1 00:00:02,120 --> 00:00:04,800 Speaker 1: Welcome to the show washer and thank you so much 2 00:00:04,800 --> 00:00:08,360 Speaker 1: for being here. It's Monday, and I have another addition 3 00:00:09,000 --> 00:00:11,600 Speaker 1: in an ongoing series. I don't know where it will end, 4 00:00:12,000 --> 00:00:15,040 Speaker 1: an ongoing series of the Rules of show Business. Listen 5 00:00:15,080 --> 00:00:16,840 Speaker 1: to last week's if you want to know how we 6 00:00:16,880 --> 00:00:21,200 Speaker 1: got here. But it's been interesting because whether or not 7 00:00:21,200 --> 00:00:23,560 Speaker 1: you've got a career in this industry, the entertainment industry, 8 00:00:24,160 --> 00:00:29,120 Speaker 1: I think any of these apply to any industry that 9 00:00:29,160 --> 00:00:32,360 Speaker 1: you find yourself in. That you know slogans that have 10 00:00:32,640 --> 00:00:35,760 Speaker 1: originated in the theater or in a film set, but 11 00:00:35,760 --> 00:00:40,639 Speaker 1: they're directly applicable to any gig. It's hard one advice 12 00:00:41,080 --> 00:00:44,519 Speaker 1: that has served me, and I'm grateful to bring you 13 00:00:44,600 --> 00:00:47,479 Speaker 1: just some of it today. There's some interesting ones today. 14 00:00:48,000 --> 00:00:50,600 Speaker 1: I do need to play some ads, so I'll be 15 00:00:50,640 --> 00:00:58,600 Speaker 1: back after the break. This is better than yesterday, making 16 00:00:58,640 --> 00:01:01,400 Speaker 1: a better every episode since two twenty thirteen. I'm watching Gginsburg. 17 00:01:01,440 --> 00:01:02,680 Speaker 1: Thanks for being here. If you want to get in 18 00:01:02,760 --> 00:01:05,280 Speaker 1: touch with me or listen to the first four rules 19 00:01:05,319 --> 00:01:08,680 Speaker 1: of show business, you can find them at Olshaginsburg dot com. 20 00:01:09,000 --> 00:01:11,960 Speaker 1: So we're onto rule number five. Rule five in the 21 00:01:12,040 --> 00:01:15,680 Speaker 1: Rules of show Business. You're only as good as your 22 00:01:15,720 --> 00:01:18,839 Speaker 1: last gig. You're only as good as your last gig. 23 00:01:20,240 --> 00:01:22,959 Speaker 1: I remember when I was playing in bands in Brisbane 24 00:01:23,720 --> 00:01:28,560 Speaker 1: and if we had a shit gig on a Friday night, 25 00:01:28,600 --> 00:01:30,399 Speaker 1: And bear in mind, gigs in Brisbane at the time 26 00:01:30,440 --> 00:01:33,720 Speaker 1: were hard to come by, so you'd probably play. If 27 00:01:33,720 --> 00:01:36,200 Speaker 1: you're lucky, you played once a week or once every 28 00:01:36,240 --> 00:01:38,880 Speaker 1: two weeks. Because he didn't want to have your audience 29 00:01:38,920 --> 00:01:41,080 Speaker 1: come every single weekend. He needed to string it out, 30 00:01:41,120 --> 00:01:42,600 Speaker 1: so you have a packed room every time, and the 31 00:01:42,640 --> 00:01:44,759 Speaker 1: promoters go, yeah, people come out to suit these guys. 32 00:01:44,760 --> 00:01:47,800 Speaker 1: You want to build up some anticipation, and so if 33 00:01:47,800 --> 00:01:49,520 Speaker 1: you hadn't had a gig for like two or three weeks, 34 00:01:50,280 --> 00:01:53,080 Speaker 1: it was tough. And then you come to the gig 35 00:01:53,120 --> 00:01:54,800 Speaker 1: and it's a Friday night and you're playing in the 36 00:01:54,840 --> 00:01:58,480 Speaker 1: valley and you're supporting someone or whatever, and it's a 37 00:01:58,520 --> 00:02:02,040 Speaker 1: bit shit. You don't play very well, you know it. 38 00:02:03,320 --> 00:02:08,359 Speaker 1: You now have to wait three weeks to make it better, 39 00:02:08,880 --> 00:02:11,880 Speaker 1: and you walk around with this feeling anybody Yeah, not 40 00:02:12,000 --> 00:02:15,639 Speaker 1: only that, when people ask how was the bed, Yeah, 41 00:02:15,680 --> 00:02:19,000 Speaker 1: a bit shit and that's it. They didn't see the 42 00:02:19,040 --> 00:02:21,119 Speaker 1: gig where you were great, which was two gigs ago. 43 00:02:21,200 --> 00:02:24,080 Speaker 1: They didn't see that. They only saw that one, and 44 00:02:24,160 --> 00:02:27,520 Speaker 1: that's the gig they will judge you off. So it's 45 00:02:27,680 --> 00:02:31,480 Speaker 1: a really really important piece of advice because it essentially 46 00:02:31,800 --> 00:02:37,960 Speaker 1: reminds you to show up with your absolute best every 47 00:02:38,000 --> 00:02:43,000 Speaker 1: single time, to be prepared to deliver, to do what 48 00:02:43,080 --> 00:02:45,760 Speaker 1: you are there to do as good as you possibly 49 00:02:45,800 --> 00:02:49,680 Speaker 1: can every single time, because you never know who's going 50 00:02:49,720 --> 00:02:52,160 Speaker 1: to be watching, and that works in television or radio 51 00:02:52,240 --> 00:02:54,400 Speaker 1: as well. You never know who's listening, you never know 52 00:02:54,440 --> 00:02:56,880 Speaker 1: who's a part of it, You never know what's going 53 00:02:56,919 --> 00:03:00,960 Speaker 1: on the impression that you leave that person with is 54 00:03:01,360 --> 00:03:04,800 Speaker 1: essentially the calling card. That's the Google review. Whenever your 55 00:03:04,880 --> 00:03:07,040 Speaker 1: name is mentioned, that is what they will recall if 56 00:03:07,040 --> 00:03:10,119 Speaker 1: you leave them with a positive sentiment when someone says, hey, 57 00:03:10,400 --> 00:03:12,120 Speaker 1: what was all like working with that camera guy or 58 00:03:12,160 --> 00:03:14,160 Speaker 1: working that audio up or working with that person like, 59 00:03:14,200 --> 00:03:18,160 Speaker 1: oh brilliant, best ever? If I go eh, that's all 60 00:03:18,160 --> 00:03:20,600 Speaker 1: it takes. So when that next person, when the next 61 00:03:20,639 --> 00:03:23,560 Speaker 1: production manager sees your name come up on a list 62 00:03:23,560 --> 00:03:27,160 Speaker 1: of available people, they go nah. And you don't know 63 00:03:27,200 --> 00:03:29,079 Speaker 1: that it could be a year later, five years later, 64 00:03:29,840 --> 00:03:33,280 Speaker 1: when that your name is associated with her of someone 65 00:03:33,320 --> 00:03:35,440 Speaker 1: they know, they'll be like, well, I can't waste my 66 00:03:35,440 --> 00:03:38,920 Speaker 1: time when I'm there, I need a yeah, and your 67 00:03:38,920 --> 00:03:43,560 Speaker 1: phone won't ring. So when you show up any day, 68 00:03:43,600 --> 00:03:46,000 Speaker 1: you're there, any day you're lucky enough to be there. 69 00:03:47,240 --> 00:03:50,400 Speaker 1: That's something to strive for. Play it like it's the 70 00:03:50,480 --> 00:03:52,520 Speaker 1: last show you've ever played. Oh no, that's later in 71 00:03:52,560 --> 00:03:56,280 Speaker 1: the list, but yeah, exactly that. Remember that you're only 72 00:03:56,320 --> 00:03:58,440 Speaker 1: as good as your last game. I remember Marsha Heinz 73 00:03:58,480 --> 00:04:00,480 Speaker 1: even said that is a woman who probably didn't have 74 00:04:00,520 --> 00:04:02,000 Speaker 1: to work. By the time I started working with her, 75 00:04:02,080 --> 00:04:05,120 Speaker 1: she'd been working for decades and she's an incredibly successful person. 76 00:04:05,520 --> 00:04:08,880 Speaker 1: I think she worked beause she loved to. And she's like, yeah, 77 00:04:09,080 --> 00:04:11,160 Speaker 1: as good as you ask you, baby, it's like me. 78 00:04:12,880 --> 00:04:15,640 Speaker 1: Bear in mind, she was doing one arm curls with 79 00:04:15,720 --> 00:04:18,719 Speaker 1: a shot bag to pump up the guns before we 80 00:04:18,760 --> 00:04:23,240 Speaker 1: walked out on stage right. She's fit and trains hard 81 00:04:23,960 --> 00:04:26,919 Speaker 1: and likes people to know. That's why she looks so 82 00:04:26,960 --> 00:04:29,919 Speaker 1: great on camera. She's amazing. Our shot bag is like 83 00:04:29,920 --> 00:04:32,760 Speaker 1: a heavy bag that's full of what they would call 84 00:04:32,839 --> 00:04:34,760 Speaker 1: lead shot. It's probably not a lead shot now, but 85 00:04:34,800 --> 00:04:36,600 Speaker 1: it's used to weigh down light stands things. They weigh 86 00:04:36,600 --> 00:04:39,200 Speaker 1: anywhere between five or eight kilos each. But it can 87 00:04:39,240 --> 00:04:40,840 Speaker 1: hold a light stand down he pok, like three or 88 00:04:40,880 --> 00:04:44,080 Speaker 1: four in the morning. Does the job anyway? Number six 89 00:04:44,120 --> 00:04:47,400 Speaker 1: on the Rules of show Business. You can't make a living, 90 00:04:47,640 --> 00:04:51,920 Speaker 1: but you can make a killing. This one originated on 91 00:04:51,920 --> 00:04:57,560 Speaker 1: a Broadway, which is a very difficult thing to get going. 92 00:04:57,640 --> 00:04:59,800 Speaker 1: We only really think about the shows that have succeeded, 93 00:05:00,160 --> 00:05:03,920 Speaker 1: right how they think about le mis or Wicked or 94 00:05:04,560 --> 00:05:07,479 Speaker 1: Rocky Horror Picture Show which seems to never want to die. 95 00:05:07,760 --> 00:05:10,960 Speaker 1: All those shows take a long time to develop. There's 96 00:05:11,120 --> 00:05:14,039 Speaker 1: I don't know, sometimes thirty songs. That's a lot of songs. 97 00:05:14,080 --> 00:05:16,120 Speaker 1: There's a huge cast, there's sets, there's a lot that 98 00:05:16,120 --> 00:05:17,920 Speaker 1: you've got to wait for a theater to open up. 99 00:05:18,200 --> 00:05:21,039 Speaker 1: There's like so many moving parts to get a Broadway 100 00:05:21,080 --> 00:05:23,640 Speaker 1: show together, so you need a huge amount of investment 101 00:05:24,520 --> 00:05:27,680 Speaker 1: beforehand to get all the best people on board, to 102 00:05:27,680 --> 00:05:29,720 Speaker 1: write the best songs, to get the best cast, to 103 00:05:30,080 --> 00:05:32,000 Speaker 1: line the whole thing up so that when you open, 104 00:05:32,120 --> 00:05:34,360 Speaker 1: you know, you do a couple of weeks off Broadway, 105 00:05:34,440 --> 00:05:37,320 Speaker 1: maybe on a bus and truck show upstate or wherever 106 00:05:37,360 --> 00:05:39,400 Speaker 1: out of New York or in the UK, you'd be 107 00:05:39,400 --> 00:05:42,159 Speaker 1: doing it in the in the Midlands or something. So 108 00:05:42,200 --> 00:05:44,040 Speaker 1: when you open on the West End or you open 109 00:05:44,080 --> 00:05:48,440 Speaker 1: on Broadway, everyone is firing at a well oiled clip. 110 00:05:48,440 --> 00:05:50,359 Speaker 1: You know. People are like boom, they're right in sync, 111 00:05:50,560 --> 00:05:54,800 Speaker 1: and so on opening night they absolutely slaughter it like 112 00:05:54,800 --> 00:05:57,400 Speaker 1: they've been doing it their whole lives. But that takes 113 00:05:57,440 --> 00:06:00,600 Speaker 1: a lot of money. Sometimes, you're talking, music can take 114 00:06:00,680 --> 00:06:02,800 Speaker 1: years to develop and people have got to get paid 115 00:06:02,839 --> 00:06:04,440 Speaker 1: to do that stuff. When you want the best people, 116 00:06:04,440 --> 00:06:07,359 Speaker 1: you've got to pay for the best people. So you're 117 00:06:07,400 --> 00:06:09,960 Speaker 1: basically working on spec. If you're not on Broadway, you're 118 00:06:10,240 --> 00:06:13,480 Speaker 1: writing scripts and you're just writing things on spec. You're 119 00:06:13,480 --> 00:06:17,320 Speaker 1: writing screenplays that you know nobody has asked you to write. 120 00:06:17,520 --> 00:06:21,040 Speaker 1: You're just writing them. You're probably doing another gig, working 121 00:06:21,080 --> 00:06:24,440 Speaker 1: waiting tables or doing an office job or whatever. You 122 00:06:24,440 --> 00:06:26,880 Speaker 1: can't make a living, but you can make a killing. 123 00:06:26,960 --> 00:06:32,440 Speaker 1: Particularly refers to on Broadway if it's not fucking pumping 124 00:06:32,720 --> 00:06:37,080 Speaker 1: by like four weeks, that theater could put another show 125 00:06:37,680 --> 00:06:41,120 Speaker 1: that is doing far better into your room and you 126 00:06:41,120 --> 00:06:44,599 Speaker 1: will close. You'll close within like four six weeks and 127 00:06:44,640 --> 00:06:50,160 Speaker 1: that's it. Over that three four years of development gone. However, 128 00:06:50,760 --> 00:06:52,960 Speaker 1: if it plays longer than four or six weeks something 129 00:06:52,960 --> 00:06:55,440 Speaker 1: like that, it's a magic number. It will just keep 130 00:06:55,440 --> 00:06:59,760 Speaker 1: playing and playing and playing and playing. And when they 131 00:06:59,839 --> 00:07:04,760 Speaker 1: say must close, it's because someone is bringing back Godspell 132 00:07:05,200 --> 00:07:08,400 Speaker 1: or Starlight Express or something and they've had this thing 133 00:07:08,440 --> 00:07:10,480 Speaker 1: booked for four years. Are like, I don't care how 134 00:07:10,480 --> 00:07:12,360 Speaker 1: good your avenue Q is. You got to get it 135 00:07:12,400 --> 00:07:14,800 Speaker 1: out of that theater because here I come and everyone's 136 00:07:14,840 --> 00:07:16,720 Speaker 1: ready to go. And that's the only reason those things 137 00:07:16,760 --> 00:07:19,000 Speaker 1: close unless they own their own theater and then they 138 00:07:19,080 --> 00:07:22,400 Speaker 1: just go forever. But like, you can't make a living, 139 00:07:22,440 --> 00:07:24,360 Speaker 1: you can make a killing something like Ley Miss. I 140 00:07:24,400 --> 00:07:28,160 Speaker 1: think before the movie came out, Lem's Rub with your 141 00:07:28,200 --> 00:07:31,040 Speaker 1: Hugh Jackman and Rusty the Foller movie, Lamis had made 142 00:07:31,040 --> 00:07:35,280 Speaker 1: world Widseman like five billion dollars. That's a shit ton 143 00:07:35,280 --> 00:07:39,120 Speaker 1: of money. That's more successful than any musician you're going 144 00:07:39,160 --> 00:07:43,080 Speaker 1: to name. So there's a lot there. If you get 145 00:07:43,120 --> 00:07:46,320 Speaker 1: it right, you make a killing. But if you don't, 146 00:07:46,640 --> 00:07:49,040 Speaker 1: you can't make a living doing it. It's just really 147 00:07:49,320 --> 00:07:53,120 Speaker 1: really weird dichotomy. It's very very strange. Show business rule 148 00:07:53,280 --> 00:07:55,920 Speaker 1: number seven. This was told to me on the very 149 00:07:55,960 --> 00:07:57,920 Speaker 1: first day I pulled the shift on radio. I've talked 150 00:07:57,920 --> 00:07:59,480 Speaker 1: about it before, but I think it's important to put 151 00:07:59,480 --> 00:08:02,080 Speaker 1: it here. The moment that your heart doesn't race when 152 00:08:02,120 --> 00:08:04,360 Speaker 1: you turn on the microphone, get out of the chair 153 00:08:04,400 --> 00:08:06,840 Speaker 1: and give someone else a go. I was told to 154 00:08:06,840 --> 00:08:10,240 Speaker 1: me by the Australian radio king maker and queen maker, 155 00:08:10,480 --> 00:08:14,240 Speaker 1: Craig Bruce, two first names Odd and I was doing 156 00:08:14,280 --> 00:08:16,840 Speaker 1: an overnight shift at Brisbane B one I five and 157 00:08:16,880 --> 00:08:19,240 Speaker 1: I told them I'm doing doing mid dawns tonight and 158 00:08:19,280 --> 00:08:20,480 Speaker 1: that's what he said to me. He goes, mate, just 159 00:08:20,480 --> 00:08:22,360 Speaker 1: promise me the moment your heart doesn't race before you 160 00:08:22,400 --> 00:08:23,880 Speaker 1: turn on the mic, get out of the chair, give 161 00:08:23,960 --> 00:08:26,400 Speaker 1: someone else a go. And I didn't know what he 162 00:08:26,480 --> 00:08:30,880 Speaker 1: meant really because my heart absolutely raced every time, every time, 163 00:08:30,920 --> 00:08:35,959 Speaker 1: every time. But twice in my career I've found that moment, 164 00:08:36,559 --> 00:08:39,040 Speaker 1: and twice in my career I have got out of 165 00:08:39,040 --> 00:08:43,000 Speaker 1: the chair. Happened when I was working at Channel V, 166 00:08:43,120 --> 00:08:46,160 Speaker 1: which is a now defunct music television station in Australia. 167 00:08:46,520 --> 00:08:49,439 Speaker 1: And I'm standing on stage at Federation Square in Melbourne, 168 00:08:49,520 --> 00:08:51,720 Speaker 1: and that was on four thousand and five thousand people 169 00:08:51,760 --> 00:08:54,560 Speaker 1: there are packed and there was a band on stage 170 00:08:54,559 --> 00:08:57,880 Speaker 1: called Dashboard Confessional, lots of neck tattoos, before neck tattoos 171 00:08:57,880 --> 00:09:00,480 Speaker 1: were a thing. And they're singing these songs that didn't 172 00:09:00,480 --> 00:09:03,200 Speaker 1: sound like blokes would think tattoos would sing. And there's 173 00:09:03,240 --> 00:09:07,280 Speaker 1: five thousand people in tears singing along to this stuff. 174 00:09:08,920 --> 00:09:11,760 Speaker 1: And I stood there and went, I don't get this 175 00:09:11,840 --> 00:09:17,080 Speaker 1: at all. Ah, my heart doesn't race at this moment, 176 00:09:17,360 --> 00:09:20,440 Speaker 1: because my heart had raced on that very stage many many, 177 00:09:20,440 --> 00:09:24,000 Speaker 1: many many times. But I stood there, going, ah, there, 178 00:09:24,440 --> 00:09:27,000 Speaker 1: that's thing Craig was talking about at this point, twelve 179 00:09:27,080 --> 00:09:29,640 Speaker 1: years before. Craig had told me that thing. And I 180 00:09:29,640 --> 00:09:32,480 Speaker 1: was still there and went, there it is, that's it. 181 00:09:32,640 --> 00:09:37,760 Speaker 1: I'm all right, and I walked away. I walked away. 182 00:09:37,760 --> 00:09:40,120 Speaker 1: I did it again in radio and when I was 183 00:09:40,160 --> 00:09:45,320 Speaker 1: doing Bakfast Radio in Brisbane, and I could tell that 184 00:09:45,440 --> 00:09:48,679 Speaker 1: I was starting to get a bit resentful because I 185 00:09:48,880 --> 00:09:51,200 Speaker 1: wasn't as good at it as I wanted to be, 186 00:09:51,240 --> 00:09:52,760 Speaker 1: and I didn't love it as much as I thought 187 00:09:52,760 --> 00:09:54,240 Speaker 1: I would, and I was starting to allow I was 188 00:09:54,240 --> 00:09:57,160 Speaker 1: starting to get a bit resentful about it. And if 189 00:09:57,200 --> 00:09:59,280 Speaker 1: you ever do that, what happens is you start to 190 00:09:59,280 --> 00:10:01,880 Speaker 1: resent the gig. You start to resent that people around 191 00:10:01,920 --> 00:10:04,880 Speaker 1: you. You become a dick in meetings, and then what happens 192 00:10:04,960 --> 00:10:07,520 Speaker 1: is the way that people refer to you later on 193 00:10:07,679 --> 00:10:10,000 Speaker 1: when they go, oh, how was this morning? They go oh, 194 00:10:10,040 --> 00:10:12,000 Speaker 1: And that's the noise people make when they talk about you, 195 00:10:12,360 --> 00:10:16,760 Speaker 1: and that spreads like wildfire through a tiny industry like 196 00:10:16,840 --> 00:10:18,959 Speaker 1: radio or any you think, like, if you're in I 197 00:10:18,960 --> 00:10:21,880 Speaker 1: don't know, venture capital or tire replacement or whatever, it's 198 00:10:21,920 --> 00:10:24,040 Speaker 1: not going to be a big industry in Australia. It's 199 00:10:24,040 --> 00:10:26,960 Speaker 1: put your everything's about the same size, really, and you 200 00:10:27,000 --> 00:10:29,240 Speaker 1: don't want to be known as that person. And I 201 00:10:29,280 --> 00:10:31,920 Speaker 1: remember that there it happened again. It's like, oh man, 202 00:10:33,160 --> 00:10:35,520 Speaker 1: my heart doesn't race doing this. And I got really 203 00:10:35,559 --> 00:10:39,720 Speaker 1: sad that it happened again. But I knew, I just knew. 204 00:10:39,960 --> 00:10:41,440 Speaker 1: I knew what to do. I've been told what to do, 205 00:10:41,480 --> 00:10:42,839 Speaker 1: exactly what to do. Get out of the chair and 206 00:10:42,840 --> 00:10:45,679 Speaker 1: give someone else ago. And it made me very sad, 207 00:10:45,720 --> 00:10:48,400 Speaker 1: but I had to go, yeah, all right, I'm going 208 00:10:48,480 --> 00:10:49,800 Speaker 1: to leave. And those a few other things that were 209 00:10:49,800 --> 00:10:52,000 Speaker 1: showing up at the time, but that was definitely one 210 00:10:52,000 --> 00:10:55,160 Speaker 1: of them. And sure enough I stepped away from that 211 00:10:55,280 --> 00:10:58,800 Speaker 1: gig and those guys went number one, and I couldn't 212 00:10:58,800 --> 00:11:00,920 Speaker 1: have been bloody happier for them. I couldn't have been 213 00:11:00,960 --> 00:11:03,120 Speaker 1: happier for them. I'll get to that bit in a sec. 214 00:11:03,880 --> 00:11:06,880 Speaker 1: And the gag was like, it's true. Once I quit 215 00:11:06,920 --> 00:11:08,720 Speaker 1: that radio job, I had twice the time but half 216 00:11:08,760 --> 00:11:13,000 Speaker 1: the money. But in that space where there had been 217 00:11:13,040 --> 00:11:16,760 Speaker 1: this thing that was uncomfortable and not fun for anyone, 218 00:11:16,960 --> 00:11:18,760 Speaker 1: not just me but all the other people working there, 219 00:11:19,400 --> 00:11:21,280 Speaker 1: in that space, I was able to create the next 220 00:11:21,320 --> 00:11:24,199 Speaker 1: thing that happened, which turned out to be a book 221 00:11:24,240 --> 00:11:26,880 Speaker 1: and a live show and you know various other things 222 00:11:26,880 --> 00:11:29,880 Speaker 1: that are associated with all that stuff, which was really 223 00:11:29,920 --> 00:11:33,040 Speaker 1: really good advice. And boy hattie, I'll do it again 224 00:11:33,480 --> 00:11:37,080 Speaker 1: if I need to rule number eight a show business. 225 00:11:38,280 --> 00:11:41,800 Speaker 1: Be happy for others success. I just mentioned it before. 226 00:11:42,040 --> 00:11:45,640 Speaker 1: Be really happy for other success, particularly now. You know 227 00:11:45,640 --> 00:11:47,040 Speaker 1: a few people reached out to me on the day 228 00:11:47,040 --> 00:11:48,880 Speaker 1: the LOGI nominations came out and going who are you 229 00:11:48,960 --> 00:11:50,880 Speaker 1: You okay? And I guess that's right. You know you 230 00:11:50,960 --> 00:11:53,760 Speaker 1: know someone your friend me, I'm their friend. Your friend 231 00:11:54,080 --> 00:11:56,120 Speaker 1: was nominated for a goal at LOGI last year and 232 00:11:56,160 --> 00:11:58,760 Speaker 1: now does not have a job in television, and you 233 00:11:58,800 --> 00:12:00,719 Speaker 1: want to reach out to make sure there are. And 234 00:12:01,200 --> 00:12:04,160 Speaker 1: what was really interesting is that I on the day 235 00:12:04,200 --> 00:12:07,240 Speaker 1: all the nominations came out, I was like, oh, look 236 00:12:07,280 --> 00:12:10,440 Speaker 1: at that. And it was a little like the emotional 237 00:12:10,440 --> 00:12:14,560 Speaker 1: equivalent of hearing the rubbish recycling truck driving down my street. 238 00:12:15,280 --> 00:12:16,880 Speaker 1: I was like a noise aware of all the noise. 239 00:12:17,240 --> 00:12:20,480 Speaker 1: I mean, there you go. I'm a tendant to it. 240 00:12:20,679 --> 00:12:23,280 Speaker 1: And off it went, and then that was it. I 241 00:12:23,280 --> 00:12:26,920 Speaker 1: didn't feel anything dastardly. I didn't feel any resentment. I 242 00:12:26,920 --> 00:12:29,839 Speaker 1: didn't feel any sadness, and I was truly truly happy 243 00:12:29,880 --> 00:12:32,160 Speaker 1: for all the people that they'd been nominated and all 244 00:12:32,200 --> 00:12:35,080 Speaker 1: the shows that got nominated. That was definitely not the 245 00:12:35,160 --> 00:12:37,640 Speaker 1: case earlier on in my career. I would gnash my 246 00:12:37,800 --> 00:12:41,040 Speaker 1: teeth and say awful things to people that I was 247 00:12:41,080 --> 00:12:43,400 Speaker 1: pretty sure it wouldn't get back to the people involved, 248 00:12:43,400 --> 00:12:47,480 Speaker 1: but it might have about other people who hadn't succeeded 249 00:12:47,520 --> 00:12:49,320 Speaker 1: and other people who had got gigs that I wanted. 250 00:12:49,400 --> 00:12:52,560 Speaker 1: I'm sort of mad about it. That's a fool's errand 251 00:12:52,600 --> 00:12:56,560 Speaker 1: and it gets me nowhere, and it SAPs valuable energy 252 00:12:56,600 --> 00:13:00,520 Speaker 1: from me actually figuring out how come that person did 253 00:13:00,520 --> 00:13:02,480 Speaker 1: that thing? And what can I do to emulate that 254 00:13:02,520 --> 00:13:06,079 Speaker 1: because they've clearly figured something else that I haven't. What 255 00:13:06,080 --> 00:13:07,800 Speaker 1: can I do here? And you know, I'd rather use 256 00:13:07,840 --> 00:13:12,000 Speaker 1: that energy to put towards something positive in my life 257 00:13:12,120 --> 00:13:15,160 Speaker 1: with my family and my work. So being happy for 258 00:13:15,240 --> 00:13:18,480 Speaker 1: other success is really really important because there's more pie 259 00:13:18,520 --> 00:13:21,440 Speaker 1: than there is pie chart. There really is. And if 260 00:13:21,440 --> 00:13:24,520 Speaker 1: you're happy with another person's success, that also includes helping 261 00:13:24,559 --> 00:13:28,760 Speaker 1: another person find success. That stuff feels good, it's nice, 262 00:13:29,080 --> 00:13:34,280 Speaker 1: and it really really serves your career without a shadow 263 00:13:34,320 --> 00:13:36,520 Speaker 1: of a doubt. Now I understand why you might be 264 00:13:36,640 --> 00:13:39,400 Speaker 1: likely to be upset about another success if you're not working. 265 00:13:39,440 --> 00:13:42,640 Speaker 1: I get that. I understand that resentment can pile in. 266 00:13:42,679 --> 00:13:45,120 Speaker 1: I've had that in the past. But the next rule 267 00:13:45,120 --> 00:13:47,320 Speaker 1: I whant to talk about, rural mind is something to 268 00:13:47,320 --> 00:13:50,680 Speaker 1: think about when you are out of work. Before I 269 00:13:50,720 --> 00:13:52,880 Speaker 1: get there, I do need to take a break back 270 00:13:52,920 --> 00:14:00,839 Speaker 1: in a moment. So continuing on with rule number nine 271 00:14:00,880 --> 00:14:04,160 Speaker 1: on the rules of show business, and I love this one. 272 00:14:04,640 --> 00:14:07,679 Speaker 1: You never get fired. You just don't get hired again, 273 00:14:08,640 --> 00:14:13,640 Speaker 1: all right, because gigs are ten weeks, twelve weeks, and 274 00:14:14,160 --> 00:14:18,079 Speaker 1: whoever you are on set, catering, audio, lighting, production runner 275 00:14:18,080 --> 00:14:21,720 Speaker 1: as host. There's other people that can do that job 276 00:14:22,680 --> 00:14:26,640 Speaker 1: that aren't you, and I don't care who you are 277 00:14:26,680 --> 00:14:30,120 Speaker 1: on camera, there's always someone else that can do it. 278 00:14:30,120 --> 00:14:33,000 Speaker 1: It's very, very unlikely that during the course of a production, 279 00:14:33,840 --> 00:14:36,120 Speaker 1: ten weeks or twelve weeks of a show, that someone 280 00:14:36,280 --> 00:14:39,560 Speaker 1: on camera will get fired, because you do need the continuity. 281 00:14:39,680 --> 00:14:41,640 Speaker 1: It does happen. I'm saying it doesn't hapen. It does happen. 282 00:14:41,760 --> 00:14:44,360 Speaker 1: You do need the continuity of that person's appearance during 283 00:14:44,360 --> 00:14:46,960 Speaker 1: a show, it's a drama or it's a scripture. It's 284 00:14:46,960 --> 00:14:49,760 Speaker 1: also unlikely that a person who works on the crew 285 00:14:50,360 --> 00:14:54,200 Speaker 1: will be fired during the course of a production because 286 00:14:54,240 --> 00:14:57,320 Speaker 1: of the intricate learnings that happen in learning the dance 287 00:14:57,360 --> 00:14:59,040 Speaker 1: of whatever you show it is you're working on, or 288 00:14:59,040 --> 00:15:03,800 Speaker 1: whatever films that you are. However, when it comes time 289 00:15:03,800 --> 00:15:07,320 Speaker 1: for the next gig, if you have dropped the ball 290 00:15:07,440 --> 00:15:10,240 Speaker 1: or been a punish to work with in my own experience, 291 00:15:10,560 --> 00:15:14,200 Speaker 1: I can tell you the phone just stops ringing. The 292 00:15:14,240 --> 00:15:17,640 Speaker 1: phone just stops ringing. No, you never got fired, Nobody 293 00:15:17,680 --> 00:15:19,760 Speaker 1: ever fired you, and every production manager be like, I 294 00:15:19,800 --> 00:15:21,560 Speaker 1: loved working with you. It was really good. There's just 295 00:15:21,600 --> 00:15:24,640 Speaker 1: nothing coming up at the moment, I'm so sorry. You 296 00:15:24,720 --> 00:15:26,320 Speaker 1: might need to have a long, hard look at yourself 297 00:15:26,360 --> 00:15:28,480 Speaker 1: and kind of wonder, like, why is it that there's 298 00:15:28,520 --> 00:15:30,880 Speaker 1: other productions going on and people who are junior to 299 00:15:30,960 --> 00:15:33,280 Speaker 1: me are now taking those gigs. What is it that 300 00:15:33,400 --> 00:15:36,480 Speaker 1: I'm bringing to a set or what is it in 301 00:15:36,560 --> 00:15:39,760 Speaker 1: my skill set? Am I developing enough? Am I keeping 302 00:15:39,840 --> 00:15:42,520 Speaker 1: up with the latest advancements in the tech that my 303 00:15:42,600 --> 00:15:45,920 Speaker 1: industry has? Am I being proactive enough? Am I being 304 00:15:45,960 --> 00:15:49,120 Speaker 1: solution focused? Am I being cool to work with? You 305 00:15:49,200 --> 00:15:51,280 Speaker 1: got to ask yourselves all those questions. And it's a 306 00:15:51,320 --> 00:15:55,000 Speaker 1: long walk back from getting to that point, but it's important. 307 00:15:55,520 --> 00:15:57,480 Speaker 1: If the phone stops ringing, do you kind of have 308 00:15:57,560 --> 00:16:00,280 Speaker 1: to have a look at yourself as to why? And 309 00:16:00,320 --> 00:16:04,120 Speaker 1: I know right now I am currently not working in television. 310 00:16:04,600 --> 00:16:09,920 Speaker 1: I can honestly say from my behavior at work it 311 00:16:10,080 --> 00:16:14,520 Speaker 1: is definitely not that I pride myself on my professionalism. 312 00:16:14,560 --> 00:16:17,840 Speaker 1: Certainly since I got sober and given the caliber and 313 00:16:17,880 --> 00:16:20,160 Speaker 1: the status of people who reached out to me when 314 00:16:20,200 --> 00:16:22,760 Speaker 1: the news first broke, I can categorically say that I'm 315 00:16:22,800 --> 00:16:26,520 Speaker 1: not in the previously mentioned punish at a situation. And 316 00:16:26,560 --> 00:16:29,520 Speaker 1: I know that because I have been, and when things happen, 317 00:16:29,560 --> 00:16:31,840 Speaker 1: people do not reach out like you've been like that. 318 00:16:31,920 --> 00:16:34,480 Speaker 1: So it's definitely not that. I guess the responsibility that 319 00:16:34,520 --> 00:16:35,800 Speaker 1: I would take at this point is that I was 320 00:16:35,840 --> 00:16:41,400 Speaker 1: looking down, too busy working to look up and spend 321 00:16:41,600 --> 00:16:44,200 Speaker 1: adequate time getting ready for the day. The shows didn't 322 00:16:44,200 --> 00:16:46,440 Speaker 1: come back. I did spend about maybe year and a half, 323 00:16:46,440 --> 00:16:50,040 Speaker 1: two years, but it's probably some things i'd missed before 324 00:16:50,080 --> 00:16:52,480 Speaker 1: that that I could have been on top of a 325 00:16:52,480 --> 00:16:54,720 Speaker 1: bit more. And that's on me, you know, that's on me. 326 00:16:55,240 --> 00:16:56,840 Speaker 1: But it's important to have a look at that. It's 327 00:16:56,880 --> 00:16:58,240 Speaker 1: like when you break up with someone, you kind of 328 00:16:58,240 --> 00:17:01,000 Speaker 1: go to go. It can't be all them. What's going on, 329 00:17:01,040 --> 00:17:03,440 Speaker 1: as uncomfortable as it is in the privacy of my 330 00:17:03,520 --> 00:17:05,840 Speaker 1: own home, me and my therapist. How can I figure 331 00:17:05,880 --> 00:17:08,600 Speaker 1: this out? It's important, but I do like that one 332 00:17:08,720 --> 00:17:11,240 Speaker 1: you never get fired, you just don't get hired again, 333 00:17:11,960 --> 00:17:14,520 Speaker 1: goes back to just making sure that when you're there 334 00:17:15,200 --> 00:17:21,040 Speaker 1: you are undeeniable, and that is really really important. How 335 00:17:21,080 --> 00:17:24,440 Speaker 1: do you avoid not getting hired again? Thankfully, there's guidelines. 336 00:17:24,480 --> 00:17:28,000 Speaker 1: I've written over one hundred, not many of them I've 337 00:17:28,040 --> 00:17:30,280 Speaker 1: invented myself. There's a few that I've come up with myself, 338 00:17:30,320 --> 00:17:32,920 Speaker 1: but there's most of them I've just heard over the years, 339 00:17:33,040 --> 00:17:35,679 Speaker 1: and I know there's a lot. I don't know what 340 00:17:35,760 --> 00:17:37,240 Speaker 1: to do with them all. Let me know if you 341 00:17:37,240 --> 00:17:39,280 Speaker 1: think these things are okay. So far it's been al right, 342 00:17:39,320 --> 00:17:41,399 Speaker 1: but I'd love to know if you're finding these valuable, 343 00:17:41,400 --> 00:17:43,000 Speaker 1: even if you're not in showbuz, even if you're in 344 00:17:43,080 --> 00:17:45,719 Speaker 1: an adjacent industries or a completely different industry altogether. I'm 345 00:17:45,760 --> 00:17:49,000 Speaker 1: sure there's related, you know, words of advice around your career. 346 00:17:49,480 --> 00:17:50,679 Speaker 1: Let me know what you think. You can get in 347 00:17:50,720 --> 00:17:52,920 Speaker 1: touch with me and listen to every episode ever over 348 00:17:52,920 --> 00:17:55,280 Speaker 1: Atroshiginsburg dot com. I'll see you Wednesday. 349 00:17:57,000 --> 00:18:00,520 Speaker 2: This episode was brought to you by Andy Maher audio 350 00:18:00,600 --> 00:18:04,840 Speaker 2: post production, Beck Syed on video post production, Toe Hyder 351 00:18:05,000 --> 00:18:09,119 Speaker 2: on music. Our producer is Bree Steel, and Osher's executive 352 00:18:09,119 --> 00:18:13,199 Speaker 2: function assistant is Monica Chapman. For every episode ever. To 353 00:18:13,240 --> 00:18:15,359 Speaker 2: get on the mailing list or to get in touch, 354 00:18:15,440 --> 00:18:19,240 Speaker 2: head to Osheginsburg dot com.