1 00:00:01,720 --> 00:00:05,240 Speaker 1: Get thanks for being here, Welcome to the show. It's Monday, 2 00:00:05,400 --> 00:00:10,320 Speaker 1: and based upon extraordinary listener feedback, I am continuing the 3 00:00:10,400 --> 00:00:12,760 Speaker 1: one one hundred and one rules over show business. I'm 4 00:00:12,840 --> 00:00:14,800 Speaker 1: very happy to hear that these are useful to people 5 00:00:15,240 --> 00:00:17,920 Speaker 1: people who aren't in the entertainment industry. Mind you over 6 00:00:17,920 --> 00:00:20,200 Speaker 1: at Ochiginsburg dot com. There's a contact form and I'm 7 00:00:20,280 --> 00:00:23,840 Speaker 1: getting a bunch of messages from people who are people 8 00:00:23,840 --> 00:00:27,240 Speaker 1: who work in healthcare, from sales surgical equipment to people 9 00:00:27,280 --> 00:00:29,680 Speaker 1: who are on the front line, and er people who 10 00:00:29,720 --> 00:00:34,360 Speaker 1: work in education, both kindergarten and people in high schools. Brilliantly, 11 00:00:35,280 --> 00:00:38,440 Speaker 1: my former colleague, my executive producer on Lived to Dance 12 00:00:38,479 --> 00:00:40,960 Speaker 1: when I worked on CBS, James Sunderland. He dropped me 13 00:00:41,040 --> 00:00:44,200 Speaker 1: a note and for the short version is that James 14 00:00:44,200 --> 00:00:47,480 Speaker 1: Sunderland he worked on an Index Saday Night Takeaway, which 15 00:00:47,560 --> 00:00:49,960 Speaker 1: was my favorite ever TV show ever made and it's 16 00:00:49,960 --> 00:00:52,599 Speaker 1: still it's gone now, but it was fucking unbelievable and 17 00:00:52,640 --> 00:00:54,560 Speaker 1: he worked on that for years and so I just 18 00:00:54,560 --> 00:00:56,680 Speaker 1: would punish him about that. He's incredibly good at what 19 00:00:56,760 --> 00:00:58,880 Speaker 1: he does. And he texted me saying, mate, this stuff 20 00:00:58,920 --> 00:01:01,000 Speaker 1: is spot on, going to do a book. Are you 21 00:01:01,040 --> 00:01:04,120 Speaker 1: going to do a book? I don't know. Maybe, So 22 00:01:04,160 --> 00:01:05,600 Speaker 1: there you have it. The one hundred and one Rules 23 00:01:05,600 --> 00:01:09,039 Speaker 1: of show Business are currently being endorsed by both doctors 24 00:01:09,400 --> 00:01:14,440 Speaker 1: and former wranglers of Paula Abdul and network executives of CBS. 25 00:01:15,120 --> 00:01:17,520 Speaker 1: So I'm sharing these because I think they can apply 26 00:01:17,600 --> 00:01:19,759 Speaker 1: to any industry, not just the entertainment industry. So we've 27 00:01:19,760 --> 00:01:21,440 Speaker 1: got the next five today. I'll get to them and 28 00:01:21,520 --> 00:01:28,880 Speaker 1: once I pay the piper, this is better than yesterday, 29 00:01:28,880 --> 00:01:32,240 Speaker 1: making it better every single app since twoy thirteen. My 30 00:01:32,319 --> 00:01:34,800 Speaker 1: nam Josha Ginsburg, thank you for being here. I'm a podcaster, 31 00:01:34,920 --> 00:01:38,119 Speaker 1: I'm a best selling author, I'm a TV host, I'm 32 00:01:38,160 --> 00:01:43,760 Speaker 1: a radio guy. I'm recently returned from overseas and I 33 00:01:43,880 --> 00:01:45,399 Speaker 1: did pick No. One on the box. But there does 34 00:01:45,400 --> 00:01:46,880 Speaker 1: seem to be a pack of chips in my bag. 35 00:01:47,400 --> 00:01:49,480 Speaker 1: I ate them in the car on the way home. 36 00:01:49,560 --> 00:01:53,560 Speaker 1: So though technically i'm a criminal for imboarding that, I 37 00:01:53,600 --> 00:01:58,720 Speaker 1: think I'll be fine and I'm glad you're here. These 38 00:01:58,760 --> 00:02:01,440 Speaker 1: are one hundred and one rule show business because they're 39 00:02:01,480 --> 00:02:04,600 Speaker 1: fun and the other episodes are in the show notes, 40 00:02:04,640 --> 00:02:06,720 Speaker 1: so you can find some on the link to the 41 00:02:06,760 --> 00:02:08,200 Speaker 1: website where you can find them all. Let's just scroll 42 00:02:08,240 --> 00:02:10,040 Speaker 1: back and the feed, subscribe, get on board and let 43 00:02:10,040 --> 00:02:12,519 Speaker 1: somebody else know that they're here. We're at rule number 44 00:02:12,600 --> 00:02:16,680 Speaker 1: twenty five already, and I love this one. We're all 45 00:02:16,760 --> 00:02:18,840 Speaker 1: number twenty five and the one hundred and one rules 46 00:02:18,840 --> 00:02:22,600 Speaker 1: of show Business. It's a fast yes or a slow no. 47 00:02:23,520 --> 00:02:26,640 Speaker 1: This is a classic and I learned it from my 48 00:02:26,800 --> 00:02:30,799 Speaker 1: dear friend Charlie Klausen. Charlie Klauson of TOFOP, of Home 49 00:02:30,840 --> 00:02:34,440 Speaker 1: and Away of Dad Pod. Charlie's amazing. I love him 50 00:02:34,440 --> 00:02:37,280 Speaker 1: to pieces and he put it into words of something 51 00:02:37,320 --> 00:02:39,000 Speaker 1: that I've been living with for a very long time. 52 00:02:39,240 --> 00:02:41,720 Speaker 1: You've heard me talk about it before. It's not exclusive 53 00:02:41,720 --> 00:02:47,280 Speaker 1: to entertainment. It works anywhere because essentially, the difference between 54 00:02:47,320 --> 00:02:52,079 Speaker 1: an idea and a thing a result is decisive execution. 55 00:02:53,200 --> 00:02:55,320 Speaker 1: You just have to be decisive. If you want anything 56 00:02:55,320 --> 00:02:57,720 Speaker 1: to happen, you've got to make a decision. But if 57 00:02:57,720 --> 00:03:00,000 Speaker 1: you've managed to get your idea right, whatever it is, 58 00:03:00,560 --> 00:03:02,880 Speaker 1: you've identified the gap that you need to fill, You've 59 00:03:02,880 --> 00:03:05,320 Speaker 1: identified the job that needs to be doing. You identified 60 00:03:05,360 --> 00:03:07,560 Speaker 1: where you can add value. If you've done all your homework. 61 00:03:07,600 --> 00:03:11,280 Speaker 1: You've found your way to hopefully pitching someone who has 62 00:03:11,320 --> 00:03:16,760 Speaker 1: decision making, a capacity or authority. If the idea is 63 00:03:16,800 --> 00:03:19,200 Speaker 1: what they want and what they're into, you'll know about 64 00:03:19,240 --> 00:03:21,799 Speaker 1: it in the room. You'll know about it. I've sold 65 00:03:21,800 --> 00:03:24,359 Speaker 1: a show in the room. You know it when you're 66 00:03:24,360 --> 00:03:26,560 Speaker 1: on it because you see you look in their face 67 00:03:26,600 --> 00:03:28,800 Speaker 1: and you're like, oh, yeah, it's a fast yes or 68 00:03:28,840 --> 00:03:31,760 Speaker 1: a slow no. That's the gig. And it goes like this. 69 00:03:31,919 --> 00:03:33,840 Speaker 1: Say I don't know. Say you're pitching Netflix, your fake 70 00:03:33,919 --> 00:03:36,680 Speaker 1: news show. You're in the meeting, You show them a 71 00:03:36,720 --> 00:03:39,000 Speaker 1: ma real You answer all their questions really well. You 72 00:03:39,040 --> 00:03:41,320 Speaker 1: talk about how cheap you can do it per hour. 73 00:03:41,840 --> 00:03:44,400 Speaker 1: If they love it, you'll know pretty quickly that they 74 00:03:44,440 --> 00:03:46,600 Speaker 1: love it, and they go, this sounds great, this is brilliant. 75 00:03:46,640 --> 00:03:48,360 Speaker 1: We'll get business affairs to reach out and bull and 76 00:03:48,400 --> 00:03:50,960 Speaker 1: you're in the car park. You never say anything before 77 00:03:51,000 --> 00:03:53,560 Speaker 1: you leave the building, but you're in the car park. 78 00:03:53,600 --> 00:03:55,880 Speaker 1: You're in the car, you're high fiving people in the 79 00:03:55,920 --> 00:03:58,240 Speaker 1: taxi or whatever on the way out of there. Sometimes 80 00:03:58,240 --> 00:04:00,320 Speaker 1: you hear about it in the room. Sometimes you hear 81 00:04:00,360 --> 00:04:05,160 Speaker 1: about it the next day. However, every day that passes 82 00:04:05,200 --> 00:04:08,160 Speaker 1: after that is a clue that there's something else going on. 83 00:04:09,120 --> 00:04:12,000 Speaker 1: You never know. Someone might have come into that very 84 00:04:12,000 --> 00:04:14,240 Speaker 1: same meeting room with the very same people that you 85 00:04:14,360 --> 00:04:16,640 Speaker 1: met right after you were in there and pitched a 86 00:04:16,760 --> 00:04:19,560 Speaker 1: very similar idea at them. But those people had a 87 00:04:19,640 --> 00:04:22,320 Speaker 1: huge ackman attached as a lead and the executive producer, 88 00:04:22,360 --> 00:04:25,000 Speaker 1: and they could bring every episode in for fifty percent 89 00:04:25,040 --> 00:04:28,640 Speaker 1: of what you told them, or that the person who 90 00:04:28,720 --> 00:04:31,440 Speaker 1: was really into it got a better job offer that 91 00:04:31,560 --> 00:04:35,039 Speaker 1: afternoon and walked with a office works box out the 92 00:04:35,040 --> 00:04:39,760 Speaker 1: door with security. You don't know that if they're hesitant, 93 00:04:40,040 --> 00:04:43,440 Speaker 1: or if they're delaying, if they're simply unresponsive, it's probably 94 00:04:43,480 --> 00:04:48,040 Speaker 1: a slow no in the making. So in my experience, 95 00:04:48,120 --> 00:04:50,240 Speaker 1: if you're feeling a slow no on the way Ben 96 00:04:50,320 --> 00:04:52,920 Speaker 1: Richardson taught me this, try to have some sort of 97 00:04:52,960 --> 00:04:55,320 Speaker 1: correspondence with them that will drive them to a decision. 98 00:04:55,760 --> 00:04:58,080 Speaker 1: If they're kind of just letting you hang, they might 99 00:04:58,120 --> 00:04:59,840 Speaker 1: be mothballing you. They might be like weighing up there. 100 00:05:00,560 --> 00:05:02,360 Speaker 1: Try to get something in there that it'll get them 101 00:05:02,360 --> 00:05:06,120 Speaker 1: to a decision. If you've got a fast yes, that's amazing. 102 00:05:06,160 --> 00:05:08,480 Speaker 1: It means excitement, it means energy, It means you're green lit. 103 00:05:08,640 --> 00:05:11,039 Speaker 1: You're capitalizing on the momentum of the meeting and the 104 00:05:11,080 --> 00:05:13,159 Speaker 1: moment you're forging your head and everyone that hears about 105 00:05:13,160 --> 00:05:15,560 Speaker 1: it it's into it. Yes, yes, go go a slow no. 106 00:05:15,760 --> 00:05:18,120 Speaker 1: On the other hand, it's literally like waiting at your 107 00:05:18,160 --> 00:05:21,200 Speaker 1: letterbox for your Hogwarts letter every day and your neighbors 108 00:05:21,200 --> 00:05:23,599 Speaker 1: just go, it's never coming. He doesn't know it yet, No, 109 00:05:23,680 --> 00:05:25,120 Speaker 1: he doesn't. He stands out the every day he does, 110 00:05:25,160 --> 00:05:26,960 Speaker 1: doesn't he. That's never going to say I don't see 111 00:05:26,960 --> 00:05:29,320 Speaker 1: an now do you? No? One, it's the same thing. 112 00:05:29,839 --> 00:05:32,080 Speaker 1: If you can get some feedback as to why they passed, 113 00:05:32,080 --> 00:05:34,839 Speaker 1: that's always very helpful. But if you can't get any feedback, 114 00:05:34,880 --> 00:05:37,240 Speaker 1: don't let it drag you down. If you build the 115 00:05:37,279 --> 00:05:39,920 Speaker 1: idea correctly, if you've done all your homework, if you 116 00:05:39,920 --> 00:05:41,440 Speaker 1: don't only your research, you've done it. You know you've 117 00:05:41,440 --> 00:05:44,120 Speaker 1: put all the work into form it completely before you 118 00:05:44,160 --> 00:05:47,280 Speaker 1: pitched it. That time won't be wasted that work you've 119 00:05:47,279 --> 00:05:50,400 Speaker 1: put into whatever the idea was. We'll still serve you 120 00:05:50,440 --> 00:05:53,000 Speaker 1: with whatever the next idea is. And if you can 121 00:05:53,080 --> 00:05:55,599 Speaker 1: get some feedback, if you can identify, ah, there's the 122 00:05:55,640 --> 00:05:57,280 Speaker 1: other show that got up instead of us. I can 123 00:05:57,320 --> 00:05:59,719 Speaker 1: see why that one did well, then that's really good 124 00:05:59,720 --> 00:06:02,040 Speaker 1: into it's really good information and you can do that. 125 00:06:02,160 --> 00:06:06,520 Speaker 1: So whatever it is. If it's a no, fine, put 126 00:06:06,520 --> 00:06:08,960 Speaker 1: it on the shelf, move on, figure out the next 127 00:06:08,960 --> 00:06:11,520 Speaker 1: thing to do. You got value out of doing the 128 00:06:11,560 --> 00:06:14,520 Speaker 1: work regardless. All right, But this does work both ways. 129 00:06:14,680 --> 00:06:17,280 Speaker 1: Fast yes or slow no works both ways with if 130 00:06:17,279 --> 00:06:20,200 Speaker 1: you're the one saying yes or the no. So it's 131 00:06:20,240 --> 00:06:23,479 Speaker 1: important to be decisive in your own responses. If something 132 00:06:23,600 --> 00:06:27,000 Speaker 1: is exciting to you, say yes, don't hesitate. Say yes. 133 00:06:27,400 --> 00:06:30,000 Speaker 1: I know the other rule I know this is from 134 00:06:30,160 --> 00:06:33,320 Speaker 1: one of my mental health coach people ACBD. It's the 135 00:06:33,839 --> 00:06:36,840 Speaker 1: other band I like, always consult before deciding. So but Aman, 136 00:06:36,960 --> 00:06:39,640 Speaker 1: this sounds amazing, This sounds super good. Look, let me 137 00:06:39,680 --> 00:06:42,320 Speaker 1: just check with Monica, who you hear me talk about 138 00:06:42,360 --> 00:06:43,920 Speaker 1: in the credits. Let me just check with Monica, because 139 00:06:43,920 --> 00:06:46,000 Speaker 1: that sounds fantastic. I just want to be one hundred 140 00:06:46,000 --> 00:06:48,159 Speaker 1: percent sure that I haven't got anything holding during that 141 00:06:48,240 --> 00:06:50,880 Speaker 1: time or that I am able to make it, because 142 00:06:51,040 --> 00:06:52,840 Speaker 1: this does sound something I really like, I really want 143 00:06:52,880 --> 00:06:56,279 Speaker 1: to do. Don't say yes I'm in because I have 144 00:06:56,360 --> 00:06:59,000 Speaker 1: done that too many times. And double book myself up 145 00:06:59,040 --> 00:07:01,640 Speaker 1: the wazoo, So be careful with that one. But yeah, 146 00:07:01,640 --> 00:07:04,039 Speaker 1: if something excites you, let them know. But if you're 147 00:07:04,040 --> 00:07:07,279 Speaker 1: not feeling it, just I don't actually out like dating, 148 00:07:07,600 --> 00:07:12,040 Speaker 1: just kindly, firmly no, thank you. Just keep it quick, 149 00:07:12,120 --> 00:07:14,520 Speaker 1: keep it honest. It's show business, not show friends. I 150 00:07:14,560 --> 00:07:17,720 Speaker 1: remember we talked about that, and you know it's important 151 00:07:17,720 --> 00:07:19,680 Speaker 1: to do that, keeping it quick, keep it honest. If 152 00:07:19,720 --> 00:07:23,040 Speaker 1: it's not for you, let them know quickly. Because you're 153 00:07:23,240 --> 00:07:25,720 Speaker 1: always going to work with everyone that you're always working 154 00:07:25,760 --> 00:07:29,040 Speaker 1: with always, always, Like last year, I talked about this 155 00:07:29,280 --> 00:07:31,200 Speaker 1: at the Logis last year, I'm sitting there and like, 156 00:07:31,480 --> 00:07:33,600 Speaker 1: I don't know seventy percent of the people in the room. 157 00:07:33,600 --> 00:07:35,600 Speaker 1: We're there at my first Logis in two thousand and three. 158 00:07:36,080 --> 00:07:38,600 Speaker 1: You're always going to work with everybody always, so respect 159 00:07:38,640 --> 00:07:42,920 Speaker 1: their time and be super cool about hearing no and 160 00:07:42,960 --> 00:07:46,680 Speaker 1: be super cool about saying no. And everyone's fine with it. 161 00:07:47,040 --> 00:07:48,920 Speaker 1: Not everyone can say yes to everything all the time. 162 00:07:49,080 --> 00:07:50,760 Speaker 1: But if you've got to say no, do it quickly. 163 00:07:50,840 --> 00:07:53,440 Speaker 1: Don't mess people around. It's like we're dating. You know, 164 00:07:53,720 --> 00:07:56,960 Speaker 1: if you're like a dude and you're thirty five and 165 00:07:56,960 --> 00:07:59,440 Speaker 1: you've been dating someone and you were I don't know, 166 00:08:00,120 --> 00:08:02,560 Speaker 1: twenty six when you're met and you still haven't put 167 00:08:02,560 --> 00:08:05,080 Speaker 1: a ring on it. For fox sake, mate, either put 168 00:08:05,080 --> 00:08:06,800 Speaker 1: a ring on it and have babies, or get the 169 00:08:06,800 --> 00:08:10,600 Speaker 1: fuck out. Don't waste people's time. That's another story, all right. 170 00:08:10,680 --> 00:08:12,680 Speaker 1: One hundred and one Rules of Show Business, Rule No. 171 00:08:12,840 --> 00:08:16,480 Speaker 1: Twenty six. Once it's up the stick, it's gone. The 172 00:08:16,720 --> 00:08:18,800 Speaker 1: radio announcer who taught me the ropes taught me how 173 00:08:18,800 --> 00:08:20,560 Speaker 1: to work the panel, taught me how to work the Mike, 174 00:08:20,600 --> 00:08:24,280 Speaker 1: Claire Blake. She's incredible, absolute legend. She taught me this one. 175 00:08:24,320 --> 00:08:26,920 Speaker 1: It's got two parts to it because I, you know, 176 00:08:26,960 --> 00:08:28,800 Speaker 1: I fucked up a break and I was like, oh, 177 00:08:28,840 --> 00:08:30,640 Speaker 1: she was like, don't worry about it. Once it's up 178 00:08:30,640 --> 00:08:33,320 Speaker 1: the stick, it's gone. Basically, what it means is like, 179 00:08:33,480 --> 00:08:35,840 Speaker 1: do your part to the very best of your ability, 180 00:08:36,080 --> 00:08:38,840 Speaker 1: and then release it to the universe. Literally, because that 181 00:08:39,080 --> 00:08:41,120 Speaker 1: broadcast signal, once it's gone up the stick, up the 182 00:08:41,120 --> 00:08:43,760 Speaker 1: broadcast tower, and the radio waves have gone, and they've 183 00:08:43,760 --> 00:08:45,840 Speaker 1: shot out into the landscape and up into space. Because 184 00:08:45,840 --> 00:08:47,319 Speaker 1: they go up into space at the speed of light, 185 00:08:48,200 --> 00:08:50,720 Speaker 1: you've got no control over anything else. That happens. It's gone. 186 00:08:50,920 --> 00:08:53,280 Speaker 1: You can't bring it back, so let it go. Don't 187 00:08:53,280 --> 00:08:55,880 Speaker 1: be George Luca's endlessly fucking up with Star Wars, just 188 00:08:55,960 --> 00:08:58,760 Speaker 1: endlessly jiggering with it all right, don't do that. You're 189 00:08:58,760 --> 00:09:00,679 Speaker 1: never gonna make it as perfect that is in your head. 190 00:09:00,720 --> 00:09:02,280 Speaker 1: So get it as good as you can and then 191 00:09:02,360 --> 00:09:03,840 Speaker 1: let it go. There comes a point where you just 192 00:09:03,840 --> 00:09:06,520 Speaker 1: got to step back and let your work speak for itself. 193 00:09:06,920 --> 00:09:10,720 Speaker 1: This one's about trust essentially as well. Trust your team, 194 00:09:10,840 --> 00:09:14,280 Speaker 1: trust your own talent, trust your own hard work, your preparation, 195 00:09:14,360 --> 00:09:17,439 Speaker 1: your training, the work you've put in, and once you've 196 00:09:17,480 --> 00:09:19,640 Speaker 1: done your best, you let it go. Because trying to 197 00:09:19,679 --> 00:09:23,440 Speaker 1: control outcomes, all that's going to do is stifle your creativity. 198 00:09:23,440 --> 00:09:24,960 Speaker 1: It's going to make your second guess yourself when you're 199 00:09:25,000 --> 00:09:26,760 Speaker 1: in the moment, and it can also burn you out. 200 00:09:26,800 --> 00:09:30,840 Speaker 1: An example would be the Mask Singer for example, Okay, 201 00:09:30,880 --> 00:09:32,760 Speaker 1: so this is a show that we would record months 202 00:09:32,800 --> 00:09:35,000 Speaker 1: before it had aired, or it would keep it secret 203 00:09:35,080 --> 00:09:38,520 Speaker 1: for quite a while, sometimes three months the final episode 204 00:09:38,559 --> 00:09:41,480 Speaker 1: recording to the first episode airing. Sometimes that batchel even longer. 205 00:09:42,280 --> 00:09:45,640 Speaker 1: So with Master Singer, we could have made the best 206 00:09:45,760 --> 00:09:48,480 Speaker 1: shiny floor show ever in the history of television, and 207 00:09:48,520 --> 00:09:50,199 Speaker 1: say we were going to launch the next Sleason of 208 00:09:50,240 --> 00:09:53,720 Speaker 1: Master Singer August third with this massive show, and one 209 00:09:53,760 --> 00:09:57,360 Speaker 1: of the characters that a terrifying yet delightful robot clown. 210 00:09:57,480 --> 00:10:00,520 Speaker 1: Huge Australia doesn't know it yet because we've shot the episode, 211 00:10:00,520 --> 00:10:02,480 Speaker 1: but the clown goes on to win the thing, and 212 00:10:02,520 --> 00:10:04,320 Speaker 1: when we screen take it off in the final episode 213 00:10:04,360 --> 00:10:06,880 Speaker 1: before the fireworks, the head comes off. It's fucking Russell Crowe. 214 00:10:06,920 --> 00:10:08,319 Speaker 1: It's going to be the best season of all time. 215 00:10:08,360 --> 00:10:11,840 Speaker 1: We already all know this, all right, But two weeks 216 00:10:11,880 --> 00:10:15,000 Speaker 1: before the show starts, two weeks before the third of August, 217 00:10:15,080 --> 00:10:18,360 Speaker 1: some fuck quick terrorist in a clown mask nearly identical 218 00:10:18,400 --> 00:10:21,680 Speaker 1: clown musk shoots up a bus full of nuns and orphans, 219 00:10:21,720 --> 00:10:24,800 Speaker 1: and orphan nuns live streams the whole thing. The footage 220 00:10:24,800 --> 00:10:27,080 Speaker 1: is on every television channel for days. It's horrible and 221 00:10:27,200 --> 00:10:31,520 Speaker 1: disgusting and violent and grotesque. It's fair to say that 222 00:10:31,559 --> 00:10:33,880 Speaker 1: any network on the planet will pull the entire series 223 00:10:33,920 --> 00:10:37,280 Speaker 1: because that clown is in every promo. The whole series 224 00:10:37,320 --> 00:10:39,920 Speaker 1: is canceled, and none of us have any control over that. 225 00:10:39,960 --> 00:10:42,600 Speaker 1: None of us. We only have control over how well 226 00:10:42,600 --> 00:10:44,959 Speaker 1: we did our bit, how we move the cameras, lit 227 00:10:45,000 --> 00:10:49,319 Speaker 1: the set, edited the show, flipped the mic, whatever. Similarly, 228 00:10:49,360 --> 00:10:52,760 Speaker 1: I can't control what another network puts on opposite us 229 00:10:52,800 --> 00:10:55,640 Speaker 1: and the tame same time slot. I don't work in programming. 230 00:10:55,720 --> 00:10:58,000 Speaker 1: I don't work in marketing. I don't work in promos. 231 00:10:58,320 --> 00:11:00,960 Speaker 1: I don't do any of that. Lets out of my hands. 232 00:11:01,240 --> 00:11:04,880 Speaker 1: So I've learned to not waste time worrying about that. 233 00:11:05,520 --> 00:11:07,640 Speaker 1: I have zero influence on it. My only influence that 234 00:11:07,679 --> 00:11:09,480 Speaker 1: I can have on it is do my bit the 235 00:11:09,480 --> 00:11:11,560 Speaker 1: best I can and go home and go to bed. 236 00:11:11,920 --> 00:11:14,400 Speaker 1: Because once it's up the stick, it's gone. Do your best, 237 00:11:14,559 --> 00:11:16,319 Speaker 1: fold it up into a paper boat, send it out 238 00:11:16,320 --> 00:11:18,400 Speaker 1: into the ocean. Then turn your back and start folding 239 00:11:18,440 --> 00:11:20,800 Speaker 1: another one. It's a far, far, far better use of 240 00:11:20,840 --> 00:11:25,559 Speaker 1: your time and energy, right rule number twenty seven and 241 00:11:25,600 --> 00:11:28,840 Speaker 1: the one hundred and one rules of show business. Never forget, 242 00:11:29,080 --> 00:11:32,960 Speaker 1: we're not digging ditches. When I was living in Los Angeles, 243 00:11:33,040 --> 00:11:35,400 Speaker 1: I worked for a couple of months actually on a 244 00:11:35,400 --> 00:11:39,079 Speaker 1: cable channel called Access TV. It was like almost like 245 00:11:39,120 --> 00:11:42,000 Speaker 1: an Access Hollywood kind of meets Channel V kind of 246 00:11:42,040 --> 00:11:45,040 Speaker 1: TRL kind of Live Mark Cuban owned it. He would 247 00:11:45,120 --> 00:11:47,720 Speaker 1: email me at one in the morning. It was another story, 248 00:11:47,720 --> 00:11:49,560 Speaker 1: long story, but I worked there for a couple months. 249 00:11:49,600 --> 00:11:52,200 Speaker 1: It was really fun and inside the thirty second camp 250 00:11:52,240 --> 00:11:54,520 Speaker 1: before you went live, we would all be kind of 251 00:11:54,559 --> 00:11:57,200 Speaker 1: jazzing ourselves up to go live on at four o'clock 252 00:11:57,679 --> 00:11:59,679 Speaker 1: and I would just shout at out, have a fun show. Everyone. 253 00:12:00,040 --> 00:12:02,040 Speaker 1: Remember we're playing pop music. We're not digging ditches on 254 00:12:02,040 --> 00:12:04,120 Speaker 1: the one O one, which is a big freeway that's 255 00:12:04,160 --> 00:12:07,760 Speaker 1: always under construction in Los Angeles, and it's important to remember, 256 00:12:08,559 --> 00:12:10,600 Speaker 1: you know, we get to talk about pop music. I'm 257 00:12:10,600 --> 00:12:12,920 Speaker 1: not out in the blistering, baking sun next to a 258 00:12:13,000 --> 00:12:16,280 Speaker 1: highway with a shovel trying to earn money to feed 259 00:12:16,280 --> 00:12:19,120 Speaker 1: my family. I get to talk about a Katy Perry 260 00:12:19,160 --> 00:12:22,880 Speaker 1: song that's pretty good. If you ever find yourself stressing 261 00:12:22,920 --> 00:12:26,160 Speaker 1: over small catastrophes and things like you're not digging ditches, 262 00:12:26,240 --> 00:12:29,640 Speaker 1: just remember that it's a tough gig, like anything, but 263 00:12:29,760 --> 00:12:32,479 Speaker 1: it's a privilege to do this gig. You are invited 264 00:12:32,559 --> 00:12:35,440 Speaker 1: into people's lives because they are looking for joy or 265 00:12:35,480 --> 00:12:38,720 Speaker 1: an emotional response or a story, something that can transport 266 00:12:38,760 --> 00:12:40,560 Speaker 1: them out of their moment that they may not be 267 00:12:40,559 --> 00:12:43,320 Speaker 1: having fun with and that is a great privilege. Sixteen 268 00:12:43,360 --> 00:12:46,440 Speaker 1: hour days still happen, Tight deadlines still happening. They're just 269 00:12:46,440 --> 00:12:49,079 Speaker 1: as grueling as the next gig. But entertainment is a 270 00:12:49,160 --> 00:12:52,920 Speaker 1: very special industry, so keeping perspective is really really important. 271 00:12:53,360 --> 00:12:55,960 Speaker 1: People would you know, say, if there was something running late, 272 00:12:56,080 --> 00:12:59,160 Speaker 1: or sometimes we work in places that are far apart 273 00:12:59,200 --> 00:13:01,640 Speaker 1: and you're in your wardrobe and to get from here 274 00:13:01,640 --> 00:13:03,280 Speaker 1: to there is a bit of a walk and you've 275 00:13:03,320 --> 00:13:06,079 Speaker 1: just been steamed and pressed and you can't really move. 276 00:13:06,600 --> 00:13:08,160 Speaker 1: But by the time you get there, if you walk 277 00:13:08,200 --> 00:13:10,439 Speaker 1: in the sun, it'll be all fucked up and sweaty. 278 00:13:10,480 --> 00:13:12,760 Speaker 1: So they're going to send a golf cart, but one 279 00:13:12,760 --> 00:13:14,560 Speaker 1: of the golf carts is flat, and you have to 280 00:13:14,559 --> 00:13:16,200 Speaker 1: wait for the golf cart, like, I'm so sorry you 281 00:13:16,200 --> 00:13:19,160 Speaker 1: have to wait for the like, mate, it's fine, I 282 00:13:19,200 --> 00:13:22,200 Speaker 1: can wait for a golf cart, It's all right. I 283 00:13:22,320 --> 00:13:24,920 Speaker 1: used to work one of my jobs when I was seventeen. 284 00:13:26,320 --> 00:13:28,760 Speaker 1: I was a roadie for a city cover band, and 285 00:13:29,640 --> 00:13:33,280 Speaker 1: I would lug double three way pas up and down 286 00:13:33,320 --> 00:13:36,840 Speaker 1: the slippery, vomit covered piss covered steps of the surface 287 00:13:36,840 --> 00:13:38,840 Speaker 1: Paradise Beer Garden at three in the morning on it 288 00:13:38,880 --> 00:13:40,559 Speaker 1: was thirty two degrees in the middle of someone with 289 00:13:40,640 --> 00:13:46,439 Speaker 1: pissed it e. It's screamed, all right. Every day that 290 00:13:46,520 --> 00:13:48,920 Speaker 1: I'm not doing that for a job is an amazing day. 291 00:13:49,360 --> 00:13:51,400 Speaker 1: And so I will stand and wait for a golf cart. 292 00:13:51,760 --> 00:13:54,760 Speaker 1: That is fine with me. I do think it's important 293 00:13:54,800 --> 00:13:57,280 Speaker 1: early on in your career to do something hard and 294 00:13:57,280 --> 00:13:59,760 Speaker 1: physical and then you generally you work the rest of 295 00:13:59,760 --> 00:14:03,440 Speaker 1: your We're trying not to do that ever again. So 296 00:14:03,720 --> 00:14:06,000 Speaker 1: this one's pretty easy to follow. You just do the 297 00:14:06,040 --> 00:14:08,960 Speaker 1: hard work, but also balance it with gratitude. It's a 298 00:14:09,040 --> 00:14:13,320 Speaker 1: unique job. It has unique experiences, and yes we're not 299 00:14:13,360 --> 00:14:16,719 Speaker 1: solving climate change, but people are paying you with their 300 00:14:16,800 --> 00:14:21,560 Speaker 1: time to make them smile, make them think, make them feel, 301 00:14:21,840 --> 00:14:24,080 Speaker 1: give them ost reason to sit quietly with their family 302 00:14:24,120 --> 00:14:26,840 Speaker 1: and enjoy each other's company. That's a very special thing. 303 00:14:27,480 --> 00:14:29,720 Speaker 1: I need to take a break, you know, I've got 304 00:14:29,720 --> 00:14:31,600 Speaker 1: to make some money here. Speaking of money, the next 305 00:14:31,640 --> 00:14:33,920 Speaker 1: one is all about agents and managers. Now you might 306 00:14:33,920 --> 00:14:36,640 Speaker 1: have an idea about agents and managers from watching Tropic Thunder. 307 00:14:36,840 --> 00:14:39,240 Speaker 1: It's not all as Grossman and Matt McConaughey with the TVO, 308 00:14:39,840 --> 00:14:41,640 Speaker 1: but he is kind of interesting though, and hopefully it 309 00:14:41,640 --> 00:14:43,320 Speaker 1: will clear a few things up back in a minute. 310 00:14:48,000 --> 00:14:50,760 Speaker 1: Thanks for sticking with me. It's better than yesterday. Going 311 00:14:50,760 --> 00:14:53,040 Speaker 1: through the one hundred and one Rules of Show Business, 312 00:14:53,240 --> 00:14:57,720 Speaker 1: Rule number twenty eight, your agent or your manager earns 313 00:14:57,720 --> 00:15:02,280 Speaker 1: their percentage by being the bad guy. You are their boss, 314 00:15:02,680 --> 00:15:05,120 Speaker 1: and you pay them to be the bad guy. For 315 00:15:05,160 --> 00:15:09,240 Speaker 1: every trope about agents, including the brilliant Les Grossman in 316 00:15:09,280 --> 00:15:13,520 Speaker 1: Tropic Thunder played by Tom Cruise, agents are vitally important 317 00:15:14,360 --> 00:15:17,880 Speaker 1: because they are the people who keep the relationship between 318 00:15:17,920 --> 00:15:21,000 Speaker 1: you and the network, or you and the publisher, or 319 00:15:21,040 --> 00:15:23,280 Speaker 1: you and the film company, or you in the radio station, 320 00:15:23,360 --> 00:15:25,360 Speaker 1: or you and the whoever. They are the people that 321 00:15:25,480 --> 00:15:29,600 Speaker 1: keep your relationship with those people a creative relationship. They 322 00:15:29,680 --> 00:15:32,680 Speaker 1: negotiate the deals, they handle the disputes. They ensure that 323 00:15:32,720 --> 00:15:35,480 Speaker 1: you get what you are worth. You're going to be 324 00:15:35,480 --> 00:15:37,760 Speaker 1: paying them a percentage. Sometimes I've paid as much as 325 00:15:37,800 --> 00:15:40,960 Speaker 1: twenty percent. I don't do that anymore, but I have. 326 00:15:41,880 --> 00:15:45,080 Speaker 1: But it is important that you pay a percentage and 327 00:15:45,160 --> 00:15:47,520 Speaker 1: that they are enrolled in getting you the very best deal, 328 00:15:47,560 --> 00:15:50,840 Speaker 1: because you may not be able to see the full 329 00:15:50,920 --> 00:15:54,600 Speaker 1: worth of what's going on that they can, and their 330 00:15:54,720 --> 00:15:57,560 Speaker 1: job is to put on the big, big hat, especially 331 00:15:57,560 --> 00:16:01,160 Speaker 1: in Australia, because we're like raised in a culture. It's 332 00:16:01,200 --> 00:16:02,880 Speaker 1: less so now, but we're raising the culture of trying 333 00:16:02,880 --> 00:16:04,320 Speaker 1: not to be too big for our boots, all right. 334 00:16:04,360 --> 00:16:07,400 Speaker 1: And I remember early on Barry used to say, just 335 00:16:07,480 --> 00:16:09,120 Speaker 1: ask me for more money. Come on, you should be 336 00:16:09,160 --> 00:16:11,400 Speaker 1: paid what you're worth. I'm just happy to be human. 337 00:16:11,880 --> 00:16:15,760 Speaker 1: Stop that fucking shit. I remember the first couple of 338 00:16:15,760 --> 00:16:17,640 Speaker 1: pay rises. I've got a channel V. He just gave 339 00:16:17,680 --> 00:16:19,880 Speaker 1: them to me. I didn't ask, he just paid me 340 00:16:20,320 --> 00:16:23,640 Speaker 1: because I didn't have the self worse to demand or 341 00:16:23,720 --> 00:16:26,560 Speaker 1: ask for more money. I didn't understand my worth. I 342 00:16:26,600 --> 00:16:28,200 Speaker 1: know it now, but I didn't understand what worth then. 343 00:16:28,600 --> 00:16:30,760 Speaker 1: Because even then, when you're going for those gigs you 344 00:16:30,800 --> 00:16:33,600 Speaker 1: might understand, you might not see what could be possible 345 00:16:33,720 --> 00:16:36,520 Speaker 1: with what you're hitting. Like the biggest example would be 346 00:16:36,560 --> 00:16:38,960 Speaker 1: and everything work backwards from here. I guess the biggest 347 00:16:39,160 --> 00:16:42,680 Speaker 1: example would be an audition for a network sitcom in America. 348 00:16:42,760 --> 00:16:46,960 Speaker 1: All right? So who were auditions for these sitcoms? Usually 349 00:16:47,120 --> 00:16:50,640 Speaker 1: a barely employed actor doing nanny jobs or uber eats 350 00:16:50,720 --> 00:16:54,560 Speaker 1: or both. And you're reading auditions every day during pilot season, 351 00:16:54,600 --> 00:16:56,840 Speaker 1: you're there auditioning every all the time, and like, say 352 00:16:56,880 --> 00:16:58,400 Speaker 1: you're doing that. You're driving around, you got the kids 353 00:16:58,400 --> 00:17:00,680 Speaker 1: in the back and delivering groceries of you know, Taco's 354 00:17:00,720 --> 00:17:03,040 Speaker 1: or whatever, and your agent says, hey, I've got a 355 00:17:03,200 --> 00:17:05,239 Speaker 1: script here. It's for you. It's for something called the 356 00:17:05,240 --> 00:17:08,240 Speaker 1: Big Bang Theory. Chuck Laurie is making it. You're like, yeah, great, 357 00:17:08,320 --> 00:17:11,719 Speaker 1: give us it. When is it tomorrow? Gray, you walk in, 358 00:17:12,119 --> 00:17:15,080 Speaker 1: You nail it. You get a call back so fast. Yes. 359 00:17:15,440 --> 00:17:17,200 Speaker 1: They call your agent later that day and go, hey, 360 00:17:17,320 --> 00:17:20,200 Speaker 1: we really liked him. Can you come back on Friday. 361 00:17:20,520 --> 00:17:21,840 Speaker 1: This time, it's going to be a few other people 362 00:17:21,840 --> 00:17:23,960 Speaker 1: in the room. Yeah, yeah, sure, you do that. You 363 00:17:24,040 --> 00:17:27,000 Speaker 1: nail it. They're stoked and they go great. A couple 364 00:17:27,000 --> 00:17:28,520 Speaker 1: of days go by and they go, excellent, all right, 365 00:17:28,520 --> 00:17:31,160 Speaker 1: we're going to send over a network test deal, and 366 00:17:32,040 --> 00:17:33,840 Speaker 1: once you sign that deal, we'll get them to read 367 00:17:33,840 --> 00:17:36,000 Speaker 1: for the network. But before you get to audition for 368 00:17:36,040 --> 00:17:38,879 Speaker 1: the network, which is like that's it. You do that 369 00:17:38,920 --> 00:17:42,560 Speaker 1: and then you're in the network. Want to keep their leverage, 370 00:17:42,920 --> 00:17:45,800 Speaker 1: all right, so they make you sign the entire deal 371 00:17:46,040 --> 00:17:49,439 Speaker 1: before they've even seen you. Before you've even got a 372 00:17:49,560 --> 00:17:52,520 Speaker 1: chance to audition, all right, so you have to sign, 373 00:17:52,680 --> 00:17:55,439 Speaker 1: literally have to sign the whole thing away before you 374 00:17:55,520 --> 00:17:57,320 Speaker 1: walk in and say, hey, how you're going, I'd like 375 00:17:57,400 --> 00:18:01,520 Speaker 1: to read for Sheldon. Now. The deal could be, and 376 00:18:01,560 --> 00:18:03,080 Speaker 1: I've done a few of these, right, The deal could 377 00:18:03,119 --> 00:18:05,119 Speaker 1: be for a show that you might not get it, 378 00:18:05,320 --> 00:18:06,439 Speaker 1: but you've still got to go through all that. You've 379 00:18:06,440 --> 00:18:08,000 Speaker 1: still got to pay a layer to do it. The 380 00:18:08,040 --> 00:18:11,280 Speaker 1: show could be something that pilots but never gets picked up. 381 00:18:11,720 --> 00:18:13,639 Speaker 1: It could be a show that starts on Wednesday night 382 00:18:13,720 --> 00:18:17,240 Speaker 1: at seven thirty and quickly New Time Saturday three pm, 383 00:18:17,240 --> 00:18:19,600 Speaker 1: back to back five hours of this shit and it's 384 00:18:19,640 --> 00:18:21,680 Speaker 1: never heard of from again. Or it could be a 385 00:18:21,720 --> 00:18:24,800 Speaker 1: show that goes and goes and goes and goes. And 386 00:18:25,040 --> 00:18:27,560 Speaker 1: a recent example of this would be Jim Parsons, who, 387 00:18:27,760 --> 00:18:30,879 Speaker 1: as I mentioned, played Sheldon on Big Bang Theory. I 388 00:18:30,880 --> 00:18:34,720 Speaker 1: did two hundred and eighty episodes of that show. In 389 00:18:34,760 --> 00:18:38,040 Speaker 1: the stage, you get paid per episode, so when he 390 00:18:38,080 --> 00:18:41,360 Speaker 1: started he was getting paid sixty thousand dollars per episode. 391 00:18:41,400 --> 00:18:46,040 Speaker 1: That's huge money, right, huge. By the middle seasons, he's 392 00:18:46,080 --> 00:18:49,680 Speaker 1: making three hundred thousand dollars an episode. In the I 393 00:18:49,720 --> 00:18:51,919 Speaker 1: think they had twelve years of it. By the final seasons, 394 00:18:51,960 --> 00:18:55,640 Speaker 1: Jim Passes making over a million dollars an episode. Now 395 00:18:55,720 --> 00:18:59,119 Speaker 1: that's colossal cash. He was the highest paid TV actor 396 00:18:59,200 --> 00:19:01,760 Speaker 1: in the world when the show ended. But he was 397 00:19:01,800 --> 00:19:06,440 Speaker 1: making that kind of money because that show makes squillions 398 00:19:06,520 --> 00:19:10,080 Speaker 1: more than that in sales. They can afford to pay 399 00:19:10,160 --> 00:19:12,120 Speaker 1: him that. You think he's making a lot of money, 400 00:19:12,160 --> 00:19:14,600 Speaker 1: who's the guy that writes the jacks. They're the ones 401 00:19:14,720 --> 00:19:17,120 Speaker 1: making the money, and that's what he's worth to them. 402 00:19:17,160 --> 00:19:19,200 Speaker 1: That is what he's worth. But when he auditioned, Before 403 00:19:19,240 --> 00:19:24,360 Speaker 1: he walks into audition, he's an off Broadway actor. He's 404 00:19:24,400 --> 00:19:27,160 Speaker 1: got an occasional recurring role on a TV show here 405 00:19:27,160 --> 00:19:29,320 Speaker 1: on there, and his biggest claim to fame is one 406 00:19:29,480 --> 00:19:33,520 Speaker 1: thirty second fast food commercial. He was auditioning fifty to 407 00:19:33,600 --> 00:19:37,280 Speaker 1: thirty times a year for pilots. Sometimes he did get 408 00:19:37,320 --> 00:19:38,760 Speaker 1: the gig. He got here, signed the deal to the 409 00:19:38,800 --> 00:19:40,880 Speaker 1: whole thing, but the show never got picked up. Then 410 00:19:40,880 --> 00:19:42,840 Speaker 1: he walks into his network test for Big Bang Theory. 411 00:19:42,920 --> 00:19:45,720 Speaker 1: Chuck Laurie is there, created the show, did two and 412 00:19:45,720 --> 00:19:48,520 Speaker 1: a half Man and things. The network executives are all there. 413 00:19:49,280 --> 00:19:51,760 Speaker 1: They see him, They hear him read and go, fuck, 414 00:19:51,800 --> 00:19:54,600 Speaker 1: we've got Sheldon. Once Jim opens his mouth, they know 415 00:19:54,720 --> 00:19:57,119 Speaker 1: they have their man. I tell you what, it blows 416 00:19:57,160 --> 00:19:59,280 Speaker 1: my mind. And when it comes to these American sitcoms 417 00:19:59,320 --> 00:20:01,800 Speaker 1: like three Meet, maybe ten twelve minutes of your life 418 00:20:01,880 --> 00:20:04,320 Speaker 1: changes everything. But at the time when Jim's walking into 419 00:20:04,320 --> 00:20:06,040 Speaker 1: that room, he doesn't know that. He doesn't know two 420 00:20:06,119 --> 00:20:07,600 Speaker 1: hundred and eighty episodes, and by the time it ends, 421 00:20:07,640 --> 00:20:09,760 Speaker 1: he we get paid a million bucks. As far as 422 00:20:09,760 --> 00:20:13,320 Speaker 1: he's concerned, it's just another day. He's got another pilot 423 00:20:13,359 --> 00:20:15,440 Speaker 1: to prep for that afternoon, he's got another one the 424 00:20:15,440 --> 00:20:16,520 Speaker 1: next day, and then he's got to go and do 425 00:20:16,560 --> 00:20:19,720 Speaker 1: more uberroots and more ninety jobs or whatever. At that point, 426 00:20:19,760 --> 00:20:21,679 Speaker 1: he cannot see himself as someone who gets paid a 427 00:20:21,680 --> 00:20:24,560 Speaker 1: million dollars an episode, let alone sixty thousand dollars an episode. 428 00:20:24,640 --> 00:20:26,920 Speaker 1: And if he walked in there and negotiated directly with 429 00:20:26,960 --> 00:20:29,360 Speaker 1: that network, with those people he's trying to read for, 430 00:20:29,800 --> 00:20:32,200 Speaker 1: because they make the business decisions as well, and he's 431 00:20:32,240 --> 00:20:34,399 Speaker 1: you know, going hard out and you know, scramming and 432 00:20:34,480 --> 00:20:36,440 Speaker 1: yelling and you know, pushing for more you know this, 433 00:20:36,480 --> 00:20:40,159 Speaker 1: and better golf carts and whatever. He showed them angry Jim. 434 00:20:40,440 --> 00:20:42,040 Speaker 1: Do you think they'd want to continue working with him? 435 00:20:42,040 --> 00:20:45,360 Speaker 1: Probably not. Your agent is there to see the big picture, 436 00:20:45,920 --> 00:20:48,800 Speaker 1: protect your value now and in the future. That's why 437 00:20:48,880 --> 00:20:52,040 Speaker 1: they're paid what they're paid, and they work for you. 438 00:20:52,040 --> 00:20:53,800 Speaker 1: Your agent is there to be the bad guy, so 439 00:20:53,880 --> 00:20:55,560 Speaker 1: you don't have to be the bad guy. So you 440 00:20:55,600 --> 00:20:57,359 Speaker 1: do it. You've got a radio job, you're doing breakfast 441 00:20:57,440 --> 00:20:59,360 Speaker 1: radio or whatever. He show up one day and he go, hey, 442 00:20:59,480 --> 00:21:01,800 Speaker 1: great new where we've gone from a pop format to 443 00:21:01,960 --> 00:21:04,760 Speaker 1: full country. And your co host, yeah, he's the guy 444 00:21:04,920 --> 00:21:09,240 Speaker 1: with the YouTube channel about pig hunting, Loves Loves Loves 445 00:21:09,280 --> 00:21:14,159 Speaker 1: Mark Latham. You'd be like, fuck, that sounds exciting, great, 446 00:21:14,560 --> 00:21:16,120 Speaker 1: and you get in the car, you call your agents. 447 00:21:16,119 --> 00:21:17,919 Speaker 1: They give me the fuck out of here. I'll be 448 00:21:17,920 --> 00:21:20,480 Speaker 1: staying from pig shit from here for forever if I 449 00:21:20,480 --> 00:21:22,720 Speaker 1: get anywhere near that motherfucker and then your agent goes 450 00:21:22,720 --> 00:21:24,720 Speaker 1: in there and shouts the you know, place down. Hopefully 451 00:21:24,800 --> 00:21:27,840 Speaker 1: keep your relationship okay, either get you out of that 452 00:21:27,920 --> 00:21:29,800 Speaker 1: gig or get you a different one, or say, listen, mate, 453 00:21:29,840 --> 00:21:31,840 Speaker 1: this is it. There's no other station in the country 454 00:21:31,880 --> 00:21:34,000 Speaker 1: is going to take it. How quickly can you learn 455 00:21:34,040 --> 00:21:37,960 Speaker 1: about dogging, so you've got to trust your agent. You 456 00:21:38,040 --> 00:21:40,280 Speaker 1: really got to do the other one on that one. 457 00:21:40,760 --> 00:21:44,240 Speaker 1: Let them handle the negotiations. Don't agree to things that 458 00:21:44,440 --> 00:21:48,399 Speaker 1: sound friendly, all right, don't sign stuff. Hey, I'm just wondering. Now. 459 00:21:48,400 --> 00:21:51,240 Speaker 1: There's a couple of weekends away, and they make it 460 00:21:51,280 --> 00:21:53,960 Speaker 1: sound like it's great, but certainly if it's client shit 461 00:21:54,040 --> 00:21:56,439 Speaker 1: or whatever it is, go oh man, that sounds interesting. 462 00:21:56,480 --> 00:21:58,120 Speaker 1: I'm just gonna that's going to run a past the team. 463 00:21:58,160 --> 00:21:59,800 Speaker 1: I don't know what's going on that weekend. I might 464 00:22:00,440 --> 00:22:02,760 Speaker 1: I'd love to do it. They'll let me know, and 465 00:22:02,800 --> 00:22:05,520 Speaker 1: then you call them and say, whatever happens, do not 466 00:22:05,600 --> 00:22:07,240 Speaker 1: let me do that. Say I'm busy, I can't do that, 467 00:22:07,560 --> 00:22:10,000 Speaker 1: and that's what you pay them for. They say no 468 00:22:10,200 --> 00:22:13,040 Speaker 1: for you. It's like having a bodyguard. They take the 469 00:22:13,160 --> 00:22:15,880 Speaker 1: hit so and the team can continue working. Unsket Yeah, 470 00:22:15,880 --> 00:22:17,400 Speaker 1: I would have loved to do that thing with you guys. 471 00:22:17,400 --> 00:22:19,600 Speaker 1: I really would have loved to go to that race 472 00:22:19,640 --> 00:22:21,359 Speaker 1: course and stand there all day in the sun with 473 00:22:21,400 --> 00:22:24,360 Speaker 1: those hundred and five punters on a bus. But I couldn't. 474 00:22:24,359 --> 00:22:27,280 Speaker 1: I'm sorry. I don't make the productions. I'm sorry. I couldn't. Yeah, 475 00:22:27,359 --> 00:22:29,320 Speaker 1: I know, yeah, it does sound like it was a 476 00:22:29,359 --> 00:22:31,840 Speaker 1: tough day. Yeah. And meanwhile, they don't need to know. 477 00:22:33,560 --> 00:22:35,320 Speaker 1: And look, you can say no to them, and it's 478 00:22:35,320 --> 00:22:37,399 Speaker 1: important to say no. She needs to say no, but 479 00:22:37,560 --> 00:22:40,880 Speaker 1: understand that eventually they're going to need someone to say 480 00:22:40,960 --> 00:22:43,520 Speaker 1: yes to that. And if the price they're paying for 481 00:22:43,560 --> 00:22:46,439 Speaker 1: you is too much for someone that says no, stuff, 482 00:22:47,119 --> 00:22:49,440 Speaker 1: they'll find someone that will say yes. It's the last money. 483 00:22:49,760 --> 00:22:51,199 Speaker 1: And that brings us to the last one we're going 484 00:22:51,240 --> 00:22:53,399 Speaker 1: to go through today. In the one hundred and one 485 00:22:53,440 --> 00:22:56,320 Speaker 1: Rules of Show Business, rule number twenty nine, the show 486 00:22:56,800 --> 00:23:01,280 Speaker 1: must go on with all without you. There's no doubt 487 00:23:01,720 --> 00:23:04,159 Speaker 1: you've heard that by conning phrase, the show must go on. 488 00:23:04,880 --> 00:23:07,359 Speaker 1: It's the resilience that exists within the entertainment world. If 489 00:23:07,359 --> 00:23:10,760 Speaker 1: you've got a packed theater, they're all waiting, doesn't matter 490 00:23:10,800 --> 00:23:12,200 Speaker 1: what when the curtain goes up, the show has to 491 00:23:12,240 --> 00:23:16,520 Speaker 1: start with very very very few exceptions when no matter 492 00:23:16,600 --> 00:23:19,840 Speaker 1: what happens, the performance will go on, which is why 493 00:23:19,880 --> 00:23:23,560 Speaker 1: in theater there are understudies. In musicals and stuff, there's understudies, 494 00:23:24,080 --> 00:23:26,159 Speaker 1: often people in the chorus who learn the choreography and 495 00:23:26,200 --> 00:23:27,719 Speaker 1: all the songs in case you fall over on your 496 00:23:27,720 --> 00:23:30,359 Speaker 1: way to the station or whatever. TV stations they have 497 00:23:30,440 --> 00:23:35,120 Speaker 1: weekend morning shows. Radio stations have summer breki. Because this 498 00:23:35,240 --> 00:23:37,919 Speaker 1: rule also very much serves as a humbling reminder the 499 00:23:37,960 --> 00:23:40,520 Speaker 1: show can and will go on without you if necessary. 500 00:23:40,600 --> 00:23:44,760 Speaker 1: Sometimes sometimes the show is so good you might go 501 00:23:44,800 --> 00:23:46,960 Speaker 1: on to bigger and better things and the show continues 502 00:23:47,080 --> 00:23:51,120 Speaker 1: without you. For example, Hamilton, right Lin Manuel Miranda when 503 00:23:51,119 --> 00:23:53,359 Speaker 1: he left the cast to Hamilton, it's not like Hamilton stop, 504 00:23:54,040 --> 00:23:55,720 Speaker 1: just you know, a different person came in to play 505 00:23:55,720 --> 00:23:57,520 Speaker 1: the role and he went off, and oh, don't make 506 00:23:57,560 --> 00:24:00,199 Speaker 1: Malana and whatever else he's making. The show's it all 507 00:24:00,200 --> 00:24:02,359 Speaker 1: goes on tours the world with the thousand different people 508 00:24:02,359 --> 00:24:06,600 Speaker 1: to play him, but he's not the lead anymore. And 509 00:24:06,640 --> 00:24:08,159 Speaker 1: now there is another side to this, and I have 510 00:24:08,280 --> 00:24:11,199 Speaker 1: very much personal experience with this. If you think that 511 00:24:11,240 --> 00:24:13,399 Speaker 1: you're bigger than you are and you start pushing your 512 00:24:13,400 --> 00:24:17,640 Speaker 1: weight around, demanding outlandish pay rises, way better working conditions, 513 00:24:17,640 --> 00:24:20,760 Speaker 1: a golf cut that's mine all the time. Certainly, if 514 00:24:20,800 --> 00:24:23,159 Speaker 1: you're asking for better conditions than other people who are 515 00:24:23,160 --> 00:24:26,280 Speaker 1: doing exactly the same role as you are, there's a 516 00:24:26,320 --> 00:24:28,800 Speaker 1: point where the people you are trying to talk to, 517 00:24:28,840 --> 00:24:32,480 Speaker 1: will just stop writing back. I once managed to negotiate. 518 00:24:33,320 --> 00:24:37,240 Speaker 1: I once attempted to negotiate my own deal for Australian Idol. 519 00:24:37,720 --> 00:24:40,199 Speaker 1: The first time around, I was so full of egos, 520 00:24:40,280 --> 00:24:44,040 Speaker 1: so fully hubrious in red pen, I'll never forget it. 521 00:24:44,080 --> 00:24:47,239 Speaker 1: In red pen, I angrily wrote on this deal and 522 00:24:47,280 --> 00:24:50,119 Speaker 1: crossing out words and like writing and cranking capital letters 523 00:24:50,160 --> 00:24:52,960 Speaker 1: about there's too many days to work. I need work 524 00:24:53,040 --> 00:24:54,920 Speaker 1: less days in the week, and then struggle out the 525 00:24:54,960 --> 00:24:57,159 Speaker 1: money and it write this ridiculously large figure in that 526 00:24:57,200 --> 00:24:58,840 Speaker 1: I wanted them to pay me. I hit send on 527 00:24:58,880 --> 00:25:02,800 Speaker 1: the facts and I ever heard from them again. A 528 00:25:02,800 --> 00:25:05,119 Speaker 1: couple of days past. I've got a text with the 529 00:25:05,160 --> 00:25:08,720 Speaker 1: immortal words that every person pitching on anything doesn't matter 530 00:25:08,760 --> 00:25:11,120 Speaker 1: what you're pitching it on. The thing you hear when 531 00:25:11,160 --> 00:25:14,359 Speaker 1: things aren't going your way. Hmm, we've chosen to go 532 00:25:14,440 --> 00:25:17,800 Speaker 1: in another direction. And that was it. They hired Ricky 533 00:25:17,880 --> 00:25:21,320 Speaker 1: Lee to work opposite James Matheson on that season, and 534 00:25:21,400 --> 00:25:26,120 Speaker 1: I had no job. I immediately called a manager i'd been 535 00:25:26,119 --> 00:25:28,760 Speaker 1: talking to. I hired him on the spot for whatever 536 00:25:28,800 --> 00:25:33,000 Speaker 1: percentage you wanted. He swung in through the window with 537 00:25:33,080 --> 00:25:34,840 Speaker 1: a dag of between his teeth, and he saved my 538 00:25:34,880 --> 00:25:38,639 Speaker 1: goddamn career. He was incredible. But the deal that I 539 00:25:38,720 --> 00:25:42,119 Speaker 1: signed was not the first deal they sent over. To 540 00:25:42,160 --> 00:25:44,160 Speaker 1: say I took a pay cut on that original deal 541 00:25:44,160 --> 00:25:47,199 Speaker 1: would be an understatement, because the show must go on 542 00:25:47,359 --> 00:25:49,640 Speaker 1: with or without you, So do try to avoid getting 543 00:25:49,640 --> 00:25:51,600 Speaker 1: too wrapped up in your own importance. The whole thing 544 00:25:51,640 --> 00:25:53,639 Speaker 1: is bigger than you are, and it can go on 545 00:25:53,760 --> 00:25:57,119 Speaker 1: even if you're not there. Just strive as hard as 546 00:25:57,119 --> 00:26:01,360 Speaker 1: you can, strive to be undeniable, but always understand everyone's 547 00:26:01,400 --> 00:26:04,679 Speaker 1: replaceable because the thing's bigger than you are. I like 548 00:26:04,720 --> 00:26:06,560 Speaker 1: thinking about this quite a bit, and I think about 549 00:26:06,560 --> 00:26:08,879 Speaker 1: it quite I don't have to remember too hard. My 550 00:26:08,880 --> 00:26:11,639 Speaker 1: body's shivering just even thinking about those texts. I was 551 00:26:11,640 --> 00:26:14,040 Speaker 1: not an old knock here too. It helps me keep 552 00:26:14,040 --> 00:26:16,679 Speaker 1: my ego kind of where it needs to be. And 553 00:26:17,080 --> 00:26:20,239 Speaker 1: very appreciative of the collaborative nature of the work that 554 00:26:20,280 --> 00:26:23,320 Speaker 1: I do, because yeah, there's plenty of people that'll do 555 00:26:23,359 --> 00:26:27,440 Speaker 1: it tomorrow for less money. Boy, that was a little 556 00:26:27,440 --> 00:26:29,080 Speaker 1: longer than I thought it would be, but I hope 557 00:26:29,080 --> 00:26:30,600 Speaker 1: it was like, Okay, let me know what you think 558 00:26:30,600 --> 00:26:32,600 Speaker 1: that I miss anything shall I put anything else in? There? 559 00:26:32,640 --> 00:26:34,800 Speaker 1: Are these useful? Do you like them? Let me know 560 00:26:34,840 --> 00:26:37,919 Speaker 1: what you think Oschaginsburg dot com. That'll be where you 561 00:26:37,920 --> 00:26:39,840 Speaker 1: can find all the other episodes as well. Do let 562 00:26:39,880 --> 00:26:43,720 Speaker 1: somebody know about this. Send this to someone. I'd be 563 00:26:43,760 --> 00:26:46,240 Speaker 1: interested to hear what other industries this may be applicable to. 564 00:26:47,080 --> 00:26:50,000 Speaker 1: So far, we've got, as I mentioned, some healthcare, some education. 565 00:26:50,680 --> 00:26:52,679 Speaker 1: I'd love to know where else this could be useful stuff. 566 00:26:53,320 --> 00:26:55,840 Speaker 1: So far people are really enjoying it. Do let me know. 567 00:26:56,200 --> 00:26:58,639 Speaker 1: Here are the credits. There is an AI voice reading this, 568 00:26:58,840 --> 00:27:01,000 Speaker 1: It's not my accent, and I'll see you Wednesday. 569 00:27:02,200 --> 00:27:04,960 Speaker 2: This episode was brought to you by Andy Maer on 570 00:27:05,119 --> 00:27:09,600 Speaker 2: audio post production, Beck Sayed on video post production Toehider 571 00:27:09,720 --> 00:27:13,159 Speaker 2: on music. My producer is Bree Steele and my executive 572 00:27:13,160 --> 00:27:16,840 Speaker 2: function assistant is Monica Chapman. For every episode ever. To 573 00:27:16,880 --> 00:27:18,760 Speaker 2: get on the mailing list or to get in touch 574 00:27:18,840 --> 00:27:22,399 Speaker 2: through the contact form, head to Ashurginsburg dot com. 575 00:27:22,440 --> 00:27:23,360 Speaker 1: Thanks for listening.