1 00:00:01,400 --> 00:00:03,640 Speaker 1: Gooday, welcome to the show. It's a Monday, and at 2 00:00:03,640 --> 00:00:06,880 Speaker 1: the moment, Monday means that we are going through, one 3 00:00:06,920 --> 00:00:10,440 Speaker 1: by one the one hundred and one rules of show Business. 4 00:00:10,800 --> 00:00:12,319 Speaker 1: I speak about this kind of stuff all the time 5 00:00:12,320 --> 00:00:14,400 Speaker 1: when people talk to me about how can you do that? 6 00:00:14,560 --> 00:00:17,320 Speaker 1: Or why is that there? How come I it's rule 7 00:00:17,400 --> 00:00:21,520 Speaker 1: number sixty seven Rules of show Business. You never oh. 8 00:00:21,760 --> 00:00:24,360 Speaker 1: And I found that these things, well developed on film 9 00:00:24,400 --> 00:00:26,040 Speaker 1: sets and in theater and stuff like that, can be 10 00:00:26,120 --> 00:00:30,600 Speaker 1: quite adaptable to whatever job you are or are not 11 00:00:30,640 --> 00:00:33,960 Speaker 1: doing whatever. It's advice that has really served me, and 12 00:00:34,000 --> 00:00:37,080 Speaker 1: I certainly hope it serves you. We're up to number twenty, 13 00:00:37,120 --> 00:00:44,360 Speaker 1: which I'm going to get to right after this break. Gooday, 14 00:00:44,400 --> 00:00:46,640 Speaker 1: this is Loshiginsburg. This is better than yesterday. Thanks for 15 00:00:46,680 --> 00:00:48,760 Speaker 1: being a part of the show. We're making it better 16 00:00:48,800 --> 00:00:52,560 Speaker 1: every episode since twenty thirteen. My name's Osha. I'm glad 17 00:00:52,600 --> 00:00:54,440 Speaker 1: you're here. If you want to listen to any of 18 00:00:54,480 --> 00:00:56,400 Speaker 1: the other episodes that we've ever done, you can find 19 00:00:56,400 --> 00:00:58,400 Speaker 1: at Osha Ginsburg dot com. Thank you so much for 20 00:00:58,440 --> 00:01:00,960 Speaker 1: reaching out. It's lovely to hear from you. There's a 21 00:01:00,960 --> 00:01:03,200 Speaker 1: contact form there at Oshiginsberg dot comic and also get 22 00:01:03,240 --> 00:01:06,399 Speaker 1: on the newsletter right there if you have a rule 23 00:01:06,440 --> 00:01:08,639 Speaker 1: of show business of your own that I might have missed. 24 00:01:08,760 --> 00:01:11,400 Speaker 1: There's one hundred and one. I've written that many theau. 25 00:01:11,400 --> 00:01:14,160 Speaker 1: There's one more I wrote, but I might have missed one, 26 00:01:14,440 --> 00:01:16,360 Speaker 1: and it could be a longer list. I'd love to 27 00:01:16,360 --> 00:01:19,600 Speaker 1: know about it. We're up to rule twenty. So rule 28 00:01:19,640 --> 00:01:21,959 Speaker 1: twenty in the one hundred and one Rules of Show 29 00:01:21,959 --> 00:01:28,240 Speaker 1: Business never spray anything near a camera. Now, this case 30 00:01:28,400 --> 00:01:30,399 Speaker 1: is kind of like around there's a whole bunch of 31 00:01:30,400 --> 00:01:34,480 Speaker 1: things around cameras. But if you're making something that is 32 00:01:34,520 --> 00:01:37,520 Speaker 1: filmed all right or stills, like even if it's a 33 00:01:37,520 --> 00:01:40,319 Speaker 1: magazine sheet or something, none of you can do anything. 34 00:01:40,360 --> 00:01:43,480 Speaker 1: If the camera doesn't work. You could have great catering, 35 00:01:43,520 --> 00:01:46,560 Speaker 1: a fantastic wardrobe because brilliant sound design there, all the 36 00:01:46,600 --> 00:01:49,760 Speaker 1: extras could be there. If the camera breaks, that's it. 37 00:01:50,320 --> 00:01:53,480 Speaker 1: There may be a spare on set maybe, but if 38 00:01:53,480 --> 00:01:57,760 Speaker 1: the camera breaks, we absolutely are cooked. So when it 39 00:01:57,800 --> 00:02:01,200 Speaker 1: comes to spraying, particularly if you're in close quarters and 40 00:02:01,600 --> 00:02:03,360 Speaker 1: hair and makeup will come in to fix a hair, 41 00:02:03,400 --> 00:02:05,480 Speaker 1: and I'm certainly someone that has a hair that kind 42 00:02:05,480 --> 00:02:07,480 Speaker 1: of goes out of whack every now and again. There's 43 00:02:07,480 --> 00:02:09,160 Speaker 1: a part of the crown of my head that grows 44 00:02:09,160 --> 00:02:12,280 Speaker 1: in an opposite direction to gravity, and it takes a 45 00:02:12,280 --> 00:02:15,040 Speaker 1: lot of gluing aerolbite like to get the thing to 46 00:02:15,080 --> 00:02:18,440 Speaker 1: sit down. And when Carla or any other hair and 47 00:02:18,480 --> 00:02:20,800 Speaker 1: makeup would come, if the director would be like, oh, 48 00:02:20,840 --> 00:02:22,520 Speaker 1: can you just fix this thing before we go on, 49 00:02:23,400 --> 00:02:26,040 Speaker 1: hair and makeup will always say spraying. That is what 50 00:02:26,080 --> 00:02:28,919 Speaker 1: they say, spraying. They say it out loud, real loud, 51 00:02:29,160 --> 00:02:33,400 Speaker 1: so camera knows that there's about to be hairspray in 52 00:02:33,440 --> 00:02:36,080 Speaker 1: the atmosphere, and of course they're very careful to not 53 00:02:36,160 --> 00:02:38,000 Speaker 1: do it, or they ask they'd ask me to old no, 54 00:02:38,120 --> 00:02:40,120 Speaker 1: to step away from the lens, or they'd ask me 55 00:02:40,160 --> 00:02:42,720 Speaker 1: to step away, or camera would move, depending on who 56 00:02:42,720 --> 00:02:45,200 Speaker 1: can move the easiest. Because if you get hairspray on 57 00:02:45,240 --> 00:02:47,880 Speaker 1: a lens, forget about it, like you're losing ten to 58 00:02:47,919 --> 00:02:50,160 Speaker 1: fifteen minutes while you're trying to clean that thing or 59 00:02:50,280 --> 00:02:54,160 Speaker 1: swap it out for another one. So really really really important, 60 00:02:54,440 --> 00:02:57,639 Speaker 1: super super super important. And that goes for art department. 61 00:02:57,720 --> 00:03:00,239 Speaker 1: If you're trying to fix a hole in a piece 62 00:03:00,280 --> 00:03:01,760 Speaker 1: of set, you've got a bit of black spray paint 63 00:03:01,760 --> 00:03:03,760 Speaker 1: to fix something up, or if you're getting a bit 64 00:03:03,800 --> 00:03:07,120 Speaker 1: of WD forty on something that's squeaky. Doesn't matter. You 65 00:03:07,160 --> 00:03:10,920 Speaker 1: shout out spraying because camera audio, there's a lot of 66 00:03:11,120 --> 00:03:14,840 Speaker 1: super super sensitive equipment everywhere. It could be something to 67 00:03:14,840 --> 00:03:16,400 Speaker 1: do with the pyro, it could be something to do 68 00:03:16,480 --> 00:03:18,800 Speaker 1: with an audio, could be something to do with video. 69 00:03:19,240 --> 00:03:21,200 Speaker 1: You shout it out and someone when they hear that, 70 00:03:21,240 --> 00:03:24,320 Speaker 1: they will know straightaway either that's okay or hold that 71 00:03:24,760 --> 00:03:26,320 Speaker 1: and they will move something. So you can do it, 72 00:03:26,440 --> 00:03:28,400 Speaker 1: because it's not to say no, you can't, like the 73 00:03:28,440 --> 00:03:30,359 Speaker 1: thing has to get sprayed. You've got to paint the thing, 74 00:03:30,440 --> 00:03:33,560 Speaker 1: or lubricate the thing, or glue the hair down. But yeah, 75 00:03:33,760 --> 00:03:38,240 Speaker 1: never spray anything near a camera ever. Rule number twenty 76 00:03:38,280 --> 00:03:40,480 Speaker 1: one in the one hundred and one Rules of Show 77 00:03:40,520 --> 00:03:43,440 Speaker 1: Business a rule that I learned on my very first day. 78 00:03:44,280 --> 00:03:47,600 Speaker 1: Rowan the audio director at Channel. They put the microphone 79 00:03:47,640 --> 00:03:51,720 Speaker 1: on me and he said, very important. Every mic is 80 00:03:51,760 --> 00:03:54,600 Speaker 1: a live mic just because you're on. It wasn't like 81 00:03:54,600 --> 00:03:56,760 Speaker 1: in radio where I could turn the microphone on and 82 00:03:56,800 --> 00:03:59,360 Speaker 1: off and decide when the microphone was going to get broadcast. 83 00:04:00,080 --> 00:04:02,560 Speaker 1: When you're wearing a They call it a bug. Americans 84 00:04:02,600 --> 00:04:05,360 Speaker 1: called it a lavalier. It's essentially the mic that you 85 00:04:05,440 --> 00:04:08,360 Speaker 1: hide underneath clothing. Sometimes you see newsreaders and stuff. It's 86 00:04:08,360 --> 00:04:11,320 Speaker 1: pinned to a jacket. But every mic. You need to 87 00:04:11,320 --> 00:04:14,480 Speaker 1: treat every mic as if it is on, because it is. 88 00:04:14,680 --> 00:04:19,160 Speaker 1: Every radio mic is on all the time, and at 89 00:04:19,160 --> 00:04:22,080 Speaker 1: the very minimum, the audio team are listening to it 90 00:04:22,080 --> 00:04:24,839 Speaker 1: because they have to monitor it. Beyond that, the control 91 00:04:24,960 --> 00:04:27,440 Speaker 1: room is probably listening to it, so that could be 92 00:04:27,480 --> 00:04:30,760 Speaker 1: thirty forty more people who are all able to then 93 00:04:30,839 --> 00:04:34,160 Speaker 1: hear that audio feed. It's going down onto camera cards. 94 00:04:34,160 --> 00:04:36,400 Speaker 1: So people, if you even if you're not rolling, even 95 00:04:36,400 --> 00:04:38,720 Speaker 1: if you're in the middle of something, something you say 96 00:04:38,760 --> 00:04:42,599 Speaker 1: will get recorded and taken out of context. Or you've 97 00:04:42,600 --> 00:04:44,200 Speaker 1: heard a lot of examples, I get some in the 98 00:04:44,240 --> 00:04:48,080 Speaker 1: second worse until your form manager. If you're live, and 99 00:04:48,120 --> 00:04:49,800 Speaker 1: I've done a lot of live TV in my time, 100 00:04:50,160 --> 00:04:54,080 Speaker 1: until I hear the words clear, I know my mic 101 00:04:54,160 --> 00:04:57,120 Speaker 1: is still alive, So I'm listening, even though I've thrown 102 00:04:57,120 --> 00:04:58,760 Speaker 1: it to the ad break, even though I hear the 103 00:04:58,800 --> 00:05:01,360 Speaker 1: applauses is going or it was music for television, even 104 00:05:01,360 --> 00:05:03,840 Speaker 1: though I see the song still playing out and the 105 00:05:03,839 --> 00:05:05,839 Speaker 1: intro of the song and the lyrics have started. Whatever. 106 00:05:06,400 --> 00:05:09,280 Speaker 1: I tried to never assume that my mic had been 107 00:05:09,360 --> 00:05:12,640 Speaker 1: cut from the live feed until I heard my floor 108 00:05:12,640 --> 00:05:16,960 Speaker 1: manager say clear, because every mic is a live mic, 109 00:05:17,080 --> 00:05:21,080 Speaker 1: and it's funny. We often hear like you'll hear bits 110 00:05:21,120 --> 00:05:23,400 Speaker 1: of set like I think that was that very famous 111 00:05:23,480 --> 00:05:26,680 Speaker 1: Christian Bale terminator. You know, he's shouting at someone who's 112 00:05:26,720 --> 00:05:28,360 Speaker 1: walking in the back of frame. But I'll talk about 113 00:05:28,400 --> 00:05:30,400 Speaker 1: that down the list, but that was, you know, what 114 00:05:30,440 --> 00:05:33,160 Speaker 1: they call a hot mic, but it's in news and 115 00:05:33,279 --> 00:05:35,680 Speaker 1: politicians tend to get done by this quite a lot. 116 00:05:35,760 --> 00:05:38,920 Speaker 1: There was that pretty interesting moment with Peter Dutton when 117 00:05:38,960 --> 00:05:42,120 Speaker 1: he stood next to Toney Abbott and Scott Morrison when 118 00:05:42,120 --> 00:05:44,520 Speaker 1: they were complaining about the meeting they were standing there 119 00:05:44,560 --> 00:05:46,960 Speaker 1: for at Parliament House running late, and Abbot says, yeah, 120 00:05:46,960 --> 00:05:48,600 Speaker 1: we had a bit of that up in Port Moresby, 121 00:05:49,320 --> 00:05:51,400 Speaker 1: that things were running late. That was a bit iland 122 00:05:51,440 --> 00:05:54,720 Speaker 1: time up there, and Peter Dutton then says, yeah, time 123 00:05:54,760 --> 00:05:57,360 Speaker 1: doesn't mean anything when you're about to have water lapping 124 00:05:57,400 --> 00:06:00,800 Speaker 1: at your door, you know, just a fun sea level 125 00:06:00,839 --> 00:06:03,560 Speaker 1: rise climate change gag there. But there was right then 126 00:06:03,640 --> 00:06:05,400 Speaker 1: if you see the footage go my points at the 127 00:06:05,400 --> 00:06:08,720 Speaker 1: boom mic and they go, Laura, but sorry, boys, too late. 128 00:06:09,240 --> 00:06:10,800 Speaker 1: There was a great one. I was there on the 129 00:06:10,880 --> 00:06:14,880 Speaker 1: night when President Obama signed in the Obamacare, basically changed 130 00:06:14,920 --> 00:06:17,920 Speaker 1: healthcare in America in a very fundamental way. He signs 131 00:06:17,920 --> 00:06:20,000 Speaker 1: the thing, watching it live, I was living there at 132 00:06:20,040 --> 00:06:23,680 Speaker 1: the time, and Biden leans in to shake Obama's hand 133 00:06:23,800 --> 00:06:27,880 Speaker 1: and he says, this is a big fucking deal. You know, 134 00:06:28,440 --> 00:06:30,800 Speaker 1: when Biden actually had some sort of animation in his voice, 135 00:06:30,800 --> 00:06:33,080 Speaker 1: so they can't say he does now, but you know, 136 00:06:33,120 --> 00:06:35,400 Speaker 1: here he is, he's swearing, and you know, people are like, hey, 137 00:06:35,480 --> 00:06:37,680 Speaker 1: he's this guy. He's like, it is a big fucking deal. 138 00:06:37,920 --> 00:06:39,760 Speaker 1: And what I did quite love about that one is 139 00:06:40,600 --> 00:06:42,240 Speaker 1: the way they spun it. You know, there's always like, 140 00:06:42,279 --> 00:06:44,920 Speaker 1: oh my god, the Republicans like the vice president's war 141 00:06:45,040 --> 00:06:48,440 Speaker 1: on the microphone, and I think the tweet at the 142 00:06:48,480 --> 00:06:52,279 Speaker 1: time was something along the lines of, yes, mister president, 143 00:06:52,640 --> 00:06:56,160 Speaker 1: it is like just owning it. It's a big fucking deal. 144 00:06:56,200 --> 00:06:58,240 Speaker 1: It is. It's pretty cool. And I think there was 145 00:06:58,240 --> 00:06:59,960 Speaker 1: the really scary one. There was one that was super 146 00:07:00,400 --> 00:07:04,160 Speaker 1: duper scary, and it was in nineteen eighty four. At 147 00:07:04,160 --> 00:07:06,960 Speaker 1: the heart of the Cold War. People forget how completely 148 00:07:07,000 --> 00:07:11,200 Speaker 1: terrifying nuclear war is. It's absolutely terrifying, and how close 149 00:07:11,440 --> 00:07:13,040 Speaker 1: we have come to it. The amount of times who 150 00:07:13,040 --> 00:07:15,240 Speaker 1: have come close to it is just catastrophic, and that 151 00:07:15,280 --> 00:07:18,080 Speaker 1: it could possibly happen, Oh my god. But he was 152 00:07:19,080 --> 00:07:21,240 Speaker 1: doing it. He used to do a weekly address over 153 00:07:21,280 --> 00:07:23,800 Speaker 1: the radio, President Reagan, and you would hear this, I 154 00:07:24,080 --> 00:07:25,960 Speaker 1: would hear Governor Schwartz, and they could do the weekly 155 00:07:26,000 --> 00:07:27,600 Speaker 1: address on the radio. It's a way to talk to 156 00:07:27,600 --> 00:07:31,080 Speaker 1: the people. And he was testing, just doing a sound check. Oh, 157 00:07:31,160 --> 00:07:32,800 Speaker 1: mister president, going to give us a level. And rather 158 00:07:32,840 --> 00:07:36,200 Speaker 1: than going I had bagels for breakfast and I had 159 00:07:36,480 --> 00:07:38,600 Speaker 1: you know this, and Nancy and I walked the dog 160 00:07:38,800 --> 00:07:43,280 Speaker 1: and whatever instead, And this is the audio of it. 161 00:07:43,360 --> 00:07:46,000 Speaker 1: Instead of testing them, Mike was one two one two. 162 00:07:46,240 --> 00:07:48,800 Speaker 1: Ronald Reagan, the sitting President of the United States of America, 163 00:07:48,840 --> 00:07:52,240 Speaker 1: says this, Americans, I'm pleased to tell you today that 164 00:07:52,320 --> 00:07:53,040 Speaker 1: had signed. 165 00:07:52,840 --> 00:07:57,560 Speaker 2: Legislation with out law Russia forever. We've put them bombing. 166 00:07:57,360 --> 00:07:59,440 Speaker 1: In five minutes. That caused a bit of an uproar 167 00:07:59,440 --> 00:08:03,560 Speaker 1: at the time. Fuck, it wasn't broadcast because Jesus christ Man. Yeah, 168 00:08:03,680 --> 00:08:06,440 Speaker 1: every mic is alive mic, mister president. It's the rule 169 00:08:06,520 --> 00:08:11,160 Speaker 1: number twenty one. Never forget it, never forget it, okay, 170 00:08:11,600 --> 00:08:13,800 Speaker 1: and the one hundred and one Rules of show Business 171 00:08:14,240 --> 00:08:18,840 Speaker 1: Rule number twenty two. Data only exists if it exists 172 00:08:18,920 --> 00:08:21,760 Speaker 1: in two places. This was taught to me early on 173 00:08:21,880 --> 00:08:26,000 Speaker 1: by an audio producer in Radio Brisbane, Stu McLeod of 174 00:08:26,000 --> 00:08:29,840 Speaker 1: the Clan McLoud. We just moved from tape to pro tools, right, 175 00:08:29,880 --> 00:08:32,200 Speaker 1: this is how old I am. We were working on 176 00:08:32,240 --> 00:08:34,679 Speaker 1: real to reil and eight track Real to Real and 177 00:08:34,800 --> 00:08:36,320 Speaker 1: we went to pro tools and he just said to me, 178 00:08:36,440 --> 00:08:39,360 Speaker 1: never forget. Data only exists if it exists in two places. 179 00:08:39,760 --> 00:08:42,280 Speaker 1: And it's still the same now, like yesterday, we were 180 00:08:42,280 --> 00:08:43,840 Speaker 1: doing a shit at my house. We had two camera 181 00:08:43,920 --> 00:08:46,640 Speaker 1: guys here and they've got these gigantic you know, one 182 00:08:46,760 --> 00:08:50,000 Speaker 1: hundred and sixty gigabit cards that go super super fast. 183 00:08:50,240 --> 00:08:53,160 Speaker 1: But they cost eight hundred dollars. They cost eight hundred 184 00:08:53,200 --> 00:08:55,400 Speaker 1: dollars because they can transfer one hundred and sixty gig 185 00:08:55,440 --> 00:08:58,200 Speaker 1: of data in about eight minutes. Now, if that was 186 00:08:58,559 --> 00:09:00,720 Speaker 1: one of my hard drives here to take two hours, 187 00:09:00,760 --> 00:09:02,960 Speaker 1: and you can't do that on set. So the Camos 188 00:09:03,000 --> 00:09:07,080 Speaker 1: own the cards, and it's particularly Camo. Who's he yesterday, Joel. 189 00:09:07,480 --> 00:09:09,760 Speaker 1: He has four of them. He needed all of them 190 00:09:09,840 --> 00:09:13,200 Speaker 1: yesterday and he was shooting again the next day, so 191 00:09:13,320 --> 00:09:15,800 Speaker 1: he needed to transfer all the data off his cards 192 00:09:16,320 --> 00:09:20,280 Speaker 1: onto a hard drive. And even then there's a moment 193 00:09:20,280 --> 00:09:21,800 Speaker 1: where his hands are a bit shaky because, like, I 194 00:09:21,800 --> 00:09:24,280 Speaker 1: don't feel good about this. I used to be able 195 00:09:24,280 --> 00:09:25,439 Speaker 1: to take a card out of the back of a 196 00:09:25,480 --> 00:09:27,760 Speaker 1: camera or take a tape, hand it to a runner 197 00:09:27,800 --> 00:09:30,640 Speaker 1: and go. It's no longer my responsibility. That data is 198 00:09:30,679 --> 00:09:34,000 Speaker 1: going off to be uploaded and logged and all this 199 00:09:34,120 --> 00:09:37,040 Speaker 1: kind of thing. I'm done because if you lose a card, 200 00:09:37,080 --> 00:09:39,000 Speaker 1: and I've done that on this podcast, I've lost cameras, 201 00:09:39,000 --> 00:09:41,520 Speaker 1: I've lost whole podcast. If you lose that data before 202 00:09:41,559 --> 00:09:44,160 Speaker 1: you've backed it up, that's it. It's never going to 203 00:09:44,200 --> 00:09:48,800 Speaker 1: exist again. So whatever you're doing until you've got that backup, 204 00:09:48,960 --> 00:09:52,240 Speaker 1: until you've put it in a cloud, until that data 205 00:09:52,320 --> 00:09:56,760 Speaker 1: is off site somewhere, it's not safe. Mark your cards 206 00:09:56,840 --> 00:10:00,320 Speaker 1: super carefully, be really careful with your data wrangling. There's 207 00:10:00,320 --> 00:10:02,040 Speaker 1: a name for it's called data wrangling. It's actually a 208 00:10:02,120 --> 00:10:04,480 Speaker 1: job on a crew list as a data wrangler. Because 209 00:10:04,520 --> 00:10:09,680 Speaker 1: without it, your movie, your music video, whatever is gone. 210 00:10:10,240 --> 00:10:14,520 Speaker 1: So yeah, use clouds, use hard drives, use backup. Always, always, always. 211 00:10:14,720 --> 00:10:17,079 Speaker 1: If you've never had a hard drove fail on you, you've 212 00:10:16,880 --> 00:10:20,160 Speaker 1: never known the horror of losing everything. And they fail, 213 00:10:20,520 --> 00:10:22,840 Speaker 1: Oh my word, they fail, So yeah, make sure you 214 00:10:22,880 --> 00:10:24,400 Speaker 1: back it up. I've got two more to talk to 215 00:10:24,440 --> 00:10:27,000 Speaker 1: you about. One of them has to do with muffins. 216 00:10:27,960 --> 00:10:30,840 Speaker 1: Because there's a proper rule. I think it's important. It 217 00:10:30,880 --> 00:10:32,520 Speaker 1: works here in my house and it'll work for you. 218 00:10:32,559 --> 00:10:40,120 Speaker 1: To be right back. Thanks for listening. It's better than yesterday. 219 00:10:40,200 --> 00:10:43,240 Speaker 1: It's the Monday edition of the show where lately I've 220 00:10:43,280 --> 00:10:45,040 Speaker 1: been talking about the one hundred and one rules of 221 00:10:45,040 --> 00:10:48,000 Speaker 1: show Business, and we're up to number twenty three. I 222 00:10:48,080 --> 00:10:50,599 Speaker 1: learned this when I was on set at CBS in 223 00:10:50,640 --> 00:10:52,839 Speaker 1: the States. We're on number twenty three. You have the 224 00:10:52,840 --> 00:10:55,400 Speaker 1: one hundred and one rules of show business. Never eat 225 00:10:55,440 --> 00:10:59,960 Speaker 1: the last muffin. You may know this from an office, 226 00:11:00,240 --> 00:11:01,959 Speaker 1: for example, if you have a communal kitchen and someone 227 00:11:02,000 --> 00:11:05,920 Speaker 1: brings muffins or those muffins provided. But on film and TV, 228 00:11:06,000 --> 00:11:08,680 Speaker 1: as we mentioned earlier in a previous episode, food is 229 00:11:08,720 --> 00:11:11,080 Speaker 1: often provided because people are there for like fourteen hours 230 00:11:11,160 --> 00:11:14,200 Speaker 1: or something. Now there's a separate table on the side 231 00:11:14,400 --> 00:11:17,480 Speaker 1: known as craft services, and these are snacks that last, 232 00:11:17,520 --> 00:11:19,679 Speaker 1: and they put out there for people to eat as 233 00:11:19,720 --> 00:11:23,400 Speaker 1: they go. Now, if there's muffins, say, for example, there's 234 00:11:23,400 --> 00:11:25,600 Speaker 1: twenty or thirty muffins out there and there's sixty crew, 235 00:11:26,000 --> 00:11:29,319 Speaker 1: look a there's not enough muffins for everybody. And as 236 00:11:29,360 --> 00:11:31,600 Speaker 1: people help themselves in the muffins, you never know who's 237 00:11:31,640 --> 00:11:34,920 Speaker 1: walked past that and gone, oh man, chocolate chip. Amazing. 238 00:11:34,960 --> 00:11:37,600 Speaker 1: Except I'm worrying a costume and I'm wearing my wardrobe, 239 00:11:38,000 --> 00:11:39,160 Speaker 1: or I've got to go to this meeting, or I've 240 00:11:39,200 --> 00:11:40,760 Speaker 1: got to go shoot this thing. But I can't wait 241 00:11:40,840 --> 00:11:42,840 Speaker 1: till I get my break in forty minutes. I'm gonna 242 00:11:42,840 --> 00:11:43,960 Speaker 1: come back and I'm going to eat one of those. 243 00:11:44,040 --> 00:11:45,880 Speaker 1: But I can't carry it now because I don't want 244 00:11:45,920 --> 00:11:47,760 Speaker 1: to get chocolate or over the camera or the sound 245 00:11:47,760 --> 00:11:51,600 Speaker 1: gear or my wardrobe. As the muffins start to disappear, 246 00:11:51,640 --> 00:11:53,680 Speaker 1: one by one by one by one, there will be 247 00:11:53,880 --> 00:11:56,000 Speaker 1: just one muff It will be a tray with one 248 00:11:56,080 --> 00:11:57,640 Speaker 1: muffin on it. At the end of the day, when 249 00:11:57,679 --> 00:11:59,599 Speaker 1: it's cleaned up, it will have one muffin on it, 250 00:11:59,640 --> 00:12:03,440 Speaker 1: because nobody is going to eat the last muffin out 251 00:12:03,440 --> 00:12:06,280 Speaker 1: of respect for everybody else. Nobody wants to be the 252 00:12:06,280 --> 00:12:08,480 Speaker 1: one that eats the last thing. And if you simply 253 00:12:08,679 --> 00:12:13,720 Speaker 1: must eat the last thing, it's on you to go 254 00:12:13,880 --> 00:12:17,439 Speaker 1: and ask everybody around that you can see within shouting distance, 255 00:12:18,080 --> 00:12:21,040 Speaker 1: does anybody want this muffin? Say on comms, does anybody 256 00:12:21,080 --> 00:12:23,800 Speaker 1: want the muffin? Got one muffin and left if anybody 257 00:12:23,840 --> 00:12:26,160 Speaker 1: needs it. Even then you'll say, there's one muffin left, 258 00:12:26,200 --> 00:12:28,439 Speaker 1: does anybody want to split it with me? And often 259 00:12:28,440 --> 00:12:30,360 Speaker 1: what you'll find, and I have seen this a number 260 00:12:30,400 --> 00:12:32,920 Speaker 1: of times, it's not one muffin left on the tray. 261 00:12:33,120 --> 00:12:35,079 Speaker 1: It's a half a muffin left on the tray because 262 00:12:35,080 --> 00:12:37,400 Speaker 1: someone's gone more. And then the muffin becomes a quad muffin. 263 00:12:37,400 --> 00:12:39,199 Speaker 1: But there's still a little piece of muffin left on 264 00:12:39,240 --> 00:12:41,240 Speaker 1: the train because nobody wants to eat the last muffin. 265 00:12:41,640 --> 00:12:44,480 Speaker 1: It's really really important, But it is a symbol I guess, 266 00:12:44,520 --> 00:12:49,320 Speaker 1: I guess of courtesy of camaraderie, of respect for each other, 267 00:12:49,640 --> 00:12:52,319 Speaker 1: that this is a treat and it's a delight and 268 00:12:52,480 --> 00:12:55,079 Speaker 1: someone's looking forward to it. I can't have the last 269 00:12:55,080 --> 00:12:58,000 Speaker 1: one because someone might want it more than me. And 270 00:12:58,520 --> 00:13:01,120 Speaker 1: when I first met Audrey and Joy, it'd been like 271 00:13:01,200 --> 00:13:04,240 Speaker 1: the first time I never really lived with a kid 272 00:13:04,920 --> 00:13:08,320 Speaker 1: beyond when I lived with my younger brothers, and Audrey 273 00:13:08,320 --> 00:13:09,760 Speaker 1: actually had to pull me, so I just didn't know. 274 00:13:09,800 --> 00:13:12,520 Speaker 1: She's like, you can't just eat the last apple like that. 275 00:13:12,720 --> 00:13:14,400 Speaker 1: You've got to check with me that I might have 276 00:13:14,440 --> 00:13:16,480 Speaker 1: plans for that apple. That might be for George's lunch tomorrow, 277 00:13:16,520 --> 00:13:17,760 Speaker 1: or Georgia might want to eat it right now. You 278 00:13:17,800 --> 00:13:21,200 Speaker 1: can't just eat the last dang. And thankfully that stuck 279 00:13:21,200 --> 00:13:23,440 Speaker 1: that one. So since then, I've been very careful on this. 280 00:13:23,520 --> 00:13:25,839 Speaker 1: But that was kind of at home. I never really 281 00:13:25,840 --> 00:13:28,719 Speaker 1: thought about it at home, so it absolutely applies at 282 00:13:28,720 --> 00:13:31,800 Speaker 1: home as well. Just never eat the last muffin or 283 00:13:32,360 --> 00:13:34,719 Speaker 1: split it into like an eighth of a muffin. But 284 00:13:34,760 --> 00:13:36,880 Speaker 1: there's still muffin there. There's still I didn't eat all 285 00:13:36,880 --> 00:13:39,839 Speaker 1: of it, there's still nothing. All right. Here's the final 286 00:13:39,840 --> 00:13:41,840 Speaker 1: one for the day, Rule number twenty four of the 287 00:13:41,840 --> 00:13:44,040 Speaker 1: one hundred and one Rules of Show Business. When the 288 00:13:44,080 --> 00:13:48,319 Speaker 1: red light is on, everything stops. It's a little red 289 00:13:48,400 --> 00:13:51,120 Speaker 1: light that you see on top of a camera. That's 290 00:13:51,120 --> 00:13:53,920 Speaker 1: also known as a tally light. When you're doing a 291 00:13:53,960 --> 00:13:55,920 Speaker 1: multi camera set on a live show, that's how you 292 00:13:55,960 --> 00:13:59,640 Speaker 1: know which camera is currently live to line. That's say 293 00:13:59,679 --> 00:14:02,440 Speaker 1: you can what you know the director is switching from 294 00:14:02,440 --> 00:14:04,240 Speaker 1: camera at one to camera two, and you can see, okay, 295 00:14:04,240 --> 00:14:05,760 Speaker 1: now on with this shot, now that shot, and then 296 00:14:05,800 --> 00:14:08,440 Speaker 1: because the light goes on. But if you're just on 297 00:14:08,520 --> 00:14:10,520 Speaker 1: the set and there's a red light on top of 298 00:14:10,559 --> 00:14:12,760 Speaker 1: the camera, or there's a red light outside the studio, 299 00:14:12,760 --> 00:14:16,199 Speaker 1: if you're on radio, that Mike's alive, we're rolling, and 300 00:14:16,600 --> 00:14:18,839 Speaker 1: whatever you're doing is not as important as this thing, 301 00:14:18,840 --> 00:14:20,280 Speaker 1: because the thing that's happening in there is the thing 302 00:14:20,280 --> 00:14:22,000 Speaker 1: where're all here to do. We're here to make this thing. 303 00:14:22,080 --> 00:14:24,480 Speaker 1: It could only ever happen once. Particularly in like reality 304 00:14:24,480 --> 00:14:26,480 Speaker 1: and stuff like that. You can't ask someone can you 305 00:14:26,520 --> 00:14:28,800 Speaker 1: just cry one more time because we just break your heart, 306 00:14:28,800 --> 00:14:32,160 Speaker 1: but we missed the shot because someone sneezed. Please no, 307 00:14:32,280 --> 00:14:34,880 Speaker 1: you can't do that. You absolutely can't do that. So 308 00:14:35,080 --> 00:14:38,520 Speaker 1: like the red light is the eye of Solron right 309 00:14:38,680 --> 00:14:41,840 Speaker 1: from a lot of the rings, nothing escapes its gaze. 310 00:14:42,400 --> 00:14:46,760 Speaker 1: Absolutely everything else has to stop. You don't move, You 311 00:14:46,800 --> 00:14:49,680 Speaker 1: don't speak. If you've got coms, if you've got radios, 312 00:14:49,720 --> 00:14:52,120 Speaker 1: you turn them right down. Obviously your phone is off already, 313 00:14:52,640 --> 00:14:55,240 Speaker 1: and it's not on forever. You know, it eventually stops. 314 00:14:55,680 --> 00:14:57,760 Speaker 1: If you have to absolutely get from here to there, 315 00:14:58,280 --> 00:15:01,000 Speaker 1: you sign language, figure stuff out, walk like you know 316 00:15:01,160 --> 00:15:04,000 Speaker 1: the indigenous peoples of North America like, find your way 317 00:15:04,000 --> 00:15:07,280 Speaker 1: through the forest without making any nose. But when that 318 00:15:07,400 --> 00:15:09,560 Speaker 1: light is on, you do not want to be the 319 00:15:09,560 --> 00:15:12,200 Speaker 1: person that's fucked up the take. You absolutely do not, 320 00:15:12,280 --> 00:15:15,280 Speaker 1: because it's a massive sign of disrespect to everybody else there, 321 00:15:15,320 --> 00:15:19,200 Speaker 1: because everything is centered around that exact moment, this moment 322 00:15:19,240 --> 00:15:22,040 Speaker 1: of creation in front of the mic or the good lens. 323 00:15:22,280 --> 00:15:23,920 Speaker 1: It's a recording studio. You're not going to jump in 324 00:15:23,920 --> 00:15:25,640 Speaker 1: on Stevie Wonder when you're singing. You know, you are 325 00:15:25,640 --> 00:15:27,200 Speaker 1: the SunShot of my life. And so hey, Steve, you 326 00:15:27,240 --> 00:15:29,680 Speaker 1: want a pizza? No? No, no, the lights on, stay out there, 327 00:15:30,000 --> 00:15:32,680 Speaker 1: stay out you can wait because that's the moment, that 328 00:15:32,800 --> 00:15:35,400 Speaker 1: is the moment they're all here for. And it's very 329 00:15:35,480 --> 00:15:38,960 Speaker 1: very expensive for aus to be there, and creative moments 330 00:15:39,200 --> 00:15:42,000 Speaker 1: have a lot of sanctity about them to be able 331 00:15:42,040 --> 00:15:44,520 Speaker 1: to happen. You have to be careful depending on what 332 00:15:44,600 --> 00:15:47,360 Speaker 1: kind of production you're making, and you need to be able. 333 00:15:47,400 --> 00:15:49,440 Speaker 1: You have to have to have to be just super 334 00:15:49,440 --> 00:15:53,920 Speaker 1: respectful of that red light. And yeah, I learned that 335 00:15:53,960 --> 00:15:56,600 Speaker 1: you're lessing with great difficulty. I have been on a 336 00:15:56,600 --> 00:15:58,760 Speaker 1: set that's not my set. I have sat in a 337 00:15:58,840 --> 00:16:02,000 Speaker 1: directed chair that I was assigned, but I shifted my 338 00:16:02,040 --> 00:16:04,640 Speaker 1: weight and as I shifted my weight and went and 339 00:16:04,680 --> 00:16:06,440 Speaker 1: one of the actors looked off sets straight at me, 340 00:16:06,560 --> 00:16:09,120 Speaker 1: I was like, fuck, I'm blown it. The rest is like, 341 00:16:09,160 --> 00:16:10,640 Speaker 1: just give me that only one time. You get it 342 00:16:10,640 --> 00:16:13,480 Speaker 1: from there, it's like fuck. And everyone looked at me 343 00:16:13,560 --> 00:16:15,640 Speaker 1: like you need to get the fuck out of here now, 344 00:16:15,920 --> 00:16:18,880 Speaker 1: and I did. It was not a good time, but 345 00:16:18,960 --> 00:16:21,960 Speaker 1: there you go. That's five more for you today. I 346 00:16:21,960 --> 00:16:23,760 Speaker 1: hope you're finding them valuable. I hope you can find 347 00:16:23,760 --> 00:16:25,480 Speaker 1: a way that you can apply them in your own work, 348 00:16:25,760 --> 00:16:27,920 Speaker 1: whatever that might be. Let me know what you think. 349 00:16:28,000 --> 00:16:30,160 Speaker 1: Have I missed anything. There's a lot more to go. 350 00:16:30,280 --> 00:16:32,200 Speaker 1: There's one hundred and one, but I still love to 351 00:16:32,200 --> 00:16:34,240 Speaker 1: know what you think. Ohshagainsberg dot com, how can you 352 00:16:34,320 --> 00:16:35,800 Speaker 1: use some of these in your own life? I'd love 353 00:16:35,800 --> 00:16:37,760 Speaker 1: to know there's a contact film there so so we 354 00:16:37,800 --> 00:16:39,760 Speaker 1: can get on the newsletter and listen to every episode 355 00:16:39,760 --> 00:16:41,880 Speaker 1: we've ever made. Thanks for being a part of the show. 356 00:16:42,680 --> 00:16:45,320 Speaker 1: Here's some credits read by some AI guy with a 357 00:16:45,400 --> 00:16:46,520 Speaker 1: very different accent to mine. 358 00:16:47,800 --> 00:16:50,600 Speaker 2: This episode was brought to you by Andy Maher on 359 00:16:50,760 --> 00:16:55,200 Speaker 2: audio post production, Becksied on video post production, toe Hider 360 00:16:55,320 --> 00:16:58,760 Speaker 2: on music. My producer is Bree Steel, and my executive 361 00:16:58,760 --> 00:17:02,240 Speaker 2: function assistant is my Menka Chapman. For every episode ever. 362 00:17:02,360 --> 00:17:04,080 Speaker 2: To get on the mailing list or to get in 363 00:17:04,160 --> 00:17:08,000 Speaker 2: touch through the contact form, head to Ascherginsburg dot com. 364 00:17:08,040 --> 00:17:08,960 Speaker 2: Thanks for listening.