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Speaker 1: Can I ask a little question, what is thinking about?

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Speaker 2: I want to get into the property was like a

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Speaker 2: great players it would have been Rotch stew He've got

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Speaker 2: to turn out some of this roster.

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Speaker 1: My chief got so bad and welcome to another week

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Speaker 1: of backstage. Matthew Cooper, good to see you.

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Speaker 2: Good to see you. And you and older brother Jack

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Speaker 2: dragged yourselves in. It's like look what the cat dragged

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Speaker 2: in YouTube blokes. Honestly, it's like you'ves I don't know,

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Speaker 2: it's like what he has been up to? You brew

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Speaker 2: up at the Mick Fennons Mick Fannings golf celebrity golf. Yeah, tournament,

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Speaker 2: tournament days.

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Speaker 1: Day, day day, good fun, good day. Who was up there?

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Speaker 1: Oh Mick Fanning Fanning?

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Speaker 2: What was he up there?

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Speaker 1: Yeah?

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Speaker 2: Yeah, what was there? Of course that's what I suppose.

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Speaker 2: It's called Mick Fenning's celebrity Day.

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Speaker 1: Yeah, we caught up with a fair few. Greg Bird

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Speaker 1: the Birdman, Birdman bird Watcher.

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Speaker 3: Yeah, we were up there.

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Speaker 1: Cameron Smith was up there, old O the golfer, Camera Smith,

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Speaker 1: the hook the rugby league player playing golf, Camra Smith, Yes,

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Speaker 1: that one, he was up there. Chris Lynn, the Lindsanity, Lindcenity,

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Speaker 1: the cricket player, Yes, good Man twenty the mad Hughey's Boys,

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Speaker 1: close friends of the show. Who else was up there?

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Speaker 1: Jagg anyone else? It's notable. There was Russell what was he? Yeah?

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Speaker 2: Yeah, love Glenn Robins.

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Speaker 1: Which we've seen him. We've seen him everywhere. Everywhere we

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Speaker 1: peered around the thing, we would see him and we

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Speaker 1: me and Jack both wanted to go and introduce ourselves,

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Speaker 1: but we just never could. We could never muster up

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Speaker 1: the strength you many ones.

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Speaker 2: Before weber years ago, Glenn Robins, we were at It

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Speaker 2: was a it was out at Home Bush. It was

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Speaker 2: a celebrity tennis event that we went to and you

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Speaker 2: you guys were there and I brought you over. Glenn

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Speaker 2: Roll's Clayton's general Glenn Robinson introduced you blakest him.

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Speaker 1: How long ago would this make? Because I have no

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Speaker 1: memory of this. It must have been at least twenty

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Speaker 1: years ago.

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Speaker 2: Actually, what good years? I can't believe you don't remember

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Speaker 2: it anyway, And so today we've got Brendan cow looking.

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Speaker 3: Forward to this.

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Speaker 2: Yeah, super guy, terrific writer, stage and screen, you know,

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Speaker 2: I mean in one of the biggest film franchises in

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Speaker 2: movie history Avatar, so be interesting to talk about that.

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Speaker 2: Krnulla Sharks fan, tragic, huge Sharks fan. I mean, got

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Speaker 2: his book which has been turned into a TV series, plumb, yeah,

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Speaker 2: which I'm looking forward to seeing as well.

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Speaker 1: It comes out in the back end of the year.

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Speaker 3: So interesting.

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Speaker 1: He's got a few rugby league, notable rugby league players

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Speaker 1: in there as well who are acting. Yeah, so I

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Speaker 1: think you'll be loving to hear some of them.

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Speaker 2: Yeah, it's interestingly he was. He's been in a vast

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Speaker 2: array of movies to series. Of course, there was one

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Speaker 2: like you know, some sort of light. Others will be

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Speaker 2: more serious. I mean one of the biggest ones as

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Speaker 2: far as he was on the West End in London

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Speaker 2: doing The Crucible, which is pretty hardcore. So that's that's

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Speaker 2: the serious side of his acting. So what do you reckon?

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Speaker 2: He should be too far away, mate?

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Speaker 1: Well, if it's up to me, we would get him

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Speaker 1: in here right now and do the interview. But he's

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Speaker 1: not here. So what we will do We'll ask our

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Speaker 1: listeners to give us a follow and subscribe on the

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Speaker 1: Spotify podcast app on all of our social media to

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Speaker 1: keep up the date with the clips and some other

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Speaker 1: funny skits that are on the way out. But without

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Speaker 1: further ado, please welcome to the stage branded Cow.

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Speaker 2: Just quickly before we move on. You know, I used

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Speaker 2: to get invited to like celebrity a celebrity charity events.

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Speaker 2: I don't eymore. You blokes have surpassed me. Did anyone

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Speaker 2: talk about me up there? Anyone asks how's dad going?

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Speaker 2: Where's dad? Where's your old man going? Jesual Man's a talent,

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Speaker 2: Jesu's funny.

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Speaker 3: I love his show.

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Speaker 1: Any of that, well, most of them mates with Joey

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Speaker 1: up there, because Joey's a surfer. So Mick and all

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Speaker 1: that were asking about Joey, but they asked about you

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Speaker 1: know what Mick did say one day, he said, mate,

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Speaker 1: I want to get your dad up here. I said,

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Speaker 1: I have you asked him before? He said, I have asked

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Speaker 1: him once and he never got back to me. So

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Speaker 1: maybe next year is the year for you.

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Speaker 3: Okay, could be right.

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Speaker 2: Let's go well, Brendan Cow's on his way right.

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Speaker 1: Just get a drink of water and there before we

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Speaker 1: start cotton mouth.

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Speaker 2: You know all this, you know, all this just goes Yeah.

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Speaker 1: We'll just keep it in Brendan Cowell on the podcast

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Speaker 1: as well. Today. Matthew first guest. But can we just

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Speaker 1: talk about the little gift giving you guys just did

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Speaker 1: you came in with the library. You and Matthew just

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Speaker 1: exchanged all these gifts.

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Speaker 3: Yeah, it was quite sweet, wasn't it. I know, Matthew,

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Speaker 3: not unlike his brother, is an avid reader, and I

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Speaker 3: was a bit nervous. I didn't know whether to go

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Speaker 3: for the gift giving of the book. I was going

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Speaker 3: to wait see how it went, you know. But then

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Speaker 3: matt came out with a book and I went, I

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Speaker 3: got two books.

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Speaker 2: I'll get that one's Upstairs Pitture Magazine.

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Speaker 3: And I know, you know, you quote a lot of

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Speaker 3: kind of nonfiction books. You tend to read, probably more

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Speaker 3: of a fiction guy, but I thought you might like

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Speaker 3: those ones, and you gave me an all Well, which.

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Speaker 2: Yes, it's it's a fantastic book. It's George Orwell decided

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Speaker 2: he wanted to write a book about those tough northerners

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Speaker 2: up around Wigan and all the coal mines and Lancashire.

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Speaker 2: So yeah, so he went to the mines and.

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Speaker 3: Brandon.

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Speaker 2: It just shows you how tough people the miners are

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Speaker 2: he talks about every day he was living with them

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Speaker 2: and living in like these basically these bunks, and the

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Speaker 2: woman who ran the house, she made lunch every day

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Speaker 2: for the miners, and he said when he used to

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Speaker 2: watch them meet, he said, there was like fingerprints of

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Speaker 2: soot on the white bread as are reading it and

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Speaker 2: just talk about they all drink out of the same

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Speaker 2: bottle down like in a coal mine, like Brennet might.

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Speaker 2: Myself and Andrew the first generation of our family not

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Speaker 2: to go down coal mines. And I remember when they

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Speaker 2: brought in breathalyzing. My late grandfather firstly blew up about

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Speaker 2: breathalyzing because he said he always fairly drove better when

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Speaker 2: he was drunk, right, which I remember when it was

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Speaker 2: coming in previous to say that now sharpened my focus,

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Speaker 2: you hear people say. And the other thing, they started

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Speaker 2: breathalyzing people when they went down coal mines and operate

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Speaker 2: operating heavy machinery.

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Speaker 1: They still do that absolutely.

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Speaker 3: They yeah, because you have those four days on and

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Speaker 3: then the four days off, And I think you can't

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Speaker 3: have anything in your system when you go down there.

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Speaker 3: So I don't even know in the days off because

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Speaker 3: they're usually in a camp and stuff. Whether you can

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Speaker 3: meddle with it then even I think you've got to

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Speaker 3: wait for your bigger breaks.

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Speaker 2: But with him, he knocked it on the head and

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Speaker 2: a lot of ease motives. Well, if you're going to

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Speaker 2: breathalyize when you go down, you want us to go

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Speaker 2: down that dark hole and not drink, and you get it.

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Speaker 1: Yeah, it's a sually good point.

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Speaker 3: Well, I knocked it on the head a while ago,

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Speaker 3: and people, a lot of people say to me, why

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Speaker 3: have a drink. You're a lot more fun back then,

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Speaker 3: and that happens. But I gave you a book called

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Speaker 3: Tomorrow and Tomorrow and Tomorrow, which I'm not a video

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Speaker 3: game guy, but it's about these thirteen year old friends

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Speaker 3: one of the kids with the disability, and they make

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Speaker 3: video games, but they put their lives into it and

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Speaker 3: the way they think, and it's manifests like all their

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Speaker 3: kind of trauma and their thoughts and it's so imaginative.

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Speaker 3: And I gave you Welcome to the John's Family Book Show,

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Speaker 3: by the way, and I gave you Monkey Grip, which

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Speaker 3: is Helen Garner, the great Australian writer who wrot Joe

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Speaker 3: Chinquay's Consolation and such the First Star and it's her

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Speaker 3: book about living in Melbourne and working class Melbourne. And

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Speaker 3: actually they made a film with Colin Friel's and Nannie Hazel,

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Speaker 3: but it's in the eighties and Melbourne's such a beautiful,

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Speaker 3: tough story.

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Speaker 2: Like talking about Melbourne, I have to say this. We're

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Speaker 2: going to talk about him a little bit out of

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Speaker 2: a band Mandelssohn. I heard him interviewed by Mark mark maron.

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Speaker 3: Maren Mary mark maron Anyway.

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Speaker 2: He was talking about growing up in Melbourne and I

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Speaker 2: got a real kick out of this. And he's like, yeah,

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Speaker 2: you know, like to be American. You guys play that

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Speaker 2: game there and that us he rules. He goes, yeah,

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Speaker 2: yeah it does, and it's sort of ingrained right in

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Speaker 2: the culture. He said, okay, what's your team and he said,

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Speaker 2: I don't really follow the AFL. I supported a rugby league,

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Speaker 2: so I'd called the Melbourne Storm and I thought, yeah,

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Speaker 2: you fucking go.

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Speaker 3: That's good by all reports. No matter what said, he's on.

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Speaker 3: You know, he's got the fag going and he's watching

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Speaker 3: Storm Power or whatever it's on. You know, he's still.

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Speaker 3: When I was hanging out with him before he went

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Speaker 3: over and went into stratisferic fame. He was as obsessed

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Speaker 3: as I was with he sure he got all games.

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Speaker 2: In semi final a Grand find a qualifier. He was

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Speaker 2: so into it. I said, well, Johann to come and

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Speaker 2: sit on the sideline and he's like yeah, yeah. So

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Speaker 2: I'm doing the pregame and I'm getting these texts and

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Speaker 2: calls where are you? Where are you? And I said, oh,

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Speaker 2: made just got to and I said were you? He said,

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Speaker 2: I'm on the ground. I turned around. He's got to smoke, right,

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Speaker 2: it's in the Telstradame, by the way, He's got to smoke.

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Speaker 2: And he's in a purple suit. So we're we're sitting

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Speaker 2: together on the sideline and at the old Telstradame. Don't

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Speaker 2: they call it now? But you can almost reach out

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Speaker 2: and touch the players. One of the paramount of players

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Speaker 2: went down with fanning injury. He was like, fucking get

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Speaker 2: up your dog right the touch. He had to turn

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Speaker 2: around and say, hey, he made listen the touch. He

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Speaker 2: said about I don't know who this guy is. Got

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Speaker 2: quite we're going to throw about. That's fine.

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Speaker 1: Added One of our Storm games two years ago and

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Speaker 1: the post a post match function anger Samson was there,

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Speaker 1: and he's coming in and I go introduce myself any

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Speaker 1: get angers cub and he turned around and he was

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Speaker 1: he was that cross eye. He was looking like directly

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Speaker 1: across me, and he was that excited, like he was sweating.

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Speaker 1: His big long hair was just pissing with sweat just

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Speaker 1: drenched all over me, and he.

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Speaker 3: Was going, how good was that game?

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Speaker 1: And I was like, they need to get these fucking

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Speaker 1: I was the actors out of.

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Speaker 2: The Settle Down Boys every kaba back in.

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Speaker 1: While we're on books, you brought Plumb in? Yes, your book?

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Speaker 1: When did you write that.

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Speaker 3: Plumb available and all good.

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Speaker 2: And about to be seen on television?

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Speaker 3: Bookstores? Yeah, I thought i'd give it to son of

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Speaker 3: John's for you guys to read.

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Speaker 1: I appreciate that.

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Speaker 3: Yeah, I'll sign it after so it's got a bit

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Speaker 3: of eBay value. Now it's it's you know, I've got

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Speaker 3: so many lengths of this story, but I'll try to

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Speaker 3: tell it like I've never told it before. But it

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Speaker 3: was in the beginning of that of the pandemic. I

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Speaker 3: was living in London in a basement flat in notting Hill.

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Speaker 3: I was about six months sober. My girlfriend and I

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Speaker 3: just split up. She left on a catar flight via

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Speaker 3: fourteen cities or whatever when they didn't have flights and stuff,

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Speaker 3: and I was in a basement flat the rat I

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Speaker 3: had rats, and I thought an avatar had been pushed

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Speaker 3: six months. I'm like, oh, I'm going to be in

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Speaker 3: here for six months. People were dying in London. People

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Speaker 3: I knew that it was real, and you go out

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Speaker 3: there in London, people were just staying away from each other.

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Speaker 3: It was genuinely scary. And I thought, what am I

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Speaker 3: going to do? Like here, I'm going to go insane.

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Speaker 3: I will go insane. And I had this idea for

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Speaker 3: a comedy about a footy player whose moonlighting is a poet,

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Speaker 3: but he can't tell his mates that he's into poetry.

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Speaker 3: And I told my friend and she goes, why don't

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Speaker 3: you make it second book because it's literary, And then

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Speaker 3: I went, cheez, you're right. She goes, then you can

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Speaker 3: make it a bit deeper and more fibers and make

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Speaker 3: it into a show later on, and I went, yeah,

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Speaker 3: maybe it's my second book. So for the next five months,

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Speaker 3: I got up at eight, did a little boxing online class,

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Speaker 3: and then wrote from nine to five every day for

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Speaker 3: five months, and I thought about, you know, the brain

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Speaker 3: and then the eye, because I thought, me, writing a

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Speaker 3: poem is not interesting. Who's the last guy to write

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Speaker 3: a poem? Well, a big, tough, brute guy that's only

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Speaker 3: ever gone never take a backward step, and he ever

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Speaker 3: gone forward? Who's going to reflect? And I thought about

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Speaker 3: it rugby league player? And then I thought rugby league

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Speaker 3: and poetry my two favorite things. The written word in

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Speaker 3: rugby league, and I thought, why not put them together

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Speaker 3: in one man? And then I started to think about

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Speaker 3: a tough footy player whose brain was open and a

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Speaker 3: bit broken. And that was at the point where concussion

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Speaker 3: was just starting to get a bit of life twenty

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Speaker 3: nineteen yep. And so the rest, you know, in the

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Speaker 3: kind of road itself really And because this guy's trying

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Speaker 3: to change, he's trying to share with his son who

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Speaker 3: wants to play footy and his girlfriend. He's trying to

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Speaker 3: share what's going on, but he can't doesn't know how

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Speaker 3: to connect, so he starts writing things down. He's getting

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Speaker 3: visited by these dead poets. It helped me, you know,

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Speaker 3: writing this book helped me go, I can make this

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Speaker 3: change in the way I live. So it was an

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Speaker 3: incredibly cathartic experience, really, And I never thought the book

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Speaker 3: would come out because I just wrote it for me,

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Speaker 3: and I thought, well, sports people won't want to read

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Speaker 3: a poetry book, and poetry people won't want to read

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Speaker 3: a sports book. So I thought I'd probably written a

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Speaker 3: book for no one. But then it came out of

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Speaker 3: the pandemic, so I didn't really get to publicize it.

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Speaker 3: But it's had this beautiful little build and it's a

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Speaker 3: bestseller and people have found it.

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Speaker 2: Writing for yourself with the presumption that no one will

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Speaker 2: ever see it must be quite liberating, must be an

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Speaker 2: easy way to write.

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Speaker 3: Yeah, that's exactly right, Matthew. And I'd had all these

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Speaker 3: experiences in television in London and you get all these

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Speaker 3: notes and you're like, no, that's not what the show is.

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Speaker 3: That's not what I wanted to do. I don't want

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Speaker 3: to turn it into that. And it's not a thriller,

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Speaker 3: it's not a horror. It's about this thing. And so

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Speaker 3: I had enough money from acting at that point to go,

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Speaker 3: I want to remember why I wrote? Why the hell

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Speaker 3: did I writ? Why am I writer? So I just

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Speaker 3: did it to kind of almost return to being a

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Speaker 3: writer and finding that original spark, which was living in

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Speaker 3: Cronella write and funny poems, and I was getting bullied

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Speaker 3: a bit and feeling that my parents were splitting up.

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Speaker 3: Like I wrote poems to make sense of the world,

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Speaker 3: so I was returning to that. But tell you what,

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Speaker 3: if you write from a place of truth and fear,

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Speaker 3: you know, it's a bulb, then people connect. Yeah, and

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Speaker 3: and and it's ended up a TV show.

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Speaker 2: Cooper, you're giving Brenda some strange if you've got to

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Speaker 2: pull that microphone.

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Speaker 1: Oh yeah, I'm just doesn't know how to break it

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Speaker 1: to trying to catch our eyes with young microphone in

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Speaker 1: there or get it get it in there a bit

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Speaker 1: more like that.

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Speaker 2: Oh no, that's that's a bit Ray Hadley. Yeah, yeah again,

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Speaker 2: Can I just jump there.

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Speaker 3: I've never done the media before, so I don't really

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Speaker 3: know what.

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Speaker 2: Thing I know that is actually called a microphone?

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Speaker 3: This thing on.

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Speaker 2: Yeah, you just said there before, and we were going

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Speaker 2: to talk. We're going to talk specific, We're going to

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Speaker 2: jump around a little bit. We'll talk mainly about your

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Speaker 2: career and Plumb and so on and so forth. You

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Speaker 2: just mentioned I listened to a podcast. I don't know

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Speaker 2: whether it was with Richard Fidler, you spoke about growing up,

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Speaker 2: you spoke about being bullied, and you talk about your

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Speaker 2: hero that arrived to school.

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Speaker 3: Yeah, in the form of a drama teacher. Yes, yeah, yeah,

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Speaker 3: you know Ken Grannaman. That's so weird. I'm actually going

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Speaker 3: to see him after this because he lives in Longuearville,

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Speaker 3: also on this side of the bridge. And yeah, he

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Speaker 3: was kind of a seven foot Dutch drama teacher who'd

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Speaker 3: been working in an asylum and he came to my

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Speaker 3: school just as we got drama and he pointed at

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Speaker 3: me and said, make waves, make waves, You've got it.

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Speaker 3: And I was like, I thought I might have something,

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Speaker 3: but I him to embarrass. All was sixteen seventeen. Yeah,

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Speaker 3: and you know, I was in TV commercials and I

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Speaker 3: was doing my performances, which didn't help with getting bullied.

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Speaker 3: I kept getting back an assembly and dressing up in

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Speaker 3: a dress, and I didn't take the tip, you know,

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Speaker 3: I kept putting it in front of the guys. But

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Speaker 3: I also I played rugby league and I was I

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Speaker 3: tackled around the legs and I would run at big

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Speaker 3: guy's knees. So I kind of got this respect also

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Speaker 3: from tackling you know, because I was a good tackler.

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Speaker 3: And but when Ken Grannaman came in year eleven. Yeah,

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Speaker 3: then at lunch I was in there with him and

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Speaker 3: all the other nerdy drama kids, and there were girls

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Speaker 3: there as well. I was like, this is old like

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Speaker 3: one guy, seven girls, And so I got a few

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Speaker 3: of my mates come in. This is amazing the.

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Speaker 2: Word teacher, This is Vin Vinn.

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Speaker 3: But he he just made me feel less weird. And

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Speaker 3: and then you go to university and you realize, oh,

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Speaker 3: there's lots of weird people who were just like me,

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Speaker 3: who want to do this stuff and think in terms

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Speaker 3: of story. So yeah, everyone needs one. I had them

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Speaker 3: later in my career, and stuff that everyone needs one

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Speaker 3: at school to.

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Speaker 2: Go so true, you know, Yeah, it is so true.

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Speaker 1: Back on plumb for a second. When you were writing that,

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Speaker 1: you know a lot of rugby league people obviously around

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Speaker 1: rugby league your whole life. Did you have any people

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Speaker 1: to bounce sort of that rugby league aspect off, Like,

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Speaker 1: did you bounce it off any players when you're writing

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Speaker 1: the book?

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Speaker 3: Yeah, And I mean with everything I write, I can't

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Speaker 3: write better than what it actually is, you know, And

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Speaker 3: so with everything I write I'll always chase down experts

361
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Speaker 3: or people who've lived it and just hang out and

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Speaker 3: not so much still what they say, but still who

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Speaker 3: they are and the way they are, and research very deeply.

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Speaker 3: And so I spoke to about three or four players,

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Speaker 3: especially about the concussion side of things and family side

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Speaker 3: of things, and yeah, I think, you know, Spud was

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Speaker 3: very helpful. I was doing se and radio at the time,

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Speaker 3: so I spoke to Joel Caine a lot. And one

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Speaker 3: of the experiences he had is in the book and

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Speaker 3: in the show where after being hit in England, I

371
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Speaker 3: think he didn't know what his wife's belly was. He

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Speaker 3: didn't know she was pregnant, she has it's a baby.

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Speaker 3: He's like, what's a baby and stuff, and I put

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Speaker 3: that in the show and those moments we hear about

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Speaker 3: guys having concussions and then playing the last thirty minutes

376
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Speaker 3: out of their skin and not remembering laying on three

377
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Speaker 3: tries and winning the game and stuff like that. And

378
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Speaker 3: of course Andrew probably mostly he called me a lot

379
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Speaker 3: on drives from Brisbane to the Gold Coasts and stuff,

380
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Speaker 3: and we'd just talk and we became pretty good mates.

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Speaker 3: I mean, we've been mates for twenty years, but became

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Speaker 3: more mates when I was living in Bronte around after

383
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Speaker 3: the pandemic, and so he was he was just wide

384
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Speaker 3: open with the whole thing, you know. So I stole

385
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Speaker 3: a lot of that stuff, and and just to make

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Speaker 3: it authentic, you know, because I'm an actor. I'm not

387
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Speaker 3: a doctor. So if I'm going into this world, I

388
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Speaker 3: can't be coming in, you know, without the real information.

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Speaker 2: It's very it is very accurate. Like Peter Alarm, I

390
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Speaker 2: know who he is. I see I see him just

391
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Speaker 2: in the behavior and the way his relationships with people.

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Speaker 2: He's difficulty. So I see that with I observe that

393
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Speaker 2: from people I played against and with and people that

394
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Speaker 2: I've admired for for a long time. Who is Peter

395
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Speaker 2: arm When you will sit down and you're about put

396
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Speaker 2: pen to paper with the specific players that you thought

397
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Speaker 2: about so you admired when you were young.

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Speaker 3: Yeah, he names his son Gavin after Gavin Miller, and

399
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Speaker 3: actually at a quiz night, he can't remember the player's name.

400
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Speaker 3: And that's the first sign in episode one that you

401
00:20:01,720 --> 00:20:03,919
Speaker 3: get and the kids sitting there going, you named him

402
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Speaker 3: after me? You name me after him?

403
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Speaker 1: That?

404
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Speaker 3: And I think Gavin Miller, that old fashioned, softly spoken,

405
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Speaker 3: gentle lovely family man. He loves a couple of beers

406
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Speaker 3: with his mates, but he's tough as anything, brutal and

407
00:20:22,040 --> 00:20:26,080
Speaker 3: really skillful. So it was kind of in that in

408
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Speaker 3: that Gavin Miller kind of mold that that old school,

409
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Speaker 3: that quietly spoken country boy gentleman. It's very terrifying.

410
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Speaker 2: Yeah, that old fashioned loose forward as I used to

411
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Speaker 2: call him, which the bloke who always played thirteen or

412
00:20:40,359 --> 00:20:43,480
Speaker 2: back row back in those days. They were ridiculously tough.

413
00:20:44,040 --> 00:20:46,320
Speaker 2: You know that they mixed around the really big blokes,

414
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Speaker 2: but they had a little bit of skill about them.

415
00:20:48,760 --> 00:20:51,480
Speaker 2: There's always something a little deeper about players. I'm going

416
00:20:51,480 --> 00:20:54,440
Speaker 2: probably too far here, but the loose forward.

417
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Speaker 3: Also, you wouldn't if you lent, you know, they lent

418
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Speaker 3: your money, you'd want to pay it back.

419
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Speaker 2: And I've seen I saw that first hand with Gavin

420
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Speaker 2: once when a guy did want to want to hand

421
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Speaker 2: over money after he beat him in pool. Put it

422
00:21:06,960 --> 00:21:08,920
Speaker 2: this way. The guy end up handing over the money.

423
00:21:09,920 --> 00:21:13,159
Speaker 2: He was prompted by Arthur Buttsen. Arthur Buttson went up

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Speaker 2: to this guy and said, I think he said, Gavin

425
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Speaker 2: settled down give me two minutes with this guy and

426
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Speaker 2: went happened and said to the guy, listen, you hand

427
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Speaker 2: over that money straight away to Gavin or there's going

428
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Speaker 2: to be a lot of trouble.

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00:21:23,880 --> 00:21:28,200
Speaker 3: Yeah, exactly. And I think Plum's similar to that guy,

430
00:21:28,800 --> 00:21:33,320
Speaker 3: and he's always solved his problems that way, but sometimes

431
00:21:33,320 --> 00:21:36,240
Speaker 3: you get problems that you can't solve that way. Nature

432
00:21:36,320 --> 00:21:39,000
Speaker 3: and science are bigger than us, and so suddenly this

433
00:21:39,080 --> 00:21:43,159
Speaker 3: man who's never been afraid of anything is scared. What

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Speaker 3: does he do? So it's that kind of enforcer and

435
00:21:46,359 --> 00:21:49,120
Speaker 3: growing up with the Greg Birds and Paul Gallon's as well,

436
00:21:49,160 --> 00:21:52,840
Speaker 3: that kind of a guy. What happens to him? How

437
00:21:52,880 --> 00:21:55,000
Speaker 3: does he get to writing a poem? You know what

438
00:21:55,040 --> 00:21:58,560
Speaker 3: I mean? And I thought that's a great comically dramatic

439
00:21:58,680 --> 00:22:00,520
Speaker 3: juxtaposition premise.

440
00:22:01,160 --> 00:22:04,200
Speaker 1: You spoke about Andrew John's helping you before he's obviously

441
00:22:04,520 --> 00:22:06,760
Speaker 1: turning into a TV series and he gets a cameo

442
00:22:06,840 --> 00:22:12,919
Speaker 1: in it. Yea, along with Paul Gallon, Spud and James Graham. Yes, okay,

443
00:22:13,200 --> 00:22:16,000
Speaker 1: why those four? What sort of and was there anybody

444
00:22:16,000 --> 00:22:18,320
Speaker 1: else in your head that you wanted to get into

445
00:22:18,440 --> 00:22:19,480
Speaker 1: apart from those four?

446
00:22:20,440 --> 00:22:25,800
Speaker 3: Well, it kind of happened all individually Spud, because he

447
00:22:25,880 --> 00:22:34,000
Speaker 3: kept asking, and I mean twice a day years. Even

448
00:22:34,000 --> 00:22:36,040
Speaker 3: when I gave him the job, he kept going, So, so,

449
00:22:36,080 --> 00:22:37,040
Speaker 3: how many lines have I got?

450
00:22:37,040 --> 00:22:38,120
Speaker 1: When is it?

451
00:22:38,280 --> 00:22:39,080
Speaker 2: Is it a big part?

452
00:22:39,359 --> 00:22:41,159
Speaker 3: He goes because when I was on when I was

453
00:22:41,160 --> 00:22:43,720
Speaker 3: on Cinderella, man Paul GM Marty said you've got it, son,

454
00:22:43,760 --> 00:22:46,440
Speaker 3: you should be and I was like, all right, mate,

455
00:22:46,680 --> 00:22:48,359
Speaker 3: And then he came on the day and he's like

456
00:22:48,400 --> 00:22:53,520
Speaker 3: two two fucking lions, two lions, but he was good.

457
00:22:54,280 --> 00:22:56,600
Speaker 3: I love Spud. I trained his bud for nearly ten

458
00:22:56,680 --> 00:23:01,240
Speaker 3: years and he's he's a beautiful man. So I put

459
00:23:01,320 --> 00:23:03,040
Speaker 3: him in there because of that. And Wayne Blair, the

460
00:23:03,040 --> 00:23:06,960
Speaker 3: director him inspired good mates too, so it was kind

461
00:23:06,960 --> 00:23:08,440
Speaker 3: of like, let's get our mates bu.

462
00:23:08,560 --> 00:23:10,360
Speaker 2: In hell was ople Joey on set.

463
00:23:11,040 --> 00:23:14,760
Speaker 3: And then and then Joey, it was he's part of

464
00:23:14,760 --> 00:23:17,639
Speaker 3: the book and he's a part of the story and

465
00:23:17,680 --> 00:23:19,440
Speaker 3: he's so proud of the book. He gave a cover

466
00:23:19,560 --> 00:23:22,640
Speaker 3: quote and I'm like, I got to have him in

467
00:23:23,119 --> 00:23:25,280
Speaker 3: and he was funny. I kind of said it on

468
00:23:26,200 --> 00:23:29,560
Speaker 3: James's interview that he was very confident in the lead

469
00:23:29,640 --> 00:23:33,040
Speaker 3: up and barbing me and challenging me saying, I'm preparing

470
00:23:33,080 --> 00:23:36,000
Speaker 3: like Game three Origin, I'm going to smash you. Bring

471
00:23:36,040 --> 00:23:38,760
Speaker 3: your fucking acre. And then and then we turned up

472
00:23:38,760 --> 00:23:41,200
Speaker 3: to Steny Barty's like, hey man, he comes.

473
00:23:42,600 --> 00:23:44,560
Speaker 2: Rolled and he was like, oh.

474
00:23:44,480 --> 00:23:46,719
Speaker 3: I haven't had butterflies like this since high school.

475
00:23:46,720 --> 00:23:46,919
Speaker 1: You know.

476
00:23:47,960 --> 00:23:50,840
Speaker 3: He was, you know, he was so happy to be there,

477
00:23:50,880 --> 00:23:54,199
Speaker 3: and he really he tried, and and we've cut it

478
00:23:54,240 --> 00:23:57,080
Speaker 3: together and it's such a funny scene and he's really

479
00:23:57,560 --> 00:24:00,520
Speaker 3: really good in it. But it was funny the lead

480
00:24:00,640 --> 00:24:03,280
Speaker 3: up and then on the day because I think all

481
00:24:03,359 --> 00:24:05,960
Speaker 3: actors fancy himself. I could have been a football player,

482
00:24:05,960 --> 00:24:07,600
Speaker 3: and I think a lot of footy players are like cool,

483
00:24:07,640 --> 00:24:10,240
Speaker 3: I could probably be a movie star, you know. And

484
00:24:10,280 --> 00:24:12,639
Speaker 3: I think we both fantasized about each other's jobs.

485
00:24:13,320 --> 00:24:14,639
Speaker 2: Everyone they're all performers.

486
00:24:14,720 --> 00:24:17,840
Speaker 3: Yeah, exactly. I often. You know, I found out when

487
00:24:18,280 --> 00:24:22,240
Speaker 3: somewhere between sixteen seventeen, I was fullback and came around

488
00:24:22,280 --> 00:24:26,120
Speaker 3: to February again, and I was like, what happened to George?

489
00:24:26,480 --> 00:24:29,960
Speaker 3: You know, and the big Greek guy suddenly like, holy ship, you.

490
00:24:29,920 --> 00:24:34,439
Speaker 2: Know, he had a great you look over and go,

491
00:24:35,000 --> 00:24:37,359
Speaker 2: hang on, please, I hope that guy's not the un

492
00:24:37,960 --> 00:24:40,600
Speaker 2: he's got to be. He's got a family, he's three,

493
00:24:42,040 --> 00:24:42,520
Speaker 2: and I.

494
00:24:42,400 --> 00:24:44,600
Speaker 3: Was like, I might go for the emotional pain of

495
00:24:44,640 --> 00:24:47,080
Speaker 3: the arts and leave you this stuff to the genuinely

496
00:24:47,119 --> 00:24:49,359
Speaker 3: tough guys. And that's why I made my transition. But

497
00:24:50,080 --> 00:24:53,240
Speaker 3: and also James. When we were plotting it, and we

498
00:24:53,600 --> 00:24:55,840
Speaker 3: a lot of the story rooms were in Islington, in London,

499
00:24:56,480 --> 00:25:01,479
Speaker 3: Jimmy did a few just for free. We asked him

500
00:25:01,480 --> 00:25:05,160
Speaker 3: heaps of questions and he had his podcast about concussion

501
00:25:05,160 --> 00:25:09,639
Speaker 3: and he just zoom in as a favor and was

502
00:25:09,760 --> 00:25:13,280
Speaker 3: just so generous and verbal and incredible about that topic

503
00:25:13,320 --> 00:25:17,120
Speaker 3: that I want to get him involved. And Paul Gallant,

504
00:25:17,119 --> 00:25:19,480
Speaker 3: you can't shoot a show in the Southern Shy. He's

505
00:25:19,520 --> 00:25:22,040
Speaker 3: the sheriff. So you know, if I want the keys

506
00:25:22,080 --> 00:25:24,720
Speaker 3: to Cronello, I've got to go through the big man.

507
00:25:24,760 --> 00:25:29,800
Speaker 3: And he didn't charge his main event fee. He's an

508
00:25:29,800 --> 00:25:32,240
Speaker 3: ABC budget pulling.

509
00:25:32,400 --> 00:25:37,760
Speaker 2: Also, this Brenant Plumb could easily be James Graham. So,

510
00:25:37,920 --> 00:25:41,600
Speaker 2: James Graham, You've got this guy who is horrendously tough.

511
00:25:42,080 --> 00:25:44,160
Speaker 2: I love the story where he talks about the Grand

512
00:25:44,200 --> 00:25:47,159
Speaker 2: Final and he's standing there and he's singing them up

513
00:25:47,200 --> 00:25:49,760
Speaker 2: against House where the underdogs have got to do something

514
00:25:49,760 --> 00:25:53,119
Speaker 2: to win this game, and said said to the guy

515
00:25:53,200 --> 00:25:55,840
Speaker 2: he's kicking off with Josh Reynolds, he said, kick it

516
00:25:55,880 --> 00:25:58,000
Speaker 2: to Burgess. He said, what do you mean? He said,

517
00:25:58,000 --> 00:26:01,119
Speaker 2: I'm going to get some action on He just go wow.

518
00:26:01,480 --> 00:26:03,719
Speaker 2: But then you've got a guy who was so smart

519
00:26:04,320 --> 00:26:07,760
Speaker 2: and so clever and comes from a left minded family.

520
00:26:07,840 --> 00:26:10,880
Speaker 3: Completely Yeah, yes, I mean we ended up in all

521
00:26:10,920 --> 00:26:13,720
Speaker 3: sorts of topics the other day. And he's a genuinely

522
00:26:13,720 --> 00:26:15,679
Speaker 3: interesting man. And what I love about him is his

523
00:26:15,800 --> 00:26:19,320
Speaker 3: opinion on concussion and CTE shifts. And I think the

524
00:26:19,359 --> 00:26:22,600
Speaker 3: most intelligent people in the world have very strong opinions

525
00:26:22,840 --> 00:26:26,960
Speaker 3: that they're willing to question at all times. And James,

526
00:26:27,000 --> 00:26:30,240
Speaker 3: his mind is always shifting and his opinions always shifting,

527
00:26:30,280 --> 00:26:30,840
Speaker 3: and he's open.

528
00:26:31,119 --> 00:26:33,320
Speaker 2: Isn't it funny that you say that because he was

529
00:26:33,359 --> 00:26:36,800
Speaker 2: criticized by Peter fitz Simon's He's been almost stalk for

530
00:26:36,800 --> 00:26:39,280
Speaker 2: a while by Peter Simon saying you said this. Now

531
00:26:39,359 --> 00:26:41,679
Speaker 2: you're saying this, but I think you show strength to

532
00:26:41,720 --> 00:26:43,639
Speaker 2: be able to go you know what. I thought this,

533
00:26:44,359 --> 00:26:46,639
Speaker 2: But you know I'm moving to this position now. You

534
00:26:46,680 --> 00:26:49,800
Speaker 2: know I've got the information. I've thought about this and

535
00:26:49,840 --> 00:26:52,240
Speaker 2: this is what I think. That's that's strength.

536
00:26:52,320 --> 00:26:55,480
Speaker 3: Isn't well as a culture in Australia. I think that's

537
00:26:55,920 --> 00:26:58,119
Speaker 3: you know, what I struggle with is what we have

538
00:26:58,200 --> 00:27:03,520
Speaker 3: to get better at is arguing passionately without taking things personally.

539
00:27:03,960 --> 00:27:05,959
Speaker 3: So now why I love living in London. If if

540
00:27:06,000 --> 00:27:08,639
Speaker 3: I have the opposite opinion of someone about a movie

541
00:27:08,720 --> 00:27:10,639
Speaker 3: or even politically what, they'll kind of sit next to

542
00:27:10,680 --> 00:27:12,840
Speaker 3: me and go tell me more about that, and they'll

543
00:27:12,840 --> 00:27:14,240
Speaker 3: shake my hand at the end of the day because

544
00:27:14,280 --> 00:27:16,520
Speaker 3: that was amazing. I love talking to you, and whereas

545
00:27:16,520 --> 00:27:20,040
Speaker 3: here they're go, mate, you're wrong, Yeah, you know like this,

546
00:27:20,160 --> 00:27:22,400
Speaker 3: and you go, let's let's have it.

547
00:27:22,400 --> 00:27:25,720
Speaker 2: It's funny. It's a very you don't hear that. You

548
00:27:25,720 --> 00:27:27,920
Speaker 2: don't hear this line a lot anymore. As you said

549
00:27:27,920 --> 00:27:30,840
Speaker 2: in Australia. Do you know what? I sort of.

550
00:27:30,800 --> 00:27:31,359
Speaker 3: Agree with you.

551
00:27:31,600 --> 00:27:35,480
Speaker 2: However, these days, for whatever reason, too far to the left,

552
00:27:35,640 --> 00:27:37,960
Speaker 2: far to the right, nowhere in between.

553
00:27:37,760 --> 00:27:41,879
Speaker 3: Yeah, and unshiftable. And you know, I think it's great

554
00:27:41,880 --> 00:27:44,800
Speaker 3: to be passionate about what you believe in and staunch,

555
00:27:44,880 --> 00:27:48,360
Speaker 3: but also the world's ever changing and there's more complexities

556
00:27:48,400 --> 00:27:50,439
Speaker 3: than just in the click of the link. You know

557
00:27:50,440 --> 00:27:52,159
Speaker 3: what I mean, there's history and there's a lot of

558
00:27:52,200 --> 00:27:55,040
Speaker 3: stuff and if we can be open and accepting, and

559
00:27:55,600 --> 00:27:58,280
Speaker 3: you know, sometimes it's good to listen to a radio

560
00:27:58,359 --> 00:28:01,119
Speaker 3: show that's politically the opposite to what you believe, just

561
00:28:01,160 --> 00:28:03,720
Speaker 3: to find out these people aren't doing it to annoy you.

562
00:28:04,040 --> 00:28:08,480
Speaker 3: They genuinely it's and share it ray Hadly, you know

563
00:28:08,520 --> 00:28:10,000
Speaker 3: what I mean, Like it's their opinion.

564
00:28:11,160 --> 00:28:13,520
Speaker 1: You can learn what you just said with Peter Fitzemon's

565
00:28:13,560 --> 00:28:16,160
Speaker 1: like finding old quotes from gal And then somebody said

566
00:28:16,160 --> 00:28:18,199
Speaker 1: to me, Yad, there was a someone had made like

567
00:28:18,240 --> 00:28:20,480
Speaker 1: a tweet from ten years ago and it was in

568
00:28:20,560 --> 00:28:23,760
Speaker 1: nowadays very politically incorrect. I couldn't say it now. And

569
00:28:23,760 --> 00:28:26,440
Speaker 1: they were going, mate, they were going this, blokes of this,

570
00:28:26,440 --> 00:28:29,560
Speaker 1: this blokes that, and I said, hang on, like that

571
00:28:29,760 --> 00:28:32,240
Speaker 1: from a time when saying that was actually acceptable, like

572
00:28:32,280 --> 00:28:34,640
Speaker 1: it wasn't like it. You know, you could you could

573
00:28:34,640 --> 00:28:35,760
Speaker 1: have a go old of for saying it back then,

574
00:28:35,760 --> 00:28:38,000
Speaker 1: but it wasn't. It's not like it is now when

575
00:28:38,040 --> 00:28:40,280
Speaker 1: you can't like everybody knows you can't say that and

576
00:28:40,400 --> 00:28:43,520
Speaker 1: labeling someone like whether it be like racist, homophobic for

577
00:28:43,600 --> 00:28:45,520
Speaker 1: doing something that they did fifteen years Like, look at

578
00:28:45,560 --> 00:28:48,760
Speaker 1: Red Reagan fifteen years ago. If you took somebody into this,

579
00:28:49,760 --> 00:28:51,800
Speaker 1: if you took some of the quotes from Red well.

580
00:28:53,240 --> 00:28:56,080
Speaker 2: Beastie Boys. I sort of think the Beastie Boys were criticized.

581
00:28:56,120 --> 00:28:58,080
Speaker 2: They said a lot of your lyrics way back there,

582
00:28:58,080 --> 00:29:00,960
Speaker 2: they're really misogynists and all this stuff. And he said,

583
00:29:00,960 --> 00:29:03,360
Speaker 2: what you're saying now is quite hypocritical. And I'm trying

584
00:29:03,360 --> 00:29:06,120
Speaker 2: to think what the word they use, all the phrase

585
00:29:06,160 --> 00:29:07,640
Speaker 2: they use. It was something like, I would rather be

586
00:29:07,680 --> 00:29:10,680
Speaker 2: a hypocrite than not learn than basically, you know.

587
00:29:10,880 --> 00:29:13,120
Speaker 1: But you can't expect people to like look ten years

588
00:29:13,120 --> 00:29:14,960
Speaker 1: in the future and say this might be frowned upon

589
00:29:15,280 --> 00:29:17,040
Speaker 1: ten years from Like how do you want to know?

590
00:29:17,240 --> 00:29:20,959
Speaker 3: Especially comedians, because you have a line of political correctness

591
00:29:21,440 --> 00:29:24,680
Speaker 3: and their job is to absolutely prod at that and

592
00:29:24,760 --> 00:29:27,080
Speaker 3: bend it until it snaps. And that's why we laugh.

593
00:29:27,600 --> 00:29:30,440
Speaker 3: And the line shifts a month minute by minute, you

594
00:29:30,480 --> 00:29:32,480
Speaker 3: know what I mean. And so and you know, I

595
00:29:32,520 --> 00:29:34,200
Speaker 3: look at a lot of the young actors and stuff

596
00:29:34,240 --> 00:29:37,880
Speaker 3: coming through, and the Irish ones and stuff, and you

597
00:29:37,960 --> 00:29:41,040
Speaker 3: think it's such a shame will never really hear their

598
00:29:41,080 --> 00:29:44,360
Speaker 3: personalities because when the Colin Farrell's and all those guys

599
00:29:44,360 --> 00:29:46,520
Speaker 3: were coming through. It was so fun to hear them,

600
00:29:47,000 --> 00:29:50,720
Speaker 3: you know, because they were just mad, full personality, drink

601
00:29:50,760 --> 00:29:53,920
Speaker 3: and talking about their upbringing, being the lads and now

602
00:29:53,960 --> 00:29:56,480
Speaker 3: you go, they're going, you know, I love my mom

603
00:29:57,280 --> 00:30:00,320
Speaker 3: and I was really respectful of the script, wanted to

604
00:30:00,400 --> 00:30:03,600
Speaker 3: do a good job. You go, because they're terrified, you know.

605
00:30:03,760 --> 00:30:07,080
Speaker 3: And I'm not saying you want everyone to be offensive,

606
00:30:07,120 --> 00:30:10,360
Speaker 3: but everyone has reduced their personality.

607
00:30:09,680 --> 00:30:11,280
Speaker 2: And fear and they certainly have.

608
00:30:11,520 --> 00:30:14,080
Speaker 3: And that's the shame. We don't get those, you know.

609
00:30:14,160 --> 00:30:16,400
Speaker 3: We say it in Rugby Legal. The characters of the

610
00:30:16,440 --> 00:30:20,120
Speaker 3: game again, mind out and they're coming. Hard to maintain

611
00:30:20,200 --> 00:30:22,800
Speaker 3: yourself as a character of the game in anyway.

612
00:30:23,160 --> 00:30:26,200
Speaker 2: We've spoken about the game, you've spoken about London and

613
00:30:26,320 --> 00:30:29,800
Speaker 2: what you've been. You have been a fantastic ambassador for

614
00:30:29,920 --> 00:30:32,440
Speaker 2: rugby league because you know it's such a big part

615
00:30:32,480 --> 00:30:34,480
Speaker 2: of your life, but also you sell it, which I

616
00:30:34,480 --> 00:30:37,760
Speaker 2: imagine in the ARS community sometimes you get strange looks

617
00:30:37,800 --> 00:30:40,040
Speaker 2: I want to bring out to write a book about

618
00:30:40,040 --> 00:30:43,080
Speaker 2: this or on a TV series. I really that thuggish game.

619
00:30:43,160 --> 00:30:47,640
Speaker 2: But you've been a rugby league and Cronulla Zealot. So

620
00:30:47,800 --> 00:30:50,720
Speaker 2: what was it like to be a million miles way

621
00:30:51,120 --> 00:30:53,640
Speaker 2: when the Sharks won the competition. You're in London. You

622
00:30:53,720 --> 00:30:55,520
Speaker 2: must have been busting from the inside.

623
00:30:56,000 --> 00:30:59,640
Speaker 3: Oh well, every every when we went on that I

624
00:30:59,680 --> 00:31:03,920
Speaker 3: think fifteen game streak were won, fifteen or sixteen in

625
00:31:03,960 --> 00:31:05,440
Speaker 3: a row, which I guess is a sign that you

626
00:31:05,520 --> 00:31:07,440
Speaker 3: might win the comp When you have that kind of

627
00:31:07,560 --> 00:31:10,200
Speaker 3: like you didn't just make the Grand Final. You're kind

628
00:31:10,240 --> 00:31:14,480
Speaker 3: of going kind scarily well, you're beating everybody, and that

629
00:31:14,680 --> 00:31:17,840
Speaker 3: like you had that combo of like Ben barber jack

630
00:31:17,920 --> 00:31:21,560
Speaker 3: bird freakishness with Edison for Feeda and Gallon's toughness up front,

631
00:31:21,600 --> 00:31:24,480
Speaker 3: and everyone kept saying, you're coming home, You're coming home,

632
00:31:24,480 --> 00:31:26,640
Speaker 3: and I'm like, I don't want to jinx it. Yeah,

633
00:31:26,720 --> 00:31:27,840
Speaker 3: you know it's going really well.

634
00:31:27,920 --> 00:31:32,320
Speaker 4: Not that I am god, no no, no, we got

635
00:31:32,440 --> 00:31:36,960
Speaker 4: used for it, but actually maybe I am and god

636
00:31:37,000 --> 00:31:41,400
Speaker 4: of shark And And so I was in London and

637
00:31:41,560 --> 00:31:44,480
Speaker 4: you know, at seven am on that Sunday, I had

638
00:31:44,520 --> 00:31:45,880
Speaker 4: thirty five people.

639
00:31:45,560 --> 00:31:48,920
Speaker 3: In my living room in that same notting Hill basement flat,

640
00:31:48,960 --> 00:31:52,680
Speaker 3: and I had the coronas on ice and everything, and

641
00:31:52,840 --> 00:31:55,680
Speaker 3: like Damien Irvine and the x CEO, every Aussie I

642
00:31:55,680 --> 00:31:58,720
Speaker 3: could find. My mum was there because I just finished

643
00:31:58,800 --> 00:32:04,640
Speaker 3: doing a play and and that I remember at halftime

644
00:32:05,200 --> 00:32:06,560
Speaker 3: I had to go out and kick the ball with

645
00:32:06,600 --> 00:32:09,240
Speaker 3: a mate because it was just so stressful. And then

646
00:32:09,320 --> 00:32:12,520
Speaker 3: the Storm got ahead and I screamed at this guy

647
00:32:12,560 --> 00:32:16,160
Speaker 3: Wayne Wayne Deacon, a Melbourne comedian, I said, we just

648
00:32:16,480 --> 00:32:18,720
Speaker 3: we can win it. We just need a big guy

649
00:32:19,480 --> 00:32:21,600
Speaker 3: just to come in right up the middle and just

650
00:32:21,680 --> 00:32:24,920
Speaker 3: get just a big guy through the just and then

651
00:32:25,080 --> 00:32:30,880
Speaker 3: for grabbed that ball and carried forty eight Storm players

652
00:32:31,160 --> 00:32:34,040
Speaker 3: over the line. And I think that I'm just getting

653
00:32:34,120 --> 00:32:37,200
Speaker 3: chills now, but that that feeling where I knew we'd

654
00:32:37,200 --> 00:32:40,840
Speaker 3: done it, even when that last thirty seconds where Ricky Ltelly,

655
00:32:41,280 --> 00:32:43,560
Speaker 3: you know, somehow they didn't go left and if they

656
00:32:43,560 --> 00:32:46,320
Speaker 3: were left, because the amount of times I've seen the

657
00:32:46,360 --> 00:32:49,800
Speaker 3: Sharks beat the Storm and then Bloody Billy Slater would

658
00:32:49,800 --> 00:32:52,200
Speaker 3: just do something snaky his way up the right and

659
00:32:52,720 --> 00:32:57,320
Speaker 3: little kick from Bloody Camera Smith. We missed the finals

660
00:32:57,320 --> 00:33:00,720
Speaker 3: again because of the storm, like every time was the Storm,

661
00:33:01,160 --> 00:33:03,160
Speaker 3: and I just knew ones for feet to square and lo,

662
00:33:03,280 --> 00:33:04,320
Speaker 3: we We're going to win.

663
00:33:04,360 --> 00:33:06,920
Speaker 2: This sense of destiny that you sort of there was

664
00:33:06,960 --> 00:33:10,080
Speaker 2: that feeling even at the end were storm were pinging

665
00:33:10,080 --> 00:33:10,520
Speaker 2: it around.

666
00:33:10,680 --> 00:33:13,920
Speaker 3: You had that weather tell I just knew Lttelly like,

667
00:33:14,440 --> 00:33:17,360
Speaker 3: and I had I just gotten Game of Thrones. I've

668
00:33:17,360 --> 00:33:19,640
Speaker 3: done a play called Yoma, which was a big hit

669
00:33:19,720 --> 00:33:21,680
Speaker 3: over there with Billy Piper, and I just got Game

670
00:33:21,680 --> 00:33:23,560
Speaker 3: of Thrones. And I had my makeup check the next

671
00:33:23,600 --> 00:33:26,520
Speaker 3: day and I went all around notting Hill with fifteen.

672
00:33:26,600 --> 00:33:30,400
Speaker 3: I went, it's crazy, you know, I mean singing up

673
00:33:30,480 --> 00:33:33,840
Speaker 3: up Cranulla and every pub in West London. Mum was

674
00:33:33,880 --> 00:33:37,120
Speaker 3: at home going you got to get this. I was

675
00:33:37,120 --> 00:33:40,560
Speaker 3: getting picked Brandon three am to go to Belfast. Right

676
00:33:40,800 --> 00:33:43,080
Speaker 3: I got, I got picked up. I hadn't been asleep.

677
00:33:43,160 --> 00:33:46,760
Speaker 3: I still hammered. I only had my passport. I didn't

678
00:33:46,800 --> 00:33:49,160
Speaker 3: take anything else, you know, my phone, my past because

679
00:33:49,160 --> 00:33:51,880
Speaker 3: I couldn't carry anything. And Mom's like, this is a

680
00:33:51,960 --> 00:33:54,920
Speaker 3: huge opportunity and you're going to stuff this up and

681
00:33:54,960 --> 00:33:57,120
Speaker 3: you've worked all your life and your stuff this up.

682
00:33:57,680 --> 00:33:59,680
Speaker 3: And I got in there, went into the make to

683
00:33:59,720 --> 00:34:02,280
Speaker 3: bell Fast, went into the makeup fan I was red.

684
00:34:02,360 --> 00:34:04,479
Speaker 3: I had to cut here and everything. And I was like,

685
00:34:04,920 --> 00:34:07,880
Speaker 3: and she goes, oh, you look great. Just come like that.

686
00:34:08,040 --> 00:34:10,799
Speaker 3: You look fantastic like this, She goes, you look like

687
00:34:10,800 --> 00:34:12,880
Speaker 3: you've been at C two hundred years. Just do that.

688
00:34:13,040 --> 00:34:15,200
Speaker 3: We'll put a cut there and you're going to be

689
00:34:15,200 --> 00:34:16,799
Speaker 3: fine and you can go back now. And I went

690
00:34:16,840 --> 00:34:18,920
Speaker 3: home to mom and I went Apparently they loved it,

691
00:34:19,680 --> 00:34:20,759
Speaker 3: the perfect preparations.

692
00:34:20,840 --> 00:34:24,200
Speaker 5: Keep watching the replay, but it was Yeah, it was

693
00:34:24,480 --> 00:34:26,439
Speaker 5: the greatest the greatest.

694
00:34:26,160 --> 00:34:28,440
Speaker 3: Year of my life, I think, but I just couldn't

695
00:34:28,440 --> 00:34:28,880
Speaker 3: believe it.

696
00:34:29,360 --> 00:34:31,400
Speaker 2: Let's let's let's talk about like theater.

697
00:34:31,280 --> 00:34:33,440
Speaker 1: Before we move off for league. I do have I

698
00:34:33,520 --> 00:34:35,759
Speaker 1: got a little surprise for you because I know you

699
00:34:35,840 --> 00:34:38,279
Speaker 1: are a huge Sharks fan. So if you can put

700
00:34:38,280 --> 00:34:42,520
Speaker 1: the headphones on, yeah, the headphones got a little I

701
00:34:42,560 --> 00:34:45,440
Speaker 1: got an audio message for you. So just because we

702
00:34:45,480 --> 00:34:48,000
Speaker 1: appreciate you coming on the cameos.

703
00:34:49,640 --> 00:34:53,960
Speaker 2: Any difference you have to pay a galfundred dollars.

704
00:34:55,600 --> 00:35:00,319
Speaker 6: Hey, Brandon Niko heines he your favorite player. I just

705
00:35:00,360 --> 00:35:02,640
Speaker 6: wanted to say today, I hope you're doing well. And

706
00:35:02,760 --> 00:35:06,560
Speaker 6: I've heard that your new TV's TV series called Plumb.

707
00:35:06,800 --> 00:35:09,200
Speaker 6: I'm a bit disappointed you hadn't thought of me to

708
00:35:09,239 --> 00:35:11,600
Speaker 6: be on this TV series, but I'm just going to

709
00:35:11,680 --> 00:35:14,200
Speaker 6: let you know, I'm putting my hand up for plumb

710
00:35:14,200 --> 00:35:16,719
Speaker 6: two if there ever is one. So don't forget about

711
00:35:16,719 --> 00:35:20,360
Speaker 6: me this time. Boys, look after you on the podcast.

712
00:35:20,880 --> 00:35:22,759
Speaker 6: Good to see you going well, and I'll see the

713
00:35:22,800 --> 00:35:26,040
Speaker 6: Sharky's game soon. Pupcroller there it is.

714
00:35:26,320 --> 00:35:29,160
Speaker 2: Oh my god, So the road to Wigan Pier.

715
00:35:31,239 --> 00:35:33,359
Speaker 3: I mean, I'm single at the moment and that just

716
00:35:33,400 --> 00:35:38,800
Speaker 3: gave me thrills. No, what, that's amazing. He I couldn't

717
00:35:38,800 --> 00:35:41,040
Speaker 3: have Nick. I'm playing the romantic lead in this. I

718
00:35:41,040 --> 00:35:42,840
Speaker 3: couldn't have Nico in the show. You know. That is

719
00:35:42,920 --> 00:35:44,759
Speaker 3: just that that pull it all down.

720
00:35:44,960 --> 00:35:48,600
Speaker 1: Yeah, he wouldn't do it. He charged you fucking monsters

721
00:35:48,880 --> 00:35:50,359
Speaker 1: cash more than Gal.

722
00:35:50,880 --> 00:35:59,279
Speaker 2: No. So theater, you'll play Ruben Gunthrie, which was the

723
00:35:59,360 --> 00:36:03,240
Speaker 2: stage play turned into a successful movie. Is it auto

724
00:36:03,239 --> 00:36:05,680
Speaker 2: biographical Brandon to a certain extent.

725
00:36:05,920 --> 00:36:09,880
Speaker 3: Yeah, absolutely, the play I mean, I'm sober now, but

726
00:36:11,200 --> 00:36:14,560
Speaker 3: the play Ryven Guthrie was based on this. I think

727
00:36:14,560 --> 00:36:16,880
Speaker 3: it was two thousand and nine when I took a

728
00:36:16,960 --> 00:36:21,480
Speaker 3: year off alcohol. After a lot of advice and a

729
00:36:21,480 --> 00:36:25,880
Speaker 3: few kind of very theatrical incidents, I went, you know what,

730
00:36:25,880 --> 00:36:28,439
Speaker 3: I'll just do a year off and then found that

731
00:36:28,920 --> 00:36:32,880
Speaker 3: most people in my life, parents', friends', workmates, had huge

732
00:36:32,880 --> 00:36:35,120
Speaker 3: problems with it. So I thought it was a great

733
00:36:35,320 --> 00:36:38,759
Speaker 3: idea for a comedy. Too. Guy you know, advertising guy,

734
00:36:39,000 --> 00:36:43,000
Speaker 3: gregarious guy around town, the lad, the piss head, the

735
00:36:43,040 --> 00:36:46,560
Speaker 3: fun guy gives up booze. No one will let him.

736
00:36:46,920 --> 00:36:49,120
Speaker 3: You know, people, I just have one, just have a light,

737
00:36:49,280 --> 00:36:52,399
Speaker 3: just do this, come on. So and it was this

738
00:36:52,960 --> 00:36:56,040
Speaker 3: went from downstairs Belvo. Wayne Blair directed it, who directed

739
00:36:56,440 --> 00:37:00,920
Speaker 3: Plum TV show. And because the arkapap Tax had come out,

740
00:37:01,040 --> 00:37:03,080
Speaker 3: Kevin right to put that out. We said, oh, it's

741
00:37:03,120 --> 00:37:05,879
Speaker 3: the Archapops comedy. We got all this press, like we're

742
00:37:05,920 --> 00:37:09,160
Speaker 3: talking about binge drinking in our play. And it sold out.

743
00:37:09,200 --> 00:37:11,520
Speaker 3: We're sold out before it opened. Thought that'd be good.

744
00:37:11,800 --> 00:37:13,799
Speaker 3: It was a big hit, and it played for a year,

745
00:37:13,920 --> 00:37:16,960
Speaker 3: and then I made the film, and the film i'm

746
00:37:17,000 --> 00:37:19,160
Speaker 3: probably less happy with. I wish I could go back

747
00:37:19,200 --> 00:37:21,759
Speaker 3: and change some things, but I was still learning and

748
00:37:22,040 --> 00:37:24,240
Speaker 3: but the play was a smash.

749
00:37:24,320 --> 00:37:26,960
Speaker 2: Yeah, there was a couple of moments in the film,

750
00:37:27,040 --> 00:37:29,480
Speaker 2: which we'll get to one moment in particular, but I'm

751
00:37:29,520 --> 00:37:38,200
Speaker 2: curious the desire and the decision to go sober. Yeah,

752
00:37:38,640 --> 00:37:41,799
Speaker 2: was it numerous events. Was there a single moment.

753
00:37:42,600 --> 00:37:45,759
Speaker 3: Yeah, I think it's always been. I mean, I'm not

754
00:37:45,800 --> 00:37:48,839
Speaker 3: the first actor to struggle with substances, you know what

755
00:37:48,840 --> 00:37:52,440
Speaker 3: I mean? And now you know, will I be the last?

756
00:37:52,480 --> 00:37:55,560
Speaker 3: And a lot of the very talented actors that I

757
00:37:55,600 --> 00:38:00,480
Speaker 3: know have the same ongoing arm wrestle. And I think

758
00:38:00,520 --> 00:38:03,799
Speaker 3: a lot of athletes are addicted by personality because that's

759
00:38:03,840 --> 00:38:06,960
Speaker 3: why they're so competitive. It's that obsession, you know, that

760
00:38:07,080 --> 00:38:11,239
Speaker 3: obsessive nature and that fire in the belly, and you

761
00:38:11,280 --> 00:38:14,520
Speaker 3: add booze to that and stuff happens. But yeah, it was.

762
00:38:14,640 --> 00:38:17,759
Speaker 3: It's inherent as well, like it's genetic as well. It

763
00:38:17,840 --> 00:38:21,239
Speaker 3: runs in families and it's just an arm wrestle. And

764
00:38:21,680 --> 00:38:23,719
Speaker 3: I'd win it for a bit and I'd put it

765
00:38:23,760 --> 00:38:25,720
Speaker 3: on Facebook. I'm off the pits, I'm on the wagon.

766
00:38:25,719 --> 00:38:28,680
Speaker 3: I'm off the wagon. And after a while, you know what,

767
00:38:28,800 --> 00:38:32,800
Speaker 3: I didn't know if I was happier drinking or happier

768
00:38:32,800 --> 00:38:35,839
Speaker 3: off drinking. And I couldn't seem to get it right.

769
00:38:36,080 --> 00:38:39,439
Speaker 3: And I just thought, do you know what, I'm forty two.

770
00:38:39,520 --> 00:38:42,440
Speaker 3: I'm lucky that I'm still going. I've still got this career.

771
00:38:43,080 --> 00:38:47,400
Speaker 3: And I just thought I'm going to I'm going to

772
00:38:47,480 --> 00:38:49,319
Speaker 3: hand in my pint glass and say, oh.

773
00:38:49,280 --> 00:38:52,000
Speaker 1: I lost how long you been sober?

774
00:38:52,040 --> 00:38:56,120
Speaker 3: Now? Nearly five years? Now? Yeah, four years, nine months?

775
00:38:57,320 --> 00:39:00,919
Speaker 3: And now I don't even think about it. I could,

776
00:39:01,200 --> 00:39:03,880
Speaker 3: I couldn't. You'd have to pin me down to have

777
00:39:03,920 --> 00:39:06,439
Speaker 3: the finest French wine, like I couldn't get I don't.

778
00:39:07,080 --> 00:39:09,080
Speaker 3: Couldn't have got anything worse than having a drink. Now,

779
00:39:09,160 --> 00:39:11,239
Speaker 3: But for the first year it was, you.

780
00:39:11,200 --> 00:39:13,080
Speaker 2: Know, tough, tough question for you.

781
00:39:13,200 --> 00:39:16,000
Speaker 1: Is there is there anything in the world like that,

782
00:39:16,400 --> 00:39:19,440
Speaker 1: an event something happens that you would go, all right,

783
00:39:19,440 --> 00:39:21,279
Speaker 1: I'll have it. I'll have a beer, like just for this?

784
00:39:22,040 --> 00:39:22,640
Speaker 1: Is there nothing?

785
00:39:23,520 --> 00:39:27,920
Speaker 3: Nah? I mean, it's just a type of beverage, isn't it.

786
00:39:27,920 --> 00:39:30,279
Speaker 3: When you think about it's got ethanol in it? Like

787
00:39:30,400 --> 00:39:32,320
Speaker 3: why do I have to consume ethanol to be a

788
00:39:32,360 --> 00:39:35,799
Speaker 3: part of society. It's it's really strange. And you know,

789
00:39:35,840 --> 00:39:38,000
Speaker 3: I'd love this to be a message to people in

790
00:39:38,080 --> 00:39:40,960
Speaker 3: rugby league and people in the arts as well, like

791
00:39:41,080 --> 00:39:43,600
Speaker 3: you don't have to put anything down your throat that

792
00:39:43,640 --> 00:39:45,720
Speaker 3: you don't want to just to be part of something,

793
00:39:45,760 --> 00:39:47,000
Speaker 3: you know what I mean, if you want to go

794
00:39:47,120 --> 00:39:49,080
Speaker 3: for it, and you know, I think if I could

795
00:39:49,120 --> 00:39:53,080
Speaker 3: have one or two, I probably would, you know. But

796
00:39:53,160 --> 00:39:55,880
Speaker 3: there's two types of people, I think, and I'm not

797
00:39:55,920 --> 00:39:57,600
Speaker 3: that one, you know what I mean. And I know

798
00:39:57,680 --> 00:40:01,200
Speaker 3: that about myself, and and but I just did that

799
00:40:01,280 --> 00:40:02,759
Speaker 3: for me, you know what I mean. I did it

800
00:40:02,800 --> 00:40:06,440
Speaker 3: for Brendan. And I'm reaping the rewards now where I

801
00:40:06,480 --> 00:40:09,680
Speaker 3: feel a calm I haven't felt for a long time.

802
00:40:09,760 --> 00:40:12,400
Speaker 3: I like who I am. And you know, my book

803
00:40:12,440 --> 00:40:14,560
Speaker 3: just got turned into a TV series that wasn't going

804
00:40:14,600 --> 00:40:17,120
Speaker 3: to happen when I was ripping a tear and out

805
00:40:17,160 --> 00:40:19,279
Speaker 3: there and on the streets in New Town, you know

806
00:40:19,320 --> 00:40:21,879
Speaker 3: what I mean, cause and havoc. And now people will

807
00:40:21,880 --> 00:40:24,600
Speaker 3: give me responsibility. They'll give me millions of dollars to

808
00:40:24,640 --> 00:40:26,520
Speaker 3: make sure and they go, Brendan will pull it off,

809
00:40:27,040 --> 00:40:29,640
Speaker 3: you know. And I say, with my friendships and my relationships,

810
00:40:29,680 --> 00:40:32,040
Speaker 3: people seem to put a lot more trust in me now.

811
00:40:32,560 --> 00:40:34,879
Speaker 3: People come to me for advice, people let me look

812
00:40:34,920 --> 00:40:38,920
Speaker 3: after their children, and you know, like suddenly I've got

813
00:40:38,920 --> 00:40:41,000
Speaker 3: this whole other side to my life I didn't have,

814
00:40:41,480 --> 00:40:44,120
Speaker 3: which is a lot more meaningful. But hey, I'm not preaching.

815
00:40:44,200 --> 00:40:45,920
Speaker 3: This is just for me. I needed to do it,

816
00:40:46,200 --> 00:40:48,759
Speaker 3: not suggesting everyone else to do it, but you know,

817
00:40:49,080 --> 00:40:51,920
Speaker 3: if you are struggling with it, then don't feel like

818
00:40:51,960 --> 00:40:55,120
Speaker 3: you've got a drink just because people tell you it's

819
00:40:55,160 --> 00:40:55,880
Speaker 3: the cool thing to do.

820
00:40:56,160 --> 00:40:58,480
Speaker 2: I'm interress to see how you went through that the

821
00:40:58,520 --> 00:41:02,640
Speaker 2: difficult transitional period, because I did seventy five hard, seventy

822
00:41:02,640 --> 00:41:05,759
Speaker 2: five sober, drink a lot of water or something something

823
00:41:05,840 --> 00:41:10,600
Speaker 2: like that. Someone offered me. Someone offered me a zero

824
00:41:10,719 --> 00:41:15,719
Speaker 2: alcohol beer. I'll just drink Pepsi max tastes better. But

825
00:41:16,280 --> 00:41:18,839
Speaker 2: so that little transitional period I found it. I found

826
00:41:18,880 --> 00:41:22,720
Speaker 2: it very difficult. After about day forty, I really whitecled.

827
00:41:24,200 --> 00:41:27,799
Speaker 2: And there's you know, there's there's moments where you find

828
00:41:27,880 --> 00:41:30,759
Speaker 2: your your head in the lion's mouth. And I love

829
00:41:30,840 --> 00:41:34,440
Speaker 2: that scene in the play, and it's in the movie

830
00:41:34,800 --> 00:41:37,680
Speaker 2: with Reuben how Right at the back end of the movie.

831
00:41:37,760 --> 00:41:40,120
Speaker 2: He's like he feels like he's on top, you know,

832
00:41:40,200 --> 00:41:43,080
Speaker 2: he's winning that battle with the booze and he's sitting

833
00:41:43,080 --> 00:41:44,959
Speaker 2: on a flight he's about to go to Europe, I think,

834
00:41:45,600 --> 00:41:48,680
Speaker 2: and stewardess just puts a glass of champagne down on

835
00:41:48,800 --> 00:41:50,200
Speaker 2: him and he's and that sort of it, and he

836
00:41:50,280 --> 00:41:56,000
Speaker 2: just stares at it. That that period there where you've

837
00:41:56,040 --> 00:41:58,440
Speaker 2: just about got a conquer but you still have that desire.

838
00:41:58,680 --> 00:42:01,200
Speaker 2: That must be tough when you find yourself in a

839
00:42:01,239 --> 00:42:02,279
Speaker 2: situation like that.

840
00:42:02,760 --> 00:42:06,040
Speaker 3: Yeah, yeah, absolutely. And I had so many of them men.

841
00:42:07,400 --> 00:42:09,799
Speaker 3: I chose myself, you know. And I think in a

842
00:42:09,800 --> 00:42:11,600
Speaker 3: lot of times, like i'd be a bit hung over,

843
00:42:11,640 --> 00:42:13,520
Speaker 3: I wouldn't want to go out, and I made it go.

844
00:42:13,560 --> 00:42:15,640
Speaker 3: I thought we'll meet in the pub and I go, oh, yeah,

845
00:42:15,640 --> 00:42:18,359
Speaker 3: I'll come, and then I thrash myself again and on

846
00:42:18,480 --> 00:42:20,719
Speaker 3: Sunday I'll be I just had two massive knights in

847
00:42:20,719 --> 00:42:23,080
Speaker 3: her I didn't even really want to go out, you know.

848
00:42:23,160 --> 00:42:26,319
Speaker 3: And so a lot of it I was like, choose yourself, mate,

849
00:42:26,360 --> 00:42:27,879
Speaker 3: You're a good guy. You've got a lot to offer.

850
00:42:27,960 --> 00:42:31,160
Speaker 3: Choose yourself. So for the first year or two, when

851
00:42:31,200 --> 00:42:33,600
Speaker 3: people like come to my fortieth that's at this Italian

852
00:42:33,640 --> 00:42:37,040
Speaker 3: wine bar, I'm like, I'm not coming. Yeah, I'm not coming,

853
00:42:37,320 --> 00:42:39,719
Speaker 3: and they're like, what's my forty No, I don't care.

854
00:42:40,640 --> 00:42:42,640
Speaker 3: And then they'd be angry at me, and I go,

855
00:42:42,880 --> 00:42:45,239
Speaker 3: I don't care. And then in six months later they go,

856
00:42:45,320 --> 00:42:46,799
Speaker 3: you still say it when I go, yeah, and they go,

857
00:42:47,239 --> 00:42:48,960
Speaker 3: see what you did there? And I said, but you

858
00:42:48,960 --> 00:42:50,719
Speaker 3: want to go for a smoothie and walk around my room?

859
00:42:50,760 --> 00:42:53,240
Speaker 3: But they're like, yeah, absolutely, we have a better chat.

860
00:42:53,800 --> 00:42:57,000
Speaker 3: We remember everything each other said, you know what I mean?

861
00:42:57,400 --> 00:42:58,600
Speaker 3: And you don't wake up in the morning and go,

862
00:42:58,600 --> 00:43:00,920
Speaker 3: where's my jacket? I remember where I left it?

863
00:43:01,040 --> 00:43:03,920
Speaker 2: You know, sunglasses.

864
00:43:04,600 --> 00:43:06,600
Speaker 3: I used to go out on a date in Newtown

865
00:43:06,640 --> 00:43:09,439
Speaker 3: at seven pm and wake up thirty kilometers out of town,

866
00:43:09,520 --> 00:43:11,239
Speaker 3: going how do I get out? Who am I talking to?

867
00:43:13,160 --> 00:43:16,319
Speaker 2: What's open in the backyard? And she goes, do you know?

868
00:43:16,520 --> 00:43:18,799
Speaker 2: Two questions? Do you know what time it is? And

869
00:43:18,840 --> 00:43:19,560
Speaker 2: wear's your shirt?

870
00:43:21,160 --> 00:43:23,719
Speaker 3: Peter Lum does it too, after his son's grandfare wakes

871
00:43:23,760 --> 00:43:25,120
Speaker 3: him and go you've got a black eye and he's

872
00:43:25,160 --> 00:43:27,920
Speaker 3: on his lawn and you know all that stuff. Alcohol

873
00:43:28,280 --> 00:43:30,880
Speaker 3: just takes you on a crazy adventure. And you know,

874
00:43:31,120 --> 00:43:32,839
Speaker 3: like I said, if you can have one to three,

875
00:43:33,080 --> 00:43:36,640
Speaker 3: go for it. But if you can't do that, you

876
00:43:36,680 --> 00:43:39,240
Speaker 3: know you might have a decision to make. And I did,

877
00:43:39,280 --> 00:43:41,920
Speaker 3: and I found it very I think it was so

878
00:43:42,040 --> 00:43:43,799
Speaker 3: much harder for me to try to be normal at

879
00:43:43,840 --> 00:43:46,160
Speaker 3: a wedding than it is now. When you don't do

880
00:43:46,239 --> 00:43:49,880
Speaker 3: it all the precious just off. It's actually so easy,

881
00:43:50,200 --> 00:43:54,160
Speaker 3: you know, and I've engaged with other things that bring

882
00:43:54,520 --> 00:43:55,400
Speaker 3: bring me the joy.

883
00:43:55,480 --> 00:43:59,320
Speaker 2: But yeah, so one theater, right, so you play Reuben

884
00:43:59,520 --> 00:44:01,279
Speaker 2: and that's some on you know, very very well. But

885
00:44:01,360 --> 00:44:05,200
Speaker 2: just recently you're in London doing the Crucible. You're playing

886
00:44:05,280 --> 00:44:08,600
Speaker 2: John Proctor. Yeah, that's a heavy role, like you know,

887
00:44:08,960 --> 00:44:12,359
Speaker 2: how how do you prepare for a role like that?

888
00:44:13,040 --> 00:44:16,080
Speaker 3: Oh? It was terrifying because that was at the Olivier Theater,

889
00:44:16,400 --> 00:44:20,479
Speaker 3: the National Theater, so eighteen hundred seats and the big

890
00:44:20,520 --> 00:44:23,399
Speaker 3: heavy theater crowds coming and the big judgment's coming. And

891
00:44:23,960 --> 00:44:26,839
Speaker 3: I'm from Cernulla. I didn't get into Nida, I didn't

892
00:44:26,840 --> 00:44:28,839
Speaker 3: get into any of the acting schools. I don't know

893
00:44:28,880 --> 00:44:32,160
Speaker 3: what I'm doing. I've never had an acting lesson, and

894
00:44:32,239 --> 00:44:34,880
Speaker 3: all of a sudden, you know, it's Grand Final and

895
00:44:35,560 --> 00:44:38,600
Speaker 3: they're going to rip me a new one. And I

896
00:44:38,760 --> 00:44:42,000
Speaker 3: just did what I always did. I went forget Arthur Miller,

897
00:44:42,080 --> 00:44:46,280
Speaker 3: forget McCarthy, forget the Witches of Salem, forget the whole

898
00:44:46,320 --> 00:44:48,920
Speaker 3: stigma of the National Theater and the middle class importance

899
00:44:48,960 --> 00:44:52,000
Speaker 3: and all of the context. John Proctor was a bloke

900
00:44:53,040 --> 00:44:56,320
Speaker 3: he was a bloke, he had a wife, he was

901
00:44:56,360 --> 00:45:00,120
Speaker 3: a farmer. He really valued that. Just read through the

902
00:45:00,280 --> 00:45:03,799
Speaker 3: find stuff, you relate to find the guy because you

903
00:45:03,840 --> 00:45:05,719
Speaker 3: know what he wakes up, He has a PC, eats

904
00:45:05,719 --> 00:45:08,040
Speaker 3: his breakfast, he goes to work like and that's what

905
00:45:08,120 --> 00:45:10,360
Speaker 3: I did with Galileo, and it's what I've done with

906
00:45:10,600 --> 00:45:15,240
Speaker 3: all these guys. Find the fucking bloke and then find

907
00:45:15,320 --> 00:45:18,160
Speaker 3: him in you and then just start working that text.

908
00:45:18,280 --> 00:45:20,280
Speaker 3: And I did it. I did it from the reeds.

909
00:45:20,280 --> 00:45:23,080
Speaker 3: And that's what everybody said about my performance, that I

910
00:45:23,160 --> 00:45:25,680
Speaker 3: was really down. He was an ordinary man who got

911
00:45:25,719 --> 00:45:30,120
Speaker 3: caught up in this extraordinary thing. And you know that

912
00:45:30,200 --> 00:45:33,239
Speaker 3: last line that he has because it is my name,

913
00:45:33,800 --> 00:45:36,719
Speaker 3: you know, and it's always been kind of screamed, you

914
00:45:36,719 --> 00:45:40,200
Speaker 3: know that Daniel day Lewis. And the way I did

915
00:45:40,239 --> 00:45:44,279
Speaker 3: it was so quiet that the whole and you can

916
00:45:44,320 --> 00:45:46,840
Speaker 3: watch it on NT live. They've got this. They shot

917
00:45:46,840 --> 00:45:49,759
Speaker 3: the production and it's really well done. But I had

918
00:45:49,760 --> 00:45:54,279
Speaker 3: the whole eighteen hundred seats silent, and because for me,

919
00:45:54,360 --> 00:45:57,359
Speaker 3: the war was over and he finally looked at them

920
00:45:57,360 --> 00:46:00,160
Speaker 3: and said, now they can take me, you know, as

921
00:46:00,160 --> 00:46:02,759
Speaker 3: it is my name, because I'll never have another one,

922
00:46:02,800 --> 00:46:07,200
Speaker 3: and he says it suddenly with such clarity and calm,

923
00:46:07,280 --> 00:46:10,640
Speaker 3: and almost the same way Hamlet talks about there's a

924
00:46:10,680 --> 00:46:13,120
Speaker 3: divine providence with the fall of a sparrow, like he's

925
00:46:13,160 --> 00:46:16,040
Speaker 3: ready to die. And I felt that with Procter, and

926
00:46:16,080 --> 00:46:17,640
Speaker 3: so I did it, and a lot of people didn't

927
00:46:17,719 --> 00:46:20,040
Speaker 3: like it and reviewed it badly, and other people loved

928
00:46:20,080 --> 00:46:22,640
Speaker 3: it and said it was very new. But you know what,

929
00:46:22,719 --> 00:46:26,280
Speaker 3: I can only do my performance of things. I always

930
00:46:26,360 --> 00:46:27,959
Speaker 3: know why I've done it, so then I don't really

931
00:46:27,960 --> 00:46:30,399
Speaker 3: care about the critics. Couldn't give a shit because I'm

932
00:46:30,520 --> 00:46:32,759
Speaker 3: very connected to what the director and I did. And

933
00:46:34,200 --> 00:46:36,920
Speaker 3: it was dragging that play out every night. Was heavy.

934
00:46:37,480 --> 00:46:41,960
Speaker 3: It was heavy, take a toll on you. Oh yeah.

935
00:46:42,000 --> 00:46:44,960
Speaker 3: Like I just got offered a play in London yesterday

936
00:46:45,160 --> 00:46:47,399
Speaker 3: and I was like, not only do you only get

937
00:46:47,400 --> 00:46:50,799
Speaker 3: six hundred a week for theater over there, which after

938
00:46:50,920 --> 00:46:53,120
Speaker 3: tax you can barely get cut and pay your rent,

939
00:46:53,160 --> 00:46:56,040
Speaker 3: you know, because they've still got the old prices, whereas

940
00:46:56,040 --> 00:46:59,160
Speaker 3: in New Countries Australia they'll pay the star or whoever's

941
00:46:59,200 --> 00:47:01,080
Speaker 3: on the poster more. But back there it's all you

942
00:47:01,120 --> 00:47:02,719
Speaker 3: and you get the same as the person in the

943
00:47:02,719 --> 00:47:05,160
Speaker 3: bar and the janity, you know, and I'm like, fuck,

944
00:47:05,200 --> 00:47:06,640
Speaker 3: I don't know if I can do another play for

945
00:47:06,640 --> 00:47:09,799
Speaker 3: a little while. It hurt in a good way, but

946
00:47:09,960 --> 00:47:10,719
Speaker 3: it really hurt.

947
00:47:10,800 --> 00:47:15,080
Speaker 2: Yeah, okay, people work with That was an incredible role

948
00:47:15,520 --> 00:47:19,840
Speaker 2: being directed in theater by Philip simol Hoffman. Yeah wow,

949
00:47:20,400 --> 00:47:24,080
Speaker 2: So tell me about tell me what tell me about him?

950
00:47:24,360 --> 00:47:29,400
Speaker 3: I missed that bloke. Oh that that's the one that

951
00:47:29,520 --> 00:47:32,640
Speaker 3: changed me. That's the one that made me good. I think,

952
00:47:34,640 --> 00:47:37,120
Speaker 3: you know, I think working in film, I did a

953
00:47:37,120 --> 00:47:41,479
Speaker 3: film called Noise about a cop with Tinatus and Matt

954
00:47:41,520 --> 00:47:43,480
Speaker 3: Savill kind of taught me how to act on screen.

955
00:47:44,239 --> 00:47:48,080
Speaker 3: And then, you know, I was a pretty good actor

956
00:47:48,920 --> 00:47:51,239
Speaker 3: in my twenties, throwing stuff around. I was a bit

957
00:47:51,320 --> 00:47:53,560
Speaker 3: tortured prince, you know. I did a lot of tortured

958
00:47:53,560 --> 00:47:58,040
Speaker 3: prints and then got got worked on by Philip sem

959
00:47:58,160 --> 00:48:01,960
Speaker 3: Hoffman and that changed. And I still use what he

960
00:48:02,000 --> 00:48:06,680
Speaker 3: taught me with every performance. He works a lot with numbers,

961
00:48:07,480 --> 00:48:11,600
Speaker 3: so he'll give you a number for the stakes of

962
00:48:11,640 --> 00:48:15,400
Speaker 3: this moment out of ten. Often with cards. He'll go,

963
00:48:15,480 --> 00:48:17,160
Speaker 3: this is a ten of jack, this is a king,

964
00:48:17,640 --> 00:48:18,200
Speaker 3: or it's a two.

965
00:48:18,480 --> 00:48:20,480
Speaker 2: As far as how we want you.

966
00:48:20,640 --> 00:48:23,879
Speaker 3: Yeah, like this podcast, maybe this podcast is I don't

967
00:48:23,880 --> 00:48:25,480
Speaker 3: give a shit. It's a two to me, But for you,

968
00:48:25,560 --> 00:48:27,080
Speaker 3: this is the big You know, if you had Nathan

969
00:48:27,120 --> 00:48:29,480
Speaker 3: Cleary in here, or Michael Jordan or something, it might

970
00:48:29,520 --> 00:48:30,480
Speaker 3: be a ten or something.

971
00:48:30,480 --> 00:48:35,000
Speaker 1: You know, like you how your character in that scene,

972
00:48:35,080 --> 00:48:37,399
Speaker 1: how important they are, and that's right.

973
00:48:39,440 --> 00:48:43,640
Speaker 3: And you watch his performances, you know, in some things

974
00:48:43,680 --> 00:48:46,160
Speaker 3: like in Punch Drunk Love, when he's like chasing the

975
00:48:46,200 --> 00:48:49,080
Speaker 3: guy chasing understand the importance is too he's like, shut up,

976
00:48:49,120 --> 00:48:51,399
Speaker 3: shut up, shut up. But in Boogie Nights when he's

977
00:48:51,440 --> 00:48:53,600
Speaker 3: like how much do you left? You know, and he's like,

978
00:48:53,680 --> 00:48:56,840
Speaker 3: it's a fucking ten because he's there and he's like,

979
00:48:56,880 --> 00:48:59,160
Speaker 3: I'm talking to the guy I'm in love with. And Hoffman,

980
00:48:59,239 --> 00:49:01,560
Speaker 3: you see the number in his work how he plays

981
00:49:01,600 --> 00:49:06,359
Speaker 3: two six is eights ten. It's really modulated. And then

982
00:49:06,400 --> 00:49:08,839
Speaker 3: he played and then he adds status to that. So

983
00:49:08,880 --> 00:49:09,960
Speaker 3: who's got more status?

984
00:49:10,040 --> 00:49:10,440
Speaker 2: You or me?

985
00:49:10,800 --> 00:49:12,759
Speaker 3: Am I two? So I'm oh, Maddie, what do you

986
00:49:12,760 --> 00:49:15,680
Speaker 3: want Maddie? Or am I there? Gun again?

987
00:49:15,680 --> 00:49:15,960
Speaker 6: Mate?

988
00:49:16,280 --> 00:49:18,600
Speaker 3: You know what I mean? So he and sometimes the

989
00:49:18,680 --> 00:49:22,120
Speaker 3: status and when the status is low for you, but

990
00:49:22,160 --> 00:49:24,160
Speaker 3: the stakes are high and the status is high for you,

991
00:49:24,239 --> 00:49:27,520
Speaker 3: but the stakes are low. You get a really interesting moment,

992
00:49:27,760 --> 00:49:30,440
Speaker 3: you know, between two people. So he taught me that,

993
00:49:30,560 --> 00:49:33,760
Speaker 3: and he also, you know, we famously did this preview

994
00:49:34,280 --> 00:49:36,640
Speaker 3: and True West is about these two brothers who have

995
00:49:36,880 --> 00:49:39,040
Speaker 3: camped out in their kind of dead dad's house and

996
00:49:39,080 --> 00:49:42,040
Speaker 3: the mum, you know, mum turns up and one's a

997
00:49:42,080 --> 00:49:44,600
Speaker 3: criminal and one's a writer, and it's kind of about

998
00:49:44,640 --> 00:49:46,839
Speaker 3: the two sides of man. And Sam Sheppard wrote about

999
00:49:46,840 --> 00:49:50,200
Speaker 3: that a lot time, but you know, it's very funny

1000
00:49:50,200 --> 00:49:54,040
Speaker 3: and dark. And I did this preview, which is what happened.

1001
00:49:54,080 --> 00:49:56,120
Speaker 3: You have about five or six previews before opening night

1002
00:49:56,840 --> 00:49:59,600
Speaker 3: to try out different stuff. You're you often cut twenty

1003
00:49:59,680 --> 00:50:02,400
Speaker 3: minutes or reshaped stuff, and also it's for the lights

1004
00:50:02,440 --> 00:50:05,439
Speaker 3: and everything too. But I did this preview. I got

1005
00:50:05,480 --> 00:50:09,560
Speaker 3: heaps of laughs. I ripped my pants. I came off

1006
00:50:10,400 --> 00:50:15,600
Speaker 3: people standing brand girl and I came off and he goes,

1007
00:50:16,080 --> 00:50:18,279
Speaker 3: you asshole, And I was like what And he goes

1008
00:50:18,640 --> 00:50:22,040
Speaker 3: doing the fucking Brendan gal show out there? What was

1009
00:50:22,080 --> 00:50:24,239
Speaker 3: that there? The Brendan cow Show.

1010
00:50:24,480 --> 00:50:25,040
Speaker 2: Oh wow?

1011
00:50:25,560 --> 00:50:27,840
Speaker 3: I was like what and he goes, you let me know, asshole.

1012
00:50:27,880 --> 00:50:30,920
Speaker 3: When you want to do some Shepherd's True West and left.

1013
00:50:31,440 --> 00:50:33,480
Speaker 3: The next day he comes in, he goes, that's the ten,

1014
00:50:33,600 --> 00:50:35,839
Speaker 3: that's an eight, and he goes, don't lie to them.

1015
00:50:36,320 --> 00:50:37,960
Speaker 3: He goes, don't do you, don't lie to them. That's

1016
00:50:37,960 --> 00:50:40,120
Speaker 3: what he'd always say, don't lie to the audience. So

1017
00:50:40,160 --> 00:50:42,160
Speaker 3: I went out there. The next night. I broke this

1018
00:50:42,320 --> 00:50:44,920
Speaker 3: golf club. I was bleeding from the head. I had

1019
00:50:44,960 --> 00:50:46,399
Speaker 3: to do a Wei, did a we and a pop

1020
00:50:46,440 --> 00:50:50,680
Speaker 3: plan on stage, was crying about my dad. Didn't get

1021
00:50:50,680 --> 00:50:54,720
Speaker 3: any laughs, no laughs at all came off. The audience

1022
00:50:54,760 --> 00:50:57,680
Speaker 3: were like, we barely got an applause. We scared the

1023
00:50:57,760 --> 00:51:00,359
Speaker 3: living shit out of them. We cut me and Wayne

1024
00:51:00,440 --> 00:51:02,200
Speaker 3: came off going I don't know what that was and

1025
00:51:02,840 --> 00:51:05,720
Speaker 3: phills in the backstage. He goes, welcome to True West.

1026
00:51:06,160 --> 00:51:07,239
Speaker 3: Do that every night.

1027
00:51:07,760 --> 00:51:10,879
Speaker 2: That was like, yeah, you know.

1028
00:51:10,960 --> 00:51:14,399
Speaker 3: And he swapped roles famously with John c Riley. They

1029
00:51:14,440 --> 00:51:17,120
Speaker 3: did it, and they'd flip a coin and they played

1030
00:51:17,120 --> 00:51:20,520
Speaker 3: both brothers. So every night and I said, can.

1031
00:51:20,360 --> 00:51:20,680
Speaker 1: We do that?

1032
00:51:20,760 --> 00:51:25,880
Speaker 3: He goes, no, no one, he wouldn't ye, he wouldn't

1033
00:51:25,960 --> 00:51:27,360
Speaker 3: let us do it. And I'm like, I want to

1034
00:51:27,400 --> 00:51:33,320
Speaker 3: go the other guy good enough apparently John John c Riley,

1035
00:51:33,520 --> 00:51:36,440
Speaker 3: I'll finish on this, but John c Riley would apparently

1036
00:51:36,440 --> 00:51:38,319
Speaker 3: be reading The New York Times before he went on,

1037
00:51:38,800 --> 00:51:41,120
Speaker 3: and Philip would be scratching his head against a brick

1038
00:51:41,160 --> 00:51:42,920
Speaker 3: wall till it bled, you know what I mean. Like

1039
00:51:43,480 --> 00:51:46,840
Speaker 3: Philip was like, you know, I'm getting in there, and

1040
00:51:46,920 --> 00:51:48,560
Speaker 3: John and be like you're right felt, you know. So

1041
00:51:48,600 --> 00:51:49,879
Speaker 3: it's those different ways of doing.

1042
00:51:49,960 --> 00:51:52,800
Speaker 2: When we talked about that, were talking about similarities between

1043
00:51:52,960 --> 00:51:55,640
Speaker 2: people in the arts and sports people, that that is

1044
00:51:55,680 --> 00:51:58,080
Speaker 2: the difference different people have they get in the zone.

1045
00:51:59,200 --> 00:52:03,279
Speaker 2: You would did you see we spoke before, you said

1046
00:52:03,320 --> 00:52:06,480
Speaker 2: about certain things and you trying to win the battle

1047
00:52:06,719 --> 00:52:10,920
Speaker 2: against yourself. Did you see, like Philip then, the battles

1048
00:52:10,920 --> 00:52:12,759
Speaker 2: that he was having personally.

1049
00:52:13,440 --> 00:52:17,200
Speaker 3: I think I was so caught in my own you know.

1050
00:52:17,200 --> 00:52:19,160
Speaker 3: I had my book How It Feels come out, and

1051
00:52:19,320 --> 00:52:21,520
Speaker 3: I was caught in my own you know, As I said,

1052
00:52:21,520 --> 00:52:23,320
Speaker 3: I was a bit of a tortured prince back there.

1053
00:52:24,360 --> 00:52:26,880
Speaker 3: I think if I hung out with Philip now in

1054
00:52:26,960 --> 00:52:29,719
Speaker 3: that time, I would have seen it. But you can't

1055
00:52:29,800 --> 00:52:32,279
Speaker 3: really see something when you're in something, you know what

1056
00:52:32,280 --> 00:52:34,520
Speaker 3: I mean? And I was, I was in my own

1057
00:52:34,560 --> 00:52:39,600
Speaker 3: little storm. I saw that he was really sensitive guy,

1058
00:52:39,640 --> 00:52:41,760
Speaker 3: and he spoke a lot about you know, his family,

1059
00:52:41,840 --> 00:52:44,360
Speaker 3: and spoke a lot about his problems, because that's the

1060
00:52:44,360 --> 00:52:47,920
Speaker 3: way he would tell you about a scene. He'd tell

1061
00:52:47,920 --> 00:52:49,560
Speaker 3: you a story that was a seven for him or

1062
00:52:49,560 --> 00:52:51,359
Speaker 3: an eight for him, the text he got from his

1063
00:52:51,400 --> 00:52:55,440
Speaker 3: brother or something like that. So he and he'd often

1064
00:52:55,480 --> 00:52:57,279
Speaker 3: say that, you know, I've got a million dollars in

1065
00:52:57,320 --> 00:52:59,959
Speaker 3: an oscar, but I still get taken on my knees

1066
00:53:00,080 --> 00:53:02,040
Speaker 3: by a call for my brother and you know, stuff

1067
00:53:02,080 --> 00:53:04,600
Speaker 3: like that. And he goes, doesn't matter. People can do

1068
00:53:04,719 --> 00:53:10,719
Speaker 3: this to you. And he was incredibly disobligating in that way.

1069
00:53:11,360 --> 00:53:13,600
Speaker 3: And that's the way he directed us by telling us stories.

1070
00:53:13,640 --> 00:53:15,520
Speaker 3: And often I don't need a story, just tell me

1071
00:53:15,520 --> 00:53:17,319
Speaker 3: what to do. But he'd keep telling you stories, and

1072
00:53:17,320 --> 00:53:20,520
Speaker 3: then you'd tell him stories. But I spoke to him

1073
00:53:20,520 --> 00:53:23,040
Speaker 3: a couple of times after that, well i'd heard he'd

1074
00:53:23,040 --> 00:53:25,200
Speaker 3: gone back into rehab and stuff. I reached out. But

1075
00:53:26,000 --> 00:53:28,160
Speaker 3: I think even when I wrote Reuben Guthrie and when

1076
00:53:28,160 --> 00:53:30,239
Speaker 3: I was doing True West, I didn't really understand what

1077
00:53:30,280 --> 00:53:33,160
Speaker 3: addiction was. And I think it's probably only in the

1078
00:53:33,239 --> 00:53:36,640
Speaker 3: last five years of pulling myself out of it that

1079
00:53:36,680 --> 00:53:39,279
Speaker 3: I even know what it might be a little bit,

1080
00:53:39,440 --> 00:53:43,719
Speaker 3: so no, I probably didn't realize the enormity of it.

1081
00:53:43,760 --> 00:53:46,560
Speaker 3: And it's very hard to take direction from an actor

1082
00:53:46,600 --> 00:53:49,480
Speaker 3: who's probably the greatest living actor in the world, because

1083
00:53:49,520 --> 00:53:51,600
Speaker 3: every time, like he go do it like this, and

1084
00:53:51,640 --> 00:53:53,799
Speaker 3: Heed do a bit of it, and you know, it's

1085
00:53:53,840 --> 00:53:57,040
Speaker 3: like and I'm like, oh, no amount of bloody buck.

1086
00:53:58,160 --> 00:54:00,360
Speaker 3: You go and face the back, and he's like action

1087
00:54:00,400 --> 00:54:01,880
Speaker 3: and you got to turn around going.

1088
00:54:04,280 --> 00:54:08,080
Speaker 2: Honestly, honestly, just catch the ball and do this. Sorry, Joey,

1089
00:54:08,080 --> 00:54:08,880
Speaker 2: what did you mean by that?

1090
00:54:09,640 --> 00:54:12,799
Speaker 3: It's kind of a bit like that, Like, dude, it's

1091
00:54:12,920 --> 00:54:16,799
Speaker 3: you like, how's Brandon cow Ever going to turn around?

1092
00:54:16,840 --> 00:54:20,160
Speaker 3: Impressed Philips? Siama Hoffmann. But there's one way to impress him.

1093
00:54:21,360 --> 00:54:24,279
Speaker 3: Tell the truth from you, you know, And that's what

1094
00:54:24,320 --> 00:54:26,160
Speaker 3: he could always tell. And he'd always give me this

1095
00:54:26,520 --> 00:54:29,200
Speaker 3: shake of the head going, you're very clever, Brandon, but

1096
00:54:30,280 --> 00:54:30,759
Speaker 3: stop it.

1097
00:54:31,600 --> 00:54:35,600
Speaker 1: You know, how is his like your relationship after True West?

1098
00:54:36,200 --> 00:54:36,319
Speaker 2: Oh?

1099
00:54:36,320 --> 00:54:38,600
Speaker 3: Well, he went back to New York after Opening night

1100
00:54:38,680 --> 00:54:40,680
Speaker 3: and I think he had, you know, he had all

1101
00:54:40,719 --> 00:54:44,799
Speaker 3: his films and everything to do, and you know, he's

1102
00:54:44,840 --> 00:54:49,560
Speaker 3: just a beautiful, kind of soulful, shy guy, you know

1103
00:54:49,600 --> 00:54:51,759
Speaker 3: what I mean. The one story I'll tell you that

1104
00:54:51,760 --> 00:54:54,480
Speaker 3: sums him up was he never came to any of

1105
00:54:54,560 --> 00:54:57,000
Speaker 3: like Kate and Andrews press things with the Vogue and

1106
00:54:57,040 --> 00:54:59,319
Speaker 3: the thing and the launch and or he'd be up

1107
00:54:59,360 --> 00:55:01,359
Speaker 3: the back and and a beanie and he'd take off

1108
00:55:01,360 --> 00:55:03,360
Speaker 3: and he wouldn't have stayed for the drinks or the

1109
00:55:03,360 --> 00:55:06,120
Speaker 3: photos or anything. And you never saw him at any

1110
00:55:06,560 --> 00:55:10,040
Speaker 3: media thing. It's just such a learner. And then when

1111
00:55:10,080 --> 00:55:12,360
Speaker 3: my book came out, he goes, you wrote a book,

1112
00:55:12,920 --> 00:55:15,000
Speaker 3: and I went yeah, and he goes, oh, come to that.

1113
00:55:15,200 --> 00:55:17,320
Speaker 3: And he came to the launch of the book. You know,

1114
00:55:17,360 --> 00:55:19,840
Speaker 3: you can't believe you wrote a book. And he stood

1115
00:55:19,840 --> 00:55:22,560
Speaker 3: there with Andrew Denton and my nan and talked to

1116
00:55:22,600 --> 00:55:25,439
Speaker 3: them for about three hours. To my grandmother and one

1117
00:55:25,440 --> 00:55:27,759
Speaker 3: of the assistant directors had to play on out in

1118
00:55:27,800 --> 00:55:30,359
Speaker 3: Penrith that he directed. He goes, I'll come to that,

1119
00:55:30,960 --> 00:55:34,000
Speaker 3: and so we get the train out and see the play.

1120
00:55:34,760 --> 00:55:36,760
Speaker 3: So we do that and come to the book launch.

1121
00:55:36,800 --> 00:55:39,399
Speaker 3: But he won't go to the well. And that was him.

1122
00:55:39,480 --> 00:55:41,440
Speaker 2: I can imagine some of the people on this on

1123
00:55:41,520 --> 00:55:44,440
Speaker 2: the train boogie knights.

1124
00:55:44,560 --> 00:55:47,040
Speaker 3: Yeah, yeah, but he would go because that guy directed

1125
00:55:47,040 --> 00:55:49,000
Speaker 3: a little play and that's what he did. He's got

1126
00:55:49,000 --> 00:55:50,799
Speaker 3: his own theater company, and if you get up and

1127
00:55:50,800 --> 00:55:52,479
Speaker 3: do something, he'll come watch.

1128
00:55:52,600 --> 00:55:55,600
Speaker 1: Well that was him, gone away, gone away from or

1129
00:55:55,680 --> 00:55:57,279
Speaker 1: you're going to we're going to go away from theater.

1130
00:55:57,360 --> 00:55:58,959
Speaker 1: Now you're going to go on to TV. I wanted

1131
00:55:58,960 --> 00:55:59,640
Speaker 1: to ask you the.

1132
00:55:59,560 --> 00:56:03,640
Speaker 3: Difference I made my shift, the difference between theater and if

1133
00:56:03,600 --> 00:56:05,000
Speaker 3: you play that Nico thing again.

1134
00:56:05,719 --> 00:56:10,120
Speaker 1: I don't want to give you an direction, the difference

1135
00:56:10,160 --> 00:56:14,040
Speaker 1: between theater and TV. Do you like doing TV where

1136
00:56:14,080 --> 00:56:16,800
Speaker 1: you you're probably allowed to make mistakes more you have cuts?

1137
00:56:17,600 --> 00:56:18,960
Speaker 1: Or do you like that live aspect?

1138
00:56:19,040 --> 00:56:19,319
Speaker 3: More like?

1139
00:56:19,400 --> 00:56:21,319
Speaker 1: What aspect? Did you like more?

1140
00:56:21,920 --> 00:56:26,320
Speaker 3: Look, it's I've always felt most comfortable on stage, and

1141
00:56:26,880 --> 00:56:30,240
Speaker 3: I'm getting more comfortable on screen. I didn't feel comfortable

1142
00:56:30,239 --> 00:56:32,000
Speaker 3: on screen for a long time until I kind of

1143
00:56:32,320 --> 00:56:37,319
Speaker 3: learned it, and I mean learnt it, like where to

1144
00:56:37,360 --> 00:56:39,840
Speaker 3: look and where to stand and where the cameras And

1145
00:56:39,920 --> 00:56:42,080
Speaker 3: now I feel, you know, I can direct, and I

1146
00:56:42,080 --> 00:56:44,960
Speaker 3: can I know where to be and if there's two cameras,

1147
00:56:45,000 --> 00:56:46,680
Speaker 3: I know how to help them both out and all

1148
00:56:46,680 --> 00:56:50,840
Speaker 3: that sort of thing. But on stage. Even though I

1149
00:56:50,840 --> 00:56:54,040
Speaker 3: haven't adolessent, I've always known exactly. Even when I did

1150
00:56:54,080 --> 00:56:57,000
Speaker 3: Galileo in the Round and Chemical Brothers did the soundtrack

1151
00:56:57,040 --> 00:56:59,600
Speaker 3: and Joe Wright directed, I always knew how to get

1152
00:56:59,600 --> 00:57:01,440
Speaker 3: all the d and evil when they're all around me.

1153
00:57:01,480 --> 00:57:05,560
Speaker 3: I've just had a sense of audience. But with TV,

1154
00:57:05,640 --> 00:57:08,880
Speaker 3: I've had to learn it. But now, like with Plumb,

1155
00:57:08,920 --> 00:57:13,719
Speaker 3: getting to do the full symphony, writing, producing, playing the lead,

1156
00:57:14,000 --> 00:57:19,440
Speaker 3: being the showrunner, choosing the pillow slips, everything that was

1157
00:57:19,560 --> 00:57:23,160
Speaker 3: such a satisfying, satisfying experience, I want to keep doing that.

1158
00:57:23,200 --> 00:57:27,120
Speaker 3: And now putting the music in it's just unbelievable. So

1159
00:57:27,160 --> 00:57:29,200
Speaker 3: I'm starting to really fall in love with television.

1160
00:57:30,400 --> 00:57:32,160
Speaker 2: Who does the soundtrack some of the.

1161
00:57:32,160 --> 00:57:37,640
Speaker 3: Music, Well, we have a composer Costanzo in Melbourne who

1162
00:57:37,920 --> 00:57:39,600
Speaker 3: That's why I was down in Melbourne. I took her

1163
00:57:39,680 --> 00:57:44,240
Speaker 3: to her first ever footy game, you know, and she

1164
00:57:44,360 --> 00:57:47,880
Speaker 3: got to watch Melbourne and Brisbane at Amy Stadium. And

1165
00:57:47,880 --> 00:57:51,560
Speaker 3: I'm like, it's not always this that it's unbelievable. But

1166
00:57:52,320 --> 00:57:55,160
Speaker 3: you know, we choose the songs from abbouc budget, we

1167
00:57:55,160 --> 00:57:55,800
Speaker 3: don't have a lot.

1168
00:57:55,720 --> 00:57:58,960
Speaker 2: Of you play five seconds of very song, Yeah, that's right.

1169
00:57:58,840 --> 00:58:01,760
Speaker 3: And you're getting bands that broke up fifteen years ago

1170
00:58:01,800 --> 00:58:03,840
Speaker 3: and stuff like that. But you know, you try to

1171
00:58:03,840 --> 00:58:06,040
Speaker 3: get a noise works and you know, you try to

1172
00:58:06,080 --> 00:58:10,880
Speaker 3: get yeah, it goes, you know, and you it helps

1173
00:58:10,880 --> 00:58:13,040
Speaker 3: to have those relationships because you don't have much money

1174
00:58:13,080 --> 00:58:15,400
Speaker 3: and the music budget. So I'm off an email in

1175
00:58:15,400 --> 00:58:17,840
Speaker 3: Blakes going, hey, we tried to get thirty seconds of

1176
00:58:18,440 --> 00:58:20,760
Speaker 3: something for Kate. Would you mind going back and saying

1177
00:58:20,760 --> 00:58:23,280
Speaker 3: we know each other? You know, because it's hard and

1178
00:58:23,520 --> 00:58:26,960
Speaker 3: music is just such a big part. It does so much,

1179
00:58:27,000 --> 00:58:29,600
Speaker 3: and we want to lift it out. We want to

1180
00:58:29,600 --> 00:58:32,919
Speaker 3: lift it out of a little self reflective bussy show.

1181
00:58:32,960 --> 00:58:34,720
Speaker 3: We want it to be a big show about a

1182
00:58:34,720 --> 00:58:37,920
Speaker 3: big topic to get a big audience. And we really

1183
00:58:37,960 --> 00:58:42,040
Speaker 3: feel that it can so music. You know, you watch

1184
00:58:42,080 --> 00:58:44,440
Speaker 3: Baz Lemon's films, it's the fucking music.

1185
00:58:44,360 --> 00:58:48,440
Speaker 2: Is rocky rocky without going to fly now, Bill CONTI.

1186
00:58:48,440 --> 00:58:48,960
Speaker 3: That's right.

1187
00:58:49,040 --> 00:58:51,720
Speaker 1: Yeah, but even even talk about how music changes it,

1188
00:58:51,800 --> 00:58:54,160
Speaker 1: like I remember what there's like a video of remember

1189
00:58:54,160 --> 00:58:56,600
Speaker 1: like the old Jason movies when Jason would walk around

1190
00:58:56,640 --> 00:59:01,160
Speaker 1: Fronday thirty and they put careless whisp by George and

1191
00:59:01,200 --> 00:59:04,800
Speaker 1: it turns it into like this sexual scene when he's

1192
00:59:04,840 --> 00:59:07,480
Speaker 1: actually like out murdering this person.

1193
00:59:07,560 --> 00:59:09,800
Speaker 3: It's the same when they recut. They showed what an

1194
00:59:09,880 --> 00:59:11,800
Speaker 3: editor and did they recut the shining to make it

1195
00:59:11,840 --> 00:59:15,560
Speaker 3: a rom com? And you can like the editor a

1196
00:59:15,600 --> 00:59:16,600
Speaker 3: bit of editing it.

1197
00:59:16,760 --> 00:59:22,320
Speaker 2: On YouTube we spoke about Game of Thrones. You've done that.

1198
00:59:22,600 --> 00:59:24,320
Speaker 2: The show I loved, I reckon it's one of the

1199
00:59:24,360 --> 00:59:27,160
Speaker 2: best shows in the last Austrained drama in the last

1200
00:59:27,160 --> 00:59:31,280
Speaker 2: twenty years, was The Twelve. Yeah, and you play you know,

1201
00:59:32,080 --> 00:59:36,400
Speaker 2: a hopeless, hopeless gambler enjoys a drink. I must say

1202
00:59:36,840 --> 00:59:41,480
Speaker 2: you played it very, very convincingly. Did you enjoy doing

1203
00:59:41,520 --> 00:59:42,880
Speaker 2: The Twelve? Did you enjoy that character?

1204
00:59:42,920 --> 00:59:46,000
Speaker 3: It was awesome. I hadn't worked in Australia for a

1205
00:59:46,040 --> 00:59:49,160
Speaker 3: few years and I was back at the end of

1206
00:59:49,240 --> 00:59:51,040
Speaker 3: the year and then the job popped up and I

1207
00:59:51,080 --> 00:59:54,840
Speaker 3: went or you know, because it was Foxtel where I

1208
00:59:54,920 --> 00:59:57,680
Speaker 3: started with Love My Way and there was a few

1209
00:59:57,720 --> 01:00:00,560
Speaker 3: familiar faces in there. I went, you know, I'm gonna

1210
01:00:00,600 --> 01:00:03,439
Speaker 3: I'm going to throw my weight around this and and yeah,

1211
01:00:03,720 --> 01:00:07,520
Speaker 3: I've I've played a few kind of good hearted derelicts

1212
01:00:08,480 --> 01:00:11,200
Speaker 3: over the years now, and they're always the more fun

1213
01:00:11,640 --> 01:00:13,960
Speaker 3: because I kept saying that. Sam Nelon said, I said,

1214
01:00:13,960 --> 01:00:15,960
Speaker 3: why don't I get you what? I get the fun?

1215
01:00:17,960 --> 01:00:20,200
Speaker 3: Where am I in the suit going yeah, if you

1216
01:00:20,240 --> 01:00:22,440
Speaker 3: can just hand me that? And with the iPad and

1217
01:00:22,480 --> 01:00:25,480
Speaker 3: the expertise, I never get doors open, and people like

1218
01:00:25,600 --> 01:00:27,360
Speaker 3: mister Blee please please come in.

1219
01:00:27,880 --> 01:00:32,120
Speaker 2: You should have told the Philip Simol Hoffmann and John

1220
01:00:32,160 --> 01:00:34,120
Speaker 2: so Riley said, let's just flip it.

1221
01:00:34,160 --> 01:00:38,200
Speaker 3: Every day I'm always under a bridge with a greyhound

1222
01:00:38,240 --> 01:00:45,000
Speaker 3: and a fag, you know, like, when's it coming my way?

1223
01:00:45,560 --> 01:00:49,880
Speaker 2: Yeah? It was very it was very very good. It

1224
01:00:49,960 --> 01:00:50,480
Speaker 2: was awesome.

1225
01:00:50,640 --> 01:00:52,400
Speaker 1: What was your experience like on Game of Thrones You

1226
01:00:52,440 --> 01:00:54,680
Speaker 1: spoke about it earlier, but what's the difference when you

1227
01:00:54,720 --> 01:00:58,320
Speaker 1: do like a huge series of Game of Thrones compared

1228
01:00:58,360 --> 01:01:01,320
Speaker 1: to like an Australian small well.

1229
01:01:01,400 --> 01:01:04,800
Speaker 3: You know, the lead up is the scary part because

1230
01:01:04,800 --> 01:01:07,120
Speaker 3: you're like, I'm going to see with John snow this

1231
01:01:07,240 --> 01:01:10,120
Speaker 3: is like what yeah, you know, how's this going to work?

1232
01:01:10,160 --> 01:01:15,160
Speaker 3: That Brennan is in Game of Thrones this huge phenomenon,

1233
01:01:15,200 --> 01:01:17,600
Speaker 3: like it doesn't make any sense. But then when you

1234
01:01:17,600 --> 01:01:19,600
Speaker 3: get there, there is just kind of a chubby boom

1235
01:01:19,600 --> 01:01:22,600
Speaker 3: swinger and there's a couple of makeup people and you

1236
01:01:22,680 --> 01:01:25,360
Speaker 3: know we're running a bit late and it's windy, and

1237
01:01:25,440 --> 01:01:28,080
Speaker 3: you're like, oh, this is this is the same as

1238
01:01:28,120 --> 01:01:30,560
Speaker 3: in a show, you know what I mean, even on Avatar,

1239
01:01:30,720 --> 01:01:32,880
Speaker 3: Like it's the there's a sound guy and the came

1240
01:01:32,920 --> 01:01:35,240
Speaker 3: of guy and he's nice, and there's someone with the props,

1241
01:01:35,280 --> 01:01:38,080
Speaker 3: and you know you end up going no, I just

1242
01:01:38,120 --> 01:01:40,080
Speaker 3: got to do the same thing, you know what I mean.

1243
01:01:40,120 --> 01:01:43,760
Speaker 3: It's just the myth that's fostered around it. It kind

1244
01:01:43,760 --> 01:01:44,600
Speaker 3: of can.

1245
01:01:44,800 --> 01:01:47,320
Speaker 1: The pressure, the pressure you put on yourself. It's the

1246
01:01:47,320 --> 01:01:47,840
Speaker 1: same stuff.

1247
01:01:47,840 --> 01:01:49,000
Speaker 3: For all you've got to do is look at the

1248
01:01:49,000 --> 01:01:53,240
Speaker 3: other guy, listen, tell the truth, Listen to the director,

1249
01:01:53,440 --> 01:01:56,120
Speaker 3: make sure the director is happy, and then go to lunch.

1250
01:01:56,360 --> 01:01:58,080
Speaker 3: You know what I mean. It's the same stuff. Try

1251
01:01:58,160 --> 01:01:59,840
Speaker 3: not to have a few too many drinks a night,

1252
01:02:00,680 --> 01:02:02,760
Speaker 3: you know what I mean. That's that was the struggle.

1253
01:02:03,160 --> 01:02:10,080
Speaker 3: And you know, also those guys, like those actors. You know,

1254
01:02:10,160 --> 01:02:12,200
Speaker 3: I remember doing I Love You Too, this movie with

1255
01:02:12,240 --> 01:02:14,880
Speaker 3: Peter Dinklish and I said to him, you know, Peter

1256
01:02:14,960 --> 01:02:16,800
Speaker 3: Hellier movie, and I said, what are you doing next?

1257
01:02:16,880 --> 01:02:19,360
Speaker 3: He goes, I'm doing some boobs and blood thing in

1258
01:02:19,440 --> 01:02:21,840
Speaker 3: America called Game of Thrones. You know, I think it'll

1259
01:02:21,880 --> 01:02:24,919
Speaker 3: be bad or something, And then I saw him years later.

1260
01:02:24,960 --> 01:02:27,040
Speaker 3: I went, I didn't turn out too bad for Peter,

1261
01:02:27,120 --> 01:02:29,880
Speaker 3: and like they were like they weren't all big stars,

1262
01:02:29,920 --> 01:02:32,760
Speaker 3: so they were very close knit group and they very

1263
01:02:32,800 --> 01:02:35,560
Speaker 3: much welcomed me in and they were very sweet. But

1264
01:02:35,640 --> 01:02:38,200
Speaker 3: you know, going to the hotel like in bill Bao

1265
01:02:38,280 --> 01:02:41,840
Speaker 3: and Spain where we shot four hundred people out the

1266
01:02:41,880 --> 01:02:45,240
Speaker 3: front twenty four hours a day, a band playing the

1267
01:02:45,240 --> 01:02:48,959
Speaker 3: theme song, and you're just getting wherever you go. Those

1268
01:02:49,000 --> 01:02:52,680
Speaker 3: guys they were, they were seriously famous, and I got

1269
01:02:52,720 --> 01:02:54,600
Speaker 3: to look at the other what the other side of

1270
01:02:54,600 --> 01:02:55,200
Speaker 3: that looks like?

1271
01:02:55,480 --> 01:02:58,760
Speaker 2: Through them names? I think going into Suason three was

1272
01:02:58,800 --> 01:03:00,640
Speaker 2: off at a part in Game of Three and his

1273
01:03:00,760 --> 01:03:03,080
Speaker 2: agent went the Bird's Flying.

1274
01:03:04,040 --> 01:03:05,120
Speaker 1: Yeah.

1275
01:03:05,400 --> 01:03:07,720
Speaker 3: Well, I was doing a play that went to New

1276
01:03:07,800 --> 01:03:10,520
Speaker 3: York and they offered me season eight and they said

1277
01:03:10,560 --> 01:03:11,640
Speaker 3: you want to come back? And I said, oh, I

1278
01:03:11,720 --> 01:03:16,080
Speaker 3: thought the on grade Joy killed me after I didn't

1279
01:03:16,080 --> 01:03:18,120
Speaker 3: realize he had no penis, and I keptkneeing him in

1280
01:03:18,120 --> 01:03:20,680
Speaker 3: the no penis area, which you know, if there was

1281
01:03:20,720 --> 01:03:24,040
Speaker 3: a third umpire, I could have gone and gone. I

1282
01:03:24,160 --> 01:03:28,040
Speaker 3: lost that fight I was not informed the on Grade

1283
01:03:28,120 --> 01:03:34,840
Speaker 3: Joy had been ridiclous, and so I got invited back.

1284
01:03:34,880 --> 01:03:36,880
Speaker 3: I ended up doing the play in New York and

1285
01:03:37,200 --> 01:03:41,880
Speaker 3: people like you are crazy. But then casting director for

1286
01:03:41,920 --> 01:03:44,680
Speaker 3: Avatar came and saw the play in New York. So

1287
01:03:45,120 --> 01:03:47,760
Speaker 3: it was one of those cases of I stuck with

1288
01:03:47,840 --> 01:03:50,959
Speaker 3: my truth, I stuck with the gang, and I kept

1289
01:03:50,960 --> 01:03:53,400
Speaker 3: doing the play and I stuck with I did that,

1290
01:03:53,520 --> 01:03:56,840
Speaker 3: you know, and rewards came from staying true to that

1291
01:03:57,040 --> 01:03:58,120
Speaker 3: and opened another door.

1292
01:03:58,760 --> 01:04:01,080
Speaker 2: Well that was as we move in a film. That

1293
01:04:01,200 --> 01:04:05,160
Speaker 2: was our next question. What was the performance that drew

1294
01:04:06,280 --> 01:04:09,360
Speaker 2: Avatar to you or James Cameron to you? And it

1295
01:04:09,400 --> 01:04:11,240
Speaker 2: was a stage.

1296
01:04:11,160 --> 01:04:13,760
Speaker 3: Yeah, it's all come from stage. So he was there,

1297
01:04:13,840 --> 01:04:18,080
Speaker 3: James Cameron, he's casting his character Margie. Yeah, he's a

1298
01:04:18,160 --> 01:04:21,480
Speaker 3: lovely New Yorker who I've become friends with. And she

1299
01:04:21,600 --> 01:04:23,800
Speaker 3: goes and sees lots of stuff. So we're in the

1300
01:04:23,800 --> 01:04:27,040
Speaker 3: same city, Margie Simpkin and I'll hang out and go

1301
01:04:27,120 --> 01:04:30,560
Speaker 3: to an art gallery and see a show. And she's beautiful,

1302
01:04:30,800 --> 01:04:34,720
Speaker 3: kind of New York Jewish woman. And she came and

1303
01:04:36,120 --> 01:04:39,400
Speaker 3: she'd seen she see me to Galileo because he wanted

1304
01:04:39,400 --> 01:04:42,520
Speaker 3: a guy who could command presence on a big boat,

1305
01:04:42,920 --> 01:04:47,520
Speaker 3: but be truthful. And it's quite heart because it's a

1306
01:04:47,600 --> 01:04:56,640
Speaker 3: theatrical sized performance, but not into a animated comic level

1307
01:04:56,720 --> 01:04:59,360
Speaker 3: where you don't believe this guy to be a real guy.

1308
01:04:59,480 --> 01:05:03,080
Speaker 3: And Jim talked about maybe Dick and those frontiers and

1309
01:05:03,160 --> 01:05:06,200
Speaker 3: breaking away from society, and he wanted him to carry

1310
01:05:06,240 --> 01:05:08,120
Speaker 3: his demons a bit and all that sort of thing.

1311
01:05:08,400 --> 01:05:10,640
Speaker 3: But it's wind in the hair and profit and I'm

1312
01:05:10,680 --> 01:05:14,120
Speaker 3: out there and larger than life. And he wrote him,

1313
01:05:14,360 --> 01:05:17,600
Speaker 3: He wrote him as sixty in Scottish. But on the

1314
01:05:17,720 --> 01:05:20,200
Speaker 3: day I was a three day audition, flown to La

1315
01:05:21,360 --> 01:05:24,920
Speaker 3: three days. I went in, the security guard took my phone.

1316
01:05:24,920 --> 01:05:28,080
Speaker 3: I'd go into a room with the guard read these

1317
01:05:28,120 --> 01:05:31,720
Speaker 3: twenty four pages and memorize them. And I couldn't take

1318
01:05:31,720 --> 01:05:33,880
Speaker 3: the script out, so I had to sit in there.

1319
01:05:34,320 --> 01:05:36,240
Speaker 3: And then I went in and saw Jim and had

1320
01:05:36,280 --> 01:05:38,200
Speaker 3: like a two three hour chat. And there's bits of

1321
01:05:38,240 --> 01:05:41,120
Speaker 3: the Titanic boat and Schwarzenegger and photos and everything in

1322
01:05:41,160 --> 01:05:44,480
Speaker 3: Jim's office, and he still hadn't decided he was testing me.

1323
01:05:45,120 --> 01:05:46,600
Speaker 3: He just wanted to have a chat. And after the

1324
01:05:46,680 --> 01:05:48,960
Speaker 3: chat and we spoke a lot about Australian culture and

1325
01:05:49,000 --> 01:05:51,680
Speaker 3: films and made him laugh a bit, and he was like, yeah,

1326
01:05:51,720 --> 01:05:53,720
Speaker 3: I think i'll see you tomorrow. Yeah, And so I

1327
01:05:53,800 --> 01:05:56,480
Speaker 3: came back in and I had to sit in that

1328
01:05:56,560 --> 01:05:58,520
Speaker 3: room again and try to learn the twenty four pages.

1329
01:05:59,360 --> 01:06:01,280
Speaker 3: And because I'm trying to suck it all in without

1330
01:06:01,320 --> 01:06:03,040
Speaker 3: being able to take it out, it was so hard

1331
01:06:03,480 --> 01:06:06,240
Speaker 3: to learn because it was relaxed. And then I went

1332
01:06:06,360 --> 01:06:08,520
Speaker 3: down onto the stage floor and there were the live

1333
01:06:08,560 --> 01:06:11,360
Speaker 3: action cameras and the whole crew and the live action actors.

1334
01:06:11,360 --> 01:06:13,360
Speaker 3: So I was on the set for hours.

1335
01:06:14,360 --> 01:06:17,760
Speaker 2: Do you think he sorry, Coops? Do you think that

1336
01:06:17,880 --> 01:06:21,880
Speaker 2: twenty four pages was him more than anything testing your

1337
01:06:21,920 --> 01:06:22,440
Speaker 2: work ethic?

1338
01:06:23,160 --> 01:06:26,400
Speaker 3: Oh? Absolutely, which is what he's all about. Like you know,

1339
01:06:27,280 --> 01:06:29,040
Speaker 3: he doesn't care if you get anything wrong as long

1340
01:06:29,080 --> 01:06:31,480
Speaker 3: as you're trying, as long as you're thinking about it,

1341
01:06:31,720 --> 01:06:35,000
Speaker 3: because he's got the whole film in his head. He's

1342
01:06:35,000 --> 01:06:37,800
Speaker 3: trying to get you in it because it's already playing

1343
01:06:37,840 --> 01:06:39,720
Speaker 3: in his head. Whereas other directors go, let's try it

1344
01:06:39,760 --> 01:06:41,600
Speaker 3: like you're a bit drunk, or let's try it he

1345
01:06:41,640 --> 01:06:43,880
Speaker 3: knows you're flirting, or why don't you try it where

1346
01:06:43,920 --> 01:06:45,800
Speaker 3: you hate him and you know something about you know,

1347
01:06:46,080 --> 01:06:48,959
Speaker 3: with him, it's like, you've got to get I need this. Yeah,

1348
01:06:49,240 --> 01:06:54,520
Speaker 3: and there's at live action animation and there's three different

1349
01:06:54,520 --> 01:07:00,000
Speaker 3: components to it, and I wasn't getting it. I couldn't

1350
01:07:00,080 --> 01:07:02,320
Speaker 3: quite get up to where he wanted, and I could

1351
01:07:02,320 --> 01:07:05,280
Speaker 3: see he was frustrated. Margie Simpkin was frustrated because she

1352
01:07:05,480 --> 01:07:08,560
Speaker 3: told him he's this is the guy you know and

1353
01:07:08,720 --> 01:07:12,720
Speaker 3: actually my grandmother had passed away. And that's when, you know,

1354
01:07:13,000 --> 01:07:15,080
Speaker 3: I realized I was going to go back to Sydney

1355
01:07:15,720 --> 01:07:19,480
Speaker 3: for NaN's funeral. And I realized Nan always was always like,

1356
01:07:19,520 --> 01:07:21,320
Speaker 3: you should be more famous than you are. You're not.

1357
01:07:21,560 --> 01:07:23,520
Speaker 3: You're only famous when you had a famous girlfriend. And

1358
01:07:23,560 --> 01:07:25,720
Speaker 3: she was all about me being in the paper and

1359
01:07:25,760 --> 01:07:28,040
Speaker 3: she's going, people have to realize how good you are.

1360
01:07:28,080 --> 01:07:31,200
Speaker 3: And I was just laughing about that, like what Nan

1361
01:07:31,400 --> 01:07:34,040
Speaker 3: was like. And then I went, I'm going to go

1362
01:07:34,120 --> 01:07:37,560
Speaker 3: back for NaN's funeral. And then I didn't care. So

1363
01:07:37,640 --> 01:07:40,520
Speaker 3: I walked in there and went, I don't care, and

1364
01:07:40,560 --> 01:07:43,480
Speaker 3: I went, bang, watch this and I kind of went,

1365
01:07:43,480 --> 01:07:45,600
Speaker 3: I'm just going to do what this guy says. And

1366
01:07:45,600 --> 01:07:48,960
Speaker 3: then I started pushing these live actors around and I

1367
01:07:49,160 --> 01:07:52,160
Speaker 3: and all the words, and I was improvising, and Jim

1368
01:07:52,200 --> 01:07:54,600
Speaker 3: then grabbed a camera and goes, I think the captain's

1369
01:07:54,600 --> 01:07:56,240
Speaker 3: in the room, the captain, and then Margy's in the

1370
01:07:56,240 --> 01:07:57,800
Speaker 3: course you go, I think the captain's in the realm.

1371
01:07:57,840 --> 01:08:00,920
Speaker 3: I think the captain's here. The captain's here. And I

1372
01:08:00,960 --> 01:08:03,400
Speaker 3: was like, you know, I was just alive. I'd taken

1373
01:08:03,440 --> 01:08:05,720
Speaker 3: the fear out of it. I was finally listening to

1374
01:08:05,800 --> 01:08:08,280
Speaker 3: him and he said, you know, you always had a chance,

1375
01:08:08,280 --> 01:08:10,000
Speaker 3: We always wanted you. You just had to kind of

1376
01:08:10,040 --> 01:08:14,400
Speaker 3: get there. And I finally just went bang and did

1377
01:08:14,440 --> 01:08:18,320
Speaker 3: what he wanted and understood what he wanted. And but

1378
01:08:18,400 --> 01:08:20,120
Speaker 3: then I didn't hear for a year and a half.

1379
01:08:20,200 --> 01:08:22,759
Speaker 3: You know, I'd given up on it. I was doing Yoma,

1380
01:08:22,880 --> 01:08:24,559
Speaker 3: that same play in New York and I got the

1381
01:08:24,600 --> 01:08:26,479
Speaker 3: call at one in the morning, you know you're on,

1382
01:08:27,120 --> 01:08:28,679
Speaker 3: And I was like, oh my god.

1383
01:08:28,800 --> 01:08:31,640
Speaker 1: You know how how when they tell you you're on

1384
01:08:32,040 --> 01:08:35,040
Speaker 1: into how quickly there you're over there and start filming?

1385
01:08:35,120 --> 01:08:36,160
Speaker 1: How what's that turnaround?

1386
01:08:36,320 --> 01:08:38,120
Speaker 3: Well, it's really quick. They've just done the same thing

1387
01:08:38,160 --> 01:08:41,000
Speaker 3: on film three. Like I actually found out because I

1388
01:08:41,040 --> 01:08:43,439
Speaker 3: got an email from the New Zealand government saying your

1389
01:08:43,479 --> 01:08:46,360
Speaker 3: visa waivers come through. I'm like, wonder, what did I

1390
01:08:46,439 --> 01:08:49,800
Speaker 3: do something? And come agent she goes, oh, yeah, they

1391
01:08:49,920 --> 01:08:52,479
Speaker 3: just called you going what you know Friday, So they

1392
01:08:52,920 --> 01:08:55,479
Speaker 3: they've just got a huge ship. So I'm going in

1393
01:08:55,520 --> 01:08:57,120
Speaker 3: a few weeks to do a little bit more on

1394
01:08:57,200 --> 01:09:02,200
Speaker 3: film three. So it's it's a huge it's a beast,

1395
01:09:02,240 --> 01:09:05,120
Speaker 3: and it's a beast and it's unreal. And he was

1396
01:09:05,160 --> 01:09:07,320
Speaker 3: so nice, like I brought my family, my sister and

1397
01:09:07,360 --> 01:09:10,280
Speaker 3: my niece and nephews and stuff, and he stopped filming

1398
01:09:10,320 --> 01:09:12,360
Speaker 3: and showed them all around. And we have a lot

1399
01:09:12,360 --> 01:09:15,400
Speaker 3: of dinners and he's he's been working with the same

1400
01:09:15,400 --> 01:09:17,840
Speaker 3: people for a long time. It's a little family and

1401
01:09:18,000 --> 01:09:19,600
Speaker 3: you know, it's amazing.

1402
01:09:19,880 --> 01:09:22,920
Speaker 2: Working through whatsoever like because when you're I don't always

1403
01:09:22,920 --> 01:09:24,960
Speaker 2: bring this baut football sport, but you know it's what

1404
01:09:25,080 --> 01:09:29,280
Speaker 2: I know, Brandon. You got your coach who imagines a lot,

1405
01:09:29,360 --> 01:09:32,240
Speaker 2: your director and your coach. Every day you turn up

1406
01:09:32,240 --> 01:09:34,360
Speaker 2: to training. Some days and he's like your father and

1407
01:09:34,400 --> 01:09:36,840
Speaker 2: he's great, and other times you turn up and he's

1408
01:09:36,840 --> 01:09:40,040
Speaker 2: prickly and he's almost like the enemy. What was it

1409
01:09:40,200 --> 01:09:42,840
Speaker 2: like with James Cameron? Was he constant every single day.

1410
01:09:42,880 --> 01:09:45,120
Speaker 2: What was your personal relationship with him?

1411
01:09:45,720 --> 01:09:50,360
Speaker 3: Well, we got on pretty well because I guess I'm

1412
01:09:50,360 --> 01:09:52,599
Speaker 3: a bit of egoist on the set and I'm willing

1413
01:09:52,600 --> 01:09:54,760
Speaker 3: to play and do whatever he wants. And he let

1414
01:09:54,840 --> 01:09:57,280
Speaker 3: me improvise a little bit, which apparently he doesn't, you know,

1415
01:09:57,320 --> 01:09:58,880
Speaker 3: and he was give me a bit of jazz there,

1416
01:09:58,880 --> 01:10:00,960
Speaker 3: and a bit of jazz there, and and because the

1417
01:10:01,080 --> 01:10:03,519
Speaker 3: character was so fun Captain mix score has been. We

1418
01:10:03,600 --> 01:10:07,200
Speaker 3: kind of came up with it together, you know, this

1419
01:10:07,320 --> 01:10:11,160
Speaker 3: Aussie version. We had a lot of We had a laugh.

1420
01:10:11,160 --> 01:10:13,080
Speaker 3: And he's a big kid, you know what I mean.

1421
01:10:13,120 --> 01:10:14,880
Speaker 3: You go to his farm and he's got these quad

1422
01:10:14,920 --> 01:10:18,280
Speaker 3: bikes and the jet skis, and he's always thinking of

1423
01:10:18,520 --> 01:10:21,599
Speaker 3: wild and crazy things you can do. You know, he's alive,

1424
01:10:21,720 --> 01:10:22,080
Speaker 3: this guy.

1425
01:10:22,080 --> 01:10:24,559
Speaker 1: The creatives are a lot of the times that the creatives,

1426
01:10:24,600 --> 01:10:26,679
Speaker 1: no matter what age they are, they're always just big kids.

1427
01:10:26,880 --> 01:10:28,360
Speaker 1: You have to have the kid in you to be

1428
01:10:28,360 --> 01:10:29,240
Speaker 1: able to come up with things.

1429
01:10:29,800 --> 01:10:31,360
Speaker 3: I mean, looks at what's come out of his brain.

1430
01:10:32,200 --> 01:10:35,080
Speaker 2: Terminator, Well on that I look at him so and

1431
01:10:35,120 --> 01:10:38,000
Speaker 2: to me, he always looks like quite a conservative guy.

1432
01:10:38,479 --> 01:10:41,240
Speaker 2: And then I read about Terminator two where he sat

1433
01:10:41,280 --> 01:10:43,559
Speaker 2: and he wrote Terminator two on a diet of MDMA,

1434
01:10:44,240 --> 01:10:46,880
Speaker 2: just took it and wrote it and it just all

1435
01:10:46,920 --> 01:10:49,080
Speaker 2: came out of him. I suppose that's my next question.

1436
01:10:49,160 --> 01:10:52,160
Speaker 2: Did you see any of that, like real quirkiness in him?

1437
01:10:52,200 --> 01:10:56,040
Speaker 3: We definitely weren't on the Molly med Avatar. Sorry to

1438
01:10:56,040 --> 01:11:02,400
Speaker 3: hear that I missed out on that. You know his

1439
01:11:02,560 --> 01:11:06,439
Speaker 3: wife Susan. You know, they're very into veganism and air

1440
01:11:06,520 --> 01:11:10,000
Speaker 3: cut toll, you know, the power of now, you know,

1441
01:11:10,120 --> 01:11:13,000
Speaker 3: and he gives you a lot of gifts around veganism

1442
01:11:13,040 --> 01:11:16,200
Speaker 3: and spirituality and the power of now, living in the present.

1443
01:11:16,840 --> 01:11:20,559
Speaker 3: And so that's kind of he's had a life change.

1444
01:11:21,040 --> 01:11:23,640
Speaker 3: I didn't know him before, so I can't report on

1445
01:11:23,640 --> 01:11:28,160
Speaker 3: on before. But he's still a tyrant, like you shoot

1446
01:11:28,160 --> 01:11:31,320
Speaker 3: and shoot and shoot until you get it. And he's

1447
01:11:31,360 --> 01:11:35,240
Speaker 3: not gonna he's not going to give you a cuddle,

1448
01:11:35,479 --> 01:11:38,800
Speaker 3: you know, unless we're getting there. And there's a lot

1449
01:11:38,800 --> 01:11:41,640
Speaker 3: of pressure on that set because sometimes you've got a

1450
01:11:41,680 --> 01:11:44,519
Speaker 3: Ferrari with a big Russian arm driving one hundred klometers

1451
01:11:44,560 --> 01:11:46,400
Speaker 3: an hour and skidding to get this shot to make

1452
01:11:46,479 --> 01:11:49,200
Speaker 3: look like the boats turning in the big warehouse, and

1453
01:11:49,240 --> 01:11:53,240
Speaker 3: if you stuff your line up. You cost that shot,

1454
01:11:53,600 --> 01:11:56,040
Speaker 3: which is going to take another forty minutes to set up.

1455
01:11:56,479 --> 01:11:58,799
Speaker 3: So even though you've only got one line, which may

1456
01:11:58,880 --> 01:12:01,880
Speaker 3: be that way or no, you've got to get down

1457
01:12:02,000 --> 01:12:04,840
Speaker 3: turned do it exactly right looking at the dolphins tail.

1458
01:12:05,200 --> 01:12:09,000
Speaker 3: So there's a huge pressure for this six second shot.

1459
01:12:09,080 --> 01:12:12,280
Speaker 3: And you know, the difference I guess I found with

1460
01:12:12,360 --> 01:12:21,120
Speaker 3: Jim was the utter consumption of the world of it.

1461
01:12:22,600 --> 01:12:25,160
Speaker 3: I just never really heard him talk about much else,

1462
01:12:25,960 --> 01:12:29,759
Speaker 3: and you can just see his brain. It's just constantly inventing,

1463
01:12:30,640 --> 01:12:34,960
Speaker 3: and he's just so in this myriad, you know what

1464
01:12:35,000 --> 01:12:38,479
Speaker 3: I mean, He's just so in it that it makes

1465
01:12:38,560 --> 01:12:41,760
Speaker 3: you you know, And I talked to Giovanni Rabisi about

1466
01:12:41,800 --> 01:12:43,800
Speaker 3: it a lot on the set, like it just makes

1467
01:12:43,880 --> 01:12:46,240
Speaker 3: you live in it. He puts you in it. You

1468
01:12:46,280 --> 01:12:48,640
Speaker 3: suddenly get convinced that you're living in this world. So

1469
01:12:48,640 --> 01:12:51,680
Speaker 3: it's kind of a deeper, more intense version of filmmaking

1470
01:12:52,240 --> 01:12:56,759
Speaker 3: because he is his investors. He's unequivocal. There is nothing

1471
01:12:57,000 --> 01:13:00,760
Speaker 3: else going on in the world. This is it. And

1472
01:13:01,479 --> 01:13:04,960
Speaker 3: it's just like after these long seventeen hour days, he's

1473
01:13:05,000 --> 01:13:09,040
Speaker 3: still chasing you to the car, talking about tomorrow, like

1474
01:13:09,120 --> 01:13:11,720
Speaker 3: it's just relentless activity.

1475
01:13:11,840 --> 01:13:16,240
Speaker 1: I spoke to Frankie Munez not long ago, the kid

1476
01:13:16,240 --> 01:13:18,360
Speaker 1: from Malcolm in the Middle, right, So he was the

1477
01:13:18,360 --> 01:13:20,599
Speaker 1: main actor in Malcolm Middle. His dad was Brian Cranston

1478
01:13:20,680 --> 01:13:23,080
Speaker 1: in the TV series. Yeah, Yeah, and he said the

1479
01:13:23,080 --> 01:13:26,599
Speaker 1: same thing. Someone like Brian Cranston spoke basically said it

1480
01:13:26,640 --> 01:13:30,160
Speaker 1: exactly like that, like these eighteen hour days. And Brian

1481
01:13:30,240 --> 01:13:32,759
Speaker 1: Cranston's a big star, like a big actor at the times,

1482
01:13:32,760 --> 01:13:36,439
Speaker 1: I'm breaking bad all these big things, and he just

1483
01:13:36,479 --> 01:13:38,960
Speaker 1: how he is on these long filming days, comes in,

1484
01:13:39,320 --> 01:13:42,559
Speaker 1: knows everyone's name, and is just from start to finish.

1485
01:13:42,720 --> 01:13:45,559
Speaker 1: It's like it's like he doesn't get tired, like it's

1486
01:13:45,600 --> 01:13:48,479
Speaker 1: just always so invested in being in the present that

1487
01:13:48,680 --> 01:13:50,360
Speaker 1: there's nothing else outside of that world.

1488
01:13:50,520 --> 01:13:53,439
Speaker 3: And especially because I came in and they'd been shooting

1489
01:13:53,439 --> 01:13:56,680
Speaker 3: for four years already, you know, and I came in

1490
01:13:56,720 --> 01:13:59,439
Speaker 3: for two and a half years, you know what I mean,

1491
01:14:00,200 --> 01:14:01,479
Speaker 3: It been going for four.

1492
01:14:03,520 --> 01:14:04,360
Speaker 1: It's a long time.

1493
01:14:04,600 --> 01:14:05,160
Speaker 3: Yeah.

1494
01:14:05,720 --> 01:14:09,439
Speaker 2: Like the first avatar that came out, like Sam Sam Worthington,

1495
01:14:09,479 --> 01:14:12,480
Speaker 2: we spoken about Ben Madison wrote a Sam Worthington who

1496
01:14:13,600 --> 01:14:15,240
Speaker 2: you know. I was going to say it was a

1497
01:14:15,280 --> 01:14:18,519
Speaker 2: short short journey from Bootman. But it wasn't really, but

1498
01:14:18,560 --> 01:14:23,200
Speaker 2: it just feels that way. But he's the explosion of

1499
01:14:23,280 --> 01:14:26,720
Speaker 2: him his profile going from to hand a card out

1500
01:14:27,439 --> 01:14:31,280
Speaker 2: Seimil Hoffmann from A three internationally or two internationally, two

1501
01:14:31,360 --> 01:14:35,679
Speaker 2: or ten. How difficult was that for him? Like post avatar,

1502
01:14:35,720 --> 01:14:36,920
Speaker 2: that first avatar.

1503
01:14:36,800 --> 01:14:39,400
Speaker 3: Well, I don't know. I mean, I'm not him, but

1504
01:14:39,960 --> 01:14:42,040
Speaker 3: I saw him a bit in la and you know,

1505
01:14:42,160 --> 01:14:45,599
Speaker 3: he's world had changed pretty quickly, and you know, we're

1506
01:14:45,760 --> 01:14:49,040
Speaker 3: very I don't know. I'm not close personal mates with

1507
01:14:49,120 --> 01:14:52,439
Speaker 3: Sam and I won't similar to Jack White and I

1508
01:14:52,479 --> 01:14:54,200
Speaker 3: won't talk on my mates behalf.

1509
01:14:55,800 --> 01:14:56,840
Speaker 2: Easy way are you getting out of it?

1510
01:14:56,920 --> 01:15:01,479
Speaker 3: Jack? Exactly? No, I don't know. All I know is

1511
01:15:01,560 --> 01:15:04,679
Speaker 3: that if you have anything, you know that that fame

1512
01:15:04,720 --> 01:15:08,840
Speaker 3: will expose everything people can be. We're very critical of

1513
01:15:08,920 --> 01:15:12,320
Speaker 3: people in the public eye. I've seen it. I'm not famous,

1514
01:15:12,479 --> 01:15:15,840
Speaker 3: I'm kind of known by people or something. I don't know.

1515
01:15:15,880 --> 01:15:19,320
Speaker 3: In in certain parts of Newtown, I'm probably a bit famous,

1516
01:15:19,720 --> 01:15:22,639
Speaker 3: certain parts of Cranella, I don't know, in the theater

1517
01:15:22,720 --> 01:15:26,280
Speaker 3: circles in London. Maybe you know. I've seen fame and

1518
01:15:26,320 --> 01:15:30,280
Speaker 3: it's obscene, like it's it's amazing what gets told to

1519
01:15:30,320 --> 01:15:33,160
Speaker 3: these people and how the you know that rarefied air,

1520
01:15:33,720 --> 01:15:36,519
Speaker 3: you know, and their whole world of switches, and it's

1521
01:15:36,560 --> 01:15:40,680
Speaker 3: it's very hard to exist. So I don't know, I

1522
01:15:40,720 --> 01:15:43,080
Speaker 3: have sympathy for anyone who's seriously famous.

1523
01:15:43,160 --> 01:15:45,559
Speaker 2: I imagine America would be a hard place to be famous.

1524
01:15:45,720 --> 01:15:47,960
Speaker 2: In Australia, people would sort of go, oh, yeah a bit,

1525
01:15:48,000 --> 01:15:50,960
Speaker 2: but leave you alone to except nless you're Andrew Johnson.

1526
01:15:51,720 --> 01:15:58,920
Speaker 3: But what it's like everywhere you go, But it's.

1527
01:15:58,840 --> 01:15:59,920
Speaker 2: A different types people.

1528
01:16:00,080 --> 01:16:00,439
Speaker 3: I get this.

1529
01:16:00,560 --> 01:16:02,680
Speaker 2: So I made a really show and it's more like

1530
01:16:02,720 --> 01:16:04,960
Speaker 2: a mate that come to a mate as opposed to

1531
01:16:05,000 --> 01:16:09,240
Speaker 2: I imagine, you know, with a guy like you know,

1532
01:16:09,280 --> 01:16:12,720
Speaker 2: seeing Post when he just exploded, people are coming up

1533
01:16:13,040 --> 01:16:15,800
Speaker 2: almost obsessing, if that makes sense.

1534
01:16:16,439 --> 01:16:18,920
Speaker 3: Yeah, I mean he was. He was fifty percent blue

1535
01:16:18,960 --> 01:16:21,000
Speaker 3: in the movie, which probably helped a little bit, you

1536
01:16:21,080 --> 01:16:23,160
Speaker 3: know what I mean, Especially in the latest one. He's

1537
01:16:23,160 --> 01:16:26,000
Speaker 3: probably not getting recognized that much because you're fully blue,

1538
01:16:26,160 --> 01:16:27,880
Speaker 3: you know what I mean. That's going to help you Core.

1539
01:16:30,120 --> 01:16:32,040
Speaker 3: I get annoyed because I've been in the biggest TV

1540
01:16:32,080 --> 01:16:34,600
Speaker 3: show and movie of all time and no one recognized.

1541
01:16:35,600 --> 01:16:40,360
Speaker 3: I go around telling people and They're like, yeah me, yeah,

1542
01:16:40,680 --> 01:16:44,000
Speaker 3: so you know I want some endorsements. That's what's always

1543
01:16:44,040 --> 01:16:46,840
Speaker 3: funny when I see people doing imitations in my Instagram.

1544
01:16:47,000 --> 01:16:49,800
Speaker 3: I've got fourteen thousand followers. No, I've never got any

1545
01:16:49,800 --> 01:16:52,440
Speaker 3: free shit. Like nothing's going.

1546
01:16:52,200 --> 01:16:53,599
Speaker 2: On around and you're talking to the king.

1547
01:16:53,680 --> 01:16:57,320
Speaker 3: Why do people keep trying to be me? Like I'm

1548
01:16:57,360 --> 01:16:59,639
Speaker 3: not even getting the stuff? You know what I mean?

1549
01:17:00,320 --> 01:17:04,559
Speaker 3: Impersonate a loser, like a guy that has no brand power.

1550
01:17:05,160 --> 01:17:07,880
Speaker 2: Have a discussion with this blake afterward, You've got no idea.

1551
01:17:08,080 --> 01:17:11,920
Speaker 2: There's basically a congo line of people holding free stuff

1552
01:17:12,439 --> 01:17:13,360
Speaker 2: just the other night.

1553
01:17:13,880 --> 01:17:14,559
Speaker 3: Get that level.

1554
01:17:14,680 --> 01:17:18,720
Speaker 2: Yeah, I'm not afraid to ask. The Three Wise Men

1555
01:17:18,760 --> 01:17:23,240
Speaker 2: turn up Christmas. It was bearing gifts. It's yeah, you're

1556
01:17:23,280 --> 01:17:23,679
Speaker 2: the best.

1557
01:17:24,200 --> 01:17:25,799
Speaker 1: Yeah, it just happened.

1558
01:17:25,920 --> 01:17:26,840
Speaker 3: You're an influencer.

1559
01:17:27,040 --> 01:17:29,040
Speaker 1: No, I'm not an influencer. I think it's it's more

1560
01:17:29,080 --> 01:17:33,280
Speaker 1: of a brother says, Yes, he don't worry. He's not

1561
01:17:33,400 --> 01:17:34,200
Speaker 1: bad either.

1562
01:17:34,040 --> 01:17:34,799
Speaker 3: Not far behind.

1563
01:17:34,920 --> 01:17:37,040
Speaker 1: Yeah, maybe get if you get dad to adopt you.

1564
01:17:37,160 --> 01:17:39,720
Speaker 1: Maybe sometimes things just happened. Just I just get all

1565
01:17:39,840 --> 01:17:42,360
Speaker 1: Dad's like crumbs that he just misses.

1566
01:17:43,560 --> 01:17:48,000
Speaker 2: There's no cookie, no, no, no, no no.

1567
01:17:48,200 --> 01:17:50,040
Speaker 1: Yeah, they go for the youth these days, I think

1568
01:17:50,120 --> 01:17:53,080
Speaker 1: so they go for the for the young calf. So

1569
01:17:53,120 --> 01:17:55,320
Speaker 1: I think that's just how it happened. Mate, on your peers.

1570
01:17:55,600 --> 01:17:58,559
Speaker 1: While we're we just spoke about Seeming Worthington, favorite actor

1571
01:17:59,280 --> 01:18:00,200
Speaker 1: you've ever worked with?

1572
01:18:00,320 --> 01:18:02,439
Speaker 3: If you could work favorite questions and always have as

1573
01:18:02,479 --> 01:18:04,360
Speaker 3: soon as he was favorite, to have a mental blank

1574
01:18:05,240 --> 01:18:07,240
Speaker 3: and then three weeks later I go, that would have

1575
01:18:07,240 --> 01:18:09,680
Speaker 3: been a good one, Brenda, you get do you ever

1576
01:18:09,680 --> 01:18:09,880
Speaker 3: get that?

1577
01:18:10,080 --> 01:18:13,479
Speaker 2: People ask me who's your favorite Sundays which you can't jack?

1578
01:18:16,479 --> 01:18:21,479
Speaker 3: Favorite favorite actor I've worked with? Is that the question?

1579
01:18:21,720 --> 01:18:23,800
Speaker 1: Yeah, if you could work well, if you could work

1580
01:18:23,840 --> 01:18:25,280
Speaker 1: with one ever again for the rest of.

1581
01:18:25,280 --> 01:18:27,680
Speaker 3: You again, or work with one I haven't worked with,

1582
01:18:28,320 --> 01:18:33,400
Speaker 3: like one you've worked You're like's okay, okay, favorite questions?

1583
01:18:33,760 --> 01:18:34,320
Speaker 6: No better?

1584
01:18:34,479 --> 01:18:37,000
Speaker 2: Or yeah or put some you've worked with it. Someone

1585
01:18:37,040 --> 01:18:38,200
Speaker 2: came to you and said, would you work with this

1586
01:18:38,240 --> 01:18:39,599
Speaker 2: guy against tomorrow?

1587
01:18:40,960 --> 01:18:42,719
Speaker 3: I think I don't know, if you know. The English

1588
01:18:42,760 --> 01:18:47,519
Speaker 3: actress Billy pipera with that was probably my best acting

1589
01:18:47,640 --> 01:18:49,760
Speaker 3: experience was was doing with her.

1590
01:18:50,080 --> 01:18:54,000
Speaker 2: Now she's married a fair boy slim Norman Cook did

1591
01:18:54,120 --> 01:18:59,479
Speaker 2: Zoe Ball. Billy Piper from TV shows over the.

1592
01:19:01,200 --> 01:19:05,040
Speaker 3: I don't know, I don't know. They've all been great.

1593
01:19:05,200 --> 01:19:05,880
Speaker 3: Was Billy Piper?

1594
01:19:05,920 --> 01:19:09,080
Speaker 2: What a disappointment. I pushed on that quick Billy quickly.

1595
01:19:09,240 --> 01:19:11,599
Speaker 2: She was an actress, but she was also also a singer.

1596
01:19:12,000 --> 01:19:13,120
Speaker 2: I think was the first.

1597
01:19:13,000 --> 01:19:16,439
Speaker 3: Hit, Yeah, Honey to the Bee, Honey to the Bee.

1598
01:19:16,960 --> 01:19:20,000
Speaker 3: And she married a much older guy and then a

1599
01:19:20,080 --> 01:19:23,720
Speaker 3: radio dude, Chris Evans on His name was Oh yeah, yep. Anyway,

1600
01:19:23,479 --> 01:19:26,760
Speaker 3: I worked with her in twenty nineteen when I moved

1601
01:19:26,760 --> 01:19:30,360
Speaker 3: to London sixteen and that play kind of changed my

1602
01:19:30,400 --> 01:19:34,120
Speaker 3: life over there. But yeah, it was pretty cool, like

1603
01:19:34,240 --> 01:19:36,960
Speaker 3: being on a set with Sigourney Weaver, because I was like,

1604
01:19:36,960 --> 01:19:38,800
Speaker 3: can I talk about gorillas in the miss? Going to

1605
01:19:38,840 --> 01:19:40,560
Speaker 3: talk about working? You know, you always like can I

1606
01:19:40,600 --> 01:19:44,439
Speaker 3: ask about all those things? And she's just the lovely woman. Yeah, right,

1607
01:19:44,479 --> 01:19:47,000
Speaker 3: Sigourney Weaver, So that that was a bit of a

1608
01:19:47,040 --> 01:19:51,599
Speaker 3: thrill for me. And I worked with Mark Strong recently

1609
01:19:51,640 --> 01:19:55,120
Speaker 3: in the June show That Hid in Hand that and

1610
01:19:55,320 --> 01:19:57,920
Speaker 3: I'd worked with him in two thousand. We did a

1611
01:19:57,960 --> 01:20:01,160
Speaker 3: war movie called Twindle Wars with Robert Carl Keeper Subtland

1612
01:20:01,520 --> 01:20:05,360
Speaker 3: that never came out. It's on DVD. So that was

1613
01:20:05,600 --> 01:20:09,439
Speaker 3: that was kind of incredible, But yeah, I don't know.

1614
01:20:09,640 --> 01:20:11,639
Speaker 3: My favorite actor was always Jeff Bridges.

1615
01:20:11,960 --> 01:20:12,439
Speaker 2: Loved Jeff.

1616
01:20:12,560 --> 01:20:15,160
Speaker 3: I love Jeff Bridge puts you in the room, kind

1617
01:20:15,160 --> 01:20:18,200
Speaker 3: of like Gene Hackman puts you in the room. Who's

1618
01:20:18,240 --> 01:20:19,720
Speaker 3: He Is Greatest?

1619
01:20:19,920 --> 01:20:22,000
Speaker 2: One of the greatest sporting movies of all time, and

1620
01:20:22,560 --> 01:20:23,439
Speaker 2: Dennis Hopper in it.

1621
01:20:24,160 --> 01:20:26,880
Speaker 3: And The Fisher King with Jeff Bridges and Robin william

1622
01:20:26,920 --> 01:20:29,960
Speaker 3: is probably one of my favorite movies. And Door in

1623
01:20:30,000 --> 01:20:33,160
Speaker 3: the Floor. But yeah, I'd love to work with Jeff Bridges.

1624
01:20:33,200 --> 01:20:35,440
Speaker 3: Jeff Bridges, he's.

1625
01:20:35,000 --> 01:20:38,360
Speaker 2: Probably a real man. You know. He could play Plumb,

1626
01:20:38,880 --> 01:20:40,519
Speaker 2: he could play what are you.

1627
01:20:40,479 --> 01:20:43,439
Speaker 3: Trying to say? Well, I mean, if you look at

1628
01:20:43,600 --> 01:20:46,439
Speaker 3: Plumb two, who we got? You be available.

1629
01:20:48,280 --> 01:20:50,880
Speaker 2: To hire people get on with.

1630
01:20:51,400 --> 01:20:53,360
Speaker 1: I'd more than happy to do it as well.

1631
01:20:53,360 --> 01:20:56,439
Speaker 3: You guys were chatting again, Jack, Wasn't there a reconciliation?

1632
01:20:57,120 --> 01:20:57,920
Speaker 2: Jack took me over.

1633
01:20:58,120 --> 01:21:00,479
Speaker 3: We're okay. I thought I thought there was something. I

1634
01:21:00,520 --> 01:21:03,799
Speaker 3: heard rumors that you were the Switzerland.

1635
01:21:03,800 --> 01:21:07,719
Speaker 1: Something like that bread's been broke? Was bread has been broken?

1636
01:21:07,760 --> 01:21:09,200
Speaker 1: It has been just hasn't been eaten, It.

1637
01:21:09,240 --> 01:21:13,240
Speaker 3: Doesn't been picked up, ladded with tomatoes, sauce, slap some

1638
01:21:13,320 --> 01:21:14,120
Speaker 3: Devin on top.

1639
01:21:14,320 --> 01:21:16,880
Speaker 1: We need some butter and vegetabent spam. All right, So

1640
01:21:16,920 --> 01:21:20,080
Speaker 1: the favorite question was letdown, Let's go the other end

1641
01:21:20,120 --> 01:21:23,040
Speaker 1: of the spectrum. Then, is there anybody that you would

1642
01:21:23,120 --> 01:21:24,599
Speaker 1: never work with ever again?

1643
01:21:25,439 --> 01:21:29,639
Speaker 3: Oh my god, these these are the worst. I hate

1644
01:21:31,439 --> 01:21:34,479
Speaker 3: anyone or whatever. Yeah, there is, but I'm not doing that.

1645
01:21:34,560 --> 01:21:35,360
Speaker 3: I'm not doing it.

1646
01:21:35,520 --> 01:21:38,000
Speaker 1: Feel free, James Cameron.

1647
01:21:38,040 --> 01:21:41,200
Speaker 3: If you I reckon, do you know what I reckon

1648
01:21:41,240 --> 01:21:44,439
Speaker 3: podcasts are? They're like an hour and a half of

1649
01:21:44,479 --> 01:21:47,800
Speaker 3: the guests trying to get away with it without being

1650
01:21:47,840 --> 01:21:51,320
Speaker 3: in in, you know, without getting any scandals, and the

1651
01:21:51,400 --> 01:21:53,639
Speaker 3: people who are hosting it are like, we nearly got one,

1652
01:21:54,560 --> 01:21:56,880
Speaker 3: and the guy's on it is going I think that

1653
01:21:57,000 --> 01:21:57,439
Speaker 3: was okay.

1654
01:21:57,520 --> 01:22:00,840
Speaker 2: We're now nineteen forty nine seconds in what we've done.

1655
01:22:00,840 --> 01:22:03,080
Speaker 2: We just try to soften you up to get aheadlined.

1656
01:22:05,479 --> 01:22:07,519
Speaker 3: I felt that we were all mates. That's why I

1657
01:22:07,560 --> 01:22:12,040
Speaker 3: said the thing. Now, I remember, you know, anyone who

1658
01:22:12,080 --> 01:22:14,559
Speaker 3: doesn't really listen, I guess, but and anyone who's in

1659
01:22:14,600 --> 01:22:16,720
Speaker 3: it for the wrong reasons. I like working with those

1660
01:22:16,760 --> 01:22:19,679
Speaker 3: actor actors, and some of the actors, you know, they've

1661
01:22:19,680 --> 01:22:23,760
Speaker 3: worked out how they're going to do their line, and

1662
01:22:23,880 --> 01:22:28,479
Speaker 3: then I become a bit of incredibly annoying because I'll

1663
01:22:28,520 --> 01:22:30,519
Speaker 3: do everything I can to make sure they can't say

1664
01:22:30,560 --> 01:22:33,519
Speaker 3: their line like that, and then they kind of hate me.

1665
01:22:34,600 --> 01:22:36,719
Speaker 3: But I like I like it to look at another

1666
01:22:36,800 --> 01:22:39,400
Speaker 3: actor and for them to be with me, and we

1667
01:22:39,479 --> 01:22:42,040
Speaker 3: have all these choices available to us, but we're going

1668
01:22:42,120 --> 01:22:44,400
Speaker 3: to see what happens, you know what I mean. And

1669
01:22:44,720 --> 01:22:46,840
Speaker 3: the actors who've made their call because they're going to

1670
01:22:46,840 --> 01:22:48,200
Speaker 3: be in their close up and they're going to say

1671
01:22:48,320 --> 01:22:51,400
Speaker 3: like that, and you go, well, that'll be so interesting

1672
01:22:51,400 --> 01:22:54,479
Speaker 3: for you. Yeah, but I'll just be over here. Does

1673
01:22:54,479 --> 01:22:57,559
Speaker 3: nothing for it, you know, in a different show, I

1674
01:22:57,560 --> 01:23:02,120
Speaker 3: guess with me. And so there's a lot of those actors,

1675
01:23:02,479 --> 01:23:04,920
Speaker 3: and then there's the gorgeous actors who are just present

1676
01:23:05,120 --> 01:23:10,160
Speaker 3: and open and I luckily pretty much everybody on my

1677
01:23:10,280 --> 01:23:14,479
Speaker 3: TV show Plum was just extraordinary vulnerable. I've had actors

1678
01:23:14,479 --> 01:23:16,760
Speaker 3: with you know, who do their close up and then

1679
01:23:16,800 --> 01:23:18,840
Speaker 3: on your close up they've got their two phones under

1680
01:23:18,840 --> 01:23:22,320
Speaker 3: the table and they're just going, yeah, my stuff like that,

1681
01:23:22,439 --> 01:23:25,160
Speaker 3: yeah right, you know what I mean. And also the

1682
01:23:25,160 --> 01:23:27,680
Speaker 3: ones that vape. I find that a bit hard when

1683
01:23:27,680 --> 01:23:30,200
Speaker 3: you've got to kiss a vapor. Oh. I had to

1684
01:23:30,280 --> 01:23:33,320
Speaker 3: kiss a couple of vapors of late. And that's because

1685
01:23:33,360 --> 01:23:35,000
Speaker 3: even a mint, even.

1686
01:23:34,800 --> 01:23:37,400
Speaker 1: Two or three e very ice.

1687
01:23:38,000 --> 01:23:41,320
Speaker 3: Peppermint, you know, eclips mints or whatever, they can't take

1688
01:23:41,360 --> 01:23:43,680
Speaker 3: the vapor away, can't. You know what I mean? So

1689
01:23:43,960 --> 01:23:47,920
Speaker 3: I don't like the vapors and all the ones that

1690
01:23:47,960 --> 01:23:49,960
Speaker 3: have made their choices. I got out of that al right,

1691
01:23:50,000 --> 01:23:50,320
Speaker 3: I think.

1692
01:23:50,439 --> 01:23:54,240
Speaker 2: Yeah, it surprised me, Like everything has politics in it,

1693
01:23:54,400 --> 01:23:56,800
Speaker 2: and I when I did that small role up with

1694
01:23:56,880 --> 01:24:01,320
Speaker 2: mattine Able and Final Winter, it actually really surprised me. Brendan.

1695
01:24:01,560 --> 01:24:04,599
Speaker 2: The politics of a set. Yeah, given the fact that

1696
01:24:05,000 --> 01:24:07,559
Speaker 2: you know a director or another character would like you

1697
01:24:07,600 --> 01:24:10,479
Speaker 2: to talk to a person a certain way. Come may

1698
01:24:10,560 --> 01:24:13,120
Speaker 2: make it low key, but I just said, come on, man,

1699
01:24:13,280 --> 01:24:15,680
Speaker 2: like you know what's going on. Then the person I

1700
01:24:15,720 --> 01:24:18,559
Speaker 2: was doing it too goes, what the fuck are you doing? Yeah,

1701
01:24:18,840 --> 01:24:21,000
Speaker 2: he goes, I've got to fire up back at you.

1702
01:24:21,439 --> 01:24:23,439
Speaker 2: So I want you to really come at me hard. Yeah,

1703
01:24:23,600 --> 01:24:25,640
Speaker 2: director saying no, no, what are you doing? And I

1704
01:24:25,680 --> 01:24:27,960
Speaker 2: was sitting in the car. I just said, look, let's

1705
01:24:28,000 --> 01:24:29,800
Speaker 2: just do it two or three different ways, and you

1706
01:24:29,920 --> 01:24:31,040
Speaker 2: guys fucking aside.

1707
01:24:31,200 --> 01:24:33,559
Speaker 3: Yeah, I've had actors. When I've got a line on

1708
01:24:33,680 --> 01:24:35,880
Speaker 3: stage and I've got a laugh, an actress has said

1709
01:24:35,920 --> 01:24:37,640
Speaker 3: to me, look, I reckon, I'll get a laugh on

1710
01:24:37,680 --> 01:24:39,320
Speaker 3: the line after yours. Could you not.

1711
01:24:39,280 --> 01:24:40,599
Speaker 2: Get your laugh?

1712
01:24:40,760 --> 01:24:42,559
Speaker 3: And I'm like, I didn't mean it. I just said

1713
01:24:42,560 --> 01:24:46,240
Speaker 3: the line money and they kind of start giving. When

1714
01:24:46,280 --> 01:24:48,799
Speaker 3: actors start giving each other notes, you know we're in trouble.

1715
01:24:49,560 --> 01:24:52,080
Speaker 3: We've got thirty seven shows left and this is this

1716
01:24:52,120 --> 01:24:55,640
Speaker 3: is going to be problematic. But I am definitely a

1717
01:24:55,640 --> 01:24:57,759
Speaker 3: bit of a rebel. When I know that an actor

1718
01:24:57,920 --> 01:25:00,479
Speaker 3: is not listening, or an actor is trying to get

1719
01:25:00,720 --> 01:25:04,320
Speaker 3: their line done their way, the little rebel in me

1720
01:25:04,400 --> 01:25:06,920
Speaker 3: will sabotage that quite a childish way.

1721
01:25:06,960 --> 01:25:08,519
Speaker 2: And my favorite actor, Richard Harris.

1722
01:25:08,840 --> 01:25:10,000
Speaker 3: I read the stories.

1723
01:25:09,640 --> 01:25:12,599
Speaker 2: About him and on the Bounty where he and Marlon Brando.

1724
01:25:12,720 --> 01:25:15,160
Speaker 2: He hated Marlon Brando. Marlon Brando has been a real

1725
01:25:15,920 --> 01:25:18,400
Speaker 2: on set and he said, I'm not going to fucking

1726
01:25:18,760 --> 01:25:20,360
Speaker 2: I'm not going to do soons with him. They said,

1727
01:25:20,400 --> 01:25:21,760
Speaker 2: what are you going to do? He said, put a

1728
01:25:21,800 --> 01:25:23,640
Speaker 2: face on a cardboard box and that's what we'll do.

1729
01:25:23,880 --> 01:25:27,880
Speaker 3: Yeah. I have worked with a certain actor who who

1730
01:25:28,080 --> 01:25:30,080
Speaker 3: wasn't there for their close ups. They'd take away and

1731
01:25:30,120 --> 01:25:32,200
Speaker 3: you have a you have an extra there with the

1732
01:25:32,400 --> 01:25:35,679
Speaker 3: with the Pope's gown on reading it off, an iPad

1733
01:25:35,720 --> 01:25:38,160
Speaker 3: and stuff, and they just come in for the close ups.

1734
01:25:38,200 --> 01:25:41,599
Speaker 3: And that's very common in Hollywood. I've never seen it before,

1735
01:25:42,120 --> 01:25:44,559
Speaker 3: and it was that was wild brand.

1736
01:25:44,560 --> 01:25:46,120
Speaker 2: I'm just going to go on my trailer for a week.

1737
01:25:46,240 --> 01:25:49,679
Speaker 3: Yeah, yeah, exactly, No, don't mind me. But you know what,

1738
01:25:50,280 --> 01:25:53,639
Speaker 3: the best actors, my experience has been, the best actors

1739
01:25:53,640 --> 01:25:56,920
Speaker 3: are the most humble, and they're present and that you know,

1740
01:25:56,960 --> 01:25:59,160
Speaker 3: they're always there like it's their first day and they're

1741
01:25:59,200 --> 01:26:01,599
Speaker 3: trying to make a good I think that's why I'm

1742
01:26:01,600 --> 01:26:04,439
Speaker 3: not nervous around actors, because I know that the next

1743
01:26:04,520 --> 01:26:06,559
Speaker 3: job and the next scene, they will be nervous again

1744
01:26:06,640 --> 01:26:08,960
Speaker 3: and they will be trying to make it work. Whereas

1745
01:26:08,960 --> 01:26:11,680
Speaker 3: you know, around footy players and musicians things that I

1746
01:26:11,680 --> 01:26:14,000
Speaker 3: don't understand that I wish I was good at, I'm nervous,

1747
01:26:14,400 --> 01:26:16,839
Speaker 3: But with actors, I'm like, I don't care how famous

1748
01:26:16,840 --> 01:26:20,280
Speaker 3: an actor is. I know what lives inside their chest,

1749
01:26:20,400 --> 01:26:22,639
Speaker 3: you know, and and so I'm always like a man.

1750
01:26:22,920 --> 01:26:26,439
Speaker 2: So so that Brndan like, that's interesting. What you said

1751
01:26:26,439 --> 01:26:28,200
Speaker 2: about you know, not being nervous, because you know that

1752
01:26:28,280 --> 01:26:30,040
Speaker 2: guy will be nervous, and they're all going to be nervous,

1753
01:26:30,080 --> 01:26:33,040
Speaker 2: and she'll be nervous in a second waiting for that

1754
01:26:33,320 --> 01:26:35,160
Speaker 2: when there's just still on the set and you've got

1755
01:26:35,160 --> 01:26:38,240
Speaker 2: to deliver a line, and I can imagine sometimes you're

1756
01:26:38,240 --> 01:26:41,760
Speaker 2: trying to you're trying to control the nervousness. Like I

1757
01:26:41,760 --> 01:26:45,280
Speaker 2: remember watching The Greatest Night in Pop where they're laying

1758
01:26:45,280 --> 01:26:47,640
Speaker 2: down we are well, and there's bits where you go

1759
01:26:48,000 --> 01:26:48,679
Speaker 2: all these.

1760
01:26:49,479 --> 01:26:51,479
Speaker 1: Yeah, and they look over to the great Bob Dylan

1761
01:26:51,720 --> 01:26:54,280
Speaker 1: and he just can't nail it. He's freaking out. He's

1762
01:26:54,360 --> 01:26:55,000
Speaker 1: so nervous.

1763
01:26:55,840 --> 01:26:59,800
Speaker 2: You feel like, I, mate, you're fucking Bob Dylan. But

1764
01:27:00,000 --> 01:27:03,439
Speaker 2: it must be sometimes when you're on set and you're

1765
01:27:03,479 --> 01:27:07,200
Speaker 2: on stage and you're about to hit your first line yeah,

1766
01:27:07,280 --> 01:27:09,679
Speaker 2: and you're going, fuck, am I going to sound tonight?

1767
01:27:10,160 --> 01:27:10,360
Speaker 3: Yeah?

1768
01:27:10,360 --> 01:27:13,120
Speaker 2: You know, like if that makes sense that it.

1769
01:27:13,760 --> 01:27:16,760
Speaker 3: Is the thrill of theater, like you're asking before being

1770
01:27:16,760 --> 01:27:20,519
Speaker 3: in the wings with the ensemble about forty seconds before

1771
01:27:20,520 --> 01:27:23,519
Speaker 3: you're waiting for that for the stage manager to go on,

1772
01:27:23,560 --> 01:27:25,240
Speaker 3: and you hear the sound cue and the rain and

1773
01:27:25,280 --> 01:27:28,280
Speaker 3: whatever it is that is just incredible. And you've got

1774
01:27:28,280 --> 01:27:30,720
Speaker 3: a full house. They want to see the show. They've

1775
01:27:30,760 --> 01:27:32,720
Speaker 3: heard it's good, and you're going to go out and

1776
01:27:32,760 --> 01:27:34,640
Speaker 3: you're just going to you know, and you don't know

1777
01:27:34,640 --> 01:27:38,240
Speaker 3: what's going to happen. That that is the best feeling.

1778
01:27:38,640 --> 01:27:39,240
Speaker 1: That's high.

1779
01:27:39,920 --> 01:27:42,880
Speaker 3: You've got a good show, but you don't know who

1780
01:27:42,880 --> 01:27:44,880
Speaker 3: fucking knows what's going to happen tonight. But you're going

1781
01:27:44,880 --> 01:27:47,880
Speaker 3: to rip right into it. But you're terrified it could

1782
01:27:48,000 --> 01:27:50,320
Speaker 3: could go badly, could go really really well.

1783
01:27:50,760 --> 01:27:54,280
Speaker 2: I laugh that do you sleep, we'll laughter a performance?

1784
01:27:54,320 --> 01:27:57,840
Speaker 3: Then no, I mean I used to say it. He goes,

1785
01:27:57,960 --> 01:28:01,840
Speaker 3: you know, while we're also messed our bactors as you

1786
01:28:01,960 --> 01:28:04,320
Speaker 3: go on stage, and he said, you wake up all

1787
01:28:04,400 --> 01:28:07,679
Speaker 3: the little children in your head and they're all talking

1788
01:28:07,720 --> 01:28:09,800
Speaker 3: and dancing and whispering, and you go these little children,

1789
01:28:10,960 --> 01:28:13,160
Speaker 3: whole school yard of children. You wake up in your

1790
01:28:13,160 --> 01:28:16,400
Speaker 3: brain and you do this thing and you all your emotions, oh,

1791
01:28:16,439 --> 01:28:20,000
Speaker 3: your childhood, all your trauma, everything, And then the crowd

1792
01:28:20,040 --> 01:28:24,120
Speaker 3: go like this and you're like, yeah, I am, I am.

1793
01:28:24,479 --> 01:28:27,800
Speaker 3: And then you're at your kitchen table with a tea. Yeah,

1794
01:28:27,880 --> 01:28:34,559
Speaker 3: and now what was that? What just happened, and you know,

1795
01:28:34,640 --> 01:28:37,599
Speaker 3: it's what we always questioned with players, like they went

1796
01:28:37,600 --> 01:28:39,080
Speaker 3: out and did this, They went out and did this.

1797
01:28:39,120 --> 01:28:43,360
Speaker 3: It's like they ran at other massive, specific island of

1798
01:28:43,400 --> 01:28:47,880
Speaker 3: guys for eighty minutes. Dang, like it dominated, did it

1799
01:28:48,080 --> 01:28:50,599
Speaker 3: won the game? And then we're like now being normal.

1800
01:28:50,720 --> 01:28:53,360
Speaker 1: Yeah, no one, no one can sleep. No one can sleep.

1801
01:28:53,400 --> 01:28:57,200
Speaker 1: But like our WhatsApp group's after every game, we're just

1802
01:28:57,240 --> 01:28:59,800
Speaker 1: four am boys just sending messages whether you're out on

1803
01:28:59,840 --> 01:29:01,760
Speaker 1: the you saw whether like you might have a short

1804
01:29:01,760 --> 01:29:04,160
Speaker 1: turnarount to No one's really out, but everyone's just messaging

1805
01:29:04,520 --> 01:29:07,439
Speaker 1: funny ship to each other because everyone's like, you're so wird.

1806
01:29:07,600 --> 01:29:09,880
Speaker 3: I reckon why you're not sleeping. You're all on your phone. Though.

1807
01:29:10,200 --> 01:29:12,280
Speaker 1: Now it's the it's the adrenaline.

1808
01:29:12,760 --> 01:29:14,080
Speaker 3: It's the adrenaline ship.

1809
01:29:14,160 --> 01:29:17,839
Speaker 2: That's why you want to finish with some menu questions.

1810
01:29:17,840 --> 01:29:19,880
Speaker 1: We always finished with the menu just to.

1811
01:29:20,120 --> 01:29:23,799
Speaker 2: Get a little warning. Some of these are what's your favorite?

1812
01:29:24,880 --> 01:29:26,639
Speaker 1: They're actually, well, you've done your favorite.

1813
01:29:26,680 --> 01:29:28,240
Speaker 3: I really let the favorites.

1814
01:29:27,920 --> 01:29:28,680
Speaker 2: Don't worry about it.

1815
01:29:28,800 --> 01:29:31,719
Speaker 1: You've done the favorite. Actor Jeff Bridges, Yeah, Jeff Bridges.

1816
01:29:31,760 --> 01:29:32,120
Speaker 3: That was good.

1817
01:29:32,160 --> 01:29:33,120
Speaker 2: So that's Jeff Bridge.

1818
01:29:33,120 --> 01:29:35,960
Speaker 3: I didn't give you a scandal, but that means I might,

1819
01:29:36,160 --> 01:29:39,360
Speaker 3: I might steer clear of the daily anything male.

1820
01:29:39,640 --> 01:29:43,000
Speaker 1: Yeah, your favorite song? That's good.

1821
01:29:43,120 --> 01:29:46,960
Speaker 3: Yeah, I was. I was thinking about that a couple

1822
01:29:47,000 --> 01:29:51,000
Speaker 3: of days ago, what my favorite song might be. And

1823
01:29:52,400 --> 01:29:55,919
Speaker 3: there's a I've got a playlist of and it's ever changing.

1824
01:29:57,200 --> 01:30:01,400
Speaker 3: But I reckon. You probably don't know it, that's all right.

1825
01:30:01,920 --> 01:30:05,360
Speaker 3: Do you know Smog the singer smog Bill Callahan. He's

1826
01:30:05,360 --> 01:30:08,200
Speaker 3: got a song called cold Blood at Old Times, and

1827
01:30:08,240 --> 01:30:11,040
Speaker 3: it's the most it's a rock song, but it's a painful,

1828
01:30:11,320 --> 01:30:16,400
Speaker 3: beautiful rock song. But I reckon. Other than that cold

1829
01:30:16,439 --> 01:30:21,040
Speaker 3: Blood at Old Times, I reckon if it wasn't that,

1830
01:30:21,160 --> 01:30:27,639
Speaker 3: it's probably Immortality by Pearl jam Off, the Vitality album

1831
01:30:27,640 --> 01:30:30,679
Speaker 3: on the Great Rock Albums. Yeah, thirty years since Kirk

1832
01:30:30,720 --> 01:30:32,800
Speaker 3: Cobain died, and I just listened to a special in

1833
01:30:32,920 --> 01:30:36,960
Speaker 3: Kirk Cobain. Oh my god, it's just mad what that

1834
01:30:37,000 --> 01:30:40,240
Speaker 3: guy did. And when you listen to smells like teen Spirit,

1835
01:30:40,320 --> 01:30:43,840
Speaker 3: which is probably up there, even though it's so overplayed,

1836
01:30:44,360 --> 01:30:47,240
Speaker 3: you just cannot believe what you're hearing, you know what

1837
01:30:47,320 --> 01:30:50,240
Speaker 3: I mean? And Dave Grohle playing those funk drums with

1838
01:30:50,320 --> 01:30:53,559
Speaker 3: that grungy rip riff, and the way this tiny little

1839
01:30:53,640 --> 01:30:56,880
Speaker 3: dude captured the world. I think smells like teen spirit.

1840
01:30:57,439 --> 01:30:59,440
Speaker 3: He's probably up there as well.

1841
01:30:59,479 --> 01:31:00,960
Speaker 1: Your favorite holiday destination.

1842
01:31:02,760 --> 01:31:07,360
Speaker 3: I love going to Pearl Beach often see Nathan Pye

1843
01:31:07,400 --> 01:31:09,200
Speaker 3: maaster there actually because.

1844
01:31:09,000 --> 01:31:11,479
Speaker 2: The houses everywhere talking about free stuff.

1845
01:31:13,800 --> 01:31:19,160
Speaker 3: But yeah, I worked in and I worked in Greece

1846
01:31:19,240 --> 01:31:22,400
Speaker 3: last year. I'd never been to Greece and I fell

1847
01:31:22,439 --> 01:31:27,080
Speaker 3: in love in Greece. That didn't last, but oh my god,

1848
01:31:27,120 --> 01:31:30,200
Speaker 3: I could not believe Greece. Okay, you got to go

1849
01:31:30,280 --> 01:31:33,880
Speaker 3: if you haven't been there, it is insane. I've been

1850
01:31:33,880 --> 01:31:36,120
Speaker 3: to Italy like seven or eight times, and I've been

1851
01:31:36,160 --> 01:31:38,160
Speaker 3: to France a lot, and I always go back to Italy.

1852
01:31:40,040 --> 01:31:41,360
Speaker 2: Balkan's a special place.

1853
01:31:41,640 --> 01:31:44,679
Speaker 3: Oh my god, the waters like olive oil, the people,

1854
01:31:44,760 --> 01:31:48,960
Speaker 3: the food, the islands. Were in Pilion shooting a show

1855
01:31:49,000 --> 01:31:53,639
Speaker 3: called The Castaways on the Northeastern Edge, and I really

1856
01:31:53,640 --> 01:31:59,320
Speaker 3: couldn't believe. And the simple lifestyle, simple family conversation reminded

1857
01:31:59,360 --> 01:32:02,440
Speaker 3: me a bit of the India. Everyone's got time for conversations,

1858
01:32:03,000 --> 01:32:05,360
Speaker 3: maybe because they think they'll live so many lives or whatever,

1859
01:32:05,479 --> 01:32:09,160
Speaker 3: but everyone's just present and the Greeks are just present,

1860
01:32:09,880 --> 01:32:13,400
Speaker 3: They're just there, and that that the coast of Greece

1861
01:32:13,439 --> 01:32:14,479
Speaker 3: blew my mind.

1862
01:32:14,720 --> 01:32:16,800
Speaker 2: It's in front of those places, and the Balkans now

1863
01:32:16,840 --> 01:32:21,360
Speaker 2: coming out of finally coming out of the dictatorships communism,

1864
01:32:21,600 --> 01:32:24,519
Speaker 2: like Albania, who have thought is one of the places

1865
01:32:24,560 --> 01:32:28,320
Speaker 2: to go, every bit as beautiful as Greece and Croatia.

1866
01:32:28,640 --> 01:32:32,200
Speaker 2: Croatia I was over the last year. I found I

1867
01:32:32,240 --> 01:32:34,439
Speaker 2: always wanted Croatia. I missed it by ten years. I

1868
01:32:34,479 --> 01:32:38,040
Speaker 2: reckon it was just like went there. It was beautiful,

1869
01:32:38,080 --> 01:32:41,679
Speaker 2: but I was not that. I've been in the French

1870
01:32:42,080 --> 01:32:44,240
Speaker 2: French rivi era, but it was big yachts.

1871
01:32:44,840 --> 01:32:45,080
Speaker 3: Yeah.

1872
01:32:46,120 --> 01:32:50,479
Speaker 2: And we were in Bosnia before that, me and my mate. Yeah,

1873
01:32:50,680 --> 01:32:53,519
Speaker 2: we're in Bosnia crossing and Bosnia is still a little

1874
01:32:53,560 --> 01:32:54,639
Speaker 2: bit like the wild East.

1875
01:32:54,760 --> 01:32:58,200
Speaker 5: Yeah, it's it's still got that Balkan field it. Yeah,

1876
01:32:58,960 --> 01:33:00,160
Speaker 5: I've got to get back to ye.

1877
01:33:00,240 --> 01:33:02,439
Speaker 3: I've probably never felt so alive as I did when

1878
01:33:02,479 --> 01:33:06,880
Speaker 3: I was in Varanassi and Bombay and like India is

1879
01:33:07,439 --> 01:33:11,600
Speaker 3: thrilling and old and mystical and but yeah, fell in

1880
01:33:11,680 --> 01:33:12,840
Speaker 3: love with Greece last year.

1881
01:33:13,120 --> 01:33:15,519
Speaker 1: Favorite athlete, if you could be one athlete of all time,

1882
01:33:16,040 --> 01:33:18,240
Speaker 1: you're not Brendan Cowe. You turn into your morph, into

1883
01:33:18,280 --> 01:33:19,240
Speaker 1: someone else. Who would you be?

1884
01:33:20,600 --> 01:33:31,519
Speaker 3: Look when you're into my flat in Kingsford. He was

1885
01:33:31,560 --> 01:33:34,519
Speaker 3: so good ground in those eighties nineties, those Carl Lewis

1886
01:33:34,600 --> 01:33:36,519
Speaker 3: days and stuff where you'd stay up late at night

1887
01:33:36,560 --> 01:33:38,840
Speaker 3: and watched Carl Lewis run and stuff. Wasn't it great?

1888
01:33:38,920 --> 01:33:40,200
Speaker 2: Or FA Cup Finals?

1889
01:33:40,320 --> 01:33:42,720
Speaker 3: Yeah, and you're just nana be there and you'd be

1890
01:33:42,760 --> 01:33:45,840
Speaker 3: waiting for the one hundred meters and but yeah, I've

1891
01:33:45,880 --> 01:33:50,559
Speaker 3: got I've got the photo of Jordan and that dunk,

1892
01:33:50,720 --> 01:33:55,280
Speaker 3: that very simple dunk, very sword, and I grew up.

1893
01:33:55,320 --> 01:33:57,880
Speaker 3: I actually went to Chicago when I was sixteen and

1894
01:33:58,320 --> 01:34:03,320
Speaker 3: had all the gear and and wore it all. And

1895
01:34:03,800 --> 01:34:06,960
Speaker 3: I've still got the vhs of Airtime and Playground and

1896
01:34:07,240 --> 01:34:10,320
Speaker 3: all those original films that he did. But I've got

1897
01:34:10,439 --> 01:34:13,200
Speaker 3: the big frame photo of Jordan sawing through the air

1898
01:34:13,240 --> 01:34:14,800
Speaker 3: and I think I do kind of look at it

1899
01:34:14,880 --> 01:34:19,280
Speaker 3: and go, anything's possible, you know. And Last Dance was

1900
01:34:19,320 --> 01:34:22,559
Speaker 3: a really emotional experience for me because it brought back

1901
01:34:22,600 --> 01:34:26,599
Speaker 3: all that nineties feelings where America was the mecca and

1902
01:34:26,800 --> 01:34:30,400
Speaker 3: Nirvana's and NWA's Nike was happening, Michael Jordan, and you

1903
01:34:30,439 --> 01:34:33,240
Speaker 3: go all the cool people go to America, you know,

1904
01:34:33,280 --> 01:34:36,920
Speaker 3: and now it's kind of changed. America's got some you know,

1905
01:34:37,000 --> 01:34:40,280
Speaker 3: it's up and down. It's a little bit unwell in

1906
01:34:40,320 --> 01:34:43,680
Speaker 3: a lot of ways. And I think Michael Jordan for

1907
01:34:43,760 --> 01:34:47,000
Speaker 3: me what he did with that game, you know. And

1908
01:34:47,040 --> 01:34:50,960
Speaker 3: also Paul Simon said the other day the music you

1909
01:34:51,080 --> 01:34:54,720
Speaker 3: listen to when you're fifteen sixteen becomes your music and

1910
01:34:54,760 --> 01:34:57,559
Speaker 3: you always look back at that music. And I agree

1911
01:34:57,560 --> 01:35:00,400
Speaker 3: with that, and I think the same with athletes. At fifteen,

1912
01:35:01,160 --> 01:35:02,840
Speaker 3: I was I idolized Jordan.

1913
01:35:03,160 --> 01:35:05,280
Speaker 2: Yeah, those years where they're your heroes.

1914
01:35:05,600 --> 01:35:07,679
Speaker 3: Yeah, you know what I mean, Like when you're open, yes,

1915
01:35:07,920 --> 01:35:12,040
Speaker 3: and you're becoming a man. What hits you then? Yeah?

1916
01:35:12,600 --> 01:35:13,760
Speaker 3: You carry on? Well.

1917
01:35:13,800 --> 01:35:16,519
Speaker 2: I remember, like I oftentimes think about what was the

1918
01:35:16,600 --> 01:35:18,960
Speaker 2: year in rugby league as a supporter that I loved

1919
01:35:19,040 --> 01:35:22,760
Speaker 2: most and it was eighty eight Dalmain Tigers coming out

1920
01:35:22,800 --> 01:35:25,080
Speaker 2: and know we're making Grand Final, but the emergence of

1921
01:35:25,120 --> 01:35:27,720
Speaker 2: Vellerie Hanley. Yeah, and I still want to think of

1922
01:35:27,800 --> 01:35:29,360
Speaker 2: my greatest favorite athletes.

1923
01:35:29,439 --> 01:35:30,120
Speaker 3: I always think of it.

1924
01:35:30,200 --> 01:35:33,679
Speaker 2: Ellery you know, I was sixteen then, so you're around

1925
01:35:33,680 --> 01:35:35,240
Speaker 2: those formative years, Cooper.

1926
01:35:36,160 --> 01:35:39,120
Speaker 1: Appreciate that, Hey, would you rather be dumped in the

1927
01:35:39,160 --> 01:35:41,160
Speaker 1: middle of the desert in the middle of the ocean?

1928
01:35:41,840 --> 01:35:43,479
Speaker 2: Broken up with no?

1929
01:35:43,479 --> 01:35:47,479
Speaker 4: No, no, no, broken, no not drop, Sorry that you're in

1930
01:35:47,479 --> 01:35:49,720
Speaker 4: the middle of I don't know.

1931
01:35:50,960 --> 01:35:53,320
Speaker 3: I was working out. I think we want different things. Yeah,

1932
01:35:53,320 --> 01:35:54,200
Speaker 3: I'm trying to find water.

1933
01:35:54,760 --> 01:35:56,040
Speaker 2: Why did we make else?

1934
01:35:57,280 --> 01:35:59,960
Speaker 3: It was a camel and you're me and nothing.

1935
01:36:01,160 --> 01:36:04,679
Speaker 1: I've meant dropped. If we dropped you in the middle

1936
01:36:04,760 --> 01:36:07,320
Speaker 1: of the desert or the middle of the ocean, which

1937
01:36:07,320 --> 01:36:08,000
Speaker 1: one would you rather?

1938
01:36:08,200 --> 01:36:12,479
Speaker 3: I definitely desert. I hate boats, yeah, only like a

1939
01:36:12,479 --> 01:36:15,200
Speaker 3: boat chained or something I don't want to go. You know.

1940
01:36:15,280 --> 01:36:16,720
Speaker 3: Mates are always like come out in the boat, like

1941
01:36:16,800 --> 01:36:20,559
Speaker 3: why yea, because you're going to clean it for two hours.

1942
01:36:20,600 --> 01:36:22,200
Speaker 3: When we get back, we're gonna be out there. There's

1943
01:36:22,200 --> 01:36:24,760
Speaker 3: can be people I don't like, and we're just basically

1944
01:36:24,760 --> 01:36:27,080
Speaker 3: what a boat is. It's a tiny little bit of

1945
01:36:27,120 --> 01:36:31,200
Speaker 3: space that's nowhere near anything you want and you just

1946
01:36:31,240 --> 01:36:33,679
Speaker 3: they trap you out there and you're like, what's good

1947
01:36:33,680 --> 01:36:34,000
Speaker 3: about that?

1948
01:36:34,200 --> 01:36:38,040
Speaker 1: Fleet? Didn't tell James Cameron that when you're the Avatar.

1949
01:36:37,960 --> 01:36:41,400
Speaker 3: Our boat was in an old car warehouse in Wellington,

1950
01:36:41,439 --> 01:36:44,080
Speaker 3: New Zealand, to get on pistons going like that my

1951
01:36:44,280 --> 01:36:46,920
Speaker 3: perfect boat. Yeah, you know what I mean. You get

1952
01:36:46,920 --> 01:36:49,600
Speaker 3: a ladder down to the ground. There was snacks, you

1953
01:36:49,640 --> 01:36:52,479
Speaker 3: know what I mean. No, I would be good in

1954
01:36:52,520 --> 01:36:56,000
Speaker 3: the desert, the desert. I would be solution based. I

1955
01:36:56,080 --> 01:36:59,000
Speaker 3: love a long walk, you know what I mean. The

1956
01:36:59,040 --> 01:37:01,080
Speaker 3: only thing is the sun. I don't love the sun.

1957
01:37:01,160 --> 01:37:03,040
Speaker 3: I moved to England to get away from the sun.

1958
01:37:03,520 --> 01:37:06,720
Speaker 3: I hate direct Sons thirty six and everyone Australia's beautiful day.

1959
01:37:06,720 --> 01:37:10,679
Speaker 3: What's beautiful about? I'm melting, I'm unhappy. I can't sleep.

1960
01:37:11,080 --> 01:37:15,639
Speaker 3: The seat belt's burning on. Red balls are clammy, balls

1961
01:37:15,680 --> 01:37:18,000
Speaker 3: are clamming. There's nothing good about hot.

1962
01:37:18,400 --> 01:37:20,960
Speaker 1: Yeah, the desk is probably not spot for you.

1963
01:37:21,040 --> 01:37:23,320
Speaker 3: But anything other than a boat.

1964
01:37:23,600 --> 01:37:26,280
Speaker 1: Yeah, Look, we appreciate having it. We've taken us so

1965
01:37:26,360 --> 01:37:29,200
Speaker 1: much of your time. Matthew. Do you want to show him?

1966
01:37:29,479 --> 01:37:31,439
Speaker 2: Oh yeah, yeah, this is our little gift. Just you've

1967
01:37:31,479 --> 01:37:33,240
Speaker 2: got to pat this guy. This is Julian, then this

1968
01:37:33,360 --> 01:37:37,320
Speaker 2: is Gabrielle. He's bad luck, he's good luck. And so

1969
01:37:37,439 --> 01:37:41,360
Speaker 2: just every person who's touched Gabrielle's head of late has

1970
01:37:41,400 --> 01:37:45,000
Speaker 2: come into have come into success, come into money, or

1971
01:37:45,040 --> 01:37:48,080
Speaker 2: come into new relationships. So take your pick.

1972
01:37:51,120 --> 01:37:52,240
Speaker 1: Yeah, the big one is a good one.

1973
01:37:52,240 --> 01:37:56,240
Speaker 2: Big one's a good one. You got it?

1974
01:37:56,640 --> 01:38:01,000
Speaker 1: Wow? Love interest just around the corner for yeah, not

1975
01:38:01,120 --> 01:38:02,400
Speaker 1: trish Na Tricia.

1976
01:38:02,800 --> 01:38:05,160
Speaker 3: I was available. I was thinking about getting back on

1977
01:38:05,200 --> 01:38:07,479
Speaker 3: the apps, but I did. I got on the app

1978
01:38:07,520 --> 01:38:09,640
Speaker 3: once and it went into the Daily Telegraph and was

1979
01:38:10,200 --> 01:38:17,360
Speaker 3: desperate actor seeks desperate members is good screenshot me and

1980
01:38:17,439 --> 01:38:20,559
Speaker 3: three other actors knowing what lawyers can go on these

1981
01:38:20,600 --> 01:38:23,800
Speaker 3: apps like I can't little actors. I'm trying to meet

1982
01:38:23,800 --> 01:38:24,439
Speaker 3: a dentist or.

1983
01:38:24,400 --> 01:38:29,040
Speaker 2: Something, one of tricia sisters, although they're not anyway.

1984
01:38:30,240 --> 01:38:32,280
Speaker 3: Such a bit of the bad luck to claim, even

1985
01:38:32,800 --> 01:38:35,760
Speaker 3: like getting a malaria or injection before you go, you

1986
01:38:35,840 --> 01:38:37,640
Speaker 3: get a bit of it, so you don't get a

1987
01:38:37,680 --> 01:38:38,080
Speaker 3: lot of it.

1988
01:38:38,800 --> 01:38:44,240
Speaker 2: Yes, yes, yeah, thank you Brenda Brendan, you're a champion mate.

1989
01:38:44,479 --> 01:38:45,320
Speaker 3: I really enjoyed it.

1990
01:38:45,520 --> 01:38:47,559
Speaker 2: Good luck for the sharkies issuear?

1991
01:38:47,840 --> 01:38:50,680
Speaker 3: Yeah, anything could happen. I think with the Broncos and

1992
01:38:50,720 --> 01:38:54,920
Speaker 3: the panthers, you know a little bit wobbly one of

1993
01:38:54,920 --> 01:39:00,439
Speaker 3: those raiders, the stormy sharky teams, worrying side coming down

1994
01:39:01,120 --> 01:39:02,679
Speaker 3: a lot of sides to win. I loved.

1995
01:39:02,760 --> 01:39:04,280
Speaker 2: I would love to see the Warriors win it.

1996
01:39:05,000 --> 01:39:06,960
Speaker 3: That would wouldn't it be good? I think you said

1997
01:39:07,000 --> 01:39:10,400
Speaker 3: at once that when Warriors are in the mix at

1998
01:39:10,439 --> 01:39:12,240
Speaker 3: the end of the year, Foot he's good. When the

1999
01:39:12,240 --> 01:39:15,400
Speaker 3: Warriors play well, it's good, yep, And I agree with that.

2000
01:39:16,120 --> 01:39:17,679
Speaker 3: When they're in there, it's just better.

2001
01:39:17,800 --> 01:39:19,920
Speaker 1: Well, no one would hate it if they wanted. No

2002
01:39:19,960 --> 01:39:22,559
Speaker 1: one would be disappointed. They'd just put like no one

2003
01:39:22,560 --> 01:39:24,080
Speaker 1: would really hate.

2004
01:39:24,400 --> 01:39:29,760
Speaker 2: Maybe the former coach who coached him before, who was it, Steve, Steve,

2005
01:39:30,479 --> 01:39:31,840
Speaker 2: you know what, even he'd be happy.

2006
01:39:32,080 --> 01:39:32,559
Speaker 3: Great guy.

2007
01:39:32,840 --> 01:39:36,400
Speaker 2: So it's win win, win, win, vinn Vinny.

2008
01:39:35,880 --> 01:39:38,439
Speaker 3: And the Shawn Johnson return. But if you want to

2009
01:39:38,439 --> 01:39:41,360
Speaker 3: look on a Thursday going to the Daily Telegraph, check

2010
01:39:41,400 --> 01:39:44,800
Speaker 3: who's winning the National tipping comb under his name says actor.

2011
01:39:45,160 --> 01:39:48,400
Speaker 3: So all I'm saying is all you experts on your shows,

2012
01:39:48,720 --> 01:39:56,000
Speaker 3: look who's winning. He's an actor. I'd never work with.

2013
01:39:57,000 --> 01:39:58,839
Speaker 3: He's in plumb as well. He was amazing.

2014
01:39:59,160 --> 01:39:59,719
Speaker 2: He's the best.

2015
01:40:00,040 --> 01:40:00,599
Speaker 3: It is the best.

2016
01:40:00,720 --> 01:40:05,080
Speaker 2: Yeah, Brandon, you're chat mate, thanks for having me. Terrific Cooper,

2017
01:40:05,200 --> 01:40:08,400
Speaker 2: he was, He was terrific. Brendan call really enjoyed that chat.

2018
01:40:08,840 --> 01:40:10,240
Speaker 2: He was great insights.

2019
01:40:10,320 --> 01:40:13,360
Speaker 1: Yeah yeah, how big a fan of the of the

2020
01:40:13,400 --> 01:40:14,559
Speaker 1: greatest game of all rugby.

2021
01:40:14,439 --> 01:40:16,439
Speaker 2: League, loves rugby league, loves the Sharks.

2022
01:40:16,840 --> 01:40:18,360
Speaker 1: Wants to be the number one ticket holder.

2023
01:40:18,439 --> 01:40:20,679
Speaker 2: Yeah yeah, that was from Scott Morris.

2024
01:40:21,280 --> 01:40:22,479
Speaker 1: Might have the chat the ticket man.

2025
01:40:22,800 --> 01:40:25,360
Speaker 2: Yeah, well you might be able to. Yeah, he's got

2026
01:40:25,600 --> 01:40:28,679
Speaker 2: big shoes to fill. I mean, you know, gotta shoot

2027
01:40:28,680 --> 01:40:32,200
Speaker 2: yourself at shoot your shot, shoot yourself at which mc

2028
01:40:32,200 --> 01:40:32,840
Speaker 2: donald was it?

2029
01:40:32,920 --> 01:40:33,599
Speaker 3: They always talk.

2030
01:40:33,520 --> 01:40:38,519
Speaker 1: About Donalds, you know what. I was talking to someone

2031
01:40:38,560 --> 01:40:41,559
Speaker 1: about that the other day. They have a plaque down

2032
01:40:41,640 --> 01:40:44,439
Speaker 1: there that says like this, yeah, yeah, this is the

2033
01:40:44,680 --> 01:40:46,439
Speaker 1: like McDonald's scammo ship himself.

2034
01:40:48,880 --> 01:40:50,679
Speaker 2: Hasn't that just taken on a life it's own. There's

2035
01:40:50,640 --> 01:40:53,960
Speaker 2: stickers around the place you see just go never ever

2036
01:40:54,040 --> 01:40:56,400
Speaker 2: forget the days.

2037
01:40:57,360 --> 01:40:57,719
Speaker 3: Donald's.

2038
01:40:59,560 --> 01:41:01,880
Speaker 1: That's all I And they've also got a plark at

2039
01:41:01,920 --> 01:41:06,120
Speaker 1: the toilet where Kurtman helped Calin Ponger out of the toilet.

2040
01:41:06,160 --> 01:41:09,719
Speaker 2: That's that's right. I have to now the Mick Fanning

2041
01:41:10,320 --> 01:41:12,360
Speaker 2: charity Golf. There's one more thing you'd like to do.

2042
01:41:12,960 --> 01:41:15,160
Speaker 1: Yeah, they've still got some If there's some good merch

2043
01:41:15,240 --> 01:41:19,160
Speaker 1: and auction items up on the website, and I believe

2044
01:41:19,240 --> 01:41:24,160
Speaker 1: it's called Mick Fanning Charitygolf Day dot com. Jack, so correct,

2045
01:41:24,360 --> 01:41:25,680
Speaker 1: do you have it? You just had the link up.

2046
01:41:26,760 --> 01:41:28,880
Speaker 2: Let's have a look by a little bit of time.

2047
01:41:28,960 --> 01:41:31,599
Speaker 2: Jack's just picked up his phone. He's sorting through. There

2048
01:41:31,640 --> 01:41:31,920
Speaker 2: we go.

2049
01:41:32,320 --> 01:41:36,040
Speaker 1: It is Mick fan Yeah, Mick Fanning charitygolf Day dot com.

2050
01:41:36,080 --> 01:41:39,040
Speaker 1: So there's some good merchant auction items up there that

2051
01:41:39,720 --> 01:41:41,639
Speaker 1: if you want to donate to the course, because it's

2052
01:41:41,640 --> 01:41:45,479
Speaker 1: obviously for all the flood victims in northern New South

2053
01:41:45,479 --> 01:41:46,800
Speaker 1: Wales having a few years back.

2054
01:41:46,840 --> 01:41:50,759
Speaker 2: So great initiative, Mick, Yeah, take about. Well done, coops.

2055
01:41:50,920 --> 01:41:52,559
Speaker 1: Thanks Maddie, go and clean.

2056
01:41:52,360 --> 01:41:54,040
Speaker 3: Yourself up both. He is here, disgrace.

2057
01:42:00,080 --> 01:42:01,000
Speaker 1: M