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Speaker 1: Get A. I'm Laala Berry, nutritionist, author, actor, TV presenter,

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Speaker 1: and professional oversharer. This podcast is all about celebrating failure

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Speaker 1: because I believe it's a chance for us to learn, grow,

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Speaker 1: and face our blind spots. Each week, I'll interview a

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Speaker 1: different guest about their highs as well as their lows,

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Speaker 1: all in a bid to inspire us to fearlessly fail.

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Speaker 1: Get A and welcome to the pod. Meet Michael Hinstein.

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Speaker 1: He is my voiceover teacher, but he's an actor, voice actor, writer,

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Speaker 1: stand up comedian. In this chat, we cover our so

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Speaker 1: many different topics. If you're at all interested in I

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Speaker 1: would say stand up or voice acting. This is a

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Speaker 1: great inspiring episode. He shares so many of his own

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Speaker 1: experience and if you're like me and love accents, get

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Speaker 1: ready for some great little pockets and examples of like

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Speaker 1: the Southern accent and New York accent, an Irish accent.

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Speaker 1: And on top of all of that, I don't know

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Speaker 1: if I've told you this, but in kind of like

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Speaker 1: the video game world, which is where Michael was my

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Speaker 1: teacher when I did video game voiceover training, there's this

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Speaker 1: thing that you have to do called efforts, and efforts

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Speaker 1: are like you have to make sounds like you've been

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Speaker 1: struck by fire, or you've been stabbed, or you've been shot,

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Speaker 1: or you're dying, all things that go on in these

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Speaker 1: kind of like war based video games. And so we

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Speaker 1: did get him to do an effort for us, which

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Speaker 1: is a lot of fun. So this episode will have

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Speaker 1: you feeling good, feel and inspired, and hopefully laughing a

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Speaker 1: little bit too. Enjoy. Michael Orenstein, thank you so much,

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Speaker 1: my pleasure, Lola for jumping on the pod. Okay, so actor, voice, actor, writer,

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Speaker 1: stand up at like I didn't know that you've done

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Speaker 1: stand up comedy at all.

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Speaker 2: Yeah, full time for about sixteen years.

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Speaker 1: Oh my goodness. And you toured with like Tim Allan,

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Speaker 1: Drew Carrey, Adam Sandler pretty impressive and taught at least

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Speaker 1: Strasburg at.

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Speaker 2: Least Strasburgh for a few years too. Yeah, which I

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Speaker 2: emerical was really amazing because those people were those kids

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Speaker 2: were it was mostly I taught the foreign kids and yeah,

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Speaker 2: got it. There were so much more serious than the

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Speaker 2: Americans because the Americans maybe they the families and the

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Speaker 2: business whatever they were kind of forced into. It were

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Speaker 2: was these kids that came more overseas and we're living

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Speaker 2: in LA just for teaching.

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Speaker 1: Now, how hard it is for us to even nowadays

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Speaker 1: to have like the visas to be here as someone

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Speaker 1: that's not American. It's so hard. We've had to jump

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Speaker 1: through about twenty million hoops just to be sitting here

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Speaker 1: right now having this comebo. But so, why I was

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Speaker 1: so excited to get you on the pod is I've

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Speaker 1: done two courses with you now, animation and video games.

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Speaker 1: And I was really nervous about video games because I've

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Speaker 1: never played one in my life, right, And so I

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Speaker 1: was like, oh, And I wrote to my at real voice,

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Speaker 1: and I was like, can I still do this? I

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Speaker 1: really love working with Michael. I want to keep learning,

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Speaker 1: and he's like, go for it, Lola, Like, let's do it.

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Speaker 1: So I want to talk to you about some of

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Speaker 1: the things you've taught me okay along the way, but

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Speaker 1: first let's talk about me.

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Speaker 2: Yeah, you.

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Speaker 1: So, like what spurred you on? Have you always been

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Speaker 1: like into comedy? And even the way you teach there's

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Speaker 1: like a natural comedic like bones to you.

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Speaker 2: So yeah, I think. I mean when I look back

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Speaker 2: when I was very young, four or five, Yeah, I

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Speaker 2: didn't like other people. I really didn't, but I found

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Speaker 2: that I could get them to like me.

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Speaker 1: Yeah, if I just was funny.

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Speaker 2: So what I did, and I don't know if they

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Speaker 2: have this product. It was called Kenner's Give a Show Projector,

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Speaker 2: and it was a little thing that had little pictures

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Speaker 2: on it and you would.

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Speaker 1: Click it, yes, yes, well have them.

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Speaker 2: Yeah, that's what I called. What I would do is

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Speaker 2: I would go and I would just talk and they

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Speaker 2: would think, oh, that's my friend. I hung out with

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Speaker 2: my friend and I laughed all day. And to me,

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Speaker 2: it was just I enjoy being funny. I have an audience.

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Speaker 2: Please don't speak to me afterwards. When I was really

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Speaker 2: you know, when I was young, and it was just

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Speaker 2: it was just my way of coping with extreme shyness.

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Speaker 2: Really yeah, but I was always funny. I mean it's weird.

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Speaker 2: Like my kids. I have a fifteen, it's almost sixteen,

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Speaker 2: twelve and seven, and they're not funny. And my wife's

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Speaker 2: pretty funny. But I mean, you know, the people that

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Speaker 2: they're young, I'm like, no, no, no, no.

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Speaker 1: You may say you either have it or you don't.

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Speaker 1: Is that true?

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Speaker 2: True? Now, they have senses of humor, they get yeah,

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Speaker 2: humor pretty well, but they try really hard, and.

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Speaker 1: It's all times there's like a comedic natural timing within you.

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Speaker 2: It's just in your head, you know, and it does

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Speaker 2: it get better? Sure, But you know, I've worked with

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Speaker 2: stand ups that are very natural, very naturally funny. Now

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Speaker 2: you mentioned Tim Allen, Drew and Adam Sandler. Out of

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Speaker 2: those three, Adam's funny off stage. Oh really, Tim and

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Speaker 2: Drew none at all? Really. Yeah, it is, you know,

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Speaker 2: kind of a learned trade for them.

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Speaker 1: Yeah, got it. It kind of makes sense what you're saying,

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Speaker 1: fully makes sense when.

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Speaker 2: You watch their acts. It's just it's not again, you know.

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Speaker 2: And I've I've been around some of the funniest people

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Speaker 2: in the world. I mean, it's it's such a joy.

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Speaker 1: Yeah.

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Speaker 2: Like the actual stand up part is can be horrible

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Speaker 2: because you have a horrible night or whatever it is.

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Speaker 2: But most of the time you go and you work,

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Speaker 2: you go back to the condo and we all love

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Speaker 2: to talk and you're working with someone that's funny. Yeah,

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Speaker 2: and we would talk all night and just entertain each other,

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Speaker 2: and it's just magnificent. When you work with somebody who

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Speaker 2: it's it's more of a construct and there's nothing wrong

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Speaker 2: with that. It's just as legitimate. Yeah, has much fun

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Speaker 2: to talk to.

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Speaker 1: Yeah, you know, which comes back to your thing as

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Speaker 1: a kid, like not like it, Like I think you

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Speaker 1: like funny people.

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Speaker 2: I do, and I while I like the endorphins, Yeah,

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Speaker 2: really like I I just talked to a friend I

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Speaker 2: haven't talked to in like thirty years who's also a

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Speaker 2: stand up when we got on the phone, and I

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Speaker 2: haven't talked to another stand up in a long time. Yeah,

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Speaker 2: and I was supposed to be helping him with his voiceover.

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Speaker 2: And in the hour, I think we had forty five

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Speaker 2: minutes of just.

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Speaker 1: One upping each other doing bits basically to one on.

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Speaker 3: Yeah.

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Speaker 2: Just you know, that made me think of this, and

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Speaker 2: this made me think of that and civilians, you know,

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Speaker 2: people that aren't in that, Like, I mean, isn't that annoying?

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Speaker 2: You guys are like I'll try and not do each other.

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Speaker 2: So that's not what we're doing. It's like, I enjoyed

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Speaker 2: what you said. It made me think of this, and

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Speaker 2: then you mad that it's fun. It's like a choir singing.

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Speaker 1: Oh totally. I don't know if you've ever listened to

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Speaker 1: the podcast SmartLess, which is will on Neet Jason.

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Speaker 2: I haven't heard it's great. I've heard it's great, but.

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Speaker 1: Sean Hayes, so they all got comedic bones and the

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Speaker 1: whole time. And then you throw in Bateman's dry like

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Speaker 1: British humor. Almost yeah, he's very you know, you're listening

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Speaker 1: to it and it literally just like almost just doing

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Speaker 1: bits onto one another, and you almost forget there's a

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Speaker 1: guest there sometimes because they get into this little it's

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Speaker 1: like this little tennis match that they can get out

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Speaker 1: of it.

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Speaker 2: It's so much fun. What you need to be able

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Speaker 2: to do, as you know, because you don't want to

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Speaker 2: be that person all the time. And I'm sure you've

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Speaker 2: met people that can't get off stage, and when you're

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Speaker 2: talking with civilians, you need to be able to just be.

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Speaker 2: So most of the comments I really liked are also

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Speaker 2: very well read intellectual, so you can flip in and

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Speaker 2: out of being funny and really deep philosophical stuff and

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Speaker 2: it's very satisfying. And I came out to LA and

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Speaker 2: had to get a day job. Yeah, and I did

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Speaker 2: stand up right out of college, and they were always

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Speaker 2: in college and out of college. So I got a

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Speaker 2: day job and not only did it pay me in

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Speaker 2: a week what I made in an hour before. People

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Speaker 2: were boring. They were not even they weren't. It wasn't

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Speaker 2: even didn't it be funny? They just weren't good conversationalists,

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Speaker 2: you know. There wasn't that magic of give and take

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Speaker 2: of really great conversation.

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Speaker 1: And sharing, almost like a craft or an art, where.

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Speaker 2: You're just in this like it is you just appreciate

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Speaker 2: someone that's there in that flow. There are one hundred

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Speaker 2: percent there, yeah, you know, which is what you need

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Speaker 2: in your acting.

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Speaker 1: One hundred one hundred percent. Oh my godness, there's so

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Speaker 1: many things I want to talk to you about. Can

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Speaker 1: we take a moment you I listened to all of

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Speaker 1: your voiceover reels last night, but I had no idea

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Speaker 1: that you'd done so many video games like Big Guns too.

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Speaker 1: We're talking like war War, Warcraft, Grand Fafth, Auto World

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Speaker 1: Wars that Like, there is so so many and hearing

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Speaker 1: your range is so much fun. Do you have a

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Speaker 1: favorite out of all the we're talking video games specifically.

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Speaker 2: Here video game experiences. Actually, I really liked World WARZ

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Speaker 2: because I got to play in Israeli col and that's

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Speaker 2: a difficult accent, and they are you know, Israeli's talk

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Speaker 2: like this, and so to be a Cabande as an Israeli.

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Speaker 2: The weird thing was the director was French and French

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Speaker 2: and Israeli accents in our lap. Yeah, so he would then,

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Speaker 2: you know, he'd be like, you know, old on, know,

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Speaker 2: won't you do this something like work? Oh yeah, hold on,

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Speaker 2: give me some And then we talked about it and

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Speaker 2: he goes, yeah, I know you know that it's a problem.

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Speaker 2: But I really liked that because I had to really

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Speaker 2: focus like British accents, Southern accents, I can drop the hat.

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Speaker 1: Oh I love your Southern Can you give me a taste?

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Speaker 2: Yeah, where do you want them to be from?

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Speaker 1: You know, Kentucky?

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Speaker 2: From Kentucky. Well, they're like, you know, it's it's weird

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Speaker 2: because it's tough when they talk smart because you're like,

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Speaker 2: oh that's o cy. So you know, it's it's hard.

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Speaker 2: Like we were talking about the Australian accent being so broad,

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Speaker 2: so little hard to take seriously.

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Speaker 1: Yeah, I got it, of course.

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Speaker 2: And I would imagine it's very frustrating.

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Speaker 3: Yeah.

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Speaker 1: Well, it was funny. I think I said to you

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Speaker 1: on our first day together, our first class together, I

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Speaker 1: said to you because there's a bit of improv for you.

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Speaker 1: Do you care if I stay in my natural dialect?

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Speaker 1: You go, yeah, we're going to think it's funny. It's

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Speaker 1: going to work for you. And I was like, really,

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Speaker 1: like you get in there just staying in natural because

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Speaker 1: we were improving on the spot and you were giving

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Speaker 1: direction and feedback. So I had never thought until I

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Speaker 1: met you that our accent would sound like almost comedic,

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Speaker 1: but it does.

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Speaker 2: It's the lilt and it's also a lot of Hispanics

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Speaker 2: have it too when you hear them speaking Spanish, but

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Speaker 2: there seems to be a joy.

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Speaker 1: It's like a different malady to its.

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Speaker 2: Yeah, there's melody, but it seems like they enjoy speaking,

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Speaker 2: you know, which Australian seemed to just the pure joy

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Speaker 2: of them speaking. Yeah, is there yeah, you know Americans

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Speaker 2: not so much, the Southerners more. Yeah, they're much closer

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Speaker 2: to that, whereas where I'm from, I'm from the northeast,

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Speaker 2: but not not enough. Then you know'll be like that,

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Speaker 2: you know what I'm saying, because they're kind of they're

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Speaker 2: different accent too, but I'm so flat. You know. It's

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Speaker 2: most people that speak the way I do. They have

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Speaker 2: to work to be not boring because so interesting culturally,

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Speaker 2: we're very still notice me, like I was telling somebody

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Speaker 2: yesterday when I did stand up, I always liked having

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Speaker 2: a mix of people from the North people and the South.

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Speaker 2: Black people certainly, any ethnic minorities are so much fun.

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Speaker 2: Like black people are amazing in an audience because they

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Speaker 2: like you. They're high five White people from the Midwest.

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Speaker 2: They'll come up to you and after you and go

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Speaker 2: you were very adequate for your pay scale. Oh you know,

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Speaker 2: just that they can't give it up.

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Speaker 1: So it's interesting that you say that because I've had

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Speaker 1: this chat with a lot of Aussies that are here,

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Speaker 1: like when I'm in drama school in Australia, because there's

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Speaker 1: not much work in Australia because it's we've got a

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Speaker 1: much smaller population, right we have five TV networks, very small,

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Speaker 1: so there's not much work for the amount of people

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Speaker 1: that want to be actors. And there's no courses like

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Speaker 1: what you teach in Australia, so just doesn't not to

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Speaker 1: the level that you guys, we have the work. Yes, yes,

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Speaker 1: So when you go up on stage, so you're doing

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Speaker 1: a theater class or something, nobody clapped nobody says anything.

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Speaker 1: So you go up in silence, you come back in

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Speaker 1: silence because everybody is sizing you up. And I rememberhen

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Speaker 1: I got to my first class here last year, I

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Speaker 1: was everyone's cheering when you go up, cheering when you

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Speaker 1: especially in prov school, like you'll get clapped just to

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Speaker 1: get the courage to get up there. And it was

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Speaker 1: like such a It felt completely different to what I

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Speaker 1: was used to. So it's interesting that you say, like

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Speaker 1: different cultures, different areas have different ways of like acknowledging.

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Speaker 1: In Australia, you often won't. It'll be competitive. Like if

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Speaker 1: I do an audition here and I don't get it,

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Speaker 1: I'm like, shit, I think my mate should be auditioning

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Speaker 1: for that. Like I know that that's they're probably a

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Speaker 1: better fit than I am. I'm going to connect them

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Speaker 1: or send them the audition and be like you need

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Speaker 1: to put a tape down for this. It suits you

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Speaker 1: more than me. It doesn't happen as much in Australia

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Speaker 1: because it's it's very like there's not much food to feed,

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Speaker 1: very big gang of people.

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Speaker 2: Yeah interesting right, yeah, but you know it feeds your

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Speaker 2: soul when you can share, when you can share and

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Speaker 2: like on camera is much more like what you're knowing about.

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Speaker 2: Very competitive people are much more so. They're not I

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Speaker 2: mean not everybody, but much more so. And on camera

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Speaker 2: people you tend to get that. You know, some of

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Speaker 2: them that are really good actors tend to have that

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Speaker 2: weird flakiness that the very good actors have where they are.

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Speaker 2: I think we might have talked about it in class.

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Speaker 2: They're always stealing ideas, They're always they're like they have

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Speaker 2: one foot out of this world that's just observing and

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Speaker 2: the rest of them living it. Whereas voice actors, you

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Speaker 2: just don't do very few or flaky.

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Speaker 1: Very beautiful community.

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Speaker 2: Beautiful community, and it's all about I just want to

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Speaker 2: see my mate, you know, get something. I just I

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Speaker 2: want to know that it's going to somebody that deserves

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Speaker 2: it or whatever, and yeah, you do, you do? Got men?

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Speaker 2: I spread them as much as I can.

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Speaker 1: Well, I I think I connected you with an actor

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Speaker 1: mate recently, you know what I mean? Like I just

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Speaker 1: think and I bought a different mate that I met

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Speaker 1: on a short film to the video game workshop that

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Speaker 1: we did because I was just like, well, what I

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Speaker 1: have isn't going to be the same as what my

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Speaker 1: mate has and we can all learn off each other.

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Speaker 1: And like you said, it is a really really good

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Speaker 1: community and you could fit. You can totally feel that

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Speaker 1: in training. My thing that flew me away in video

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Speaker 1: game course that we did was the efforts I'd never.

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Speaker 2: Heard of people love doing tho.

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Speaker 1: I'd never heard of it before. I didn't even know

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Speaker 1: it was a thing. I just presused.

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Speaker 2: This is why thought were just plugged in those.

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Speaker 1: Yea, I thought they were like that was that was

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Speaker 1: a sound on a computer that somebody brought in. It's

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Speaker 1: I had no idea it was a human being making

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Speaker 1: the sound of either a knife going through the throat

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Speaker 1: or into the abdomen, or what it would be like

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Speaker 1: to be burnt like fire. Like you were teaching us

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Speaker 1: all these different.

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Speaker 2: Yeah, they're and you know, when you're depending upon the

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Speaker 2: game you do, they might have very specific body parts

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Speaker 2: they want you to get hit in. It just depends

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Speaker 2: on how specific the game is. So war games tend

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Speaker 2: to be more like that. You know, you've got shot

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Speaker 2: on the shoulder, you got this, you know, and I.

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Speaker 1: Don't know, you're so good And so I must admit

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Speaker 1: that was the one put time in a class where

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Speaker 1: I was like, oh my god, this is so confronting

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Speaker 1: because we didn't know these people and all of a

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Speaker 1: sudden we're making like guttural deaths. Yeah, you're like, you

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Speaker 1: got to make that last breath count, you know, Like, well.

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Speaker 2: You know when I do it, like you know, because

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Speaker 2: we did a couple of years all on zoom. Yeah,

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Speaker 2: and I found that that brought up people's insecurities more

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Speaker 2: because they're doing it just by themselves and everyone's listening

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Speaker 2: so live. I have ever been to do it, and

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Speaker 2: I try and listen, yeah, because you can you can

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Speaker 2: hear the people that it's really difficult, and you can't

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Speaker 2: always pick in advance who's going to have a hard

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Speaker 2: time with it.

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Speaker 1: I didn't know that I would feel confronted. Yeah, I

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Speaker 1: didn't know that I would feel confronted. And I felt

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Speaker 1: very confronted by what's your favorite effort?

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Speaker 2: I love teaching the catch on fire and then die

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Speaker 2: from that. It's so first of all, it's so shocking.

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Speaker 2: Everyone's you know, so quaint and being so nice and

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Speaker 2: we've just gone through this and then you're I mean,

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Speaker 2: you are screaming at the top of your lungs, and

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Speaker 2: the look on everyone's face is, I'm not going to

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Speaker 2: do that.

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Speaker 1: If anyone, everyone does everyone, which is a testament to

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Speaker 1: you for making everyone feel comfortable. Can you give us

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Speaker 1: a little taste of any effect? Should I say that?

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Speaker 2: Yeah, I can catch on fire. Man, it's going to

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Speaker 2: blow out your mic. You might want to turn that

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Speaker 2: down a little.

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Speaker 1: Yeah, I'll turn it down. Let's do it.

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Speaker 2: Okay. So I've had this in several games where you

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Speaker 2: catch on fire until you die, and when you catch

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Speaker 2: on fire, it doesn't hurt at first. It's more shocking

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Speaker 2: you see yourself on fire. So it sounds kind of

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Speaker 2: like so much faster than it would really be in

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Speaker 2: real life.

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Speaker 1: Yes, good, thank you for that. By the way, I

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Speaker 1: was just thinking that, oh, what are the people in

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Speaker 1: the other apartments?

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Speaker 2: That was nothing. You know, you'd hear we're zoom if

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Speaker 2: your dog's going now, oh you said that, and you know,

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Speaker 2: spouses or neighbors. So some people would be automatically camped

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Speaker 2: down because they live in an apartment where things you'd.

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Speaker 1: Be like, yeah, totally, you know.

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Speaker 2: I feel badly, but this isn't teaching anything, no, no, And.

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Speaker 1: I think like every time any no matter what I train,

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Speaker 1: whether it's improv with sitcom training, whether it's proper like

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Speaker 1: theater theater training, you only learn when you get unco

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Speaker 1: You really learn when you get uncomfort like that's.

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Speaker 2: When the whole point, and when you're uncomfortable is probably

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Speaker 2: when you're doing a good job.

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Speaker 1: Yeah, out of your head and you just in the moment.

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Speaker 2: Yeah. When I go back and I listen to auditions

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Speaker 2: sometimes and they make me uncomfortable, I think, on, that's

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Speaker 2: probably really good, and I can't help because I went

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Speaker 2: to a space that I wasn't planning on when I

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Speaker 2: directed a TV show earlier this year, and I always

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Speaker 2: tell the actors, don't listen to yourself. I'm the director.

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Speaker 2: Don't stop yourself unless you make a bunch of mistakes,

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Speaker 2: but don't because you feel like your acting's bad. Stop it.

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Speaker 2: I'm listening. And a friend of mine went in and

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Speaker 2: he gave me this beautiful moment and then stopped himself

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Speaker 2: because oh that was that was terrible redoing. I'm like,

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Speaker 2: you just gave me the best moment you've given me

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Speaker 2: all day. But it felt scary, toy, because it was

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Speaker 2: so real you gave him. And there are people that

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Speaker 2: are so I mean, when you see the really good people.

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Speaker 2: The really good people. It's so genuine, it's so risk taking,

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Speaker 2: you can feel their imagination. I remember going taking a

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Speaker 2: class and I knew most of the people in it,

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Speaker 2: and there was one guy, Brad Vennable who unfortunately passed

385
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Speaker 2: away from COVID a little over a year ago. Amazing

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Speaker 2: human being. But I knew he worked all the time,

387
00:19:01,040 --> 00:19:03,480
Speaker 2: and I thought, well, how much better than me is he?

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Speaker 2: And then I saw him go in and just you know,

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Speaker 2: do a reading class and was like, oh, that much better? Okay.

390
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Speaker 2: There was no self consciousness and there was no planning.

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Speaker 2: It just it just felt like it oozed out of

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Speaker 2: him and he was just willing to take whatever chance

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Speaker 2: to make that character work. And it was. It was

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Speaker 2: glorious to watch. I bet it just glorious. I'm like, oh, okay,

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Speaker 2: And then I have to remind myself that's where you

396
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Speaker 2: want to be. You want to be taking those chances,

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Speaker 2: because otherwise what's the point.

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Speaker 1: Well, I mean, we're we're mining for truth, aren't we.

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Speaker 1: And I think like you've got to get out of

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Speaker 1: your own way in order to even like get a

401
00:19:38,800 --> 00:19:39,560
Speaker 1: glimpse of that.

402
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Speaker 2: So even in you know, cartoons where it's over the

403
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Speaker 2: top or whatever. Uh you know, you go and listen

404
00:19:46,400 --> 00:19:49,840
Speaker 2: and the stuff that really works. Yeah, they took a chance.

405
00:19:49,840 --> 00:19:51,960
Speaker 2: They weren't just doing what was safe.

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Speaker 1: Yeah, I love your animation real I loved just training

407
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Speaker 1: and animation with you. You know that I went into

408
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Speaker 1: that class. I'd never done any voice training in my

409
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Speaker 1: life other than American dialect work. And I was like, oh,

410
00:20:03,680 --> 00:20:05,960
Speaker 1: I don't you know every time I train in here

411
00:20:05,960 --> 00:20:08,439
Speaker 1: in La I'm at a theater school, right, And so

412
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Speaker 1: I was like, I don't think I'm going to be

413
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Speaker 1: good at this, but I've always enjoyed like vocal work

414
00:20:14,720 --> 00:20:16,800
Speaker 1: whenever I was in theater class. So I was like, Okay,

415
00:20:17,080 --> 00:20:19,280
Speaker 1: you've got a little bit of like an interest here.

416
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Speaker 1: And I know that my I could feel that my

417
00:20:22,480 --> 00:20:25,879
Speaker 1: voice sits a little bit lower than other females, Like

418
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Speaker 1: I could feel that within myself. It's all I knew.

419
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Speaker 1: And I remember being in your class and I was like, oh,

420
00:20:30,800 --> 00:20:33,240
Speaker 1: this this whole other world. But I haven't eaten like

421
00:20:33,280 --> 00:20:36,159
Speaker 1: you get to explore vocally, like where you can go.

422
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Speaker 1: And I remember my character when we're doing animation was

423
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Speaker 1: a nine year old scammer.

424
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Speaker 2: I think, oh, yeah, yeah, yeah, yeah, sweeny, Yeah, she's great.

425
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Speaker 1: It's so much fun, so fun. And you said, I said,

426
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Speaker 1: I don't know that I can do a I don't

427
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Speaker 1: think I can do a character voice, and you go, no, no,

428
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Speaker 1: just find the essence and the energy of a nine

429
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Speaker 1: year old scammer. And it became so freeing to have

430
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Speaker 1: that kind of I don't know, it was just it

431
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Speaker 1: was just nice that you gave that, Like, it doesn't

432
00:21:05,680 --> 00:21:07,640
Speaker 1: need to sound like anything that you've got in your head.

433
00:21:07,680 --> 00:21:10,000
Speaker 1: It just needs to be like, find that essence.

434
00:21:10,400 --> 00:21:15,280
Speaker 2: Yeah, it's that that that feeling of reality. Yeah, I

435
00:21:15,359 --> 00:21:17,640
Speaker 2: just did an audition. But I did an audition and

436
00:21:17,920 --> 00:21:22,960
Speaker 2: the character is this really stupid king and he gets

437
00:21:22,960 --> 00:21:24,560
Speaker 2: turned into a ten year old version of himself and

438
00:21:24,600 --> 00:21:26,399
Speaker 2: forgets who he is. So you have to do both.

439
00:21:26,600 --> 00:21:31,000
Speaker 2: Oh wow, So I gave the king he talked like this.

440
00:21:31,119 --> 00:21:33,480
Speaker 2: He was very very affected and a little bit of lisp,

441
00:21:33,520 --> 00:21:36,159
Speaker 2: and he was very stupid. So then we got to

442
00:21:36,200 --> 00:21:38,119
Speaker 2: the ten year old version and he has to sound

443
00:21:38,160 --> 00:21:42,639
Speaker 2: the same but be ten. Yeah, and it's just just

444
00:21:43,440 --> 00:21:44,520
Speaker 2: just try to be a goodness.

445
00:21:44,760 --> 00:21:47,520
Speaker 1: It's much the same and how different would it extence

446
00:21:47,680 --> 00:21:49,360
Speaker 1: when But.

447
00:21:49,320 --> 00:21:52,760
Speaker 2: It was very exciting to me to find because it

448
00:21:52,800 --> 00:21:55,080
Speaker 2: was very hard getting that little kid because don't do

449
00:21:55,080 --> 00:21:59,040
Speaker 2: a little kid voices. I've got this voice. Yeah, to

450
00:21:59,119 --> 00:22:01,440
Speaker 2: take that chance, and I'm going to audition for this anyway,

451
00:22:02,800 --> 00:22:06,440
Speaker 2: And it's it's fun that that discovery within yourself.

452
00:22:06,480 --> 00:22:08,080
Speaker 1: That's the biggest thing.

453
00:22:08,320 --> 00:22:11,800
Speaker 2: And if you know, like we said in class, if

454
00:22:11,800 --> 00:22:14,560
Speaker 2: you watch animation now, very few people change their voices

455
00:22:14,600 --> 00:22:15,080
Speaker 2: that much.

456
00:22:15,320 --> 00:22:17,600
Speaker 1: No, you said that it's actually caught quite a natural,

457
00:22:17,760 --> 00:22:19,280
Speaker 1: reasonably nat realistic.

458
00:22:19,560 --> 00:22:21,600
Speaker 2: And then it's just punching the comedy and punching what

459
00:22:21,880 --> 00:22:27,119
Speaker 2: the character wants and hyping it. Yeah, and that's a

460
00:22:27,119 --> 00:22:28,680
Speaker 2: real character is it isn't a voice?

461
00:22:29,040 --> 00:22:29,320
Speaker 1: Yeah?

462
00:22:29,480 --> 00:22:31,360
Speaker 2: What does this person want? And what is their backstore?

463
00:22:31,359 --> 00:22:34,320
Speaker 2: How do they react to things? Right, you've taken acting classes,

464
00:22:34,359 --> 00:22:34,879
Speaker 2: that's what it is.

465
00:22:34,960 --> 00:22:35,160
Speaker 1: Yeah.

466
00:22:35,200 --> 00:22:37,000
Speaker 2: You don't go in and go on stage and go, well,

467
00:22:37,359 --> 00:22:39,600
Speaker 2: well I need to do this, right, No, you don't

468
00:22:39,600 --> 00:22:42,320
Speaker 2: need to do yeah. Uh, you know, for certain characters

469
00:22:42,359 --> 00:22:44,959
Speaker 2: it is and it's a total blast. But this person

470
00:22:45,040 --> 00:22:49,080
Speaker 2: also has to have human wants and needs of course,

471
00:22:49,320 --> 00:22:52,400
Speaker 2: you know, And that's the tricky part because it gets scary.

472
00:22:52,440 --> 00:22:54,760
Speaker 2: It's just I get a lot of people that just

473
00:22:54,840 --> 00:22:56,919
Speaker 2: hide behind they can do a bunch of voices.

474
00:22:57,560 --> 00:23:00,160
Speaker 1: Yeah, and that's one thing I've learned being in class

475
00:23:00,200 --> 00:23:02,920
Speaker 1: I did. I just finished doing commercial training as well

476
00:23:03,880 --> 00:23:07,040
Speaker 1: at Real Voice with who was the teacher.

477
00:23:06,800 --> 00:23:07,280
Speaker 2: Mike.

478
00:23:09,800 --> 00:23:12,040
Speaker 1: And I. Right on the last day, we had to

479
00:23:12,040 --> 00:23:15,200
Speaker 1: do partner reads in the booth and I could tell

480
00:23:15,480 --> 00:23:18,119
Speaker 1: that that partner that was with me maybe didn't have

481
00:23:18,119 --> 00:23:20,640
Speaker 1: acting training, but we had an epic voice like beautiful,

482
00:23:20,720 --> 00:23:23,680
Speaker 1: naturally lucky with his voice. And we were meant to

483
00:23:23,720 --> 00:23:26,120
Speaker 1: be husband and wife from McDonald's dad, and I said,

484
00:23:27,240 --> 00:23:29,080
Speaker 1: can you see my eyeline? Okay, because we meant to

485
00:23:29,080 --> 00:23:30,879
Speaker 1: be married, Like you're gonna need to connect and he's like,

486
00:23:30,880 --> 00:23:33,800
Speaker 1: I'd rather not look at you. And I was like, okay,

487
00:23:34,359 --> 00:23:37,720
Speaker 1: no worries. Bless Katie socks. She's like, let's just see

488
00:23:37,720 --> 00:23:39,960
Speaker 1: how this first round goes. And we do it, and

489
00:23:40,000 --> 00:23:43,040
Speaker 1: he like I was looking at him because I needed

490
00:23:43,040 --> 00:23:49,080
Speaker 1: to for my own portrayal, and he kind of got

491
00:23:49,119 --> 00:23:50,760
Speaker 1: notes through and I said, do you want to just

492
00:23:50,760 --> 00:23:52,960
Speaker 1: look at me? And it just was like night and

493
00:23:53,040 --> 00:23:55,760
Speaker 1: day because as an actor, I think, like you, the

494
00:23:55,800 --> 00:23:58,920
Speaker 1: power of being able to connect with someone, it's.

495
00:23:59,480 --> 00:24:02,479
Speaker 2: It's a right, it's a really, I can look in

496
00:24:02,520 --> 00:24:04,479
Speaker 2: your eyes even if I'm reading off a script, how

497
00:24:04,520 --> 00:24:07,080
Speaker 2: I'm affecting you, yes, and why I'm saying so. And

498
00:24:07,160 --> 00:24:08,440
Speaker 2: if you're acting back.

499
00:24:08,240 --> 00:24:10,840
Speaker 1: To me, that's way media, right, that's.

500
00:24:10,720 --> 00:24:13,959
Speaker 2: Way medior and that's why, like I love you know,

501
00:24:14,200 --> 00:24:16,879
Speaker 2: we do this alone most of the time. But I say,

502
00:24:17,640 --> 00:24:19,800
Speaker 2: put your arm around someone, hold their hands just and

503
00:24:19,840 --> 00:24:21,360
Speaker 2: I don't know if you were in the class when

504
00:24:21,359 --> 00:24:25,240
Speaker 2: we did somebody did that. It changes to read if

505
00:24:25,280 --> 00:24:26,920
Speaker 2: you're like, yeah, buddy, you know what, maybe you know

506
00:24:27,000 --> 00:24:29,080
Speaker 2: buck up, you'll be fine and said in real life

507
00:24:29,160 --> 00:24:30,639
Speaker 2: you probably put your arm around that person, right, you

508
00:24:30,640 --> 00:24:33,119
Speaker 2: wouldn't be standing talking just that's this distance to them,

509
00:24:33,280 --> 00:24:35,200
Speaker 2: your around them. You'll see people do this and it

510
00:24:35,400 --> 00:24:41,600
Speaker 2: softens and humanizes. Oh, I love, It's so interesting. And

511
00:24:41,640 --> 00:24:43,840
Speaker 2: you got to remember to do it yourself. Anything physical

512
00:24:43,880 --> 00:24:47,199
Speaker 2: you want to do in really you want to do

513
00:24:47,240 --> 00:24:48,800
Speaker 2: the physical thing as long as you don't move your

514
00:24:48,840 --> 00:24:49,160
Speaker 2: head around.

515
00:24:49,200 --> 00:24:50,240
Speaker 1: And this is what I was going to say to you,

516
00:24:50,280 --> 00:24:52,600
Speaker 1: this is something you told me. You're like, you'll find

517
00:24:52,640 --> 00:24:54,560
Speaker 1: that you're quite physical in the booth, being in to

518
00:24:54,560 --> 00:24:57,320
Speaker 1: make sure no jewelry, nothing jangling, and don't stomp your

519
00:24:57,320 --> 00:24:58,760
Speaker 1: feet were the things.

520
00:24:58,760 --> 00:25:02,720
Speaker 2: No extraneous sound and if you do get booked. No perfume.

521
00:25:03,680 --> 00:25:06,720
Speaker 2: Why is that because somebody might be allergic or it

522
00:25:06,800 --> 00:25:08,800
Speaker 2: might make them smell back. So especially if you go

523
00:25:08,840 --> 00:25:11,080
Speaker 2: on with perfume, you leave that perfume in the room.

524
00:25:11,119 --> 00:25:14,399
Speaker 2: What if someone comes in has an allergy or that

525
00:25:14,440 --> 00:25:17,159
Speaker 2: makes them call or whatever, and certainly you know it

526
00:25:17,160 --> 00:25:20,000
Speaker 2: gets on the mic. It's just to be respectful everybody

527
00:25:20,040 --> 00:25:21,399
Speaker 2: else come in clean.

528
00:25:21,760 --> 00:25:24,480
Speaker 1: Yeah, yeah, I like that. That's a really good like

529
00:25:24,640 --> 00:25:27,640
Speaker 1: metaphor too, just coming clean, ready, clear, ready to go.

530
00:25:27,760 --> 00:25:33,399
Speaker 2: Covering anything up? Yeah, yeah, get that. It will in

531
00:25:33,440 --> 00:25:34,040
Speaker 2: more already.

532
00:25:35,240 --> 00:25:37,640
Speaker 1: Could I ask if you had to put it down

533
00:25:37,640 --> 00:25:40,399
Speaker 1: into two like we compared the two categories. What's the

534
00:25:40,440 --> 00:25:45,560
Speaker 1: main difference is between animation versus vo For video games

535
00:25:45,640 --> 00:25:47,440
Speaker 1: is like one more dramatic.

536
00:25:47,240 --> 00:25:54,000
Speaker 2: Or like animation is a heightened version, yeah, whereas video games,

537
00:25:54,080 --> 00:25:58,280
Speaker 2: especially dramatic video games is reality. They want they want

538
00:25:58,280 --> 00:26:01,320
Speaker 2: that acting that you would see in a blockbuster movie,

539
00:26:01,560 --> 00:26:05,240
Speaker 2: got it, not a superhero movie, not a superhero now

540
00:26:05,280 --> 00:26:08,080
Speaker 2: words a little bit much. They want if you can,

541
00:26:08,200 --> 00:26:10,119
Speaker 2: if you can bring the acting of like you know,

542
00:26:10,320 --> 00:26:13,040
Speaker 2: you don't remember what remains of the day was just

543
00:26:13,040 --> 00:26:15,840
Speaker 2: that really detailed small. If you can bring that to

544
00:26:16,000 --> 00:26:20,000
Speaker 2: the action of a video game, you've hooked your audience.

545
00:26:20,000 --> 00:26:22,280
Speaker 2: They're not going to skip through the cut scene so much.

546
00:26:23,840 --> 00:26:26,720
Speaker 2: That's what they want more and more and more. They

547
00:26:26,720 --> 00:26:29,840
Speaker 2: want really moving, detailed acting.

548
00:26:30,359 --> 00:26:34,560
Speaker 1: So fascinating. Now when I listen to your commercial work,

549
00:26:34,600 --> 00:26:38,760
Speaker 1: and your commercial real You've got this real, earthy, grounded,

550
00:26:39,920 --> 00:26:44,320
Speaker 1: like a lower like and it's so comforting to listen to.

551
00:26:44,440 --> 00:26:47,120
Speaker 1: There's something really like, Oh, I trust you.

552
00:26:48,680 --> 00:26:51,160
Speaker 2: It's funny because I get all the blue collar work,

553
00:26:51,840 --> 00:26:55,200
Speaker 2: and I wasn't raising a blue collar neighborhood. I wasn't

554
00:26:55,560 --> 00:26:58,199
Speaker 2: raising a blue collar household. But whatever, the tenor of

555
00:26:58,200 --> 00:27:00,879
Speaker 2: my voice and that I just did an audiobook and

556
00:27:00,920 --> 00:27:05,840
Speaker 2: the director and the engineer he goes man, just i'd

557
00:27:05,840 --> 00:27:07,560
Speaker 2: love you. I just want to listen to your voice.

558
00:27:07,920 --> 00:27:09,520
Speaker 2: You know, here's a guy that he listens to other

559
00:27:09,520 --> 00:27:11,080
Speaker 2: people for a living, and he's like, I'm going to

560
00:27:11,160 --> 00:27:12,359
Speaker 2: listen to one of your books. Just I love the

561
00:27:12,400 --> 00:27:13,080
Speaker 2: way your voice is.

562
00:27:13,280 --> 00:27:14,320
Speaker 1: Oh yeah, it's just nice.

563
00:27:14,960 --> 00:27:18,080
Speaker 2: It's also years of relaxing into it. Yeah, because when

564
00:27:18,119 --> 00:27:21,679
Speaker 2: I first started, I, you know, was a person that

565
00:27:21,760 --> 00:27:26,159
Speaker 2: imitated other people. So I thought commercials sounded like this,

566
00:27:26,240 --> 00:27:28,760
Speaker 2: so I would do this, yeah, and it just sounds like,

567
00:27:28,840 --> 00:27:29,520
Speaker 2: you know bullshit.

568
00:27:30,280 --> 00:27:32,760
Speaker 1: Yeah, well like this is what you were saying, bringing

569
00:27:32,800 --> 00:27:34,960
Speaker 1: the human element in. So that's got to be you.

570
00:27:35,080 --> 00:27:36,959
Speaker 2: And it's got to be you because that's all you

571
00:27:37,000 --> 00:27:41,000
Speaker 2: can do any character, no matter how seemingly completely different

572
00:27:41,000 --> 00:27:43,919
Speaker 2: from yourself. It's the core is you. Yeah, it's the

573
00:27:43,920 --> 00:27:47,520
Speaker 2: way you interpret Oh, I think a murderer is this.

574
00:27:48,359 --> 00:27:49,960
Speaker 2: I think of this. Even if you go in and

575
00:27:50,040 --> 00:27:53,400
Speaker 2: you you know, interview one, like you know, if you're

576
00:27:53,480 --> 00:27:55,240
Speaker 2: a big at name actor and you can do it,

577
00:27:56,680 --> 00:27:57,919
Speaker 2: you're gonna be cutting this thing up.

578
00:27:57,960 --> 00:28:01,360
Speaker 1: Don't worry, No, it's ferfact. I just keep an eye

579
00:28:01,400 --> 00:28:02,560
Speaker 1: on all the levels.

580
00:28:02,720 --> 00:28:06,480
Speaker 2: Oh okay, you're still bringing the essence of you and

581
00:28:06,520 --> 00:28:10,080
Speaker 2: what your imagination can do. And like in my head,

582
00:28:10,680 --> 00:28:12,000
Speaker 2: like let's say we were doing.

583
00:28:11,840 --> 00:28:14,880
Speaker 1: Privates, which we will be soon by the way.

584
00:28:14,760 --> 00:28:21,239
Speaker 2: Fantastic, awesome, and we were doing a commercial. Yeah, what

585
00:28:21,359 --> 00:28:23,640
Speaker 2: I do, especially when working with other people, I need

586
00:28:23,640 --> 00:28:25,040
Speaker 2: to do it more for myself. I don't do it

587
00:28:25,119 --> 00:28:27,920
Speaker 2: as much for myself. It's always easier to direct somebody

588
00:28:27,960 --> 00:28:31,520
Speaker 2: else or tell them what they're doing wrong, right, is

589
00:28:31,560 --> 00:28:34,239
Speaker 2: I see the picture of where you are, and then

590
00:28:34,280 --> 00:28:36,440
Speaker 2: I run it almost like a scene that's being filmed,

591
00:28:37,400 --> 00:28:39,200
Speaker 2: And I try and and I played different ways of

592
00:28:39,240 --> 00:28:42,200
Speaker 2: it being said to make it sound the most realistic.

593
00:28:43,240 --> 00:28:45,760
Speaker 2: That's just the way my mind goes. And then I'll

594
00:28:45,760 --> 00:28:48,600
Speaker 2: hear you read. I'll go that made me think, on

595
00:28:48,640 --> 00:28:53,120
Speaker 2: that second line, you're doing this, Yeah, you know, because

596
00:28:54,040 --> 00:28:55,840
Speaker 2: I like to hear people read several times because each

597
00:28:55,880 --> 00:28:58,120
Speaker 2: time I hear something that their read has given me

598
00:28:58,160 --> 00:29:03,880
Speaker 2: a new clue into what is going on for that person. Now,

599
00:29:04,000 --> 00:29:06,080
Speaker 2: if it was another person reading, I would have a

600
00:29:06,120 --> 00:29:06,640
Speaker 2: different clues.

601
00:29:06,840 --> 00:29:10,920
Speaker 1: Yeah, of course I noticed, even the way when I

602
00:29:11,000 --> 00:29:13,600
Speaker 1: was in the booth working with you, you were able to

603
00:29:13,760 --> 00:29:15,880
Speaker 1: tell like because of the theater training, I was hitting

604
00:29:15,920 --> 00:29:20,240
Speaker 1: those like keywords way too heavily, just because I thought,

605
00:29:20,800 --> 00:29:22,520
Speaker 1: you know, that's the way like, and I was going

606
00:29:22,560 --> 00:29:24,600
Speaker 1: through the script, I was beatmarking it and I was

607
00:29:24,640 --> 00:29:28,000
Speaker 1: like actioning it go deep diving, and I was almost

608
00:29:28,000 --> 00:29:31,360
Speaker 1: saying it not too seriously, but I was like really

609
00:29:32,080 --> 00:29:34,400
Speaker 1: trying so hard to cross my t's and dot my

610
00:29:34,400 --> 00:29:36,840
Speaker 1: eyes and as a result missed out on like the

611
00:29:36,880 --> 00:29:39,040
Speaker 1: most important beat, the human connection part of it.

612
00:29:39,680 --> 00:29:44,240
Speaker 2: I've always wondered when I would go in for auditions,

613
00:29:44,240 --> 00:29:46,920
Speaker 2: when you used to go in and pick up somebody

614
00:29:46,920 --> 00:29:48,800
Speaker 2: in you copy that somebody just left. Yeah, and they

615
00:29:48,800 --> 00:29:51,200
Speaker 2: had all the beatmark and all that stuff. Obviously that's

616
00:29:51,240 --> 00:29:54,240
Speaker 2: what works for them. To me, the way my mind works,

617
00:29:54,480 --> 00:29:57,440
Speaker 2: it would come outstayed. If I looked at that one

618
00:29:57,520 --> 00:29:59,920
Speaker 2: now and you go up and I'll get actors you

619
00:30:00,000 --> 00:30:02,480
Speaker 2: I want to go up on that word? No, yeah,

620
00:30:02,520 --> 00:30:06,360
Speaker 2: I want I want to hear this emotion on that word,

621
00:30:06,400 --> 00:30:07,960
Speaker 2: and if it means going up, then fine. But I

622
00:30:07,960 --> 00:30:10,360
Speaker 2: don't want you to just go up because I told

623
00:30:10,360 --> 00:30:12,800
Speaker 2: you to. And I've gotten better at that and better

624
00:30:12,840 --> 00:30:15,240
Speaker 2: at explaining that to people, and I firmly believe it

625
00:30:15,280 --> 00:30:18,800
Speaker 2: a lot more. I plan it out, I hear it

626
00:30:18,840 --> 00:30:21,240
Speaker 2: in my head, and then I shut all that off.

627
00:30:21,360 --> 00:30:23,240
Speaker 1: Ah. So it's that whole letting go things.

628
00:30:23,320 --> 00:30:25,120
Speaker 2: You've got to let it go, and you've kind of

629
00:30:25,160 --> 00:30:29,160
Speaker 2: implanted what it's going to be, but you're not following that.

630
00:30:29,240 --> 00:30:32,040
Speaker 2: I mean, should it's your read especially for animation, should

631
00:30:32,120 --> 00:30:33,640
Speaker 2: kind of surprise you. When you're done. You go back

632
00:30:33,680 --> 00:30:35,200
Speaker 2: and listen and go, oh did I do that?

633
00:30:35,480 --> 00:30:36,200
Speaker 3: Yeah?

634
00:30:36,280 --> 00:30:39,040
Speaker 2: You know, because and you as a stage actor, you know,

635
00:30:39,080 --> 00:30:40,800
Speaker 2: those are the best scenes when you walk off and

636
00:30:40,840 --> 00:30:42,600
Speaker 2: you go do we do this? Yeah?

637
00:30:42,680 --> 00:30:46,120
Speaker 1: Yeah, and it kind of feels out of body, something out.

638
00:30:45,960 --> 00:30:49,760
Speaker 2: Of body absolutely, like like musicians say. I've had musician friends,

639
00:30:49,800 --> 00:30:52,560
Speaker 2: they say that there's just music and you when you

640
00:30:52,600 --> 00:30:55,080
Speaker 2: go up and play in front of people, you channel

641
00:30:55,520 --> 00:30:59,480
Speaker 2: the universal music. Stand up for me was the same

642
00:30:59,480 --> 00:31:02,160
Speaker 2: way when I was really just impriving on stage and

643
00:31:02,200 --> 00:31:04,400
Speaker 2: in the zone and you just you didn't think is

644
00:31:04,440 --> 00:31:06,040
Speaker 2: this going to be funny? You just said it and

645
00:31:06,120 --> 00:31:06,680
Speaker 2: it was.

646
00:31:07,000 --> 00:31:10,560
Speaker 1: Yeah, yeah, there's something other world like and it's only

647
00:31:10,560 --> 00:31:13,360
Speaker 1: happened to me like once in theater where I was like,

648
00:31:13,480 --> 00:31:16,120
Speaker 1: oh my goodness, it's almost like I dreamt it, like

649
00:31:16,160 --> 00:31:19,400
Speaker 1: electricity running through my veins and I was like, I

650
00:31:19,480 --> 00:31:23,640
Speaker 1: get it. This is that thing, this is the runners high. Yeah.

651
00:31:23,720 --> 00:31:24,440
Speaker 2: Yeah.

652
00:31:24,480 --> 00:31:27,440
Speaker 1: I want to ask you about audio books because I didn't.

653
00:31:27,480 --> 00:31:29,960
Speaker 1: I record an audiobook for the first time last year.

654
00:31:30,040 --> 00:31:33,480
Speaker 1: It is so hard. It's a lot of work, and

655
00:31:32,880 --> 00:31:37,600
Speaker 1: your voice like totally wigs out after two or three hours,

656
00:31:38,120 --> 00:31:41,680
Speaker 1: and like I noticed because my own book, so I

657
00:31:41,720 --> 00:31:44,160
Speaker 1: wrote it, So I was like, oh, this is you know,

658
00:31:44,280 --> 00:31:46,240
Speaker 1: it's just going to be like me talking no Lola,

659
00:31:46,520 --> 00:31:48,560
Speaker 1: no no, no, no no, Like I had to make

660
00:31:48,600 --> 00:31:51,160
Speaker 1: sure that before I went into the booth, I re read,

661
00:31:51,960 --> 00:31:53,440
Speaker 1: like I had to read the chapter that we will

662
00:31:53,440 --> 00:31:54,880
Speaker 1: get all the chapters we were going to be doing

663
00:31:54,920 --> 00:31:58,400
Speaker 1: that day, because it stopped me tripping and I tripped

664
00:31:58,440 --> 00:32:01,080
Speaker 1: too much on like, and because as I typed in

665
00:32:01,160 --> 00:32:04,240
Speaker 1: like long thoughts, I didn't know where the f to breathe.

666
00:32:04,480 --> 00:32:08,560
Speaker 1: Like it was really confronting, and I was so blown away,

667
00:32:08,680 --> 00:32:11,080
Speaker 1: Like my boyfriend goes, this is going to take us

668
00:32:11,080 --> 00:32:13,000
Speaker 1: at least two weeks, and I was like, what do

669
00:32:13,040 --> 00:32:15,320
Speaker 1: you mean, It's only sixty thousand word book. Like, we're

670
00:32:15,320 --> 00:32:18,240
Speaker 1: going to be fine. It's like, trust me, you'll hit

671
00:32:18,320 --> 00:32:20,040
Speaker 1: this like exhaustion every day.

672
00:32:20,200 --> 00:32:24,440
Speaker 2: And you are going to make juxtaposing words or putting

673
00:32:24,440 --> 00:32:26,720
Speaker 2: in a different word. I mean, it's just it's just

674
00:32:26,800 --> 00:32:30,360
Speaker 2: naturally the way we do things and get flummax on

675
00:32:30,440 --> 00:32:32,480
Speaker 2: a sentence, you know, And I know people that have

676
00:32:32,480 --> 00:32:35,400
Speaker 2: earned hundreds of books and that that's still happens because

677
00:32:37,560 --> 00:32:39,640
Speaker 2: you know, you're especially if you're in the zone when

678
00:32:39,640 --> 00:32:43,400
Speaker 2: you're you're doing it and you're reading and it's just

679
00:32:43,440 --> 00:32:47,680
Speaker 2: flowing really naturally. Well, you miss a couple. Yeah, it

680
00:32:47,840 --> 00:32:50,640
Speaker 2: just it just happens. Or you know, I'm reading someone

681
00:32:50,640 --> 00:32:54,680
Speaker 2: else's thing. Their sentence structure is not mine. So sometimes

682
00:32:55,000 --> 00:32:57,040
Speaker 2: my mind just changes it to the way I would

683
00:32:57,080 --> 00:32:58,840
Speaker 2: have said that, and you go, what I got it? Okay,

684
00:32:59,040 --> 00:33:03,719
Speaker 2: kind of change that. Audiobooks, Yeah, they are a slog

685
00:33:06,320 --> 00:33:08,800
Speaker 2: can be very satisfying if the book's any good. I

686
00:33:08,840 --> 00:33:13,600
Speaker 2: just finished doing two really good books. They were both thrillers.

687
00:33:13,840 --> 00:33:16,360
Speaker 2: Oh fun, and they were both set in New York City.

688
00:33:16,400 --> 00:33:18,680
Speaker 2: Was funny. I got them both. One was called City

689
00:33:18,800 --> 00:33:20,240
Speaker 2: Dark and they was called The Dark Room. And I

690
00:33:20,240 --> 00:33:22,320
Speaker 2: booked them both within like three days of each other.

691
00:33:22,360 --> 00:33:27,760
Speaker 1: I'm like New York A yeah, yeah.

692
00:33:26,480 --> 00:33:28,400
Speaker 2: A bunch of them, A bunch of them. So that

693
00:33:28,480 --> 00:33:32,080
Speaker 2: was fun. But but both books would have been books

694
00:33:32,080 --> 00:33:33,840
Speaker 2: I would have read, which is really when you're doing

695
00:33:33,840 --> 00:33:37,400
Speaker 2: audio books, most of you read garbage because it's only

696
00:33:37,720 --> 00:33:40,720
Speaker 2: huge people. You know, there's certain names to get the

697
00:33:40,720 --> 00:33:45,120
Speaker 2: good books. These weren't, you know, popular authors or anything,

698
00:33:45,120 --> 00:33:48,400
Speaker 2: but they were good and they they didn't overwrite and

699
00:33:48,440 --> 00:33:54,640
Speaker 2: they didn't over explain. It comes out, so you know,

700
00:33:54,840 --> 00:33:56,760
Speaker 2: but you still you get in there and there's this

701
00:33:56,920 --> 00:34:01,000
Speaker 2: there's this feeling when you're on a groove. To me,

702
00:34:01,040 --> 00:34:03,440
Speaker 2: I'm always there's always a little edge of fear of

703
00:34:04,840 --> 00:34:07,720
Speaker 2: you're just like you're jumping off a high board. Yeah.

704
00:34:07,920 --> 00:34:10,080
Speaker 2: Whenever I dive into an audio book and there's that

705
00:34:10,160 --> 00:34:12,160
Speaker 2: little fear in me, it's like, oh, this is terrible. Really,

706
00:34:12,200 --> 00:34:14,720
Speaker 2: am I just I'm just doing this. I'm doing this mechanically.

707
00:34:15,360 --> 00:34:21,080
Speaker 2: And then sometimes you listen back and I've been very surprised, like, oh, oh,

708
00:34:21,120 --> 00:34:24,520
Speaker 2: I'm very believable. That was pretty good. You know, sometimes

709
00:34:24,520 --> 00:34:27,359
Speaker 2: you go that wasn't But for the most part, or

710
00:34:27,440 --> 00:34:31,399
Speaker 2: when you get emotional and you are, you know that

711
00:34:31,480 --> 00:34:34,560
Speaker 2: the emotion of the book builds now in an audiobook,

712
00:34:34,560 --> 00:34:36,520
Speaker 2: you can't get too emotional, Yeah, but there are just

713
00:34:36,560 --> 00:34:39,200
Speaker 2: times where it does move you. Yeah, and you know

714
00:34:40,960 --> 00:34:44,120
Speaker 2: it's just so interesting it comes across its So you know,

715
00:34:44,160 --> 00:34:48,400
Speaker 2: that's long form. And I'm sure I said it in class.

716
00:34:48,440 --> 00:34:51,560
Speaker 2: I really believe that people should spend a half an

717
00:34:51,560 --> 00:34:52,640
Speaker 2: hour night reading fiction.

718
00:34:52,719 --> 00:34:54,960
Speaker 1: Nowline, you always say that to me. You always say

719
00:34:54,960 --> 00:34:57,440
Speaker 1: that to me, And I've just I've got a fiction

720
00:34:57,480 --> 00:34:59,880
Speaker 1: book I've been loving and I've got ten pages to go.

721
00:35:00,080 --> 00:35:04,600
Speaker 1: The real who done it? Like like twisted kind of

722
00:35:04,680 --> 00:35:07,880
Speaker 1: and I and the more I used to get guilty

723
00:35:07,920 --> 00:35:09,799
Speaker 1: when I'd read fiction because I'd be like, oh, well,

724
00:35:09,840 --> 00:35:12,759
Speaker 1: you know, I could be reading like an acting textbook

725
00:35:12,920 --> 00:35:14,759
Speaker 1: or and it's like, no, this is the stuff that

726
00:35:14,760 --> 00:35:18,279
Speaker 1: gets turned into movies as well, or great audio books or.

727
00:35:18,400 --> 00:35:21,520
Speaker 2: You know, it's usually the stuff with the better writing

728
00:35:23,719 --> 00:35:27,759
Speaker 2: increases your vocabulary in a decent way, you know, and

729
00:35:27,800 --> 00:35:29,960
Speaker 2: for what you do for a living, especially if you're

730
00:35:29,960 --> 00:35:33,040
Speaker 2: reading it and you're inhabiting those characters on the flying

731
00:35:34,239 --> 00:35:38,520
Speaker 2: it's it's amazing work. Yeah, it's amazing work that you

732
00:35:38,560 --> 00:35:41,239
Speaker 2: can do. And the confidence that it gives you.

733
00:35:41,880 --> 00:35:45,040
Speaker 1: Yeah, No, I love I have. I try to read

734
00:35:45,280 --> 00:35:47,200
Speaker 1: a couple of books a month just that are that

735
00:35:47,280 --> 00:35:49,560
Speaker 1: are fiction that I can get lost in. And it's

736
00:35:49,640 --> 00:35:53,360
Speaker 1: just it fills you up so much more than binging

737
00:35:53,400 --> 00:35:55,040
Speaker 1: three episodes or something on Netflix.

738
00:35:56,040 --> 00:35:58,319
Speaker 2: It does, you know, and there's room for each thing.

739
00:35:58,360 --> 00:36:01,480
Speaker 1: Of course, of course I love Netflix. But it's just

740
00:36:01,560 --> 00:36:04,879
Speaker 1: interesting how you feel afterwards. You don't feel like you've

741
00:36:04,920 --> 00:36:07,360
Speaker 1: lost a little bit of time or anything. And like

742
00:36:07,400 --> 00:36:09,520
Speaker 1: you said, you're building that lexicon, so you've got this

743
00:36:10,000 --> 00:36:13,840
Speaker 1: access to other words and language that you may not

744
00:36:14,120 --> 00:36:17,120
Speaker 1: have and you're learning too, whether you realize it or not.

745
00:36:17,160 --> 00:36:20,319
Speaker 1: The book I've just read was set in Oxford University,

746
00:36:20,360 --> 00:36:22,520
Speaker 1: and I'm like, oh wow, I want to visit Oxford University.

747
00:36:22,600 --> 00:36:24,520
Speaker 2: Especially so many authors do a lot of research for

748
00:36:24,560 --> 00:36:27,000
Speaker 2: their books. Now they're not talking out of their bass,

749
00:36:27,239 --> 00:36:31,600
Speaker 2: you know. I just had like a really great thought.

750
00:36:31,680 --> 00:36:34,960
Speaker 1: Now it's gone, well, think about it. Because I had

751
00:36:35,040 --> 00:36:38,200
Speaker 1: a crime fiction author on the pod and I said, oh,

752
00:36:38,200 --> 00:36:41,919
Speaker 1: what do you do for research? And she had gone to, oh,

753
00:36:42,000 --> 00:36:44,480
Speaker 1: what is it? San Quentin? That really full on San

754
00:36:44,480 --> 00:36:48,080
Speaker 1: Francisco And she had interviewed in real life one of

755
00:36:48,080 --> 00:36:52,360
Speaker 1: the Toolbox killers from like the eighties and told me

756
00:36:52,440 --> 00:36:55,880
Speaker 1: the whole story of it. And I was like, oh

757
00:36:55,920 --> 00:36:59,560
Speaker 1: my goodness, like just insane that. I love that level

758
00:36:59,560 --> 00:37:01,200
Speaker 1: of like connection and.

759
00:37:01,120 --> 00:37:02,120
Speaker 2: You can see it in the writing.

760
00:37:02,360 --> 00:37:03,760
Speaker 1: Yeah.

761
00:37:04,760 --> 00:37:06,640
Speaker 2: I was going to say, when you were narrating your

762
00:37:06,680 --> 00:37:10,240
Speaker 2: own book, it's also a different job than writing your book, totally.

763
00:37:10,280 --> 00:37:12,000
Speaker 1: They're different skill sets.

764
00:37:11,480 --> 00:37:14,239
Speaker 2: Different skill sets, and it has a different audience. Even

765
00:37:14,280 --> 00:37:17,040
Speaker 2: though they're similar, there's still you have a different job

766
00:37:17,080 --> 00:37:20,319
Speaker 2: than the writing once you're communicating it differently. That's why

767
00:37:20,360 --> 00:37:23,600
Speaker 2: most authors are terrible at their own books. Yeah, it's

768
00:37:23,760 --> 00:37:26,839
Speaker 2: few and far between, especially when they're fiction, when the

769
00:37:26,880 --> 00:37:28,840
Speaker 2: author can do it, you know, And there's some there

770
00:37:28,880 --> 00:37:31,120
Speaker 2: are some authors that are just incredible different books, but

771
00:37:31,200 --> 00:37:34,960
Speaker 2: for the most part, really they can't inhabit their book

772
00:37:35,040 --> 00:37:38,920
Speaker 2: there because it's I think it's different parts of your boin.

773
00:37:38,680 --> 00:37:40,359
Speaker 1: Of course it is, we'll think about it. One is

774
00:37:40,600 --> 00:37:44,520
Speaker 1: like it's so almost linear in a way, in a

775
00:37:44,560 --> 00:37:46,680
Speaker 1: way like the way that they're yes there using your

776
00:37:46,680 --> 00:37:51,080
Speaker 1: imagination or not. But then an auditory experience is completely

777
00:37:51,120 --> 00:37:54,040
Speaker 1: different to something that has read in your mind. Do

778
00:37:54,040 --> 00:37:56,760
Speaker 1: you know what I mean? They're two completely different experiences,

779
00:37:56,800 --> 00:37:58,759
Speaker 1: and so it's almost like you need to have this,

780
00:37:59,400 --> 00:38:01,920
Speaker 1: and I think the way you're talking about comedy chops, like,

781
00:38:01,960 --> 00:38:03,799
Speaker 1: I think some people have it or they don't. You

782
00:38:03,960 --> 00:38:06,680
Speaker 1: either have an auditory awareness, and it's one of the

783
00:38:06,719 --> 00:38:09,960
Speaker 1: ways where you connect. Like for me, after I see

784
00:38:10,000 --> 00:38:11,799
Speaker 1: if I see a movie that's moved me, I have

785
00:38:11,840 --> 00:38:13,960
Speaker 1: to look the score up straight away because I'm like,

786
00:38:14,120 --> 00:38:17,040
Speaker 1: hang on, what did that composer do to make me

787
00:38:17,200 --> 00:38:19,680
Speaker 1: feel the way? Because sometimes it's the music that makes

788
00:38:19,719 --> 00:38:22,600
Speaker 1: you feel it so often, and so I think some

789
00:38:22,640 --> 00:38:28,239
Speaker 1: people are more designed to respond auditory than like written word.

790
00:38:29,040 --> 00:38:31,080
Speaker 1: So that's I'm basically just mirroring what you say.

791
00:38:31,120 --> 00:38:34,600
Speaker 2: No, you know, And it's so if you're writing it.

792
00:38:34,640 --> 00:38:35,880
Speaker 2: First of all, you're writing it, and you know you

793
00:38:36,040 --> 00:38:39,160
Speaker 2: agonized over certain sentences or whatever. And then I think,

794
00:38:39,200 --> 00:38:42,279
Speaker 2: if you're the author, you're reliving while you're reading it.

795
00:38:42,480 --> 00:38:44,799
Speaker 2: You have to read it very smoothly and simply. And

796
00:38:44,840 --> 00:38:47,839
Speaker 2: you know it took you three weeks to write that sentence. Yeah,

797
00:38:48,080 --> 00:38:50,640
Speaker 2: I gotta believe it bothers you, especially if you don't

798
00:38:50,640 --> 00:38:53,960
Speaker 2: have that skill. And it's also it's a totally different

799
00:38:54,200 --> 00:38:59,200
Speaker 2: storytelling form. Yeah, so I'm relying so much more on

800
00:38:59,239 --> 00:39:02,200
Speaker 2: your imagination. And when I just write it, when i'm

801
00:39:02,480 --> 00:39:05,640
Speaker 2: I don't say just when you're writing it just was incorrect.

802
00:39:05,680 --> 00:39:09,800
Speaker 2: It's an amazing thing that writers. But when you're narrating it,

803
00:39:09,920 --> 00:39:11,360
Speaker 2: you have to fill in, you know, I have to

804
00:39:11,400 --> 00:39:15,080
Speaker 2: make the decisions how it sounds, whereas I might have

805
00:39:15,120 --> 00:39:17,400
Speaker 2: heard something where I'm writing it, but it's also up

806
00:39:17,440 --> 00:39:20,800
Speaker 2: to the audience, whereas I'm making a decision for them. Yeah,

807
00:39:20,840 --> 00:39:26,200
Speaker 2: and you get those you get you know, people people

808
00:39:26,280 --> 00:39:32,399
Speaker 2: love to write bad reviews, and you know they they'll

809
00:39:32,440 --> 00:39:35,319
Speaker 2: be like, oh, the female voices were this or this

810
00:39:35,400 --> 00:39:38,480
Speaker 2: or this really happen? Oh? Yeah, this was so annoying.

811
00:39:38,520 --> 00:39:42,160
Speaker 2: This was that well to you, you know, and you

812
00:39:42,200 --> 00:39:45,239
Speaker 2: know as a performer, you can get three hundred and

813
00:39:45,320 --> 00:39:48,879
Speaker 2: fifty five and then one one you're like, the who

814
00:39:48,920 --> 00:39:50,880
Speaker 2: is that? I want to go to that person's house? Yeah,

815
00:39:52,600 --> 00:39:55,800
Speaker 2: find out what did I do wrong for you? What

816
00:39:55,920 --> 00:39:58,600
Speaker 2: can I do? What can I do differently? And of

817
00:39:58,600 --> 00:40:02,759
Speaker 2: course you can't please everybody. And the really hard thing

818
00:40:02,840 --> 00:40:06,719
Speaker 2: is when you're working for an author. Yeah, so it's

819
00:40:06,760 --> 00:40:10,440
Speaker 2: when you're working for the publisher. There's removed from the author.

820
00:40:10,600 --> 00:40:13,160
Speaker 2: They're not as invested. But let's say you're the author

821
00:40:13,200 --> 00:40:16,319
Speaker 2: of a thriller and then you hear what I do.

822
00:40:16,920 --> 00:40:19,920
Speaker 2: Now you knew who who? You had your uncle's voice

823
00:40:20,080 --> 00:40:22,240
Speaker 2: in your head, and I do a completely different voice.

824
00:40:22,800 --> 00:40:24,719
Speaker 2: It's got to be really hard for you to go.

825
00:40:26,680 --> 00:40:29,640
Speaker 2: So the way the rules are, if you hire me,

826
00:40:30,280 --> 00:40:32,240
Speaker 2: you can't tell me how to do the character. Of course,

827
00:40:32,280 --> 00:40:34,080
Speaker 2: it's I'm now the director.

828
00:40:34,239 --> 00:40:35,640
Speaker 1: Yes, it's your interpretation.

829
00:40:36,000 --> 00:40:37,200
Speaker 2: Authors don't get out of the way.

830
00:40:37,320 --> 00:40:42,400
Speaker 3: I did a book where the a I did it

831
00:40:42,440 --> 00:40:45,560
Speaker 3: through a publisher at a producing house, so I had

832
00:40:45,600 --> 00:40:48,439
Speaker 3: no say in this but the author was on the

833
00:40:48,480 --> 00:40:52,480
Speaker 3: call every minute that I recorded, and he's suddenly directing

834
00:40:52,520 --> 00:40:54,120
Speaker 3: me and tell me how to read sentences.

835
00:40:54,520 --> 00:40:56,560
Speaker 2: And it was non fiction too much. So he's like,

836
00:40:56,600 --> 00:40:57,680
Speaker 2: you got to do this. You got to give him

837
00:40:57,680 --> 00:41:01,319
Speaker 2: a emotion, you know, and I'm just like, you can't

838
00:41:01,320 --> 00:41:05,759
Speaker 2: see me. But it ended up going many hours longer

839
00:41:05,760 --> 00:41:10,480
Speaker 2: than it and then it's really hard because now you're furious.

840
00:41:10,760 --> 00:41:12,360
Speaker 1: And I got paid on finished hours.

841
00:41:12,640 --> 00:41:14,880
Speaker 2: You don't get paid for how long. My wife's always like,

842
00:41:15,400 --> 00:41:17,239
Speaker 2: I got to go to pickups, honey, where do they

843
00:41:17,280 --> 00:41:20,520
Speaker 2: pay for that? Nothing? Yeah, it's finished out, baby. You

844
00:41:20,560 --> 00:41:23,759
Speaker 2: know we've been doing this for a long time. I

845
00:41:23,800 --> 00:41:27,080
Speaker 2: know you hope. I said, if I'm doing dubbing, I

846
00:41:27,080 --> 00:41:29,279
Speaker 2: get paid for how long I'm there. If I'm doing

847
00:41:29,280 --> 00:41:31,759
Speaker 2: an audio box, that's why you want to get good

848
00:41:31,760 --> 00:41:33,000
Speaker 2: at it, So don't take you that one.

849
00:41:33,080 --> 00:41:37,040
Speaker 1: Yeah, totally. I have two more questions for you. One

850
00:41:37,160 --> 00:41:39,400
Speaker 1: is a really really fun one. So we've touched a

851
00:41:39,400 --> 00:41:41,719
Speaker 1: bit on accents and dialects. Do you have a favorite

852
00:41:41,800 --> 00:41:45,320
Speaker 1: that you're just like, I love leaning into this one.

853
00:41:47,160 --> 00:41:50,360
Speaker 2: Yeah, Northern Ireland really really like that one because not

854
00:41:50,400 --> 00:41:53,200
Speaker 2: a lot of people do it and it just sounds,

855
00:41:53,719 --> 00:41:57,360
Speaker 2: you know, just that it's it's weird, it's it's kind

856
00:41:57,960 --> 00:42:03,840
Speaker 2: and inherently violent. This is Belfast. Yeah, yeah, you you

857
00:42:03,840 --> 00:42:06,800
Speaker 2: know there's that. There's confronting, isn't it. It's very confronting,

858
00:42:06,840 --> 00:42:10,080
Speaker 2: you know, and yet they're also very poetic with their language.

859
00:42:10,840 --> 00:42:14,040
Speaker 2: But it's so it's just so much strife is in there. Yeah,

860
00:42:14,120 --> 00:42:15,759
Speaker 2: and it's always I mean, it's more questioning than a

861
00:42:15,840 --> 00:42:19,920
Speaker 2: nause every sentence. Yeah, yeah, yeah, won't go get some

862
00:42:20,000 --> 00:42:25,319
Speaker 2: neat Yes, I do, do you Yeah, they go into

863
00:42:25,360 --> 00:42:30,880
Speaker 2: that question thing. Yeah, it's one of my favorites. And

864
00:42:30,920 --> 00:42:32,600
Speaker 2: I remember I had a friend when I lived in

865
00:42:32,600 --> 00:42:35,759
Speaker 2: the Cayman Islands that was Northern Ireland. She's like, you

866
00:42:35,840 --> 00:42:37,399
Speaker 2: do better than I do. I've been away too long,

867
00:42:38,239 --> 00:42:40,600
Speaker 2: and I'm like, well, I practice it every day. Yeah,

868
00:42:40,719 --> 00:42:42,880
Speaker 2: you know, I really did for a long time.

869
00:42:43,200 --> 00:42:45,680
Speaker 1: Do you have, like anything that you do vocally daily,

870
00:42:45,719 --> 00:42:47,320
Speaker 1: if you're like on a job or anything.

871
00:42:48,200 --> 00:42:51,160
Speaker 2: I don't, and you know, everybody's there. I know I should,

872
00:42:51,719 --> 00:42:56,680
Speaker 2: but I'm lazy. No, Yeah, I am as far as uh, you've.

873
00:42:56,480 --> 00:42:58,560
Speaker 1: Probably done the work over the years as well.

874
00:42:59,520 --> 00:43:02,520
Speaker 2: I'm very lucky that my vocal cords very rarely get

875
00:43:02,600 --> 00:43:06,799
Speaker 2: damaged or tired. And I can do six hours on

876
00:43:06,840 --> 00:43:10,879
Speaker 2: a book and it doesn't really change anything. Wow, as

877
00:43:10,880 --> 00:43:14,799
Speaker 2: long as I'm drinking fluids. But I'm very lucky with that. So,

878
00:43:15,520 --> 00:43:17,719
Speaker 2: you know, And I don't know if it was your class,

879
00:43:17,719 --> 00:43:19,279
Speaker 2: I said. Nancy Cartwright was in front of a whole

880
00:43:19,280 --> 00:43:21,359
Speaker 2: bunch of people and they asked what warmer she does,

881
00:43:21,360 --> 00:43:24,359
Speaker 2: and she goes, no, I've never done any Yeah, and

882
00:43:24,400 --> 00:43:30,200
Speaker 2: sitting next to me was a person that that's their job.

883
00:43:30,280 --> 00:43:32,000
Speaker 2: They work in vocal health. And they got up and

884
00:43:32,000 --> 00:43:34,920
Speaker 2: they were furious that she dared tell people that she

885
00:43:34,960 --> 00:43:36,239
Speaker 2: doesn't do it. And she's like, I was telling you

886
00:43:36,320 --> 00:43:37,759
Speaker 2: the truth. They asked me if I do it, I'm

887
00:43:37,760 --> 00:43:40,200
Speaker 2: not gonna lie. She said, I think you should do it,

888
00:43:40,640 --> 00:43:41,280
Speaker 2: but I don't.

889
00:43:41,600 --> 00:43:44,839
Speaker 1: Oh, so I think Also, whatever works for you works,

890
00:43:44,880 --> 00:43:45,399
Speaker 1: you know what I mean?

891
00:43:45,440 --> 00:43:47,160
Speaker 2: Like whatever, it's so personal.

892
00:43:47,760 --> 00:43:52,520
Speaker 1: So my final question is advice for a young like

893
00:43:52,800 --> 00:43:54,840
Speaker 1: someone that wants to be a voice actor doesn't know

894
00:43:54,840 --> 00:43:56,920
Speaker 1: their genre yet, but like, what would your advice like,

895
00:43:56,960 --> 00:44:00,640
Speaker 1: build your chops, get to class or stuff watching.

896
00:44:01,480 --> 00:44:05,840
Speaker 2: I would listen to everything. Yeah, you know, whatever genre

897
00:44:05,880 --> 00:44:10,200
Speaker 2: you want to do. And uh, listen to the way

898
00:44:10,520 --> 00:44:12,440
Speaker 2: when you're talking to somebody. And this is the creepy

899
00:44:12,480 --> 00:44:16,600
Speaker 2: thing about actors. I'm talking to you. I'm also thinking, Okay,

900
00:44:16,840 --> 00:44:19,560
Speaker 2: her accents different than the ouses that I do. What's

901
00:44:19,560 --> 00:44:22,040
Speaker 2: different about it? What you know? Part of me is listening.

902
00:44:22,239 --> 00:44:23,840
Speaker 1: Oh, what is the difference.

903
00:44:25,280 --> 00:44:25,960
Speaker 2: You've brought her?

904
00:44:26,280 --> 00:44:26,760
Speaker 1: Yeah?

905
00:44:26,840 --> 00:44:29,600
Speaker 2: Yeah, and you you really go up and down the scale.

906
00:44:30,080 --> 00:44:32,680
Speaker 1: Yeah. More when people say yeah.

907
00:44:32,640 --> 00:44:36,560
Speaker 2: Bit you know what, what do they call them? Bogans y? Yeah?

908
00:44:37,440 --> 00:44:40,680
Speaker 2: I dieted a bargain and she was just she used

909
00:44:40,680 --> 00:44:42,880
Speaker 2: to work on a sex bus, so she was great.

910
00:44:44,560 --> 00:44:48,719
Speaker 2: But she had like the most amazing idioms that I'd

911
00:44:48,760 --> 00:44:50,520
Speaker 2: never heard before. She grew up on a farm and

912
00:44:50,560 --> 00:44:52,640
Speaker 2: she would say things. I'm like, I think I know

913
00:44:52,680 --> 00:44:54,960
Speaker 2: what that means, but what an awesome way to say it.

914
00:44:55,480 --> 00:44:58,280
Speaker 1: Oh my goodness. There are so many funny Aussie slangs,

915
00:44:58,400 --> 00:44:58,600
Speaker 1: you know.

916
00:44:58,600 --> 00:45:02,200
Speaker 2: Because again, Midway Americans we don't use it at all. Yeah.

917
00:45:02,400 --> 00:45:05,799
Speaker 2: We are very straight straightforward. Yeah, and if you're not,

918
00:45:05,920 --> 00:45:07,680
Speaker 2: they get mad if you use a word they don't

919
00:45:07,719 --> 00:45:10,919
Speaker 2: know doing commedy. You know, you'd use a word, you'd

920
00:45:10,920 --> 00:45:12,759
Speaker 2: give the full context and then use the word that

921
00:45:12,840 --> 00:45:13,920
Speaker 2: They'll be like I don't know, you.

922
00:45:13,920 --> 00:45:19,600
Speaker 1: Mean, I just do what I mean, rich depending on

923
00:45:19,640 --> 00:45:23,520
Speaker 1: where you're from. Different like colloquialism in the words, which

924
00:45:23,560 --> 00:45:23,959
Speaker 1: I love.

925
00:45:24,239 --> 00:45:26,920
Speaker 2: Yeah, I mean they haven't in America too, but we're

926
00:45:26,960 --> 00:45:29,279
Speaker 2: kind of flattened out because we are so TV oriented.

927
00:45:30,040 --> 00:45:31,719
Speaker 1: Well, this is what I always think when I hear

928
00:45:31,760 --> 00:45:34,880
Speaker 1: an American accent. To me, it feels silkier and smoother,

929
00:45:35,360 --> 00:45:40,759
Speaker 1: and there's like a much more calm, nurturingness to me

930
00:45:40,920 --> 00:45:42,880
Speaker 1: as an but as an Aussie. Right, So when I

931
00:45:42,960 --> 00:45:46,120
Speaker 1: hear an Aussie accent that is strong, to me, that's

932
00:45:46,160 --> 00:45:49,680
Speaker 1: kind of like a bit like fun, but like very

933
00:45:49,800 --> 00:45:52,480
Speaker 1: very very very earthy, like in chill. You kind of

934
00:45:52,480 --> 00:45:54,359
Speaker 1: know when Aussie is going to be like should be right,

935
00:45:54,800 --> 00:45:56,840
Speaker 1: you know what I mean. They're kind of chill, but

936
00:45:56,920 --> 00:45:59,880
Speaker 1: there's this like I'm sure they wouldn't mind like getting

937
00:46:00,120 --> 00:46:02,560
Speaker 1: like getting their hands dirty and getting ship done, do

938
00:46:02,560 --> 00:46:03,919
Speaker 1: you know what I mean. That's what I always feel

939
00:46:03,960 --> 00:46:05,000
Speaker 1: when I hear an Ausi accent.

940
00:46:05,040 --> 00:46:06,880
Speaker 2: I have no idea if I'm right or wrong, but

941
00:46:07,000 --> 00:46:09,719
Speaker 2: you know, whatever makes you feel totally, you know, and

942
00:46:09,719 --> 00:46:13,000
Speaker 2: then it's weird. Actually I got laid one time because

943
00:46:13,000 --> 00:46:14,560
Speaker 2: the woman was talking to me. I said, so where

944
00:46:14,600 --> 00:46:16,719
Speaker 2: are you from in New Zealand? And she goes, as,

945
00:46:16,760 --> 00:46:18,520
Speaker 2: you know it's from New Zealand because I can hear it,

946
00:46:18,560 --> 00:46:22,520
Speaker 2: And she goes, everyone was as AUSSI yeah, And I said, oh,

947
00:46:22,520 --> 00:46:25,800
Speaker 2: there's a difference and lengthy. Yeah.

948
00:46:26,080 --> 00:46:29,640
Speaker 1: And also you know, Australians don't like being called kiwis

949
00:46:29,680 --> 00:46:30,080
Speaker 1: and keewis.

950
00:46:30,120 --> 00:46:32,719
Speaker 2: They don't like being Yeah. So she lit up, you know,

951
00:46:32,880 --> 00:46:37,800
Speaker 2: like wow, but it is different. It's almost like Canadians

952
00:46:37,800 --> 00:46:43,280
Speaker 2: to Americans. Yeah, they are calmer, their accent is calmer. Yeah,

953
00:46:43,640 --> 00:46:49,480
Speaker 2: they tend to be a little more just gentle. Gentle. Yeah,

954
00:46:49,640 --> 00:46:52,520
Speaker 2: you know, they aren't as earthy. You don't you don't

955
00:46:52,520 --> 00:46:54,719
Speaker 2: get the feeling that they were convixed, you know, yeah,

956
00:46:55,080 --> 00:46:57,600
Speaker 2: you know they don't like they're just not very loud,

957
00:46:57,680 --> 00:46:59,720
Speaker 2: you know, like Canadians and not very loud.

958
00:47:00,120 --> 00:47:00,520
Speaker 1: You've got to.

959
00:47:02,360 --> 00:47:03,640
Speaker 2: Practice, practice practice.

960
00:47:03,760 --> 00:47:05,760
Speaker 1: Yeah, well that was my thing, like how can people

961
00:47:05,760 --> 00:47:06,640
Speaker 1: build their chops?

962
00:47:06,680 --> 00:47:11,960
Speaker 2: Okay, well, as far as accidents go, I it comes

963
00:47:12,000 --> 00:47:14,239
Speaker 2: very easily to me. So it's weird, you know, I

964
00:47:14,280 --> 00:47:19,440
Speaker 2: know people that come pretty well. But once I like,

965
00:47:20,360 --> 00:47:22,600
Speaker 2: I will now go in my car and I will

966
00:47:22,640 --> 00:47:25,480
Speaker 2: talk like you for the ride. Home. I will eschew

967
00:47:25,600 --> 00:47:27,960
Speaker 2: the book that I was reading because I want to

968
00:47:28,000 --> 00:47:30,200
Speaker 2: get it in my bones. Yeah, so I don't have

969
00:47:30,280 --> 00:47:32,120
Speaker 2: to think about it, like I was saying the Israeli accent.

970
00:47:32,160 --> 00:47:34,160
Speaker 2: I had to think about. But doing an off PE's

971
00:47:34,239 --> 00:47:36,160
Speaker 2: just right there, just you know, right there, I'm going

972
00:47:36,200 --> 00:47:38,120
Speaker 2: to be right from that to Southern or you know,

973
00:47:38,320 --> 00:47:40,080
Speaker 2: New Yorker. You know, it's no problem because they're all

974
00:47:40,160 --> 00:47:40,560
Speaker 2: in there.

975
00:47:40,880 --> 00:47:43,520
Speaker 1: I've practiced the fist. I just love the energy of

976
00:47:43,520 --> 00:47:47,600
Speaker 1: a New York accident that real, like directs that like Brooklyny.

977
00:47:47,160 --> 00:47:48,960
Speaker 2: Have you ever been, I mean the energy there, the

978
00:47:49,040 --> 00:47:51,240
Speaker 2: energy of the city, you know, like, hey, I'm walking

979
00:47:51,280 --> 00:47:54,480
Speaker 2: in he would you like to be a douchebag?

980
00:47:54,760 --> 00:47:57,480
Speaker 1: Yeah?

981
00:47:57,520 --> 00:48:01,040
Speaker 2: And it's it's great and if you really I took

982
00:48:01,040 --> 00:48:02,480
Speaker 2: my wife to New York and I said, the thing

983
00:48:02,480 --> 00:48:05,319
Speaker 2: that you're gonna notice is how open hearted they are,

984
00:48:05,400 --> 00:48:07,840
Speaker 2: because what are you talking about? I said, trust me,

985
00:48:08,160 --> 00:48:11,600
Speaker 2: if you really need something and you're not a douchebag,

986
00:48:12,400 --> 00:48:14,520
Speaker 2: they will stop and help you. So we're in a

987
00:48:14,560 --> 00:48:16,680
Speaker 2: restaurant and some guy cais me he looks like Joey Ramon,

988
00:48:16,760 --> 00:48:19,840
Speaker 2: and his girlfriend looked like Joey Ramon. Call here, and

989
00:48:19,880 --> 00:48:22,120
Speaker 2: he goes, hey, excuse me, everybody shry to interrupt your meal.

990
00:48:22,200 --> 00:48:25,200
Speaker 2: But about three blocks ago, I found a wallet, just

991
00:48:25,239 --> 00:48:27,480
Speaker 2: going on every restaurant, see if I can find who

992
00:48:27,520 --> 00:48:29,480
Speaker 2: found it. And I turned my wife and said, can

993
00:48:29,480 --> 00:48:31,120
Speaker 2: you imagine anybody in LA doing that?

994
00:48:31,320 --> 00:48:32,360
Speaker 1: Yeah?

995
00:48:33,800 --> 00:48:35,479
Speaker 2: Yeah, sure, they're all in a hurry, but they also

996
00:48:35,520 --> 00:48:38,600
Speaker 2: get this. Got a shock for this guy. Yeah, hey,

997
00:48:39,280 --> 00:48:41,239
Speaker 2: I'm walking down the street here, I got I got time.

998
00:48:41,680 --> 00:48:44,719
Speaker 2: So if you have a genuine question, it's not stupid, yeah,

999
00:48:44,880 --> 00:48:48,239
Speaker 2: or asked stupidly. Yeah, they're going to help you out.

1000
00:48:48,640 --> 00:48:49,640
Speaker 1: Oh I love that.

1001
00:48:49,920 --> 00:48:52,920
Speaker 2: Yeah, it's in living in Los Angeles, where it's not

1002
00:48:53,080 --> 00:48:57,120
Speaker 2: the case. This city is so cold. Yeah, it's cold.

1003
00:48:57,200 --> 00:48:59,600
Speaker 2: It's up its own ass. It's just a weird place.

1004
00:49:01,320 --> 00:49:03,480
Speaker 2: And New Yorkers are just and they're brush. Plus if

1005
00:49:03,560 --> 00:49:06,440
Speaker 2: New Yorker, let's say, here in LA, I would pretend

1006
00:49:06,960 --> 00:49:09,239
Speaker 2: we were friends and then I just never speak to

1007
00:49:09,280 --> 00:49:11,520
Speaker 2: you again. I'd ghost you, Whereas in New York then

1008
00:49:11,840 --> 00:49:16,200
Speaker 2: I'd be like, you know what, Lola, fuck you seriously,

1009
00:49:16,239 --> 00:49:18,960
Speaker 2: I don't why are we doing this? Why are we

1010
00:49:19,000 --> 00:49:22,719
Speaker 2: doing this? And I had an improv teacher that was

1011
00:49:22,719 --> 00:49:24,760
Speaker 2: great to me. Were doing improv and we moved to sketches.

1012
00:49:24,840 --> 00:49:27,240
Speaker 2: She in the class always used me as the example

1013
00:49:27,239 --> 00:49:30,000
Speaker 2: of what you don't want to do and why I sucked.

1014
00:49:30,920 --> 00:49:33,080
Speaker 2: She just tore me to shreds in front of the

1015
00:49:33,080 --> 00:49:38,560
Speaker 2: whole class for four months and she's like, no one

1016
00:49:38,560 --> 00:49:40,400
Speaker 2: wants to work with you. I mean, she was just brutal.

1017
00:49:41,000 --> 00:49:43,120
Speaker 2: And then a year and a half later, I was

1018
00:49:43,160 --> 00:49:45,960
Speaker 2: on I had a couple of radio shows, comedy radio shows,

1019
00:49:46,000 --> 00:49:47,720
Speaker 2: and she was guesting on a friend of mine show

1020
00:49:48,040 --> 00:49:50,160
Speaker 2: and we were out smoking as the smoke and she's

1021
00:49:50,160 --> 00:49:51,840
Speaker 2: smoking with me, and I just looked at her. I said,

1022
00:49:52,000 --> 00:49:53,960
Speaker 2: why are we talking? She's what do you mean? I said,

1023
00:49:54,200 --> 00:49:57,759
Speaker 2: I hate you, and you obviously can't stand me. What

1024
00:49:57,800 --> 00:50:00,280
Speaker 2: are we pretending here for. I'm going to move away

1025
00:50:00,440 --> 00:50:02,560
Speaker 2: and you're not going to talk to me anymore. And

1026
00:50:02,600 --> 00:50:06,120
Speaker 2: she was so stunned in appalled. I'm like, I would

1027
00:50:06,239 --> 00:50:08,600
Speaker 2: rather hear that any day of the week. Yeah, than

1028
00:50:08,640 --> 00:50:11,200
Speaker 2: that's sicky, sweet. I'm like, are you you've proven that

1029
00:50:11,200 --> 00:50:12,319
Speaker 2: you're not going to do anything for me?

1030
00:50:12,520 --> 00:50:13,120
Speaker 1: Yeah?

1031
00:50:13,760 --> 00:50:16,080
Speaker 2: You know. Then she lied to me like it was

1032
00:50:16,120 --> 00:50:18,160
Speaker 2: to get into actme and I know that I had

1033
00:50:18,160 --> 00:50:21,560
Speaker 2: one of the best auditions, but she showered the thing.

1034
00:50:21,880 --> 00:50:24,200
Speaker 2: She's I had no power over that was. They just

1035
00:50:24,200 --> 00:50:25,239
Speaker 2: happened to see the way I did.

1036
00:50:26,600 --> 00:50:28,440
Speaker 1: He's the thing though, And this is what I believe,

1037
00:50:28,560 --> 00:50:31,080
Speaker 1: like there are this is an australianism, but there are

1038
00:50:31,080 --> 00:50:33,080
Speaker 1: a lot of dingoes out there, which is my word

1039
00:50:33,120 --> 00:50:35,960
Speaker 1: for dick kids or douchebags, right, and there's a lot

1040
00:50:36,000 --> 00:50:36,920
Speaker 1: here too, you know.

1041
00:50:37,480 --> 00:50:42,359
Speaker 2: The whole world's filled with them. Yeah, it's just there's

1042
00:50:42,400 --> 00:50:44,680
Speaker 2: just a cultural thing. Like you know, if you go

1043
00:50:44,719 --> 00:50:51,360
Speaker 2: to England. Have you been in England? Yes, overall quite nice, yeah, reserve,

1044
00:50:51,800 --> 00:50:56,040
Speaker 2: but then you go to New Zealand and unbelievably nice.

1045
00:50:56,200 --> 00:50:58,359
Speaker 2: I mean it's it's like, don't you have other things

1046
00:50:58,440 --> 00:50:58,719
Speaker 2: to do?

1047
00:50:59,000 --> 00:50:59,719
Speaker 1: Yeah?

1048
00:51:00,160 --> 00:51:05,279
Speaker 2: Not done? You know. We got we rented a mobile home,

1049
00:51:05,600 --> 00:51:07,800
Speaker 2: my wife and I in New Zealand.

1050
00:51:08,120 --> 00:51:08,640
Speaker 1: Beautiful.

1051
00:51:09,000 --> 00:51:10,719
Speaker 2: It's great because I'm like here you can just park

1052
00:51:10,760 --> 00:51:12,640
Speaker 2: on the side of the word anytime anywhere. I'm tired.

1053
00:51:12,680 --> 00:51:15,120
Speaker 2: Now you just go to sleep. So we got we

1054
00:51:15,160 --> 00:51:17,279
Speaker 2: went into this beach. We got dug into the sand

1055
00:51:18,000 --> 00:51:20,640
Speaker 2: and there's an overpass of the highway. So I'm looking

1056
00:51:20,640 --> 00:51:22,239
Speaker 2: at it and we couldn't have been there five or

1057
00:51:22,280 --> 00:51:25,520
Speaker 2: six minutes, two cars pull up and these people jump out.

1058
00:51:25,520 --> 00:51:28,040
Speaker 2: They're like, I've noticed that you were stuck. I was

1059
00:51:28,080 --> 00:51:30,279
Speaker 2: on the highway. I looked you were stuck, and like

1060
00:51:30,280 --> 00:51:31,920
Speaker 2: one and the other guy goes, I'll help. So they

1061
00:51:31,920 --> 00:51:33,560
Speaker 2: get out of shovel and these two guys, two more

1062
00:51:33,560 --> 00:51:35,239
Speaker 2: people show up. They go, oh, you're okay. You got

1063
00:51:35,320 --> 00:51:38,680
Speaker 2: enough people. It's like four people pulled off the highway.

1064
00:51:39,560 --> 00:51:43,080
Speaker 2: I wasn't an extremists, my wife hadn't been shot. Our

1065
00:51:43,160 --> 00:51:44,040
Speaker 2: car was stuck.

1066
00:51:44,560 --> 00:51:45,359
Speaker 1: Yeah no, no, no.

1067
00:51:45,719 --> 00:51:50,200
Speaker 2: And it doesn't feel ingenuary.

1068
00:51:50,880 --> 00:51:53,440
Speaker 1: Oh no, no, no, no. There's a massive cultural Even

1069
00:51:53,719 --> 00:51:55,680
Speaker 1: last week, my car broke down on the four h

1070
00:51:55,800 --> 00:51:59,239
Speaker 1: five petrifying, and I was like, what do I do?

1071
00:51:59,320 --> 00:52:00,480
Speaker 1: What do I do? What do I do? What I do?

1072
00:52:00,560 --> 00:52:02,640
Speaker 1: I finally was able to get it started and then

1073
00:52:02,719 --> 00:52:04,760
Speaker 1: to help me. I was close enough to their house,

1074
00:52:04,800 --> 00:52:06,799
Speaker 1: but he just said to me, God, you're lucky that

1075
00:52:06,840 --> 00:52:09,560
Speaker 1: happened during the day. Like what do you mean. He's like, well,

1076
00:52:09,560 --> 00:52:11,719
Speaker 1: you're a woman. Your car's breaking down on the four

1077
00:52:11,840 --> 00:52:15,000
Speaker 1: or five. You're alone. He's like, You're so lucky. I

1078
00:52:15,000 --> 00:52:16,480
Speaker 1: was like, what would have happened if I got mug

1079
00:52:16,680 --> 00:52:19,319
Speaker 1: and he's like, who knows, mug would have been a

1080
00:52:19,480 --> 00:52:22,400
Speaker 1: good case, That's what he said. Yeah, he's like a

1081
00:52:22,480 --> 00:52:25,520
Speaker 1: van would have just come up, just scrabbed your.

1082
00:52:25,840 --> 00:52:27,759
Speaker 2: My wife and I were in Finland. We were in

1083
00:52:28,680 --> 00:52:31,160
Speaker 2: beautiful and the people are so cold during the day.

1084
00:52:31,200 --> 00:52:33,920
Speaker 2: At night they drink till they can't see. Yeah, so

1085
00:52:33,960 --> 00:52:36,920
Speaker 2: we're out walking. We were, we were there. I used

1086
00:52:36,920 --> 00:52:41,080
Speaker 2: to work. My wife was a managing editor of a

1087
00:52:41,120 --> 00:52:43,560
Speaker 2: technology magazine and I used to write for it. So

1088
00:52:43,600 --> 00:52:45,719
Speaker 2: we went there with the government flew us in to

1089
00:52:47,120 --> 00:52:51,279
Speaker 2: see their beautiful technology was most amazing. So we're with

1090
00:52:51,320 --> 00:52:52,719
Speaker 2: a bunch of people from the government and there's just

1091
00:52:52,760 --> 00:52:55,040
Speaker 2: people passed out on the streets. And we walked by

1092
00:52:55,040 --> 00:52:58,319
Speaker 2: and there's a girl maybe eighteen, passed out drunk. I said,

1093
00:52:58,320 --> 00:53:01,000
Speaker 2: you wouldn't see that in la And the guy says,

1094
00:53:01,520 --> 00:53:03,480
Speaker 2: because they wouldn't do that. I said no, because they'd

1095
00:53:03,480 --> 00:53:05,279
Speaker 2: be reaping the shit out of her. Right now, you

1096
00:53:05,280 --> 00:53:08,000
Speaker 2: guys are just stepping over. She's safe.

1097
00:53:08,360 --> 00:53:12,080
Speaker 1: Yeah, yeah, yeah. Someone said to me because I live

1098
00:53:12,120 --> 00:53:13,880
Speaker 1: half here and half in Barron Bay, which is like

1099
00:53:13,920 --> 00:53:16,880
Speaker 1: a surf town in Australia, And someone said, what do

1100
00:53:16,960 --> 00:53:19,240
Speaker 1: you miss most about Australia that you can't get an American.

1101
00:53:19,320 --> 00:53:21,080
Speaker 2: I was like, the safety safety.

1102
00:53:20,800 --> 00:53:23,600
Speaker 1: You can walk home barefoot in the middle of the night,

1103
00:53:23,840 --> 00:53:27,920
Speaker 1: leave your car somewhere, leave the door unlocked at the house.

1104
00:53:28,080 --> 00:53:29,840
Speaker 1: No one's going to do anything here. I check the

1105
00:53:29,880 --> 00:53:32,400
Speaker 1: locks every single night. I lock every single window, you know,

1106
00:53:32,600 --> 00:53:33,560
Speaker 1: like you have to.

1107
00:53:34,200 --> 00:53:35,880
Speaker 2: We were in Buddha pastures like four in the morning.

1108
00:53:35,920 --> 00:53:40,120
Speaker 2: We were just walking around Buddha and dark, dark alley.

1109
00:53:40,120 --> 00:53:42,520
Speaker 2: So I'm like, money, can you imagine doing this at

1110
00:53:42,560 --> 00:53:46,520
Speaker 2: home and here? You just don't feel that fear where

1111
00:53:47,360 --> 00:53:50,279
Speaker 2: you know, here, wherever you are, and certainly you know

1112
00:53:50,280 --> 00:53:52,920
Speaker 2: in New York or whatever, you just you always feel

1113
00:53:52,960 --> 00:53:55,279
Speaker 2: that fear. And I can't imagine being a woman where

1114
00:53:55,280 --> 00:53:57,480
Speaker 2: it's got to be exponentially.

1115
00:53:57,480 --> 00:54:00,880
Speaker 1: Totally, totally. But then this is a I say to people,

1116
00:54:01,280 --> 00:54:05,000
Speaker 1: for all those like their unsafety and whatnot that is here,

1117
00:54:05,280 --> 00:54:08,920
Speaker 1: there is also this beacon of opportunity that doesn't exist

1118
00:54:09,080 --> 00:54:12,080
Speaker 1: in so many other parts of the world. Like I

1119
00:54:12,120 --> 00:54:14,480
Speaker 1: went for dinner the other night and there was only

1120
00:54:14,520 --> 00:54:16,359
Speaker 1: one table left in the restaurant and I was sat

1121
00:54:16,400 --> 00:54:20,360
Speaker 1: next to Conan O'Brien, do you know like that? And

1122
00:54:20,400 --> 00:54:22,040
Speaker 1: then I was like a massive fan. It's like, I

1123
00:54:22,080 --> 00:54:24,239
Speaker 1: love Ossie. He's like Sydney was my best show, you know,

1124
00:54:24,320 --> 00:54:27,440
Speaker 1: and I just it just you get these little beacons

1125
00:54:27,480 --> 00:54:30,000
Speaker 1: of hope. Or you'll be in a situation where you

1126
00:54:30,000 --> 00:54:31,879
Speaker 1: meet another actor and they're like, hey, I met this actor.

1127
00:54:31,920 --> 00:54:35,520
Speaker 1: We were swapping friggin' kha keys and she goes, hey,

1128
00:54:36,120 --> 00:54:38,479
Speaker 1: I need your accent and I go what And she goes,

1129
00:54:38,880 --> 00:54:40,759
Speaker 1: I've been cast as an Australian in a movie, but

1130
00:54:40,800 --> 00:54:43,960
Speaker 1: I've been here sixteen years. I've lost my accent. Can

1131
00:54:44,400 --> 00:54:46,759
Speaker 1: I pay you to record the lines? I was like,

1132
00:54:46,840 --> 00:54:48,480
Speaker 1: just take me for coffee. This is going to be fun.

1133
00:54:49,160 --> 00:54:51,560
Speaker 1: I rock up to coffee. She's got a Lionsgate script.

1134
00:54:52,000 --> 00:54:54,440
Speaker 1: She's like, the director is okay, tod to like doctor

1135
00:54:54,640 --> 00:54:58,120
Speaker 1: the Australian lines. And I was like, oh my god.

1136
00:54:58,200 --> 00:55:00,600
Speaker 1: And then we sat there and I recall did every

1137
00:55:00,640 --> 00:55:04,000
Speaker 1: single line into her into her phone so that she

1138
00:55:04,080 --> 00:55:07,160
Speaker 1: could then practice that diet dialect. But I mean that

1139
00:55:07,200 --> 00:55:09,799
Speaker 1: wouldn't happen in Australia. Like you just wouldn't be in

1140
00:55:09,800 --> 00:55:12,600
Speaker 1: a situation where you'd meet someone randomly that's an actor

1141
00:55:13,040 --> 00:55:16,560
Speaker 1: that wants to use your dial and literally cut to

1142
00:55:16,600 --> 00:55:19,520
Speaker 1: two weeks ago, I went to the premiere in LA

1143
00:55:19,560 --> 00:55:20,360
Speaker 1: of that movie.

1144
00:55:20,480 --> 00:55:21,240
Speaker 2: Oh that's awesome.

1145
00:55:21,280 --> 00:55:23,480
Speaker 1: Do you know what I mean? That those opportunities just

1146
00:55:23,520 --> 00:55:26,840
Speaker 1: don't exist outside of I think. I think it's like

1147
00:55:26,880 --> 00:55:30,839
Speaker 1: a very like American a thing where for the entertainment industry, like.

1148
00:55:30,800 --> 00:55:32,839
Speaker 2: Well in LA and New York. Certainly as far as

1149
00:55:32,840 --> 00:55:35,359
Speaker 2: those this is different. But this is a weird thing.

1150
00:55:35,440 --> 00:55:37,920
Speaker 2: I have a I had a guy that was in

1151
00:55:37,920 --> 00:55:42,439
Speaker 2: one of my classes and he's from East Africa, and

1152
00:55:42,560 --> 00:55:45,439
Speaker 2: he caused me to do private coaching, and I said,

1153
00:55:45,480 --> 00:55:47,280
Speaker 2: I just want you to know it's not an insult.

1154
00:55:47,280 --> 00:55:49,239
Speaker 2: But by the end of the class, at the by

1155
00:55:49,239 --> 00:55:51,040
Speaker 2: the end of our private coaching, I'm going to talk

1156
00:55:51,080 --> 00:55:53,520
Speaker 2: like you. I said, I'm just interested in your accent,

1157
00:55:54,000 --> 00:55:56,919
Speaker 2: you know. So I'm doing it and I'm talking like him,

1158
00:55:57,040 --> 00:55:58,879
Speaker 2: and he goes, Oh my god, that's just so good.

1159
00:55:59,600 --> 00:56:01,919
Speaker 2: So he what he does. He gets auditions, he sends

1160
00:56:02,000 --> 00:56:04,480
Speaker 2: them to me. I read them for him in his accent,

1161
00:56:04,880 --> 00:56:06,680
Speaker 2: and then he imitates what I did.

1162
00:56:07,080 --> 00:56:07,880
Speaker 1: Oh wow.

1163
00:56:09,040 --> 00:56:11,520
Speaker 2: So he loves hearing the way I talk like an African.

1164
00:56:12,000 --> 00:56:12,360
Speaker 1: Wow.

1165
00:56:12,400 --> 00:56:13,880
Speaker 2: So it's so weird.

1166
00:56:14,239 --> 00:56:18,560
Speaker 1: How see what I mean? How like it's something different.

1167
00:56:18,640 --> 00:56:21,080
Speaker 1: There's something different in the water here and in New

1168
00:56:21,160 --> 00:56:24,480
Speaker 1: York for the creative industries. And that's the elixa.

1169
00:56:25,200 --> 00:56:28,520
Speaker 2: It is doesn't exist. Take the moment to appreciate it,

1170
00:56:28,560 --> 00:56:32,279
Speaker 2: because everything in New York and LA is for you

1171
00:56:32,360 --> 00:56:34,239
Speaker 2: not to appreciate it. It is.

1172
00:56:34,400 --> 00:56:35,759
Speaker 1: It's designed to kick you out.

1173
00:56:36,800 --> 00:56:38,799
Speaker 2: Well, they're designed to say no. And I don't care

1174
00:56:38,800 --> 00:56:42,160
Speaker 2: how many times you go to casting director workshops. We're like,

1175
00:56:42,160 --> 00:56:45,919
Speaker 2: we're always looking for new people. We're looking to say yes, no, no. Yeah,

1176
00:56:47,239 --> 00:56:49,279
Speaker 2: you're looking to say you'ren't for any reason to say

1177
00:56:49,320 --> 00:56:53,520
Speaker 2: no because it's there's so many people. Yeah, and there's

1178
00:56:53,600 --> 00:57:02,759
Speaker 2: just a culture of feeling bad about where you are

1179
00:57:02,840 --> 00:57:06,799
Speaker 2: success wise, and I think it's been much made much

1180
00:57:06,840 --> 00:57:13,399
Speaker 2: worse with social media. Booked it you're in the studio. Yeah,

1181
00:57:13,440 --> 00:57:17,400
Speaker 2: it's it's like, I mean, I get I get the urge,

1182
00:57:17,760 --> 00:57:20,840
Speaker 2: but especially friends of mine that work every day and

1183
00:57:20,920 --> 00:57:24,760
Speaker 2: they post every day. Yeah, and uh, you don't care that.

1184
00:57:24,800 --> 00:57:28,040
Speaker 1: I swear you guys don't care.

1185
00:57:28,600 --> 00:57:30,200
Speaker 2: Uh you know, And I just I just feel like,

1186
00:57:30,200 --> 00:57:32,480
Speaker 2: fuck you stop it. All you're doing. You don't make

1187
00:57:32,480 --> 00:57:34,200
Speaker 2: it anybody feel And then people have the right way

1188
00:57:34,240 --> 00:57:38,040
Speaker 2: to go. You like yeah, you'll get a picture of

1189
00:57:38,440 --> 00:57:40,560
Speaker 2: a friend of mine posted a picture and obviously was

1190
00:57:40,560 --> 00:57:42,760
Speaker 2: of the beach. She's standing on the beach. She looks terrible.

1191
00:57:43,800 --> 00:57:47,400
Speaker 2: Everyone's like, so beautiful, you look gorgeous. No, she doesn't.

1192
00:57:48,000 --> 00:57:49,000
Speaker 1: Yeah, and I don't.

1193
00:57:49,120 --> 00:57:52,120
Speaker 2: She's not posting that picture for that. Yeah, she's just

1194
00:57:52,240 --> 00:57:54,040
Speaker 2: she just looked hackey. She she just looked like, well,

1195
00:57:54,040 --> 00:57:55,280
Speaker 2: this is a great picture of the beach. I don't

1196
00:57:55,280 --> 00:57:57,600
Speaker 2: care what I look like. Yeah, but that's all anybody said.

1197
00:57:58,160 --> 00:58:00,600
Speaker 2: It's this weird fake Yeah, the fake.

1198
00:58:01,520 --> 00:58:04,480
Speaker 1: The fake enthusiasm is hard. It's very hard. But that's

1199
00:58:04,520 --> 00:58:06,880
Speaker 1: where I love being an Aussie in America because I

1200
00:58:06,920 --> 00:58:11,520
Speaker 1: don't think is reasonably honest. Yes, so what you see?

1201
00:58:11,440 --> 00:58:13,560
Speaker 2: Yeah, so you get late New Yorkers, it's just like

1202
00:58:13,680 --> 00:58:17,960
Speaker 2: it's that. Yeah, you know, hey, you look at ship today. Yeah,

1203
00:58:18,120 --> 00:58:20,040
Speaker 2: what's going on? Are you not sleep? I mean, I

1204
00:58:20,040 --> 00:58:21,880
Speaker 2: grew up with that, and then you do that. When

1205
00:58:21,880 --> 00:58:23,320
Speaker 2: I moved to the Midwest, people like, you know, that's

1206
00:58:23,320 --> 00:58:27,680
Speaker 2: really rude. I said, I'm concerned. Yeah, that's that's a

1207
00:58:27,760 --> 00:58:29,480
Speaker 2: rude thing to say. And they definitely think it's rude

1208
00:58:29,480 --> 00:58:34,080
Speaker 2: here to notice any imperfection. Yeah, he's bleeding from the

1209
00:58:34,200 --> 00:58:36,640
Speaker 2: leg and his arm is missing. Can I say they

1210
00:58:36,680 --> 00:58:37,080
Speaker 2: look bad?

1211
00:58:37,840 --> 00:58:40,440
Speaker 1: Yeah, yeah, totally. I know. I said last question, I'm

1212
00:58:40,440 --> 00:58:42,240
Speaker 1: going to do it one more time. Sure, one last

1213
00:58:42,360 --> 00:58:45,479
Speaker 1: lucky ast question. Is there any common mistakes that vo

1214
00:58:45,640 --> 00:58:47,960
Speaker 1: actors make when they're kind of coming.

1215
00:58:47,760 --> 00:58:50,280
Speaker 2: Up, coming up? Yeah, well, you know, and it's all

1216
00:58:50,320 --> 00:58:55,200
Speaker 2: down to that humanity and that reality is they they believe,

1217
00:58:55,320 --> 00:58:59,880
Speaker 2: especially for commercials, they get a sound in their head

1218
00:58:59,880 --> 00:59:02,440
Speaker 2: of what a commercial sounds like. Oh yeah, well I'm

1219
00:59:02,440 --> 00:59:05,000
Speaker 2: supposed to. I better have a deeper voice or better

1220
00:59:05,440 --> 00:59:09,400
Speaker 2: you better do something, don't change it. I did a thing.

1221
00:59:10,240 --> 00:59:12,160
Speaker 2: There was a pro workout yesterday. I do a workout

1222
00:59:12,200 --> 00:59:18,040
Speaker 2: group with every Friday, but this one was Thursday. It's

1223
00:59:18,080 --> 00:59:20,480
Speaker 2: other people that run the workout groups. Where there was

1224
00:59:20,520 --> 00:59:23,080
Speaker 2: two guys. I don't know how they run a workout group.

1225
00:59:23,280 --> 00:59:25,720
Speaker 2: They both had amazing pipes. I mean, you know, so

1226
00:59:25,920 --> 00:59:28,000
Speaker 2: much like three times the vocal cords I have.

1227
00:59:28,240 --> 00:59:29,920
Speaker 1: It's insight when someone gets in there and.

1228
00:59:29,920 --> 00:59:31,800
Speaker 2: You like and they talk, you know, it's like your

1229
00:59:31,800 --> 00:59:34,840
Speaker 2: bones vibrate when they speak. But neither of them could read.

1230
00:59:35,080 --> 00:59:37,600
Speaker 2: I mean, they just were terrible. Like the one guy.

1231
00:59:38,440 --> 00:59:45,240
Speaker 2: The thing was introducing the opening spot was introducing the classic,

1232
00:59:46,320 --> 00:59:49,320
Speaker 2: and it was something. It was a tape measure. Yeah,

1233
00:59:50,040 --> 00:59:54,440
Speaker 2: introducing the Classic a tape measure. That's so sturdy. I said, dude,

1234
00:59:54,920 --> 00:59:57,320
Speaker 2: what year is this? I said, you know, this is

1235
00:59:57,400 --> 00:59:59,720
Speaker 2: nineteen fifty, but I didn't say it that, you know,

1236
01:00:00,240 --> 01:00:03,080
Speaker 2: I said, come to me. Let's say you know, and

1237
01:00:03,120 --> 01:00:06,320
Speaker 2: it's picturing that thing. Picture it, everybody when you're starting.

1238
01:00:06,800 --> 01:00:08,520
Speaker 2: Don't just do what you think is gonna sound a

1239
01:00:08,560 --> 01:00:13,720
Speaker 2: certain way. Picture what it should look like New York.

1240
01:00:14,520 --> 01:00:15,400
Speaker 1: You can get it. I can.

1241
01:00:15,680 --> 01:00:20,920
Speaker 2: You can get it. I'm sure it's just a garbagecheap,

1242
01:00:20,920 --> 01:00:31,600
Speaker 2: but you just never know. Hello, Hello, hello, Hi. Yes,

1243
01:00:40,880 --> 01:00:48,840
Speaker 2: oh oh she must have she uh huhm. She doesn't

1244
01:00:48,920 --> 01:00:56,120
Speaker 2: use my source connect anymore. She uses a new one hers. Yeah,

1245
01:00:56,200 --> 01:01:02,000
Speaker 2: call her directly. I'm sorry, I don't remember it. We

1246
01:01:02,680 --> 01:01:04,680
Speaker 2: used to share an ID and then we split off

1247
01:01:04,720 --> 01:01:07,480
Speaker 2: because we were working so much. So she works out

1248
01:01:07,520 --> 01:01:13,920
Speaker 2: of her house and she has a different ID. Sorry, right, sure, bye,

1249
01:01:15,240 --> 01:01:19,000
Speaker 2: new too. Nothing I like more than work that was

1250
01:01:19,120 --> 01:01:22,920
Speaker 2: going to somewhere else. Okay, I was I saying, so,

1251
01:01:22,920 --> 01:01:26,120
Speaker 2: so you know, it's so easy to think. I know

1252
01:01:26,160 --> 01:01:28,800
Speaker 2: how this sounds, especially when you're first starting. So we

1253
01:01:28,880 --> 01:01:30,840
Speaker 2: just told this guy said, look, you're at a Low's

1254
01:01:31,000 --> 01:01:34,680
Speaker 2: or a home depot. Someone comes up to you and says, man,

1255
01:01:34,840 --> 01:01:36,840
Speaker 2: I've gone through three tape measures in the last week.

1256
01:01:36,880 --> 01:01:39,880
Speaker 2: It's just the garbage. And you go. I said, I know,

1257
01:01:39,960 --> 01:01:43,440
Speaker 2: introducing sounds really commercially. You got a secret that you

1258
01:01:43,480 --> 01:01:45,040
Speaker 2: want to tell this guy. Go hey, look, buddy, I said,

1259
01:01:45,080 --> 01:01:49,600
Speaker 2: put your rum around. Well hey look, introducing it's this,

1260
01:01:50,040 --> 01:01:51,840
Speaker 2: it's got this, and it's got this, it's got this.

1261
01:01:52,360 --> 01:01:57,560
Speaker 2: And it warmed him up to reality so quickly. Picture

1262
01:01:57,640 --> 01:01:59,640
Speaker 2: always think how would this really be said? When I

1263
01:01:59,640 --> 01:02:01,400
Speaker 2: say that? Would I say it that way? Would I

1264
01:02:01,480 --> 01:02:04,360
Speaker 2: hit that word? Because we hit the wrong words or

1265
01:02:04,440 --> 01:02:06,400
Speaker 2: hit words that we just don't in real life.

1266
01:02:06,560 --> 01:02:08,760
Speaker 1: Oh, that was what I was doing at big time

1267
01:02:08,760 --> 01:02:10,360
Speaker 1: because I was like, I gotta make this beer than

1268
01:02:10,400 --> 01:02:12,320
Speaker 1: Ben Harris. No no, no, no, no, no, no, just.

1269
01:02:12,280 --> 01:02:14,960
Speaker 2: Be like casual casual, especially now you don't even hit

1270
01:02:14,960 --> 01:02:17,680
Speaker 2: the product name. Really yes, you have to say clearly,

1271
01:02:17,760 --> 01:02:21,320
Speaker 2: but we used to go and that's why I love Denny's. Yeah,

1272
01:02:21,360 --> 01:02:23,720
Speaker 2: and we don't do this why I love Denny's. It

1273
01:02:23,920 --> 01:02:27,160
Speaker 2: just does it sound like you're talking to another human thing. Yeah,

1274
01:02:27,160 --> 01:02:29,840
Speaker 2: and that is the hardest thing. It took me a

1275
01:02:29,920 --> 01:02:34,280
Speaker 2: decade probably. Wow. And when you're just starting out, you

1276
01:02:34,320 --> 01:02:38,000
Speaker 2: will be so far ahead if you practice what you

1277
01:02:38,120 --> 01:02:41,240
Speaker 2: sound like when you're talking to people. And a trick

1278
01:02:41,320 --> 01:02:43,360
Speaker 2: that I do a lot of people will go, you know,

1279
01:02:43,440 --> 01:02:44,880
Speaker 2: Jim and then get into the you know, just that

1280
01:02:44,920 --> 01:02:47,280
Speaker 2: little bit of conversation. The trick that I do is

1281
01:02:47,320 --> 01:02:50,520
Speaker 2: I start a sentence, I'll say, you know, Lola, I

1282
01:02:50,600 --> 01:02:51,760
Speaker 2: was going to the store and I wanted to get

1283
01:02:51,760 --> 01:02:54,080
Speaker 2: some ice cream, and then I found out that Ralph's

1284
01:02:54,120 --> 01:02:56,920
Speaker 2: actually and then middle sentence suddenly the ralphs is where

1285
01:02:56,960 --> 01:02:59,640
Speaker 2: the commercial starts. I can't help it sound like I.

1286
01:02:59,640 --> 01:03:03,040
Speaker 1: Sound yeah, so smart. Such a good trick, and.

1287
01:03:02,960 --> 01:03:05,040
Speaker 2: Then you just edit this, just said it the other

1288
01:03:05,080 --> 01:03:07,080
Speaker 2: thing out. I'll tell people that and I'll go and

1289
01:03:07,120 --> 01:03:09,280
Speaker 2: you know, the thing is, I went to Ralph, which

1290
01:03:09,280 --> 01:03:11,120
Speaker 2: is where I'm like, no, don't pause.

1291
01:03:11,160 --> 01:03:16,200
Speaker 1: It would take me as.

1292
01:03:14,840 --> 01:03:17,560
Speaker 2: It has to run into it and then it works

1293
01:03:18,120 --> 01:03:23,240
Speaker 2: and listen to everybody and everything. Yeah, go to ice spot.

1294
01:03:23,560 --> 01:03:26,360
Speaker 2: You go to icepot dot TV that has all the

1295
01:03:26,360 --> 01:03:29,080
Speaker 2: major commercials that are running. The big commercials are all

1296
01:03:29,120 --> 01:03:31,520
Speaker 2: on ice spot dot TV to hear what the current

1297
01:03:31,520 --> 01:03:34,840
Speaker 2: trends are for national commercials. And when you're looking at it,

1298
01:03:34,920 --> 01:03:37,800
Speaker 2: let's say you get an audition. Is it a local, regional,

1299
01:03:37,840 --> 01:03:41,320
Speaker 2: or a national, And what it is is they're in

1300
01:03:41,320 --> 01:03:43,640
Speaker 2: inverse proportion how big they are. If it's a local commercial,

1301
01:03:43,800 --> 01:03:47,120
Speaker 2: that's when you're doing this. Yeah, and then regional is

1302
01:03:47,120 --> 01:03:49,120
Speaker 2: a little bit like this, and then national is just

1303
01:03:49,360 --> 01:03:51,080
Speaker 2: you know, I'm talking right to you.

1304
01:03:51,360 --> 01:03:53,640
Speaker 1: Oh I love this. I love your brain. Thank you

1305
01:03:53,720 --> 01:03:54,640
Speaker 1: so much for sharing.

1306
01:03:54,960 --> 01:03:57,560
Speaker 2: Sure, this is fun. We could do thirty of these.

1307
01:03:57,760 --> 01:03:59,640
Speaker 1: I know we could because.

1308
01:03:59,400 --> 01:04:00,440
Speaker 2: I am a gambler.

1309
01:04:02,600 --> 01:04:05,640
Speaker 1: Well, I'm wrapped to have this, gabbler. You're you're you

1310
01:04:05,760 --> 01:04:07,880
Speaker 1: on the pod today, So thank you so so much.

1311
01:04:08,040 --> 01:04:08,760
Speaker 1: You're wonderful.

1312
01:04:08,840 --> 01:04:09,160
Speaker 2: Thank you.

1313
01:04:11,760 --> 01:04:17,400
Speaker 1: That's a wrap on another episode of Fearlessly Failing. As always,

1314
01:04:17,520 --> 01:04:20,920
Speaker 1: thank you to our guests, and let's continue the conversation

1315
01:04:21,080 --> 01:04:26,840
Speaker 1: on Instagram. I'm at Yamo Lollerberry. This potty my word

1316
01:04:26,880 --> 01:04:31,640
Speaker 1: for podcast is available on all streaming platforms. I'd love

1317
01:04:31,640 --> 01:04:34,680
Speaker 1: it if you could subscribe, rape and comment, and of

1318
01:04:34,800 --> 01:04:36,320
Speaker 1: course spread the love.