1 00:00:01,480 --> 00:00:02,679 Speaker 1: Good day, Welcome to the show. 2 00:00:02,759 --> 00:00:06,480 Speaker 2: It is Monday morning, and so here I present to 3 00:00:06,559 --> 00:00:08,920 Speaker 2: you another edition in the ongoing. 4 00:00:08,480 --> 00:00:10,120 Speaker 1: Series of the Rules of show Business. 5 00:00:10,200 --> 00:00:12,119 Speaker 2: I write a few more down, and now I actually 6 00:00:12,119 --> 00:00:15,880 Speaker 2: have a name because I consolidated too, and then it 7 00:00:16,000 --> 00:00:17,960 Speaker 2: was another one. So now we have one hundred and one. 8 00:00:18,000 --> 00:00:20,080 Speaker 2: And look, there's I don't know why one hundred and 9 00:00:20,079 --> 00:00:23,200 Speaker 2: one sounds right, but there it is one hundred and 10 00:00:23,200 --> 00:00:26,160 Speaker 2: one Rules of show Business. Here we are whether or 11 00:00:26,239 --> 00:00:28,120 Speaker 2: not you're going to have a career in this industry, 12 00:00:28,520 --> 00:00:32,160 Speaker 2: whether or not you're in the entertainment industry. I believe 13 00:00:32,240 --> 00:00:36,080 Speaker 2: that every one of these rules can apply to any 14 00:00:36,120 --> 00:00:38,639 Speaker 2: industry or any job that you find yourself in. 15 00:00:39,240 --> 00:00:40,920 Speaker 1: It's hard one advice. 16 00:00:41,320 --> 00:00:44,640 Speaker 2: It's certainly served me, and I'm grateful to bring you 17 00:00:45,280 --> 00:00:48,000 Speaker 2: a couple more today. I do need to play some 18 00:00:48,040 --> 00:00:50,160 Speaker 2: ads though, to keep the lights on, so I'm back 19 00:00:50,200 --> 00:00:50,880 Speaker 2: after the break. 20 00:00:55,760 --> 00:00:57,800 Speaker 1: Good day, Welcome to the show. Thanks for being here. 21 00:00:57,800 --> 00:00:58,639 Speaker 1: I'm watching against burg. 22 00:00:58,720 --> 00:01:00,920 Speaker 2: This is better than yesterday, making it better every episode 23 00:01:00,920 --> 00:01:03,760 Speaker 2: since twenty thirteen. If you want to get in touch 24 00:01:03,800 --> 00:01:05,640 Speaker 2: with me, or you want to listen to the other 25 00:01:05,800 --> 00:01:09,000 Speaker 2: rules of show Business, indeed, submit your own you can 26 00:01:09,000 --> 00:01:12,080 Speaker 2: find every episode we've ever made and a contact form 27 00:01:12,480 --> 00:01:16,280 Speaker 2: at Oshiginsburg dot com. Thank you for getting in touch 28 00:01:16,400 --> 00:01:19,119 Speaker 2: and with your reflections on the other rules of show business. 29 00:01:19,720 --> 00:01:22,280 Speaker 2: There's explorations as to how we got here and why 30 00:01:22,319 --> 00:01:25,720 Speaker 2: I'm saying that I found myself often referring to these 31 00:01:25,959 --> 00:01:29,440 Speaker 2: at work, and I still refer to them at work. 32 00:01:29,440 --> 00:01:31,640 Speaker 1: I refer to them last night at a gig, and 33 00:01:31,720 --> 00:01:32,360 Speaker 1: so here we got. 34 00:01:32,360 --> 00:01:35,200 Speaker 2: We're up to Rule fourteen of the one hundred and 35 00:01:35,240 --> 00:01:40,640 Speaker 2: one Rules of Show Business. Respect the hard out. Now, 36 00:01:40,720 --> 00:01:44,800 Speaker 2: what is a hard out? A herd out is a 37 00:01:44,880 --> 00:01:50,120 Speaker 2: time on a call sheet where a particular person or 38 00:01:50,360 --> 00:01:56,360 Speaker 2: access to a particular place is absolutely one hundred percent gone. 39 00:01:57,240 --> 00:02:02,720 Speaker 2: For example, say you have a person on your set, 40 00:02:02,880 --> 00:02:05,760 Speaker 2: say someone one of your lead actors, and your lead 41 00:02:05,760 --> 00:02:08,480 Speaker 2: actor has to go and get their kid from childcare. 42 00:02:08,560 --> 00:02:11,400 Speaker 2: Something's gone on and they've got to go. They heard 43 00:02:11,400 --> 00:02:13,680 Speaker 2: a chat to the producers, and the producers said, no problem, 44 00:02:13,720 --> 00:02:15,760 Speaker 2: will give you a heart out, and the heart out 45 00:02:15,800 --> 00:02:18,840 Speaker 2: is two thirty, So that actor has to be wheels 46 00:02:18,919 --> 00:02:20,639 Speaker 2: up at two thirty. 47 00:02:20,840 --> 00:02:22,799 Speaker 1: Driving away from set. 48 00:02:23,400 --> 00:02:26,359 Speaker 2: Once everyone is on board with the heart out, so 49 00:02:26,400 --> 00:02:28,440 Speaker 2: that you know the producers have gone Yes, of course 50 00:02:28,480 --> 00:02:30,679 Speaker 2: this has to happen because we need to make sure 51 00:02:30,720 --> 00:02:32,600 Speaker 2: this goes or this person's got to get to a flight, 52 00:02:32,720 --> 00:02:35,040 Speaker 2: or we're going to lose the access to this bridge. 53 00:02:34,760 --> 00:02:37,840 Speaker 1: Or this tunnel or this ballroom wherever we're shooting. 54 00:02:38,320 --> 00:02:41,519 Speaker 2: If your heart out is at two thirty, work as 55 00:02:41,680 --> 00:02:44,880 Speaker 2: hard as you can to make sure everything needs to 56 00:02:44,880 --> 00:02:47,839 Speaker 2: get done and clean and clear and made safe by 57 00:02:48,840 --> 00:02:51,960 Speaker 2: two thirty. There's no fashon around. You just got to 58 00:02:52,040 --> 00:02:54,880 Speaker 2: find a way to make it work. And if there's 59 00:02:54,919 --> 00:02:58,639 Speaker 2: a heart out in your day, ay, it's great. You're 60 00:02:58,680 --> 00:03:00,399 Speaker 2: not going to work over time, you're not going to late, 61 00:03:00,520 --> 00:03:03,480 Speaker 2: but that's it. You've got a heart out, it's going 62 00:03:03,560 --> 00:03:06,880 Speaker 2: to end, which is good and bad because yeah, you 63 00:03:06,919 --> 00:03:11,040 Speaker 2: can plan your evening, but also anything that is a 64 00:03:11,080 --> 00:03:15,480 Speaker 2: problem becomes even more urgent because you absolutely positively have 65 00:03:15,560 --> 00:03:17,560 Speaker 2: to get it done. You may have you may only 66 00:03:17,639 --> 00:03:20,480 Speaker 2: have access to this a person on camera for this day, 67 00:03:20,600 --> 00:03:25,120 Speaker 2: this particular actor or talent or interviewee or whomever. You 68 00:03:25,200 --> 00:03:28,399 Speaker 2: may have access to this location for only this particular day. 69 00:03:28,480 --> 00:03:31,320 Speaker 2: There's time of day you may not have enough lights 70 00:03:31,680 --> 00:03:35,040 Speaker 2: to shoot anywhere past a particular time of day, because 71 00:03:35,040 --> 00:03:36,680 Speaker 2: once it starts to get dark, you're going to need 72 00:03:36,960 --> 00:03:40,000 Speaker 2: another couple hundred grand worth of lights to make anything. 73 00:03:40,520 --> 00:03:45,480 Speaker 2: So if you get told there's a heart out twofold, A, 74 00:03:45,680 --> 00:03:48,320 Speaker 2: that's great because you can now safely make dinner plans 75 00:03:48,320 --> 00:03:50,720 Speaker 2: and be fine. But B, you've got to work your 76 00:03:50,800 --> 00:03:54,360 Speaker 2: absolute balls off to make sure it happens, make it work. 77 00:03:54,640 --> 00:03:57,560 Speaker 2: It's always exciting when you get a heart out for everybody, 78 00:03:57,800 --> 00:04:00,800 Speaker 2: But yeah, you've got to respect the heart out rule 79 00:04:00,880 --> 00:04:03,720 Speaker 2: fifteen and the one hundred and one Rules of show Business. 80 00:04:04,440 --> 00:04:09,160 Speaker 2: An age old rule. The crew eats first. A lot 81 00:04:09,160 --> 00:04:13,840 Speaker 2: of the times when you're on location, you're miles away 82 00:04:13,880 --> 00:04:18,560 Speaker 2: from anywhere that food is available. And a part of 83 00:04:18,600 --> 00:04:21,920 Speaker 2: the tradition, I guess this industry is that you. 84 00:04:21,960 --> 00:04:25,600 Speaker 1: Feed your crew. If you're away and you're working, or 85 00:04:25,640 --> 00:04:27,960 Speaker 1: you're on site, you're feeding your crew. You make sure 86 00:04:28,000 --> 00:04:30,040 Speaker 1: there's food and toilets and things like this so everyone 87 00:04:30,080 --> 00:04:31,560 Speaker 1: can work and have a good day and make sure 88 00:04:31,600 --> 00:04:32,240 Speaker 1: they can get their. 89 00:04:32,200 --> 00:04:35,040 Speaker 2: Jobs done with calories to make their jobs work and 90 00:04:35,080 --> 00:04:39,560 Speaker 2: their brains work. Okay, And yeah, the crew eat first. 91 00:04:39,640 --> 00:04:42,920 Speaker 2: The actors donate first, the talent donate first. The crew 92 00:04:42,960 --> 00:04:46,599 Speaker 2: eat first. Crew always eat first, because there is simply 93 00:04:46,640 --> 00:04:48,039 Speaker 2: no show without the crew. 94 00:04:48,360 --> 00:04:50,200 Speaker 1: Whoever is in charge eats last. 95 00:04:50,279 --> 00:04:53,240 Speaker 2: It's like, I think it's a military thing, you know, 96 00:04:53,560 --> 00:04:56,839 Speaker 2: the generals always ate last. There's no show without the crew. 97 00:04:57,080 --> 00:04:59,680 Speaker 2: They get there before you, they leave after you. They 98 00:04:59,720 --> 00:05:03,000 Speaker 2: carry the heavy things that you walk on or stand in. 99 00:05:03,720 --> 00:05:06,880 Speaker 2: Without the crew, you are alone, talking in a dark 100 00:05:06,960 --> 00:05:11,839 Speaker 2: room to nobody. So as a show of respect, as 101 00:05:11,839 --> 00:05:13,480 Speaker 2: a show for the people who are going to have 102 00:05:13,520 --> 00:05:14,800 Speaker 2: to pack the whole thing up and put it back 103 00:05:14,800 --> 00:05:17,599 Speaker 2: in trucks and drive it away. When the meals get 104 00:05:17,640 --> 00:05:21,480 Speaker 2: put out, the crew eat them first. Don't worry you'll 105 00:05:21,520 --> 00:05:22,120 Speaker 2: be able to eat. 106 00:05:22,160 --> 00:05:25,760 Speaker 1: You will eat. But absolutely, crew always eat first. 107 00:05:27,000 --> 00:05:29,720 Speaker 2: Rule sixteen and the one hundred and one Rules of 108 00:05:29,800 --> 00:05:33,080 Speaker 2: show Business. If you arrive at the time that it 109 00:05:33,200 --> 00:05:37,359 Speaker 2: says on the call sheet, you are twenty minutes late. 110 00:05:38,320 --> 00:05:40,880 Speaker 1: I learned this the very hard way. 111 00:05:41,000 --> 00:05:44,080 Speaker 2: In fact, early on in my time in cable television, 112 00:05:44,120 --> 00:05:46,880 Speaker 2: I started saying to my production manager, whatever time you 113 00:05:46,920 --> 00:05:49,520 Speaker 2: need me there, can you just put half an hour 114 00:05:49,560 --> 00:05:52,960 Speaker 2: earlier on the call sheet. That way I'll be sure 115 00:05:52,960 --> 00:05:55,600 Speaker 2: that I can get there. I have a problem with time. 116 00:05:55,640 --> 00:05:57,960 Speaker 2: I have a problem with getting places on time. And 117 00:05:58,040 --> 00:06:00,320 Speaker 2: that was a trick and a trick I still I 118 00:06:00,320 --> 00:06:03,800 Speaker 2: still used to this day to get me somewhere earlier 119 00:06:04,200 --> 00:06:06,440 Speaker 2: than I other was would get there, which is usually 120 00:06:06,760 --> 00:06:09,080 Speaker 2: bang on time. I light on my own brain and say, 121 00:06:09,120 --> 00:06:10,520 Speaker 2: you need to be there at ten thirty if the 122 00:06:10,520 --> 00:06:13,840 Speaker 2: thing's at eleven, knowing that I'll get there in time 123 00:06:13,920 --> 00:06:17,000 Speaker 2: for the eleven o'clock thing. But it was Dan McPherson 124 00:06:17,040 --> 00:06:19,640 Speaker 2: when he came on the podcast a while back, who 125 00:06:19,680 --> 00:06:21,760 Speaker 2: told me this. He learned that early on when he 126 00:06:21,800 --> 00:06:24,080 Speaker 2: was on set on Neighbors, maybe even on his first day, 127 00:06:24,520 --> 00:06:26,680 Speaker 2: one of the legacy actors there just turned around him 128 00:06:26,720 --> 00:06:29,119 Speaker 2: and said, oh no, no, no, son, no, no, no no, Because 129 00:06:29,120 --> 00:06:31,800 Speaker 2: he walked into the makeup chair at eight am and 130 00:06:31,920 --> 00:06:34,760 Speaker 2: the actor turned to him and she said, mate, if 131 00:06:34,839 --> 00:06:36,600 Speaker 2: you arrive on your call time, you are. 132 00:06:36,520 --> 00:06:39,000 Speaker 1: Twenty minutes late. If you save, your call time is 133 00:06:39,080 --> 00:06:40,720 Speaker 1: eight hundred, you're supposed to be in the makeup chair 134 00:06:40,720 --> 00:06:43,400 Speaker 1: at eight hundred. Your car is parked. 135 00:06:43,960 --> 00:06:47,280 Speaker 2: You've told the floor manager, you found the assistant director, 136 00:06:47,400 --> 00:06:50,120 Speaker 2: you found everyone you need to find, and you are 137 00:06:50,520 --> 00:06:55,080 Speaker 2: eating your makeup chair at eight hundred. So yeah, your 138 00:06:55,160 --> 00:06:58,080 Speaker 2: arrival time is not your call time. Your arrival time 139 00:06:58,160 --> 00:07:01,400 Speaker 2: is twenty minutes before, at least twenty minutes before you're 140 00:07:01,400 --> 00:07:05,440 Speaker 2: supposed to be exactly where you're supposed to be. For example, 141 00:07:05,480 --> 00:07:08,000 Speaker 2: for the kind of TV that I often make, there's 142 00:07:08,040 --> 00:07:10,880 Speaker 2: a production meeting or a story meeting early on. 143 00:07:11,720 --> 00:07:13,200 Speaker 1: And so if that story. 144 00:07:12,920 --> 00:07:14,960 Speaker 2: Meeting is, say we're shooting a thing in the evening, 145 00:07:15,000 --> 00:07:17,920 Speaker 2: and I'll get to set probably one PM, the sundown 146 00:07:17,920 --> 00:07:20,960 Speaker 2: at seven, so six hours to get everything ready. If 147 00:07:20,960 --> 00:07:24,040 Speaker 2: the story meeting is at one PM, I will be 148 00:07:24,760 --> 00:07:28,560 Speaker 2: driving onto the site at twelve point thirty. Park the car, 149 00:07:28,720 --> 00:07:31,040 Speaker 2: say hello to people, go and chat, grab a cup 150 00:07:31,040 --> 00:07:33,840 Speaker 2: of tea, get a biscuit, whatever, find a way to 151 00:07:33,880 --> 00:07:37,240 Speaker 2: where the meeting is. And when that meeting start at 152 00:07:37,360 --> 00:07:42,040 Speaker 2: one pm, the executive producer, the clients, wrap, the sales guys, 153 00:07:42,360 --> 00:07:45,440 Speaker 2: the casting people whoever will walk in and the meeting starts. 154 00:07:45,480 --> 00:07:47,920 Speaker 2: Like I don't drive on at one pm. 155 00:07:48,680 --> 00:07:50,240 Speaker 1: I get there well early. 156 00:07:50,800 --> 00:07:54,800 Speaker 2: So whatever your call time is, twenty minutes earlier at 157 00:07:54,920 --> 00:07:57,800 Speaker 2: least is when you have you're locking your car and 158 00:07:57,840 --> 00:08:00,400 Speaker 2: you're walking from your car to wherever it is you're 159 00:08:00,440 --> 00:08:05,640 Speaker 2: supposed to be at that time. Rule number seventeen in 160 00:08:05,720 --> 00:08:08,480 Speaker 2: the one hundred and one Rules of Show Business. It 161 00:08:08,560 --> 00:08:11,880 Speaker 2: seems pretty simple, but it is hard to do. Stay 162 00:08:12,360 --> 00:08:17,960 Speaker 2: off your phone. Stay off your phone for a number 163 00:08:18,000 --> 00:08:21,720 Speaker 2: of reasons. Reasons A, You've got to be focused. You're 164 00:08:21,720 --> 00:08:25,040 Speaker 2: there to hold a thing, or light a thing, or 165 00:08:25,080 --> 00:08:27,320 Speaker 2: listen to a thing, or watch a thing, or operate 166 00:08:27,360 --> 00:08:30,360 Speaker 2: a thing. You're there to do a job. You've got 167 00:08:30,360 --> 00:08:32,160 Speaker 2: to be on comms. If you want to talk to anybody, 168 00:08:32,200 --> 00:08:35,160 Speaker 2: you've got a radio, be on comms. You need to 169 00:08:35,200 --> 00:08:38,839 Speaker 2: stay focused. It's also very much a privacy thing, not 170 00:08:38,920 --> 00:08:41,720 Speaker 2: just for the talent and the people on set, but 171 00:08:41,760 --> 00:08:45,920 Speaker 2: also for everybody else who was working there. But also ultimately, 172 00:08:46,000 --> 00:08:49,080 Speaker 2: what are you making. You're making a product that people 173 00:08:49,160 --> 00:08:49,760 Speaker 2: are going to. 174 00:08:49,840 --> 00:08:53,240 Speaker 1: Pay to see. If you take a photo or. 175 00:08:53,280 --> 00:08:55,400 Speaker 2: There's anything in the background of any photo you send 176 00:08:55,440 --> 00:08:58,439 Speaker 2: in a chat or whatever to your mates, you are 177 00:08:58,480 --> 00:09:03,040 Speaker 2: giving away the secrets of the product that someone else 178 00:09:03,120 --> 00:09:07,640 Speaker 2: is trying to sell. So absolutely never ever, you're never 179 00:09:07,720 --> 00:09:12,319 Speaker 2: taking photos on set of anyone of anything. Say, it's 180 00:09:12,320 --> 00:09:15,240 Speaker 2: a safety thing as well. If you're looking at your phone, 181 00:09:15,440 --> 00:09:18,600 Speaker 2: you're not looking at three hundred tons of lighting trust 182 00:09:18,720 --> 00:09:20,559 Speaker 2: coming up and down out of the top of the studio. 183 00:09:20,840 --> 00:09:23,280 Speaker 2: You're not watching for crew trucks coming up and down 184 00:09:23,520 --> 00:09:25,520 Speaker 2: next to a bunch of crew tents. As you're moving 185 00:09:25,559 --> 00:09:27,959 Speaker 2: around a site, you're not looking down to make sure 186 00:09:27,960 --> 00:09:31,120 Speaker 2: you're not tripping over cables or anything like that. It's 187 00:09:31,160 --> 00:09:34,480 Speaker 2: just simply a matter of respect. It's a very time 188 00:09:34,559 --> 00:09:36,920 Speaker 2: limited and time pressurized set. 189 00:09:37,080 --> 00:09:38,199 Speaker 1: Wherever it is you're working. 190 00:09:38,000 --> 00:09:40,199 Speaker 2: There's always a show time, there's always doors, there's always 191 00:09:40,200 --> 00:09:42,760 Speaker 2: a crowd coming in somewhere. There's always something that's got 192 00:09:42,760 --> 00:09:46,040 Speaker 2: to happen at a particular time. And if someone's trying 193 00:09:46,040 --> 00:09:47,480 Speaker 2: to get your attention and try to talk to you 194 00:09:47,480 --> 00:09:50,040 Speaker 2: about a thing that needs to happen now, if you're 195 00:09:50,080 --> 00:09:54,200 Speaker 2: faffing around on your phone, you're wasting time and there 196 00:09:54,320 --> 00:09:57,000 Speaker 2: is no scrolling that is more important than the thing 197 00:09:57,040 --> 00:09:58,080 Speaker 2: that you're doing. 198 00:09:58,000 --> 00:10:00,880 Speaker 1: And getting paid to do right there at that moment. 199 00:10:01,440 --> 00:10:04,000 Speaker 2: Rule number eighteen is also about phones, but this one 200 00:10:04,120 --> 00:10:07,280 Speaker 2: carries a heavy, heavy penalty. I have actually had to 201 00:10:07,320 --> 00:10:09,199 Speaker 2: pay that penalty. I'm going to tell you all about 202 00:10:09,200 --> 00:10:16,679 Speaker 2: that after this ad break. You're listening better than yesterday. 203 00:10:17,280 --> 00:10:19,280 Speaker 2: A couple of weeks back, I started on this adventure 204 00:10:19,320 --> 00:10:21,320 Speaker 2: of the rules of show business. That happened after a 205 00:10:21,400 --> 00:10:23,319 Speaker 2: game show workshop I was working on with my mate 206 00:10:23,400 --> 00:10:26,120 Speaker 2: Jeeves and it turns into this. It turned to the 207 00:10:26,120 --> 00:10:28,400 Speaker 2: one hundred and one Rules of show Business and rule 208 00:10:28,520 --> 00:10:31,840 Speaker 2: number eighteen. This is an Agel thing. It's more of 209 00:10:31,840 --> 00:10:33,640 Speaker 2: a television thing, but I believe it would work in 210 00:10:34,440 --> 00:10:38,400 Speaker 2: film as well. If your phone rings while the camera 211 00:10:38,559 --> 00:10:43,199 Speaker 2: is rolling, that is a case in Australia, that is 212 00:10:43,240 --> 00:10:46,679 Speaker 2: a case of crownies, at least for the crew. 213 00:10:47,400 --> 00:10:50,199 Speaker 1: Why is that? Well, if the cameras. 214 00:10:49,800 --> 00:10:51,800 Speaker 2: Are rolling, or in the case that happened to me, 215 00:10:52,160 --> 00:10:58,280 Speaker 2: we were live and someone's phone rings, well, it's completely 216 00:10:58,320 --> 00:11:01,000 Speaker 2: shatters the illusion. It's the Starbucks cup sitting in front 217 00:11:01,040 --> 00:11:04,680 Speaker 2: of the denaries Tagerian and in Game of Thrones, it 218 00:11:04,760 --> 00:11:06,360 Speaker 2: completely shatters what you're doing. 219 00:11:06,520 --> 00:11:07,920 Speaker 1: If you're making drama. 220 00:11:07,679 --> 00:11:09,720 Speaker 2: Or whatever and a phone rings, forget about it. You're 221 00:11:09,760 --> 00:11:12,000 Speaker 2: no longer in Rigidon. You can hear the sound of 222 00:11:12,040 --> 00:11:14,880 Speaker 2: someone's motor roller going off. No way, that's not going 223 00:11:14,960 --> 00:11:17,960 Speaker 2: to happen. But out of respect for the crew, if 224 00:11:18,000 --> 00:11:19,760 Speaker 2: you fuck that one up, and I have fucked that 225 00:11:19,800 --> 00:11:23,200 Speaker 2: one up, I left my dumb Mochier on with my 226 00:11:23,679 --> 00:11:25,480 Speaker 2: custom ring tone that I made for myself. I was 227 00:11:25,520 --> 00:11:27,680 Speaker 2: so excited it made a monophonic version of Run to 228 00:11:27,679 --> 00:11:30,960 Speaker 2: the Hills my Iron Maiden and my phone rang while 229 00:11:30,960 --> 00:11:32,840 Speaker 2: we were on set, and the whole crew goes WOOA 230 00:11:33,800 --> 00:11:39,000 Speaker 2: damn it yep, fair play and the bottle shop. I 231 00:11:39,040 --> 00:11:40,960 Speaker 2: had to call up the roads as before you know, 232 00:11:41,040 --> 00:11:43,360 Speaker 2: any uber or anything. So I had to call the 233 00:11:43,400 --> 00:11:45,720 Speaker 2: pub up the road and get them to deliver a 234 00:11:45,760 --> 00:11:49,840 Speaker 2: case of Crownies to the set and after the show 235 00:11:50,520 --> 00:11:52,600 Speaker 2: there they were there with the beers as the price 236 00:11:52,640 --> 00:11:55,000 Speaker 2: to pay for making everyone do their thing again, because 237 00:11:55,280 --> 00:11:57,640 Speaker 2: thirty people had to stop and do the thing again 238 00:11:57,720 --> 00:11:58,240 Speaker 2: because of me. 239 00:11:58,440 --> 00:11:59,040 Speaker 1: My phone ring. 240 00:12:00,280 --> 00:12:03,520 Speaker 2: Because of that, I bought everybody beers. So just phone's 241 00:12:03,520 --> 00:12:04,960 Speaker 2: on silent and watch is covered. 242 00:12:05,160 --> 00:12:05,520 Speaker 1: That's it. 243 00:12:05,600 --> 00:12:07,960 Speaker 2: That's what Kyle used to always say. Phone's on silent, 244 00:12:08,080 --> 00:12:11,080 Speaker 2: watch is covered, which is a whole other thing. But yeah, 245 00:12:11,080 --> 00:12:12,920 Speaker 2: because you don't ever want to watch being seen by 246 00:12:12,960 --> 00:12:15,440 Speaker 2: a camera because then people can kind of figure out 247 00:12:15,600 --> 00:12:17,480 Speaker 2: if there's an edit, they can see how far apart 248 00:12:17,520 --> 00:12:19,560 Speaker 2: those two shots were, and it might be ours, who knows. 249 00:12:20,040 --> 00:12:21,920 Speaker 1: But yeah, if your phone rings while the camera's rolling, 250 00:12:21,920 --> 00:12:24,040 Speaker 1: you are buying beers for everyone. 251 00:12:25,040 --> 00:12:27,280 Speaker 2: Number nineteen on one hundred and one Rules of Show 252 00:12:27,320 --> 00:12:30,560 Speaker 2: Business is probably one of the most important rules. I know. 253 00:12:30,640 --> 00:12:33,240 Speaker 2: It's at number nineteen, but each of them is as 254 00:12:33,240 --> 00:12:34,160 Speaker 2: important as the other. 255 00:12:35,120 --> 00:12:36,040 Speaker 1: Rule number nineteen. 256 00:12:37,240 --> 00:12:40,960 Speaker 2: Never forget you can only ever sleep your way to 257 00:12:41,080 --> 00:12:44,520 Speaker 2: the middle. When you see someone at the absolute top 258 00:12:44,559 --> 00:12:47,520 Speaker 2: of their game, whether they be a producer or a director, 259 00:12:47,600 --> 00:12:50,520 Speaker 2: or an actor or a musician, if you think the 260 00:12:50,600 --> 00:12:52,800 Speaker 2: only reason they're there is because they rooted somebody and 261 00:12:52,840 --> 00:12:56,480 Speaker 2: someone said, Okay, now you can be there, no fucking way, man, 262 00:12:56,720 --> 00:13:00,440 Speaker 2: that person is there because they worked their absolute off 263 00:13:00,440 --> 00:13:05,400 Speaker 2: and became completely undeniable. So when it came time to 264 00:13:05,520 --> 00:13:08,440 Speaker 2: be a producer or director or screenwriter or actor or 265 00:13:08,480 --> 00:13:14,120 Speaker 2: singer or whatever, they were the only choice. It had 266 00:13:14,320 --> 00:13:17,559 Speaker 2: nothing to do with who they had sex with. I 267 00:13:17,640 --> 00:13:19,440 Speaker 2: don't care if they had sex with people along the way. 268 00:13:19,520 --> 00:13:21,960 Speaker 2: We all have sex with people along the way and 269 00:13:22,000 --> 00:13:25,880 Speaker 2: the transactional ways. And this is the price that this 270 00:13:25,920 --> 00:13:29,520 Speaker 2: person pays for access to this level of success. 271 00:13:30,040 --> 00:13:34,679 Speaker 1: No fucking way, that does not happen. Now. 272 00:13:34,679 --> 00:13:37,440 Speaker 2: Am I going to say it's never been tried. Nope, 273 00:13:37,920 --> 00:13:40,000 Speaker 2: it's been tried on me. At the time, I had 274 00:13:40,000 --> 00:13:43,800 Speaker 2: a girlfriend very clearly everybody knew I had a girlfriend. 275 00:13:44,880 --> 00:13:47,640 Speaker 2: This person still tried. It's like no, no, no, no, no, 276 00:13:48,520 --> 00:13:51,600 Speaker 2: you've got the wrong guy. That is not my Nope, 277 00:13:51,880 --> 00:13:53,600 Speaker 2: not at all. Shut that down. 278 00:13:54,400 --> 00:13:57,120 Speaker 1: So I'm not going to say people don't try, but 279 00:13:57,200 --> 00:13:59,920 Speaker 1: I want you to know Rule numer nineteen. 280 00:13:59,679 --> 00:14:02,280 Speaker 2: Exists for reason. You can only ever sleep your way 281 00:14:02,320 --> 00:14:05,640 Speaker 2: to the middle. And this is most important to remember. 282 00:14:05,760 --> 00:14:09,920 Speaker 2: When you see a beautiful woman in a position of 283 00:14:09,960 --> 00:14:15,400 Speaker 2: prominence in whatever department it is, makeup, hair, wardrobe, lighting, camera, 284 00:14:15,600 --> 00:14:21,040 Speaker 2: found editing, post production, promo, directing, on camera, off camera, whatever. 285 00:14:21,240 --> 00:14:24,320 Speaker 2: If you see a woman in a position of prominence 286 00:14:24,400 --> 00:14:28,320 Speaker 2: in any position at all, in any of those roles, 287 00:14:29,240 --> 00:14:31,080 Speaker 2: a part of your brain goes, oh, she's hot, so 288 00:14:31,080 --> 00:14:32,120 Speaker 2: she must have shagd someone. 289 00:14:32,360 --> 00:14:34,600 Speaker 1: Then you need to have a long, hard look at yourself. 290 00:14:35,040 --> 00:14:37,240 Speaker 2: That person's doing that job because they're fucking good at 291 00:14:37,240 --> 00:14:39,760 Speaker 2: what they do, and there's no room for time wasters 292 00:14:39,800 --> 00:14:43,880 Speaker 2: in this game. And there's absolutely no way that a 293 00:14:43,920 --> 00:14:51,400 Speaker 2: prequalification to get the gig involved anything other than proving 294 00:14:51,440 --> 00:14:55,760 Speaker 2: that they were the absolutely undeniable choice for that job 295 00:14:55,880 --> 00:14:59,280 Speaker 2: because they had the skills they had learned and worked 296 00:14:59,280 --> 00:15:04,360 Speaker 2: on for thousands of hours. No, the idea that someone 297 00:15:04,440 --> 00:15:07,880 Speaker 2: rooted their way to the top is a weird, shitty 298 00:15:08,360 --> 00:15:09,160 Speaker 2: sex fantasy. 299 00:15:10,880 --> 00:15:15,240 Speaker 1: It's not even real. Just remember that I've never seen 300 00:15:15,280 --> 00:15:18,080 Speaker 1: it ever ever. 301 00:15:20,960 --> 00:15:23,520 Speaker 2: So there you go. That was Rule number nineteen. I 302 00:15:23,560 --> 00:15:26,720 Speaker 2: think that's about enough for today. That's pretty good. This 303 00:15:26,760 --> 00:15:28,600 Speaker 2: is one hundred and one rules of Showbusiness. I don't 304 00:15:28,640 --> 00:15:30,240 Speaker 2: know how it started to happen, but here we are. 305 00:15:30,800 --> 00:15:34,040 Speaker 2: We're dorn it. We're up to number twenty. So next Monday, 306 00:15:34,120 --> 00:15:36,840 Speaker 2: I'm back with number twenty. Let me know what you think. 307 00:15:36,960 --> 00:15:39,200 Speaker 2: If you want to add anything, please let me know. 308 00:15:39,480 --> 00:15:42,480 Speaker 2: I hope these rules of show Business can serve you 309 00:15:42,520 --> 00:15:43,880 Speaker 2: in your career, whatever that is. 310 00:15:44,440 --> 00:15:47,320 Speaker 1: I've found these words of advice to be extraordinarily helpful, 311 00:15:47,520 --> 00:15:51,560 Speaker 1: and I think that they are very much relatable across industries. 312 00:15:52,120 --> 00:15:55,160 Speaker 2: I find them fascinating. I really enjoy talking about them. 313 00:15:55,440 --> 00:15:57,600 Speaker 2: Thank you so much for listening. Osh Againsberg dot com 314 00:15:57,640 --> 00:15:59,160 Speaker 2: is the website that's where you can get in touch 315 00:15:59,160 --> 00:16:01,200 Speaker 2: with me. Let me know you're Rule of show Business. 316 00:16:01,200 --> 00:16:03,600 Speaker 2: Also listening to every episode we've ever done. 317 00:16:03,880 --> 00:16:04,200 Speaker 1: EVA. 318 00:16:04,440 --> 00:16:06,440 Speaker 2: I'm back here on Wednesday. Thanks being a part of 319 00:16:06,440 --> 00:16:09,120 Speaker 2: the show. Here comes in IOI voice reading the credits. 320 00:16:10,040 --> 00:16:12,800 Speaker 3: This episode was brought to you by Andy Maher on 321 00:16:12,960 --> 00:16:17,440 Speaker 3: audio post production, Beck Sayed on video post production, Toehider 322 00:16:17,560 --> 00:16:21,000 Speaker 3: on music. My producer is Bree Steele and my executive 323 00:16:21,000 --> 00:16:24,680 Speaker 3: function Assistant is Monica Chapman for every episode ever. To 324 00:16:24,720 --> 00:16:26,600 Speaker 3: get on the mailing list or to get in touch 325 00:16:26,680 --> 00:16:30,600 Speaker 3: through the contact form, head to Ashurginsburg dot com. Thanks 326 00:16:30,600 --> 00:16:31,200 Speaker 3: for listening.