:44:05,480 --> 00:44:09,719
Speaker 3: a few years off. And coincidentally, I started my own

886
00:44:09,719 --> 00:44:12,799
Speaker 3: business with my partner because I won the Green Card

887
00:44:12,800 --> 00:44:15,799
Speaker 3: Lottery in the same time. So I felt greedy about

888
00:44:15,800 --> 00:44:17,520
Speaker 3: it because I was already there with a visa and

889
00:44:17,520 --> 00:44:20,239
Speaker 3: then I just won the Green Card lottery, but it

890
00:44:20,280 --> 00:44:23,120
Speaker 3: meant I could start business. I always loved business and stuff,

891
00:44:23,480 --> 00:44:27,439
Speaker 3: so me and my partner created a production studio where

892
00:44:27,440 --> 00:44:31,160
Speaker 3: we do set design as well, and we built out

893
00:44:31,200 --> 00:44:34,719
Speaker 3: an entire studio with like multiple different permanent set designs

894
00:44:34,920 --> 00:44:38,120
Speaker 3: and then people rent by the hour, and so we

895
00:44:38,360 --> 00:44:41,160
Speaker 3: built that in a month, and then the pandemic hit

896
00:44:41,640 --> 00:44:44,759
Speaker 3: on our opening day, like opening night party, and we

897
00:44:44,840 --> 00:44:46,279
Speaker 3: had no idea what was going to happen with that,

898
00:44:46,320 --> 00:44:48,840
Speaker 3: and then the the pandemic last lasted so long, but

899
00:44:48,840 --> 00:44:52,480
Speaker 3: because we were a private business by appointment, we were

900
00:44:52,520 --> 00:44:56,760
Speaker 3: able to continue operating, and somehow it worked out. People

901
00:44:56,760 --> 00:45:00,560
Speaker 3: had time to be creative and so the business was

902
00:45:00,600 --> 00:45:04,200
Speaker 3: successful for a small business. But because of that, it

903
00:45:04,320 --> 00:45:08,440
Speaker 3: meant I then had my own production space twenty four

904
00:45:08,480 --> 00:45:11,960
Speaker 3: to seven. I had all the cameras and lighting set up,

905
00:45:12,239 --> 00:45:16,480
Speaker 3: I had set designs, I had a key, and I

906
00:45:16,520 --> 00:45:19,840
Speaker 3: had TikTok, so that was the same all within that

907
00:45:19,880 --> 00:45:22,360
Speaker 3: month I started the business, had my own space. The

908
00:45:22,480 --> 00:45:26,680
Speaker 3: pandemic hit and I downloaded TikTok and it just absolutely

909
00:45:27,600 --> 00:45:30,680
Speaker 3: skyrocketed because it meant every day I was filming and

910
00:45:30,719 --> 00:45:35,279
Speaker 3: uploading about ten to twenty videos because I immediately saw

911
00:45:35,360 --> 00:45:42,280
Speaker 3: TikTok as being a very experimental place, very accepting of raw,

912
00:45:42,400 --> 00:45:46,080
Speaker 3: unpolished work. And I thrive in something that's easy, so

913
00:45:46,160 --> 00:45:48,080
Speaker 3: if I don't have to have it fully polished, that

914
00:45:48,080 --> 00:45:51,919
Speaker 3: means I could upload immediately there and I just took

915
00:45:51,960 --> 00:45:54,839
Speaker 3: it when I just kept going, and yeah, I think,

916
00:45:54,920 --> 00:45:57,840
Speaker 3: honestly it was the most fulfilling I've ever felt my

917
00:45:57,840 --> 00:46:03,200
Speaker 3: whole career because it was full control again and full

918
00:46:03,280 --> 00:46:05,560
Speaker 3: creative mode, just like as I was when I was

919
00:46:05,560 --> 00:46:07,600
Speaker 3: a kid, So I kind of felt like I went

920
00:46:07,640 --> 00:46:12,040
Speaker 3: back to my seventeen year old self and just, yeah,

921
00:46:12,160 --> 00:46:13,120
Speaker 3: I haven't stopped since.

922
00:46:14,040 --> 00:46:16,239
Speaker 2: Got to take a quick break. We'll be right back

923
00:46:16,280 --> 00:46:17,840
Speaker 2: with smack that rhymed.

924
00:46:25,440 --> 00:46:29,799
Speaker 1: There's certainly one thing that I see as a through

925
00:46:29,840 --> 00:46:34,279
Speaker 1: line through all your work, and so I would ask

926
00:46:34,320 --> 00:46:37,200
Speaker 1: you this, what is the importance of keeping a spirit

927
00:46:37,239 --> 00:46:38,080
Speaker 1: of playfulness?

928
00:46:39,360 --> 00:46:41,440
Speaker 3: I mean, that's I don't even know how to describe

929
00:46:41,440 --> 00:46:44,239
Speaker 3: the importance of it because I can't imagine how I

930
00:46:44,280 --> 00:46:48,120
Speaker 3: would be without it. It's a very youthful, playful thing

931
00:46:48,160 --> 00:46:50,600
Speaker 3: that I have, and I've always known that that's important

932
00:46:51,160 --> 00:46:54,560
Speaker 3: because it's only ever gotten me further. So I've never

933
00:46:54,600 --> 00:46:57,360
Speaker 3: wanted to squash that. There's been times when I've been.

934
00:46:57,480 --> 00:47:01,960
Speaker 1: There, nice, my god, we press, it's always on brand.

935
00:47:04,000 --> 00:47:08,120
Speaker 3: There's been environments where I felt that being squashed, and

936
00:47:08,200 --> 00:47:11,160
Speaker 3: so I just note, I'm like, like, honestly being upset

937
00:47:11,200 --> 00:47:14,000
Speaker 3: for a TV commercial where I have no control. But

938
00:47:14,080 --> 00:47:17,480
Speaker 3: what am I benefiting from? Maybe the paycheck, the resume,

939
00:47:17,960 --> 00:47:21,239
Speaker 3: So I know that it's still beneficial, but I yeah,

940
00:47:21,280 --> 00:47:25,040
Speaker 3: the playfulness has been the drive the whole way.

941
00:47:25,520 --> 00:47:29,719
Speaker 1: How does playfulness get you through. I don't know, two

942
00:47:29,760 --> 00:47:32,719
Speaker 1: jobs don't come in a row, Rents coming, you know,

943
00:47:32,840 --> 00:47:34,080
Speaker 1: car payments, whatever.

944
00:47:34,320 --> 00:47:37,879
Speaker 3: Well, it keeps the happiness there, honestly, Like it's I'm

945
00:47:37,960 --> 00:47:40,520
Speaker 3: so content with it and it's something that I can

946
00:47:40,560 --> 00:47:43,960
Speaker 3: completely do by myself, or I can share that with

947
00:47:44,000 --> 00:47:47,319
Speaker 3: my friends and it am set up even more. But

948
00:47:48,080 --> 00:47:52,040
Speaker 3: it's it's just not having to rely on anyone or anything.

949
00:47:52,920 --> 00:47:55,920
Speaker 3: But I can still feel fully satisfied with being one

950
00:47:56,000 --> 00:47:59,399
Speaker 3: hundred percent creative, and it feels like I'm progressing every time.

951
00:47:59,480 --> 00:48:05,799
Speaker 3: I'm still experimenting, discovering. It's yeah, I don't know how

952
00:48:05,800 --> 00:48:06,480
Speaker 3: to stop.

953
00:48:06,200 --> 00:48:13,200
Speaker 1: It for because you know, people might be watching, and

954
00:48:13,239 --> 00:48:17,080
Speaker 1: it's hard sometimes if you've never if you've never known

955
00:48:17,120 --> 00:48:19,120
Speaker 1: that we have a choice to look at something. We

956
00:48:19,160 --> 00:48:22,040
Speaker 1: can either accept it as it is, or we can

957
00:48:22,200 --> 00:48:24,759
Speaker 1: take it personally and go, this is happening because it

958
00:48:24,880 --> 00:48:28,880
Speaker 1: must hate me. This train being late, this rain, this

959
00:48:29,239 --> 00:48:33,920
Speaker 1: traffic is because it doesn't like me personally. We have

960
00:48:34,000 --> 00:48:37,440
Speaker 1: invented both stories, you know, but a lot of people

961
00:48:38,280 --> 00:48:41,520
Speaker 1: it's hard to get that leap to understand that we, oh,

962
00:48:41,640 --> 00:48:46,040
Speaker 1: I've created how I feel about this? To go through

963
00:48:46,080 --> 00:48:50,320
Speaker 1: life with this kind of outlook of playfulness on whatever

964
00:48:50,680 --> 00:48:54,440
Speaker 1: challenge you're facing, that is somewhat of a superpower.

965
00:48:54,920 --> 00:48:57,000
Speaker 3: You know what's interesting the way you just worded it,

966
00:48:57,120 --> 00:49:02,239
Speaker 3: not that it's fully around religion. But I did not

967
00:49:02,239 --> 00:49:04,799
Speaker 3: grow up religious. I did not have a community. I

968
00:49:04,840 --> 00:49:08,800
Speaker 3: had some dance friends. But I've always felt very alone,

969
00:49:09,800 --> 00:49:13,360
Speaker 3: but never sad about it, which is really strange because

970
00:49:13,440 --> 00:49:16,640
Speaker 3: usually you would be feeling lonely. I've never felt lonely.

971
00:49:17,440 --> 00:49:22,080
Speaker 3: But I think maybe that's why, in those down moments

972
00:49:22,080 --> 00:49:26,319
Speaker 3: in Korea and stuff, I've never felt like I needed more.

973
00:49:26,800 --> 00:49:29,640
Speaker 3: I've never I was never taught to blame anyone or

974
00:49:29,680 --> 00:49:32,200
Speaker 3: to give credit to anyone. It's like it's all been

975
00:49:32,560 --> 00:49:36,680
Speaker 3: all me. So I think when you're in a community,

976
00:49:36,760 --> 00:49:38,640
Speaker 3: and I mean, I'm thinking of religion now, it's kind

977
00:49:38,640 --> 00:49:41,600
Speaker 3: of something else talking about with someone recently, even when

978
00:49:41,640 --> 00:49:44,879
Speaker 3: you're saying, oh it's raining and it's God's plan, it's

979
00:49:44,920 --> 00:49:48,120
Speaker 3: someone else's plan. Oh it's because you know the translate,

980
00:49:48,160 --> 00:49:50,800
Speaker 3: they must hate me. I feel like I I've always

981
00:49:50,960 --> 00:49:54,480
Speaker 3: put everything on myself, so I'm in full control. I

982
00:49:54,480 --> 00:49:56,920
Speaker 3: guess maybe I'm a control freak. I don't know what

983
00:49:57,000 --> 00:50:02,520
Speaker 3: that means, but I was never around other people enough

984
00:50:02,640 --> 00:50:05,840
Speaker 3: or a community, or felt like I could even credit

985
00:50:05,840 --> 00:50:08,279
Speaker 3: anyone else, Like I'll give myself full credit for the

986
00:50:08,320 --> 00:50:10,920
Speaker 3: things I think I deserve the credit for, but also

987
00:50:11,080 --> 00:50:13,880
Speaker 3: blame myself for everything. I think that's me like not

988
00:50:13,920 --> 00:50:16,840
Speaker 3: wanting to rely on anyone else or anything else. But

989
00:50:18,000 --> 00:50:21,120
Speaker 3: it's almost weird that it could have backfired that I

990
00:50:21,160 --> 00:50:23,719
Speaker 3: didn't have a community in that sense.

991
00:50:23,840 --> 00:50:27,959
Speaker 1: Essentially, you're talking about taking responsibility. Blame is a tricky word.

992
00:50:28,360 --> 00:50:31,479
Speaker 1: We're talking about taking responsibility for when things don't go great. Yeah, yeah,

993
00:50:31,520 --> 00:50:32,640
Speaker 1: all right, rather than.

994
00:50:32,719 --> 00:50:35,040
Speaker 3: Or trying to justify it as well.

995
00:50:35,160 --> 00:50:37,680
Speaker 1: Yeah. Is there a freedom in that? Is there a

996
00:50:37,680 --> 00:50:42,040
Speaker 1: freedom in not crediting anybody else but also taking responsibility

997
00:50:42,200 --> 00:50:42,920
Speaker 1: for a situation?

998
00:50:43,320 --> 00:50:47,520
Speaker 3: I think there's a freedom, but I think it's a

999
00:50:47,560 --> 00:50:51,960
Speaker 3: slippery slope because you could it could just bring you

1000
00:50:52,000 --> 00:50:54,839
Speaker 3: down into a spiral. You could. You have to still

1001
00:50:54,880 --> 00:50:56,520
Speaker 3: have a bit of control so that you stay on

1002
00:50:56,600 --> 00:51:01,000
Speaker 3: track and don't get stuck in that my mindset of

1003
00:51:01,040 --> 00:51:04,080
Speaker 3: like if something doesn't go right, it's because of you,

1004
00:51:05,120 --> 00:51:08,280
Speaker 3: because I'm like, oh I didn't get that job because

1005
00:51:08,280 --> 00:51:10,839
Speaker 3: I wasn't good enough, cool, not good enough. And then

1006
00:51:10,840 --> 00:51:12,640
Speaker 3: I move on, it's sort of been like, Oh, why

1007
00:51:12,760 --> 00:51:14,640
Speaker 3: wasn't I good enough? I'm like, Oh, it's because I

1008
00:51:14,640 --> 00:51:17,680
Speaker 3: didn't have brown hair. Okay, I think it's I just

1009
00:51:17,760 --> 00:51:23,239
Speaker 3: look at everything pretty logically and not emotionally. Maybe, but

1010
00:51:23,280 --> 00:51:25,640
Speaker 3: I don't know. Yeah, I don't know how that happens.

1011
00:51:26,000 --> 00:51:29,279
Speaker 3: It's obviously easier. If I know there's an easier way

1012
00:51:29,320 --> 00:51:30,200
Speaker 3: to look at something, I.

1013
00:51:30,400 --> 00:51:33,120
Speaker 1: Will tens of thousand dollars of therapy to get to

1014
00:51:33,160 --> 00:51:35,240
Speaker 1: that way cheaper.

1015
00:51:35,360 --> 00:51:37,200
Speaker 3: I'm like, Oh, that's too much work to get upset

1016
00:51:37,239 --> 00:51:41,160
Speaker 3: about looking the wrong way. I'm just gonna deal with

1017
00:51:41,440 --> 00:51:44,160
Speaker 3: I'm just gonna accept it. It's just accepting it for

1018
00:51:44,200 --> 00:51:46,640
Speaker 3: what it is. And I think I also look at

1019
00:51:46,640 --> 00:51:49,960
Speaker 3: this industry as quite a game where it's like, you

1020
00:51:50,080 --> 00:51:52,040
Speaker 3: really could be the best in a room, but they

1021
00:51:52,200 --> 00:51:55,880
Speaker 3: really like that brunette and that's it. Yeah, you have

1022
00:51:55,880 --> 00:51:58,879
Speaker 3: no control. So I think once I realized that, which

1023
00:51:58,960 --> 00:52:03,400
Speaker 3: was really early on, I was like, oh, well, might

1024
00:52:03,560 --> 00:52:04,359
Speaker 3: dwell on it. You know.

1025
00:52:04,680 --> 00:52:07,120
Speaker 1: Yeah, I'm exploring this a little bit lately because I

1026
00:52:07,160 --> 00:52:10,879
Speaker 1: had someone on the show talk about growing up and

1027
00:52:12,200 --> 00:52:14,799
Speaker 1: they always saw exercise is the thing that people who

1028
00:52:14,800 --> 00:52:17,600
Speaker 1: wanted to be skinny did so they're never engaged in it.

1029
00:52:18,200 --> 00:52:21,680
Speaker 1: But then she said, if only I'd been told exercises

1030
00:52:21,719 --> 00:52:26,719
Speaker 1: a way to make everything way easier, and you, you know,

1031
00:52:26,760 --> 00:52:28,840
Speaker 1: your moods are way easy to handle, and you sleep

1032
00:52:28,880 --> 00:52:31,799
Speaker 1: way better, and things piss you off less and you

1033
00:52:31,920 --> 00:52:35,319
Speaker 1: find things way more enjoyable. I would have been mad

1034
00:52:35,360 --> 00:52:38,400
Speaker 1: into it way earlier. And now this person's an endurance runner,

1035
00:52:38,560 --> 00:52:40,120
Speaker 1: and I found the same thing in my late twenties.

1036
00:52:40,120 --> 00:52:42,239
Speaker 1: Exercise I didn't want to do it. I was like,

1037
00:52:42,280 --> 00:52:45,640
Speaker 1: oh wow, if I run, I feel way better. What role?

1038
00:52:46,040 --> 00:52:48,200
Speaker 1: What role is moving your body? I mean you move

1039
00:52:48,239 --> 00:52:52,480
Speaker 1: your body all the time. So what's the difference between

1040
00:52:52,560 --> 00:52:54,200
Speaker 1: when you haven't had a chance to move your body

1041
00:52:54,239 --> 00:52:56,680
Speaker 1: maybe you're ill, or maybe you're traveling or whatever, versus

1042
00:52:56,760 --> 00:52:57,480
Speaker 1: when you can.

1043
00:52:58,440 --> 00:53:01,520
Speaker 3: I mean, that's really bad tracking here when you're saying, like,

1044
00:53:01,560 --> 00:53:04,560
Speaker 3: what's the importance of dance for children? And like that

1045
00:53:04,640 --> 00:53:07,600
Speaker 3: kind of thing. Movement one hundred percent. It's pretty cool

1046
00:53:07,640 --> 00:53:12,200
Speaker 3: to learn that skillfully, but then also just experience that

1047
00:53:13,280 --> 00:53:15,960
Speaker 3: for health and mental health and everything. I think movement

1048
00:53:16,000 --> 00:53:21,040
Speaker 3: early on is so important. But when I don't move, okay,

1049
00:53:21,360 --> 00:53:26,880
Speaker 3: well I love not moving. I kind of prioritize downtime,

1050
00:53:27,680 --> 00:53:32,040
Speaker 3: so I sleep in as much as I can every day,

1051
00:53:32,520 --> 00:53:35,040
Speaker 3: and I work from bed as much as I can,

1052
00:53:35,120 --> 00:53:37,520
Speaker 3: so I can go quite a long time without moving.

1053
00:53:38,000 --> 00:53:42,200
Speaker 3: But the Hydraulic Press videos, it's because I see choreography

1054
00:53:42,239 --> 00:53:47,399
Speaker 3: and everything, Like if something moves naturally, mechanically, whatever it's,

1055
00:53:47,480 --> 00:53:50,120
Speaker 3: you can perform it. So I've always played that game

1056
00:53:50,160 --> 00:53:52,400
Speaker 3: since I was a kid. Like, this wasn't a new idea,

1057
00:53:52,440 --> 00:53:55,360
Speaker 3: it's just a new way to execute it, a new platform.

1058
00:53:56,040 --> 00:53:59,359
Speaker 3: But I think maybe that helps never, like I don't

1059
00:53:59,400 --> 00:54:00,720
Speaker 3: feel like I'm never not moving.

1060
00:54:01,600 --> 00:54:04,120
Speaker 1: What would you say it is to give a kid,

1061
00:54:05,239 --> 00:54:07,520
Speaker 1: through dance or sport or whatever, what would you say

1062
00:54:07,560 --> 00:54:11,239
Speaker 1: it is to give them, I guess, fluency and literacy

1063
00:54:11,320 --> 00:54:14,399
Speaker 1: in their own body, the way their own body can move.

1064
00:54:16,120 --> 00:54:19,000
Speaker 3: It's just so important to encourage kids to also take

1065
00:54:19,000 --> 00:54:22,640
Speaker 3: control of their own movement because so many sports and

1066
00:54:22,760 --> 00:54:24,920
Speaker 3: dance and everything, you're only going to do what you're told.

1067
00:54:25,800 --> 00:54:28,359
Speaker 3: I mean, everyone has a body, so like, if you

1068
00:54:28,360 --> 00:54:32,000
Speaker 3: can learn how to, it's like taking your own responsibility

1069
00:54:32,000 --> 00:54:33,800
Speaker 3: for it. So you get the basis, how can you

1070
00:54:33,840 --> 00:54:38,120
Speaker 3: add to that? It's really like, how can you encourage

1071
00:54:38,200 --> 00:54:40,480
Speaker 3: kids to I mean, it's all about creativity. This can

1072
00:54:40,520 --> 00:54:43,960
Speaker 3: be even just mentally, like art, writing anything. It's like,

1073
00:54:43,960 --> 00:54:46,239
Speaker 3: how can you take what you learned but then actually

1074
00:54:46,480 --> 00:54:49,920
Speaker 3: make it your own and learn that to create the

1075
00:54:49,920 --> 00:54:52,719
Speaker 3: next part of it, So we're not just standing there

1076
00:54:53,080 --> 00:54:54,600
Speaker 3: doing clicks like how can you?

1077
00:54:55,239 --> 00:54:55,600
Speaker 1: I don't know.

1078
00:54:55,680 --> 00:54:57,279
Speaker 3: I don't know how to explain it. I'm much better

1079
00:54:57,360 --> 00:54:58,920
Speaker 3: my body than my words.

1080
00:54:59,360 --> 00:55:03,640
Speaker 1: Say let's say you're guesting, you're teaching a dance class.

1081
00:55:03,800 --> 00:55:06,439
Speaker 1: Let's say there's the eight year old okay, right, and

1082
00:55:06,760 --> 00:55:08,880
Speaker 1: hey or shehit's in the corner like, don't want to

1083
00:55:08,920 --> 00:55:11,800
Speaker 1: do this? What do you say to that kid about

1084
00:55:12,400 --> 00:55:15,880
Speaker 1: finding the joyfulness or the playfulness in the moment.

1085
00:55:16,680 --> 00:55:20,279
Speaker 3: For me, music is so musicality is my favorite part

1086
00:55:20,280 --> 00:55:24,000
Speaker 3: about dance. I mean, anyone can move, but the musicality

1087
00:55:24,000 --> 00:55:27,399
Speaker 3: is what makes it impressive to me and unique and

1088
00:55:27,600 --> 00:55:30,919
Speaker 3: a different experience. So I think, if anything, I don't

1089
00:55:30,920 --> 00:55:33,040
Speaker 3: care how they're moving, I would be teaching them how

1090
00:55:33,120 --> 00:55:38,160
Speaker 3: to create rhythm and respond to rhythm, because learning a

1091
00:55:38,239 --> 00:55:40,960
Speaker 3: dance move can be really boring. Honestly, I don't like

1092
00:55:41,040 --> 00:55:44,239
Speaker 3: being in class, but moving to music is what can

1093
00:55:44,280 --> 00:55:46,560
Speaker 3: be fun. So I think I would try to find

1094
00:55:46,960 --> 00:55:52,640
Speaker 3: that connection before finding the actual choreography and just learning

1095
00:55:52,640 --> 00:55:54,359
Speaker 3: how to pick up a rhythm, because you can dance

1096
00:55:54,480 --> 00:55:57,160
Speaker 3: just clapping your hands out dancing, so it's like kind

1097
00:55:57,160 --> 00:55:59,440
Speaker 3: of pulling it back to the most basic part of it.

1098
00:56:00,080 --> 00:56:04,400
Speaker 3: And then also I very much work with prompts, so

1099
00:56:06,160 --> 00:56:08,120
Speaker 3: dance like you're a giraffe and you've got a whole

1100
00:56:08,120 --> 00:56:10,560
Speaker 3: contemporary routine, you know. So I think trying to find

1101
00:56:10,600 --> 00:56:14,520
Speaker 3: a different way to explain it. If we're talking about

1102
00:56:14,520 --> 00:56:17,279
Speaker 3: one kid, if he's more excited about the zoo or

1103
00:56:17,320 --> 00:56:19,200
Speaker 3: about a sport, be like, pretend you're a soccer ball

1104
00:56:19,239 --> 00:56:20,799
Speaker 3: and roll around on the floor and just put a

1105
00:56:20,800 --> 00:56:23,520
Speaker 3: sad song on. You've got a contemporary routine. So I

1106
00:56:23,560 --> 00:56:26,040
Speaker 3: think it's like, if it's an individual kid, you just

1107
00:56:26,120 --> 00:56:28,759
Speaker 3: have to find what they actually like and bring that in.

1108
00:56:29,080 --> 00:56:31,960
Speaker 3: And that's like the layer of like your personal the

1109
00:56:32,040 --> 00:56:35,880
Speaker 3: individual interests, because I would not be interested if it

1110
00:56:35,960 --> 00:56:40,880
Speaker 3: was just black and white, like this is the choreography.

1111
00:56:40,520 --> 00:56:45,400
Speaker 1: What's so on that? For? You know, I'm fifty. Occasionally

1112
00:56:45,480 --> 00:56:51,879
Speaker 1: there'll be a wedding or just like calm dads, So

1113
00:56:52,400 --> 00:56:55,319
Speaker 1: when you hear that moment, canm dads, what's the thing

1114
00:56:55,360 --> 00:56:59,279
Speaker 1: that a guy at his thirties forties or women can

1115
00:56:59,280 --> 00:57:01,319
Speaker 1: say that they're pat and I like, just do this

1116
00:57:01,440 --> 00:57:02,120
Speaker 1: on the dance floor.

1117
00:57:02,200 --> 00:57:05,800
Speaker 3: Okay, I would say, pick a body part, just focus

1118
00:57:05,800 --> 00:57:10,600
Speaker 3: on your shoulders. That's all you have to do, just like, okay, cool,

1119
00:57:11,080 --> 00:57:13,319
Speaker 3: and then the next song, focus on your feet and

1120
00:57:13,400 --> 00:57:14,920
Speaker 3: you can just walk around in a circle. You can

1121
00:57:14,960 --> 00:57:17,160
Speaker 3: tap your foot, like if I'm talking about someone who

1122
00:57:17,160 --> 00:57:20,560
Speaker 3: has no musicality rhythm but just wants to move, it's

1123
00:57:20,720 --> 00:57:24,520
Speaker 3: much easier to just focus on one body part because again,

1124
00:57:24,600 --> 00:57:27,400
Speaker 3: you can dance with just one thing, like it could

1125
00:57:27,440 --> 00:57:30,160
Speaker 3: just be waving your hand around is a dance. So

1126
00:57:30,400 --> 00:57:32,240
Speaker 3: if you focus on one body pipe, like just do

1127
00:57:32,320 --> 00:57:35,880
Speaker 3: your shoulders and point, that's a dance move. So it's

1128
00:57:36,160 --> 00:57:39,000
Speaker 3: and then it also makes it like experimental and playful

1129
00:57:39,240 --> 00:57:40,880
Speaker 3: because you know what a lot of people say, yeah,

1130
00:57:41,040 --> 00:57:43,160
Speaker 3: just move your hips, but a lot of people can't

1131
00:57:43,200 --> 00:57:47,280
Speaker 3: isolate their hips because that is taught so finding like

1132
00:57:47,320 --> 00:57:51,080
Speaker 3: a limb. Everyone can move their arms. So I don't know,

1133
00:57:51,160 --> 00:57:53,160
Speaker 3: I just try to make it as basic as possible

1134
00:57:53,200 --> 00:57:54,800
Speaker 3: without sounding like it's boring.

1135
00:57:55,920 --> 00:57:59,640
Speaker 1: I really like that, Like, just focus on your shoulders. Yeah,

1136
00:57:59,680 --> 00:58:03,480
Speaker 1: and I guess. We know. We make jokes like, you know,

1137
00:58:03,680 --> 00:58:06,320
Speaker 1: the lawnmower, the sprinkler. You know, they're like, yeah, they

1138
00:58:06,320 --> 00:58:09,000
Speaker 1: focus on your shoulders and you know you're shaking off

1139
00:58:09,040 --> 00:58:09,480
Speaker 1: a scarf.

1140
00:58:09,720 --> 00:58:12,240
Speaker 3: Yeah. I mean that's a classic example of anything can

1141
00:58:12,240 --> 00:58:14,920
Speaker 3: be a dance. My dad can dance because he does

1142
00:58:14,920 --> 00:58:17,840
Speaker 3: a lawnmower. That's all he's ever done. So yeah, I

1143
00:58:17,880 --> 00:58:20,640
Speaker 3: think it is hard because that's where like from a

1144
00:58:20,640 --> 00:58:25,440
Speaker 3: teacher standpoint or just someone who can direct, Yeah, you

1145
00:58:25,520 --> 00:58:28,280
Speaker 3: have to be able to make someone look good and

1146
00:58:28,280 --> 00:58:31,080
Speaker 3: feel good immediately without being like, oh, you actually don't

1147
00:58:31,080 --> 00:58:34,720
Speaker 3: have any skill. So it's like, you know, just trying

1148
00:58:34,760 --> 00:58:36,800
Speaker 3: to be able to immediately find something that they can

1149
00:58:36,840 --> 00:58:39,520
Speaker 3: relate to and execute.

1150
00:58:39,520 --> 00:58:41,600
Speaker 1: Because then they get that thing which we spoke about

1151
00:58:41,600 --> 00:58:44,440
Speaker 1: on the phone yesterday, then they are actually channeling how

1152
00:58:44,480 --> 00:58:47,040
Speaker 1: they feel about something into their body rather than I'm

1153
00:58:47,080 --> 00:58:50,520
Speaker 1: just doing moves. Yeah, that's the big difference. Yeah, what

1154
00:58:50,520 --> 00:58:52,680
Speaker 1: would it have meant for you when you were fifteen

1155
00:58:52,800 --> 00:58:55,520
Speaker 1: or so you come down here for comedy festival, right

1156
00:58:55,760 --> 00:58:58,240
Speaker 1: and you walk into a National Gallery Victoria and you

1157
00:58:58,320 --> 00:59:01,680
Speaker 1: saw a massive fucking insulation of a performance artist moving

1158
00:59:01,720 --> 00:59:03,840
Speaker 1: their body like that. What would that admit for you

1159
00:59:03,880 --> 00:59:06,680
Speaker 1: as a kid to go, oh, this is a job.

1160
00:59:07,440 --> 00:59:12,760
Speaker 3: I would have done it exactly that, because it's been

1161
00:59:12,880 --> 00:59:18,040
Speaker 3: an incredible wild experience having been involved of MGV for

1162
00:59:18,080 --> 00:59:19,880
Speaker 3: this exhibit, and it's kind of been a long time

1163
00:59:19,920 --> 00:59:22,720
Speaker 3: coming in terms of they contacted me almost a year

1164
00:59:22,720 --> 00:59:25,760
Speaker 3: and a half ago, two years ago, so the build

1165
00:59:25,840 --> 00:59:29,800
Speaker 3: up to it. I'm getting chills now. It's been an

1166
00:59:29,880 --> 00:59:34,080
Speaker 3: absolutely incredible experience because I only ever saw art galleries

1167
00:59:34,080 --> 00:59:40,760
Speaker 3: as being fine art, very polished, very traditional, I mean contemporary.

1168
00:59:40,760 --> 00:59:44,200
Speaker 3: It doesn't have to be traditional, but definitely out of

1169
00:59:44,240 --> 00:59:49,000
Speaker 3: reach because even though I studied visual art, I have

1170
00:59:49,200 --> 00:59:53,320
Speaker 3: always kind of separated art gallery or gallery artists as

1171
00:59:53,640 --> 00:59:56,680
Speaker 3: a leaguer. I don't know anything about it. I can

1172
00:59:56,720 --> 00:59:58,680
Speaker 3: appreciate it, and I might see it in the museum,

1173
00:59:59,040 --> 01:00:02,600
Speaker 3: but I never felt like that was anything that I

1174
01:00:02,640 --> 01:00:07,560
Speaker 3: could do because I didn't ever see a dancer. Well,

1175
01:00:07,600 --> 01:00:09,360
Speaker 3: you can see dance and art, but I never saw

1176
01:00:09,440 --> 01:00:15,560
Speaker 3: a dancer slash comedian or doing comedic dancing, physical humor

1177
01:00:16,640 --> 01:00:20,080
Speaker 3: in a digital format kind of breaking the Fourth War

1178
01:00:21,560 --> 01:00:23,840
Speaker 3: in like a meme in an art gallery. I never

1179
01:00:23,920 --> 01:00:26,520
Speaker 3: I would have loved it though if I saw that

1180
01:00:26,560 --> 01:00:30,160
Speaker 3: as a kid. So I think it's been really such

1181
01:00:30,200 --> 01:00:34,680
Speaker 3: an honor to kind of like represent that. I don't

1182
01:00:34,680 --> 01:00:38,400
Speaker 3: know if it's been done before in this way. I've

1183
01:00:38,400 --> 01:00:43,040
Speaker 3: seen artists be comedic. Yeah, the classic banana tape to

1184
01:00:43,080 --> 01:00:46,000
Speaker 3: the wall is that MGV right now, I love it.

1185
01:00:46,120 --> 01:00:49,120
Speaker 3: I've seen artists troll the art community in a clever way.

1186
01:00:50,440 --> 01:00:53,760
Speaker 3: But the comedians that I grew up watching, I never

1187
01:00:53,800 --> 01:00:55,640
Speaker 3: thought they would be in an art gallery.

1188
01:00:56,120 --> 01:00:59,320
Speaker 1: Have people have, like young dancers reached out to you

1189
01:00:59,440 --> 01:01:01,439
Speaker 1: or have you said the gallery and seeing them come

1190
01:01:01,440 --> 01:01:01,920
Speaker 1: on in.

1191
01:01:02,600 --> 01:01:07,640
Speaker 3: Yes, dances and teachers and everything. But just recently when

1192
01:01:07,640 --> 01:01:09,880
Speaker 3: I was there, like yesterday, a guy came up and

1193
01:01:09,920 --> 01:01:11,840
Speaker 3: he was like, Oh, I studied fashion, and now our

1194
01:01:12,040 --> 01:01:15,560
Speaker 3: professor was showing us your videos. I'm like fashion. First

1195
01:01:15,600 --> 01:01:18,480
Speaker 3: of all, that's a compliment because I'm pretty daggy, But

1196
01:01:19,880 --> 01:01:23,720
Speaker 3: I kind of never preempted so many different areas of

1197
01:01:23,760 --> 01:01:28,360
Speaker 3: the industry and arts and entertainment referencing it. And I

1198
01:01:28,400 --> 01:01:30,480
Speaker 3: have a lot of people telling me that their teachers

1199
01:01:30,480 --> 01:01:35,200
Speaker 3: are showing them in class, dance, acting theater, musical theater,

1200
01:01:35,520 --> 01:01:39,760
Speaker 3: just kids classes for whatever reason. My favorite thing though,

1201
01:01:39,800 --> 01:01:43,040
Speaker 3: is that hearing that it's kids fully enjoying it. Because

1202
01:01:43,400 --> 01:01:45,640
Speaker 3: if I wanted to do anything else in my career,

1203
01:01:45,680 --> 01:01:49,040
Speaker 3: I think kids entertainment would be right up my alley.

1204
01:01:49,320 --> 01:01:52,280
Speaker 3: So I think I'm naturally always gravitated towards that. But yeah,

1205
01:01:51,960 --> 01:01:55,880
Speaker 3: I've been just blown away at the response of because

1206
01:01:55,920 --> 01:01:58,400
Speaker 3: I kind of thought people will see it and hopefully

1207
01:01:58,480 --> 01:02:00,520
Speaker 3: enjoy it. I didn't think I would be a reference.

1208
01:02:01,360 --> 01:02:04,640
Speaker 3: That's what's kind of trippy to me. Yeah, because I

1209
01:02:04,960 --> 01:02:06,520
Speaker 3: have that from when I was a kid, the people

1210
01:02:06,560 --> 01:02:10,640
Speaker 3: that I reference for my entire career. Kind of thinking

1211
01:02:10,640 --> 01:02:13,280
Speaker 3: that I could beat that for someone else. It was

1212
01:02:13,320 --> 01:02:21,160
Speaker 3: a really weird, crazy cool Yeah.

1213
01:02:19,400 --> 01:02:22,360
Speaker 1: Thank you so much for doing last Night. He absolutely

1214
01:02:22,440 --> 01:02:26,560
Speaker 1: nailed it. That was fund you know, it was fucking

1215
01:02:26,560 --> 01:02:27,040
Speaker 1: cool man.

1216
01:02:27,280 --> 01:02:30,680
Speaker 3: It was absolutely brilliant. Like the cast was so strong,

1217
01:02:30,880 --> 01:02:31,600
Speaker 3: really good team.

1218
01:02:31,880 --> 01:02:36,560
Speaker 1: It's a very particular kind of comedy that we're doing.

1219
01:02:36,640 --> 01:02:40,200
Speaker 3: It was my kind of comedy exactly. I loved watching it.

1220
01:02:40,280 --> 01:02:42,480
Speaker 1: Oh man, I'm glad you did it. I'm so happy

1221
01:02:42,480 --> 01:02:44,360
Speaker 1: you said yes, and I'm so grateful to connect with you.

1222
01:02:44,400 --> 01:02:47,320
Speaker 1: This has been you know, to hear that you know

1223
01:02:47,400 --> 01:02:50,440
Speaker 1: your career is a thing that it's possible, you know,

1224
01:02:50,520 --> 01:02:54,440
Speaker 1: I hope the other dance dads who were driving to

1225
01:02:54,480 --> 01:02:58,040
Speaker 1: the schlippy bloody convention centers dragging all the costumes around,

1226
01:02:58,200 --> 01:02:59,760
Speaker 1: like two hundred and fifty bucks and I've got to

1227
01:02:59,760 --> 01:03:01,480
Speaker 1: pay for if that's for the costume, and I'm gonna

1228
01:03:01,480 --> 01:03:05,360
Speaker 1: pay fifty bucks to get in for three minutes, yeah,

1229
01:03:05,400 --> 01:03:08,880
Speaker 1: and then drive four hours back. You guys all know

1230
01:03:08,960 --> 01:03:11,080
Speaker 1: each other? Do you know? The costume? Make a guy

1231
01:03:11,520 --> 01:03:14,160
Speaker 1: pretty sure? You listen to racket Man.

1232
01:03:14,520 --> 01:03:17,200
Speaker 3: I feel like every industry is pretty scammy. But if

1233
01:03:17,680 --> 01:03:19,760
Speaker 3: if there's joy in it, and you can find the

1234
01:03:19,840 --> 01:03:22,000
Speaker 3: joy in it, then that's what you run with. But

1235
01:03:22,160 --> 01:03:25,600
Speaker 3: isn't it awesome that if you didn't have the accessibility

1236
01:03:25,600 --> 01:03:27,920
Speaker 3: of that, or the family to support you, or friends,

1237
01:03:28,200 --> 01:03:32,720
Speaker 3: you can actually just open an appeah and really potentially

1238
01:03:32,800 --> 01:03:36,600
Speaker 3: learn quite a lot, quite a lot and really grow

1239
01:03:36,640 --> 01:03:39,720
Speaker 3: from that. So many of my immediate friends myself accluded,

1240
01:03:39,880 --> 01:03:44,200
Speaker 3: have now got careers based on what we've discovered online

1241
01:03:44,200 --> 01:03:45,960
Speaker 3: and what we're created online. So I do think that

1242
01:03:45,960 --> 01:03:51,200
Speaker 3: that's pretty awesome. Obviously, having parents and people around your support.

1243
01:03:50,960 --> 01:03:54,920
Speaker 1: It's pretty good. Someone's Those blockers are expensive. You need

1244
01:03:54,960 --> 01:03:56,040
Speaker 1: to get from somewhere.

1245
01:03:56,520 --> 01:03:58,280
Speaker 3: God, we made all of our own. My mum made

1246
01:03:58,320 --> 01:04:03,200
Speaker 3: all my costumes because we we what China go to

1247
01:04:03,280 --> 01:04:06,240
Speaker 3: the expensive route. But that made me thrifty.

1248
01:04:06,600 --> 01:04:08,040
Speaker 1: Did your make the mask costume?

1249
01:04:08,560 --> 01:04:10,880
Speaker 3: Yeah no, that was like four other costumes just put

1250
01:04:10,920 --> 01:04:11,760
Speaker 3: together for that show.

1251
01:04:12,320 --> 01:04:12,520
Speaker 1: Yeah.

1252
01:04:13,040 --> 01:04:15,640
Speaker 3: I grew up to be very thrifty and that's definitely

1253
01:04:15,640 --> 01:04:16,520
Speaker 3: helped my life.

1254
01:04:17,960 --> 01:04:19,360
Speaker 1: Thanks for a good part of it, mate, Thanks for coming.

1255
01:04:19,560 --> 01:04:20,280
Speaker 3: Thank you so much.

1256
01:04:21,440 --> 01:04:24,560
Speaker 2: So there was that was smack. She's really something.

1257
01:04:24,760 --> 01:04:26,720
Speaker 1: I got really lucky getting her on the show because

1258
01:04:28,200 --> 01:04:29,920
Speaker 1: I think just last week got profile by the New

1259
01:04:29,960 --> 01:04:30,439
Speaker 1: York Times.

1260
01:04:30,520 --> 01:04:32,080
Speaker 2: I dare say I'd never get a chance to get

1261
01:04:32,120 --> 01:04:32,919
Speaker 2: her back on the show.

1262
01:04:33,360 --> 01:04:35,040
Speaker 1: If you want to go to Instagram and check her

1263
01:04:35,080 --> 01:04:37,320
Speaker 1: out or TikTok, I'll put the link in the show notes.

1264
01:04:37,400 --> 01:04:39,439
Speaker 1: I could read it out, but too many m's and c's,

1265
01:04:39,440 --> 01:04:42,120
Speaker 1: it's hard to do. She's a total inspiration. She actually

1266
01:04:42,120 --> 01:04:44,000
Speaker 1: came and did the news show. She was traveling with

1267
01:04:44,080 --> 01:04:48,600
Speaker 1: two mates that two dancer friends of hers, and after

1268
01:04:48,640 --> 01:04:50,560
Speaker 1: we finished the show, it was pretty cool. If you

1269
01:04:50,560 --> 01:04:52,680
Speaker 1: go through Instagram feed, there's some videos she made that

1270
01:04:52,800 --> 01:04:57,160
Speaker 1: involves some chickens and Jeeves is a big fan of

1271
01:04:57,640 --> 01:05:01,560
Speaker 1: her work as well. Her performance art and Ja managed

1272
01:05:01,600 --> 01:05:04,360
Speaker 1: to get the original cast of that chicken video and

1273
01:05:05,240 --> 01:05:06,280
Speaker 1: remade it with them and.

1274
01:05:06,240 --> 01:05:09,800
Speaker 2: It was it was perfection. He's the best.

1275
01:05:10,200 --> 01:05:12,720
Speaker 1: Thanks so much for listening. I really appreciate you came

1276
01:05:13,400 --> 01:05:15,080
Speaker 1: to a podcast. Is good for you. Please tell a friend,

1277
01:05:15,280 --> 01:05:18,040
Speaker 1: get on the newsletter. It's right there in the show notes.

1278
01:05:18,160 --> 01:05:20,440
Speaker 1: I'll see you back here on Friday. Got any questions,

1279
01:05:20,760 --> 01:05:23,160
Speaker 1: pop a comment in the newsletter. Now, don't make the

1280
01:05:23,200 --> 01:05:26,080
Speaker 1: show alone. So here's an AOI voice to read you

1281
01:05:26,080 --> 01:05:27,520
Speaker 1: the credits for the people who help.

1282
01:05:27,360 --> 01:05:30,720
Speaker 4: Me do it. This episode was brought to you by

1283
01:05:30,840 --> 01:05:34,760
Speaker 4: Andy Maher on audio post production, Beck Saied on video

1284
01:05:34,840 --> 01:05:38,840
Speaker 4: post production, Toehider on music. My producer is Bree Steele

1285
01:05:38,960 --> 01:05:42,720
Speaker 4: and my executive function assistant is Monica Chapman. For every

1286
01:05:42,760 --> 01:05:45,080
Speaker 4: episode ever. To get on the mailing list or to

1287
01:05:45,080 --> 01:05:48,480
Speaker 4: get in touch through the contact forum, head to Ostriginsburg

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Speaker 4: dot com.

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Speaker 1: Thanks for listening.