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Speaker 1: Can I ask a little question this thinking about I

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Speaker 1: want to get into the prop him was like a

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Speaker 1: great players.

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Speaker 2: It would have been Rod Stewart. He've got to turn

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Speaker 2: out for some of this roster.

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Speaker 3: My chief got so bad.

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Speaker 2: Well, welcome to the Backstage Podcast with Maddie John's Cooper,

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Speaker 2: John's Cooper. How you doing man? You going good?

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Speaker 3: Oh good man, that's so good.

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Speaker 2: Now we've got Maddie Abel on today. I really look

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Speaker 2: forward to that actor and voice over me an extraordinary.

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Speaker 2: They've been a close family friend for a long time.

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Speaker 2: So he's going to give us some great insights into

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Speaker 2: his career and the industry, acting industry, and.

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Speaker 3: We have some good stories on some of the characters

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Speaker 3: and things that you two have done together over the years,

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Speaker 3: because he used to be quite a prominent character on

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Speaker 3: your Channel seven show which rated so well.

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Speaker 2: Yes yes it was actually rated. It actually rated so

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Speaker 2: much they shut it down because it was ruining too ease.

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Speaker 3: If the budget was too high, they couldn't wasn't enough.

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Speaker 2: Antenna's in Sydney, Cooper, just letting you know, okay, people,

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Speaker 2: next in recording this next Wednesday is State of Origin

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Speaker 2: number one. We're going to let you know right when

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Speaker 2: you wake up. First thing Thursday morning. Okay, just have

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Speaker 2: a bit of a look. Cooper and I are going

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Speaker 2: to lay in a state of origin review on the game.

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Speaker 2: We're going to talk about you know, who starred, who failed,

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Speaker 2: possible changes going into game, to all the big turning points,

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Speaker 2: all the big moments. You'll get that first thing in

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Speaker 2: the morning. You'll hear it here first, so click on

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Speaker 2: and have a listen.

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Speaker 3: Very nice. Hey, I wanted to break something to you.

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Speaker 3: I'm not sure sure if you heard it, but when

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Speaker 3: this comes out. On last Friday, I had my first

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Speaker 3: ever co hosting role on Kyle and Jackie.

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Speaker 2: Oh, I know, I know. I was tipped off about

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Speaker 2: how to bit of listened. Hey, mate, sounded good, sounded good.

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Speaker 2: You've got a lot to learn of course now.

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Speaker 3: So I wanted to get some live feedback from you

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Speaker 3: because it was I was quite Although I've done a

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Speaker 3: lot of media before, to sit there for hours on

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Speaker 3: the biggest radio show in Australia and to hold my

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Speaker 3: own with the very own Jackie O, it was it

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Speaker 3: was quite intimidating.

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Speaker 2: Yeah, I bet it is.

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Speaker 4: It is.

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Speaker 2: I mean it's such as it's such a boost that show.

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Speaker 2: It's huge, and you know, and Cole to be often

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Speaker 2: to then put you in the seat. That's it's an

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Speaker 2: enormous privilege. Mate.

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Speaker 3: They wouldn't put they wouldn't let me sit in his seat.

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Speaker 2: I no, no, I mean, but you know, feel it,

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Speaker 2: Philly and take his spot. But yeah, all the feedback,

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Speaker 2: I've got to go and have a listen. I listened

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Speaker 2: to one little bit you mentioned something about our seating,

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Speaker 2: which I went, I can't listen. I cannot listen to

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Speaker 2: my beautiful baby boy talk about our seating, not on

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Speaker 2: the radio.

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Speaker 3: And who do you think I learned from not our seating.

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Speaker 3: I didn't learn the physical act of our seating from you,

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Speaker 3: but I learned you make our seating jokes a lot.

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Speaker 2: Now, Coops, at the end of four hours, I'll ask

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Speaker 2: you this end of four hours, how you feel you

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Speaker 2: feel fatigued heavily?

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Speaker 4: Yeah, like you hang over?

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Speaker 3: Huh yeah. Well usually I'm in there and like only

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Speaker 3: you might go in for half an hour at a time,

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Speaker 3: twenty minutes at a time. It's short burst. Whereas that

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Speaker 3: it was like it was like doing a matter. It

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Speaker 3: was like a long training session. You come out and

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Speaker 3: I'm just like Oh that was tough.

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Speaker 2: It is, it's really, it's mentally fatiguing. When I first

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Speaker 2: started doing the radio, my first job was at Radio

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Speaker 2: two SM. It was a Saturday show. We would the

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Speaker 2: show would start at midday and we finish at six

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Speaker 2: o'clock at night. Basically very few ads, no music, and

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Speaker 2: so it was just basically it was probably five and

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Speaker 2: a half hours just talking straight. And remember the first

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Speaker 2: took me a while to you get your like creative

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Speaker 2: fitness up. I'd finish the show the first time. Honestly,

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Speaker 2: I walked out. It was like I was drunk and

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Speaker 2: you were Actually I was drunk. No, but it's yeah,

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Speaker 2: it takes it takes a fair to get used to.

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Speaker 3: Yeah, yeah it is, and I'm it's good that. I'm

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Speaker 3: so glad. It's like your debut and you're so glad.

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Speaker 3: It goes so quick and you kind of can't really

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Speaker 3: remember if you played good or not, because like you're

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Speaker 3: just kind of in this trance. But I'm so glad

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Speaker 3: it's done. Like I felt. I remember the same thing

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Speaker 3: made my Rabby League Baby. I was just like, I

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Speaker 3: am so glad the first one's over and done with

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Speaker 3: just kind of like that nervous energy that you have

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Speaker 3: that sits inside, the little anxious bunny that's running around

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Speaker 3: in the stomach. It's kind of just dissipates.

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Speaker 2: It's like anything like you know, doing your radio, whether

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Speaker 2: it be radio, TV or or playing rugby league. The

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Speaker 2: really important thing is you don't want that. You don't

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Speaker 2: want that that feeling your stomach to disappear completely. You always,

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Speaker 2: excuse me, God, you always want to have that little

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Speaker 2: bit of nerds and apprehension. I don't know, if you

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Speaker 2: caught we just say a little bit of fear of failure,

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Speaker 2: you know, I could like that, that feeling that you

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Speaker 2: don't want to stuff up, that you don't want to

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Speaker 2: be embarrassed.

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Speaker 3: Would yeah, would you say the best of the like

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Speaker 3: in those type of industries, high pressure industries where you

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Speaker 3: have to perform, they're all a little bit paranoid and

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Speaker 3: afraid of failure. That's why they're so good, because they

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Speaker 3: are afraid of not performing to their best, so they

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Speaker 3: make sure they are well.

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Speaker 2: I've been of for that long, right, I'll say this,

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Speaker 2: I don't fear failure. What I fear. My fear is

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Speaker 2: whether it be radio, television, is hitting a point in

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Speaker 2: the show and lose them away and out what are

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Speaker 2: we doing? What are we talking about? We've got five

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Speaker 2: minutes to fill here and we've run out of stuff.

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Speaker 2: That's why, like I triply prepare, like prepare over the top,

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Speaker 2: Like your mum always says, you don't need to be

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Speaker 2: doing that. I know, but the day I don't do it.

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Speaker 3: But that's what I'm saying. Like you are paranoid that

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Speaker 3: you've got that little bit of fear of like I

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Speaker 3: don't want to be stuck, and you know it's embarrassing,

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Speaker 3: Like you, it is fear of failure in a sense,

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Speaker 3: because you would feel failed in yourself if you got

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Speaker 3: to a point where it was like, oh you didn't

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Speaker 3: know what was, you had nothing to throw to, or

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Speaker 3: you didn't have a story to going to. So you

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Speaker 3: prepare so much so that you don't fear it. You're

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Speaker 3: not fearful when you're going to the show.

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Speaker 2: And I think there's certain things that get stuck in

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Speaker 2: your psyche that make you who you are. And I

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Speaker 2: always remember as a kid, once happened to get up.

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Speaker 2: I was in year three or four in primary school

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Speaker 2: and happened to speak at the school assembly, and I

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Speaker 2: was that nervous. I was trembling, and then got halfway

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Speaker 2: through it and literally couldn't talk and felt like I

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Speaker 2: was gonna faint, and the whole school were laughing, and

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Speaker 2: we were going away, just going, and I reckon that

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Speaker 2: little moment sort of sticks with you. Yeah, and you go,

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Speaker 2: I never want to feel that again.

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Speaker 4: Yeah, well all things like that.

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Speaker 3: Yeah, similar thing. I had a YouTube talent show and

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Speaker 3: put I brought not similar actually, but I brought SingStar

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Speaker 3: in that old game on the PlayStation where you sing

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Speaker 3: karaoke into the machine. Yeah, yeah, just making sure you

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Speaker 3: knew for the listeners. And I choked really hard on

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Speaker 3: the mic and not physically. Sorry, I wasn't deep throating Jackie,

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Speaker 3: signaling that I was deep throating.

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Speaker 2: Better from you jack from you jack I do.

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Speaker 3: And I got real nervous and flustered. Everyone laughed at me,

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Speaker 3: and same thing ever since then. I even though I'm

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Speaker 3: nervous sometimes when I get in front of him, even karaoke,

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Speaker 3: I act like I'm not an act like I don't

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Speaker 3: really care, because it's I don't want to be laughed at.

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Speaker 2: Everyone cares, Yeah, yeah, you know, everyone cares, even the

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Speaker 2: people that says I don't care.

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Speaker 4: Of course they do care.

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Speaker 2: I just quickly coop before before we get into knabs

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Speaker 2: State of Origin one, give me what the score line

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Speaker 2: is going to be. Give me a man of the match.

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Speaker 3: It is going to be. It's going to be eighteen Okay,

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Speaker 3: eighteen fourteen to the Blues. Man of the match, my man,

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Speaker 3: Nico heines.

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Speaker 2: God, I hope you're right. It'd be terrific.

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Speaker 3: What's yours?

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Speaker 2: I think this would be at the moment what we

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Speaker 2: see with this season, we see a lot of high

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Speaker 2: scoring matches. Excuse me, I think I think the State

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Speaker 2: of Origin one, in the conditions historically in Sydney, their

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Speaker 2: low scoring affairs, I think they'll be a really, really

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Speaker 2: tight affair. I think New South Wales will win fourteen ten.

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Speaker 2: I don't think there'll be many more points that scored.

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Speaker 2: I'll be really surprised if a team gets into the twenties.

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Speaker 2: I think it'd be that tight a game. Two defensive sides.

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Speaker 2: My men of the match, still Edwards, Yeah, I think

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Speaker 2: Reece Robinson will have a big game. But can't go

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Speaker 2: past still On Edwards.

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Speaker 3: Yeah, he's a great player. Let's get into this interview

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Speaker 3: just before we do don't forget follow and subscribe to

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Speaker 3: our podcast and Spotify app and get to follow us

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Speaker 3: on socials at Cooper and Maddie John's backstage.

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Speaker 2: So and yes, just quickly again, don't forget first thing

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Speaker 2: Thursday morning.

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Speaker 3: Actually got it wrong. It was at backstage Cooper and

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Speaker 3: Maddy John's Thank you for shows. How much I know

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Speaker 3: about this podcast, Maddy Nabel. Welcome to backstage, mate, good

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Speaker 3: to have you in.

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Speaker 1: It's wonderful to be here. This is all very surreal

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Speaker 1: having YouTube boys Jack and Cooper here. My god, it's

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Speaker 1: just time has just gone so fast. Yeah, it's hard

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Speaker 1: to believe. You couldn't barely talk when I first meet.

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Speaker 3: I was drunk.

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Speaker 2: He was, by the way he's talking to Trush.

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Speaker 3: That's right, Hey, just before we get into the actual nuances,

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Speaker 3: why don't you tell the listeners and meet Where did

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Speaker 3: you guys meet me?

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Speaker 1: When I was doing the Final Winter He actually knew

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Speaker 1: Adam quite quite well because Adam was playing a Belmaine,

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Speaker 1: so he knew Adam. And then I don't know how

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Speaker 1: I got in touch with him, but it was the

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Speaker 1: first time I met him. Was trying to pitch this

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Speaker 1: final winner to him, so that was in two thousand

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Speaker 1: and five, so twenty years ago, and this is this

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Speaker 1: actually happened, and he read it. He read it and

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Speaker 1: there was a character in there, the character that I

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Speaker 1: had for him, and his name was Jack Cooper. I

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Speaker 1: didn't know. I didn't even know if he had kids.

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Speaker 1: I certainly didn't know that he had two sons called

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Speaker 1: Jack and Cooper. So that's really Mattie said to me, goes, well,

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Speaker 1: you know, I've got two boys, Jack and Cooper, and I'm.

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Speaker 4: Going to do it. So that's that's how we sort

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Speaker 4: of met.

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Speaker 2: Played against Gabes in ninety two because I remember Jack's

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Speaker 2: father and Jack's father.

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Speaker 3: And Jackson Jack's godfather.

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Speaker 2: Adam Muir played with names in the New South whiles

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Speaker 2: under seventeen.

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Speaker 4: It was under under nineteen under nineties.

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Speaker 2: Yeah, and I knew of names. And then we played

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Speaker 2: Your ninety two mainly where you Blakes hadn't won a

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Speaker 2: game for us. I think Maxim crilicious code, I'll throw up,

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Speaker 2: and they beat us.

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Speaker 4: It was no one.

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Speaker 1: I remember that because we were the only game that

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Speaker 1: was played there. The twenty ones and USD because the

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Speaker 1: first grade were playing over.

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Speaker 2: In New Zealand.

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Speaker 4: New Zealand or something, Carlile Park. Yeah, yeah, yeah.

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Speaker 1: That was one of the only games in Reserve Grade.

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Speaker 1: I was ever a part of that.

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Speaker 4: We won.

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Speaker 2: Mainly so as you said, I knew Adam very well.

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Speaker 2: We took a cross paths and different things and spent

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Speaker 2: a bit of time together. But yeah, then we did

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Speaker 2: the Final Window together, which was was a good, great experience.

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Speaker 4: Great fun.

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Speaker 3: How was How's Dad's acting? Was that your first How's

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Speaker 3: Dad's acting?

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Speaker 4: In that?

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Speaker 1: He's fantastic in it? Like he was really really good. Look,

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Speaker 1: we didn't know what we were doing, to be.

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Speaker 2: Honest, like we were, like you doing this podcast.

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Speaker 4: I've never been on set before.

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Speaker 1: I just remember getting there the first day and there

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Speaker 1: were all these tracks laid for the dolly and the camera.

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Speaker 1: I had no clue what I was doing, and I

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Speaker 1: just kept putting it out of my mind, just saying

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Speaker 1: just just.

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Speaker 4: Move forward, just do it.

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Speaker 1: It'll be okay, because if I thought too hard about it,

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Speaker 1: you know, there's a real chance I get overwhelmed. I'd

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Speaker 1: never acted in anything, I had done nothing. I didn't

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Speaker 1: I honestly didn't know what that.

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Speaker 3: Was your first role as well?

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Speaker 4: Yeah, so it me and John Z were the leads

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Speaker 4: in it and.

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Speaker 2: A set before blind leading the naked. But it was funny,

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Speaker 2: wasn't names looking It was like obviously my first time

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Speaker 2: on a movie set, but watching the politics of a

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Speaker 2: movie set and the creatives like clashing all.

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Speaker 1: The top, and I I didn't realize that that was

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Speaker 1: the deal. And you know, he had the director and

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Speaker 1: the dop they were in constant conflict at different stages.

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Speaker 1: And you had our mate ba he co directed. He

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Speaker 1: was trying to mediate between the director and the dop

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Speaker 1: and then at different stages. Because it unbeknownst to us,

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Speaker 1: I could watch it, but everyone sort of left me alone.

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Speaker 1: But yeah, it was It was a real sharp learning experience,

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Speaker 1: like it was. And after that came out, it came

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Speaker 1: out in September, and then in November. I was working

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Speaker 1: in America, so I was not prepared for any of

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Speaker 1: that at all. And again I just I had no

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Speaker 1: clue what.

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Speaker 4: I was doing.

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Speaker 2: John Jarrett just come off Wolf Creek. That's right, he

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Speaker 2: was in it. Ivan Cleary, yeah, he was the judiciary.

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Speaker 2: How many, Larry, how.

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Speaker 3: Many lines did Ivan Cleary you have?

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Speaker 4: Did you have any?

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Speaker 2: Well?

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Speaker 5: Many?

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Speaker 2: It's typical Ian. It was sort of just very understated.

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Speaker 1: It was was I think he was who was he coaching?

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Speaker 1: He was at the Roosters? Then I think you still there? Yeah,

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Speaker 1: we had all we had a boardroom full of We

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Speaker 1: had Tommy Rodonicus there, we had Max Curlich, we had

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Speaker 1: Terry Randall, we had who else was there?

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Speaker 4: Phil Sigsworth was there.

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Speaker 1: We had all these old legends that sort of put

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Speaker 1: the hend up for nothing and they came in and yeah,

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Speaker 1: it was great.

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Speaker 4: It was great.

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Speaker 1: You know, like we we we are really proud of

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Speaker 1: that film because you know, we'd never done anything before,

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Speaker 1: and the people that like it really like it. You know,

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Speaker 1: it's a real cult sort of as not a cult classic,

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Speaker 1: but it's certainly got a following of people that have watched,

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Speaker 1: you know, subsequent to that coming out and going actually

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Speaker 1: this this holds up. So yeah, I've done a lot

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Speaker 1: of worse work, believe.

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Speaker 2: What about what about the boardroom scene? So it's the

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Speaker 2: boardroom of the New Town Club, right, and Tommy is

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Speaker 2: both one of the board members. So Tommy's line was

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Speaker 2: to say something along the lines of I'm sitting there

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Speaker 2: as the coach and we're discussing names as future and

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Speaker 2: his lot Tommy's lines were, come on, Jack, you've got

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Speaker 2: to be kidding. The blokes had his time, you know that.

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Speaker 2: That was it when they said, Tommy put your own

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Speaker 2: spin on it, right, And you've got all the creatives

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Speaker 2: there people, you know, I don't know anything regular who

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Speaker 2: Tommy was. So we again there and I go, well,

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Speaker 2: I pushed back and go oh maybe, well I don't

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Speaker 2: know about that, and Tommy goes, is it my line? Yep,

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Speaker 2: and he goes right up off, fuck off, Jack, What

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Speaker 2: the fuck are you talking about? Fuck sake, a bloke

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Speaker 2: can't fucking play. They were going to fuck him off.

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Speaker 2: Just sit there, and they go maybe just pull back

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Speaker 2: slightly on the swearing. Tommy goes, oh, yeah, yeah, mate,

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Speaker 2: no worries. Okay, will I do it again? You do

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Speaker 2: it again, Tommy? Oh fuck Jack, just fuck him off. Okay,

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Speaker 2: We'll just pull back.

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Speaker 5: It was.

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Speaker 1: There was a long day, that one. It was And

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Speaker 1: who else was there? There was Noel Kelly was there?

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Speaker 2: Oh yeah, a great man.

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Speaker 4: He was champion.

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Speaker 1: We had there was a picture there was a picture

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Speaker 1: of we got mal Cochran's Rothman's Medal, and so they

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Speaker 1: had pictures of me like my character one Rothman's Medal.

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Speaker 1: I'm standing next to Tommy Rodonicus and Noel Kelly with

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Speaker 1: a Rothman's Medal. I've won it like it was preposterous.

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Speaker 3: What about some of the other characters you guys did

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Speaker 3: together on Dad's really successful show.

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Speaker 4: It was a great time.

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Speaker 3: The other successful show Dad had, which had one season.

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Speaker 2: It was actually so good that you know they candid

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Speaker 2: after what well, they didn't care. You always leave the warehouse, Yeah,

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Speaker 2: you leave the fans what more? They kept calling for it.

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Speaker 3: I said, nah, start with Tim and Tom. You always

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Speaker 3: had Tim and Tom together Tim in time.

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Speaker 5: My kids still think it's some of the best.

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Speaker 3: Everyone loves still.

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Speaker 1: I when we did that, that was in twenty ten,

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Speaker 1: there was a I didn't I didn't see this, but

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Speaker 1: I heard about it.

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Speaker 4: There was a.

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Speaker 1: Penrith were playing in a semi final that year at

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Speaker 1: Penrith Park. There must have been fifty guys dressed as

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Speaker 1: Tim and you couldn't do Tim and Tom. The probably

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Speaker 1: couldn't know, very politically incorrect, but that. The other one

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Speaker 1: we did was was GBH Security, which.

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Speaker 3: That was That was my favorite. Gil Nagasaki and Derek

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Speaker 3: Ponsford they were two that were probably my favorite characters.

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Speaker 2: You guys got a guy here, he's been playing up

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Speaker 2: at the football. He's very intoxicated and he's got a

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Speaker 2: little bit of system.

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Speaker 5: That was crazy stuff like and we and and Maddie's character.

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Speaker 4: There was there was one.

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Speaker 1: There was one skin It never made it in, but

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Speaker 1: we got We dressed this guy up in a pair

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Speaker 1: of hot pants at the gym, making you put these on.

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Speaker 2: He was just at the gym, work it out.

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Speaker 5: We said, like a little hot pants on.

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Speaker 1: These walk past and the singlet and I'm doing the

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Speaker 1: bench and he's spotting me.

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Speaker 5: And he spots the following.

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Speaker 1: There's another another one that made it squeezing people's on

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Speaker 1: the back of side all these.

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Speaker 5: He walks away.

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Speaker 4: Oh my.

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Speaker 2: Names. Writers strike in the States. Did that affect you?

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Speaker 5: It did affect me.

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Speaker 1: And we had a film that we were another film

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Speaker 1: I was going to direct over in the States, so

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Speaker 1: that got held up. I mean it really did shut

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Speaker 1: down to a shuddering hole. The writer strike happened. The

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Speaker 1: actors strike followed straight afterwards.

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Speaker 4: And yeah, it did.

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Speaker 1: It affected because I would have probably would have gone

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Speaker 1: in production last year over there. And in saying that too,

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Speaker 1: I was just in America a couple of weeks ago

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Speaker 1: with my agents over there, and they're still feeling the

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Speaker 1: effects of it. No one's really kicked off as quickly

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Speaker 1: as they thought they would. There's a lot of indecision

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Speaker 1: about what's going on. I was with Joel Legend and

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Speaker 1: last week on Wednesdays with Joel and he was talking

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Speaker 1: we've got this project together, and he was talking about

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Speaker 1: the same thing that it has had a really really

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Speaker 1: big effect even now that everyone's back, but the lag

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Speaker 1: effect is really substantial. So there's a little bit of

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Speaker 1: indecision on where they're going to spend the money and

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Speaker 1: what people are.

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Speaker 5: Looking for as far as content is concerned.

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Speaker 1: I think one of those things is the world is

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Speaker 1: in such a well, it's always in a crazy state,

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Speaker 1: but at the moment, you know it's they're in an

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Speaker 1: election cycle, then I don't know what's happening with that.

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Speaker 1: The Israel Hummas thing kicked off had a real impact

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Speaker 1: on the industry over there as far as dividing some

401
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Speaker 1: people as well. So it's a really ambiguous sort of

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Speaker 1: situation over there at the moment as to what content

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Speaker 1: they're going to start buying.

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Speaker 2: One of the big things was Artificial intelligence AI starting

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Speaker 2: to write scripts. Yes, names scary. Have you seen a

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Speaker 2: script written by AI? I have what sort of quality?

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Speaker 5: Exceptionally good quality.

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Speaker 1: So because the software is they can feed in, they

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Speaker 1: can feed in every well. That was one of the

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Speaker 1: things they were fighting against was the copyright sort of

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Speaker 1: and it's just so litigious with trying to protect all

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Speaker 1: this sort of stuff because it's out in the public

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Speaker 1: domain domain and there would have been software AI software

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Speaker 1: that have already downloaded thousands and thousands and thousands of scripts. Now,

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Speaker 1: if you then go to the AI and say I

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Speaker 1: want a highest film, and they've got sixty highest films

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Speaker 1: in there, they can punch something out that holds up structurally.

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Speaker 1: There'll be a first act, second act, third gact. And

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Speaker 1: for executives and people who are making films, you know,

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Speaker 1: that's really really attractive because the script is you know,

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Speaker 1: it's all about really it's all about putting stars in

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Speaker 1: the movie in the you know, attaching to the script,

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Speaker 1: and if they can pay them enough, then they'll get

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Speaker 1: something up. What they don't have to pay then other writers.

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Speaker 1: So you know, all these protections came in for that

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Speaker 1: and AI is I didn't really have my head around

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Speaker 1: until someone explained to me about you know, the capability

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Speaker 1: of AI and what that sort of means for the industry.

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Speaker 1: So they were right to strike and to fight against those,

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Speaker 1: you know, fight against what you know, the bigger companies

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Speaker 1: were we're trying to do. So, yeah, it's AI is

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Speaker 1: a Yeah, it's going to be problematic.

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Speaker 2: The first probably thing that you might have soon Cooper

434
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Speaker 2: associated with television or film with AI was the Anthony

435
00:21:00,720 --> 00:21:06,399
Speaker 2: Bourdain documentary road Runner. Now this was done on Bourdain's

436
00:21:06,440 --> 00:21:10,440
Speaker 2: life after he'd passed, but he narrates it right, and

437
00:21:10,480 --> 00:21:14,320
Speaker 2: that is AI. They've just knitted together all the different

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00:21:14,320 --> 00:21:18,399
Speaker 2: shows and every word he said. And there's a real argument.

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Speaker 2: So is this ethically right?

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Speaker 3: Well there's also apps. Now the way you can sort

441
00:21:25,840 --> 00:21:28,600
Speaker 3: of talk into a fund you can prank people pretending like,

442
00:21:28,720 --> 00:21:31,680
Speaker 3: you know, like it could have your voice and pretend like, hey,

443
00:21:31,720 --> 00:21:35,000
Speaker 3: I'm Maddie John's prank calling someone like it can redo

444
00:21:35,040 --> 00:21:37,239
Speaker 3: your voice, which could put you in a bit with

445
00:21:37,280 --> 00:21:40,360
Speaker 3: the voiceovers. Obviously you do a lot of voiceover way

446
00:21:40,359 --> 00:21:40,840
Speaker 3: from Fox.

447
00:21:41,000 --> 00:21:41,400
Speaker 4: I'm done.

448
00:21:41,720 --> 00:21:43,639
Speaker 3: Yeah, they might start.

449
00:21:43,720 --> 00:21:45,680
Speaker 1: The other thing is too imaging, you know, like there's

450
00:21:45,960 --> 00:21:53,639
Speaker 1: I got a contact from Sago the union over there about.

451
00:21:55,119 --> 00:21:55,199
Speaker 4: That.

452
00:21:55,320 --> 00:21:57,160
Speaker 1: I needed to hand over some details for them because

453
00:21:57,160 --> 00:21:59,320
Speaker 1: there was some sort of royalty payment that I had

454
00:21:59,320 --> 00:22:01,719
Speaker 1: from one of the shows I did. That they are

455
00:22:01,760 --> 00:22:07,719
Speaker 1: buying out something to do with your image, because you know,

456
00:22:07,760 --> 00:22:11,160
Speaker 1: there's all this deep fake stuff that's you know, around

457
00:22:11,280 --> 00:22:14,320
Speaker 1: that's really scary. So the AI intelligence and what the

458
00:22:14,359 --> 00:22:17,760
Speaker 1: actors were fighting against were like, you know, they can

459
00:22:17,760 --> 00:22:21,600
Speaker 1: feed in Brad Pitt's performances and create an image like

460
00:22:21,640 --> 00:22:24,520
Speaker 1: Brad Pitt who looks exactly like Brad Pitt, and make

461
00:22:24,560 --> 00:22:26,960
Speaker 1: a movie and go brad Pitt's, well it's not Brad Pitt,

462
00:22:26,960 --> 00:22:29,880
Speaker 1: but it's Brad Pitt's. No one will know the difference, right,

463
00:22:29,920 --> 00:22:31,679
Speaker 1: So they're fighting for if you're going to do that,

464
00:22:31,720 --> 00:22:33,840
Speaker 1: then Brad Pitt has to You can't stop them from

465
00:22:33,880 --> 00:22:37,280
Speaker 1: doing it. There's got to be compensation paid to the actor.

466
00:22:37,760 --> 00:22:39,840
Speaker 1: So if they want to use it, there's nothing to

467
00:22:39,840 --> 00:22:41,399
Speaker 1: stop them from using it. There's just got to be

468
00:22:41,440 --> 00:22:44,960
Speaker 1: compensation paid. So look, that's just around the corner. There

469
00:22:44,960 --> 00:22:46,800
Speaker 1: will be a movie at some point that will be

470
00:22:46,840 --> 00:22:49,360
Speaker 1: made that will have the likeness of all these people

471
00:22:49,400 --> 00:22:53,640
Speaker 1: who will get paid. I think that's inevitable. I don't

472
00:22:53,640 --> 00:22:55,800
Speaker 1: know when that will be, but it won't be them,

473
00:22:56,080 --> 00:22:58,199
Speaker 1: It'll just be the AI. Like that, some of that

474
00:22:58,280 --> 00:23:02,840
Speaker 1: deep fake stuff is terrifying because you can be incriminated,

475
00:23:03,560 --> 00:23:09,160
Speaker 1: you know, for something. Look if they if someone's out

476
00:23:09,160 --> 00:23:12,960
Speaker 1: to get yet and they want mud to stick, then

477
00:23:13,200 --> 00:23:16,560
Speaker 1: you know, I'm talking about high profile people politically or whatever.

478
00:23:17,440 --> 00:23:18,919
Speaker 4: That that's a very scary sort of.

479
00:23:18,920 --> 00:23:24,000
Speaker 1: Scenario because that it's so real and so far advanced,

480
00:23:24,000 --> 00:23:27,560
Speaker 1: and it's just exponentially getting more and more, more and

481
00:23:27,560 --> 00:23:29,399
Speaker 1: more advanced as we go. And this is just me

482
00:23:29,520 --> 00:23:31,960
Speaker 1: talking to guys who actually know what's going on, because

483
00:23:32,320 --> 00:23:35,959
Speaker 1: in my realm, I've got no idea whatsoever. But you know,

484
00:23:36,119 --> 00:23:38,560
Speaker 1: it's highly advanced.

485
00:23:39,240 --> 00:23:41,960
Speaker 2: Names ask you we spoke about scripts before or on

486
00:23:41,960 --> 00:23:45,119
Speaker 2: that subject. Let's talk about getting a role, right. So

487
00:23:45,200 --> 00:23:48,479
Speaker 2: let's say, for instance, Martin's called says he's bringing out

488
00:23:48,480 --> 00:23:51,560
Speaker 2: a film, he's interested in you. He asked you to

489
00:23:51,560 --> 00:23:55,000
Speaker 2: come and read for the role. What what is that process? Names?

490
00:23:55,080 --> 00:23:56,200
Speaker 2: Do you sit with others?

491
00:23:57,040 --> 00:24:01,160
Speaker 1: I actually did that something I was in LA and

492
00:24:01,640 --> 00:24:04,679
Speaker 1: I got a call they had Boardwalk Empire was a

493
00:24:04,720 --> 00:24:07,919
Speaker 1: Martin Scorsese production that he was an executive producer.

494
00:24:07,920 --> 00:24:08,240
Speaker 2: I think he.

495
00:24:09,920 --> 00:24:11,880
Speaker 1: Might have directed the pilot, and I got a call.

496
00:24:11,920 --> 00:24:15,280
Speaker 1: I got flowned in New York to read for his

497
00:24:16,119 --> 00:24:20,440
Speaker 1: casting director. Her name is Ellen Lewis, I think anyway.

498
00:24:20,720 --> 00:24:25,560
Speaker 1: So I went in there and there wasn't anyone else

499
00:24:25,600 --> 00:24:27,680
Speaker 1: there that was just me at that period of time

500
00:24:28,119 --> 00:24:31,240
Speaker 1: and read this happened. So I read for a role.

501
00:24:31,640 --> 00:24:33,840
Speaker 1: She said, Okay, I'm not sure you're right for this.

502
00:24:34,040 --> 00:24:36,040
Speaker 1: Read for this? Can you say? She gave me like

503
00:24:36,240 --> 00:24:38,800
Speaker 1: half an hour to learn. Another audition and I went

504
00:24:38,880 --> 00:24:42,800
Speaker 1: and did that. I didn't get anything, but that's that

505
00:24:43,000 --> 00:24:46,640
Speaker 1: was the experience I had with with with that particular project.

506
00:24:46,680 --> 00:24:48,359
Speaker 1: But usually speaking like, if you go in for a

507
00:24:48,440 --> 00:24:50,560
Speaker 1: roll in, you an audition. Yeah, and back in the

508
00:24:50,640 --> 00:24:53,640
Speaker 1: day when I was sort of starting out and you're

509
00:24:53,640 --> 00:24:56,720
Speaker 1: in America, you go to you're in a pilot season,

510
00:24:56,720 --> 00:24:58,399
Speaker 1: so I'd stay over there for five weeks and you

511
00:24:58,480 --> 00:25:02,000
Speaker 1: go an audition and yeah, there's tons of people in

512
00:25:02,040 --> 00:25:04,399
Speaker 1: the room, you know. I did this audition once where

513
00:25:05,680 --> 00:25:08,479
Speaker 1: Daniel Baldwin, like he's one of the other Boordland guys.

514
00:25:08,560 --> 00:25:09,200
Speaker 4: He was there.

515
00:25:10,480 --> 00:25:14,159
Speaker 1: Another guy Ronnie Eldard, who was quite bit. He was

516
00:25:14,200 --> 00:25:16,400
Speaker 1: in a thing called sleep as he was in Deep Impact.

517
00:25:16,600 --> 00:25:20,800
Speaker 1: He was reading for the same role the guy from

518
00:25:21,040 --> 00:25:23,600
Speaker 1: because I rang my brother and Mattie Astle straight away,

519
00:25:23,600 --> 00:25:26,919
Speaker 1: there was a guy in the room, Richard Tyson his

520
00:25:27,000 --> 00:25:30,920
Speaker 1: name is but he's in he's in kindergarten copy plays Crisp.

521
00:25:37,400 --> 00:25:39,760
Speaker 5: I rang that Crisps in the room.

522
00:25:40,440 --> 00:25:44,160
Speaker 2: He was something about Marry too, son.

523
00:25:44,000 --> 00:25:49,159
Speaker 1: Of as fantastic, So chat to him. So, yeah, you

524
00:25:49,200 --> 00:25:50,119
Speaker 1: see some people there that.

525
00:25:50,760 --> 00:25:51,000
Speaker 5: Yeah.

526
00:25:51,119 --> 00:25:55,080
Speaker 1: Look, I had a moment where, you know, I was

527
00:25:55,119 --> 00:25:57,920
Speaker 1: doing this pilot and I didn't know who they had

528
00:25:57,920 --> 00:25:58,520
Speaker 1: cast as the.

529
00:26:00,520 --> 00:26:02,720
Speaker 4: Chief police. You know, there was a role theft the

530
00:26:02,760 --> 00:26:03,920
Speaker 4: chief police. It was a big role.

531
00:26:04,400 --> 00:26:07,919
Speaker 1: Anyway, I walk on the set and it's Keith David

532
00:26:08,240 --> 00:26:11,480
Speaker 1: and Keith David's the African American actor who's in something

533
00:26:11,480 --> 00:26:12,919
Speaker 1: about Mayor who plays the father.

534
00:26:13,280 --> 00:26:17,720
Speaker 4: Oh yeah, you.

535
00:26:19,520 --> 00:26:22,480
Speaker 2: Look at that far it Oh shit.

536
00:26:22,960 --> 00:26:25,880
Speaker 4: And he's in platoon and stuff. So a couple of moments.

537
00:26:25,840 --> 00:26:28,879
Speaker 1: When you're starting out where you're sort of pinching yourself.

538
00:26:29,280 --> 00:26:31,960
Speaker 3: Did you get nervous doing that like with on the

539
00:26:32,000 --> 00:26:33,840
Speaker 3: ones where there's heaps of people there.

540
00:26:34,480 --> 00:26:38,120
Speaker 1: Yeah, I do get nervous, Yeah you do. Yeah, yeah,

541
00:26:38,119 --> 00:26:39,560
Speaker 1: because you're doing an accent.

542
00:26:39,680 --> 00:26:40,720
Speaker 4: You just don't look.

543
00:26:40,840 --> 00:26:42,480
Speaker 1: Like I said, right at the start ofment, I didn't

544
00:26:42,560 --> 00:26:45,400
Speaker 1: really know what I was doing, you know, like I've

545
00:26:45,400 --> 00:26:48,680
Speaker 1: sort of learned as just being from being on set

546
00:26:48,680 --> 00:26:50,600
Speaker 1: over a long period of time, what works for me

547
00:26:50,640 --> 00:26:52,280
Speaker 1: and what doesn't work for me. So yeah, I was

548
00:26:53,119 --> 00:26:57,040
Speaker 1: nervous and you know, not confident put it that way,

549
00:26:57,080 --> 00:26:59,600
Speaker 1: you know, like I was like, if I get this

550
00:26:59,680 --> 00:27:02,040
Speaker 1: is a weird miracle. But you learn in the end,

551
00:27:02,320 --> 00:27:06,080
Speaker 1: you know, once you've had some experience, auditioning often doesn't

552
00:27:06,119 --> 00:27:09,159
Speaker 1: really you know, it doesn't really matter if you've done

553
00:27:09,200 --> 00:27:10,720
Speaker 1: a good audition or not, as long as you don't

554
00:27:10,760 --> 00:27:15,000
Speaker 1: really really fuck it up. What matters is what they've got,

555
00:27:15,040 --> 00:27:17,879
Speaker 1: the producers and the creator. What is the closest thing

556
00:27:17,920 --> 00:27:19,439
Speaker 1: in their head to what they had written or what

557
00:27:19,440 --> 00:27:21,280
Speaker 1: they're thinking about, And if you match that, then you're

558
00:27:21,320 --> 00:27:21,920
Speaker 1: in every the show.

559
00:27:22,000 --> 00:27:24,840
Speaker 2: It's funny. I've heard people say that certain guys are

560
00:27:24,840 --> 00:27:29,760
Speaker 2: brilliant and actors natresses brillant at the reed and the

561
00:27:29,800 --> 00:27:33,119
Speaker 2: audition is really really good. I found it when we

562
00:27:33,119 --> 00:27:35,120
Speaker 2: did the Final Winner. We're sitting down and sort of rehearsing,

563
00:27:35,160 --> 00:27:37,400
Speaker 2: sitting around the circle. It's a bit like that documentary

564
00:27:37,400 --> 00:27:39,160
Speaker 2: with the Greatest Not in Pop Well, we are the world.

565
00:27:39,320 --> 00:27:42,880
Speaker 2: We're all sitting around and you feel the nerves. I mean,

566
00:27:42,960 --> 00:27:45,480
Speaker 2: even the great Bob Dylan, He's sitting there very insecure.

567
00:27:45,680 --> 00:27:47,359
Speaker 2: So I'm sitting there and they're all sitting around and

568
00:27:47,359 --> 00:27:49,960
Speaker 2: we've got John Jarrett. Now, unbeknownst to me, they say

569
00:27:50,000 --> 00:27:51,600
Speaker 2: John Jarrett is one of the worst people in the

570
00:27:51,640 --> 00:27:56,639
Speaker 2: world for Reid, and he's just he's fucking up, and

571
00:27:56,640 --> 00:27:59,359
Speaker 2: I'm thinking, Wow, this is good. This acting is not

572
00:27:59,400 --> 00:27:59,840
Speaker 2: too tough.

573
00:28:01,640 --> 00:28:04,399
Speaker 1: Yeah, look at people. People are you know, I've seen guys.

574
00:28:05,720 --> 00:28:07,160
Speaker 1: You know, you have a read through and they give

575
00:28:07,200 --> 00:28:08,760
Speaker 1: it nothing. And I'm a bit like that. If you

576
00:28:08,760 --> 00:28:12,760
Speaker 1: do a read through, I won't perform. It really just

577
00:28:12,800 --> 00:28:16,480
Speaker 1: matters on the day, you know, if you're ready and prepared.

578
00:28:16,720 --> 00:28:21,440
Speaker 1: But there are there are those situations, particularly in America,

579
00:28:21,480 --> 00:28:23,959
Speaker 1: where they have a read through and people have on

580
00:28:24,000 --> 00:28:26,960
Speaker 1: the read through, people have been replaced, so you know,

581
00:28:27,000 --> 00:28:29,000
Speaker 1: you do a read through. I remember doing a readthrough

582
00:28:29,040 --> 00:28:31,480
Speaker 1: for a pilot and I was already cast as the

583
00:28:31,560 --> 00:28:34,919
Speaker 1: lead in it, and there was a readthrough and they

584
00:28:34,920 --> 00:28:37,960
Speaker 1: said you have to this is you know, you need

585
00:28:37,960 --> 00:28:41,440
Speaker 1: to give it something here because the studios here, the

586
00:28:41,520 --> 00:28:43,480
Speaker 1: networks here is they want to get a flavor of

587
00:28:43,560 --> 00:28:45,240
Speaker 1: what the character is going to be so that you're

588
00:28:45,280 --> 00:28:48,200
Speaker 1: performing in that And in the those read throughs, people

589
00:28:48,200 --> 00:28:48,920
Speaker 1: have been replaced.

590
00:28:48,920 --> 00:28:50,640
Speaker 5: That happens all the time. So they've got the role,

591
00:28:50,720 --> 00:28:51,200
Speaker 5: they go to.

592
00:28:51,120 --> 00:28:55,120
Speaker 4: The read through. Yeah, I don't know people.

593
00:28:55,160 --> 00:28:57,760
Speaker 2: That's happened to the BMW, Darling ring back.

594
00:28:57,800 --> 00:29:00,640
Speaker 4: Actually, actually I've been repla that's.

595
00:29:00,840 --> 00:29:02,960
Speaker 3: That's getting that's not getting signed for a league like

596
00:29:02,960 --> 00:29:04,920
Speaker 3: a rugby club, and then you're rocking up your first

597
00:29:04,960 --> 00:29:07,240
Speaker 3: day of training train ship and they go, actually, nah.

598
00:29:07,240 --> 00:29:08,760
Speaker 4: Yeah, it's brutal.

599
00:29:08,960 --> 00:29:11,840
Speaker 1: And that's why that industry, you know, as an actor,

600
00:29:12,200 --> 00:29:15,920
Speaker 1: like if you're just an actor, it's brutal. You know,

601
00:29:16,000 --> 00:29:17,560
Speaker 1: like if you haven't got any other strings to your

602
00:29:17,560 --> 00:29:20,320
Speaker 1: bow then and you're relying on that and that alone,

603
00:29:21,040 --> 00:29:23,120
Speaker 1: then I don't care who you are. I mean, there's

604
00:29:23,120 --> 00:29:25,440
Speaker 1: some anomalies there where people have sort of stepped into

605
00:29:25,480 --> 00:29:28,400
Speaker 1: the frame and have become super successful straight away.

606
00:29:28,960 --> 00:29:33,040
Speaker 2: But what you hear a lot is no, yeah, that's funny.

607
00:29:33,040 --> 00:29:35,440
Speaker 2: Coops you said about the foot I've seen that, well,

608
00:29:35,480 --> 00:29:37,600
Speaker 2: I've heard of it with the rugby league site, New

609
00:29:37,640 --> 00:29:39,400
Speaker 2: South Wales State of Origin side. I was talking to

610
00:29:39,760 --> 00:29:41,880
Speaker 2: we're charity show you the day for Ricky Stewart for

611
00:29:41,960 --> 00:29:44,200
Speaker 2: Ricky Stewart Foundation. Yeah, and we have him to have

612
00:29:44,240 --> 00:29:46,440
Speaker 2: a laugh about Ricky was when he was Origin coach.

613
00:29:46,520 --> 00:29:50,960
Speaker 2: Once he selected a half back and about halfway through

614
00:29:51,000 --> 00:29:55,040
Speaker 2: the session, the ballback session, things weren't going great and

615
00:29:55,080 --> 00:29:58,680
Speaker 2: all of a sudden, the halfback goes. I just felt

616
00:29:58,720 --> 00:30:01,200
Speaker 2: just a little bit of a twinge him mcquad. I'm

617
00:30:01,240 --> 00:30:02,600
Speaker 2: just going to have to sit out the rest of

618
00:30:02,600 --> 00:30:04,560
Speaker 2: the session. He said, oh mate, but you you know what,

619
00:30:04,600 --> 00:30:06,320
Speaker 2: I can't carry a player. He's got an injury. You

620
00:30:06,440 --> 00:30:10,720
Speaker 2: got later see your lady. Oh no, it should be

621
00:30:10,760 --> 00:30:13,560
Speaker 2: right tomorrow. And no, mate, we're not going to risk

622
00:30:13,600 --> 00:30:14,800
Speaker 2: it and then we'll bring someone else in.

623
00:30:14,880 --> 00:30:16,560
Speaker 4: Oh wow, that's brutal.

624
00:30:16,720 --> 00:30:19,280
Speaker 3: That's this is a bit different. At the Storm. I

625
00:30:19,280 --> 00:30:21,400
Speaker 3: remember they always tell a story they got this guy

626
00:30:21,440 --> 00:30:23,640
Speaker 3: from France like he was playing like a It might

627
00:30:23,720 --> 00:30:26,640
Speaker 3: have been England who was playing like over there and

628
00:30:26,240 --> 00:30:28,960
Speaker 3: they were only picking him off tape and they were like, mate,

629
00:30:28,960 --> 00:30:31,160
Speaker 3: this guy's really good. So all the scouts they went,

630
00:30:31,200 --> 00:30:34,560
Speaker 3: you know what, let's sign this bloke up. And when

631
00:30:35,320 --> 00:30:38,080
Speaker 3: some sort of miscommunication between when the scout heard that

632
00:30:38,240 --> 00:30:39,640
Speaker 3: and then went to the club and they said, we

633
00:30:39,640 --> 00:30:42,120
Speaker 3: want to sign this guy. They ended up signing like

634
00:30:42,280 --> 00:30:43,920
Speaker 3: the center, it was a winger, and they ended up

635
00:30:43,920 --> 00:30:46,720
Speaker 3: signing the bloke inside of him the wrong and he

636
00:30:46,800 --> 00:30:49,520
Speaker 3: rocked up for pre season and he goes this guy

637
00:30:49,760 --> 00:30:52,520
Speaker 3: shit hey, like he's so much different than and then

638
00:30:52,800 --> 00:30:54,920
Speaker 3: working out the bloke that they wanted to still back

639
00:30:54,960 --> 00:30:56,320
Speaker 3: in France playing vocal.

640
00:30:56,280 --> 00:31:00,120
Speaker 2: Happened to Witness. This very famous story sort of that

641
00:31:02,400 --> 00:31:05,560
Speaker 2: was made public recently. There's been denials, but a guy

642
00:31:05,560 --> 00:31:08,160
Speaker 2: who was voted the worst Witness player of all time

643
00:31:08,680 --> 00:31:10,800
Speaker 2: what he did, he wasn't even a rugby league. I

644
00:31:10,840 --> 00:31:14,360
Speaker 2: heard about this and he snipped up all these cuts

645
00:31:14,640 --> 00:31:16,959
Speaker 2: of Brett Gillard, who's a great made of Fletchers and

646
00:31:16,960 --> 00:31:19,760
Speaker 2: Billy Miller and Brett played for the Roosters in West

647
00:31:19,800 --> 00:31:23,240
Speaker 2: and he was just a real hard, tenacious worker, tackling

648
00:31:23,240 --> 00:31:25,320
Speaker 2: anything that moves. So he cut up his tape and

649
00:31:25,360 --> 00:31:27,440
Speaker 2: sent it to Witness. A Witness signed him and he

650
00:31:27,480 --> 00:31:30,120
Speaker 2: went over and this guy was a really good training

651
00:31:30,080 --> 00:31:31,760
Speaker 2: he was really fit and they going wow, but then

652
00:31:31,800 --> 00:31:33,800
Speaker 2: he kept saying, oh no, I've got an injury player.

653
00:31:34,880 --> 00:31:38,240
Speaker 2: And then eventually went on the field. He went on

654
00:31:38,280 --> 00:31:40,800
Speaker 2: the field. They went, oh.

655
00:31:40,760 --> 00:31:46,080
Speaker 1: Fuck, that must have happened to me. When I I

656
00:31:46,120 --> 00:31:52,600
Speaker 1: was at Manly and I'd played ninety n I'd ended

657
00:31:52,640 --> 00:31:54,280
Speaker 1: up playing a couple of games in first grade. And

658
00:31:55,760 --> 00:32:01,080
Speaker 1: in nineteen ninety three Bose took over and he said,

659
00:32:01,120 --> 00:32:02,800
Speaker 1: and I played the whole year and under twenty ones.

660
00:32:02,840 --> 00:32:04,600
Speaker 1: I never got out and I moved out into the centers.

661
00:32:05,000 --> 00:32:09,000
Speaker 1: It was it was a nightmare, like I couldn't number up.

662
00:32:09,080 --> 00:32:11,520
Speaker 1: I just Adam Mabel like he was playing a bit

663
00:32:11,560 --> 00:32:13,120
Speaker 1: of twenty ones as well at that time, and he

664
00:32:13,480 --> 00:32:16,000
Speaker 1: I got replaced against the little warra ones because people

665
00:32:16,080 --> 00:32:19,720
Speaker 1: just running around, running over me, running around me. And anyway,

666
00:32:19,920 --> 00:32:21,200
Speaker 1: Bose come up to me at the end of the

667
00:32:21,280 --> 00:32:24,640
Speaker 1: year and said, look, I was only telling this story

668
00:32:24,640 --> 00:32:26,760
Speaker 1: the other day. He put the wake cause I lost

669
00:32:26,760 --> 00:32:28,240
Speaker 1: a heap of weight. He goes, put the weight back on.

670
00:32:28,280 --> 00:32:31,640
Speaker 1: You put your back in the second row, and I

671
00:32:31,680 --> 00:32:35,400
Speaker 1: was like, hang on, hang on, Stephen Man. Daniel cut

672
00:32:35,480 --> 00:32:39,000
Speaker 1: and Nick Kosse old cunning him. You know what I'm

673
00:32:39,000 --> 00:32:42,040
Speaker 1: going to leave. So but I cut this tape up.

674
00:32:43,360 --> 00:32:47,880
Speaker 1: You know, most of us from under twenty one, so

675
00:32:47,920 --> 00:32:50,000
Speaker 1: it looked like I was going okay, you know, and

676
00:32:50,120 --> 00:32:52,720
Speaker 1: I sent it to South Sydney and sow Sydney. Alan

677
00:32:52,800 --> 00:32:56,360
Speaker 1: James saw it signed him. I think I got there

678
00:32:56,360 --> 00:33:02,600
Speaker 1: and started like suck him and I set the same

679
00:33:02,640 --> 00:33:06,360
Speaker 1: tape to Tony Curry at London. Broncos made it, put

680
00:33:06,400 --> 00:33:08,080
Speaker 1: a bit of stuff from Carlisle where I was playing

681
00:33:08,080 --> 00:33:10,320
Speaker 1: in the second vision. They signed me on that as well,

682
00:33:10,560 --> 00:33:12,880
Speaker 1: and yeah, that only lasted six.

683
00:33:12,720 --> 00:33:17,560
Speaker 3: Months tape before we get off the role stuff, what

684
00:33:17,680 --> 00:33:19,760
Speaker 3: is the what's the biggest role you've ever read for?

685
00:33:21,080 --> 00:33:26,000
Speaker 4: Look? I read for There's a couple of things.

686
00:33:26,000 --> 00:33:26,280
Speaker 5: Look at.

687
00:33:26,320 --> 00:33:28,720
Speaker 1: You always have these sliding door moments in acting and

688
00:33:28,800 --> 00:33:32,240
Speaker 1: it happens to everyone, Like I turned down Game of

689
00:33:32,280 --> 00:33:34,840
Speaker 1: Thrones like a series regular on that. I think it

690
00:33:34,880 --> 00:33:37,720
Speaker 1: was season four or something. And I just come off

691
00:33:37,760 --> 00:33:40,600
Speaker 1: this film in America, and so you're getting off as

692
00:33:40,640 --> 00:33:42,960
Speaker 1: you're not auditioning. So I said, not of that, because

693
00:33:43,520 --> 00:33:45,800
Speaker 1: my agent at that point had told me he said,

694
00:33:45,840 --> 00:33:48,880
Speaker 1: now I think the powder's blown on that, and he said,

695
00:33:48,880 --> 00:33:49,640
Speaker 1: now we're going to hang.

696
00:33:49,560 --> 00:33:51,360
Speaker 5: Out for a hangout for a film.

697
00:33:51,760 --> 00:33:56,040
Speaker 1: That didn't happen either, So but I read for I

698
00:33:56,080 --> 00:34:00,680
Speaker 1: was doing The Walking Dead, which I didn't watch them,

699
00:34:00,680 --> 00:34:02,680
Speaker 1: not into zombies, but it was a massive, massive show

700
00:34:02,720 --> 00:34:08,680
Speaker 1: and there was a role called Nagan, who's a massive

701
00:34:08,760 --> 00:34:11,520
Speaker 1: role in that comic comic sphere. And it was meet

702
00:34:11,560 --> 00:34:13,719
Speaker 1: between me and another guy, and the other guy got it,

703
00:34:13,760 --> 00:34:15,360
Speaker 1: and when he got it, I looked at it and went, oh, no,

704
00:34:15,440 --> 00:34:16,680
Speaker 1: he's really right for it.

705
00:34:16,920 --> 00:34:18,399
Speaker 5: But I read for the look.

706
00:34:18,680 --> 00:34:21,600
Speaker 1: You read for roles they put you forward for, and

707
00:34:21,640 --> 00:34:23,600
Speaker 1: you think their lead roles, and they are, but they've

708
00:34:23,600 --> 00:34:25,560
Speaker 1: already cast someone. So what they're trying to do is

709
00:34:25,560 --> 00:34:28,400
Speaker 1: write you read in this, we just need a flavor

710
00:34:28,480 --> 00:34:29,919
Speaker 1: and where else can we put you?

711
00:34:29,920 --> 00:34:31,200
Speaker 4: You know what I mean? So it's not.

712
00:34:33,360 --> 00:34:36,880
Speaker 1: I've never been in a situation where and that the

713
00:34:36,920 --> 00:34:38,719
Speaker 1: time has gone now where you're a lead, like I

714
00:34:38,800 --> 00:34:40,600
Speaker 1: just come in as a character actor everything you know

715
00:34:40,680 --> 00:34:44,400
Speaker 1: and do what I do. But I never got to

716
00:34:44,440 --> 00:34:47,280
Speaker 1: a point where you were reading for big lead roles

717
00:34:47,360 --> 00:34:48,920
Speaker 1: or you've been considered for anything like that.

718
00:34:48,920 --> 00:34:49,640
Speaker 4: That just never happened.

719
00:34:49,719 --> 00:34:56,759
Speaker 1: Yellow the guy cole Houser, who plays one of the

720
00:34:56,920 --> 00:34:59,480
Speaker 1: he's the muscle on there. So yeah, I went really

721
00:34:59,520 --> 00:35:01,279
Speaker 1: really close on that. So there was me and a

722
00:35:01,320 --> 00:35:03,719
Speaker 1: couple other guys and he got it same thing. Cole

723
00:35:03,760 --> 00:35:07,839
Speaker 1: House is a really good act and when I get it,

724
00:35:07,880 --> 00:35:10,520
Speaker 1: so look, but then you know, someone steps out of

725
00:35:10,520 --> 00:35:14,120
Speaker 1: a role. How I got this thing on Riddick, you know,

726
00:35:14,280 --> 00:35:18,000
Speaker 1: years and years ago, was because they were going to

727
00:35:18,040 --> 00:35:20,279
Speaker 1: cast Mickey Rourke in it, and the director had some

728
00:35:20,320 --> 00:35:24,960
Speaker 1: real misgivings about having Vin Diesel and Mickey working together.

729
00:35:25,040 --> 00:35:25,799
Speaker 4: That that was the truth.

730
00:35:25,840 --> 00:35:28,920
Speaker 1: And he rang Darren Aronofsky and said, what's it like,

731
00:35:28,920 --> 00:35:32,560
Speaker 1: because he'd just done the Wrestler and he said it

732
00:35:32,600 --> 00:35:34,200
Speaker 1: could be problematic for you. So they said, you know what,

733
00:35:34,200 --> 00:35:37,359
Speaker 1: will cast some We'll cast no one. And so someone

734
00:35:37,400 --> 00:35:39,840
Speaker 1: stepped out. I moved in. I did something in the

735
00:35:39,880 --> 00:35:42,080
Speaker 1: audition that they liked, and that's how it happened.

736
00:35:42,200 --> 00:35:48,600
Speaker 2: And they rang Alan Jones. He said, signing, Jesus probably done.

737
00:35:49,800 --> 00:35:51,919
Speaker 3: What about Have you ever had a real embarrassing moment

738
00:35:51,960 --> 00:35:54,000
Speaker 3: in a read? Have you ever like screwed one up?

739
00:35:54,040 --> 00:35:54,200
Speaker 4: Really?

740
00:35:55,840 --> 00:35:58,200
Speaker 1: No, not really, I've always if I'm going to do it,

741
00:35:58,200 --> 00:36:03,200
Speaker 1: I'm prepared. So look, there's certainly done auditions and reads

742
00:36:03,200 --> 00:36:04,120
Speaker 1: where it's not great.

743
00:36:04,280 --> 00:36:07,600
Speaker 4: You know, you walk out that was terrible.

744
00:36:07,640 --> 00:36:11,359
Speaker 1: But no, I've never never fluffed anything that that bad look.

745
00:36:11,400 --> 00:36:14,080
Speaker 1: If you're prepared, you know. And look, the thing is,

746
00:36:15,160 --> 00:36:17,000
Speaker 1: if you make a mistake, it's to you to do

747
00:36:17,040 --> 00:36:19,480
Speaker 1: it again, you know. So it's not there's not a

748
00:36:19,480 --> 00:36:21,400
Speaker 1: great deal of pressure on it other than wanting to

749
00:36:21,400 --> 00:36:23,600
Speaker 1: get a job right, but as far as the process

750
00:36:23,680 --> 00:36:26,520
Speaker 1: is concerned and marking it up and look, I've definitely

751
00:36:26,520 --> 00:36:29,840
Speaker 1: sort of said long, I'm going to start again. But no,

752
00:36:30,000 --> 00:36:32,319
Speaker 1: I've never done something I think where people have looked

753
00:36:32,320 --> 00:36:33,000
Speaker 1: at each other.

754
00:36:32,920 --> 00:36:37,799
Speaker 2: And gone, look, one of those roads where they actually

755
00:36:37,840 --> 00:36:39,359
Speaker 2: got a high and you say the fact that they're

756
00:36:39,360 --> 00:36:41,480
Speaker 2: going to hire me after that. Read.

757
00:36:42,080 --> 00:36:45,520
Speaker 1: Look, I've certainly done auditions where I've come out and

758
00:36:45,600 --> 00:36:48,160
Speaker 1: not I thought that wasn't great, and have got the

759
00:36:48,239 --> 00:36:51,160
Speaker 1: role right, like I said before, And that comes down

760
00:36:51,160 --> 00:36:53,880
Speaker 1: to the creators of the show or the movie or whatever.

761
00:36:54,680 --> 00:36:56,799
Speaker 1: You have something that they've got in their mind that

762
00:36:56,880 --> 00:36:59,200
Speaker 1: might work, or a look that you might have. So

763
00:36:59,400 --> 00:37:01,040
Speaker 1: I tell a lot lot of young actors don't be

764
00:37:01,080 --> 00:37:04,000
Speaker 1: too worried about what you do in the audition because

765
00:37:04,080 --> 00:37:06,160
Speaker 1: often it doesn't matter what you do if you do

766
00:37:06,239 --> 00:37:08,239
Speaker 1: a good enough job and you've got something that they

767
00:37:09,000 --> 00:37:11,640
Speaker 1: actually have got in their head, or there might be

768
00:37:11,719 --> 00:37:15,960
Speaker 1: something that they've spoken about beforehand with a look or

769
00:37:16,200 --> 00:37:18,279
Speaker 1: a feel, and if you've got that, then you're in

770
00:37:18,280 --> 00:37:18,640
Speaker 1: the game.

771
00:37:18,840 --> 00:37:19,880
Speaker 4: It doesn't really matter.

772
00:37:20,239 --> 00:37:22,439
Speaker 1: Well, it matters about the audition, but it doesn't matter

773
00:37:22,480 --> 00:37:25,439
Speaker 1: about how necessarily how good it.

774
00:37:25,360 --> 00:37:27,759
Speaker 2: Is we're talking before. You know, you've played a lot

775
00:37:27,760 --> 00:37:29,880
Speaker 2: of professor, you've played a lot of professional sport, been

776
00:37:29,920 --> 00:37:34,000
Speaker 2: around a lot of sporting terms. Camaraderie on set of

777
00:37:34,000 --> 00:37:39,160
Speaker 2: a film? Does it the mood of a set? Put

778
00:37:39,160 --> 00:37:42,480
Speaker 2: it that way? Who sets the tone? Is it a director,

779
00:37:42,640 --> 00:37:43,600
Speaker 2: is it the lead actor?

780
00:37:44,280 --> 00:37:47,040
Speaker 1: It's a bit of everything, to be honest, you know,

781
00:37:47,160 --> 00:37:51,120
Speaker 1: like the director definitely sets a tone. And if the

782
00:37:51,120 --> 00:37:55,000
Speaker 1: directors working hard and because quite honestly that you can.

783
00:37:55,440 --> 00:37:59,440
Speaker 1: There are some directors that you know that are really

784
00:37:59,440 --> 00:38:01,680
Speaker 1: really good at certain things and that's what they do

785
00:38:01,719 --> 00:38:04,560
Speaker 1: and then they rely very heavily on their people around

786
00:38:04,560 --> 00:38:07,839
Speaker 1: them to execute the other stuff. And I'm like that,

787
00:38:07,960 --> 00:38:10,480
Speaker 1: Like I said, I've only directed one thing, but I'm not,

788
00:38:10,760 --> 00:38:13,680
Speaker 1: you know, I'm not. There are things that I'm good at,

789
00:38:13,800 --> 00:38:16,000
Speaker 1: you know, I guess is setting the tone because I've

790
00:38:16,000 --> 00:38:18,719
Speaker 1: written something. But there are a lot of technical things

791
00:38:18,719 --> 00:38:21,160
Speaker 1: that I'm not proficient at so you lean into that

792
00:38:21,200 --> 00:38:24,840
Speaker 1: and lean into other people. So the director, yes, sets

793
00:38:24,840 --> 00:38:27,360
Speaker 1: a tone, and definitely the lead actor if it's a

794
00:38:27,400 --> 00:38:29,799
Speaker 1: really titular role so it's just a guy standing out

795
00:38:29,840 --> 00:38:32,719
Speaker 1: in front of a lady standing in front. That makes

796
00:38:32,719 --> 00:38:36,399
Speaker 1: a big difference how they treat the crew and how

797
00:38:36,440 --> 00:38:40,359
Speaker 1: they interact with everyone else. You know, if you've got

798
00:38:40,360 --> 00:38:44,680
Speaker 1: an actor or an actress who's not behaving particularly well,

799
00:38:44,680 --> 00:38:47,680
Speaker 1: then they'll bring everyone else down. I've been in those

800
00:38:47,719 --> 00:38:51,360
Speaker 1: situations before, but a lot of the time, most of

801
00:38:51,400 --> 00:38:53,560
Speaker 1: the time, I'll be honest that the people at the

802
00:38:53,560 --> 00:38:57,239
Speaker 1: front are are there for a reason, and you know,

803
00:38:57,480 --> 00:38:59,520
Speaker 1: usually their behavior is really really good, and that's why

804
00:38:59,520 --> 00:39:01,719
Speaker 1: they continue work because it's easy for people to say,

805
00:39:01,800 --> 00:39:03,400
Speaker 1: I'm not working with him or I'm not going to

806
00:39:03,480 --> 00:39:07,280
Speaker 1: work with her. So the first ad is a big one,

807
00:39:07,640 --> 00:39:10,640
Speaker 1: you know on ours was Jeremy Jess Grogan.

808
00:39:10,719 --> 00:39:12,040
Speaker 4: You know, so who's great.

809
00:39:12,080 --> 00:39:14,719
Speaker 1: He's gone into you know, he's a big first a

810
00:39:14,800 --> 00:39:19,000
Speaker 1: d so that guy, a lot of it relies on him.

811
00:39:19,120 --> 00:39:21,440
Speaker 1: You know, he's running the day and then he's got

812
00:39:21,440 --> 00:39:25,080
Speaker 1: a department underneath him. So yeah, from the top, you know,

813
00:39:25,200 --> 00:39:27,319
Speaker 1: like it all sort of spreads down. Look if you

814
00:39:27,400 --> 00:39:30,400
Speaker 1: behave well, if you're a director and you behave well

815
00:39:30,440 --> 00:39:34,120
Speaker 1: and you're kind to people, then usually everyone gets on.

816
00:39:34,120 --> 00:39:36,840
Speaker 4: Board and it makes it a lot easier.

817
00:39:36,880 --> 00:39:40,000
Speaker 3: So who usually holds the most power? If there was

818
00:39:40,040 --> 00:39:42,960
Speaker 3: a director and a lead like a big league actor.

819
00:39:43,000 --> 00:39:46,840
Speaker 1: Yeah that's well, Look mate, that the film industry and

820
00:39:47,160 --> 00:39:51,680
Speaker 1: film history is littered with stories of directors and actors,

821
00:39:51,920 --> 00:39:55,359
Speaker 1: big big directors and big big actors or actors big

822
00:39:55,400 --> 00:39:59,320
Speaker 1: actors who are sort of superior and the directors subordinate.

823
00:39:59,400 --> 00:40:02,479
Speaker 1: Where it those awry and things get out of hand

824
00:40:02,480 --> 00:40:06,040
Speaker 1: and it's ugly. Directors have been sacked by actors.

825
00:40:06,320 --> 00:40:07,000
Speaker 4: Get rid of him.

826
00:40:07,080 --> 00:40:10,160
Speaker 1: Yeah, I'm not working with him, he's shitouse, and they

827
00:40:10,239 --> 00:40:17,160
Speaker 1: bring someone else in. So look, actors, you know, I'm

828
00:40:17,200 --> 00:40:19,520
Speaker 1: not so much that there are some actors now that

829
00:40:19,600 --> 00:40:21,520
Speaker 1: can still wild that power. But back in the day

830
00:40:21,600 --> 00:40:26,279
Speaker 1: where the actor was actor and director, if they were in,

831
00:40:27,080 --> 00:40:28,680
Speaker 1: if they weren't on the same page or rowing in

832
00:40:28,719 --> 00:40:30,600
Speaker 1: the same direction, get ugly real quick.

833
00:40:30,920 --> 00:40:33,560
Speaker 2: Yeah, I've got six directors sacked on the final winner.

834
00:40:35,600 --> 00:40:35,920
Speaker 5: Gone.

835
00:40:37,760 --> 00:40:41,240
Speaker 2: Is there anyone actor or director you won't work with again?

836
00:40:42,480 --> 00:40:46,919
Speaker 1: Look, I'm you know, I haven't had any really bad experiences,

837
00:40:47,080 --> 00:40:50,319
Speaker 1: you know, director of wise, I've always been treated really

838
00:40:50,320 --> 00:40:53,560
Speaker 1: really well and actor wise, Look, I've seen some bad behavior,

839
00:40:54,280 --> 00:40:56,799
Speaker 1: but not enough for me to say I'm not going

840
00:40:56,840 --> 00:40:57,400
Speaker 1: to work with you.

841
00:40:58,080 --> 00:41:00,000
Speaker 4: And inevitably, who the fuck am I?

842
00:41:00,239 --> 00:41:03,600
Speaker 1: You know, like I'm I'm you know, I'm just swinging

843
00:41:04,200 --> 00:41:05,960
Speaker 1: at the fences and doing my best, you know, like

844
00:41:06,040 --> 00:41:06,359
Speaker 1: I'm not.

845
00:41:06,880 --> 00:41:09,000
Speaker 4: I'm well known, and I.

846
00:41:08,880 --> 00:41:12,040
Speaker 1: Guess I'm well respected, but I'm not in a position

847
00:41:12,080 --> 00:41:16,399
Speaker 1: to be saying Sa Spielberg. And if a job comes

848
00:41:16,400 --> 00:41:18,680
Speaker 1: for me and I need to work, then if there's

849
00:41:18,680 --> 00:41:20,799
Speaker 1: someone there, I don't really like, I'm not going.

850
00:41:21,000 --> 00:41:21,720
Speaker 2: Yeah, I'm not working.

851
00:41:22,760 --> 00:41:26,279
Speaker 4: My wife is like, go to work. Yeah, but no.

852
00:41:26,440 --> 00:41:28,960
Speaker 4: But I just haven't had those experiences where they're bad.

853
00:41:29,000 --> 00:41:33,440
Speaker 1: I mean, I had a I had a a situation

854
00:41:33,640 --> 00:41:36,399
Speaker 1: coming I was doing a film in l A doing

855
00:41:36,440 --> 00:41:37,880
Speaker 1: a film in la but I'd just come off a

856
00:41:37,960 --> 00:41:40,560
Speaker 1: film in Victoria, and I was there for nine weeks

857
00:41:40,560 --> 00:41:42,880
Speaker 1: and it was was hard. When I say hard, it

858
00:41:42,880 --> 00:41:44,440
Speaker 1: were long days and I was the lead and it

859
00:41:44,520 --> 00:41:48,040
Speaker 1: was a tough sort of lifting. As far as the

860
00:41:48,080 --> 00:41:51,200
Speaker 1: content was concerned, I was about a guy who lost

861
00:41:51,200 --> 00:41:54,680
Speaker 1: his daughter and a hit and run, and anyway, I

862
00:41:54,719 --> 00:41:57,000
Speaker 1: was going to I to go. I basically drove back

863
00:41:57,120 --> 00:42:00,399
Speaker 1: with my wife from Melbourne and got a I'm playing

864
00:42:00,400 --> 00:42:01,960
Speaker 1: two days later to go and do this film in

865
00:42:02,080 --> 00:42:06,279
Speaker 1: la with Aaron Eckhart. And Aaron had just done this

866
00:42:06,320 --> 00:42:09,840
Speaker 1: thing with a really good friend of mine, of von Strohowsky.

867
00:42:09,920 --> 00:42:12,320
Speaker 1: He had done this thing called Frankenstein von rang Me

868
00:42:12,520 --> 00:42:14,640
Speaker 1: just telling me that she'd had such a rough time

869
00:42:14,680 --> 00:42:16,960
Speaker 1: with him, like a really really rough time.

870
00:42:17,360 --> 00:42:18,640
Speaker 2: He was two face, wasn't he?

871
00:42:18,640 --> 00:42:20,520
Speaker 5: He was a really good actor.

872
00:42:20,760 --> 00:42:24,440
Speaker 1: Anyway, I got there, got off a plane and went

873
00:42:24,480 --> 00:42:28,160
Speaker 1: straight into rehearsals. Aaron's rolling around a wheelchair because he's

874
00:42:28,920 --> 00:42:32,080
Speaker 1: character's going to wheelchair, so quite method. I'm like, whatever

875
00:42:32,160 --> 00:42:34,200
Speaker 1: your process you follow, I can give a fly fuck.

876
00:42:34,239 --> 00:42:39,560
Speaker 1: It's fine. But I'm with the director and I'm really

877
00:42:39,680 --> 00:42:42,799
Speaker 1: jet lagged. I'm like, maybe shouldn't be said yes to this,

878
00:42:42,800 --> 00:42:45,719
Speaker 1: it's too close to the other one. Anyway, I thought

879
00:42:45,719 --> 00:42:48,680
Speaker 1: I'm going to jump on this right now. So we

880
00:42:48,719 --> 00:42:52,440
Speaker 1: finished the rehearsal and the director says, there's me, Aaron,

881
00:42:52,480 --> 00:42:55,040
Speaker 1: and the director. Brad Peyton, who went on to do

882
00:42:55,960 --> 00:42:58,959
Speaker 1: San Andres works with the Rock a lot anyway, Brad says,

883
00:42:59,000 --> 00:43:02,279
Speaker 1: you know only your questions. Matt, No, no, no, I'm

884
00:43:02,320 --> 00:43:04,920
Speaker 1: all good, I said. But I said, look, I'm on time,

885
00:43:05,360 --> 00:43:11,560
Speaker 1: I'm sober, and I'm I like to have fun with

886
00:43:11,600 --> 00:43:13,040
Speaker 1: this if I can. I said, you never have a

887
00:43:13,040 --> 00:43:15,319
Speaker 1: problem with me. I said, the only time you'll have

888
00:43:15,320 --> 00:43:17,440
Speaker 1: a problem with me is if you talk to me poorly.

889
00:43:17,520 --> 00:43:18,800
Speaker 1: And I said, then you've got a problem.

890
00:43:18,920 --> 00:43:19,040
Speaker 5: Now.

891
00:43:19,080 --> 00:43:21,200
Speaker 1: It wasn't for the director, it was for Aaron, right,

892
00:43:21,360 --> 00:43:23,000
Speaker 1: And I didn't know him at that point either. I

893
00:43:23,040 --> 00:43:25,879
Speaker 1: was just like, I'm going to get on the front

894
00:43:25,880 --> 00:43:30,320
Speaker 1: foot right away. And the director said, no, I never happened. Fine,

895
00:43:30,840 --> 00:43:33,239
Speaker 1: but Aaron's and he said, thinking what does that mean?

896
00:43:33,320 --> 00:43:33,520
Speaker 5: Man?

897
00:43:34,400 --> 00:43:36,560
Speaker 1: And I'm like, I didn't expect that, right, Like. I

898
00:43:36,600 --> 00:43:39,719
Speaker 1: was like, I didn't expect that, And I said, it

899
00:43:39,840 --> 00:43:41,359
Speaker 1: says I don't want to be in a situation where

900
00:43:41,360 --> 00:43:42,840
Speaker 1: I'm going to embarrass someone physically.

901
00:43:44,200 --> 00:43:44,520
Speaker 4: Right.

902
00:43:44,719 --> 00:43:49,799
Speaker 1: So he was the nicest guy in the world to

903
00:43:49,840 --> 00:43:52,640
Speaker 1: me after that, So I didn't have it. I had

904
00:43:52,640 --> 00:43:54,839
Speaker 1: a great experience with him, but other people had had

905
00:43:54,880 --> 00:43:57,239
Speaker 1: bad experiences with him, so you know. And I had

906
00:43:57,239 --> 00:43:59,160
Speaker 1: a bad experience with Mel Gibbs, which I spoke on

907
00:43:59,160 --> 00:44:03,000
Speaker 1: the last podcast. But I you know, I had people

908
00:44:03,000 --> 00:44:05,600
Speaker 1: in the film had a great experience with him. I

909
00:44:05,680 --> 00:44:07,200
Speaker 1: might have got him on a bad day. I don't know.

910
00:44:07,239 --> 00:44:09,719
Speaker 1: There's a mean things going on or whatever. So we

911
00:44:09,760 --> 00:44:12,520
Speaker 1: all have bad days. You just sort of, like I said,

912
00:44:12,560 --> 00:44:15,120
Speaker 1: Aaron Eckhart to me was fantastic. So someone asked me

913
00:44:15,160 --> 00:44:15,680
Speaker 1: what was he like?

914
00:44:16,080 --> 00:44:18,239
Speaker 4: He was great. I'm gonnaly treat him how they treat you.

915
00:44:18,280 --> 00:44:21,239
Speaker 2: But I'd love to see the headlines Matt Navel bashes man

916
00:44:21,280 --> 00:44:21,680
Speaker 2: and will.

917
00:44:24,239 --> 00:44:26,920
Speaker 3: Like how when you say he's a method actor, Like

918
00:44:27,440 --> 00:44:30,640
Speaker 3: how if you had say he wanted to embarrass him

919
00:44:30,640 --> 00:44:32,839
Speaker 3: physically and you pushed him down, like what obviously he

920
00:44:32,880 --> 00:44:35,480
Speaker 3: was acting to be in a wheelchair, Like is in

921
00:44:35,600 --> 00:44:38,000
Speaker 3: that sort of situation? Is he coming out of that

922
00:44:38,040 --> 00:44:39,720
Speaker 3: method or is he just Look.

923
00:44:39,600 --> 00:44:41,720
Speaker 1: It's hard to know because a lot of the method acting,

924
00:44:42,400 --> 00:44:45,880
Speaker 1: a lot of that happens, you know, offset and in

925
00:44:45,920 --> 00:44:47,520
Speaker 1: front of no one. So I don't know what he

926
00:44:47,600 --> 00:44:49,480
Speaker 1: was doing at home, you know, whether he had a

927
00:44:49,480 --> 00:44:51,480
Speaker 1: wheelchair at home and he was wheeling himself around and

928
00:44:51,520 --> 00:44:54,759
Speaker 1: that I've got no fucking doing. I've done it like

929
00:44:54,840 --> 00:44:57,240
Speaker 1: I did one film where I really sort of committed

930
00:44:57,239 --> 00:45:01,680
Speaker 1: to it, and and you know, you take on things

931
00:45:01,760 --> 00:45:04,440
Speaker 1: or behaviors that the character might that you assume the

932
00:45:04,520 --> 00:45:08,040
Speaker 1: character would do, and it just didn't work for me mentally,

933
00:45:08,120 --> 00:45:11,320
Speaker 1: Like my mental health wasn't great doing it, and my

934
00:45:11,400 --> 00:45:16,040
Speaker 1: life at home wasn't great afterwards. And whether or not

935
00:45:16,560 --> 00:45:18,520
Speaker 1: it made any difference to the performance, I don't know.

936
00:45:18,800 --> 00:45:20,799
Speaker 1: You know, had I have not done those that fuck,

937
00:45:20,920 --> 00:45:23,040
Speaker 1: I don't know, Like I could have not done that

938
00:45:23,120 --> 00:45:24,000
Speaker 1: and done the same thing.

939
00:45:24,640 --> 00:45:25,399
Speaker 4: So I just.

940
00:45:25,320 --> 00:45:29,520
Speaker 1: Wanted to do it, you know, the follow the process

941
00:45:29,719 --> 00:45:34,200
Speaker 1: as I had been told and learn, and I'll never

942
00:45:34,239 --> 00:45:35,960
Speaker 1: do it again because it just didn't work for me,

943
00:45:36,080 --> 00:45:37,560
Speaker 1: Like it didn't work offset for me.

944
00:45:37,640 --> 00:45:40,800
Speaker 2: It was like names I want to ask about National

945
00:45:40,840 --> 00:45:44,640
Speaker 2: jol edgit your message before. But on that theme, we're

946
00:45:44,640 --> 00:45:47,319
Speaker 2: preparing for roles. What what is the toughest role you've

947
00:45:47,360 --> 00:45:48,399
Speaker 2: ever had to prepare for?

948
00:45:50,320 --> 00:45:51,040
Speaker 4: It was this thing.

949
00:45:53,000 --> 00:45:55,719
Speaker 1: It was this thing where I did it was a

950
00:45:55,719 --> 00:45:58,160
Speaker 1: film called Felt, which is a really beautiful Australian film.

951
00:45:58,200 --> 00:46:02,160
Speaker 1: We've me and Daniel Henschel and it was about a guy,

952
00:46:03,320 --> 00:46:08,239
Speaker 1: a really conservative guy, who takes his daughter camping and

953
00:46:08,800 --> 00:46:10,680
Speaker 1: loses sight of her she crosses a road in the

954
00:46:10,680 --> 00:46:13,880
Speaker 1: bush and she gets hit by a log truck and

955
00:46:13,920 --> 00:46:17,319
Speaker 1: she dies. And that was really really hard to get

956
00:46:17,360 --> 00:46:20,279
Speaker 1: my head around because you know, young kids and a

957
00:46:20,480 --> 00:46:22,480
Speaker 1: little girl, and.

958
00:46:22,000 --> 00:46:22,760
Speaker 4: That was difficult.

959
00:46:22,800 --> 00:46:24,960
Speaker 1: But I fought really hard to get the job because

960
00:46:25,200 --> 00:46:29,440
Speaker 1: there was a lot of high profile names who wanted

961
00:46:29,440 --> 00:46:32,560
Speaker 1: to do it and way more hope profile than me

962
00:46:32,840 --> 00:46:35,839
Speaker 1: and the director. And I said to the director, I said, look,

963
00:46:37,560 --> 00:46:39,799
Speaker 1: you could go from here to Siberia. I said, but

964
00:46:39,920 --> 00:46:43,759
Speaker 1: I'm telling you I'm the right guy for this role now,

965
00:46:44,000 --> 00:46:46,759
Speaker 1: at the current point in my life. I said, you

966
00:46:46,760 --> 00:46:48,600
Speaker 1: can cast all these guys and said they probably do

967
00:46:48,640 --> 00:46:51,160
Speaker 1: a great job, but I'm your guy. I know what

968
00:46:51,200 --> 00:46:57,319
Speaker 1: I And that was ballsy to do, and you know,

969
00:46:57,440 --> 00:46:59,719
Speaker 1: but I wanted it so badly because I could see

970
00:47:00,000 --> 00:47:02,200
Speaker 1: I was going to write a book had I was

971
00:47:02,239 --> 00:47:06,200
Speaker 1: on the hook to write another novel about a guy

972
00:47:07,080 --> 00:47:11,120
Speaker 1: I was fascinated by, morbidly fascinated by what would happen

973
00:47:11,160 --> 00:47:14,920
Speaker 1: if what would happen the deconstruction a human being if

974
00:47:14,960 --> 00:47:20,160
Speaker 1: your child was taken from you violently. And I pitched

975
00:47:20,160 --> 00:47:23,040
Speaker 1: it to my publisher and they were on board. And

976
00:47:24,120 --> 00:47:25,840
Speaker 1: I spoke to my wife about it, and she was like,

977
00:47:25,920 --> 00:47:29,080
Speaker 1: I have no interest in you spending twelve months in

978
00:47:29,160 --> 00:47:31,240
Speaker 1: that headspace writing that book.

979
00:47:31,680 --> 00:47:32,440
Speaker 4: This came up.

980
00:47:32,640 --> 00:47:35,640
Speaker 1: It was a different way to go about what I

981
00:47:35,680 --> 00:47:37,960
Speaker 1: was trying to explore, and so I came up. So

982
00:47:38,000 --> 00:47:39,879
Speaker 1: I fought for it because I wasn't going to write

983
00:47:39,920 --> 00:47:42,680
Speaker 1: the book, but this was another way of going through

984
00:47:42,719 --> 00:47:44,400
Speaker 1: that names.

985
00:47:44,840 --> 00:47:47,960
Speaker 2: There's I read somewhere when Heath led you got the

986
00:47:48,000 --> 00:47:51,040
Speaker 2: role of joker Jack Nicholson rang him. Of course you

987
00:47:51,160 --> 00:47:54,520
Speaker 2: played joke early and said be careful, this character gets

988
00:47:54,600 --> 00:47:59,760
Speaker 2: under your skin. Yeah, wow, does that resonate with you?

989
00:48:00,120 --> 00:48:00,400
Speaker 5: Only?

990
00:48:00,520 --> 00:48:04,000
Speaker 1: Can we have scabs left from doing something I remember doing,

991
00:48:05,239 --> 00:48:07,680
Speaker 1: you know, the role I did this thing called one

992
00:48:07,680 --> 00:48:10,600
Speaker 1: percent where I played this really repugnant sort of character,

993
00:48:11,239 --> 00:48:15,880
Speaker 1: and yeah, I was you know, I quite say I

994
00:48:15,880 --> 00:48:18,400
Speaker 1: was an asshole for weeks and weeks afterwards, you know,

995
00:48:18,520 --> 00:48:21,680
Speaker 1: like there was a real residual sort of effect that

996
00:48:21,760 --> 00:48:24,960
Speaker 1: sort of clung to you. And I look back on

997
00:48:25,000 --> 00:48:28,160
Speaker 1: it retrospectively and you just, yeah, you don't like yourself

998
00:48:28,239 --> 00:48:28,640
Speaker 1: at all.

999
00:48:29,200 --> 00:48:31,160
Speaker 4: So yeah, that has happened.

1000
00:48:31,400 --> 00:48:33,640
Speaker 1: And look, the older you get that, the less inclined,

1001
00:48:33,680 --> 00:48:38,400
Speaker 1: and you know you are to entertain any that you

1002
00:48:38,480 --> 00:48:40,239
Speaker 1: just go I don't need to do that. And if

1003
00:48:40,239 --> 00:48:42,480
Speaker 1: it's too hard, I'm not doing it. You know, like

1004
00:48:42,480 --> 00:48:45,800
Speaker 1: if someone come and ask me to play a role

1005
00:48:45,880 --> 00:48:49,439
Speaker 1: of a pedophile or a serial killer or something, I'm

1006
00:48:49,520 --> 00:48:52,560
Speaker 1: just going no, I'm not going into that rabbit hole

1007
00:48:52,640 --> 00:48:54,920
Speaker 1: or down that path. It's just not for me anyway

1008
00:48:54,960 --> 00:48:56,600
Speaker 1: at this point in my life. It's not worth it.

1009
00:48:56,960 --> 00:48:59,680
Speaker 3: What effect did that have on the family, Like when

1010
00:48:59,680 --> 00:49:04,520
Speaker 3: you have to do these dark roles.

1011
00:49:02,840 --> 00:49:06,560
Speaker 1: You know, like you're not present with your kids, and yeah, no, no,

1012
00:49:06,840 --> 00:49:09,640
Speaker 1: it wasn't good. You know, like it's all to Cassandra

1013
00:49:09,640 --> 00:49:11,759
Speaker 1: about it. It was awful, you know, like you're not

1014
00:49:11,800 --> 00:49:13,960
Speaker 1: you're not a good person, you're not playing a good person,

1015
00:49:14,000 --> 00:49:18,400
Speaker 1: and there's all this, you know, and you at times

1016
00:49:18,440 --> 00:49:20,800
Speaker 1: when you're when you're acting and you're in that situation,

1017
00:49:21,040 --> 00:49:24,960
Speaker 1: you can get really an inflated opinion of yourself, you know,

1018
00:49:25,120 --> 00:49:27,720
Speaker 1: like and I went through that. You know where you're

1019
00:49:28,520 --> 00:49:30,319
Speaker 1: and it's really hard to look back on because you're

1020
00:49:30,680 --> 00:49:33,440
Speaker 1: there's there's there's shame and attached to it, an embarrassment,

1021
00:49:33,520 --> 00:49:35,160
Speaker 1: you know, like the things that came out of your

1022
00:49:35,200 --> 00:49:37,040
Speaker 1: mouth or your set or the way you behave Like

1023
00:49:38,000 --> 00:49:40,719
Speaker 1: there's part of me, Like, there's another part of me

1024
00:49:40,840 --> 00:49:43,960
Speaker 1: that wants to flog that that guy. Right, I'm like,

1025
00:49:44,880 --> 00:49:47,439
Speaker 1: if I met that guy now, I'd be like, mate,

1026
00:49:47,440 --> 00:49:50,440
Speaker 1: you're a fuck with you know what I mean? Like so,

1027
00:49:51,160 --> 00:49:53,000
Speaker 1: but it is all tied up in the work that

1028
00:49:53,080 --> 00:49:55,480
Speaker 1: you do, Like it's not it's not arbitrary, and it's

1029
00:49:55,520 --> 00:49:59,960
Speaker 1: not just happening for no reason. It's the industry, it's

1030
00:50:00,160 --> 00:50:04,080
Speaker 1: it's where you are placing that the role that you're playing.

1031
00:50:04,360 --> 00:50:06,600
Speaker 1: It manifests in a well it did with me. It

1032
00:50:06,680 --> 00:50:09,720
Speaker 1: manifests in a way that I look back on with

1033
00:50:09,719 --> 00:50:14,360
Speaker 1: with real disappointment and shame. But that's fucking life, you know,

1034
00:50:14,480 --> 00:50:16,400
Speaker 1: so you've got to get through it. But there were

1035
00:50:16,480 --> 00:50:20,520
Speaker 1: roles that I played that that sort of exacerbated that.

1036
00:50:20,880 --> 00:50:24,840
Speaker 2: I've got a huge inflated opinion of myself. But two shows,

1037
00:50:25,120 --> 00:50:27,360
Speaker 2: three podcasts, and how it's believe, it's hard not to

1038
00:50:27,960 --> 00:50:29,920
Speaker 2: it's hard. Equally, it is hard to prick that balloon.

1039
00:50:31,680 --> 00:50:34,640
Speaker 3: What about the Aussie film industry? Now? What about like,

1040
00:50:34,680 --> 00:50:37,839
Speaker 3: because in your opinion, is it in a good place?

1041
00:50:37,960 --> 00:50:38,120
Speaker 5: Yeah?

1042
00:50:38,120 --> 00:50:39,719
Speaker 4: I think it is, Yeah, I do that.

1043
00:50:39,760 --> 00:50:43,880
Speaker 1: There's yeah, look at the Australian film industry is a

1044
00:50:43,960 --> 00:50:44,400
Speaker 1: funny one.

1045
00:50:44,400 --> 00:50:45,359
Speaker 4: I'm not really.

1046
00:50:47,280 --> 00:50:51,400
Speaker 1: They're not say they're not my people, but that I'm

1047
00:50:51,440 --> 00:50:53,200
Speaker 1: not that connected to it. Right, I've got my own

1048
00:50:53,239 --> 00:50:55,680
Speaker 1: life and I can pick and choose what i want

1049
00:50:55,719 --> 00:51:00,839
Speaker 1: to do because I've spread myself, you know, quite quite far.

1050
00:51:02,160 --> 00:51:03,320
Speaker 5: But as far as.

1051
00:51:03,360 --> 00:51:05,799
Speaker 1: Content is concerned, the things they're making, and they're really

1052
00:51:05,880 --> 00:51:08,480
Speaker 1: talented people that are involved, Yeah, it is in a

1053
00:51:08,480 --> 00:51:13,239
Speaker 1: really good position. Like there's some really talented people that

1054
00:51:13,320 --> 00:51:15,840
Speaker 1: are around and that are really committed to making Australian

1055
00:51:15,840 --> 00:51:19,879
Speaker 1: content and moving it forward, you know. So they're look

1056
00:51:20,000 --> 00:51:23,160
Speaker 1: and the diversity issue in the Australian film industry has

1057
00:51:23,160 --> 00:51:26,880
Speaker 1: been addressed and addressed really really responsibly and well so

1058
00:51:27,760 --> 00:51:31,600
Speaker 1: in that regard, you know, moving trying to push and

1059
00:51:31,600 --> 00:51:35,239
Speaker 1: give platforms to indigenous filmmakers and let them them tell

1060
00:51:35,280 --> 00:51:39,040
Speaker 1: their stories, not just slotting them in, you know, arbitrarily

1061
00:51:39,080 --> 00:51:42,759
Speaker 1: into movies or TV shows, but giving them a voice

1062
00:51:42,800 --> 00:51:45,800
Speaker 1: and saying we'll go and tell your story. Yeah, they're

1063
00:51:45,840 --> 00:51:47,719
Speaker 1: really proactive and they're the sort of at the cult

1064
00:51:47,760 --> 00:51:51,520
Speaker 1: face of all that sort of stuff. So but yeah,

1065
00:51:52,000 --> 00:51:55,600
Speaker 1: it's in a pretty look like anything. Sometimes I hear

1066
00:51:55,719 --> 00:51:58,239
Speaker 1: shows being made and I can get disappointed. I'm like,

1067
00:51:58,440 --> 00:52:00,200
Speaker 1: this is a remake of this is the best can

1068
00:52:00,239 --> 00:52:04,000
Speaker 1: do type of thing, but by large I think it's Yeah,

1069
00:52:04,040 --> 00:52:05,000
Speaker 1: it's in a pretty good spot.

1070
00:52:05,640 --> 00:52:08,279
Speaker 3: This is just this is a question without knowing give

1071
00:52:08,320 --> 00:52:12,080
Speaker 3: you this. If there's a mount Rushmore, but let's say three.

1072
00:52:12,120 --> 00:52:14,600
Speaker 3: If there's an Australian actors of all time, who are

1073
00:52:14,600 --> 00:52:15,239
Speaker 3: you putting on it?

1074
00:52:15,960 --> 00:52:22,759
Speaker 4: Russell cra good question, that's great. Russell Krag Look, I

1075
00:52:22,800 --> 00:52:23,960
Speaker 4: think he's probably.

1076
00:52:25,080 --> 00:52:28,200
Speaker 1: Well, he's probably the most successful actor, but you know,

1077
00:52:28,320 --> 00:52:31,320
Speaker 1: Russell Crowe Kate Blanchett definitely.

1078
00:52:31,520 --> 00:52:31,719
Speaker 4: You know.

1079
00:52:31,800 --> 00:52:34,840
Speaker 1: So there's those two I think that are just trailblazers.

1080
00:52:37,160 --> 00:52:39,840
Speaker 1: And then you know, you look at maybe guys like

1081
00:52:39,960 --> 00:52:43,920
Speaker 1: Jack Thompson and Bill Hunter and these guys that set

1082
00:52:43,920 --> 00:52:48,920
Speaker 1: a standard and and you know, allowed all these guys

1083
00:52:48,920 --> 00:52:51,880
Speaker 1: to come after them. You know, like the three is

1084
00:52:51,920 --> 00:52:52,439
Speaker 1: not enough.

1085
00:52:52,520 --> 00:52:59,200
Speaker 2: But look, Kate Blanchett and Russell Crowe, for me, are

1086
00:52:59,239 --> 00:53:02,040
Speaker 2: the two people that really stand.

1087
00:53:01,680 --> 00:53:02,720
Speaker 4: Out as all.

1088
00:53:02,760 --> 00:53:05,080
Speaker 3: Hogan well, Hoase.

1089
00:53:04,880 --> 00:53:06,760
Speaker 4: Was an entertainer, not an actor.

1090
00:53:06,920 --> 00:53:10,319
Speaker 1: You know, look, great job in Crocodile Dundee, but he's

1091
00:53:10,440 --> 00:53:14,960
Speaker 1: much more an entertainer than he is anything else. But yeah,

1092
00:53:15,200 --> 00:53:18,360
Speaker 1: those two particularly and then you know there's Heath Ledger

1093
00:53:18,440 --> 00:53:21,560
Speaker 1: and you know naming what's Joel legend and that there's

1094
00:53:21,640 --> 00:53:24,600
Speaker 1: there's a lot of really good ones around that are contributing.

1095
00:53:24,640 --> 00:53:27,640
Speaker 2: What about Jelogit, Nash and Joeligit and my god, they're

1096
00:53:28,000 --> 00:53:29,120
Speaker 2: tumbled brothers.

1097
00:53:29,200 --> 00:53:31,080
Speaker 1: They are they're you know, and I'm really good mates

1098
00:53:31,120 --> 00:53:35,120
Speaker 1: with those guys there. They're always yeah, and they've been

1099
00:53:35,160 --> 00:53:36,680
Speaker 1: around for such a long time. They've been around for

1100
00:53:36,680 --> 00:53:39,640
Speaker 1: twenty five years and you know, they've paid their dues

1101
00:53:39,680 --> 00:53:41,560
Speaker 1: and they are where they are. Nash, you know, I

1102
00:53:41,600 --> 00:53:43,600
Speaker 1: got to work really close to you and miss in between,

1103
00:53:43,640 --> 00:53:47,080
Speaker 1: and you know, the way he executed that was was

1104
00:53:47,080 --> 00:53:49,319
Speaker 1: a big reason great. It was a big reason it

1105
00:53:49,360 --> 00:53:52,879
Speaker 1: was so successful. And then Joel, I've got this really

1106
00:53:52,880 --> 00:53:56,360
Speaker 1: interesting project with called Hard Luck about Jerry Quarry.

1107
00:53:56,400 --> 00:53:58,920
Speaker 4: So you know, we're really close.

1108
00:53:58,760 --> 00:54:02,479
Speaker 2: To explained to people like Jerry Quarry was the great

1109
00:54:02,480 --> 00:54:05,319
Speaker 2: White Hope, wasn't He was heavyweight fighting.

1110
00:54:05,280 --> 00:54:06,800
Speaker 4: Yeah he was in the sixties.

1111
00:54:07,800 --> 00:54:10,279
Speaker 1: Yeah, he fought everyone, the only guy to fight Arli twice,

1112
00:54:10,320 --> 00:54:13,719
Speaker 1: Phraser twice and really really sadly he passed away at

1113
00:54:13,760 --> 00:54:18,440
Speaker 1: fifty three from pugilistic dementia. So me and jo I'll

1114
00:54:18,440 --> 00:54:20,959
Speaker 1: have been talking about this for three or four years,

1115
00:54:21,000 --> 00:54:23,640
Speaker 1: but it's got to a point now where things are

1116
00:54:23,640 --> 00:54:25,680
Speaker 1: moving and there'll be some momentum. So you know, we're

1117
00:54:25,719 --> 00:54:27,000
Speaker 1: hoping to make it sort of next year.

1118
00:54:28,960 --> 00:54:32,040
Speaker 2: Let's talk about it insights coops with names.

1119
00:54:32,680 --> 00:54:35,160
Speaker 3: Actually before we go onto the little we always finished

1120
00:54:35,160 --> 00:54:37,319
Speaker 3: with little menual questions, but I wanted to you talked

1121
00:54:37,320 --> 00:54:40,840
Speaker 3: about accents earlier, and because obviously a lot of the

1122
00:54:40,920 --> 00:54:44,920
Speaker 3: roles in film are never really based in Australia with

1123
00:54:45,000 --> 00:54:49,880
Speaker 3: Australian accents. So what's the toughest sort of culture accent

1124
00:54:49,920 --> 00:54:50,760
Speaker 3: you've had to learn?

1125
00:54:51,800 --> 00:54:53,200
Speaker 4: I've done a great question.

1126
00:54:53,320 --> 00:54:55,279
Speaker 2: I'm so proud that I'm just going to so straight

1127
00:54:55,320 --> 00:54:58,840
Speaker 2: away just to sit here and see the man you've become.

1128
00:55:01,520 --> 00:55:02,440
Speaker 4: Look, I've done a lot.

1129
00:55:02,760 --> 00:55:06,799
Speaker 1: I've done a Scottish accent, which I was both you know,

1130
00:55:06,880 --> 00:55:12,160
Speaker 1: praise for and castigated for. I've done American accents, same thing,

1131
00:55:12,560 --> 00:55:16,800
Speaker 1: you know. I've done British accent. I did a Hungarian accent.

1132
00:55:16,480 --> 00:55:18,040
Speaker 4: That was good, Barracuda, Barracuda.

1133
00:55:19,320 --> 00:55:22,600
Speaker 1: I think that they're all problematic. I did an English

1134
00:55:22,640 --> 00:55:25,719
Speaker 1: accent that wasn't great. You know, because I listened to it.

1135
00:55:25,640 --> 00:55:28,800
Speaker 1: It doesn't sound English. It was very, very difficult to

1136
00:55:29,080 --> 00:55:31,600
Speaker 1: do the accent when you're not in the homeland of

1137
00:55:31,640 --> 00:55:35,759
Speaker 1: the accent you're trying to do so in America. It's

1138
00:55:35,880 --> 00:55:38,200
Speaker 1: less problematic if you're doing it because you're hearing it

1139
00:55:38,280 --> 00:55:40,560
Speaker 1: all the time. Everyone's speaking that way, so you get

1140
00:55:40,560 --> 00:55:42,120
Speaker 1: picked up on does that sound right?

1141
00:55:42,160 --> 00:55:43,000
Speaker 4: Doesn't sound right?

1142
00:55:44,200 --> 00:55:46,799
Speaker 1: But if you're not in that situation and you're just

1143
00:55:46,840 --> 00:55:49,120
Speaker 1: doing an accent and there's no one else talking like that,

1144
00:55:49,120 --> 00:55:51,319
Speaker 1: that can be really really hard. I think the one

1145
00:55:51,360 --> 00:55:54,520
Speaker 1: that I've been told is really difficult is South African.

1146
00:55:54,719 --> 00:55:58,880
Speaker 1: You know, it's a very harsh accent and if you

1147
00:55:58,880 --> 00:55:59,600
Speaker 1: don't get it right.

1148
00:55:59,680 --> 00:56:02,840
Speaker 2: Yeah, South African accent has got a lot of starts

1149
00:56:02,840 --> 00:56:09,319
Speaker 2: on this, but we'll speak to South African people, but

1150
00:56:09,520 --> 00:56:10,560
Speaker 2: it is a harsh accent.

1151
00:56:10,600 --> 00:56:12,560
Speaker 1: I did a keywee accident on a job over in

1152
00:56:12,560 --> 00:56:16,880
Speaker 1: New Zealand and that was hard because you're you know,

1153
00:56:16,920 --> 00:56:18,960
Speaker 1: what you want to try and do is if you

1154
00:56:19,040 --> 00:56:22,279
Speaker 1: push it too hard, it becomes you know, it's a

1155
00:56:22,360 --> 00:56:25,680
Speaker 1: character to you know, like it Voth's and the and yeah,

1156
00:56:25,760 --> 00:56:28,359
Speaker 1: it's too much. So if you lean into that too much.

1157
00:56:28,360 --> 00:56:31,560
Speaker 1: It doesn't you know, it's equally as bad. So it's

1158
00:56:31,560 --> 00:56:34,360
Speaker 1: just trying to fire strike a balance. But look, they're

1159
00:56:34,400 --> 00:56:39,040
Speaker 1: good fun to do, but yeah they're problematic. I remember

1160
00:56:39,080 --> 00:56:41,960
Speaker 1: doing Jock Ross and and you know this person I

1161
00:56:42,000 --> 00:56:44,480
Speaker 1: was doing the accent coaching with, she told me that

1162
00:56:44,520 --> 00:56:46,200
Speaker 1: you need to be talking like this for an hour

1163
00:56:46,200 --> 00:56:46,560
Speaker 1: a day.

1164
00:56:47,280 --> 00:56:49,439
Speaker 2: Oh god, get out of the shop, get the names.

1165
00:56:52,960 --> 00:56:55,920
Speaker 1: I was talking like that in perpetual stations and I

1166
00:56:55,960 --> 00:56:57,960
Speaker 1: look back at that and just like shut up, like

1167
00:56:58,360 --> 00:57:00,439
Speaker 1: you're going to do that. Just go home and talk

1168
00:57:00,480 --> 00:57:03,240
Speaker 1: to yourself. But nobody putting other people through that shit.

1169
00:57:03,640 --> 00:57:05,759
Speaker 1: It's good of a new place. Yeah I did that, Like

1170
00:57:05,880 --> 00:57:08,640
Speaker 1: was at a pub talking like a blind one night

1171
00:57:08,680 --> 00:57:12,080
Speaker 1: at like a manly function that was lived the It

1172
00:57:12,120 --> 00:57:16,320
Speaker 1: was twenty and eleven, so we had this. We used

1173
00:57:16,320 --> 00:57:18,479
Speaker 1: to get together on all these old boys get together

1174
00:57:18,520 --> 00:57:21,400
Speaker 1: before the Grand Final on a Friday. I was smashed anyway,

1175
00:57:21,480 --> 00:57:23,200
Speaker 1: started talking like I was about to start doing the

1176
00:57:23,280 --> 00:57:26,200
Speaker 1: Bikey Wars was talking like a like a Scotsman, and

1177
00:57:26,280 --> 00:57:29,000
Speaker 1: Hank to this day just fucking does not stop it.

1178
00:57:31,120 --> 00:57:35,000
Speaker 5: Do you think you are talking like a Scotsman?

1179
00:57:35,080 --> 00:57:36,240
Speaker 2: You're blind?

1180
00:57:38,040 --> 00:57:42,320
Speaker 5: Embarrassing what about right now?

1181
00:57:42,440 --> 00:57:45,600
Speaker 3: Is there any roles that you're circling for this year

1182
00:57:45,640 --> 00:57:47,440
Speaker 3: coming up that you really want to get your hands on.

1183
00:57:47,520 --> 00:57:48,280
Speaker 3: Is there anything coming in?

1184
00:57:48,280 --> 00:57:49,920
Speaker 1: And we've been really busy at the start of the year,

1185
00:57:49,960 --> 00:57:52,920
Speaker 1: there's nothing. Look, I'm just sort of looking at everything

1186
00:57:52,960 --> 00:57:57,760
Speaker 1: that's coming in. There's this show with Stan we don't

1187
00:57:57,800 --> 00:57:59,320
Speaker 1: know who it's going to be with it yet, but

1188
00:57:59,800 --> 00:58:02,800
Speaker 1: some I've created that is pretty exciting that will happen

1189
00:58:02,840 --> 00:58:06,840
Speaker 1: this year. So I'll be happy to get through to

1190
00:58:06,880 --> 00:58:09,440
Speaker 1: March and then jump on to you know, writing the

1191
00:58:09,480 --> 00:58:11,200
Speaker 1: rest of that and going into production with that. So

1192
00:58:13,360 --> 00:58:15,800
Speaker 1: but there's nothing, you know specifically that I'm looking at

1193
00:58:15,800 --> 00:58:18,400
Speaker 1: that look, because it comes in like a week at

1194
00:58:18,400 --> 00:58:20,080
Speaker 1: a time, you want to do this, You're looking at

1195
00:58:20,080 --> 00:58:23,360
Speaker 1: that and sometimes really quiet, like because you're just not

1196
00:58:23,520 --> 00:58:26,080
Speaker 1: right for the stuff that's going on. You can't do everything,

1197
00:58:26,080 --> 00:58:29,080
Speaker 1: and I certainly can't do everything. So so it comes

1198
00:58:29,080 --> 00:58:31,240
Speaker 1: in waves like a purple patches. A lot of things

1199
00:58:31,240 --> 00:58:33,720
Speaker 1: come in and sometimes it's it's it's quite And I

1200
00:58:33,800 --> 00:58:36,040
Speaker 1: made a really really conscious decision not to go back

1201
00:58:36,080 --> 00:58:38,440
Speaker 1: to America for three or four years because the kids

1202
00:58:38,560 --> 00:58:42,400
Speaker 1: at that age, but I was in La week before last,

1203
00:58:42,440 --> 00:58:45,919
Speaker 1: and I'll start looking at stuff over there again, what.

1204
00:58:45,840 --> 00:58:48,680
Speaker 3: About what about your voice just before your voiceover work?

1205
00:58:48,720 --> 00:58:50,400
Speaker 3: Because you've turned into a little bit of a cult

1206
00:58:50,440 --> 00:58:53,840
Speaker 3: hero among in the rugby league world for the advertisements

1207
00:58:53,840 --> 00:58:56,800
Speaker 3: and stuff. Yeah, there it is there. It's all cruels,

1208
00:58:57,160 --> 00:58:58,600
Speaker 3: is that all cruel?

1209
00:58:58,360 --> 00:59:01,520
Speaker 1: Crawls crawls as good as he is at what he is,

1210
00:59:01,560 --> 00:59:04,120
Speaker 1: and he's very good at spotting talent and running it. Well,

1211
00:59:04,120 --> 00:59:08,360
Speaker 1: he's made that Fox League without Fox League. You know,

1212
00:59:09,080 --> 00:59:12,200
Speaker 1: it's not Fox Sports like it is now. Fox League

1213
00:59:12,240 --> 00:59:17,160
Speaker 1: is exceptionally cheers big what it is. But he grabbed,

1214
00:59:17,240 --> 00:59:19,120
Speaker 1: so he grabs you. So that he very good at

1215
00:59:19,120 --> 00:59:23,040
Speaker 1: spotting talent. But what he's exceptionally good at is is writing.

1216
00:59:23,160 --> 00:59:26,640
Speaker 1: And that's a great love of his. So he's a

1217
00:59:26,760 --> 00:59:29,120
Speaker 1: really emotive writer. So he gets it. So I was

1218
00:59:29,120 --> 00:59:31,040
Speaker 1: doing the cricket the other day, but I don't want

1219
00:59:31,040 --> 00:59:31,880
Speaker 1: anything about cricket, but.

1220
00:59:31,920 --> 00:59:32,520
Speaker 4: I was reading it.

1221
00:59:32,520 --> 00:59:35,480
Speaker 1: Go and make this sounds unreal, you know, so it's

1222
00:59:35,520 --> 00:59:37,720
Speaker 1: and people people bringing me mates. Go mate, you don't

1223
00:59:37,720 --> 00:59:40,840
Speaker 1: know anything about cricket because it was good though, because

1224
00:59:40,880 --> 00:59:43,200
Speaker 1: that's cruelly and saying with the cars we do the

1225
00:59:43,640 --> 00:59:47,240
Speaker 1: he did this one thing, and I was reading it.

1226
00:59:47,360 --> 00:59:49,320
Speaker 1: I was like, this is so good, and he and

1227
00:59:49,360 --> 00:59:53,880
Speaker 1: they bought the song, an ac D song I Want

1228
00:59:53,920 --> 00:59:56,920
Speaker 1: to Hell and Crawls wrote this thing.

1229
00:59:56,880 --> 00:59:57,960
Speaker 4: And that was all starting.

1230
00:59:58,000 --> 01:00:00,440
Speaker 1: He goes, you know, there's something in the actual of

1231
01:00:00,480 --> 01:00:04,280
Speaker 1: these v eights. There's sugar game and you can smell it,

1232
01:00:04,360 --> 01:00:06,600
Speaker 1: and I'm like, how the fuck did he write that?

1233
01:00:06,680 --> 01:00:07,840
Speaker 1: But it's so good.

1234
01:00:08,240 --> 01:00:09,160
Speaker 4: So yeah.

1235
01:00:09,160 --> 01:00:11,040
Speaker 1: A lot of it is like I'll write every now

1236
01:00:11,040 --> 01:00:13,480
Speaker 1: and then I'll write the indigenous round one. Some of

1237
01:00:13,480 --> 01:00:15,480
Speaker 1: the bigger pieces, like the Manly Piece of the paramount

1238
01:00:15,520 --> 01:00:17,840
Speaker 1: of Piece. I'll go away and write those things. But

1239
01:00:17,880 --> 01:00:20,560
Speaker 1: the week in, week out stuff is cruels. And he's

1240
01:00:21,440 --> 01:00:24,160
Speaker 1: as good as he is of what he does. He's

1241
01:00:24,200 --> 01:00:25,080
Speaker 1: an exceptional writer.

1242
01:00:25,240 --> 01:00:27,120
Speaker 3: Do you get many punters on a night out coming

1243
01:00:27,200 --> 01:00:29,800
Speaker 3: up to you? Oh yeah, impersonating.

1244
01:00:30,160 --> 01:00:30,680
Speaker 4: All the time.

1245
01:00:30,840 --> 01:00:33,520
Speaker 1: Look mate, it's not yeah, you know, look the best

1246
01:00:33,640 --> 01:00:37,160
Speaker 1: I've ever seen you go with Maddie. And because his

1247
01:00:37,280 --> 01:00:41,520
Speaker 1: persona is such like on everyone's mate, you get flogged

1248
01:00:42,360 --> 01:00:45,280
Speaker 1: flogged right, So I'm a little bit more like give

1249
01:00:45,280 --> 01:00:48,160
Speaker 1: off a vibe to go away, but it's it's and

1250
01:00:48,200 --> 01:00:49,920
Speaker 1: look for as many people who like it. There are

1251
01:00:49,920 --> 01:00:51,520
Speaker 1: a lot of people who don't like it. I'd a

1252
01:00:51,600 --> 01:00:53,560
Speaker 1: mate send me a text.

1253
01:00:54,800 --> 01:00:55,120
Speaker 4: He took.

1254
01:00:55,360 --> 01:01:00,440
Speaker 1: I'm not on social media, but someone on Twitter had hosted.

1255
01:01:01,600 --> 01:01:01,880
Speaker 5: I was.

1256
01:01:01,960 --> 01:01:03,360
Speaker 1: I did a year of commentary at a year of

1257
01:01:03,440 --> 01:01:06,080
Speaker 1: acting and went and commentated for for one year. Anyway,

1258
01:01:06,160 --> 01:01:09,560
Speaker 1: this guy sent on his Twitter feed. He goes, Matt Nabel,

1259
01:01:10,120 --> 01:01:13,720
Speaker 1: couldn't play, can't act, can't.

1260
01:01:13,400 --> 01:01:16,320
Speaker 2: Call your love mates? You send things that a lot.

1261
01:01:17,000 --> 01:01:18,280
Speaker 5: I thought that was brilliant.

1262
01:01:18,480 --> 01:01:20,320
Speaker 2: I've got your back mate, I'm just gonna send.

1263
01:01:20,120 --> 01:01:22,080
Speaker 1: You look at that. And I was like, that's actually

1264
01:01:22,160 --> 01:01:25,160
Speaker 1: very clever. So that for so many people who liked

1265
01:01:25,360 --> 01:01:27,560
Speaker 1: the voice savers, there are people who are just like, oh,

1266
01:01:27,560 --> 01:01:30,120
Speaker 1: I'm not this fucking clown again, you know. So it

1267
01:01:30,240 --> 01:01:32,200
Speaker 1: is what it is. But look, I love doing it.

1268
01:01:32,200 --> 01:01:34,240
Speaker 1: It's I really really enjoy it.

1269
01:01:35,080 --> 01:01:37,760
Speaker 2: We've got our menu of questions conclube with some insights.

1270
01:01:37,880 --> 01:01:41,160
Speaker 3: Okay, what's your all time movie line?

1271
01:01:41,840 --> 01:01:43,080
Speaker 5: Best all time movie line?

1272
01:01:43,160 --> 01:01:45,880
Speaker 3: Movie line or movie? If you can't think of one,

1273
01:01:45,920 --> 01:01:46,920
Speaker 3: you can do movie No.

1274
01:01:47,880 --> 01:01:50,120
Speaker 1: I was only listening to the Watchables the other day,

1275
01:01:50,480 --> 01:01:52,800
Speaker 1: which which you put me onto Maddie, and they were

1276
01:01:52,840 --> 01:01:56,600
Speaker 1: doing the Fugitive and I might not be the favorite

1277
01:01:56,600 --> 01:01:59,280
Speaker 1: because but when Kimball.

1278
01:01:58,920 --> 01:02:02,160
Speaker 5: Goes, I didn't kill my wife, and.

1279
01:02:02,000 --> 01:02:03,919
Speaker 4: Tommy Lee Jone goes, I don't care.

1280
01:02:04,400 --> 01:02:05,080
Speaker 2: It's awesome.

1281
01:02:05,200 --> 01:02:07,360
Speaker 4: That's pretty good, and the story behind that is right.

1282
01:02:08,000 --> 01:02:11,160
Speaker 1: David too, he wrote the Fugitive who directed Me and

1283
01:02:12,040 --> 01:02:17,120
Speaker 1: Rick and Tommy Lee. Jones for years has been claiming

1284
01:02:17,760 --> 01:02:21,640
Speaker 1: that he had libbed the line four years.

1285
01:02:21,520 --> 01:02:23,840
Speaker 4: And David two. He goes, it's in the script.

1286
01:02:24,520 --> 01:02:25,160
Speaker 5: I wrote it.

1287
01:02:25,360 --> 01:02:27,280
Speaker 4: He goes, he's an outsile.

1288
01:02:29,160 --> 01:02:29,400
Speaker 5: He said.

1289
01:02:29,400 --> 01:02:31,920
Speaker 1: He goes, mate, it's in the script. And the other

1290
01:02:31,920 --> 01:02:35,560
Speaker 1: one he goes, I don't bargain. Tommy Lee goes, you

1291
01:02:35,600 --> 01:02:38,120
Speaker 1: know I live that. No, you didn't he in the script.

1292
01:02:38,440 --> 01:02:41,680
Speaker 2: That's funny you say that. I was thinking I wake

1293
01:02:41,760 --> 01:02:44,920
Speaker 2: up wanting God knows why, but I thought of Harrison Ford.

1294
01:02:45,000 --> 01:02:47,560
Speaker 2: And there was that one thing he did ad lib

1295
01:02:47,560 --> 01:02:50,360
Speaker 2: in Indiana Jones when the samurai guy comes out and

1296
01:02:50,360 --> 01:02:53,000
Speaker 2: he's doing the samurai saw. He was supposed to engage

1297
01:02:53,280 --> 01:02:54,840
Speaker 2: in a bit of a fight. He just pulls out

1298
01:02:54,840 --> 01:02:57,440
Speaker 2: the gun and shoots him or that was ad libbed.

1299
01:02:57,480 --> 01:02:59,760
Speaker 2: That was like a joke on set, and they went,

1300
01:02:59,800 --> 01:03:00,760
Speaker 2: that's brilliant.

1301
01:03:00,520 --> 01:03:02,480
Speaker 1: Ye and looks at some of that. I was talking

1302
01:03:02,480 --> 01:03:06,360
Speaker 1: to a guy the other day who was talking about

1303
01:03:06,440 --> 01:03:10,200
Speaker 1: Vince Vaughn and Owen Wilson and those guys. A lot

1304
01:03:10,200 --> 01:03:13,200
Speaker 1: of their stuff, you know, in writing crashes is just

1305
01:03:13,240 --> 01:03:15,880
Speaker 1: them wrapping, you know, like so a lot of that

1306
01:03:15,920 --> 01:03:18,040
Speaker 1: good stuff. There's a lot of failing that goes on.

1307
01:03:19,120 --> 01:03:21,160
Speaker 1: And Bradley Cooper was talking on one of these things

1308
01:03:21,200 --> 01:03:24,320
Speaker 1: about how Vince Vaughn were just never afraid to fail

1309
01:03:24,800 --> 01:03:26,800
Speaker 1: and then he come out with something and you're like,

1310
01:03:27,080 --> 01:03:27,520
Speaker 1: you got it.

1311
01:03:28,280 --> 01:03:30,800
Speaker 2: Brother said the same thing, Bill Murray, just keep rolling,

1312
01:03:30,960 --> 01:03:33,640
Speaker 2: just keeping some of the lines and earned the Craken

1313
01:03:33,760 --> 01:03:37,400
Speaker 2: returns in with months and Munson walks out and he

1314
01:03:37,520 --> 01:03:39,240
Speaker 2: just sits there in the cafe and he looks over

1315
01:03:39,240 --> 01:03:41,000
Speaker 2: at the table. There's an old woman and a young

1316
01:03:41,040 --> 01:03:44,320
Speaker 2: woman and totally outlive and he just goes hi and

1317
01:03:44,360 --> 01:03:46,840
Speaker 2: the old woman goes hi. He goes, I'm not talking

1318
01:03:46,840 --> 01:03:47,120
Speaker 2: to you.

1319
01:03:47,520 --> 01:03:51,800
Speaker 1: Hi, Well I reckon what will Ferrell in you know,

1320
01:03:51,880 --> 01:03:55,120
Speaker 1: wedding Crashes when he's going, mom me love, you know,

1321
01:03:55,200 --> 01:03:55,920
Speaker 1: that's all.

1322
01:03:55,720 --> 01:03:57,040
Speaker 2: Just what she's doing.

1323
01:03:57,040 --> 01:04:02,400
Speaker 1: About what she's doing, that's all them just going where

1324
01:04:02,440 --> 01:04:02,760
Speaker 1: you go?

1325
01:04:03,960 --> 01:04:07,520
Speaker 3: Yeah, what about your song lyric? All time?

1326
01:04:08,200 --> 01:04:10,680
Speaker 5: Um, look, that's that's a tough one.

1327
01:04:10,720 --> 01:04:15,080
Speaker 1: But these days music is really really hard to find

1328
01:04:15,160 --> 01:04:17,360
Speaker 1: music that's I mean, you can find it a lot

1329
01:04:17,360 --> 01:04:20,120
Speaker 1: of it's quite folky. But there were proper lyricists like

1330
01:04:20,200 --> 01:04:22,400
Speaker 1: John Cougar, Mellencamp when you listen to check it out

1331
01:04:22,400 --> 01:04:25,600
Speaker 1: and Cherry Baum and minutes to memories like their their

1332
01:04:25,600 --> 01:04:26,640
Speaker 1: fucking compositions.

1333
01:04:26,640 --> 01:04:28,000
Speaker 4: There their stories.

1334
01:04:28,280 --> 01:04:31,280
Speaker 1: Billy Joel listened to scenes of Italian from Italian Restaurant.

1335
01:04:31,480 --> 01:04:33,520
Speaker 1: It's a story, do you know what I mean?

1336
01:04:36,280 --> 01:04:36,920
Speaker 2: Satisfaction?

1337
01:04:37,960 --> 01:04:42,200
Speaker 4: No, look at yeah, Like I love all that sort

1338
01:04:42,240 --> 01:04:42,560
Speaker 4: of stuff.

1339
01:04:42,600 --> 01:04:46,560
Speaker 1: So you know when when when someone's telling a story,

1340
01:04:46,640 --> 01:04:49,480
Speaker 1: it's you know, like I don't I mean, I wouldn't

1341
01:04:49,560 --> 01:04:52,880
Speaker 1: know who's hot. At the moment, my daughter, who's thirteen,

1342
01:04:53,000 --> 01:04:56,680
Speaker 1: La said I want to go see the weekend. I

1343
01:04:56,720 --> 01:04:58,960
Speaker 1: was like, fuck it, it's not what you want to

1344
01:04:59,000 --> 01:05:02,600
Speaker 1: see the weekend. It's it's fucking Monday. She goes, No,

1345
01:05:02,680 --> 01:05:07,320
Speaker 1: he's he's a rapper the weekend.

1346
01:05:07,360 --> 01:05:10,960
Speaker 2: I was like, we all love the weekend. It's Monday.

1347
01:05:11,440 --> 01:05:14,360
Speaker 3: Clue, what about the best actor in the world?

1348
01:05:15,240 --> 01:05:18,880
Speaker 1: Oh mate, look, you know it's so subjective. You know

1349
01:05:18,920 --> 01:05:21,640
Speaker 1: that the favorite actors and you know, like I look

1350
01:05:21,680 --> 01:05:26,439
Speaker 1: at guys like right now, there there's there's a there's

1351
01:05:26,480 --> 01:05:29,280
Speaker 1: a couple of guys that if they're in it, I'm in.

1352
01:05:29,440 --> 01:05:33,360
Speaker 1: There's this young kid called Caleb Laundry Jones who played

1353
01:05:33,400 --> 01:05:36,240
Speaker 1: Martin Bryant in a thing called Niram, which is an

1354
01:05:36,240 --> 01:05:40,680
Speaker 1: Australian film about the Porter was about Martin Bryant. It's

1355
01:05:40,720 --> 01:05:44,200
Speaker 1: as good as anything I've ever seen. But you know,

1356
01:05:44,200 --> 01:05:48,200
Speaker 1: there's there's favorite guys like I. You know, if Brad

1357
01:05:48,240 --> 01:05:52,040
Speaker 1: Pitts in something, I'll go and watch that. I just

1358
01:05:52,040 --> 01:05:55,080
Speaker 1: think he's great and compelling and everything he does. But

1359
01:05:55,160 --> 01:06:00,520
Speaker 1: there's there's performances that make like Book Knights is one

1360
01:06:00,560 --> 01:06:04,160
Speaker 1: of my favorite movies. And Alfred Molina comes in for

1361
01:06:04,280 --> 01:06:06,240
Speaker 1: two days. He's there for two days. He plays a

1362
01:06:06,240 --> 01:06:10,160
Speaker 1: guy called Rehab Jackson. Right, this guy's English, so he's

1363
01:06:10,200 --> 01:06:13,360
Speaker 1: not American. He's walking around in a wardrobe. Remember perhaps

1364
01:06:13,400 --> 01:06:15,959
Speaker 1: the little Chinese guy Cosmo on the ask Us.

1365
01:06:16,080 --> 01:06:16,760
Speaker 4: It's Cosmo.

1366
01:06:16,880 --> 01:06:20,000
Speaker 1: He's Chaney's like, what in their flying fucking firecrackers?

1367
01:06:20,080 --> 01:06:22,880
Speaker 4: Mate? He's playing Russian roulette. Mate.

1368
01:06:23,560 --> 01:06:26,600
Speaker 1: That's got some of my best favorite performances, John c

1369
01:06:26,800 --> 01:06:30,080
Speaker 1: Riley and that Burt Reynolds. Mate, he comes in for

1370
01:06:30,120 --> 01:06:31,880
Speaker 1: two days because I know they would have taken him

1371
01:06:31,920 --> 01:06:33,880
Speaker 1: two days to shoot her three days and he just

1372
01:06:33,960 --> 01:06:38,400
Speaker 1: went mate, Yeah, amazing. Like actors who can come in

1373
01:06:38,480 --> 01:06:43,760
Speaker 1: and do that. Jason Bateman is another one that can

1374
01:06:43,760 --> 01:06:46,880
Speaker 1: come in. He's only that there's a movie called Smoking

1375
01:06:46,920 --> 01:06:49,880
Speaker 1: Aces he's in there for He's in there for ten minutes.

1376
01:06:49,920 --> 01:06:52,120
Speaker 1: He's just like, that's the best thing in the movie.

1377
01:06:52,320 --> 01:06:54,400
Speaker 1: So I really like watching guys who can come in

1378
01:06:55,760 --> 01:06:58,800
Speaker 1: and do something. You know, they add something. Sam Rockwell's

1379
01:06:58,840 --> 01:07:00,520
Speaker 1: another one who can come in and do stuff like that.

1380
01:07:00,560 --> 01:07:03,760
Speaker 1: You're like, wow, these guys are so so clever. But

1381
01:07:03,800 --> 01:07:07,400
Speaker 1: I did watch I watched There Will Be Blood the

1382
01:07:07,440 --> 01:07:10,840
Speaker 1: other day, and I watched Daniel day Lewis, and that

1383
01:07:10,840 --> 01:07:13,960
Speaker 1: that is on a level like his performance and his

1384
01:07:14,080 --> 01:07:17,880
Speaker 1: acting is very hard to to hold a stick to it.

1385
01:07:18,080 --> 01:07:20,240
Speaker 4: It's exceptional. Yeah, he's about the best.

1386
01:07:20,320 --> 01:07:23,439
Speaker 3: Is there any who really like from an actor's point

1387
01:07:23,440 --> 01:07:25,959
Speaker 3: of view, who everybody hypes him up? Like the general

1388
01:07:26,000 --> 01:07:27,960
Speaker 3: public just hype him up and they go to watch everything,

1389
01:07:28,000 --> 01:07:31,000
Speaker 3: but they're really actually ship like or overrated.

1390
01:07:31,840 --> 01:07:35,640
Speaker 1: It's different things, right, Like, so different genres, like Jason

1391
01:07:35,680 --> 01:07:38,680
Speaker 1: Stathen's not a great actor in my opinion, but make

1392
01:07:38,800 --> 01:07:41,680
Speaker 1: people love him in what he does very good in

1393
01:07:41,720 --> 01:07:44,240
Speaker 1: that space. As you know he's doing The Fast and

1394
01:07:44,400 --> 01:07:46,000
Speaker 1: Furious or whatever he's doing.

1395
01:07:46,520 --> 01:07:48,400
Speaker 4: Now is he Is he a great actor?

1396
01:07:49,000 --> 01:07:52,120
Speaker 1: I don't know, hard to be a you know, take

1397
01:07:52,120 --> 01:07:55,120
Speaker 1: it seriously, when you're fighting a megalodon, you know what

1398
01:07:55,200 --> 01:07:55,480
Speaker 1: I mean?

1399
01:07:57,040 --> 01:07:57,760
Speaker 4: Or fucking.

1400
01:07:59,240 --> 01:08:02,400
Speaker 2: You've spoiler from I thought it was a documentary.

1401
01:08:01,880 --> 01:08:04,240
Speaker 1: Or driving, you know, in The Fast and the Fures

1402
01:08:04,240 --> 01:08:09,320
Speaker 1: just so ridiculous, right, So, but I think, look, if

1403
01:08:09,560 --> 01:08:13,040
Speaker 1: guys have had a level of actors have had a

1404
01:08:13,120 --> 01:08:16,280
Speaker 1: level of success, there's something compelling, whether they're great actors

1405
01:08:16,360 --> 01:08:18,800
Speaker 1: or not, there's something compelling that that is allowing them

1406
01:08:18,840 --> 01:08:21,120
Speaker 1: to succeed. And they're only allowed to do that if

1407
01:08:21,200 --> 01:08:24,080
Speaker 1: people watch them. So you know, I can look at

1408
01:08:24,080 --> 01:08:27,400
Speaker 1: someone and go I don't really rate him, and they go, well,

1409
01:08:27,560 --> 01:08:29,800
Speaker 1: you know, there's twenty six million fucking people that do

1410
01:08:29,840 --> 01:08:32,280
Speaker 1: because they just won't see his movie. So yeah, it

1411
01:08:33,600 --> 01:08:36,200
Speaker 1: doesn't matter. You know, like they've got something. If they're

1412
01:08:36,200 --> 01:08:38,599
Speaker 1: that high level in doing it, then they've got something.

1413
01:08:38,680 --> 01:08:42,320
Speaker 2: It's funny, isn't it. You look at certain actors and

1414
01:08:42,400 --> 01:08:45,040
Speaker 2: actresses and you go, you know, not really my cap

1415
01:08:45,040 --> 01:08:48,919
Speaker 2: of tea. An example I use is Colin Farrell. Yeah,

1416
01:08:48,960 --> 01:08:52,559
Speaker 2: his role as coach in The Gentleman is just it's

1417
01:08:52,640 --> 01:08:55,240
Speaker 2: so charismatic and so good and yeah, you know what,

1418
01:08:55,439 --> 01:08:56,760
Speaker 2: I actually fucking like this bloke.

1419
01:08:57,040 --> 01:08:57,280
Speaker 4: Yeah.

1420
01:08:57,320 --> 01:09:01,479
Speaker 1: Well, because everyone can have a can be miscast and

1421
01:09:01,520 --> 01:09:03,240
Speaker 1: give a performance where they go, you know, it just

1422
01:09:03,360 --> 01:09:05,880
Speaker 1: didn't work, or I took a big swing, like Sean

1423
01:09:05,920 --> 01:09:10,679
Speaker 1: Penn's taken some big, big swings at different things and

1424
01:09:10,880 --> 01:09:13,800
Speaker 1: they haven't necessarily worked. But he's gutsy and you have

1425
01:09:13,880 --> 01:09:16,240
Speaker 1: and then when he goes down to finds what he's

1426
01:09:16,240 --> 01:09:19,280
Speaker 1: in his wheelhouse, like Mystic River or something, you're like, oh,

1427
01:09:19,479 --> 01:09:24,080
Speaker 1: you know, but yeah, like you can be miscast as well,

1428
01:09:24,120 --> 01:09:27,160
Speaker 1: so if you're not. People have been given the roles

1429
01:09:28,080 --> 01:09:31,040
Speaker 1: at different stages and it's a situation where they're not

1430
01:09:31,120 --> 01:09:32,920
Speaker 1: right for it, so it doesn't quite work. And then

1431
01:09:33,240 --> 01:09:35,000
Speaker 1: people can go, oh, he's shit out and we're like, well,

1432
01:09:35,080 --> 01:09:37,439
Speaker 1: no he's not. It just didn't work or he wasn't

1433
01:09:37,439 --> 01:09:39,519
Speaker 1: the right person for that role. There's only a few

1434
01:09:39,560 --> 01:09:43,600
Speaker 1: actors that can do everything right, like they can do

1435
01:09:43,800 --> 01:09:48,400
Speaker 1: Christian Bale can do anything. Daniel Day Lewis can do anything,

1436
01:09:48,600 --> 01:09:49,920
Speaker 1: you know what I mean, Like they can do it,

1437
01:09:50,360 --> 01:09:53,720
Speaker 1: Phil Hoffman, Simol Hoffman. You know, he could sort of

1438
01:09:54,200 --> 01:09:55,759
Speaker 1: morph into and do anything.

1439
01:09:55,800 --> 01:09:56,320
Speaker 4: You know what I mean.

1440
01:09:56,360 --> 01:10:00,360
Speaker 1: They're compelling and there's something about him as very very

1441
01:10:00,360 --> 01:10:03,080
Speaker 1: intangible to put your hand on why it works and

1442
01:10:03,120 --> 01:10:07,280
Speaker 1: why they well, Batman can be Batman and then he

1443
01:10:07,280 --> 01:10:09,000
Speaker 1: can play that the guy with a came over an

1444
01:10:09,000 --> 01:10:11,280
Speaker 1: American hustle, you know what I mean, And he can

1445
01:10:11,280 --> 01:10:11,600
Speaker 1: play it.

1446
01:10:12,000 --> 01:10:16,479
Speaker 5: You know the Vice President what was his RUMs?

1447
01:10:16,600 --> 01:10:18,759
Speaker 4: Not RUMs? Filled Cheney.

1448
01:10:18,960 --> 01:10:23,599
Speaker 1: Right, they're chameleons, and I know that's cliche, but they are.

1449
01:10:23,640 --> 01:10:26,479
Speaker 1: They can they can just and there's only very few

1450
01:10:26,520 --> 01:10:27,800
Speaker 1: that can do it, you know what I mean. Like

1451
01:10:28,080 --> 01:10:30,960
Speaker 1: George Clooney's great when he's doing George Clooney, he's not

1452
01:10:31,040 --> 01:10:35,639
Speaker 1: doing that right, he's capability to do that, right. There's

1453
01:10:35,720 --> 01:10:38,479
Speaker 1: only a few of them in here. Ago he can

1454
01:10:38,560 --> 01:10:39,000
Speaker 1: do anything.

1455
01:10:39,080 --> 01:10:41,559
Speaker 2: I'm going to call out the Farrely Brothers right now.

1456
01:10:41,640 --> 01:10:43,479
Speaker 2: I want him to do a remake of There's Something

1457
01:10:43,520 --> 01:10:46,320
Speaker 2: about Mary and cast Daniel dat Lewis's.

1458
01:10:45,960 --> 01:10:48,000
Speaker 3: Would see if he can do it.

1459
01:10:48,280 --> 01:10:51,719
Speaker 1: Mate, See, Look that's the reason that worked that movie,

1460
01:10:51,840 --> 01:10:54,960
Speaker 1: Like it is so well cast. And look, Matt Dillon,

1461
01:10:55,040 --> 01:10:58,160
Speaker 1: who wasn't known for being a comedic actor, cames in

1462
01:10:58,200 --> 01:11:01,200
Speaker 1: mate hits it out of the part the first he

1463
01:11:01,240 --> 01:11:03,519
Speaker 1: stands up. He's got his belt undone, he's got the

1464
01:11:04,120 --> 01:11:06,240
Speaker 1: tea brilliant, you know.

1465
01:11:06,360 --> 01:11:09,760
Speaker 3: So what about those actors who like Eddie Murphy's and

1466
01:11:09,880 --> 01:11:12,840
Speaker 3: Adam Sandler who by Jack and Jill which was Dad's

1467
01:11:12,880 --> 01:11:16,880
Speaker 3: favorite movie, Blendid and Blood that they play you know,

1468
01:11:17,680 --> 01:11:20,640
Speaker 3: half the cast in one movie. How hard is that?

1469
01:11:20,640 --> 01:11:22,320
Speaker 5: That would be remarkably hard.

1470
01:11:22,479 --> 01:11:26,560
Speaker 1: Like every time, I know, feeling a bit lower, I

1471
01:11:26,680 --> 01:11:31,320
Speaker 1: put on YouTube and watch the Natty Professor that's around

1472
01:11:31,360 --> 01:11:34,240
Speaker 1: the table scene. You know, like that is exceptionally hard

1473
01:11:34,320 --> 01:11:37,240
Speaker 1: and there are only so many people that could could.

1474
01:11:37,439 --> 01:11:40,720
Speaker 1: That is the nuance that Eddie Murphy brings to all

1475
01:11:40,760 --> 01:11:43,040
Speaker 1: of those characters sitting around the table, and that family

1476
01:11:43,160 --> 01:11:48,360
Speaker 1: dynamic is incredible. And you're not acting with those people,

1477
01:11:48,600 --> 01:11:51,080
Speaker 1: you know, you're you've got to do that separately every

1478
01:11:51,120 --> 01:11:54,760
Speaker 1: single time. So yeah, those guys are geniuses, you know.

1479
01:11:54,800 --> 01:11:57,840
Speaker 1: And look, Adam Sandler is another one of those guys

1480
01:11:57,960 --> 01:12:01,640
Speaker 1: who's really divert like he plays you know, he can

1481
01:12:01,680 --> 01:12:04,400
Speaker 1: play happy Gilmore and then he's the water boy, and

1482
01:12:04,439 --> 01:12:07,120
Speaker 1: then he does a thing called hustle or he does

1483
01:12:07,400 --> 01:12:11,080
Speaker 1: hidden gems, and you're like, this guy's actually got a

1484
01:12:11,080 --> 01:12:14,360
Speaker 1: lot of stuff underneath, you know, when he's given the

1485
01:12:14,479 --> 01:12:17,840
Speaker 1: right opportunities, he's brilliant at all of it, you know.

1486
01:12:19,280 --> 01:12:22,640
Speaker 1: And that's about get you know, someone you know, a

1487
01:12:22,640 --> 01:12:25,519
Speaker 1: director or a filmmaker, going, there's something else here. I'm

1488
01:12:25,520 --> 01:12:26,960
Speaker 1: going to give him a shot here to do this,

1489
01:12:27,040 --> 01:12:27,280
Speaker 1: you know.

1490
01:12:27,400 --> 01:12:32,120
Speaker 2: So to conclude Napes, we're about to go out in

1491
01:12:32,120 --> 01:12:35,639
Speaker 2: the source, right, ye, all of us here, myself, you,

1492
01:12:35,800 --> 01:12:41,080
Speaker 2: Jack Cooper, Electrician Hams. You can invite any three actors

1493
01:12:41,080 --> 01:12:44,759
Speaker 2: to join us, right, who do you invite?

1494
01:12:46,920 --> 01:12:53,320
Speaker 4: Mel streep Street. I'd have the guys. The guys that

1495
01:12:53,439 --> 01:12:54,559
Speaker 4: intrigue me are the.

1496
01:12:54,520 --> 01:12:56,920
Speaker 1: Other people who don't give interviews.

1497
01:12:56,479 --> 01:12:57,160
Speaker 4: And they don't talk.

1498
01:12:57,280 --> 01:13:00,320
Speaker 1: So Christian Bale once said, he said, the less people

1499
01:13:00,320 --> 01:13:03,320
Speaker 1: know about me, the better you know. So they're very

1500
01:13:03,360 --> 01:13:05,439
Speaker 1: very hard to peel back anything. They just don't give

1501
01:13:05,439 --> 01:13:08,960
Speaker 1: anym Jack Nicholson doesn't give interviews. Leonardo Dicaprier doesn't give

1502
01:13:08,960 --> 01:13:11,080
Speaker 1: interviews unless they're told to, you know, like it's in

1503
01:13:11,120 --> 01:13:13,880
Speaker 1: the contract to bang the pots for the film or whatever.

1504
01:13:13,960 --> 01:13:18,720
Speaker 1: So those guys would be really fascinating because no one

1505
01:13:18,760 --> 01:13:21,639
Speaker 1: really knows them, you know, like what's he like where

1506
01:13:21,640 --> 01:13:23,519
Speaker 1: They was talking to me about Christian Bale. He did

1507
01:13:23,600 --> 01:13:26,679
Speaker 1: Terminator with him and he said, mate, he's a champion,

1508
01:13:26,880 --> 01:13:29,320
Speaker 1: quite serious about his work and stuff like that, but

1509
01:13:29,400 --> 01:13:32,479
Speaker 1: just a family man guy, low key you know.

1510
01:13:33,360 --> 01:13:35,960
Speaker 4: So if you wanted to low key people, maybe those

1511
01:13:36,040 --> 01:13:36,400
Speaker 4: the guys.

1512
01:13:36,400 --> 01:13:37,559
Speaker 2: But if the.

1513
01:13:37,479 --> 01:13:42,400
Speaker 1: Party there, party the party as well. Nicholas Cage would

1514
01:13:42,400 --> 01:13:42,879
Speaker 1: be fun.

1515
01:13:43,920 --> 01:13:45,759
Speaker 2: I reckon he's given the two if we go back.

1516
01:13:47,640 --> 01:13:51,760
Speaker 1: Some stories about him and Charlie's Charlie Sheen, Charlie Sheen,

1517
01:13:51,840 --> 01:13:53,920
Speaker 1: Nick Cage and who else could be Big Dennis.

1518
01:13:53,680 --> 01:13:57,320
Speaker 2: Hopper Ah too fast, Rest in peace home, mate. He

1519
01:13:57,520 --> 01:13:58,720
Speaker 2: didn't even give himself.

1520
01:14:00,080 --> 01:14:03,280
Speaker 1: Was in I was in America when when Charlie Sheen

1521
01:14:03,479 --> 01:14:06,160
Speaker 1: was was having that meltdown and they were interviewing mate.

1522
01:14:06,400 --> 01:14:10,200
Speaker 1: It was some of the funniest stuff because I was

1523
01:14:10,240 --> 01:14:11,599
Speaker 1: an amazing this guy real.

1524
01:14:11,479 --> 01:14:15,160
Speaker 5: And are you bay polar Charlie? And by winning a

1525
01:14:15,240 --> 01:14:21,160
Speaker 5: win hero win there, I didn't did not skip a butt.

1526
01:14:21,240 --> 01:14:21,720
Speaker 4: How do you do that?

1527
01:14:21,800 --> 01:14:22,120
Speaker 5: Trolie?

1528
01:14:22,160 --> 01:14:23,880
Speaker 1: I got fucking tager boyd. What do you want me

1529
01:14:23,880 --> 01:14:26,120
Speaker 1: to see my man is not from this world.

1530
01:14:27,000 --> 01:14:29,120
Speaker 5: It was just on a rant.

1531
01:14:28,840 --> 01:14:31,640
Speaker 2: Like I saw Nicholas Cage and I wanted he was

1532
01:14:31,680 --> 01:14:35,080
Speaker 2: an English talk shirt and he just come out just

1533
01:14:35,439 --> 01:14:40,640
Speaker 2: absolutely off his nut comesage, come out flight and just

1534
01:14:40,680 --> 01:14:44,519
Speaker 2: did like a some somersault to start the interview. Mate.

1535
01:14:44,520 --> 01:14:45,799
Speaker 2: It was so good.

1536
01:14:46,280 --> 01:14:50,599
Speaker 1: Mate, Like seriously, like the people very rarely say noted

1537
01:14:50,640 --> 01:14:52,560
Speaker 1: these people and that some of the babe. There's a

1538
01:14:52,640 --> 01:14:58,200
Speaker 1: there's a there's a clip on YouTube with Crisp and

1539
01:14:58,280 --> 01:15:02,240
Speaker 1: Glover who played George McFly. Have you seen this not mate?

1540
01:15:02,280 --> 01:15:05,920
Speaker 1: It is like he's on Letterman. He's wearing clogs like

1541
01:15:06,000 --> 01:15:08,800
Speaker 1: these big wooden made I don't know what he's on.

1542
01:15:08,880 --> 01:15:12,000
Speaker 1: He tries to kick let him and it is he's

1543
01:15:12,280 --> 01:15:17,360
Speaker 1: off the reservation, you know. And I remember watching Joaquin

1544
01:15:17,439 --> 01:15:19,320
Speaker 1: Phoenix when he came on let him and I was like,

1545
01:15:19,400 --> 01:15:23,080
Speaker 1: if this guy's not if this is if this is

1546
01:15:23,120 --> 01:15:25,000
Speaker 1: made up and he's bullshitting, this is the best acting

1547
01:15:25,040 --> 01:15:29,040
Speaker 1: performance I've seen. I'm still here. Was that that may

1548
01:15:29,200 --> 01:15:31,640
Speaker 1: we played the rapper, Mate. It's just some of the

1549
01:15:31,640 --> 01:15:34,559
Speaker 1: funnies shit I've ever seen. Like he's he's rapping, he's

1550
01:15:34,600 --> 01:15:37,080
Speaker 1: talking to puff daddy. He goes, you know, I want

1551
01:15:37,120 --> 01:15:41,200
Speaker 1: it to be you know, like puff Daddy's in on it, right,

1552
01:15:41,240 --> 01:15:43,479
Speaker 1: But they're just There's a moment where he's sitting down

1553
01:15:43,479 --> 01:15:45,479
Speaker 1: with Ben Stiller. He's got something on his head. He goes,

1554
01:15:45,680 --> 01:15:47,320
Speaker 1: Ben Still is trying to do it. Give him this

1555
01:15:47,360 --> 01:15:50,680
Speaker 1: script to read, you know, to try and get him

1556
01:15:50,680 --> 01:15:54,599
Speaker 1: in the movie. And and and Joaquin Phoenix is so convincing,

1557
01:15:54,680 --> 01:15:56,120
Speaker 1: like he's looking at Ben Still, he's what the fuck

1558
01:15:56,160 --> 01:15:58,040
Speaker 1: is that you are you having a go at me?

1559
01:15:58,200 --> 01:15:59,559
Speaker 4: And Ben's going no, no, no.

1560
01:15:59,520 --> 01:16:01,519
Speaker 1: He goes with the fucking movies you do with a

1561
01:16:01,600 --> 01:16:03,080
Speaker 1: cat and the whole cast like that's funny.

1562
01:16:06,160 --> 01:16:08,839
Speaker 2: It's like your rock stars. I want my rock stars

1563
01:16:09,120 --> 01:16:11,960
Speaker 2: to be just to be rock stars, not be nice guys.

1564
01:16:12,040 --> 01:16:17,000
Speaker 2: It's I spoke to music producer once just he said,

1565
01:16:17,000 --> 01:16:20,680
Speaker 2: I'll work with kiss pauls down. Okay, Well what were

1566
01:16:20,720 --> 01:16:24,439
Speaker 2: they like? You guys? Probably the most obnoxious people and

1567
01:16:24,520 --> 01:16:27,400
Speaker 2: despeakable pillow my life. It actually made me like the more.

1568
01:16:27,640 --> 01:16:27,800
Speaker 5: Yeah.

1569
01:16:27,840 --> 01:16:30,320
Speaker 1: Yeah, if you're a rock star, like you carry on

1570
01:16:30,400 --> 01:16:34,200
Speaker 1: like a rock star exactly. You know, it's like Mick

1571
01:16:34,280 --> 01:16:37,080
Speaker 1: Jagger like he's Richard Keith.

1572
01:16:38,040 --> 01:16:40,200
Speaker 4: Yeah, you're just if you look.

1573
01:16:41,800 --> 01:16:43,439
Speaker 1: I would have loved to have been able to play

1574
01:16:43,920 --> 01:16:46,519
Speaker 1: music at a level I'm going to see mate today

1575
01:16:46,960 --> 01:16:50,479
Speaker 1: that you're performing in someone like that instant gratification. But

1576
01:16:51,080 --> 01:16:54,000
Speaker 1: at a level I've seen you too, you know, at

1577
01:16:54,000 --> 01:16:54,479
Speaker 1: the sphere.

1578
01:16:54,840 --> 01:16:55,679
Speaker 4: That's too much.

1579
01:16:56,360 --> 01:17:00,360
Speaker 1: I'd be dead in a year, right, just full of

1580
01:17:00,360 --> 01:17:02,240
Speaker 1: the just hubrious, out of control.

1581
01:17:02,320 --> 01:17:04,960
Speaker 2: What a great year, What a great year.

1582
01:17:05,400 --> 01:17:08,240
Speaker 1: Mate, It's just too much. And you wonder why, like

1583
01:17:09,040 --> 01:17:14,120
Speaker 1: Motley Crewe and like they go. Mate, it's just unless

1584
01:17:14,120 --> 01:17:17,880
Speaker 1: you've experienced I don't think you could you can judge it.

1585
01:17:18,120 --> 01:17:22,800
Speaker 1: Like Elvis Presley, Like Elvis was, Mate, wasn't operating on

1586
01:17:22,840 --> 01:17:24,400
Speaker 1: planet Earth at the end, do you know what I mean?

1587
01:17:24,520 --> 01:17:27,880
Speaker 1: Like just there's the Elvis movie that Bas Lehrman did

1588
01:17:28,520 --> 01:17:31,800
Speaker 1: not interested. I want the other Elvis movie, you know,

1589
01:17:31,920 --> 01:17:34,160
Speaker 1: like the Pills and the and the dying on the

1590
01:17:34,160 --> 01:17:36,120
Speaker 1: ship house, and Mate, like I.

1591
01:17:36,080 --> 01:17:38,160
Speaker 2: Want to go and die in the ship house. That's

1592
01:17:38,200 --> 01:17:41,720
Speaker 2: just in a motel on the ship house, a holiday in.

1593
01:17:42,720 --> 01:17:44,200
Speaker 5: With one of the ones in you park. You can.

1594
01:17:48,360 --> 01:17:49,240
Speaker 4: Just open the door.

1595
01:17:49,720 --> 01:17:52,360
Speaker 2: That was awesome today, Mate, really appreciate it. Makes for

1596
01:17:52,479 --> 01:17:55,679
Speaker 2: coming to birds here. We've got Gabriel and Julian. Don't

1597
01:17:55,720 --> 01:17:58,800
Speaker 2: touch Julian. He's bad luck. Gabriel's good luck. Give him

1598
01:17:58,800 --> 01:18:03,000
Speaker 2: a little pattern the head. There you go, yeah, watch

1599
01:18:03,040 --> 01:18:03,760
Speaker 2: out a bit me.

1600
01:18:04,400 --> 01:18:06,360
Speaker 4: Look. It was great. Yeah, it's always.

1601
01:18:06,360 --> 01:18:08,120
Speaker 1: It's always good to catch up and it's good to

1602
01:18:08,120 --> 01:18:10,400
Speaker 1: see you two fellas back at home.

1603
01:18:12,120 --> 01:18:13,120
Speaker 3: Great to be here as well.

1604
01:18:14,479 --> 01:18:17,040
Speaker 2: On your name man, see you guys.

1605
01:18:18,840 --> 01:18:20,920
Speaker 3: And there he goes off into the distance. Matt Nabele,

1606
01:18:21,000 --> 01:18:23,040
Speaker 3: you've known the naval family for a while, haven't.

1607
01:18:23,800 --> 01:18:27,280
Speaker 2: We spoke about Adam before. But the first one of

1608
01:18:27,320 --> 01:18:30,040
Speaker 2: the Navles that I really got to know and was

1609
01:18:31,040 --> 01:18:36,720
Speaker 2: Maddie's father, Dave Nabel. Dave was the trainer in our

1610
01:18:37,880 --> 01:18:40,479
Speaker 2: five World Cup Australian side went away to England. Has

1611
01:18:40,840 --> 01:18:43,839
Speaker 2: spent a lot of time with Dave there and Dave's

1612
01:18:43,920 --> 01:18:46,400
Speaker 2: just a great guy. Dave was the trainer because Dave

1613
01:18:46,520 --> 01:18:48,760
Speaker 2: served in the army with Bob Fulton, who was the

1614
01:18:48,800 --> 01:18:51,840
Speaker 2: coach of the Australian side there. I remember once, Dave,

1615
01:18:52,360 --> 01:18:56,280
Speaker 2: you talk about like understated economy of words, Dave. Could

1616
01:18:56,320 --> 01:18:58,960
Speaker 2: you could sit with Dave for like a full day

1617
01:18:58,960 --> 01:19:03,080
Speaker 2: you probably save five words to you. And remember once

1618
01:19:03,280 --> 01:19:06,599
Speaker 2: we're in Liverpool, I'm sorry, we're in Leeds and I

1619
01:19:06,600 --> 01:19:08,680
Speaker 2: said to some of the boys, we'd an't like to

1620
01:19:08,720 --> 01:19:10,839
Speaker 2: come to Liverpool with me and go to the Beatles Museum.

1621
01:19:10,880 --> 01:19:12,200
Speaker 2: And the boys like, who the fuck you want to

1622
01:19:12,200 --> 01:19:14,000
Speaker 2: go to the Beatles Museum. And Dave said, oh go,

1623
01:19:14,880 --> 01:19:17,680
Speaker 2: So we spent the day there driving over there. It

1624
01:19:17,720 --> 01:19:22,000
Speaker 2: was Dave, Morselle and Frank Peronici, three of us.

1625
01:19:22,080 --> 01:19:25,880
Speaker 3: Yeah there, but great insights there from Knaves. It does

1626
01:19:26,000 --> 01:19:28,599
Speaker 3: make you. It makes you almost want a lot. Hearing

1627
01:19:28,600 --> 01:19:31,519
Speaker 3: about the auditions and the culture of acting and everything

1628
01:19:31,600 --> 01:19:33,559
Speaker 3: Jesus makes you want to go and give you a go.

1629
01:19:34,200 --> 01:19:36,240
Speaker 3: Hopefully we've inspired a few of the listeners.

1630
01:19:37,800 --> 01:19:43,200
Speaker 2: Possibly who knows inspired them, bored them, the whole gamut

1631
01:19:43,240 --> 01:19:43,759
Speaker 2: of emotions.

1632
01:19:43,760 --> 01:19:45,920
Speaker 3: If anybody's still listening, I don't know.

1633
01:19:46,680 --> 01:19:51,160
Speaker 2: We're just yelling off into the distance like Grandpass System Simpson,

1634
01:19:51,280 --> 01:19:54,160
Speaker 2: just screaming at the clouds. Go on your coops, feel me, Matthew,

1635
01:19:54,280 --> 01:20:00,479
Speaker 2: thank you, well done.