1 00:00:01,560 --> 00:00:01,880 Speaker 1: Get Day. 2 00:00:01,920 --> 00:00:02,679 Speaker 2: Welcome to the show. 3 00:00:03,000 --> 00:00:05,920 Speaker 1: It's Oshaginsburg here and it's a Monday, so it's another 4 00:00:06,080 --> 00:00:10,600 Speaker 1: edition in the ongoing series The Rules of Show Business. 5 00:00:10,720 --> 00:00:13,280 Speaker 1: I really should find a good snappy way to say this. 6 00:00:13,880 --> 00:00:15,640 Speaker 1: It'll probably come to me whether or not you have 7 00:00:15,680 --> 00:00:18,400 Speaker 1: a career in my entertainment industry. I think every one 8 00:00:18,440 --> 00:00:20,800 Speaker 1: of these things could easily apply to whatever industry or 9 00:00:20,840 --> 00:00:22,720 Speaker 1: wherever walk of life, even as a student, even as 10 00:00:22,720 --> 00:00:23,599 Speaker 1: in high school. 11 00:00:23,880 --> 00:00:26,720 Speaker 2: This stuff can really really help you. It helped me. 12 00:00:27,320 --> 00:00:29,200 Speaker 1: It's stuff that I've took a long time to learn. 13 00:00:29,240 --> 00:00:32,560 Speaker 1: Sometimes I didn't. I learned these things very painfully that 14 00:00:32,760 --> 00:00:35,320 Speaker 1: was thrust upon me. But I'd be grateful to share 15 00:00:35,360 --> 00:00:37,320 Speaker 1: some of it with you. Before I do, though, going 16 00:00:37,320 --> 00:00:38,839 Speaker 1: I need to play some ads, so I'll be back 17 00:00:38,840 --> 00:00:39,440 Speaker 1: after the break. 18 00:00:44,360 --> 00:00:45,280 Speaker 2: Good day, Welcome to the show. 19 00:00:45,280 --> 00:00:47,519 Speaker 1: This is better than yesterday, making about it every episode 20 00:00:47,520 --> 00:00:48,360 Speaker 1: since twenty thirteen. 21 00:00:48,400 --> 00:00:49,400 Speaker 2: My name's Osha Ginsberg. 22 00:00:49,560 --> 00:00:51,040 Speaker 1: If you want to get a touch or you're going 23 00:00:51,080 --> 00:00:53,280 Speaker 1: to listen to all the other rules of show Business, 24 00:00:53,479 --> 00:00:56,400 Speaker 1: you can find thet Oshiginsberg dot com. Thank you so 25 00:00:56,520 --> 00:00:59,040 Speaker 1: much for being here. We're up to rule number ten. 26 00:00:59,360 --> 00:01:03,760 Speaker 1: All right, Rule number ten in the rules of show business, 27 00:01:04,120 --> 00:01:08,399 Speaker 1: Always tell someone where you're going. If you were in 28 00:01:08,440 --> 00:01:11,320 Speaker 1: a factory, say on a production line, and I don't 29 00:01:11,319 --> 00:01:16,320 Speaker 1: know you're making toasters. The person to your immediate left 30 00:01:16,800 --> 00:01:19,480 Speaker 1: is the person that puts the springy thing in, and 31 00:01:19,520 --> 00:01:22,880 Speaker 1: your job is to put the handle on the toaster popper, 32 00:01:22,920 --> 00:01:25,600 Speaker 1: and the next person puts the metal case on the outside. 33 00:01:26,040 --> 00:01:27,520 Speaker 1: And that's what you do all day. You put the 34 00:01:27,560 --> 00:01:29,920 Speaker 1: handle on the toast to popper, handle on the toast 35 00:01:29,959 --> 00:01:31,319 Speaker 1: to popper handle on the. 36 00:01:31,200 --> 00:01:31,759 Speaker 2: All day long. 37 00:01:32,440 --> 00:01:36,200 Speaker 1: If the person to your left suddenly goes away and 38 00:01:36,240 --> 00:01:38,840 Speaker 1: doesn't tell anyone, doesn't stop the line, doesn't say boss, 39 00:01:38,840 --> 00:01:41,560 Speaker 1: I need to break, I need to pee. What happens 40 00:01:42,480 --> 00:01:46,760 Speaker 1: the whole thing falls apart. Always tell someone where you're going. 41 00:01:47,080 --> 00:01:49,640 Speaker 1: This has taught to me, Like my first day in television. 42 00:01:49,640 --> 00:01:51,200 Speaker 1: I've got to a bunch of stuff, but my first 43 00:01:51,280 --> 00:01:53,600 Speaker 1: day in television is like you never leave the set 44 00:01:53,880 --> 00:01:56,680 Speaker 1: once you're in that space. Always do you speak with 45 00:01:56,680 --> 00:01:58,280 Speaker 1: your floor manager, speak with your director, to speak with 46 00:01:58,320 --> 00:02:00,600 Speaker 1: your producers, speak to camera, find someone, let them know 47 00:02:01,000 --> 00:02:03,200 Speaker 1: where you are, especially in a live situation. 48 00:02:03,960 --> 00:02:05,840 Speaker 2: This works for anything. Now. 49 00:02:06,120 --> 00:02:09,880 Speaker 1: I once new a fella who worked in law, and 50 00:02:09,960 --> 00:02:13,160 Speaker 1: he was so dissatisfied with his job he turned off 51 00:02:13,160 --> 00:02:15,960 Speaker 1: his screensaver, he put his suit jacket on the back 52 00:02:16,040 --> 00:02:18,800 Speaker 1: of his chair, and he will just wander off in 53 00:02:18,800 --> 00:02:20,040 Speaker 1: the middle of the day to go and watch a 54 00:02:20,080 --> 00:02:24,679 Speaker 1: movie at the Hoyts in the city, and then two 55 00:02:24,680 --> 00:02:27,920 Speaker 1: hours later come back and no one even noticed that 56 00:02:27,960 --> 00:02:30,160 Speaker 1: he was gone. Has Oh, he didn't tell people where 57 00:02:30,200 --> 00:02:33,360 Speaker 1: he was going. They didn't notice that him gone. But 58 00:02:33,480 --> 00:02:35,920 Speaker 1: if you are on a TV set or a film 59 00:02:35,960 --> 00:02:40,240 Speaker 1: set or anything, always tell someone where you're going. Everyone 60 00:02:40,280 --> 00:02:42,800 Speaker 1: has to we that's fine. And when you we by 61 00:02:42,800 --> 00:02:45,839 Speaker 1: the way it's called ten to one. You don't say 62 00:02:45,880 --> 00:02:47,840 Speaker 1: I need to pe. You say, excuse me, I'm just 63 00:02:47,840 --> 00:02:48,240 Speaker 1: going to go. 64 00:02:48,200 --> 00:02:48,560 Speaker 2: Ten to one. 65 00:02:48,639 --> 00:02:50,720 Speaker 1: If that's okay, Well, can I have time to go 66 00:02:50,800 --> 00:02:53,960 Speaker 1: ten one? Because I have the radio. You know, this 67 00:02:54,120 --> 00:02:56,760 Speaker 1: comes from the days of radios being available to be 68 00:02:56,800 --> 00:02:59,440 Speaker 1: heard by scanners. You know, they're digital and encoded now 69 00:02:59,480 --> 00:03:02,120 Speaker 1: and into end so you can't really hack into them too. Well, 70 00:03:02,240 --> 00:03:04,360 Speaker 1: you still can, but not as easy as before. But 71 00:03:04,400 --> 00:03:06,360 Speaker 1: you know, they didn't want to say, I don't know, 72 00:03:06,480 --> 00:03:07,760 Speaker 1: Audrey Hepburn's taking a shit. 73 00:03:08,000 --> 00:03:09,720 Speaker 2: They would say, Audrey Hepburn's. 74 00:03:09,360 --> 00:03:14,160 Speaker 1: Ten one, well ten two, number two no, so they 75 00:03:14,200 --> 00:03:16,160 Speaker 1: say ten one, so yeah, so just gont ten to one, 76 00:03:16,280 --> 00:03:16,880 Speaker 1: no problem. 77 00:03:17,320 --> 00:03:20,320 Speaker 2: And always tell someone where you're going. Never just wander away. 78 00:03:20,840 --> 00:03:23,280 Speaker 1: Everyone's relying on everyone to be there all the time, 79 00:03:23,480 --> 00:03:25,680 Speaker 1: and if you're not, you need to tell somebody. And 80 00:03:25,680 --> 00:03:27,520 Speaker 1: they're like, yep, they're on the way back, and we'll 81 00:03:27,520 --> 00:03:28,919 Speaker 1: be ready to go when they doe when they are. 82 00:03:28,960 --> 00:03:31,840 Speaker 1: Because every second on a film set or a TV 83 00:03:31,960 --> 00:03:37,480 Speaker 1: set is worth tens of thousands of dollars. Rule number eleven. 84 00:03:38,240 --> 00:03:43,040 Speaker 1: Never touch anyone else's stuff. This is one of the 85 00:03:43,080 --> 00:03:46,320 Speaker 1: more fantastic rules of life. I once dated a woman 86 00:03:46,760 --> 00:03:50,520 Speaker 1: who if we're at a car park and I don't know, 87 00:03:50,560 --> 00:03:53,440 Speaker 1: we were going shopping or something and she was trying 88 00:03:53,480 --> 00:03:55,240 Speaker 1: to put her lipstick on on something, she would put 89 00:03:55,240 --> 00:03:58,200 Speaker 1: her handbag on the car next to us in the 90 00:03:58,320 --> 00:04:01,440 Speaker 1: car park, just the mirror of the car next to 91 00:04:01,520 --> 00:04:03,800 Speaker 1: us to put her face on and just leave it 92 00:04:03,840 --> 00:04:07,840 Speaker 1: and walk off. It was like a touch another person's car. 93 00:04:08,360 --> 00:04:11,400 Speaker 1: She didn't grow up in Brisbane, but you like, never 94 00:04:11,480 --> 00:04:14,320 Speaker 1: touch anybody stuff, and it's the same for anything on set, 95 00:04:14,360 --> 00:04:17,359 Speaker 1: as fancy as those cameras and lights and sound equipment 96 00:04:17,760 --> 00:04:20,960 Speaker 1: looks you can easily break it. It might be the 97 00:04:21,000 --> 00:04:24,200 Speaker 1: only one. It might not work. You could hurt yourself, 98 00:04:24,240 --> 00:04:26,720 Speaker 1: you could do something very dangerous that you have no 99 00:04:26,839 --> 00:04:29,920 Speaker 1: idea about. But you never ever ever touch or move 100 00:04:30,040 --> 00:04:33,200 Speaker 1: anyone else's stuff. Everything on a film set, everything on 101 00:04:33,200 --> 00:04:35,840 Speaker 1: a TV set, everything in a radio studio is there 102 00:04:35,960 --> 00:04:38,919 Speaker 1: for a reason and it needs to be wherever it 103 00:04:39,000 --> 00:04:41,600 Speaker 1: is for that particular department to be able to use 104 00:04:41,640 --> 00:04:45,000 Speaker 1: it at any moment. And if you are walking somewhere 105 00:04:45,279 --> 00:04:46,720 Speaker 1: and like, everything will be out of the way of 106 00:04:46,760 --> 00:04:48,560 Speaker 1: an exit or a walkway or something. But if you're 107 00:04:48,600 --> 00:04:50,280 Speaker 1: walking somewhere and you see, oh, that looks like a 108 00:04:50,279 --> 00:04:53,720 Speaker 1: cool prop or a toy, or that light wand looks fun, 109 00:04:53,720 --> 00:04:56,520 Speaker 1: that'd look cool sitting over where I'm sitting having my lunch. 110 00:04:56,520 --> 00:04:59,120 Speaker 1: If you just pick up and walk when you've got 111 00:04:59,200 --> 00:05:00,640 Speaker 1: less than a minute left on the ad break and 112 00:05:00,680 --> 00:05:02,480 Speaker 1: something fails and they got to get the spare and 113 00:05:02,480 --> 00:05:06,360 Speaker 1: it's not there, you're fucked. So never ever ever touch 114 00:05:06,400 --> 00:05:09,000 Speaker 1: anyone else's stuff. It's less so in Australia. But when 115 00:05:09,000 --> 00:05:12,039 Speaker 1: I worked in America, like in Australia, Audrey saw me. 116 00:05:12,160 --> 00:05:13,120 Speaker 2: You know, get out of the shower. 117 00:05:13,120 --> 00:05:16,120 Speaker 1: The other day, my wife saw me naked and she goes, 118 00:05:16,160 --> 00:05:17,080 Speaker 1: what's going on with your chest? 119 00:05:17,120 --> 00:05:19,000 Speaker 2: Have you shaved your chair on your chest? I say, yes, 120 00:05:19,040 --> 00:05:19,240 Speaker 2: I have. 121 00:05:19,760 --> 00:05:21,680 Speaker 1: Why So, I was shooting this tiny little thing as 122 00:05:21,680 --> 00:05:24,160 Speaker 1: a little gig for a friend, and I had shaved 123 00:05:24,200 --> 00:05:26,840 Speaker 1: a patch in the middle of my chest just tape 124 00:05:26,839 --> 00:05:29,120 Speaker 1: a microphone to myself. But now I've got this kind 125 00:05:29,120 --> 00:05:31,640 Speaker 1: of cricket pitch in the middle of my nipples. So 126 00:05:31,680 --> 00:05:33,680 Speaker 1: I shaved the whole thing off, and so I put 127 00:05:33,680 --> 00:05:35,599 Speaker 1: the mic on it off myself. But in the States, 128 00:05:35,680 --> 00:05:37,760 Speaker 1: I finish a shoot and I'd reach up one of 129 00:05:37,760 --> 00:05:41,279 Speaker 1: my shirt to pull the mic off, and the associate 130 00:05:41,279 --> 00:05:41,960 Speaker 1: producer or the. 131 00:05:42,040 --> 00:05:43,120 Speaker 2: Runner or whatever I go, don't. 132 00:05:43,160 --> 00:05:48,279 Speaker 1: Don't don't, because if a non union person touches a 133 00:05:48,480 --> 00:05:52,560 Speaker 1: union thing, it's a walk off, and the entire audio 134 00:05:52,600 --> 00:05:55,000 Speaker 1: department will stop. They will down tours and they will 135 00:05:55,040 --> 00:05:57,240 Speaker 1: walk off set, and then you'll be down an hour. 136 00:05:57,880 --> 00:06:00,480 Speaker 1: And you can't afford to do that when you're life. 137 00:06:00,520 --> 00:06:03,400 Speaker 1: So you never ever ever touch anyone else's stuff. It's 138 00:06:03,440 --> 00:06:06,640 Speaker 1: based in safety, it's come from respect, but it's also 139 00:06:07,040 --> 00:06:09,760 Speaker 1: just smart. Don't touch other people's things. Including their wing 140 00:06:09,839 --> 00:06:13,119 Speaker 1: mirrors to put it into some block RLLLE number twelve 141 00:06:13,120 --> 00:06:16,839 Speaker 1: in the Rules of Show Business. The word copy exists 142 00:06:17,240 --> 00:06:20,440 Speaker 1: for a reason. No one says, Roger, that's from the 143 00:06:20,480 --> 00:06:22,520 Speaker 1: movie Airplane, which is great when you get the vector 144 00:06:22,560 --> 00:06:26,279 Speaker 1: Victor Roger Roger. The word copy exists for a reason 145 00:06:26,279 --> 00:06:29,480 Speaker 1: when people say copy that because there's an open channel 146 00:06:29,520 --> 00:06:31,760 Speaker 1: on the radios on a film a TV set, all right, 147 00:06:31,760 --> 00:06:33,960 Speaker 1: So sometimes there's anything up to one hundred people. They 148 00:06:34,000 --> 00:06:36,400 Speaker 1: all have different channels for different departments. Lighting have their channel, 149 00:06:36,440 --> 00:06:39,120 Speaker 1: audio have their channel, et cetera, et cetera, editorial have 150 00:06:39,120 --> 00:06:40,200 Speaker 1: their channels, but there's. 151 00:06:40,040 --> 00:06:41,320 Speaker 2: An open channel for everybody. 152 00:06:42,160 --> 00:06:43,880 Speaker 1: For example, was like, okay, guys, here we go roll 153 00:06:43,920 --> 00:06:46,920 Speaker 1: cameras where on everybody can hear that. So if someone 154 00:06:47,000 --> 00:06:51,839 Speaker 1: says I need to stand for this light downstage left 155 00:06:53,120 --> 00:06:55,440 Speaker 1: and it's a minute left before the ad rate goes, 156 00:06:55,839 --> 00:06:59,440 Speaker 1: and they hear the word copy, the other ninety nine 157 00:06:59,480 --> 00:07:02,000 Speaker 1: people go, I won't jump at that. I've heard someone 158 00:07:02,040 --> 00:07:06,880 Speaker 1: say copy, So someone's on that copy is really really important. 159 00:07:07,520 --> 00:07:10,240 Speaker 1: It shows you that whoever has asked for the thing 160 00:07:10,480 --> 00:07:13,680 Speaker 1: has been heard and the problem is on the way 161 00:07:13,720 --> 00:07:17,600 Speaker 1: to getting solved. Because if nobody says copy, then the problem. 162 00:07:17,240 --> 00:07:19,600 Speaker 2: Continues and things can be dangerous. 163 00:07:19,600 --> 00:07:21,960 Speaker 1: Things can run late, and you can run out of 164 00:07:22,000 --> 00:07:24,240 Speaker 1: time to do whatever you need to do. It's called 165 00:07:24,320 --> 00:07:27,160 Speaker 1: dropping shots, and you never ever want to be dropping shots. 166 00:07:27,360 --> 00:07:28,960 Speaker 1: You never want to come back. You know, might only 167 00:07:29,040 --> 00:07:30,960 Speaker 1: have the location for a day. You've got to get 168 00:07:30,960 --> 00:07:33,280 Speaker 1: it done. When you get it done, and the same 169 00:07:33,320 --> 00:07:36,720 Speaker 1: thing goes through it like in business or just email. 170 00:07:37,200 --> 00:07:38,880 Speaker 1: I love being able to just put a love heart 171 00:07:38,960 --> 00:07:40,480 Speaker 1: or a thumbs up, depending on who I'm talking to 172 00:07:40,480 --> 00:07:42,640 Speaker 1: you on my phone to let them know, got that scene. 173 00:07:42,640 --> 00:07:45,920 Speaker 1: That understood that I've seen this thing. Not just I'm 174 00:07:45,920 --> 00:07:47,720 Speaker 1: going to leave you on red. We'll put you a 175 00:07:47,760 --> 00:07:49,640 Speaker 1: think I got that, I get that, I'm on that. 176 00:07:50,240 --> 00:07:53,160 Speaker 1: It's really important. You don't want to leave people on red. Similarly, 177 00:07:53,240 --> 00:07:55,960 Speaker 1: you wouldn't do that at work. Yeah, I understand, got 178 00:07:56,040 --> 00:07:59,240 Speaker 1: it understood, And then we'll get to that later. 179 00:07:59,480 --> 00:08:00,960 Speaker 2: There's another rule which I'll go into. 180 00:08:01,360 --> 00:08:05,680 Speaker 1: But now you've been told, and you need to take 181 00:08:05,720 --> 00:08:08,480 Speaker 1: responsibility for the fact that you've been told, because if 182 00:08:08,640 --> 00:08:10,720 Speaker 1: there's another time that you get told, well, I'll get 183 00:08:10,720 --> 00:08:13,280 Speaker 1: to that later in the list. Because cooperation has a 184 00:08:13,320 --> 00:08:16,160 Speaker 1: lot to do with anything in show business, like say, 185 00:08:16,160 --> 00:08:18,400 Speaker 1: for example, in Brisbane where I we're up the Department 186 00:08:18,440 --> 00:08:20,080 Speaker 1: of Main Roads. It's probably something else right now and 187 00:08:20,080 --> 00:08:22,840 Speaker 1: they probably prioritize it and offset it to contractors, but 188 00:08:22,840 --> 00:08:24,480 Speaker 1: at the time it was like Department of Main Roads. 189 00:08:24,480 --> 00:08:27,320 Speaker 1: And an example would be you know, there's the guy 190 00:08:27,320 --> 00:08:29,000 Speaker 1: whose job it is to put the double lines down 191 00:08:29,040 --> 00:08:31,080 Speaker 1: the middle of the highway and he just paints right 192 00:08:31,120 --> 00:08:32,120 Speaker 1: over a dead kangaroo. 193 00:08:32,120 --> 00:08:34,520 Speaker 2: It's like, fuck, that's not my job. I'm not doing that. 194 00:08:34,520 --> 00:08:35,280 Speaker 2: That's not my job. 195 00:08:35,760 --> 00:08:37,840 Speaker 1: And at four point fifty nine his pencil case is 196 00:08:37,840 --> 00:08:38,960 Speaker 1: packed up and he's out the door. 197 00:08:39,040 --> 00:08:39,600 Speaker 2: No, no, no. 198 00:08:39,840 --> 00:08:43,040 Speaker 1: Cooperation is the only thing anything gets done in the 199 00:08:43,160 --> 00:08:46,679 Speaker 1: entertainment industry. And that is Rule number thirteen is all 200 00:08:46,720 --> 00:08:49,400 Speaker 1: about that, which I'll talk to you about just a 201 00:08:49,440 --> 00:08:57,080 Speaker 1: moment after I play these ads as we pursue further 202 00:08:57,160 --> 00:09:01,000 Speaker 1: forward in the Rules of show business, Rule number thirteen 203 00:09:02,080 --> 00:09:07,800 Speaker 1: nothing works unless everything works, so be helpful. If you're 204 00:09:07,800 --> 00:09:10,560 Speaker 1: trying to make a TV show or a film, or 205 00:09:10,679 --> 00:09:14,200 Speaker 1: make some radio and one of the microphones doesn't work, 206 00:09:14,400 --> 00:09:17,720 Speaker 1: it might not be your microphone, it's someone else's microphone. 207 00:09:18,240 --> 00:09:21,400 Speaker 1: But if that other microphone doesn't work, the show can't happen. 208 00:09:21,960 --> 00:09:26,200 Speaker 1: So be helpful figure out solutions of what can happen. 209 00:09:26,240 --> 00:09:29,000 Speaker 1: Because time is an enormous factor in this gig. I 210 00:09:29,040 --> 00:09:32,040 Speaker 1: think that's probably the thing that doesn't exist in maybe 211 00:09:32,120 --> 00:09:35,680 Speaker 1: in healthcare, in a hospital, for example, time is incredibly crucial. 212 00:09:36,360 --> 00:09:39,800 Speaker 1: But on a film set or radio or TV, time 213 00:09:39,960 --> 00:09:44,840 Speaker 1: is an enormously stringent, stringent extent that you cannot get 214 00:09:44,880 --> 00:09:46,600 Speaker 1: any more time. You can't buy any more of it. 215 00:09:46,640 --> 00:09:49,839 Speaker 1: If you're not shooting with enough lighting at to your disposable. 216 00:09:49,880 --> 00:09:52,560 Speaker 1: Once the sun goes down, that's it. So you've got 217 00:09:52,600 --> 00:09:54,600 Speaker 1: to get it done. In fact, you can't even waste 218 00:09:54,600 --> 00:09:56,000 Speaker 1: time during the day because if you take too long, 219 00:09:56,000 --> 00:09:58,720 Speaker 1: the light looks different between takes because the sun's moved 220 00:09:58,760 --> 00:10:03,520 Speaker 1: so much. So nothing works unless everything works. So when 221 00:10:03,559 --> 00:10:05,320 Speaker 1: you're on a set, when you're on a show, when 222 00:10:05,360 --> 00:10:08,800 Speaker 1: you're working on a big production, be proactive. Think ahead, 223 00:10:08,800 --> 00:10:10,959 Speaker 1: what's next on the shot list, what's next on the rundown, 224 00:10:10,960 --> 00:10:13,040 Speaker 1: what's next on the schedule. By the time we get 225 00:10:13,040 --> 00:10:15,800 Speaker 1: to there, I need to be over on that side 226 00:10:15,840 --> 00:10:19,240 Speaker 1: of the stage, but I finish off over here, so 227 00:10:19,520 --> 00:10:21,880 Speaker 1: I know enough to know that I'm going to need 228 00:10:21,920 --> 00:10:23,640 Speaker 1: to move around over there, and it takes me about 229 00:10:23,679 --> 00:10:25,640 Speaker 1: seven minutes to get around the audience and get over there. 230 00:10:25,679 --> 00:10:27,199 Speaker 1: So I'm going to start walking here so by the 231 00:10:27,240 --> 00:10:29,719 Speaker 1: time they're ready, I'm there because I've got to go 232 00:10:29,760 --> 00:10:30,600 Speaker 1: out of the building around them. 233 00:10:30,679 --> 00:10:31,520 Speaker 2: Da da da da. 234 00:10:31,720 --> 00:10:34,480 Speaker 1: Don't wait for someone to go why you're not here. 235 00:10:34,960 --> 00:10:37,240 Speaker 1: Don't wait for someone to go it's broken. You know, 236 00:10:37,520 --> 00:10:40,000 Speaker 1: if you see something, say something. If something's looking like 237 00:10:40,040 --> 00:10:42,600 Speaker 1: it's not working, or someone of the crowd and the audience, 238 00:10:42,640 --> 00:10:44,200 Speaker 1: for example, looks a bit fainty. 239 00:10:44,360 --> 00:10:46,160 Speaker 2: Tell tell somebody look at something. 240 00:10:46,320 --> 00:10:48,560 Speaker 1: If you're on a set, Shane, a command is really 241 00:10:48,600 --> 00:10:50,680 Speaker 1: really important, so you don't talk to the director. 242 00:10:50,720 --> 00:10:51,439 Speaker 2: The director is very. 243 00:10:51,440 --> 00:10:53,480 Speaker 1: Very busy, you know, to talk to a headed apartment, 244 00:10:53,480 --> 00:10:56,040 Speaker 1: the person the lighting. You find someone who's kind of 245 00:10:56,080 --> 00:10:58,280 Speaker 1: lower down the chain and you say, excuse me, I 246 00:10:58,360 --> 00:10:59,880 Speaker 1: just noticed that thing. Is that supposed to be that? 247 00:11:00,080 --> 00:11:02,280 Speaker 1: Because I know it wasn't the way that was earlier on. 248 00:11:02,360 --> 00:11:04,360 Speaker 1: They go, thank you for that, appreciate that, and then 249 00:11:04,360 --> 00:11:07,080 Speaker 1: bumble up. The chaining goes. Now, you might be there 250 00:11:07,080 --> 00:11:08,680 Speaker 1: as an extra, you might be there as an actor. 251 00:11:08,720 --> 00:11:11,400 Speaker 1: You might be working catering. It doesn't matter. If the 252 00:11:11,440 --> 00:11:14,200 Speaker 1: whole thing's not on time, you're not going home early 253 00:11:14,960 --> 00:11:19,199 Speaker 1: and the entire production will be affected. So nothing works 254 00:11:19,280 --> 00:11:22,640 Speaker 1: unless everything works is a really really important thing. Obviously, 255 00:11:22,679 --> 00:11:24,880 Speaker 1: you're not going to break the rules we're touching other 256 00:11:24,880 --> 00:11:27,920 Speaker 1: people's staff or crossing departments or making joy decisions for 257 00:11:27,960 --> 00:11:28,959 Speaker 1: another department. 258 00:11:28,960 --> 00:11:29,680 Speaker 2: You'll never do that. 259 00:11:30,160 --> 00:11:33,280 Speaker 1: But your eyes and ears are the eyes and ears 260 00:11:33,280 --> 00:11:36,120 Speaker 1: of the entire crew, and all of you are trying 261 00:11:36,120 --> 00:11:40,280 Speaker 1: to get this very very very packed schedule. They pack 262 00:11:40,320 --> 00:11:44,040 Speaker 1: the schedules to the second with every single amount of 263 00:11:44,559 --> 00:11:46,640 Speaker 1: time that they can get out of a ten hour 264 00:11:46,679 --> 00:11:49,480 Speaker 1: crew day crew charge in. You know, sometimes it's five hours, 265 00:11:49,480 --> 00:11:51,679 Speaker 1: sometimes ten out depending on the department. But if you 266 00:11:51,720 --> 00:11:54,440 Speaker 1: have only ten hours of your crew, you want to 267 00:11:54,440 --> 00:11:56,240 Speaker 1: get every single moment out of that. 268 00:11:56,880 --> 00:11:57,880 Speaker 2: Just for the economics of it. 269 00:11:57,960 --> 00:11:59,560 Speaker 1: Espe if you've got one hundred people on a set, 270 00:11:59,600 --> 00:12:01,000 Speaker 1: which on the big shows that I've worked on, we'll 271 00:12:01,000 --> 00:12:02,960 Speaker 1: have a one hundred people, that is a lot of money 272 00:12:03,000 --> 00:12:05,920 Speaker 1: every single time you're in the studio, So you want 273 00:12:05,920 --> 00:12:08,240 Speaker 1: it to work as fast as you possibly can and 274 00:12:08,280 --> 00:12:11,280 Speaker 1: as efficiently and safely as you possibly can. So always 275 00:12:11,320 --> 00:12:13,680 Speaker 1: you're always keeping an eye out, You're always looking yourhead, 276 00:12:13,840 --> 00:12:16,080 Speaker 1: You're always thinking, by the time we get to there, 277 00:12:16,480 --> 00:12:19,280 Speaker 1: will this still be okay? And if it isn't you 278 00:12:19,400 --> 00:12:22,640 Speaker 1: tell someone? And that was your ale number thirteen. I 279 00:12:22,679 --> 00:12:24,640 Speaker 1: hope these are helpful. I hope you're able to find 280 00:12:24,640 --> 00:12:27,160 Speaker 1: ways to incorporate them into your day to day life 281 00:12:27,160 --> 00:12:29,360 Speaker 1: for your workplace. If they are, just let me know. 282 00:12:29,920 --> 00:12:32,040 Speaker 1: I hope you find it interesting at least let me 283 00:12:32,040 --> 00:12:33,960 Speaker 1: know what you think. There's a contact form at Oshagainsberg 284 00:12:34,040 --> 00:12:36,439 Speaker 1: dot com. You can also find every episode we've evid 285 00:12:36,480 --> 00:12:38,920 Speaker 1: one ever there. I'm going to pick up a boy 286 00:12:38,960 --> 00:12:42,000 Speaker 1: from daycare, so I got to go. Thanks for being a 287 00:12:42,000 --> 00:12:42,400 Speaker 1: part of it. 288 00:12:43,520 --> 00:12:46,320 Speaker 3: This episode was brought to you by Andy Maher on 289 00:12:46,480 --> 00:12:50,920 Speaker 3: audio post production, Becksied on video post production, Toe Hyder 290 00:12:51,040 --> 00:12:54,479 Speaker 3: on music. My producer is Bree Steal and my executive 291 00:12:54,480 --> 00:12:58,160 Speaker 3: function assistant is Monica Chapman. For every episode ever. To 292 00:12:58,200 --> 00:13:00,000 Speaker 3: get on the mailing list or to get in toe 293 00:13:00,160 --> 00:13:04,080 Speaker 3: through the contact form, head to Ashriginsburg dot com. Thanks 294 00:13:04,080 --> 00:13:04,679 Speaker 3: for listening.