1 00:00:10,365 --> 00:00:13,085 Speaker 1: You're listening to a MoMA Maya podcast. 2 00:00:13,885 --> 00:00:16,845 Speaker 2: Mama Maya acknowledges the traditional owners of land and waters 3 00:00:16,885 --> 00:00:18,525 Speaker 2: that this podcast is recorded on. 4 00:00:18,725 --> 00:00:21,085 Speaker 1: I contend to this day that had I had to 5 00:00:21,125 --> 00:00:24,245 Speaker 1: go in and test for that role with like the 6 00:00:24,325 --> 00:00:28,245 Speaker 1: executives at EBC and with Patrick Dempsey, I wouldn't have 7 00:00:28,285 --> 00:00:33,325 Speaker 1: gotten the part because basically I'm Pat's hate without healing 8 00:00:34,165 --> 00:00:36,805 Speaker 1: and there with heels. I'm taller than him and he 9 00:00:37,765 --> 00:00:39,645 Speaker 1: had a bit of a he loves me that we 10 00:00:39,685 --> 00:00:43,325 Speaker 1: love each other, but he was like, what ye asking me? 11 00:00:43,725 --> 00:00:47,005 Speaker 1: I was like, yeah, here, I am enjoying me. 12 00:00:56,205 --> 00:00:59,925 Speaker 2: From Mamma Maya. You're listening to no filter. I'm Kate Langebrook. 13 00:01:00,525 --> 00:01:03,445 Speaker 2: When actor Kate Walsh thought she might die from the 14 00:01:03,485 --> 00:01:08,165 Speaker 2: brain tumor she'd been diagnosed with, she promised herself that 15 00:01:08,245 --> 00:01:12,725 Speaker 2: if she lived, she changed her life. Well she did live, 16 00:01:12,845 --> 00:01:17,845 Speaker 2: praise b and she did change her life, which included 17 00:01:17,965 --> 00:01:23,405 Speaker 2: leaving Hollywood for perth in Wa almost five years ago 18 00:01:23,685 --> 00:01:27,365 Speaker 2: after finding love with an Aussie man. I can't imagine 19 00:01:27,365 --> 00:01:30,445 Speaker 2: not knowing who Kate whal she is, but she is 20 00:01:30,485 --> 00:01:35,205 Speaker 2: a highly transformative actor, so know this. Kate is best 21 00:01:35,285 --> 00:01:39,565 Speaker 2: known from her career defining role as Addison Montgomery Shepherd 22 00:01:39,605 --> 00:01:43,925 Speaker 2: in Grey's Anatomy, making what's arguably one of the most 23 00:01:44,245 --> 00:01:46,925 Speaker 2: iconic entrances in television history. 24 00:01:48,765 --> 00:01:50,405 Speaker 3: Hey, I'm Adison. 25 00:01:50,085 --> 00:01:53,205 Speaker 1: Shepherd and you must be the woman who's been screwing 26 00:01:53,205 --> 00:01:54,445 Speaker 1: her husband. 27 00:01:55,485 --> 00:01:59,045 Speaker 2: In recent years, Kate's been splitting her time between Perth 28 00:01:59,125 --> 00:02:03,805 Speaker 2: and LA filming shows like Emily in Paris, The Umbrella Academy, 29 00:02:04,365 --> 00:02:09,325 Speaker 2: and her infamous return to Gray's Now the Australian film 30 00:02:09,365 --> 00:02:13,605 Speaker 2: When TV industry has captured her heart, with Kate taking 31 00:02:13,645 --> 00:02:18,045 Speaker 2: on a comedic role in the ABC series Optics, where 32 00:02:18,045 --> 00:02:22,525 Speaker 2: she revisits the comedy routs she first explored alongside Amy 33 00:02:22,565 --> 00:02:26,445 Speaker 2: Poehler and Tina Fay. I couldn't wait to start this conversation, 34 00:02:28,405 --> 00:02:31,725 Speaker 2: Kate Walsh. I'm Kate Lanebrook. Welcome to No Filter. 35 00:02:32,325 --> 00:02:34,085 Speaker 3: Thank you, Kate, thanks for having me. 36 00:02:34,605 --> 00:02:37,805 Speaker 2: Well, it's such a delight to have you because you 37 00:02:37,885 --> 00:02:43,605 Speaker 2: are so known to us in so many incarnations twofold. 38 00:02:44,885 --> 00:02:50,765 Speaker 2: You're an actor whose choices I've realized I can really trust. 39 00:02:51,525 --> 00:02:52,445 Speaker 3: Oh, thank you. 40 00:02:52,605 --> 00:02:56,725 Speaker 2: Yeah, that's an amazing if I and I have traveled 41 00:02:57,125 --> 00:03:00,805 Speaker 2: with you through the journey of your career to a 42 00:03:00,885 --> 00:03:05,165 Speaker 2: large extent. But now my daughter is also traveling with 43 00:03:05,285 --> 00:03:09,085 Speaker 2: you through your body of work, and that is quite incredible. 44 00:03:09,565 --> 00:03:10,405 Speaker 2: She's non tame. 45 00:03:10,805 --> 00:03:14,125 Speaker 1: It is this is like, you know what's interesting about 46 00:03:14,165 --> 00:03:16,485 Speaker 1: that first five I'm easy to tears these days, so 47 00:03:16,525 --> 00:03:18,485 Speaker 1: I might just cry because that it just is so 48 00:03:18,605 --> 00:03:20,965 Speaker 1: touching to me. But it was it was also the 49 00:03:20,965 --> 00:03:25,445 Speaker 1: theme of starting with grace that that was one of 50 00:03:25,485 --> 00:03:27,565 Speaker 1: the beautiful things about the show when it first came 51 00:03:27,605 --> 00:03:30,445 Speaker 1: on is that mothers and daughters families, I mean mothers. 52 00:03:30,605 --> 00:03:33,125 Speaker 1: I'm going to genderize and say they you know, club 53 00:03:33,165 --> 00:03:35,125 Speaker 1: their husbands on the head and made them watch initially 54 00:03:35,205 --> 00:03:37,565 Speaker 1: until they have you know, our boyfriends or whatever. 55 00:03:38,005 --> 00:03:38,485 Speaker 3: And it was. 56 00:03:38,485 --> 00:03:41,485 Speaker 1: Something that was a show that at the time before that, 57 00:03:41,605 --> 00:03:44,165 Speaker 1: before it was ever streaming, before there was the Worldwide 58 00:03:44,165 --> 00:03:48,365 Speaker 1: Internet and all Instagram and and all the things. They 59 00:03:48,845 --> 00:03:51,845 Speaker 1: you know, you watched it every Thursday night in America, 60 00:03:52,165 --> 00:03:56,205 Speaker 1: and it was a multi generational show and things that 61 00:03:56,285 --> 00:03:58,525 Speaker 1: would you know, mothers and daughters could bond over and 62 00:03:58,565 --> 00:04:01,925 Speaker 1: sit and have really meaningful time and watching this this 63 00:04:01,965 --> 00:04:06,005 Speaker 1: show together. So it was meaningful then and now there 64 00:04:06,085 --> 00:04:08,845 Speaker 1: just keeps going. Like I remember when it first happened 65 00:04:08,885 --> 00:04:10,685 Speaker 1: that a kid that was definitely. 66 00:04:10,285 --> 00:04:13,125 Speaker 3: Not born I show. 67 00:04:13,245 --> 00:04:17,085 Speaker 1: They're like, I love your regrets. Yeah Netflix, Oh yeah, yeah, Okay, 68 00:04:17,085 --> 00:04:20,165 Speaker 1: I got it. Yeah, And now it just keeps going, 69 00:04:20,205 --> 00:04:22,885 Speaker 1: which is so cool. I'm so grateful. 70 00:04:23,365 --> 00:04:25,805 Speaker 2: Well, I know that will you say you're grateful, but 71 00:04:25,845 --> 00:04:29,445 Speaker 2: it is also a testament to choices that you've made 72 00:04:30,245 --> 00:04:33,205 Speaker 2: and the way that you have inhabited the roles. And 73 00:04:33,285 --> 00:04:37,285 Speaker 2: for instance, when Grays started, which was two thousand and five. 74 00:04:37,485 --> 00:04:40,405 Speaker 1: Yeah, yeah, we shot that in four two thousand and four, 75 00:04:40,445 --> 00:04:42,525 Speaker 1: I think, yeah. 76 00:04:41,725 --> 00:04:43,845 Speaker 2: And you made an entrance at the end of that 77 00:04:43,925 --> 00:04:50,405 Speaker 2: first series, right, yeah, one of the most iconic character entrances. 78 00:04:50,925 --> 00:04:53,525 Speaker 3: I know. It's so good. That's Shonda Rhymes. 79 00:04:53,565 --> 00:04:57,125 Speaker 1: She just wrote that she wrote thirty seconds of television 80 00:04:57,165 --> 00:04:59,925 Speaker 1: that I got more attention for than anything I'd ever done, 81 00:04:59,965 --> 00:05:03,245 Speaker 1: probably in my entire career, even up til now. 82 00:05:04,165 --> 00:05:06,285 Speaker 2: Did she know when she wrote that that that was 83 00:05:06,325 --> 00:05:10,605 Speaker 2: going to be you? For instance, when they started filming 84 00:05:11,485 --> 00:05:15,685 Speaker 2: the series, were you already cost to bail Addison? 85 00:05:16,165 --> 00:05:16,525 Speaker 3: Oh? 86 00:05:16,525 --> 00:05:21,765 Speaker 1: Now, I was shooting other stuff I had. But Linda Lowe, 87 00:05:21,925 --> 00:05:26,285 Speaker 1: the great Lynda Lowe, who was cast so many things, 88 00:05:26,325 --> 00:05:30,845 Speaker 1: but she cast pretty much all of shondaland she knew me. 89 00:05:30,965 --> 00:05:32,645 Speaker 3: She had cast me in under the Tusk and Son. 90 00:05:32,725 --> 00:05:35,965 Speaker 1: This was back in the day before actors self taped 91 00:05:36,445 --> 00:05:39,965 Speaker 1: or any of that. You went into casting offices or 92 00:05:40,005 --> 00:05:41,885 Speaker 1: if you went on tape, it's because you were in 93 00:05:41,885 --> 00:05:44,405 Speaker 1: New York and the show is in LA and you 94 00:05:44,525 --> 00:05:46,845 Speaker 1: were always with a casting director. So you had the 95 00:05:46,965 --> 00:05:50,885 Speaker 1: luxury of casting directors that really taught you how to act, 96 00:05:51,085 --> 00:05:53,845 Speaker 1: that really were patient, that were really like, oh you 97 00:05:53,885 --> 00:05:56,085 Speaker 1: didn't you might not get this one, but I believe 98 00:05:56,125 --> 00:05:57,525 Speaker 1: in you. I'm going to bring you back, and I 99 00:05:57,725 --> 00:05:59,325 Speaker 1: to bring you back and going to bring you back. 100 00:05:59,925 --> 00:06:02,245 Speaker 1: And so she cast me none of the Tuscan Son 101 00:06:02,965 --> 00:06:05,925 Speaker 1: and then was like, I have something for you. It's 102 00:06:05,925 --> 00:06:09,245 Speaker 1: a recurring role on this new show. It's your perfect 103 00:06:09,365 --> 00:06:11,205 Speaker 1: for it. And I was shooting something else. I was 104 00:06:11,245 --> 00:06:13,605 Speaker 1: out of town. I was actually shooting something with Tim Daley, 105 00:06:13,685 --> 00:06:15,645 Speaker 1: who I later worked with our private practice. 106 00:06:16,005 --> 00:06:19,805 Speaker 3: I was shooting his show, The Fugitive, and so I 107 00:06:19,845 --> 00:06:20,405 Speaker 3: was in Seattle. 108 00:06:20,445 --> 00:06:22,165 Speaker 1: And then I came back to LA and went in 109 00:06:22,165 --> 00:06:26,405 Speaker 1: the room to read, you know, for Shonda, for Linda, 110 00:06:26,525 --> 00:06:28,405 Speaker 1: for her casting assistant John Brace. 111 00:06:28,445 --> 00:06:29,205 Speaker 3: I think it was done. 112 00:06:29,245 --> 00:06:32,805 Speaker 1: And then Peter Horton was written to Betsy Bears and 113 00:06:32,845 --> 00:06:33,725 Speaker 1: then I got it. 114 00:06:33,805 --> 00:06:36,125 Speaker 3: I was in those sides were like, oh, this is me. 115 00:06:36,645 --> 00:06:40,885 Speaker 1: It's the perfect threading the needle of She wrote such intelligent, 116 00:06:41,005 --> 00:06:45,205 Speaker 1: witty like it was a very quick like almost and 117 00:06:45,245 --> 00:06:49,605 Speaker 1: the wit was almost like this kind of forties banter. 118 00:06:50,205 --> 00:06:54,765 Speaker 3: Yeah, you read momcom like William Wyler movie or something, 119 00:06:55,085 --> 00:06:55,285 Speaker 3: and I. 120 00:06:55,365 --> 00:06:59,965 Speaker 2: Had, yeah, yeah, a bit of rabitat tat. 121 00:07:00,045 --> 00:07:02,765 Speaker 1: Yeah, and it had and so then that helped that 122 00:07:03,085 --> 00:07:05,045 Speaker 1: like the character, and that's where it starts, and then 123 00:07:05,045 --> 00:07:07,685 Speaker 1: you're like oh. And then I went into Linda Bass, 124 00:07:07,685 --> 00:07:10,165 Speaker 1: who was the costume designer. We're like, let's make this 125 00:07:10,205 --> 00:07:13,125 Speaker 1: woman like above him, and she put me all in. 126 00:07:14,005 --> 00:07:16,325 Speaker 1: She's was like Gucci and something. I was just all, 127 00:07:16,445 --> 00:07:19,165 Speaker 1: you know, the all the bitch and black from the East. 128 00:07:19,245 --> 00:07:22,485 Speaker 1: We went to the East and came in and I 129 00:07:22,605 --> 00:07:25,965 Speaker 1: tell you, yeah, I got cast. And I contend to 130 00:07:26,005 --> 00:07:27,845 Speaker 1: this day that had I had to go in and 131 00:07:27,925 --> 00:07:32,205 Speaker 1: test for that that role with like the executives at 132 00:07:32,205 --> 00:07:35,725 Speaker 1: ABC and with Patrick Dempsey, I wouldn't have gotten the 133 00:07:35,725 --> 00:07:41,565 Speaker 1: part because I'm basically I'm Pat's height without healing on 134 00:07:42,165 --> 00:07:45,565 Speaker 1: and then with heels I'm taller than him, and he 135 00:07:45,725 --> 00:07:47,845 Speaker 1: had a bit of a he loves me, we love 136 00:07:47,885 --> 00:07:48,205 Speaker 1: each other. 137 00:07:48,245 --> 00:07:49,365 Speaker 3: But he was like what. 138 00:07:50,685 --> 00:07:51,285 Speaker 2: Asking me? 139 00:07:51,725 --> 00:07:54,925 Speaker 3: I was like, here, I am enjoying me. 140 00:07:55,445 --> 00:07:57,365 Speaker 2: Can you dig a ditch for her so that she 141 00:07:57,485 --> 00:08:00,525 Speaker 2: walks in the ditch beside me so she's sure of them? 142 00:08:02,165 --> 00:08:04,885 Speaker 3: And Ellen? Then they looked so perfect together. They were 143 00:08:04,925 --> 00:08:07,605 Speaker 3: like both like, she's a little pocket pal and yeah. 144 00:08:07,965 --> 00:08:10,765 Speaker 1: I was like, Hi, I'm a giant dress from back East. 145 00:08:10,805 --> 00:08:13,725 Speaker 1: I'm here to ruin your life. 146 00:08:13,125 --> 00:08:16,165 Speaker 2: Because you've got a comedic background, which I don't know 147 00:08:16,165 --> 00:08:19,845 Speaker 2: how many people know that I mean, but it knowing 148 00:08:19,845 --> 00:08:22,805 Speaker 2: that about you and how it kind of informs your work, 149 00:08:23,805 --> 00:08:27,645 Speaker 2: that you have a real physicality with your work, like 150 00:08:27,765 --> 00:08:31,925 Speaker 2: even in Umbrella Academy, which is she's so arch and 151 00:08:33,605 --> 00:08:38,445 Speaker 2: you know powerful. When you're approaching a character, are you 152 00:08:39,525 --> 00:08:46,365 Speaker 2: working with a coach, are you working on the on 153 00:08:46,445 --> 00:08:49,245 Speaker 2: the physicality at the time, Like when you're about to 154 00:08:49,325 --> 00:08:52,925 Speaker 2: come in and you're you're going to be the mythical 155 00:08:53,605 --> 00:08:58,405 Speaker 2: Addison suddenly appearing. Had you worked in your mind how 156 00:08:58,445 --> 00:09:01,165 Speaker 2: that was going to feel for you or how that 157 00:09:01,245 --> 00:09:03,325 Speaker 2: was going to look for you? 158 00:09:03,365 --> 00:09:04,845 Speaker 3: No NDS. 159 00:09:04,885 --> 00:09:09,765 Speaker 1: So here's the short answer is for Addison, I just 160 00:09:09,885 --> 00:09:11,965 Speaker 1: it was all on the page and then I'd go 161 00:09:12,125 --> 00:09:15,405 Speaker 1: and create with you know, the costume designers have always 162 00:09:15,445 --> 00:09:19,205 Speaker 1: been super important to me. I think I had classic 163 00:09:19,245 --> 00:09:24,605 Speaker 1: training of you know, Santai Slavskian method and emotional memory 164 00:09:24,645 --> 00:09:26,805 Speaker 1: and sense memory and all this stuff, and then I 165 00:09:26,885 --> 00:09:29,165 Speaker 1: have had so much train like then improv a lot 166 00:09:29,205 --> 00:09:31,365 Speaker 1: of improva. We talked about comedy in Chicago, I did 167 00:09:31,405 --> 00:09:35,005 Speaker 1: both straight theater and then comedy improv at Second City, 168 00:09:35,045 --> 00:09:38,285 Speaker 1: at Improv Olympic, at the Annoyance Theater. Chicago was a 169 00:09:38,285 --> 00:09:42,245 Speaker 1: great bastion of theater and comedy. I mean there was 170 00:09:42,285 --> 00:09:46,165 Speaker 1: a mass exodus when I left Chicago in ninety five. 171 00:09:46,245 --> 00:09:49,685 Speaker 1: It was like with Adam McKay and Will Ferrell was coming, 172 00:09:49,845 --> 00:09:53,965 Speaker 1: Amy Poehler was in like co right, Cizens Jug They all, okay, 173 00:09:53,965 --> 00:09:57,965 Speaker 1: there's this mass exodus, Matt Walsh, all these great comedic 174 00:09:58,565 --> 00:10:02,365 Speaker 1: actors and writers coming to New York at the time. 175 00:10:02,565 --> 00:10:05,245 Speaker 1: So anyway, that being said, I did a lot of 176 00:10:05,325 --> 00:10:08,845 Speaker 1: comedia del arte too, in modern form with Tim Robbins 177 00:10:08,925 --> 00:10:12,285 Speaker 1: Theater come the actors being in la and in Chicago 178 00:10:12,365 --> 00:10:15,485 Speaker 1: Johnny Cusack's New Crime Company, and that was all about 179 00:10:15,525 --> 00:10:17,925 Speaker 1: working on an image from the outside in as well. 180 00:10:18,405 --> 00:10:20,605 Speaker 1: So I feel like once I have this now and 181 00:10:20,805 --> 00:10:22,365 Speaker 1: I feel like at my age, there's a lot to 182 00:10:22,405 --> 00:10:26,485 Speaker 1: cry about. There's a lot, there's a lot of I 183 00:10:26,485 --> 00:10:30,605 Speaker 1: don't have to work on emotional moments, that's there. So 184 00:10:30,845 --> 00:10:33,445 Speaker 1: all the stuff, unlike theater, it's like when you were 185 00:10:33,525 --> 00:10:35,405 Speaker 1: seeing a player, like when can I get my shoes? 186 00:10:35,605 --> 00:10:37,085 Speaker 3: Because it changes the way you walk? 187 00:10:37,245 --> 00:10:40,845 Speaker 1: Yes, you know, And so I love costumes and hair 188 00:10:40,845 --> 00:10:44,045 Speaker 1: and makeup, and so Linda Bass was like, first of 189 00:10:44,045 --> 00:10:47,685 Speaker 1: all the script boom, and then secondly that you work 190 00:10:47,725 --> 00:10:50,285 Speaker 1: with a costume. I've always been very collaborative and they 191 00:10:50,285 --> 00:10:53,205 Speaker 1: have been collaborative because I love it. And so we 192 00:10:53,365 --> 00:10:55,045 Speaker 1: came up and you have this armor and you have 193 00:10:55,085 --> 00:10:57,405 Speaker 1: this I mean this crazy. I just remember that callar 194 00:10:57,565 --> 00:10:59,765 Speaker 1: and you just walk a certain way in these heels, 195 00:10:59,925 --> 00:11:04,285 Speaker 1: and so it was you just fall into it. For me, 196 00:11:04,365 --> 00:11:06,285 Speaker 1: that's easy. And the same with the handler. That was 197 00:11:06,365 --> 00:11:10,645 Speaker 1: really fun for Umbrella Academy because Steve Blackman, who used 198 00:11:10,685 --> 00:11:13,045 Speaker 1: to run the writer's room on Private Practice and then 199 00:11:13,205 --> 00:11:18,285 Speaker 1: also wrote for two or three seasons on Fargo, which 200 00:11:18,285 --> 00:11:22,365 Speaker 1: I did season one of, he called me it's like, okay, 201 00:11:22,405 --> 00:11:24,805 Speaker 1: we wrote this character. It was like, meant the handler. 202 00:11:24,925 --> 00:11:27,725 Speaker 1: It's not the original graphic novel. 203 00:11:28,165 --> 00:11:30,525 Speaker 3: I added it. It's like a John Hamm type. We're 204 00:11:30,565 --> 00:11:32,285 Speaker 3: not going to get John. She's like, do you want 205 00:11:32,285 --> 00:11:32,605 Speaker 3: to do it. 206 00:11:32,645 --> 00:11:35,365 Speaker 1: I'm like that's a first and like, let me read it. 207 00:11:35,565 --> 00:11:37,325 Speaker 1: And then I read it, I'm like, I love it. 208 00:11:37,405 --> 00:11:38,925 Speaker 1: And because it was the same thing, it was like 209 00:11:39,045 --> 00:11:41,245 Speaker 1: over the top, but it was like so funny and 210 00:11:41,405 --> 00:11:45,805 Speaker 1: so weird and specific and so Steve Blackman that I 211 00:11:45,845 --> 00:11:48,645 Speaker 1: was like, don't if you don't genderize it, don't change anything. 212 00:11:48,765 --> 00:11:50,285 Speaker 1: And I want and I was like, do you have 213 00:11:50,405 --> 00:11:52,205 Speaker 1: They had no money at that time, and again I 214 00:11:52,205 --> 00:11:55,165 Speaker 1: was only supposed to do a few episodes, just like Addison, 215 00:11:55,645 --> 00:11:57,885 Speaker 1: but they had to win a costume budget. 216 00:11:57,885 --> 00:11:58,845 Speaker 3: I was like, great, let's go. 217 00:11:58,925 --> 00:12:02,165 Speaker 1: Let's okay, and then we like then that was Christopher 218 00:12:02,205 --> 00:12:05,125 Speaker 1: Harkin and the costume designer and we made these iconic, 219 00:12:05,325 --> 00:12:07,725 Speaker 1: insane beautiful and the milliner's on. 220 00:12:07,685 --> 00:12:10,925 Speaker 3: That project were sane, like the hats and all the things. 221 00:12:11,125 --> 00:12:13,045 Speaker 3: Was like, so's fun. 222 00:12:15,725 --> 00:12:19,085 Speaker 2: Coming up. Kate tells me more about her incredible career, 223 00:12:19,605 --> 00:12:23,285 Speaker 2: how she's faced rejection, which is an inevitable part of 224 00:12:23,325 --> 00:12:27,005 Speaker 2: being an actor and where the success has changed how 225 00:12:27,005 --> 00:12:37,085 Speaker 2: she handles it over the years. Stay with us. I'm 226 00:12:37,125 --> 00:12:40,245 Speaker 2: struck by as as we're having this conversation, how good 227 00:12:40,285 --> 00:12:43,845 Speaker 2: you are at relationships and you know you're talking about 228 00:12:44,565 --> 00:12:47,205 Speaker 2: don't you think like so you talk about these people 229 00:12:47,205 --> 00:12:50,845 Speaker 2: who are I mean, everything seems self evident in retrospects. 230 00:12:50,925 --> 00:12:53,405 Speaker 2: So you go Shonda Rhymes and when I know her 231 00:12:53,445 --> 00:12:57,165 Speaker 2: as a legend, but she wasn't a legend then starting 232 00:12:57,205 --> 00:13:01,205 Speaker 2: as h Yeah, and these are all all the people 233 00:13:01,245 --> 00:13:04,125 Speaker 2: that you're mentioning then were starting out in Amy Poehler 234 00:13:04,205 --> 00:13:11,285 Speaker 2: and that whole generation are your create relationships seem to 235 00:13:11,325 --> 00:13:14,485 Speaker 2: have laid you through this thrade of one thing going 236 00:13:14,525 --> 00:13:17,325 Speaker 2: to another, even getting this spin off to private practice. 237 00:13:17,365 --> 00:13:19,325 Speaker 2: He's a great compliment to an actor. 238 00:13:19,645 --> 00:13:22,405 Speaker 3: Oh yeah, it was massive. I was. It was. 239 00:13:22,525 --> 00:13:25,325 Speaker 1: I was very surprised, and because I had done almost 240 00:13:25,605 --> 00:13:27,125 Speaker 1: two and a half because I came at the end 241 00:13:27,165 --> 00:13:29,925 Speaker 1: of season one and it was meant to only do 242 00:13:31,005 --> 00:13:34,245 Speaker 1: five episodes, so I had already shot the five, but 243 00:13:34,325 --> 00:13:37,925 Speaker 1: they aired it mid season, so that finale episode of 244 00:13:37,965 --> 00:13:41,365 Speaker 1: season one was my first of the five. And then 245 00:13:41,765 --> 00:13:44,445 Speaker 1: I had done another pilot for ABC, a half hour 246 00:13:44,485 --> 00:13:47,525 Speaker 1: sitcom comedy that was meant to go and it didn't. 247 00:13:47,725 --> 00:13:49,485 Speaker 1: I was like what oh, And then they asked me 248 00:13:49,525 --> 00:13:51,765 Speaker 1: back to Grace to be a series regular. It's like yes, 249 00:13:52,245 --> 00:13:56,925 Speaker 1: So that's often been the way for me. It's like, I, 250 00:13:56,965 --> 00:13:58,885 Speaker 1: you know, would go in just as a guest and 251 00:13:58,925 --> 00:14:00,325 Speaker 1: then guess what, I'm here to stay. 252 00:14:00,525 --> 00:14:05,885 Speaker 2: Yeah, so getting rid of me. Yeah, but it is 253 00:14:05,965 --> 00:14:09,125 Speaker 2: it's a great compliment, thank you, isn't it? And as 254 00:14:09,165 --> 00:14:13,165 Speaker 2: an it feels really good because the nature of acting 255 00:14:13,285 --> 00:14:17,685 Speaker 2: is often it's an insecure profession because you're dependent on 256 00:14:18,205 --> 00:14:20,805 Speaker 2: writers and other people to create the work for you. 257 00:14:20,925 --> 00:14:22,885 Speaker 2: So I think that a lot of actors inhibit this 258 00:14:23,005 --> 00:14:27,405 Speaker 2: space of insecurity, and yet your choice. 259 00:14:27,045 --> 00:14:28,245 Speaker 3: Is like masochistic. 260 00:14:28,285 --> 00:14:30,845 Speaker 1: It's a very Yeah, you have to really have a 261 00:14:30,885 --> 00:14:34,245 Speaker 1: lot of there's a little bit of a sociopathy to it. 262 00:14:34,285 --> 00:14:38,125 Speaker 1: I think it's like you have to really believe in yourself. 263 00:14:38,165 --> 00:14:40,285 Speaker 1: I'm almost I used to say that I would go 264 00:14:40,285 --> 00:14:43,005 Speaker 1: into audition rooms and I would honestly that was weird. 265 00:14:43,045 --> 00:14:44,565 Speaker 3: Where it's like something's weird with me. 266 00:14:44,805 --> 00:14:46,445 Speaker 1: Where I'd sign in is when you have to go 267 00:14:46,485 --> 00:14:48,485 Speaker 1: into audition and I'd be like, what are all these. 268 00:14:48,405 --> 00:14:49,965 Speaker 3: Other people here for my part, do you know what 269 00:14:50,045 --> 00:14:53,365 Speaker 3: I mean? It wasn't conscious, but I was literally kind 270 00:14:53,365 --> 00:14:53,925 Speaker 3: of surprised. 271 00:14:53,925 --> 00:14:55,565 Speaker 1: I'm like, no, I thought this was just for me, 272 00:14:56,165 --> 00:14:59,045 Speaker 1: you know, and then you get so much rejection that 273 00:14:59,125 --> 00:15:02,525 Speaker 1: you really have to love it and want it. And 274 00:15:02,565 --> 00:15:06,485 Speaker 1: then thankfully, gratefully, I've at a place where I don't 275 00:15:07,445 --> 00:15:10,205 Speaker 1: choose to say pick me. And you know what I mean, 276 00:15:10,285 --> 00:15:12,325 Speaker 1: a lot of people I work with, people I've known, 277 00:15:12,525 --> 00:15:14,645 Speaker 1: or people come to me and they're like, hey, we 278 00:15:14,685 --> 00:15:15,765 Speaker 1: have this idea or we won't. 279 00:15:15,765 --> 00:15:17,845 Speaker 3: You know, it's like this sounds fun, let's do it, 280 00:15:17,965 --> 00:15:18,165 Speaker 3: you know. 281 00:15:18,325 --> 00:15:22,685 Speaker 2: But yeah, but even in like in your private life 282 00:15:22,765 --> 00:15:26,725 Speaker 2: to leave the United States and come to Australia and 283 00:15:26,765 --> 00:15:32,125 Speaker 2: now you are officially, but that's a really bold choice. 284 00:15:32,885 --> 00:15:36,925 Speaker 1: Yes, I mean that was crazy. I mean it's a 285 00:15:36,965 --> 00:15:41,445 Speaker 1: massive geographic change. I came here for to visit and 286 00:15:41,845 --> 00:15:45,085 Speaker 1: stayed for a relationship because I. 287 00:15:45,045 --> 00:15:49,245 Speaker 2: Mean, I think only love, only love would engender. Is 288 00:15:49,445 --> 00:15:52,605 Speaker 2: really what must have seemed to a lot of people 289 00:15:52,645 --> 00:15:53,885 Speaker 2: like madness at the time. 290 00:15:54,645 --> 00:15:57,925 Speaker 1: Yeah, and then the crazy timing of it, and you know, 291 00:15:57,925 --> 00:16:01,525 Speaker 1: it was a guy here two days before the borders 292 00:16:01,605 --> 00:16:04,805 Speaker 1: locked for COVID. I mean I got here on a Saturday, 293 00:16:05,565 --> 00:16:09,645 Speaker 1: March fourteen of twenty twenty, and then really and then 294 00:16:09,685 --> 00:16:12,565 Speaker 1: the borders lot they close the borders on Monday. I 295 00:16:12,645 --> 00:16:16,285 Speaker 1: left New York City on Thursday, March twelfth, and I 296 00:16:16,325 --> 00:16:18,285 Speaker 1: was literally calling on the way the airport, like is 297 00:16:18,325 --> 00:16:21,045 Speaker 1: that plane actually taking off? Or if they shut down JFK. 298 00:16:21,245 --> 00:16:23,725 Speaker 1: And it was just at the beginning of crazy COVID. 299 00:16:23,805 --> 00:16:26,725 Speaker 1: So and then here I am almost five years later. 300 00:16:27,325 --> 00:16:28,845 Speaker 2: Yeah, I know you loving it? 301 00:16:29,365 --> 00:16:30,605 Speaker 3: Love it for me. 302 00:16:30,885 --> 00:16:34,325 Speaker 1: I love the thing that's I mean, I have a 303 00:16:34,325 --> 00:16:39,645 Speaker 1: great community of friends here now. But I also loved 304 00:16:39,725 --> 00:16:42,925 Speaker 1: I just loved right at the beach in the Indian Ocean. 305 00:16:43,125 --> 00:16:45,885 Speaker 1: I love the pace. I love that nature sort of 306 00:16:45,885 --> 00:16:49,245 Speaker 1: eclipses everything. I like that I can kind of design 307 00:16:49,285 --> 00:16:51,685 Speaker 1: my day somewhat by Oh what's the wind doing? 308 00:16:52,645 --> 00:16:52,845 Speaker 3: You know? 309 00:16:54,205 --> 00:16:56,005 Speaker 1: Oh I got a south West. I was an easterly. 310 00:16:56,165 --> 00:16:58,285 Speaker 1: Oh well, cancel that, mediu, I'm going for a swim. 311 00:16:58,645 --> 00:17:02,965 Speaker 1: But to some extent, but I also, yeah, I needed that, 312 00:17:03,125 --> 00:17:08,085 Speaker 1: Like my business is such an artificial time frame and 313 00:17:08,165 --> 00:17:13,005 Speaker 1: form and unhealthy way to work, largely like to get 314 00:17:13,125 --> 00:17:20,005 Speaker 1: that Gray's Anatomy product that was seventeen hour days, ten 315 00:17:20,045 --> 00:17:24,725 Speaker 1: months a year, yeah, plus press plus you know, and 316 00:17:24,925 --> 00:17:27,365 Speaker 1: that's really great when you're younger, but that that can't 317 00:17:27,845 --> 00:17:31,605 Speaker 1: it's not sustainable. And then even when it goes, you know, 318 00:17:31,725 --> 00:17:36,245 Speaker 1: a thirteen hour day, it's just like it's it's taxing. 319 00:17:36,325 --> 00:17:38,245 Speaker 1: I did that for the better part of a decade, 320 00:17:38,405 --> 00:17:41,925 Speaker 1: nine years between private practice and grays and it's a lot. 321 00:17:42,085 --> 00:17:44,445 Speaker 1: And you don't you get so used to not having 322 00:17:44,525 --> 00:17:47,965 Speaker 1: any you're just scheduled so totally. I always call it 323 00:17:47,965 --> 00:17:50,125 Speaker 1: like you're like a high end mental patient, like someone's 324 00:17:50,165 --> 00:17:53,445 Speaker 1: tracking your everyone. Yeah, you're in the bathroom when you 325 00:17:53,565 --> 00:17:54,845 Speaker 1: get dressed, Wendy. 326 00:17:54,605 --> 00:17:56,885 Speaker 2: You've got a hand, you've got a handle. 327 00:17:57,525 --> 00:17:59,045 Speaker 3: Yeah, no, wonder I'm like, take this. 328 00:17:59,285 --> 00:17:59,765 Speaker 2: I can't. 329 00:18:00,725 --> 00:18:01,445 Speaker 3: Yeah. 330 00:18:01,685 --> 00:18:05,405 Speaker 2: And then also I imagine that when you have a profile, 331 00:18:06,205 --> 00:18:08,605 Speaker 2: the price that you pay for having a profile when 332 00:18:08,645 --> 00:18:11,885 Speaker 2: you're in this day is that you're always getting snapparazzied. 333 00:18:12,285 --> 00:18:16,485 Speaker 1: Yeah, that culture has, uh, that certainly shifted a lot. 334 00:18:16,565 --> 00:18:17,885 Speaker 3: I mean that was my whole life. 335 00:18:17,885 --> 00:18:19,485 Speaker 1: I mean that was the other thing about Gray's We 336 00:18:19,605 --> 00:18:21,805 Speaker 1: all sort of came up together, even though Patrick had 337 00:18:21,805 --> 00:18:24,965 Speaker 1: had a career before, and you know, Jim Pickens had 338 00:18:25,005 --> 00:18:27,485 Speaker 1: a career before, but none of us had that kind 339 00:18:27,485 --> 00:18:31,565 Speaker 1: of exposure that Gray's provided, and then we were all 340 00:18:31,605 --> 00:18:32,325 Speaker 1: like whoa. 341 00:18:32,885 --> 00:18:33,485 Speaker 3: So that was the. 342 00:18:33,485 --> 00:18:37,325 Speaker 1: Whole change everything. Yeah, having paparazzi follow you around and 343 00:18:38,245 --> 00:18:40,005 Speaker 1: you know that was really crazy. 344 00:18:40,565 --> 00:18:43,125 Speaker 2: I can you do an old striding accent now. 345 00:18:44,485 --> 00:18:45,365 Speaker 3: Not? I don't know. 346 00:18:45,525 --> 00:18:45,965 Speaker 4: I don't know. 347 00:18:46,165 --> 00:18:47,925 Speaker 1: I can only did if it's like a characater. I 348 00:18:47,925 --> 00:18:50,005 Speaker 1: don't think so. I don't even have the courage to 349 00:18:50,045 --> 00:18:53,325 Speaker 1: say I can. I definitely didn't do it in optics 350 00:18:53,605 --> 00:18:56,525 Speaker 1: I did it. I was like, I can't handle it, 351 00:18:56,605 --> 00:18:59,805 Speaker 1: like I I it's so much pressure. It's easier to 352 00:18:59,845 --> 00:19:01,645 Speaker 1: do an English accent for me than the roster I 353 00:19:01,645 --> 00:19:03,805 Speaker 1: would have to have a I mean, I think I 354 00:19:03,805 --> 00:19:07,205 Speaker 1: can imitate someone, but I can't, like I think, authentically 355 00:19:07,245 --> 00:19:09,845 Speaker 1: do it. I think I have some total inflection at 356 00:19:09,845 --> 00:19:10,125 Speaker 1: the end. 357 00:19:10,405 --> 00:19:11,525 Speaker 3: It's going up now. 358 00:19:11,605 --> 00:19:16,325 Speaker 1: Like or hey saying hey a lot or yaana like that. 359 00:19:17,365 --> 00:19:19,845 Speaker 1: Definitely some expressions, but. 360 00:19:20,165 --> 00:19:23,245 Speaker 2: Because you know, you know, it thrills us, struandings more 361 00:19:23,285 --> 00:19:25,685 Speaker 2: than anything else when people mimic our accent. 362 00:19:25,885 --> 00:19:30,085 Speaker 1: Oh no, okay, it's terrible, Like you can't and the 363 00:19:30,125 --> 00:19:32,565 Speaker 1: thing is like Ausie's and I'm not blowing spoke. There's 364 00:19:32,605 --> 00:19:35,525 Speaker 1: such I've said it before saying they're such great actors 365 00:19:35,605 --> 00:19:37,285 Speaker 1: and I don't know if it's because they have to train. 366 00:19:38,365 --> 00:19:41,325 Speaker 1: Like I'm impressed by everything here and it tells you 367 00:19:41,405 --> 00:19:44,365 Speaker 1: kind of how American centric I was. I was like, 368 00:19:44,365 --> 00:19:46,205 Speaker 1: how'd you guys get that? Like, how'd you get that 369 00:19:46,245 --> 00:19:48,485 Speaker 1: good design? How did you get that great restaurant? Like 370 00:19:48,485 --> 00:19:51,005 Speaker 1: how'd you get that? Like you have that because we 371 00:19:51,005 --> 00:19:55,085 Speaker 1: don't even have that. So I feel like people here, 372 00:19:55,765 --> 00:19:59,725 Speaker 1: whatever this island nation is, it is obviously so massive 373 00:19:59,725 --> 00:20:02,805 Speaker 1: and expansive, and there's a massive myriad differences between Sydney 374 00:20:02,805 --> 00:20:06,005 Speaker 1: and Brisbane and Melbourne and Perth. But that people to 375 00:20:06,125 --> 00:20:09,845 Speaker 1: compete internationally have to be They just train and they're 376 00:20:09,925 --> 00:20:12,725 Speaker 1: so good. So I all that is to say, in 377 00:20:12,925 --> 00:20:16,085 Speaker 1: Australia doing an American accent is much better, I reckon 378 00:20:16,205 --> 00:20:17,685 Speaker 1: than an America. 379 00:20:18,005 --> 00:20:21,125 Speaker 2: Sure, sure, sure, but the time will come for you. 380 00:20:21,165 --> 00:20:22,765 Speaker 2: So it's not enough which is. 381 00:20:22,725 --> 00:20:25,165 Speaker 3: Your but it will come and I'll do it. 382 00:20:25,245 --> 00:20:25,445 Speaker 1: Yeah. 383 00:20:26,245 --> 00:20:29,245 Speaker 2: Well I can't wait to hear it. I mean, in fact, 384 00:20:29,605 --> 00:20:34,165 Speaker 2: because now that you are around as well, in any incarnation, 385 00:20:34,325 --> 00:20:36,765 Speaker 2: you wish to bring yourself to us. So you're you've 386 00:20:36,805 --> 00:20:41,165 Speaker 2: got more Umbrella Academy coming Umbrella Academy. 387 00:20:41,765 --> 00:20:45,765 Speaker 1: No, that's done. That, it's done, That series is done. 388 00:20:46,205 --> 00:20:49,205 Speaker 1: I'm done pretty much with everything. Emily in Paris is 389 00:20:49,245 --> 00:20:51,245 Speaker 1: going back to shoot their next season, but I'm finished 390 00:20:51,245 --> 00:20:52,765 Speaker 1: with that unless they call me up and say they 391 00:20:52,805 --> 00:20:53,565 Speaker 1: want Meddling back. 392 00:20:53,605 --> 00:20:54,085 Speaker 3: But they have me. 393 00:20:54,525 --> 00:20:56,445 Speaker 2: How herroneous to have to go to Paris. 394 00:20:56,725 --> 00:20:57,605 Speaker 3: I mean, I love that. 395 00:20:57,725 --> 00:21:00,365 Speaker 1: It's such a delay that again was supposed to be 396 00:21:00,445 --> 00:21:02,725 Speaker 1: one episode and they're like, come back, and so that 397 00:21:02,885 --> 00:21:05,045 Speaker 1: was great and I'm like, can I come back again? 398 00:21:05,125 --> 00:21:08,005 Speaker 1: But They're like, we played out that storyline. 399 00:21:08,845 --> 00:21:12,285 Speaker 2: Culture. That must have been very interesting working in Paris. Also, 400 00:21:12,365 --> 00:21:17,005 Speaker 2: now you've now worked in Australia. What are the differences 401 00:21:17,045 --> 00:21:20,085 Speaker 2: in terms of how crews work or actors work? 402 00:21:20,205 --> 00:21:22,885 Speaker 1: Well, the cruise are phenomenal. The cruise for Emily and 403 00:21:22,965 --> 00:21:26,565 Speaker 1: Paris are phenomenal, and the same with Australia. With Optics, 404 00:21:26,565 --> 00:21:31,085 Speaker 1: it was amazing, especially Vic and Jenna their genius. I mean, 405 00:21:31,085 --> 00:21:32,965 Speaker 1: they're they're this show is going to be very very 406 00:21:33,005 --> 00:21:36,205 Speaker 1: big kind of and they're already they're just and so 407 00:21:36,365 --> 00:21:41,885 Speaker 1: multi talented. They're writing, acting, just editing, producing, they just 408 00:21:41,925 --> 00:21:45,165 Speaker 1: are in it and on it. That crew is amazing. 409 00:21:45,605 --> 00:21:49,205 Speaker 1: There work so hard so quickly. You know we're in 410 00:21:49,205 --> 00:21:52,445 Speaker 1: a culture now that they're it's now called content, which 411 00:21:52,485 --> 00:21:54,405 Speaker 1: I'm like, no, but it's a show. It's a TV show, 412 00:21:54,405 --> 00:21:57,245 Speaker 1: it's a comedy, it's a drama. But because of the aspect, 413 00:21:57,365 --> 00:22:01,885 Speaker 1: the nature of the consumptive nature of ya TV and film, 414 00:22:01,885 --> 00:22:03,045 Speaker 1: now I'm binging. 415 00:22:03,165 --> 00:22:04,285 Speaker 2: You're feeding the monster. 416 00:22:04,605 --> 00:22:07,685 Speaker 1: Yeah, and it's a little unfortunate, I think, but I 417 00:22:07,725 --> 00:22:11,325 Speaker 1: also participate. I just being American Primeval. Peter Berg's new 418 00:22:11,405 --> 00:22:15,125 Speaker 1: series amazing, but you know it makes shooting in Emily 419 00:22:15,125 --> 00:22:18,725 Speaker 1: in Paris too, and even Umbrella Academy and I love Netflix. 420 00:22:18,845 --> 00:22:21,645 Speaker 3: I've done so much work for them, but it makes it. 421 00:22:21,685 --> 00:22:23,765 Speaker 1: They're like, oh my god, we go faster faster, so 422 00:22:23,805 --> 00:22:25,605 Speaker 1: you get like one and a half takes or something 423 00:22:25,685 --> 00:22:27,925 Speaker 1: and then you're moving on. Or an Umbrella Academy with 424 00:22:27,925 --> 00:22:30,845 Speaker 1: so much green screen and tech that you're often just 425 00:22:30,885 --> 00:22:34,325 Speaker 1: doing a scene with the screen. But with the French 426 00:22:34,405 --> 00:22:38,005 Speaker 1: Cruise and with the Aussie Cruz, they're so incredible. First 427 00:22:38,005 --> 00:22:40,165 Speaker 1: of all, I like the schedule. It's so much healthier 428 00:22:40,205 --> 00:22:43,045 Speaker 1: because they are like ten hour days, so I think 429 00:22:43,045 --> 00:22:44,245 Speaker 1: they're ten yeah, and. 430 00:22:44,165 --> 00:22:47,645 Speaker 3: Then really there Yeah, so that's a union thing. 431 00:22:47,685 --> 00:22:50,085 Speaker 1: That's just different in Europe and England and France, and 432 00:22:50,125 --> 00:22:52,925 Speaker 1: I don't know about Germany. In Italy too because I 433 00:22:53,005 --> 00:22:56,285 Speaker 1: worked there, there are ten hour days and they're just like, nah, 434 00:22:56,405 --> 00:22:59,205 Speaker 1: that's it. And because as an actor you're coming in 435 00:22:59,245 --> 00:23:01,765 Speaker 1: at you're getting a bit four thirty to get to 436 00:23:01,805 --> 00:23:04,925 Speaker 1: the set at five thirty, and then so the crew 437 00:23:04,965 --> 00:23:07,125 Speaker 1: do is if the crew starts at seven and then 438 00:23:07,125 --> 00:23:09,685 Speaker 1: we're you know, done it, they're done at five, that's 439 00:23:09,685 --> 00:23:12,685 Speaker 1: better because it's still you know, twelve or thirteen or 440 00:23:12,685 --> 00:23:15,805 Speaker 1: fourteen hour day for actors. So it's just so much 441 00:23:15,845 --> 00:23:20,005 Speaker 1: healthier and everyone, even though we're moving fast, it felt, 442 00:23:20,005 --> 00:23:23,925 Speaker 1: particularly on this show on Optics, we're not moving too 443 00:23:23,965 --> 00:23:27,485 Speaker 1: fast like you're we're efficient, but there's so much freedom, 444 00:23:27,725 --> 00:23:30,565 Speaker 1: so much love, a lot of joy on that show. 445 00:23:30,685 --> 00:23:33,045 Speaker 1: I think it's also it's so funny that the crew. 446 00:23:33,645 --> 00:23:36,245 Speaker 1: It's very fun to see people trying to hold in 447 00:23:36,285 --> 00:23:38,125 Speaker 1: their laughter until you hear. 448 00:23:38,045 --> 00:23:42,205 Speaker 3: Cut oh laughing. So that's really that's nice. 449 00:23:42,445 --> 00:23:45,525 Speaker 2: Yeah, yeah, And do you think more comedy for you? 450 00:23:46,485 --> 00:23:47,205 Speaker 3: Yeah? I miss it. 451 00:23:47,205 --> 00:23:49,285 Speaker 1: I always say that, and then I end up doing 452 00:23:49,285 --> 00:23:52,565 Speaker 1: these heavy dramas because there's both exist to me, I've 453 00:23:52,605 --> 00:23:59,005 Speaker 1: always done both, but I definitely love both and this 454 00:23:59,165 --> 00:24:05,045 Speaker 1: was really fun to do this role on objects. 455 00:24:06,165 --> 00:24:09,125 Speaker 2: After this short break, we dive into her journey with 456 00:24:09,125 --> 00:24:13,885 Speaker 2: a tumor, the surreal irony of being a fake doctor 457 00:24:14,365 --> 00:24:19,325 Speaker 2: facing a real medical crisis, and what life looks like 458 00:24:19,445 --> 00:24:29,965 Speaker 2: for her here in Australia. Don't go anywhere. Do you 459 00:24:30,125 --> 00:24:34,485 Speaker 2: think that when you had your medical scare or you 460 00:24:34,525 --> 00:24:37,525 Speaker 2: had the Yeah, it's a. 461 00:24:37,605 --> 00:24:40,005 Speaker 1: Very movie of the week. It's very much kind of 462 00:24:40,365 --> 00:24:41,645 Speaker 1: actress gets brain tumor. 463 00:24:41,725 --> 00:24:44,805 Speaker 3: It was very well, it was strawdinary. 464 00:24:45,565 --> 00:24:49,245 Speaker 2: And then you then did a play in wa Last 465 00:24:49,325 --> 00:24:52,725 Speaker 2: gr Was it Last g where the character I think 466 00:24:52,805 --> 00:24:53,445 Speaker 2: she has a brain? 467 00:24:53,805 --> 00:24:57,005 Speaker 1: Oh? Yeah, no, she had dementia. That was the other place. Yeah, 468 00:24:57,205 --> 00:25:01,365 Speaker 1: that was in Gosh when I first got here. So 469 00:25:01,405 --> 00:25:04,885 Speaker 1: that was actually in twenty twenty. It was a play 470 00:25:05,005 --> 00:25:08,685 Speaker 1: written by shar Waite called The Other Place that Joe 471 00:25:08,725 --> 00:25:11,405 Speaker 1: Mantello had done on Broadway, New York in twenty fourteen 472 00:25:11,485 --> 00:25:15,725 Speaker 1: with Laurie Metcalf who who shar wrote it for. And 473 00:25:15,965 --> 00:25:18,405 Speaker 1: I had just done a reading of it for Broadway 474 00:25:18,445 --> 00:25:21,805 Speaker 1: dot Com to raise money for out of work theater 475 00:25:22,325 --> 00:25:25,725 Speaker 1: crew and actors and workers during COVID they were doing 476 00:25:25,725 --> 00:25:28,965 Speaker 1: these online zoom reading series and for fundraising, and I 477 00:25:29,005 --> 00:25:30,965 Speaker 1: love the play so much. I'm like, wait a minute, 478 00:25:31,325 --> 00:25:34,805 Speaker 1: we should do this here because why not? And we're 479 00:25:34,845 --> 00:25:37,445 Speaker 1: in Perth and we only had like a six week 480 00:25:37,645 --> 00:25:40,365 Speaker 1: sort of you know quarantine if you will. It was 481 00:25:40,405 --> 00:25:41,845 Speaker 1: like six theater, but you know what I mean. So 482 00:25:42,045 --> 00:25:44,045 Speaker 1: after six weeks people were we were living kind of 483 00:25:44,045 --> 00:25:46,125 Speaker 1: like a real We were in a totally different matrix here. 484 00:25:46,525 --> 00:25:46,645 Speaker 3: You know. 485 00:25:46,725 --> 00:25:50,965 Speaker 1: It wasn't like Sydney or Melbourne with constant like you know, 486 00:25:51,045 --> 00:25:53,405 Speaker 1: we were really fortunate. So we were able to do 487 00:25:53,485 --> 00:25:55,645 Speaker 1: this play and we did it in I think it 488 00:25:55,645 --> 00:25:59,205 Speaker 1: was October. We have twenty twenty and the little theaters 489 00:25:59,245 --> 00:26:01,245 Speaker 1: to open this little start, this little theater with We're 490 00:26:01,285 --> 00:26:05,565 Speaker 1: not off a bready a Freemantle theater company, and did 491 00:26:05,565 --> 00:26:08,165 Speaker 1: this play for like, you know, very intimate, like I 492 00:26:08,205 --> 00:26:11,685 Speaker 1: think it was probably like one hundred people, audienced. 493 00:26:11,645 --> 00:26:14,525 Speaker 2: And so local. So obviously there are people who are 494 00:26:14,565 --> 00:26:21,445 Speaker 2: into theater. Would they like, oh my god, yes, do 495 00:26:21,565 --> 00:26:24,645 Speaker 2: you get that response when you're out and about her. 496 00:26:24,925 --> 00:26:26,645 Speaker 3: Like you live here? Why are you here? What are 497 00:26:26,645 --> 00:26:28,565 Speaker 3: you doing, yeah right, yeah. 498 00:26:28,645 --> 00:26:32,605 Speaker 2: Mm hmm. And what do you say? What do you say? 499 00:26:32,685 --> 00:26:33,245 Speaker 3: Yeah, I do? 500 00:26:33,325 --> 00:26:36,325 Speaker 1: I live here, you know, partner and I were here 501 00:26:36,405 --> 00:26:39,485 Speaker 1: and then I you know, I still have my place 502 00:26:39,485 --> 00:26:42,165 Speaker 1: in New York, my apartment there, So I go, we 503 00:26:42,325 --> 00:26:44,885 Speaker 1: were just there for the holidays, and I have it 504 00:26:45,005 --> 00:26:51,685 Speaker 1: sublet and then delayful subla. She agrees graciously to sort 505 00:26:51,725 --> 00:26:54,045 Speaker 1: of go in and out when I need to be there. 506 00:26:54,845 --> 00:26:58,565 Speaker 2: You need to. Oh that's great. So you you love Australia, 507 00:26:58,805 --> 00:27:00,085 Speaker 2: You love an Australian? 508 00:27:00,565 --> 00:27:01,085 Speaker 3: Yes, I do. 509 00:27:01,685 --> 00:27:05,285 Speaker 2: Very you did say, I think accidentally an interview once 510 00:27:05,325 --> 00:27:06,965 Speaker 2: you referred to him as your fiance. 511 00:27:07,485 --> 00:27:09,085 Speaker 3: We are engaged. We are engaged. 512 00:27:09,085 --> 00:27:13,125 Speaker 2: We're in which means there'll be a wedding, and Australian wedding. 513 00:27:13,205 --> 00:27:16,325 Speaker 2: Have you seen Muriel's Wedding? Have you watched that film? 514 00:27:16,325 --> 00:27:18,965 Speaker 4: I mean, of course, iconic, that's like one of my 515 00:27:19,085 --> 00:27:22,325 Speaker 4: favorite all time films. Like such such a great I 516 00:27:22,365 --> 00:27:25,685 Speaker 4: mean that's what in the States, how we were introduced 517 00:27:25,725 --> 00:27:31,725 Speaker 4: to Tony Collette and Rachel who are these genius Yeah, like, 518 00:27:32,085 --> 00:27:34,565 Speaker 4: oh my god, yeah, just beautiful. 519 00:27:34,925 --> 00:27:36,565 Speaker 2: So I'm just putting it out there in case you're 520 00:27:36,565 --> 00:27:39,085 Speaker 2: looking for a thing I want to go to Pope. 521 00:27:39,645 --> 00:27:42,165 Speaker 2: I know what your plans are. I know you're a 522 00:27:42,245 --> 00:27:44,325 Speaker 2: very elegant, glamorous woman. 523 00:27:45,965 --> 00:27:46,965 Speaker 3: Yeah, I don't know. 524 00:27:47,205 --> 00:27:51,365 Speaker 1: We'll see, but yeah, so I'm here and I'm loving it, 525 00:27:51,645 --> 00:27:52,165 Speaker 1: loving it. 526 00:27:52,485 --> 00:27:55,445 Speaker 2: Well, you know what, we're loving you for a myriad 527 00:27:55,485 --> 00:27:56,285 Speaker 2: of reasons. 528 00:27:56,325 --> 00:27:58,365 Speaker 3: Thanks. Well, I'm hoping to do more work here. 529 00:27:58,405 --> 00:28:00,845 Speaker 1: We're hoping to bring a show to you know, we 530 00:28:00,885 --> 00:28:03,405 Speaker 1: did all this big push to get a studio built 531 00:28:03,445 --> 00:28:06,765 Speaker 1: here in Western Australia in Perth, which is happening, and 532 00:28:06,805 --> 00:28:08,285 Speaker 1: then I'm hoping to do a show here. 533 00:28:08,885 --> 00:28:09,565 Speaker 3: We're hoping to. 534 00:28:09,405 --> 00:28:12,565 Speaker 1: Shoot something, uh when it may or may not be 535 00:28:12,645 --> 00:28:16,165 Speaker 1: with with you know, big syrups and geno and so 536 00:28:16,485 --> 00:28:17,445 Speaker 1: we'll see what happens. 537 00:28:17,685 --> 00:28:18,005 Speaker 3: Yeah. 538 00:28:18,045 --> 00:28:22,365 Speaker 2: Well it must ingen to some curiosity amongst your colleagues 539 00:28:22,405 --> 00:28:24,645 Speaker 2: and your peace back in the States. 540 00:28:25,085 --> 00:28:28,485 Speaker 1: Yeah, they're envious. I'll tell you what it is. It's 541 00:28:28,565 --> 00:28:30,525 Speaker 1: more like, why didn't we do that? We wish we 542 00:28:30,565 --> 00:28:33,285 Speaker 1: could live there, especially with everything that's going on. I 543 00:28:33,285 --> 00:28:36,565 Speaker 1: mean Los Angeles has had a time of it, oh my, 544 00:28:36,765 --> 00:28:44,725 Speaker 1: between between all of everything politically, between that, oh my gosh, 545 00:28:44,805 --> 00:28:47,845 Speaker 1: everything and COVID and then the strikes and then now 546 00:28:47,885 --> 00:28:53,045 Speaker 1: there's fires. It's been devastating and uh yeah, so it 547 00:28:53,085 --> 00:28:56,365 Speaker 1: has it's going to be a long time before that 548 00:28:56,405 --> 00:28:57,525 Speaker 1: community recovers. 549 00:28:57,645 --> 00:29:01,365 Speaker 3: It will, but a really long time just madness and 550 00:29:01,445 --> 00:29:01,925 Speaker 3: a lot of it. 551 00:29:02,045 --> 00:29:05,285 Speaker 1: The last place I lived in La Malibu was gone, 552 00:29:05,445 --> 00:29:07,405 Speaker 1: So it's uh, it's crazy. 553 00:29:08,245 --> 00:29:11,565 Speaker 2: The recovery proces. This is not just like that. That's 554 00:29:11,885 --> 00:29:14,805 Speaker 2: this is going to be decades, really, I. 555 00:29:14,685 --> 00:29:17,565 Speaker 1: Think so, and it will reshape the whole business and 556 00:29:17,645 --> 00:29:20,845 Speaker 1: reshape I mean already people it was impossible to get 557 00:29:20,925 --> 00:29:22,685 Speaker 1: insurance for fire and people. 558 00:29:23,045 --> 00:29:26,565 Speaker 3: Yeah, so it's really yeah. 559 00:29:25,685 --> 00:29:28,525 Speaker 2: Hey, speaking of decades. One thing that I'm struck by 560 00:29:28,645 --> 00:29:32,325 Speaker 2: is when you're reading any sort of retrospective or article 561 00:29:32,365 --> 00:29:36,085 Speaker 2: about your career, and it's always like, oh my god. 562 00:29:36,365 --> 00:29:39,325 Speaker 2: Kate Walsh is an example of starting a career later 563 00:29:39,365 --> 00:29:45,285 Speaker 2: in life, and I'm like, what what you were? Really? 564 00:29:45,405 --> 00:29:48,565 Speaker 2: I mean, you were working the whole way through. You 565 00:29:48,725 --> 00:29:54,645 Speaker 2: really probably came to us to real sort of worldwide prominence. 566 00:29:54,925 --> 00:29:57,405 Speaker 2: But you're in your thirties, So how do you feel 567 00:29:57,485 --> 00:29:59,725 Speaker 2: about that as a descriptor. 568 00:29:59,365 --> 00:30:01,605 Speaker 3: Well, I don't mind. First of all, I really don't care. 569 00:30:02,085 --> 00:30:04,965 Speaker 1: Secondly, it's like, I have a lot of empathy or 570 00:30:05,205 --> 00:30:07,765 Speaker 1: I understand why people would have that perception because I 571 00:30:07,845 --> 00:30:10,725 Speaker 1: wasn't really in the zegos as sort of you know, 572 00:30:10,805 --> 00:30:13,805 Speaker 1: we're alluding to until Grays. That's what sort of put 573 00:30:13,845 --> 00:30:17,125 Speaker 1: me on a map in a massive way. And most actors, 574 00:30:17,325 --> 00:30:21,285 Speaker 1: that's the story is that you're quietly working, working really hard. 575 00:30:21,765 --> 00:30:23,525 Speaker 1: I mean, I've been acting since I was a kid, 576 00:30:23,565 --> 00:30:31,005 Speaker 1: but professionally on like since I was you know, nineteen twenty, 577 00:30:31,525 --> 00:30:33,685 Speaker 1: but in little ways, but always then, Oh it was 578 00:30:33,725 --> 00:30:36,845 Speaker 1: like working, waitressing, working, waitressing working, and then like I 579 00:30:36,885 --> 00:30:39,405 Speaker 1: did my first big comedy it was Drew Carey, and 580 00:30:39,445 --> 00:30:41,885 Speaker 1: then I did. But even when I moved to LA 581 00:30:42,005 --> 00:30:44,885 Speaker 1: from New York, finally I was I became aware of 582 00:30:44,925 --> 00:30:48,005 Speaker 1: this community of actors and writers and directors that had 583 00:30:48,005 --> 00:30:50,525 Speaker 1: been that make a really great loop. There's they were 584 00:30:50,565 --> 00:30:53,925 Speaker 1: sort of known like this middle class like actors and 585 00:30:53,965 --> 00:30:57,085 Speaker 1: writers and directors, but that half the writers that their 586 00:30:57,205 --> 00:30:59,805 Speaker 1: movies were never made, but they get paid. 587 00:30:59,565 --> 00:31:00,685 Speaker 3: For making these movies. 588 00:31:01,005 --> 00:31:04,125 Speaker 1: Directors they get paid for making these pilots that they 589 00:31:04,165 --> 00:31:06,845 Speaker 1: shot but were never actually picked up the TV series. 590 00:31:07,165 --> 00:31:10,045 Speaker 1: So I was making doing a lot of stuff. It 591 00:31:10,205 --> 00:31:13,645 Speaker 1: just was more shown in America or you know, it 592 00:31:13,685 --> 00:31:17,325 Speaker 1: wasn't a global thing, and now it's. The business is 593 00:31:17,325 --> 00:31:19,645 Speaker 1: so different because as soon as you do anything, it's 594 00:31:19,685 --> 00:31:23,045 Speaker 1: pretty much global, you know. It's not like because of 595 00:31:23,445 --> 00:31:24,725 Speaker 1: the streaming services. 596 00:31:24,845 --> 00:31:25,085 Speaker 3: You know. 597 00:31:26,405 --> 00:31:28,445 Speaker 1: So I don't mind it because I was like, oh 598 00:31:28,485 --> 00:31:29,205 Speaker 1: my god, you. 599 00:31:29,085 --> 00:31:30,685 Speaker 3: Guys are how do you make it a living? I've 600 00:31:30,725 --> 00:31:31,605 Speaker 3: never seen your show. 601 00:31:31,805 --> 00:31:33,645 Speaker 1: They're like, oh, yeah, we make all these things and 602 00:31:33,685 --> 00:31:35,365 Speaker 1: half of them don't get seen, and then that's how 603 00:31:35,405 --> 00:31:38,285 Speaker 1: we make our living. So yeah, that's I think that's 604 00:31:38,325 --> 00:31:40,645 Speaker 1: always a common misperception. And along the way there were 605 00:31:40,645 --> 00:31:43,365 Speaker 1: all these gorgeous stepping stones were like, yay, I got 606 00:31:43,365 --> 00:31:45,885 Speaker 1: the first, you know, studio film with Will Ferrell. 607 00:31:45,925 --> 00:31:48,405 Speaker 3: Oh my, that's so exciting. I got my first comedy 608 00:31:48,445 --> 00:31:50,685 Speaker 3: of the Drue Carrier. That's really fun. And oh my gosh, 609 00:31:50,685 --> 00:31:53,005 Speaker 3: that's my first. You know, a lot of firsts. 610 00:31:53,685 --> 00:31:57,405 Speaker 2: Do you feel secure in your place now? 611 00:31:59,045 --> 00:32:00,165 Speaker 3: You mean as an actor or. 612 00:32:01,365 --> 00:32:05,525 Speaker 2: Oh well, because they kind of commence your ith, aren't they. 613 00:32:06,365 --> 00:32:09,005 Speaker 1: Yeah, I meant as an actor and artist. Yes, I 614 00:32:09,045 --> 00:32:13,605 Speaker 1: think it's more existential now that I'm like, oh my gosh, 615 00:32:13,605 --> 00:32:15,885 Speaker 1: I mean, look, I just lost my mom, you know, 616 00:32:16,125 --> 00:32:20,405 Speaker 1: and that is massive. And also I think part of 617 00:32:21,205 --> 00:32:24,405 Speaker 1: you asked why I why I live here? 618 00:32:24,485 --> 00:32:26,445 Speaker 3: Or is it weird? People like what are you doing? 619 00:32:26,725 --> 00:32:29,365 Speaker 1: There's also a lot of other life to live, and 620 00:32:29,365 --> 00:32:30,685 Speaker 1: there's a lot of I have a lot of other 621 00:32:30,805 --> 00:32:32,725 Speaker 1: interests and a lot of a lot of other things 622 00:32:32,725 --> 00:32:36,325 Speaker 1: that give me great joy, simple things like cooking, like swimming, 623 00:32:36,485 --> 00:32:41,245 Speaker 1: like traveling and diving, and conservation and my cats, three. 624 00:32:41,085 --> 00:32:44,845 Speaker 3: Cats, and love. But so there's a lot. 625 00:32:44,885 --> 00:32:46,925 Speaker 1: And then it becomes as essentially you're just like, oh 626 00:32:46,965 --> 00:32:49,445 Speaker 1: my gosh, who knows how much time I have left? 627 00:32:49,645 --> 00:32:51,525 Speaker 1: There's been you know, like I said, you get to 628 00:32:51,565 --> 00:32:54,845 Speaker 1: be a lot of life has been lived, and you're like, whoa, 629 00:32:55,005 --> 00:32:55,965 Speaker 1: it's a lot of loss. 630 00:32:56,605 --> 00:32:58,245 Speaker 2: And you had the brush with mortality. 631 00:32:58,485 --> 00:32:58,925 Speaker 3: Oh my god. 632 00:32:58,965 --> 00:33:01,445 Speaker 1: That was before brand tour and after brand tumor, and 633 00:33:01,445 --> 00:33:04,005 Speaker 1: it was very cliche. But I didn't know what No 634 00:33:04,005 --> 00:33:06,485 Speaker 1: one knew what it was going to be. Whether I 635 00:33:06,565 --> 00:33:08,525 Speaker 1: just remember the week before I went into brain surgery 636 00:33:08,605 --> 00:33:11,645 Speaker 1: or a week and a half to bo Biden had 637 00:33:11,725 --> 00:33:15,045 Speaker 1: just had died of raincou So it was like, who 638 00:33:15,085 --> 00:33:16,805 Speaker 1: knows If this is it, I've had a good run. 639 00:33:16,845 --> 00:33:18,765 Speaker 1: If not, I'm going to make a lot of changes 640 00:33:19,245 --> 00:33:21,405 Speaker 1: and I kept that promise to myself. I mean a 641 00:33:21,405 --> 00:33:23,245 Speaker 1: lot of the changes were I want to spend more 642 00:33:23,285 --> 00:33:26,085 Speaker 1: time with all the cliche things, my friends, my family, 643 00:33:26,165 --> 00:33:30,165 Speaker 1: and my loved ones, living life, not making work the 644 00:33:30,205 --> 00:33:32,925 Speaker 1: sole focus, which it was. I used to say to people, 645 00:33:32,925 --> 00:33:34,325 Speaker 1: if you want to see me, come work with me, 646 00:33:34,925 --> 00:33:35,645 Speaker 1: Helbie working. 647 00:33:36,165 --> 00:33:38,165 Speaker 3: You know. So I changed all that. 648 00:33:38,685 --> 00:33:40,805 Speaker 2: You change all that, and the world has risen to 649 00:33:40,845 --> 00:33:42,445 Speaker 2: meet you, isn't it interesting? 650 00:33:43,405 --> 00:33:44,245 Speaker 3: Yeah? 651 00:33:44,605 --> 00:33:49,085 Speaker 2: Very very That's just given me goose bumps. Actually, yeah, yeah, 652 00:33:49,125 --> 00:33:50,965 Speaker 2: because I love the I love the thought that you 653 00:33:51,005 --> 00:33:56,485 Speaker 2: can change your own narrative motivated by being in service 654 00:33:56,565 --> 00:33:59,165 Speaker 2: to yourself, the way we often let ourselves be in 655 00:33:59,285 --> 00:34:00,485 Speaker 2: service to other people. 656 00:34:01,005 --> 00:34:04,405 Speaker 1: Yeah, it has to start, everyone says, but your own 657 00:34:04,645 --> 00:34:08,045 Speaker 1: oxygen has gone first, you start here. And then I 658 00:34:08,125 --> 00:34:11,285 Speaker 1: also think in this global community that we're so aware of, 659 00:34:11,325 --> 00:34:13,445 Speaker 1: and I would argue, like we have too much information, 660 00:34:14,245 --> 00:34:17,165 Speaker 1: like ninety nine percent of it. We're powerless over that 661 00:34:17,285 --> 00:34:19,925 Speaker 1: to be able to, you know, take good care of yourself. 662 00:34:19,965 --> 00:34:21,965 Speaker 1: And I still that's a daily thing, like oh wait, 663 00:34:22,005 --> 00:34:25,525 Speaker 1: because I get like that, I get wrapped up in 664 00:34:25,565 --> 00:34:28,125 Speaker 1: somebody else's energy or problems or whatever I want to 665 00:34:28,645 --> 00:34:32,685 Speaker 1: But even with that, just doing what I can right here, 666 00:34:32,805 --> 00:34:35,925 Speaker 1: very simply to help people worry or whatever whatever the 667 00:34:36,125 --> 00:34:38,125 Speaker 1: day calls. And that's one of the things I love. 668 00:34:38,805 --> 00:34:41,805 Speaker 1: The luxury of living in Australia for me. You know, 669 00:34:41,845 --> 00:34:45,245 Speaker 1: there's this expression make your plans and then God laughs 670 00:34:45,365 --> 00:34:48,205 Speaker 1: or you know, or life happens. But here it's like 671 00:34:48,365 --> 00:34:52,405 Speaker 1: life happens and then I make my plans. It really 672 00:34:52,525 --> 00:34:54,845 Speaker 1: is like, oh what is so I kind of leave 673 00:34:54,885 --> 00:34:58,965 Speaker 1: a ventilated schedule, if you know, if you will, for 674 00:34:59,365 --> 00:35:01,485 Speaker 1: as much as I can, because then when I still 675 00:35:01,525 --> 00:35:04,165 Speaker 1: go back to work, it's not that, but I leave 676 00:35:04,245 --> 00:35:06,365 Speaker 1: some space to go what is life going to bring me? 677 00:35:06,405 --> 00:35:07,525 Speaker 3: And what are the magic? 678 00:35:07,605 --> 00:35:12,525 Speaker 2: And you know, yeah, yes, when you're being rewarded tenfold 679 00:35:13,325 --> 00:35:15,645 Speaker 2: as you deserve to be for the joy that you 680 00:35:15,765 --> 00:35:20,525 Speaker 2: have provided to others and that you actually know how 681 00:35:20,565 --> 00:35:23,325 Speaker 2: to look after yourself like a grown up, which actors 682 00:35:23,365 --> 00:35:25,965 Speaker 2: always hard necessarily. 683 00:35:25,405 --> 00:35:29,805 Speaker 1: Now, yeah, it's a very yeah, you have to consciously 684 00:35:29,845 --> 00:35:31,005 Speaker 1: decide you want to grow up. 685 00:35:31,365 --> 00:35:32,325 Speaker 3: That's true. 686 00:35:32,885 --> 00:35:36,165 Speaker 2: A message for all of us. Kate Walsh, thank you 687 00:35:36,205 --> 00:35:39,325 Speaker 2: for sharing yourself with us. Thank you, Kate, and I 688 00:35:39,405 --> 00:35:41,085 Speaker 2: wish you every joy. 689 00:35:41,485 --> 00:35:41,885 Speaker 3: Thank you. 690 00:35:42,125 --> 00:35:47,645 Speaker 2: Thanks Darling Chi Bella. We did squeeze a few more 691 00:35:47,725 --> 00:35:50,405 Speaker 2: questions into our time that we had with Kate. If 692 00:35:50,445 --> 00:35:53,685 Speaker 2: you can keep an eye on our beauty podcast, You Beauty, 693 00:35:54,365 --> 00:35:58,405 Speaker 2: there's a special episode coming out all about Kate's perfume boyfriend, 694 00:35:59,085 --> 00:36:01,445 Speaker 2: So keep an eye on the You Beauty feed. With 695 00:36:01,685 --> 00:36:04,085 Speaker 2: popped a link in the show notes to make it easy, 696 00:36:04,525 --> 00:36:06,925 Speaker 2: And if you want to see more of Kate's work, 697 00:36:07,365 --> 00:36:11,685 Speaker 2: you can watch Optics on ABC I View. The executive 698 00:36:11,725 --> 00:36:14,485 Speaker 2: producer of No Filter is Naima Brown and the senior 699 00:36:14,525 --> 00:36:18,765 Speaker 2: producer is Grace Rufray. Audio production is by Jacob Brown 700 00:36:19,485 --> 00:36:23,165 Speaker 2: and I'm your host, kateline Brook. Thanks for listening.