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Speaker 1: You're listening to Salmon Lola in La La Land.

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Speaker 2: A podcast that gives you an inside look into the

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Speaker 2: entertainment industry from two homegrown Aussies.

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Speaker 1: Hey, I'm Sam, I'm a producer.

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Speaker 2: And I'm Lola, an actor and TV host.

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Speaker 1: Each week, we're going to share with you our honest

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Speaker 1: and real experiences of working in Hollywood, from the bafts

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Speaker 1: to casting rooms, talk shows, red carpet events, and all

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Speaker 1: the little bits are crazy in between.

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Speaker 2: Our hope is that through sharing these stories, the good

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Speaker 2: and the ugly, you'll be encouraged to get outside your

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Speaker 2: comfort zone and chase your dreams.

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Speaker 1: Welcome to Samon Lola in La La Land.

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Speaker 2: Get a Sam, Hi Lola, Welcome to today's ED.

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Speaker 1: Thank you, welcome to you. Welcome everyone listening.

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Speaker 2: What are we talking about today?

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Speaker 1: Talking about casting and drama school?

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Speaker 2: Yeah two fun and topee fun. I know this might

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Speaker 2: sound like a really rookie question, but I just want

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Speaker 2: to know what is a casting director?

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Speaker 1: Ah? Okay, So, in basic terms, a casting director, the

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Speaker 1: way it works is a casting director will be given

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Speaker 1: a brief, whether it's for a TV commercial, or a

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Speaker 1: feature film, or an on piece of online content, whatever

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Speaker 1: it may be yeah, and then they will read the brief,

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Speaker 1: read the script, and they will work out who they

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Speaker 1: think is the best person for a role. Okay, but

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Speaker 1: they may have twenty five options that they can think of,

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Speaker 1: and it may not always be too brief. So a

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Speaker 1: good casting director will often cast outside of brief, Like

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Speaker 1: we'll bring in a couple of people that you may

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Speaker 1: not have thought of for that role, and sometimes they

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Speaker 1: bring something completely different to it that then ends up

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Speaker 1: you know, they get the role and it just creates

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Speaker 1: a character that you would never have thought of. It's

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Speaker 1: quite a creative process. But you've also got to know

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Speaker 1: all the actors out there, what their range is, what

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Speaker 1: they're capable of. And what will happen is is the

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Speaker 1: casting director will send a brief out to agents who

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Speaker 1: will then submit their clients that they think is right

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Speaker 1: for the role, and it's the casting director, it's their

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Speaker 1: discretion as to who they book in to come in

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Speaker 1: for that part.

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Speaker 2: And then does a casting director then kind of like

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Speaker 2: get the people that they think have got legs for

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Speaker 2: the role into the room, film them, and then did

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Speaker 2: they edit that and get a short list that then

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Speaker 2: goes to the production.

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Speaker 1: No, what they will do is they will send off

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Speaker 1: the whole tape oh of everyone, of everyone that they

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Speaker 1: will have notes. What I used to do. I used

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Speaker 1: to work as a yes in casting. Yeah, mainly mainly

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Speaker 1: for TV commercials. But what we would do is we

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Speaker 1: would highlight who we think four or five or even

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Speaker 1: three top people for that role.

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Speaker 2: Is out of how many hundreds?

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Speaker 1: Oh no, it completely depends. It depends on the script

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Speaker 1: on the role. You know, you might see twenty five

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Speaker 1: people for one role in a day with TV commercials,

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Speaker 1: and so you will then send off who you recommend

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Speaker 1: out of the tapes and people that have come in.

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Speaker 2: Oh wow, that's kind of high pressure. And you're doing

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Speaker 2: the seats in Australia as.

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Speaker 1: Well, right, yeah, yeah, only in Australia.

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Speaker 3: Yeah.

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Speaker 1: So I did a lot of TV commercials. I cast

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Speaker 1: a reality show called The Block.

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Speaker 2: Yes, I know The Block very well.

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Speaker 1: Yes, I did season three of the Block and unfortunately

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Speaker 1: it was the time where nine candidate before it even

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Speaker 1: got to start filming, had some awesome characters. We had

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Speaker 1: awesome characters. I was working for McGregor Casting at the time,

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Speaker 1: which is still around one of the top casting companies

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Speaker 1: in Australia and Yeah, we had some wonderful, wonderful people.

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Speaker 1: We had this I won't go into too many details,

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Speaker 1: but we have this one couple that were two elderly

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Speaker 1: ladies in their eighties who lived in Queensland. They have

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Speaker 1: been best friends for ever and their audition tape was hilarious.

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Speaker 1: They literally were like with jackhammers and on work site

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Speaker 1: they were so funny they had us in stitches. But yeah,

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Speaker 1: it never made it to air, and then the block

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Speaker 1: went on hiatus for quite a while and then it

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Speaker 1: came back and now it's the huge success that it is.

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Speaker 2: It's massive iconic. I want to say a Strolle show,

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Speaker 2: but I imagine it's come from here.

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Speaker 1: Or the No No No Australia. Yeah, Julian and David,

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Speaker 1: the EPs, it was their idea, they created it. Yeah yeah,

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Speaker 1: oh I like yes.

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Speaker 2: I feel like as you're in this really cool position

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Speaker 2: where you've been on both sides of the camera, right,

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Speaker 2: So I have never experienced being on your side of

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Speaker 2: the camera where you're like probably looking at an audition

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Speaker 2: through potentially yes to a casting director's lens, but you're

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Speaker 2: probably aware of a producer's lens, a director's lens. The brief,

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Speaker 2: you know what the client's looking for as well. Are

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Speaker 2: there like some like is there casting one? O?

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Speaker 3: One?

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Speaker 2: Because it gets so I don't want to say intimidating,

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Speaker 2: but I do want to say intimidating. Actually it's really

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Speaker 2: full on. I know I've stuffed up just because I've

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Speaker 2: got too nervous.

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Speaker 1: Oh look I have too, you know, and everyone does it.

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Speaker 1: Everyone gets nervous and overwhelmed. And I think there's a

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Speaker 1: few just really fundamental, basic basic tips if you're going

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Speaker 1: into a casting room. The first one is to find

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Speaker 1: your light. Ah, and what that means is, hopefully the

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Speaker 1: studio is lip properly, but if it's not, you want

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Speaker 1: to make sure that you're standing where you can feel

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Speaker 1: the light on your face. So if you act on stage,

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Speaker 1: you'll know all about finding your light. Usually this isn't

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Speaker 1: a problem, but sometimes if the casting director is really

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Speaker 1: busy or preoccupied, they usually have a mark on the

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Speaker 1: floor that you stand on, but sometimes they just you're

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Speaker 1: a bit off the mark and they don't realize. And

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Speaker 1: so just make sure that you're in the light because

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Speaker 1: you want to be seen. So I think that is

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Speaker 1: a really key basic tip. The next one is always

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Speaker 1: if you're unsure, ask where the casting director wants your

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Speaker 1: eye line to be. Yeah, and a lot of actors

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Speaker 1: get too nervous to ask because they feel like they

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Speaker 1: should know. You're not meant to know. You're walking into

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Speaker 1: the studio for the first time. Is the eyeline camera left,

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Speaker 1: camera right? Is there someone there reading the script? Do

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Speaker 1: they want you to have the eye line to the

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Speaker 1: person reading the script? Or sometimes it's even direct to camera.

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Speaker 2: What got me confused was the casting director said look

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Speaker 2: to me, which was directly above the camera. But it

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Speaker 2: kind of threw me because I was like, I felt

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Speaker 2: like I was a camera but really I wasn't. And

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Speaker 2: I got my own head and yeah, because I couldn't

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Speaker 2: figure out what I like, my brain wanted to go

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Speaker 2: to camera, and then I'd catch myself going to camera

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Speaker 2: and I'm like, no, no, no, no, you're meant to be

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Speaker 2: making eye contact. Literally, the differences two inches It probably

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Speaker 2: wouldn't have made a huge difference, but it felt like

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Speaker 2: a huge difference to me.

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Speaker 1: Yeah. Absolutely, yeah, no, no it does. And that's why

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Speaker 1: I think, don't be afraid to ask, Like, if they

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Speaker 1: don't tell you, don't assume, Just ask where do you

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Speaker 1: want my eyeline. And the next tip, which is a

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Speaker 1: really obvious one, and this is a really good one

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Speaker 1: because it can be overwhelming. You can get really nervous,

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Speaker 1: but be prepared. And when I say be prepared, know

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Speaker 1: you material and also have different versions ready to go.

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Speaker 2: Yeah that's a biggie, isn't it.

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Speaker 1: And it's really important, like you were saying, and this

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Speaker 1: will happen a lot. It's often just the casting director

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Speaker 1: reading the lines with you, and they may be exhausted

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Speaker 1: and they may have read the lines for thirty other

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Speaker 1: people today, so they may not be putting a lot

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Speaker 1: into it, and you need to be able to block

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Speaker 1: that out and just be able to do it the

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Speaker 1: way that you know that you want to deliver the performance,

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Speaker 1: but then also be able to take direction. And what

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Speaker 1: a really good thing for actors to know is that

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Speaker 1: if you're being given direction, it's not necessarily because you've

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Speaker 1: done the take incorrectly. It's to see if you can

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Speaker 1: take direction. Yeah, So don't get in your head and think, oh,

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Speaker 1: I've done this the wrong way. Yeah. No, it may

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Speaker 1: not be because of that. It may just be that

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Speaker 1: they need to be able to see that if you're

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Speaker 1: given a different direction on the spot that you can

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Speaker 1: take it and adapt to that.

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Speaker 2: So good that you're sharing this, because I feel like

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Speaker 2: our natural inclination is oh far out. They don't like me,

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Speaker 2: they hate me, I've done the wrong thing. Like that's

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Speaker 2: what's probably your mental dialogue.

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Speaker 1: Yeah, absolutely, so cool, Well, thank you. And I think

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Speaker 1: the other thing is is try and have a point

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Speaker 1: of difference. And especially with TV commercials, but they do

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Speaker 1: this a lot with feature films, is you will do

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Speaker 1: something called a chat to camera, and that is just

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Speaker 1: to get a bit of an idea about you and

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Speaker 1: who you are as a person. Because ultimately, you've got

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Speaker 1: to be a good actor. You've got to be good

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Speaker 1: enough to suit the role, but you also need to

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Speaker 1: be able to get along with everyone on the cast

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Speaker 1: and the crew, and the director has to feel like

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Speaker 1: he can work with you. So if you come in

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Speaker 1: and you're a massive bitch but you're good, but there's

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Speaker 1: someone else that's good but it's really easy to work

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Speaker 1: with you, they're going to get the wrong yeah, more

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Speaker 1: than likely. So I always say, try and have a

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Speaker 1: bit of a point of difference, but have something that

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Speaker 1: you are ready to talk about when you come in

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Speaker 1: in case they want to do a chatter camera. That's

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Speaker 1: more than just like this morning, I had wheat bigs

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Speaker 1: for breakfast. You know, have a fun story. And I

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Speaker 1: can tell you if we're in the casting room as

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Speaker 1: a casting director and we're casting thirty people a day

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Speaker 1: for a TV commercial and we're doing chats to camera

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Speaker 1: and someone's come in and I'm not suggesting you fake this,

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Speaker 1: but for example, has just had a car accident, Like

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Speaker 1: they're okay. You always remember that. You're like, oh my god,

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Speaker 1: and the person's like and then the car came out

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Speaker 1: and blah blah blah, I'm still a bit shaking and

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Speaker 1: I'm really sorry or whatever it is. Or it's like,

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Speaker 1: oh my god, my niece had a baby this morning

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Speaker 1: and they called it apple, And then it sounds funny,

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Speaker 1: but you end up referring to that person that's the

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Speaker 1: car accident girl. Yeah, that's the apple baby boy or

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Speaker 1: whatever it is, you know, and it does make you

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Speaker 1: stand out totally.

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Speaker 2: I actually had a teacher that taught as a special

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Speaker 2: intensive on commercials, and she shared that when she's an

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Speaker 2: audition just after having a car accident, she got it

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Speaker 2: straight away because she was so raw and real Wow,

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Speaker 2: she didn't. She was like, Oh, I shouldn't even be

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Speaker 2: doing the sort each and I have time for this

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Speaker 2: kind of thing. I've just gone through a car accident.

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Speaker 2: I've got to think about my insurance and stuff. But

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Speaker 2: she's like, I've got a really small window to put

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Speaker 2: this tape up or to walk it. Whatever the audition was,

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Speaker 2: and she's like, I got it because I was probably

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Speaker 2: out of my own way in the way. Absolutely, she

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Speaker 2: was so like authentically herself at that moment.

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Speaker 1: And don't worry. It doesn't have to be that dramatic,

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Speaker 1: like not advocate, but you could just be like, you

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Speaker 1: know what, I speak five languages, or I actually grew

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Speaker 1: up in Eastern Europe or whatever it is that.

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Speaker 2: May say to Womba, well that too.

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Speaker 1: You don't know. I just think that's it's not essential,

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Speaker 1: but it's just nice to have something just because that's

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Speaker 1: often the first thing they do with you. And if

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Speaker 1: you don't have something ready and you're not ready for that,

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Speaker 1: it may throw you off for the rest of the

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Speaker 1: audition because you're like, oh shit, like I don't know

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Speaker 1: what to say.

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Speaker 2: Yeah, is that also called an ident?

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Speaker 1: No, so an ident is something different? So what you

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Speaker 1: will do before you start the casting is you will

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Speaker 1: come in and you will look at the camera and

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Speaker 1: the casting director will talk you through this and you

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Speaker 1: will say, hey, my name is Lola Berry. I'm represented

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Speaker 1: by blah blah Management. And they may ask you to

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Speaker 1: say other things. They may say, can you say your

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Speaker 1: eye your age, can you say your eye color? Whatever

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Speaker 1: it may be. They will inform you. Usually it's just

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Speaker 1: your name an agent, and maybe you know a contact

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Speaker 1: number if you're freelance. And then for commercials we usually

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Speaker 1: do profiles. So they'll get you to turn to one side,

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Speaker 1: turn to the other side, turn to the back, turn

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Speaker 1: to the front, because we need to know do you

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Speaker 1: have any tattoos? Do you do you look a bit

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Speaker 1: funnier on the left side than the right side. And

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Speaker 1: it's not a matter of really, oh, you're not going

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Speaker 1: to get the role. We just need to know these things.

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Speaker 1: And often if your hands are going to be shown

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Speaker 1: in the commercial, we'll get close up so fared wow. Yeah,

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Speaker 1: So that's kind of like an ident. And then and

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Speaker 1: then you'll go into the scene.

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Speaker 2: So would that be similar to a slate?

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Speaker 1: Then if you're in a slate and an ident's exactly

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Speaker 1: the same thing.

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Speaker 2: Yeah, I'm learning so much from this selfish Selfishly.

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Speaker 1: Well, look, my experience is mainly TV commercials. I've helped

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Speaker 1: cast a few TV shows and things like that. But

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Speaker 1: I've got a little surprise for you, Lola and for

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Speaker 1: everyone else today. Well, I thought, considering we're doing casting,

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Speaker 1: why not talk to a Hollywood film director who looks

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Speaker 1: at casting tapes all the time totally and find out

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Speaker 1: what their tips are. So I spoke to a friend

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Speaker 1: of mine who you also know called Alex Hardcastle.

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Speaker 2: Amazing.

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Speaker 1: He is a champion of a human being and you

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Speaker 1: would have heard us talk about him a lot in

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Speaker 1: our Senior Year episode and if you haven't, go back

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Speaker 1: to Senior Year, which is our first episode, because he

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Speaker 1: directed that. But he's also directed like everything from Grace

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Speaker 1: and Grace and Frankie to the off First Love, Victor.

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Speaker 2: Parks, You're the Office.

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Speaker 1: Yeah, he's done episodes for The Office, Parks and rec

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Speaker 1: New Girl like Superstar. He's like, I'm.

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Speaker 2: Glad I didn't know this when I was hanging out there,

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Speaker 2: I probably would have been able to even talk.

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Speaker 1: Got two stars, right, this is what he does. And

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Speaker 1: so I asked him what his three tips as a

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Speaker 1: director would be for actors coming in for castiss amazing

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Speaker 1: for a feature film. Now he's probably going to kill me,

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Speaker 1: and Alex, I'm really sorry. I don't hate me. But

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Speaker 1: he actually voice messaged me the tips and I was

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Speaker 1: going to read them out, but then I was hearing

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Speaker 1: him on the voice message. I thought, he's got a

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Speaker 1: lovely English accent and a.

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Speaker 2: Very kind human being. Sweet human being.

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Speaker 1: He is, and a very generous director, and I thought,

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Speaker 1: you know what, I'm going to play the voice messages

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Speaker 1: so you can hear it from the horse's mouth. This

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Speaker 1: was at eight am this morning. So don't kill me.

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Speaker 2: Alex, But thank you, so so so much.

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Speaker 1: So this is his first tip.

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Speaker 3: Okay, my first top tip is think about what the

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Speaker 3: producers want or directors want from the material. So if

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Speaker 3: you're doing a drama, think about the character. If you're

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Speaker 3: doing a comedy, think about what they were trying to

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Speaker 3: say when the writer produce those lines. Think about your timing,

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Speaker 3: know your audience. Tip to take a stab like go bold,

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Speaker 3: think about what you could do with the character. It

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Speaker 3: doesn't matter if it's wrong, it doesn't matter if you

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Speaker 3: come in and you think it could be funny. If

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Speaker 3: he's got a German accent, it's totally fine. It's better

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Speaker 3: to go in bold and not get the part than

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Speaker 3: it is to just go and wish you wash and

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Speaker 3: be kind of like everybody else. So I would say

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Speaker 3: go big or go home. And thirdly, always always turn

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Speaker 3: up prepared, know your lines. And that's about it. Those

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Speaker 3: are my three top tips.

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Speaker 1: So there we go the trick for everyone.

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Speaker 2: Oh thank you so much for doing that. Sam. Thank

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Speaker 2: you Alex. If you hear this part, kill.

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Speaker 1: Me that I played his voice message from this morning,

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Speaker 1: But beautiful listen. He spends half his life look at

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Speaker 1: casting tapes. You know.

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Speaker 2: My favorite was have a Stab.

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Speaker 1: Yeah.

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Speaker 2: I love that, to just get in there and go

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Speaker 2: for it. And because I do think as actors and

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Speaker 2: when you're auditioning, you kind of you do the whole

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Speaker 2: like imposter syndrome and oh I'm not good enough to

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Speaker 2: get this, They're not going to like me anyway. So

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Speaker 2: if you kind of let go of that and you're like,

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Speaker 2: stuff it, I'm just going to go big and give

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Speaker 2: it a crack. You kind of got nothing to lose

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Speaker 2: and they'll tell you.

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Speaker 1: And I think a really important thing to remember is

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Speaker 1: that as an actor going into a casting room, whether

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Speaker 1: it's a TV commercial of feature film, whatever it is,

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Speaker 1: and as a casting director in the room, we both

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Speaker 1: want you to get the job. You want to get

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Speaker 1: the job. We want you to get the job. We're

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Speaker 1: not there because we don't want you to get the job.

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Speaker 1: That's what we want. We've got this collective goal and

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Speaker 1: we really want whoever walks in to have that role.

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Speaker 2: I don't know if you remember this, but when I

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Speaker 2: was really nervous for an audition, you said that exact

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Speaker 2: same thing to me. When I was like, say, I'm

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Speaker 2: free looking out, I don't know what to wear, I

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Speaker 2: don't know what to do, and I was just like

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Speaker 2: getting in my own way, and You're like, calm down,

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Speaker 2: You've actually got the same goal as the casting director.

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Speaker 1: Yeah, where casting directors were on your side. And I

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Speaker 1: know often it may not seem like that, because look,

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Speaker 1: everyone's human and you have long days, and people have

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Speaker 1: things go wrong in their personal life and they might

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Speaker 1: be in a bad mood or whatever. But I think

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Speaker 1: if you can go into the room remembering that totally,

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Speaker 1: that might help.

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Speaker 2: Oh I love yeah, Oh thank you again. That was

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Speaker 2: a very good eastering.

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Speaker 1: Sam and the other thing I should say. And look,

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Speaker 1: this isn't across the board, but I just think it's

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Speaker 1: really important to mention. And this sounds kind of horrible,

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Speaker 1: but I just think if you're an actor listening to this,

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Speaker 1: it's really good for you to know this. And this

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Speaker 1: is primarily for TV commercials. I have been in rooms

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Speaker 1: where there are four girls or four guys that all

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Speaker 1: looked apart and all are as perfect as each other.

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Speaker 1: Like you. Literally you can't like a wooden matter. All

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Speaker 1: four would be wonderful. And you will literally have a

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Speaker 1: client say I don't like that girl. She reminds me

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Speaker 1: of my stepsister who I don't talk to, or that

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Speaker 1: guy he goes for the tigers, I hate the tigers

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Speaker 1: or whatever. It doesn't happen all the time. And I'm

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Speaker 1: not trying to make you know directors or producers or

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Speaker 1: whatever sound fickle at all. That's not the point of this.

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Speaker 1: The point I'm me telling this story is that I

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Speaker 1: don't want you to walk out of a casting room

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Speaker 1: and you didn't get the role and be really disappointed.

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Speaker 1: Because there are so many factors that can play into it,

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Speaker 1: especially with TV commercials. That doesn't necessarily mean you weren't

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Speaker 1: the right person for the part, because, as I said,

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Speaker 1: I've been in casting rooms where six people are perfect

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Speaker 1: and it's just a matter of you know, objectivity, and

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Speaker 1: then the client weighs in, the agency ways in, the

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Speaker 1: director ways in, the casting director waves in, and that's

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Speaker 1: when it can sometimes come down to, look, these two girls.

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Speaker 1: Let's say we've got two girls are great, and they

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Speaker 1: will say the casting director, who do you think? And

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Speaker 1: it comes to that who you know, Like if they're

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Speaker 1: both as good as each other, I will say, listen,

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Speaker 1: this person, I've just booked them on three other jobs

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Speaker 1: and they got the best feedback. They were professional, on time,

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Speaker 1: blah blah blah. So that helps. So your onset behavior

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Speaker 1: and your behavior in the room as a human being

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Speaker 1: in the waiting room and all that all can add

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Speaker 1: to it.

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Speaker 2: When I've done auditions, sometimes the casting director will be like, Okay,

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Speaker 2: you'll hear from us on Friday, and you'll be looking

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Speaker 2: at your phone all day Friday with hope and you

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Speaker 2: it's not you don't even get to know. You literally

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Speaker 2: get donuts like nothing, no response. No, your agent doesn't

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Speaker 2: send you anything you don't like. It's different in like

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Speaker 2: like the world I do with more like TV presenting,

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Speaker 2: in book and author world, that's a very different beast.

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Speaker 2: But as an actor, I cannot tell you how many

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Speaker 2: times I've done auditions and never had a response.

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Speaker 1: I hate that, but.

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Speaker 2: Not to put it down or on it, but I

399
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Speaker 2: just mean like that is also like an and I

400
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Speaker 2: love it. I love that you're saying that, you know

401
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Speaker 2: you're often not getting it because of things totally outside

402
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Speaker 2: of your control. Like I've auditioned here with brown eyes

403
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Speaker 2: and I don't have brown eyes, you know, But it

404
00:19:10,359 --> 00:19:13,240
Speaker 2: is a hard pill to swallow when you do throw

405
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Speaker 2: it out all on the casting room floor and you

406
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Speaker 2: just don't maybe for me, you know, being such a

407
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Speaker 2: small frine a newbie, it means that you don't kind

408
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Speaker 2: of like have enough acting work under your belt to

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Speaker 2: have that like gun of that respect that is like

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Speaker 2: thanks so much, good work next better luck next time.

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Speaker 2: But I must say, like it is a really jagged

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Speaker 2: friggin peel to swallow when you have you know, driven

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Speaker 2: two and a half hours for an audition, done the audition,

414
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Speaker 2: been so nervous, driven back and been told you'd hear back,

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Speaker 2: and you hear nothing.

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Speaker 1: Yeah, that's horrible. I mean, I think the best thing

417
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Speaker 1: is be as prepared as possible, go in, give it

418
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Speaker 1: or walk it out of the walk out of that room,

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Speaker 1: and never think about it again. I think that's the

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Speaker 1: best way emotionally to a peace with it, because, as

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Speaker 1: you said, you could go in for a yoga girl

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Speaker 1: with blonde hair and blue eyes, and as a casting director,

423
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Speaker 1: I could know this fantastic I don't know, Filipino girl

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Speaker 1: who's got this great look that I just think and

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Speaker 1: I might throw her in the mix and everyone might go,

426
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Speaker 1: why didn't we think of this? And then you just

427
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Speaker 1: don't have a chance. But that doesn't mean your performance

428
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Speaker 1: wasn't amazing.

429
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Speaker 2: Right totally, I just can't. I don't know if it's

430
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Speaker 2: an Australian thing that's only ever happened to me in Australia,

431
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Speaker 2: where you just don't get feedback, yeah, because I love feedback.

432
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Speaker 2: I love learning hey didn't get it, you weren't right

433
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Speaker 2: for that, or if your agent can go like when

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Speaker 2: I've shot things more in TV hosting role, my agents

435
00:20:42,640 --> 00:20:44,159
Speaker 2: be like this is They'll be like, we're going to

436
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Speaker 2: get your feedback and they'll get me the best feedback.

437
00:20:46,359 --> 00:20:49,080
Speaker 2: So then you can go and hone that or practice

438
00:20:49,119 --> 00:20:50,680
Speaker 2: AUTOQ or you know what I mean.

439
00:20:50,800 --> 00:20:52,639
Speaker 1: You're not really going to get feedback for a TV

440
00:20:52,720 --> 00:20:56,560
Speaker 1: commercial unless it's something really obvious that I would always

441
00:20:56,600 --> 00:20:59,320
Speaker 1: say to the person's agent, Hey, listen, they did this,

442
00:20:59,520 --> 00:21:01,639
Speaker 1: just that they need to stop doing that or whatever,

443
00:21:01,800 --> 00:21:04,120
Speaker 1: or let them know that we thought they were great

444
00:21:04,160 --> 00:21:05,960
Speaker 1: but it just didn't work this time or whatever.

445
00:21:06,000 --> 00:21:06,240
Speaker 3: It is.

446
00:21:07,400 --> 00:21:10,440
Speaker 1: For features and TV shows and things like that, you

447
00:21:10,760 --> 00:21:14,320
Speaker 1: are more likely to get feedback after a callback, not

448
00:21:14,359 --> 00:21:19,320
Speaker 1: necessarily first round, but also you know your agent can

449
00:21:19,359 --> 00:21:22,560
Speaker 1: call and ask if there's no feedback. Cool.

450
00:21:23,600 --> 00:21:27,480
Speaker 2: So interesting, it's a whole. It's I think the thing

451
00:21:27,520 --> 00:21:30,600
Speaker 2: that you've taught me so much through this pod series.

452
00:21:31,160 --> 00:21:33,600
Speaker 2: This is a business. It's a business, yeah, and there's

453
00:21:33,600 --> 00:21:35,879
Speaker 2: a massive business side to it. So you almost need

454
00:21:35,920 --> 00:21:39,199
Speaker 2: to be able to put your business hat on and

455
00:21:39,240 --> 00:21:41,119
Speaker 2: take the emotional one off or just leave it on

456
00:21:41,160 --> 00:21:44,600
Speaker 2: for the roles, you know, yeah, back to business. And

457
00:21:44,640 --> 00:21:47,400
Speaker 2: I've heard actors say the second that they walk out

458
00:21:47,440 --> 00:21:50,760
Speaker 2: of the casting room they either rip up or they

459
00:21:50,800 --> 00:21:53,760
Speaker 2: toss their sides, which is their scripts, into the bin.

460
00:21:54,560 --> 00:21:56,800
Speaker 2: And it's that same idea that you just said of

461
00:21:56,840 --> 00:22:00,240
Speaker 2: like you let it go. Yeah, it feels quite like

462
00:22:00,720 --> 00:22:01,600
Speaker 2: also cathartic.

463
00:22:03,359 --> 00:22:07,479
Speaker 1: So but you've had some experiences in audition casting rooms

464
00:22:07,480 --> 00:22:10,600
Speaker 1: over the years, have you got any like funny stories or.

465
00:22:11,000 --> 00:22:13,280
Speaker 2: Well we both have said, well.

466
00:22:13,040 --> 00:22:16,159
Speaker 1: Yeah, yeah, you're probably more than me.

467
00:22:16,280 --> 00:22:18,720
Speaker 2: But yeah, well that one I was talking about that.

468
00:22:19,040 --> 00:22:21,080
Speaker 2: There was no response there. Like I did the audition

469
00:22:21,160 --> 00:22:23,159
Speaker 2: on first thing Monday morning, had to drive two and

470
00:22:23,200 --> 00:22:26,359
Speaker 2: a half hours for it. Was so nervous. Was my

471
00:22:26,400 --> 00:22:29,399
Speaker 2: first in real lifeline after COVID, and so I was

472
00:22:30,200 --> 00:22:34,520
Speaker 2: you were you were my moral support on voice demos

473
00:22:34,560 --> 00:22:37,239
Speaker 2: the whole way there and back and I walked in,

474
00:22:37,480 --> 00:22:39,520
Speaker 2: so you walked. I don't know if this has always

475
00:22:39,520 --> 00:22:41,640
Speaker 2: had it, but I had to fill out a form

476
00:22:41,680 --> 00:22:44,520
Speaker 2: which was like high bus chair all there, like what

477
00:22:44,520 --> 00:22:48,440
Speaker 2: are we measurements? Yes, very common agent details, phone number,

478
00:22:48,480 --> 00:22:50,520
Speaker 2: all that jazz and you're going to hold that up

479
00:22:50,560 --> 00:22:53,240
Speaker 2: when they take photos of you when you're walking. But

480
00:22:53,280 --> 00:22:55,840
Speaker 2: I filled it out. I was quite early and the

481
00:22:56,200 --> 00:22:59,640
Speaker 2: assistant to the casting director came out and said, we're

482
00:22:59,640 --> 00:23:01,879
Speaker 2: actually running ahead of time to come in as soon

483
00:23:01,880 --> 00:23:04,240
Speaker 2: as you feel that out, and I was like, no worries.

484
00:23:04,720 --> 00:23:08,240
Speaker 2: So I filled out my paperwork. I stood at the door.

485
00:23:08,280 --> 00:23:11,440
Speaker 2: The door was open where the audition was going to

486
00:23:11,480 --> 00:23:15,359
Speaker 2: take place, and the casting director and assistant proceeded just

487
00:23:15,480 --> 00:23:19,520
Speaker 2: chat amongst themselves, knowing and clocking that I was standing

488
00:23:19,560 --> 00:23:19,800
Speaker 2: in the.

489
00:23:19,720 --> 00:23:22,160
Speaker 1: Doorway a power play.

490
00:23:22,680 --> 00:23:25,600
Speaker 2: I could feel my leg I could feel my energy

491
00:23:25,720 --> 00:23:28,720
Speaker 2: just like shrink, and I got more and more uncomfortable

492
00:23:28,800 --> 00:23:30,400
Speaker 2: and I didn't feel like I was meant to be there,

493
00:23:30,560 --> 00:23:33,399
Speaker 2: and I was like starting to fidget and feel really

494
00:23:34,080 --> 00:23:39,760
Speaker 2: really uneasy. And then I literally walked out of the

495
00:23:39,760 --> 00:23:41,840
Speaker 2: space like I walked back into the reception and like

496
00:23:41,920 --> 00:23:43,959
Speaker 2: found an excuse to put the clickboard down and then

497
00:23:43,960 --> 00:23:47,520
Speaker 2: pick the paper. I was like totally spiraling. And then

498
00:23:47,560 --> 00:23:50,000
Speaker 2: I went back in from the doorway and they said

499
00:23:51,160 --> 00:23:53,000
Speaker 2: they made me sit there a bit longer and they said, Laula,

500
00:23:53,080 --> 00:23:55,880
Speaker 2: come in. I did the first We did a line run,

501
00:23:56,000 --> 00:23:58,760
Speaker 2: did the ident thing, and then did a line run,

502
00:23:58,800 --> 00:24:00,560
Speaker 2: and I was so nervous that I stuffed up the

503
00:24:00,560 --> 00:24:03,919
Speaker 2: line run even though I knew the lines. And she

504
00:24:03,960 --> 00:24:05,439
Speaker 2: then looked at me and said do you know your lines?

505
00:24:05,480 --> 00:24:08,399
Speaker 2: And I was like, oh, I just felt so bad.

506
00:24:08,480 --> 00:24:10,639
Speaker 2: By this stage, I was like this is and I

507
00:24:10,680 --> 00:24:14,640
Speaker 2: did say, look, this is my first time like I'm

508
00:24:14,640 --> 00:24:19,000
Speaker 2: feeling really nervous right now, gentle. Yeah, and they scrunched

509
00:24:19,080 --> 00:24:23,480
Speaker 2: up like where you're you held all your like your

510
00:24:23,520 --> 00:24:26,760
Speaker 2: id thing. There was a waste paper bin where I entered,

511
00:24:26,800 --> 00:24:28,800
Speaker 2: and as I entered, she was scrunching them all into

512
00:24:28,800 --> 00:24:30,320
Speaker 2: a ball, and I just was like, I felt like

513
00:24:30,359 --> 00:24:33,160
Speaker 2: I was one of those pieces.

514
00:24:32,600 --> 00:24:33,560
Speaker 1: Got in your head.

515
00:24:33,640 --> 00:24:35,960
Speaker 2: Yeah, And then I did the first run and she

516
00:24:36,160 --> 00:24:40,399
Speaker 2: was like the casting directors like, whoa way too much.

517
00:24:41,000 --> 00:24:42,280
Speaker 2: You need to turn it down a notch. And I

518
00:24:42,359 --> 00:24:45,320
Speaker 2: was like, oh my goodness. But I didn't know that

519
00:24:45,359 --> 00:24:47,159
Speaker 2: I was theater trained, so I knew this was a

520
00:24:47,200 --> 00:24:49,280
Speaker 2: common thing that if your theater trained, you can often

521
00:24:49,320 --> 00:24:53,040
Speaker 2: give a little bit too much character or your own

522
00:24:53,040 --> 00:24:54,240
Speaker 2: little salt and pepper, and.

523
00:24:54,359 --> 00:24:56,040
Speaker 1: It happens to the best. I have to say. One

524
00:24:56,080 --> 00:24:58,640
Speaker 1: of your favorites, Eddie Redmayin. There's an interview with him

525
00:24:58,760 --> 00:25:01,080
Speaker 1: and I can't remember. I think he working opposite Kate

526
00:25:01,119 --> 00:25:04,160
Speaker 1: Winslet or someone like that on his first feature. Yeah,

527
00:25:04,320 --> 00:25:07,080
Speaker 1: and he did the lines and he was like, that's okay,

528
00:25:07,080 --> 00:25:09,160
Speaker 1: and she just said to him, just turn it back,

529
00:25:09,240 --> 00:25:12,480
Speaker 1: just turn it back. There's no audience. So it's very common.

530
00:25:12,560 --> 00:25:14,160
Speaker 1: I mean, that's Eddie Redmad Who's.

531
00:25:14,560 --> 00:25:17,960
Speaker 2: He's like rather trade? Oh okay, well that mixophone science

532
00:25:18,359 --> 00:25:21,200
Speaker 2: same way I bombed and it was like a great

533
00:25:21,400 --> 00:25:23,600
Speaker 2: like ripping of the band aid off to get that

534
00:25:23,640 --> 00:25:26,480
Speaker 2: first experience off. But yeah, that was like a bit

535
00:25:26,480 --> 00:25:29,159
Speaker 2: of a fail. Storage you have a fail story, Oh.

536
00:25:29,040 --> 00:25:34,119
Speaker 1: I've got thousands. No. The one that I think I

537
00:25:34,160 --> 00:25:39,240
Speaker 1: was the most embarrassed about was I got a casting

538
00:25:39,880 --> 00:25:44,760
Speaker 1: for a role in X Men or the Wolverine A

539
00:25:45,359 --> 00:25:47,680
Speaker 1: huge When I say I think I had five lines,

540
00:25:47,760 --> 00:25:49,879
Speaker 1: When I say I had, I didn't get it. Ps.

541
00:25:50,160 --> 00:25:53,639
Speaker 1: It was an audition, but I was so nervous because

542
00:25:53,680 --> 00:25:56,119
Speaker 1: it was a Hollywood feature. I had to do an

543
00:25:56,160 --> 00:25:59,280
Speaker 1: American accent. But on top of that, because I worked

544
00:25:59,280 --> 00:26:04,320
Speaker 1: in casting, I knew the casting director really well, and

545
00:26:04,880 --> 00:26:06,600
Speaker 1: that's something you just got to get over. I was

546
00:26:06,640 --> 00:26:08,399
Speaker 1: totally in my head about it. But I went in

547
00:26:08,440 --> 00:26:09,800
Speaker 1: and I think the scene was I was in an

548
00:26:09,840 --> 00:26:12,720
Speaker 1: operating theater and I was operating on Hugh Jackman half

549
00:26:12,760 --> 00:26:17,080
Speaker 1: my luck, and he turned into Wolverine or something happened

550
00:26:17,240 --> 00:26:20,240
Speaker 1: and I had to act surprise and all the rest

551
00:26:20,240 --> 00:26:22,639
Speaker 1: of it. So I went into this casting room at

552
00:26:22,680 --> 00:26:25,800
Speaker 1: Fox Studios there's no table, there's no nothing. You're pretending

553
00:26:26,000 --> 00:26:28,720
Speaker 1: all of this, and I'm doing the lines, and as

554
00:26:28,720 --> 00:26:30,760
Speaker 1: I'm doing the lines in my American acts, and I'm

555
00:26:31,040 --> 00:26:34,480
Speaker 1: pretending that he's transforming on the table and I'm acting shocked.

556
00:26:35,240 --> 00:26:37,280
Speaker 1: But I was just so conscious that this person that

557
00:26:37,320 --> 00:26:40,000
Speaker 1: I've worked with in casting was now looking at me

558
00:26:40,040 --> 00:26:43,280
Speaker 1: as an actor. And I went bright red in the face.

559
00:26:43,400 --> 00:26:46,119
Speaker 1: I couldn't get my lines out. I couldn't. I just

560
00:26:46,280 --> 00:26:49,680
Speaker 1: couldn't be in the moment. And they were so lovely

561
00:26:49,720 --> 00:26:52,240
Speaker 1: with me. They must have done six or seven takes

562
00:26:52,280 --> 00:26:54,199
Speaker 1: because they could tell I was so nervous and just

563
00:26:54,320 --> 00:26:56,840
Speaker 1: trying to like get the performance out of me, because

564
00:26:56,840 --> 00:26:59,439
Speaker 1: they knew I was like suited to the role. And

565
00:26:59,480 --> 00:27:01,080
Speaker 1: I was the first person of the day, and I

566
00:27:01,080 --> 00:27:03,280
Speaker 1: always hate being the first person to day because I

567
00:27:03,359 --> 00:27:05,600
Speaker 1: know what goes on on the other side. Often as

568
00:27:05,600 --> 00:27:07,960
Speaker 1: a casting director, you're still working things out with the

569
00:27:08,000 --> 00:27:11,280
Speaker 1: first couple of people, okay, and I just I just

570
00:27:11,400 --> 00:27:15,160
Speaker 1: completely like mucked it up like nothing else and walked

571
00:27:15,200 --> 00:27:17,119
Speaker 1: out of there and was so embarrassed. And I have

572
00:27:17,320 --> 00:27:20,520
Speaker 1: no doubt that they just like wiped my tape and

573
00:27:20,560 --> 00:27:22,400
Speaker 1: didn't even put me forward.

574
00:27:22,680 --> 00:27:25,399
Speaker 2: Can I ask? Though I imagine it's so hard to

575
00:27:25,480 --> 00:27:29,040
Speaker 2: imagine a wolverine coming to life out of thin air.

576
00:27:29,560 --> 00:27:30,760
Speaker 1: I know, but that's our job.

577
00:27:30,920 --> 00:27:32,760
Speaker 2: Like, I'll see you're fine with that. I've had to

578
00:27:32,800 --> 00:27:33,360
Speaker 2: really like.

579
00:27:33,400 --> 00:27:35,000
Speaker 1: You know what I mean, that's your job as an actor.

580
00:27:35,240 --> 00:27:37,840
Speaker 1: And I was just it was just like a bad

581
00:27:37,880 --> 00:27:40,119
Speaker 1: combination of multiple things and I was just one of

582
00:27:40,119 --> 00:27:41,639
Speaker 1: those moments. I was like, oh my god, that was

583
00:27:41,680 --> 00:27:44,200
Speaker 1: so and I'm like, I'm going redder and redder and

584
00:27:44,320 --> 00:27:46,840
Speaker 1: more beetroot in the face, like, get me the fuck

585
00:27:46,920 --> 00:27:47,280
Speaker 1: out of it.

586
00:27:48,920 --> 00:27:50,240
Speaker 2: Did shake? I got shaky?

587
00:27:50,359 --> 00:27:52,959
Speaker 1: No, I didn't shake, but yeah, and that's what we

588
00:27:53,080 --> 00:27:54,720
Speaker 1: used to do. You know, if someone came in and

589
00:27:54,840 --> 00:27:57,560
Speaker 1: was really bad or you know, was drunk or high

590
00:27:57,600 --> 00:27:59,879
Speaker 1: or whatever, which did that happen? No, it doesn't happen,

591
00:28:00,200 --> 00:28:02,679
Speaker 1: but it can happen, or you know, there's something not

592
00:28:02,840 --> 00:28:05,920
Speaker 1: right and it's just you. I would take them off

593
00:28:05,960 --> 00:28:08,159
Speaker 1: the tape. I wouldn't even submit them because there's just

594
00:28:08,200 --> 00:28:11,560
Speaker 1: no point. They're completely wrong. The audition was terrible. I

595
00:28:11,560 --> 00:28:15,399
Speaker 1: don't want to have to make my director sit through

596
00:28:15,440 --> 00:28:18,320
Speaker 1: that because they're super busy and they're looking at twenty

597
00:28:18,359 --> 00:28:20,719
Speaker 1: other tapes like they don't need a twenty one. That's like,

598
00:28:20,760 --> 00:28:22,119
Speaker 1: oh why am I even looking at this?

599
00:28:22,520 --> 00:28:24,800
Speaker 2: Would you still give that actor another chance, like a

600
00:28:24,840 --> 00:28:27,480
Speaker 2: month down the track for another role or has that.

601
00:28:28,960 --> 00:28:31,000
Speaker 1: Be like No, it depends. Listen if they're drunk or

602
00:28:31,040 --> 00:28:33,439
Speaker 1: high or something that's a whole conversation that happens with

603
00:28:33,480 --> 00:28:36,359
Speaker 1: the agent, And probably not unless I had a really

604
00:28:36,359 --> 00:28:39,040
Speaker 1: good record with them and you know, thought they're actually

605
00:28:39,160 --> 00:28:42,239
Speaker 1: something's obviously going on if someone MUCKs up, as long

606
00:28:42,280 --> 00:28:44,280
Speaker 1: as it's not like if you turn up and you're

607
00:28:44,600 --> 00:28:46,560
Speaker 1: late and you haven't learned your lines and you just

608
00:28:46,600 --> 00:28:51,080
Speaker 1: couldn't care less about being there, you know, see you later, mate.

609
00:28:51,600 --> 00:28:54,040
Speaker 1: But if it's genuinely you're just having a bad day,

610
00:28:54,080 --> 00:28:56,280
Speaker 1: you've got in your head about something you can't get it, Yeah,

611
00:28:56,320 --> 00:28:57,400
Speaker 1: I mean of course I would.

612
00:28:58,240 --> 00:29:01,800
Speaker 2: Oh yeah, that's but that's also your you're so lovely.

613
00:29:02,040 --> 00:29:04,120
Speaker 1: Yeah, well that's my personality.

614
00:29:05,200 --> 00:29:07,480
Speaker 2: Should we talk about a fun experience of us being

615
00:29:07,560 --> 00:29:08,440
Speaker 2: in casting rooms?

616
00:29:08,640 --> 00:29:09,000
Speaker 1: Sure?

617
00:29:09,760 --> 00:29:10,920
Speaker 2: Do you want to go first? We want me to

618
00:29:10,960 --> 00:29:15,720
Speaker 2: go first. So after that experience, yes, I was like,

619
00:29:16,240 --> 00:29:17,960
Speaker 2: oh stuff, this I got to get out of my

620
00:29:18,080 --> 00:29:19,880
Speaker 2: and I think I had a chat to you and

621
00:29:19,920 --> 00:29:21,760
Speaker 2: you were like, you've ripped the band aid off. Now

622
00:29:22,520 --> 00:29:23,800
Speaker 2: you had to get that one out of the way.

623
00:29:23,880 --> 00:29:28,320
Speaker 2: Don't worry. I got this audition for this was a

624
00:29:28,400 --> 00:29:32,160
Speaker 2: self tape, but it was for jetst and I had

625
00:29:32,160 --> 00:29:34,960
Speaker 2: to be packing my suitcase, but then halfway through packing,

626
00:29:35,080 --> 00:29:39,400
Speaker 2: be sucked into a black hole and then magically come

627
00:29:39,480 --> 00:29:42,440
Speaker 2: up from the sand sunglasses in my hand first, and

628
00:29:42,480 --> 00:29:46,040
Speaker 2: then come out into this magical Fijian island world.

629
00:29:46,360 --> 00:29:50,000
Speaker 1: So an extremely relatable life experience that you could replicate

630
00:29:50,160 --> 00:29:51,000
Speaker 1: at the drop of a hat.

631
00:29:51,040 --> 00:29:53,840
Speaker 2: With my hair all wild and like I'd literally come

632
00:29:53,880 --> 00:29:58,040
Speaker 2: through the sand and whatnot. And I did. Because I

633
00:29:58,120 --> 00:30:00,480
Speaker 2: was a little bit burnt from the previous I was like,

634
00:30:00,520 --> 00:30:02,640
Speaker 2: stuff this, I'm just going to go all out and

635
00:30:02,720 --> 00:30:05,000
Speaker 2: have fun with it, to the point that my boyfriend

636
00:30:05,040 --> 00:30:07,920
Speaker 2: was like, are you sure you don't want to film

637
00:30:07,960 --> 00:30:11,600
Speaker 2: that again? Because I went like full comedic and just

638
00:30:11,640 --> 00:30:15,320
Speaker 2: like sucked myself into the suitcase. It was so much fun.

639
00:30:15,480 --> 00:30:18,440
Speaker 2: And the funny thing was the brief was must have

640
00:30:19,480 --> 00:30:23,240
Speaker 2: curly brown hair and brown eyes, So for Feeble Lissen,

641
00:30:23,320 --> 00:30:25,160
Speaker 2: I have blue eyes and I have blonde haest so

642
00:30:25,200 --> 00:30:28,840
Speaker 2: I knew I was already completely up against odds.

643
00:30:29,280 --> 00:30:32,080
Speaker 1: But can I just say one thing to remember in

644
00:30:32,080 --> 00:30:35,680
Speaker 1: that situation is the casting director would never have requested

645
00:30:35,680 --> 00:30:37,880
Speaker 1: you put a self tape down if they didn't think

646
00:30:37,920 --> 00:30:41,120
Speaker 1: there was something about you that they wanted interesting, even

647
00:30:41,160 --> 00:30:43,040
Speaker 1: though you didn't fit the brief. They're doing what I

648
00:30:43,080 --> 00:30:45,160
Speaker 1: was talking about before. They're throwing something in there that

649
00:30:45,200 --> 00:30:48,920
Speaker 1: maybe you know, the director or whoever agency hasn't thought of.

650
00:30:49,360 --> 00:30:51,360
Speaker 2: I love that, well, this is so I had such

651
00:30:51,360 --> 00:30:54,080
Speaker 2: a more positive experience. So I delivered two versions. I

652
00:30:54,120 --> 00:30:56,960
Speaker 2: delivered the comedic, lots of fun one and then I

653
00:30:57,000 --> 00:30:59,760
Speaker 2: gave a more naturalistic one just so they didn't think

654
00:30:59,800 --> 00:31:04,400
Speaker 2: I was high or on drugs. And then I delivered them.

655
00:31:04,600 --> 00:31:06,440
Speaker 2: You know, you've got very small wind, you know, it's

656
00:31:06,520 --> 00:31:08,560
Speaker 2: like a super tiny window to deliver us. I think

657
00:31:08,560 --> 00:31:11,360
Speaker 2: I delivered. It was on a weekend when they asked

658
00:31:11,360 --> 00:31:14,120
Speaker 2: for it, and within twenty minutes there I got an

659
00:31:14,160 --> 00:31:18,000
Speaker 2: email back direct from the production house going Wow, love this,

660
00:31:18,160 --> 00:31:20,320
Speaker 2: thank you so much? How much fun kind of thing?

661
00:31:20,360 --> 00:31:22,160
Speaker 2: And I was like that was my and I never

662
00:31:22,200 --> 00:31:26,840
Speaker 2: got it. Yeah, but like what a much more positive experience.

663
00:31:26,480 --> 00:31:28,720
Speaker 1: Like chalk and cheese, yeah yeah.

664
00:31:28,640 --> 00:31:31,040
Speaker 2: And like almost being rewarded for giving it a crack

665
00:31:31,200 --> 00:31:34,280
Speaker 2: as opposed to like being punished for being nervous. It

666
00:31:34,400 --> 00:31:35,560
Speaker 2: was the opposite experience.

667
00:31:35,640 --> 00:31:38,280
Speaker 1: And you'll always have auditions where you think that was amazing,

668
00:31:38,280 --> 00:31:39,720
Speaker 1: I killed it, and you never hear from them again.

669
00:31:39,800 --> 00:31:41,800
Speaker 1: You'll have auditions where you think that was terrible, Why

670
00:31:41,800 --> 00:31:43,800
Speaker 1: did I do that? And you book the job. You'll

671
00:31:43,800 --> 00:31:46,040
Speaker 1: have auditions where you go in and you think, God,

672
00:31:46,120 --> 00:31:48,360
Speaker 1: what's going on in that casting director's life today? They

673
00:31:48,360 --> 00:31:51,080
Speaker 1: were so mean to me. You'll have other auditions where

674
00:31:51,120 --> 00:31:52,760
Speaker 1: you're like, oh, my god, that casting director is the

675
00:31:52,840 --> 00:31:55,280
Speaker 1: nicest person ever. I want to be in his casting

676
00:31:55,360 --> 00:31:58,120
Speaker 1: room every day. It just comes with the job.

677
00:31:58,240 --> 00:32:01,320
Speaker 2: Unfortunately, can you talk to me about the golden egg?

678
00:32:01,480 --> 00:32:05,000
Speaker 1: Oh, the golden egg. So it's not necessarily a fun story,

679
00:32:05,040 --> 00:32:07,800
Speaker 1: but it's just interesting. When I was talking earlier about

680
00:32:08,440 --> 00:32:12,000
Speaker 1: tips for casting, and this is primarily for casting TV commercials,

681
00:32:12,080 --> 00:32:14,920
Speaker 1: but have a little point of difference if you can.

682
00:32:15,520 --> 00:32:18,000
Speaker 1: And I think I was lucky when I was acting

683
00:32:18,000 --> 00:32:19,960
Speaker 1: and hosting because, as you said, I'd also been on

684
00:32:20,000 --> 00:32:22,280
Speaker 1: the other side of the camera, so I kind of

685
00:32:22,360 --> 00:32:25,760
Speaker 1: knew what people would expect. And I auditioned for this

686
00:32:26,360 --> 00:32:29,240
Speaker 1: ad for MLC and their kind of whole thing is

687
00:32:29,280 --> 00:32:31,920
Speaker 1: based around a golden egg. And I can't remember the

688
00:32:31,920 --> 00:32:34,760
Speaker 1: script exactly, but you had to come in and part

689
00:32:34,800 --> 00:32:36,640
Speaker 1: of the script was you had to nurture the egg.

690
00:32:36,680 --> 00:32:39,360
Speaker 1: There was no dialogue. It was literally just like you

691
00:32:39,400 --> 00:32:41,280
Speaker 1: had to show how you would nurture this egg as

692
00:32:41,280 --> 00:32:41,720
Speaker 1: if it was.

693
00:32:41,640 --> 00:32:44,320
Speaker 2: A baby, an imaginary egg.

694
00:32:44,240 --> 00:32:46,920
Speaker 1: And imaginary egg. I can't remember if they had an

695
00:32:46,960 --> 00:32:49,040
Speaker 1: actual egg in the audition. I think they might have,

696
00:32:49,280 --> 00:32:52,800
Speaker 1: but often they wouldn't. But I just know from being

697
00:32:52,840 --> 00:32:54,760
Speaker 1: on the other side of the camera. You're sitting there,

698
00:32:54,760 --> 00:32:57,479
Speaker 1: You're watching thirty five people in a day. You know,

699
00:32:57,880 --> 00:33:00,320
Speaker 1: come in and sit down and nurture an egg, right,

700
00:33:00,400 --> 00:33:03,640
Speaker 1: it gets boring. Yeah, Like I've got to be honest.

701
00:33:04,080 --> 00:33:05,320
Speaker 2: So many ways to nurture.

702
00:33:05,760 --> 00:33:09,240
Speaker 1: So me knowing that, I was very prepared and I

703
00:33:09,320 --> 00:33:11,600
Speaker 1: came in. I had a lullabiis in to the egg.

704
00:33:11,760 --> 00:33:13,640
Speaker 1: I had a tape measure to measure the edg because

705
00:33:13,640 --> 00:33:15,840
Speaker 1: it's all about the egg growing. I had a handkerchief

706
00:33:16,000 --> 00:33:18,360
Speaker 1: to like wipe the egg clean. I can't remember what else.

707
00:33:18,520 --> 00:33:20,360
Speaker 1: So I had like little props up my sleeve and

708
00:33:20,400 --> 00:33:22,480
Speaker 1: I knew no one else would really have done that.

709
00:33:23,080 --> 00:33:25,840
Speaker 1: And because it's such a simple action and it's such

710
00:33:25,840 --> 00:33:28,479
Speaker 1: a simple task. If you've got thirty people coming in

711
00:33:28,520 --> 00:33:30,040
Speaker 1: trying to nurture an egg and you can just be

712
00:33:30,120 --> 00:33:33,720
Speaker 1: slightly different, it gives you an advantage. And I booked

713
00:33:33,720 --> 00:33:34,760
Speaker 1: the job, which was great.

714
00:33:34,840 --> 00:33:36,520
Speaker 2: Especially, did you get that, Yeah.

715
00:33:36,400 --> 00:33:37,120
Speaker 1: I book the job.

716
00:33:37,200 --> 00:33:39,240
Speaker 2: Yeah, yeah, so good. I know.

717
00:33:39,520 --> 00:33:41,640
Speaker 1: So that's that's always like if you can think of it,

718
00:33:41,680 --> 00:33:43,920
Speaker 1: and they'll always say, don't be embarrassed, because I mean,

719
00:33:43,920 --> 00:33:46,040
Speaker 1: don't be ridiculous about it. But they'll be like, that's great,

720
00:33:46,040 --> 00:33:47,920
Speaker 1: can we do a take now without props? Like they'll

721
00:33:47,920 --> 00:33:50,240
Speaker 1: always let you know. But as Alex said, like go

722
00:33:50,360 --> 00:33:51,719
Speaker 1: in there, Bee bowl, give it a go.

723
00:33:52,040 --> 00:33:54,400
Speaker 2: Yeah, And and like what you were saying at the

724
00:33:54,440 --> 00:33:57,400
Speaker 2: top of the episode, like at the at the very least,

725
00:33:57,440 --> 00:33:58,960
Speaker 2: if they're putting you forward, they're going to be like,

726
00:33:59,400 --> 00:34:02,360
Speaker 2: let's get the with a tape measure. Yeah, there's a point,

727
00:34:02,400 --> 00:34:05,160
Speaker 2: it's like a sticky point that where they remember it was.

728
00:34:05,200 --> 00:34:08,640
Speaker 1: Probably tape measure guy exactly. But that's what happens.

729
00:34:08,920 --> 00:34:13,120
Speaker 2: So good, Okay, Sam, I'm putting you on the spot here.

730
00:34:13,800 --> 00:34:16,560
Speaker 1: Why we always do this always?

731
00:34:16,560 --> 00:34:20,400
Speaker 2: I feel like it's just so talking we've talked about

732
00:34:20,400 --> 00:34:23,440
Speaker 2: from both of us. As an actors perspective, you would

733
00:34:23,480 --> 00:34:27,040
Speaker 2: have to have some real doozies casting stories come on.

734
00:34:27,520 --> 00:34:32,200
Speaker 1: None that I'm going to talk about. No, I mean

735
00:34:32,239 --> 00:34:33,799
Speaker 1: there is, but I'm not going to talk about them.

736
00:34:33,960 --> 00:34:36,040
Speaker 1: But I tell you what. I will tell you something

737
00:34:36,280 --> 00:34:40,400
Speaker 1: that in my early career working in casting, there's a

738
00:34:40,440 --> 00:34:45,760
Speaker 1: thing called street casting. Now, this was very popular whenever

739
00:34:45,800 --> 00:34:50,080
Speaker 1: I was casting, and it's primarily, again something that TV

740
00:34:50,160 --> 00:34:53,640
Speaker 1: commercial directors want. They want real people, they don't want actors.

741
00:34:54,800 --> 00:34:57,520
Speaker 1: And so you would literally go out onto the street

742
00:34:57,880 --> 00:35:00,239
Speaker 1: with the script and the brief of the people you

743
00:35:00,719 --> 00:35:03,400
Speaker 1: needed to cast, and go up to people having a

744
00:35:03,440 --> 00:35:07,319
Speaker 1: coffee eating lunch at the beach and going, excuse me,

745
00:35:08,520 --> 00:35:10,280
Speaker 1: I've just seen you and I think you'd be perfect

746
00:35:10,320 --> 00:35:12,560
Speaker 1: for this TV commercial. And of course they look at

747
00:35:12,560 --> 00:35:15,200
Speaker 1: you and think he's this kid, like whatever, is he

748
00:35:15,239 --> 00:35:17,239
Speaker 1: going to steal my wallet? And then you've got to

749
00:35:17,239 --> 00:35:18,960
Speaker 1: be like no, no, no, this is legit. And then

750
00:35:19,000 --> 00:35:20,640
Speaker 1: sometimes you would just get them to do a chat

751
00:35:20,640 --> 00:35:22,560
Speaker 1: to camera and you get to them say the lines

752
00:35:22,600 --> 00:35:24,960
Speaker 1: that you needed to be said, and then you'll compile

753
00:35:25,040 --> 00:35:27,600
Speaker 1: that and send that off to the director and these

754
00:35:27,719 --> 00:35:30,439
Speaker 1: like people just off the street will get the job.

755
00:35:30,880 --> 00:35:34,960
Speaker 1: But I've had some really really tough street casting jobs.

756
00:35:36,000 --> 00:35:38,399
Speaker 1: It's actually really stressful because you don't know if you're

757
00:35:38,400 --> 00:35:40,200
Speaker 1: going to find people, and you want to give enough

758
00:35:40,200 --> 00:35:43,040
Speaker 1: options for each role. And so I used to hate

759
00:35:43,080 --> 00:35:45,160
Speaker 1: it because one you've got to approach people who really

760
00:35:45,200 --> 00:35:45,720
Speaker 1: don't want.

761
00:35:45,560 --> 00:35:46,200
Speaker 2: To be approached.

762
00:35:46,280 --> 00:35:49,800
Speaker 1: Yeah, And two even though I'm good talking to strangers,

763
00:35:49,880 --> 00:35:52,920
Speaker 1: it's still a bit like it's quite invasive, and I

764
00:35:52,920 --> 00:35:55,200
Speaker 1: don't know, it's just a very weird thing that you've

765
00:35:55,239 --> 00:35:57,560
Speaker 1: got to do. But I've had briefs. I had one

766
00:35:57,600 --> 00:36:00,759
Speaker 1: brief where I had to find an eighty five year

767
00:36:00,760 --> 00:36:03,800
Speaker 1: old Chinese lady with two missing front teeth.

768
00:36:04,520 --> 00:36:07,560
Speaker 2: Well, see, there goes my question. I was going to say,

769
00:36:07,880 --> 00:36:11,440
Speaker 2: don't you just cast your mates? No, you can't do that.

770
00:36:11,520 --> 00:36:14,200
Speaker 1: No you can, of course if they're right for the brief, absolutely,

771
00:36:14,280 --> 00:36:15,840
Speaker 1: if you wouldn't have known that. So I had to

772
00:36:15,840 --> 00:36:19,280
Speaker 1: go into Chinatown with a translator. I mean, can you imagine,

773
00:36:19,520 --> 00:36:22,160
Speaker 1: and no one wanted to know me, And it was like,

774
00:36:22,440 --> 00:36:24,839
Speaker 1: it's such a hard week because and trying to find

775
00:36:24,960 --> 00:36:29,480
Speaker 1: such a specific character. We ended up finding someone, but

776
00:36:29,560 --> 00:36:31,480
Speaker 1: you've got to convince them to do the job, and

777
00:36:31,520 --> 00:36:33,480
Speaker 1: especially they didn't speak English and all the rest of it.

778
00:36:33,880 --> 00:36:37,000
Speaker 1: But I've also had to and this was horrible. I'm

779
00:36:37,040 --> 00:36:40,600
Speaker 1: still scarred from it. I had to cast a weight

780
00:36:40,640 --> 00:36:43,880
Speaker 1: loss pill and go up to people who were overweight

781
00:36:43,960 --> 00:36:46,960
Speaker 1: and tell them they be perfect for the commercial I

782
00:36:47,080 --> 00:36:48,640
Speaker 1: was casting. And then of course they're like, what's the

783
00:36:48,640 --> 00:36:52,080
Speaker 1: commercial and you're like, it's a weight loss pill. Oh

784
00:36:52,200 --> 00:36:55,120
Speaker 1: my god. I literally wanted to kill myself every time,

785
00:36:55,400 --> 00:36:56,400
Speaker 1: like did you.

786
00:36:56,520 --> 00:36:59,239
Speaker 2: What was the feedback? Like that's offensive? Please don't talk

787
00:36:59,280 --> 00:36:59,759
Speaker 2: to me like that.

788
00:37:00,040 --> 00:37:02,200
Speaker 1: Oh yeah, yeah, and I can't remember. You work out

789
00:37:02,200 --> 00:37:04,080
Speaker 1: ways to say it and how to talk to them

790
00:37:04,080 --> 00:37:05,640
Speaker 1: and all the rest of it. But the funny thing

791
00:37:05,640 --> 00:37:09,000
Speaker 1: about streetcasting I found on the whole is that you

792
00:37:09,160 --> 00:37:10,960
Speaker 1: go through this whole process and you go out in

793
00:37:10,960 --> 00:37:13,160
Speaker 1: your streetcast and you find these real people and blah blah,

794
00:37:13,440 --> 00:37:16,360
Speaker 1: and let's say seventy five percent of the time, the

795
00:37:16,440 --> 00:37:18,880
Speaker 1: director would look at the tapes and be like, oh,

796
00:37:18,880 --> 00:37:20,480
Speaker 1: I don't think any of these people, right, Can we

797
00:37:20,560 --> 00:37:22,880
Speaker 1: just do like a model casting? And then you end

798
00:37:22,960 --> 00:37:25,520
Speaker 1: up casting the same theme in models and then they

799
00:37:25,560 --> 00:37:28,000
Speaker 1: get the job. I mean don't get me wrong. People

800
00:37:28,120 --> 00:37:30,120
Speaker 1: we did streetcast people a lot that got the job,

801
00:37:30,160 --> 00:37:32,040
Speaker 1: but more than often it's like, I want real people.

802
00:37:32,080 --> 00:37:33,960
Speaker 1: But then when you realize that real people can't actually

803
00:37:33,960 --> 00:37:36,520
Speaker 1: deliver the lines the way you want them to, unless

804
00:37:36,520 --> 00:37:40,920
Speaker 1: it's like a what's it called like, where you're advocating

805
00:37:40,920 --> 00:37:43,719
Speaker 1: a product that's different. You're not getting them to learn

806
00:37:43,760 --> 00:37:44,840
Speaker 1: lines and read a scripts.

807
00:37:44,960 --> 00:37:47,080
Speaker 2: Yeah, they're like, I tried this product and I really

808
00:37:47,160 --> 00:37:47,520
Speaker 2: liked it.

809
00:37:47,600 --> 00:37:50,279
Speaker 1: Yeah. And often when you streetcast you can pay the

810
00:37:50,360 --> 00:37:53,160
Speaker 1: talent less too, So that's another reason if budget's really small,

811
00:37:53,200 --> 00:37:54,160
Speaker 1: that you would street cast.

812
00:37:54,640 --> 00:37:57,920
Speaker 2: You know, when you watched like an ad, this is

813
00:37:57,960 --> 00:37:59,960
Speaker 2: going to sound like I'm sure this is a Google question.

814
00:38:00,400 --> 00:38:02,520
Speaker 2: You when you watch you out like McDonald's, right, and

815
00:38:02,560 --> 00:38:06,320
Speaker 2: there are people like cast as the people working in McDonald's.

816
00:38:06,320 --> 00:38:08,480
Speaker 2: I've always wanted, did they really work at McDonald's or

817
00:38:08,520 --> 00:38:09,160
Speaker 2: are they actors?

818
00:38:09,280 --> 00:38:12,120
Speaker 1: No? Legally they have to. It depends they can be

819
00:38:12,239 --> 00:38:15,080
Speaker 1: leapholes loopholes, but yeah, yeah, legally they have to. I

820
00:38:15,120 --> 00:38:17,160
Speaker 1: did it. I cast an ad once and I'm not

821
00:38:17,280 --> 00:38:19,719
Speaker 1: going to name any company names because I'll probably end

822
00:38:19,800 --> 00:38:24,640
Speaker 1: up in jail, but it was for a bank and

823
00:38:24,760 --> 00:38:27,799
Speaker 1: They wanted real people who were actually clients of the

824
00:38:27,840 --> 00:38:31,400
Speaker 1: bank that had this particular account, and so it was

825
00:38:32,120 --> 00:38:34,480
Speaker 1: my job to ring these people and get their story

826
00:38:34,520 --> 00:38:36,160
Speaker 1: and see if they'd be right and all. So they

827
00:38:36,200 --> 00:38:38,640
Speaker 1: sent me all their contact details, like I'm talking like

828
00:38:38,760 --> 00:38:43,000
Speaker 1: thousands and thousands of people. They also sent me their

829
00:38:43,040 --> 00:38:44,120
Speaker 1: bank account tataires.

830
00:38:46,080 --> 00:38:47,759
Speaker 2: What did you do with the paper? Oh?

831
00:38:47,880 --> 00:38:51,640
Speaker 1: Immediately I looked at it and shredded it all and

832
00:38:51,760 --> 00:38:54,759
Speaker 1: rang them and was like, this has just happened. I

833
00:38:54,800 --> 00:38:57,160
Speaker 1: just need you to know we need to delete all emails.

834
00:38:57,239 --> 00:38:59,080
Speaker 1: I just need you to send me their phone numbers

835
00:38:59,120 --> 00:39:01,560
Speaker 1: and I've shredded all paperwork because I don't want to

836
00:39:01,600 --> 00:39:05,440
Speaker 1: be live. Oh that's kind of a big mistake, guys.

837
00:39:05,480 --> 00:39:08,160
Speaker 2: I feel like I'm listening to an episode of Succession

838
00:39:08,280 --> 00:39:10,520
Speaker 2: or something like shred It Now.

839
00:39:11,960 --> 00:39:13,960
Speaker 1: But I have. I've been. I've been. This is for

840
00:39:14,000 --> 00:39:16,040
Speaker 1: a completely different company, but yeah, I mean I've been

841
00:39:16,600 --> 00:39:21,320
Speaker 1: to Scotland in banks for weeks, casting real bank tellers

842
00:39:21,320 --> 00:39:24,160
Speaker 1: and bank people who work for a Scottish bank because

843
00:39:24,200 --> 00:39:26,640
Speaker 1: they wanted that. And that's kind of exciting too, because

844
00:39:26,680 --> 00:39:28,919
Speaker 1: you do find these gems. Sometimes you're like, oh my god,

845
00:39:28,960 --> 00:39:31,080
Speaker 1: this girl is amazing, Like, ah.

846
00:39:31,080 --> 00:39:33,920
Speaker 2: So good. Should I just be hanging out at my

847
00:39:33,960 --> 00:39:36,360
Speaker 2: local Chase Bass if I can get cast for something?

848
00:39:36,719 --> 00:39:42,480
Speaker 2: Maybe can we talk chemistry tests? Yeah, because it is

849
00:39:42,560 --> 00:39:44,000
Speaker 2: a part of casting, right.

850
00:39:43,960 --> 00:39:45,960
Speaker 1: Yeah, a big part. Yeah.

851
00:39:46,000 --> 00:39:49,359
Speaker 2: So I've done it. I was figuring out beforehand. I've

852
00:39:49,400 --> 00:39:53,960
Speaker 2: done three chemistry tests what I've co hosted with another anchor,

853
00:39:54,920 --> 00:39:56,640
Speaker 2: And for me, it was such a big deal and

854
00:39:56,760 --> 00:39:59,480
Speaker 2: really exciting because like, I've always been the segment girl,

855
00:39:59,560 --> 00:40:01,480
Speaker 2: and I've been told, no, you're just going to be

856
00:40:01,520 --> 00:40:03,520
Speaker 2: the health segment girl. You'll never be able to be

857
00:40:03,560 --> 00:40:07,040
Speaker 2: a leading lady as far as like TV panels and

858
00:40:07,080 --> 00:40:10,080
Speaker 2: shows go, and so to be thrown in the mix

859
00:40:10,320 --> 00:40:13,400
Speaker 2: and being doing chemistry tests with other co ankers, I

860
00:40:13,440 --> 00:40:16,000
Speaker 2: was like, oh my god. There was this one moment

861
00:40:16,040 --> 00:40:18,920
Speaker 2: Sam where they bought in a health expert that I

862
00:40:19,000 --> 00:40:21,799
Speaker 2: interviewed as the host. Do you know what I mean?

863
00:40:21,840 --> 00:40:23,160
Speaker 2: I was like, that was what I where.

864
00:40:23,200 --> 00:40:23,920
Speaker 1: That used to be me.

865
00:40:24,120 --> 00:40:28,560
Speaker 2: Yeah, but chemistry tests are so daunting.

866
00:40:29,560 --> 00:40:33,319
Speaker 1: Yeah, yeah, yeah they can be because you don't have

867
00:40:33,400 --> 00:40:36,120
Speaker 1: the job you're going it's an audition and just for

868
00:40:36,160 --> 00:40:38,600
Speaker 1: anyone that doesn't know what a chemistry test is, it's

869
00:40:38,640 --> 00:40:41,200
Speaker 1: where you are paired up with one two, it could

870
00:40:41,200 --> 00:40:43,600
Speaker 1: be three other people depending on the project, and they

871
00:40:43,680 --> 00:40:46,040
Speaker 1: see how you relate, what your chemistry's like. So if

872
00:40:46,080 --> 00:40:48,520
Speaker 1: it's a feature film or a TV show, often they

873
00:40:48,560 --> 00:40:52,000
Speaker 1: will see if your lovers is this believable? Can we

874
00:40:52,040 --> 00:40:54,600
Speaker 1: see that these people actually could be lovers? But it

875
00:40:54,640 --> 00:40:56,000
Speaker 1: doesn't have to be that way. And I think a

876
00:40:56,040 --> 00:40:59,400
Speaker 1: lot of people think chemistry tests is just like romantic partners,

877
00:41:00,000 --> 00:41:02,000
Speaker 1: So it can be if you guys have to be

878
00:41:02,000 --> 00:41:05,040
Speaker 1: best friends for thirty years, they will often bring you

879
00:41:05,080 --> 00:41:08,440
Speaker 1: in and make sure see how you relate to each other,

880
00:41:08,440 --> 00:41:11,520
Speaker 1: what your chemistry like is as a friends. Oh wow,

881
00:41:12,280 --> 00:41:14,680
Speaker 1: So if you're actual friends with the person, which sometimes

882
00:41:14,960 --> 00:41:18,160
Speaker 1: you often have an advantage because that's stuff you can't learn,

883
00:41:18,320 --> 00:41:22,440
Speaker 1: you know. But also in your case hosting all the time,

884
00:41:22,520 --> 00:41:24,560
Speaker 1: if you've got two hosts for a show, they need

885
00:41:24,600 --> 00:41:27,440
Speaker 1: to make sure that you're compatible, that you look good

886
00:41:27,480 --> 00:41:30,040
Speaker 1: on screen, that you have a good rapport, so they

887
00:41:30,080 --> 00:41:32,000
Speaker 1: will chemistry test all the time.

888
00:41:32,320 --> 00:41:36,239
Speaker 2: It's so it's such its own beast like and I

889
00:41:36,400 --> 00:41:37,680
Speaker 2: like and this is going to be a little bit

890
00:41:37,680 --> 00:41:39,359
Speaker 2: of a digress, but you know how you're saying about

891
00:41:39,360 --> 00:41:41,160
Speaker 2: the friendship thing and how handy it is if you've

892
00:41:41,200 --> 00:41:44,600
Speaker 2: been cast as a friend. I remember when they cast Entourage.

893
00:41:45,120 --> 00:41:47,759
Speaker 2: I'm pretty sure Mark Wahlberg, who is the EP and

894
00:41:47,840 --> 00:41:51,080
Speaker 2: it's based loosely on his life, took the entire cast

895
00:41:51,320 --> 00:41:53,680
Speaker 2: to Vegas to force them to all bond because they're

896
00:41:53,719 --> 00:41:56,600
Speaker 2: meant to be like best mates and living together in

897
00:41:56,600 --> 00:42:01,239
Speaker 2: this incredible mansion in Los Angeles, and I think they said, like,

898
00:42:01,360 --> 00:42:05,799
Speaker 2: after that bonding weekend, their chemistry was, which they were

899
00:42:05,840 --> 00:42:08,640
Speaker 2: already cast by this stage. But it's just interesting to

900
00:42:08,719 --> 00:42:10,520
Speaker 2: know that there are little tricks of the trade to

901
00:42:10,640 --> 00:42:12,520
Speaker 2: get people really comfy well enough.

902
00:42:12,640 --> 00:42:16,680
Speaker 1: So that's very common. Like if you've got a family

903
00:42:16,719 --> 00:42:19,479
Speaker 1: scenario and these people have never met before, you would

904
00:42:19,480 --> 00:42:22,279
Speaker 1: often make sure that they get together and that they

905
00:42:22,360 --> 00:42:24,879
Speaker 1: might go and do family things together so that there's

906
00:42:24,920 --> 00:42:29,720
Speaker 1: that bond. On senior year, they gave all the younger

907
00:42:29,760 --> 00:42:31,919
Speaker 1: casts who are meant to be friends the contact numbers

908
00:42:31,960 --> 00:42:34,120
Speaker 1: and zoom details. Everyone was in COVID at that point,

909
00:42:34,360 --> 00:42:35,879
Speaker 1: but they would zoom each other and they would start

910
00:42:35,880 --> 00:42:38,120
Speaker 1: to build a rapport, and it really comes through in

911
00:42:38,160 --> 00:42:38,600
Speaker 1: the film.

912
00:42:38,920 --> 00:42:39,680
Speaker 2: I love that.

913
00:42:39,920 --> 00:42:41,840
Speaker 1: So that's a very common thing. But I think The

914
00:42:41,880 --> 00:42:45,000
Speaker 1: difficulty is when you're doing a chemistry test and test

915
00:42:45,080 --> 00:42:47,920
Speaker 1: and it's an audition, you don't want it to be forced,

916
00:42:47,960 --> 00:42:50,439
Speaker 1: but you've got to be relatable and act like you

917
00:42:50,480 --> 00:42:52,680
Speaker 1: are getting along, and it's also very difficult. They do

918
00:42:52,719 --> 00:42:55,040
Speaker 1: this all the time in radio. If there's a drive

919
00:42:55,080 --> 00:42:57,799
Speaker 1: show that they're crewing or trying to get talent for,

920
00:42:58,480 --> 00:43:00,960
Speaker 1: they're not just going to be like, Okay, Lola, Sam

921
00:43:01,000 --> 00:43:03,840
Speaker 1: and whoever you've got a show, No, we go in,

922
00:43:03,960 --> 00:43:07,040
Speaker 1: we do a whole episode, we see how we vibe together.

923
00:43:07,160 --> 00:43:09,919
Speaker 1: And then they might even be like, Okay, Sam, you're

924
00:43:09,960 --> 00:43:11,960
Speaker 1: not coming in tomorrow, Lola, you're coming in, And then

925
00:43:11,960 --> 00:43:14,520
Speaker 1: they've got another guy that you're doing with tomorrow because

926
00:43:15,200 --> 00:43:16,759
Speaker 1: they don't like our chemistry or whatever.

927
00:43:16,960 --> 00:43:18,759
Speaker 2: They just want to keep testing out. Piers. I think

928
00:43:18,760 --> 00:43:23,480
Speaker 2: we'd have a good drive in us. Just saying one

929
00:43:23,520 --> 00:43:25,839
Speaker 2: other thing about chemistry testing that it was one thing

930
00:43:25,840 --> 00:43:29,319
Speaker 2: that I completely failed at and that was I got

931
00:43:29,400 --> 00:43:33,560
Speaker 2: sent the It just said screen test audition at the

932
00:43:33,600 --> 00:43:36,759
Speaker 2: top of it, but it was my lines basically, and

933
00:43:36,760 --> 00:43:40,480
Speaker 2: because I was so petrified of AUTOQ, I wrote learnt

934
00:43:40,800 --> 00:43:43,600
Speaker 2: and so I hadn't done much acting trainings. This would

935
00:43:43,600 --> 00:43:46,000
Speaker 2: be like over five years ago now, and so I

936
00:43:46,080 --> 00:43:48,200
Speaker 2: literally just wrote learn my lines. I was like, stuff it.

937
00:43:48,239 --> 00:43:49,839
Speaker 2: I knew that they were doing exactly what you said,

938
00:43:49,880 --> 00:43:53,520
Speaker 2: subbing different cok male conkers out and I just sit

939
00:43:53,600 --> 00:43:55,600
Speaker 2: there and they swap them around and I was like,

940
00:43:55,880 --> 00:43:58,720
Speaker 2: then the lines were the same. I noticed they tweaked

941
00:43:58,719 --> 00:44:03,120
Speaker 2: them slightly to match the cow anchor. And I spent

942
00:44:03,480 --> 00:44:05,239
Speaker 2: I cannot tell you so long. I hadn't figure out

943
00:44:05,239 --> 00:44:07,280
Speaker 2: how to learn lines yet, so I just literally would

944
00:44:07,400 --> 00:44:09,520
Speaker 2: wrote learn, wrote learn, and wrote learn my lines. I

945
00:44:09,600 --> 00:44:14,279
Speaker 2: sit down so next to one person. I sat down

946
00:44:14,280 --> 00:44:16,719
Speaker 2: and they said, guys, we're gonna flip your lines. So

947
00:44:17,040 --> 00:44:19,480
Speaker 2: Tim you're gonna do Lola's lines. Lola You're gonna do

948
00:44:19,480 --> 00:44:21,520
Speaker 2: tim Tim's lines. And I was like, I've spent a

949
00:44:21,520 --> 00:44:24,280
Speaker 2: freaking week learning these lines, and I've learned the wrong lines.

950
00:44:25,320 --> 00:44:27,479
Speaker 2: And in the end I realized that I had learned

951
00:44:27,520 --> 00:44:29,680
Speaker 2: both just because I was learning so hard and making

952
00:44:29,680 --> 00:44:32,480
Speaker 2: my poor boyfriend Matt read the other person's lines to me.

953
00:44:33,320 --> 00:44:35,800
Speaker 2: And then the second person I did it with, Limo,

954
00:44:35,880 --> 00:44:38,279
Speaker 2: who was a comedian, he goes, oh, let's let's chuck

955
00:44:38,320 --> 00:44:41,040
Speaker 2: the lines out. Let's you know, because he's like more

956
00:44:41,080 --> 00:44:43,600
Speaker 2: into improv and ad libbing, so I just had to

957
00:44:43,640 --> 00:44:45,959
Speaker 2: kind of follow his lead and like he'd hit one

958
00:44:46,360 --> 00:44:49,279
Speaker 2: dot point of a sentence, which was so much fun

959
00:44:49,320 --> 00:44:51,479
Speaker 2: as well, but a whole different skill set. And that's

960
00:44:51,520 --> 00:44:54,880
Speaker 2: actually why I started training in acting, because I stuffed

961
00:44:54,920 --> 00:44:58,960
Speaker 2: up the autoque so much and freaked myself out that

962
00:44:59,000 --> 00:45:00,920
Speaker 2: I called an acting schooler Melbourne. I said, can I

963
00:45:01,000 --> 00:45:04,319
Speaker 2: please get into your TV hosting course? And they were like, nah,

964
00:45:04,400 --> 00:45:07,279
Speaker 2: it's full, you can't. And they said if you thought

965
00:45:07,280 --> 00:45:09,480
Speaker 2: about acting, and I said I would rather swim with

966
00:45:09,640 --> 00:45:12,040
Speaker 2: shas and they said that's a good sign. And then

967
00:45:12,040 --> 00:45:13,279
Speaker 2: I enrolled and I never looked.

968
00:45:14,800 --> 00:45:17,040
Speaker 1: I mean, that could have been a strategic move on

969
00:45:17,160 --> 00:45:19,600
Speaker 1: the producer's behalf too, because they have to see how

970
00:45:19,640 --> 00:45:22,000
Speaker 1: you work under pressure and scripts are being written as

971
00:45:22,040 --> 00:45:26,120
Speaker 1: you're on air and then handing you stuff. Yeah but yeah.

972
00:45:26,040 --> 00:45:30,080
Speaker 2: So fascinating though, right it really is? Yeah, autocue, I've

973
00:45:30,160 --> 00:45:31,960
Speaker 2: now I then, do you know? I also then did?

974
00:45:32,040 --> 00:45:36,440
Speaker 2: I sat down and I just found a TV host

975
00:45:36,600 --> 00:45:39,040
Speaker 2: and booked privates until I could master auto few and

976
00:45:39,120 --> 00:45:41,120
Speaker 2: we just had the app on an iPad and we

977
00:45:41,200 --> 00:45:43,479
Speaker 2: just kept going over and over and over again.

978
00:45:43,719 --> 00:45:46,680
Speaker 1: Yeah. Yeah, well that's why we're doing the TV hosting

979
00:45:46,800 --> 00:45:52,080
Speaker 1: episode because we'll talk a lot about those those techniques

980
00:45:52,120 --> 00:45:54,359
Speaker 1: and like how to master them and all the rest

981
00:45:54,360 --> 00:45:54,480
Speaker 1: of it.

982
00:45:54,640 --> 00:45:55,600
Speaker 2: It's such a skill set.

983
00:45:56,280 --> 00:45:58,680
Speaker 1: Yeah, it is. It is. It's a beast of its own.

984
00:45:58,680 --> 00:46:01,759
Speaker 2: Completely different to acting as well, and I think it's

985
00:46:01,920 --> 00:46:05,000
Speaker 2: all about like building the human connection with the audience

986
00:46:05,120 --> 00:46:07,760
Speaker 2: and with your anyway, I can't I'm getting too excited.

987
00:46:09,200 --> 00:46:11,440
Speaker 1: But there's one other thing which is different to a

988
00:46:11,560 --> 00:46:14,360
Speaker 1: chemistry test, which is called the screen test. And a

989
00:46:14,400 --> 00:46:16,719
Speaker 1: lot of people don't know that these happen, you know,

990
00:46:17,000 --> 00:46:21,799
Speaker 1: very regularly. I should explain a chemistry test can also work.

991
00:46:22,080 --> 00:46:25,359
Speaker 1: Just to backtrack for a minute, in two ways. One

992
00:46:25,440 --> 00:46:28,720
Speaker 1: way is the lead or a cast member could already

993
00:46:28,760 --> 00:46:32,160
Speaker 1: be cast and you're trying to fit someone yes to

994
00:46:32,480 --> 00:46:34,120
Speaker 1: work in with that person.

995
00:46:34,040 --> 00:46:41,120
Speaker 2: Twilight, So what's the legal Kirsten's Christian she was already

996
00:46:41,200 --> 00:46:46,920
Speaker 2: cast and Robert Pattinson wasn't came in bumbling, nervous, anxious,

997
00:46:46,920 --> 00:46:48,760
Speaker 2: and she was like, that's Edward.

998
00:46:49,080 --> 00:46:52,440
Speaker 1: Yeah, it happens all the time, so cool, or the

999
00:46:52,560 --> 00:46:55,400
Speaker 1: lead might not be cast and then they're literally they

1000
00:46:55,480 --> 00:46:57,719
Speaker 1: might have four people that they think are great for

1001
00:46:57,800 --> 00:46:59,640
Speaker 1: one role, and four people who they think are great

1002
00:46:59,640 --> 00:47:03,080
Speaker 1: for another. And you will rotate, so you might go

1003
00:47:03,239 --> 00:47:05,320
Speaker 1: in and you might read with three other people, and

1004
00:47:05,440 --> 00:47:07,920
Speaker 1: then they'll switch you all around and they'll work out

1005
00:47:07,960 --> 00:47:10,680
Speaker 1: what the best chemistry is. Again, they can do it

1006
00:47:10,760 --> 00:47:13,680
Speaker 1: with fathers and sons, moms and daughters, mums and sons.

1007
00:47:13,760 --> 00:47:18,520
Speaker 1: It's not tied to one thing. Amazing, So that's chemistry testing.

1008
00:47:19,440 --> 00:47:23,200
Speaker 2: Scary imagine if you got down to that final chunk.

1009
00:47:23,320 --> 00:47:25,239
Speaker 1: I know, But I also think as an actor, how

1010
00:47:25,320 --> 00:47:28,120
Speaker 1: amazing that you get all these opportunities to keep going

1011
00:47:28,160 --> 00:47:30,320
Speaker 1: over the script and finding new ways to deliver it

1012
00:47:30,400 --> 00:47:32,759
Speaker 1: and relating to the other actor that you're with and

1013
00:47:32,920 --> 00:47:35,760
Speaker 1: getting time in the room and the director, because don't forget,

1014
00:47:35,920 --> 00:47:37,959
Speaker 1: you may not get this role, but they may love

1015
00:47:38,040 --> 00:47:40,760
Speaker 1: you and had had such a good experience why working

1016
00:47:40,800 --> 00:47:42,520
Speaker 1: with you in the chemistry test that they bring you

1017
00:47:42,560 --> 00:47:45,239
Speaker 1: back for something else, Or they write a role in

1018
00:47:45,440 --> 00:47:46,200
Speaker 1: that show.

1019
00:47:46,120 --> 00:47:49,960
Speaker 2: For you, which is actually common, Like there's a lot

1020
00:47:50,000 --> 00:47:52,759
Speaker 2: of stories like that, or someone an audition for this role,

1021
00:47:52,840 --> 00:47:55,399
Speaker 2: for a very specific role for a very specific show,

1022
00:47:56,239 --> 00:47:59,279
Speaker 2: think they've got it, not get it. Next minute, there's

1023
00:47:59,280 --> 00:48:00,560
Speaker 2: a whole new show around.

1024
00:48:00,680 --> 00:48:03,680
Speaker 1: Oh, completely happens all the time, so don't be deterred

1025
00:48:03,760 --> 00:48:07,359
Speaker 1: by that type of thing. But then there's a thing

1026
00:48:07,400 --> 00:48:10,120
Speaker 1: called screen test, which is different to chemistry testing. So

1027
00:48:10,280 --> 00:48:13,040
Speaker 1: chemistry testing you're purely looking at the chemistry between the

1028
00:48:13,120 --> 00:48:15,880
Speaker 1: two parties or three parties or whatever for whatever it

1029
00:48:15,960 --> 00:48:21,040
Speaker 1: may be. Screen testing is where you may be considered

1030
00:48:21,080 --> 00:48:23,480
Speaker 1: for a role. Now, you could have auditioned, or you

1031
00:48:23,560 --> 00:48:26,120
Speaker 1: could be an actor that is so high up the

1032
00:48:26,440 --> 00:48:30,480
Speaker 1: echelon and you know wherever that you don't audition. But

1033
00:48:30,640 --> 00:48:33,600
Speaker 1: what they want to do is see how you fit

1034
00:48:33,760 --> 00:48:37,120
Speaker 1: the character. So it is an audition as such. But

1035
00:48:37,360 --> 00:48:40,080
Speaker 1: what they do, and I know Baz did this for Elvis,

1036
00:48:40,160 --> 00:48:43,480
Speaker 1: and this happens all the time, is they will fly

1037
00:48:43,719 --> 00:48:47,839
Speaker 1: you in Elvis's case to Queensland and they will dress

1038
00:48:47,920 --> 00:48:51,239
Speaker 1: you in the full wardrobe. They will have a wardrobe

1039
00:48:51,320 --> 00:48:53,440
Speaker 1: piece made for you with wig. You will get in

1040
00:48:53,520 --> 00:48:56,160
Speaker 1: full makeup, and you will go and they will shoot

1041
00:48:56,239 --> 00:48:59,320
Speaker 1: you on film or whatever they are filming the actual

1042
00:48:59,400 --> 00:49:02,680
Speaker 1: movie on on a soundstage, potentially on a set if

1043
00:49:02,719 --> 00:49:05,080
Speaker 1: a set's not available. However, they want to do it

1044
00:49:05,400 --> 00:49:07,760
Speaker 1: and they want to see how you look and feel

1045
00:49:07,960 --> 00:49:10,680
Speaker 1: in the character and on screen, which makes sense because

1046
00:49:10,719 --> 00:49:13,279
Speaker 1: if you're in a movie that's one hundred million, one

1047
00:49:13,360 --> 00:49:18,239
Speaker 1: hundred and fifty million dollar budget, and you have been

1048
00:49:18,320 --> 00:49:20,880
Speaker 1: offered this role or they're they're considering for you for

1049
00:49:20,960 --> 00:49:23,480
Speaker 1: the role, they wouldn't actually offer it to you. They

1050
00:49:23,520 --> 00:49:25,399
Speaker 1: don't want to make a mistake, like you might get

1051
00:49:25,440 --> 00:49:28,560
Speaker 1: on screen and in this outfit and they might go, shit,

1052
00:49:29,080 --> 00:49:31,440
Speaker 1: they don't look old enough. I thought they were going

1053
00:49:31,480 --> 00:49:33,479
Speaker 1: to be fantastic, but this isn't going to work.

1054
00:49:33,840 --> 00:49:36,839
Speaker 2: Can I ask? How many people will usually get down

1055
00:49:36,880 --> 00:49:38,640
Speaker 2: to that final score? So I feel like the screen

1056
00:49:38,719 --> 00:49:41,600
Speaker 2: testing bidders towards the end, as in you're going to

1057
00:49:41,760 --> 00:49:43,440
Speaker 2: after a screen test you can know if you've got

1058
00:49:43,480 --> 00:49:46,279
Speaker 2: the role or not. Yes, it's quite towards the end.

1059
00:49:46,400 --> 00:49:48,239
Speaker 1: Yeah, yeah, yeah, it's the very end.

1060
00:49:48,360 --> 00:49:50,320
Speaker 2: Ye. How many people could be at that phase, like

1061
00:49:50,400 --> 00:49:51,840
Speaker 2: for Elvis for example.

1062
00:49:51,640 --> 00:49:54,399
Speaker 1: Well for the lead role of Elvis, maybe three or four.

1063
00:49:55,160 --> 00:49:58,040
Speaker 1: For other characters who could just be one person or

1064
00:49:58,120 --> 00:50:00,759
Speaker 1: two people. It just depends. It depends who they're thinking of.

1065
00:50:01,120 --> 00:50:03,360
Speaker 2: And oh so interesting.

1066
00:50:03,960 --> 00:50:04,240
Speaker 1: Yeah.

1067
00:50:04,520 --> 00:50:07,840
Speaker 2: I interviewed a girl, Isabel Cornish, who was gone for Cinderella,

1068
00:50:08,080 --> 00:50:11,200
Speaker 2: and she's got the photos of her frocked up in

1069
00:50:11,280 --> 00:50:13,640
Speaker 2: the full blue gown and she was like, Lola, I

1070
00:50:13,680 --> 00:50:16,520
Speaker 2: didn't get it, but I got to that phase. It'd

1071
00:50:16,560 --> 00:50:18,839
Speaker 2: be so exciting but heartbreaking as well.

1072
00:50:18,840 --> 00:50:21,480
Speaker 1: Wow. Absolutely, because you're there, you're with the crew, you're

1073
00:50:21,760 --> 00:50:24,439
Speaker 1: on set, you're in the outfit, and then you don't

1074
00:50:24,440 --> 00:50:26,080
Speaker 1: get it and you see someone else we're in the

1075
00:50:26,120 --> 00:50:27,279
Speaker 1: outfit doing that role.

1076
00:50:27,840 --> 00:50:30,120
Speaker 2: Oh yeah, yeah, yeah, you'd have to learn that let

1077
00:50:30,200 --> 00:50:31,480
Speaker 2: go thing pretty darn quick.

1078
00:50:31,719 --> 00:50:34,680
Speaker 1: And I think that's really important for actors to remember

1079
00:50:34,760 --> 00:50:37,600
Speaker 1: as well. And as I said, this happens in TV commercials,

1080
00:50:37,640 --> 00:50:40,320
Speaker 1: but it does happen in TV shows and feature films.

1081
00:50:40,800 --> 00:50:44,680
Speaker 1: You could be down to the final two and you

1082
00:50:44,800 --> 00:50:48,200
Speaker 1: could be just as appropriate and just as perfect as

1083
00:50:48,239 --> 00:50:51,320
Speaker 1: the other person who you're up against. And yes, the

1084
00:50:51,440 --> 00:50:54,440
Speaker 1: director has a huge say, but sometimes if the studio

1085
00:50:54,840 --> 00:50:57,719
Speaker 1: is funding the entire project and they really want the

1086
00:50:57,880 --> 00:51:01,640
Speaker 1: other person the director wasn't doesn't want, they will have

1087
00:51:01,800 --> 00:51:04,640
Speaker 1: a big discussion about it, and often the studio will win,

1088
00:51:04,760 --> 00:51:06,480
Speaker 1: or often the director will win. So that's the thing.

1089
00:51:06,560 --> 00:51:09,960
Speaker 1: It doesn't mean that you weren't good enough for that necessarily.

1090
00:51:10,239 --> 00:51:13,120
Speaker 1: I mean sometimes it does, but often if you get

1091
00:51:13,160 --> 00:51:16,560
Speaker 1: down to the final two. You got the chops. You know,

1092
00:51:16,800 --> 00:51:19,520
Speaker 1: it's just comes down to so many time.

1093
00:51:21,000 --> 00:51:24,040
Speaker 2: Yeah, so interesting. Are we going to talk a bit

1094
00:51:24,080 --> 00:51:25,239
Speaker 2: of acting school let's talk?

1095
00:51:25,320 --> 00:51:29,440
Speaker 1: I mean, how many ridiculous stories, especially in LA are

1096
00:51:29,520 --> 00:51:31,520
Speaker 1: there about acting schools?

1097
00:51:32,239 --> 00:51:36,360
Speaker 2: How long have you got Sam? I think I just

1098
00:51:36,440 --> 00:51:37,760
Speaker 2: want to tell some funny story.

1099
00:51:37,960 --> 00:51:38,719
Speaker 1: Yeah, I can't wait.

1100
00:51:39,080 --> 00:51:42,160
Speaker 2: So I was one of those classic Aussies that I

1101
00:51:42,239 --> 00:51:44,839
Speaker 2: auditioned for NIDER every single year. Never got a call

1102
00:51:44,920 --> 00:51:46,799
Speaker 2: back once, so never ever made it through. I think

1103
00:51:46,800 --> 00:51:48,719
Speaker 2: there's quite a few rounds auditions. I've never made it

1104
00:51:48,760 --> 00:51:52,080
Speaker 2: pass round one. I remember one audition for NIDER. I

1105
00:51:52,600 --> 00:51:55,319
Speaker 2: walked in the room and there was probably twenty other

1106
00:51:55,400 --> 00:51:58,360
Speaker 2: actors in the room. They go they just looked at

1107
00:51:58,400 --> 00:52:00,800
Speaker 2: me and they said, you are a crocodile. And I

1108
00:52:00,960 --> 00:52:04,400
Speaker 2: was like, huh, you are a crocodile. And I literally

1109
00:52:04,560 --> 00:52:07,200
Speaker 2: just started doing chomping arms as if I was a

1110
00:52:07,239 --> 00:52:10,960
Speaker 2: crocodile trying to eat other actors in the room. And

1111
00:52:11,040 --> 00:52:12,879
Speaker 2: that was our warmart exercise for the day.

1112
00:52:13,120 --> 00:52:14,080
Speaker 1: Was everyone a crocodile.

1113
00:52:14,120 --> 00:52:15,080
Speaker 2: Everyone was a crocodile.

1114
00:52:15,239 --> 00:52:17,200
Speaker 1: So wait, they didn't send you home after that? That

1115
00:52:17,400 --> 00:52:19,600
Speaker 1: was just the warm up that day though, like that

1116
00:52:19,760 --> 00:52:19,920
Speaker 1: was it.

1117
00:52:20,480 --> 00:52:22,960
Speaker 2: So it was the crocodile a bit. Then you do

1118
00:52:23,040 --> 00:52:25,120
Speaker 2: other theater sports and then you do a monologue all

1119
00:52:25,200 --> 00:52:25,879
Speaker 2: that kind of jazz.

1120
00:52:25,920 --> 00:52:26,080
Speaker 1: Yeah.

1121
00:52:26,400 --> 00:52:30,160
Speaker 2: Yeah. Then they sent me home and then another one

1122
00:52:30,480 --> 00:52:35,320
Speaker 2: was another Australian school. They put music on and this

1123
00:52:35,480 --> 00:52:37,200
Speaker 2: was so I'd done. I got a call back. So

1124
00:52:38,440 --> 00:52:41,359
Speaker 2: my grades weren't high enough to get into Bachelor Performing Arts.

1125
00:52:41,400 --> 00:52:45,400
Speaker 2: I was ten marks below exactly to the point, and

1126
00:52:45,600 --> 00:52:46,759
Speaker 2: so I was like, oh, stuff it, I'll just do

1127
00:52:46,800 --> 00:52:49,120
Speaker 2: an arts degree and try and get across to performing

1128
00:52:49,280 --> 00:52:53,719
Speaker 2: arts another way. And I got second round offers to

1129
00:52:53,800 --> 00:52:56,000
Speaker 2: come in with my monologue, like to come an audition,

1130
00:52:56,200 --> 00:52:58,360
Speaker 2: and so I went in, did my ear twelve monologue

1131
00:52:58,400 --> 00:53:00,319
Speaker 2: and then they're like, okay, shut your eyes. They put

1132
00:53:00,400 --> 00:53:03,239
Speaker 2: music on and I had to grow from a seed

1133
00:53:03,520 --> 00:53:07,400
Speaker 2: to a sunflower. Well the music was playing with my

1134
00:53:07,480 --> 00:53:09,200
Speaker 2: eyes shut. I was like, am I going to get

1135
00:53:09,280 --> 00:53:12,720
Speaker 2: murdered right now? And it felt like for ten minutes.

1136
00:53:12,719 --> 00:53:15,600
Speaker 2: I'm sure it was about three, but I got into

1137
00:53:15,680 --> 00:53:19,160
Speaker 2: that one. Yeah, and then I also auditioned for the

1138
00:53:19,320 --> 00:53:21,640
Speaker 2: musical theater course because I was like, I've got to

1139
00:53:21,680 --> 00:53:23,719
Speaker 2: try and get in. I can't sing. I don't know

1140
00:53:23,719 --> 00:53:26,760
Speaker 2: if I've shared with you that. I but my auntie

1141
00:53:26,920 --> 00:53:27,640
Speaker 2: was a singer, and.

1142
00:53:27,640 --> 00:53:30,040
Speaker 1: Wait, why did you audition for a musical theater? Course

1143
00:53:30,040 --> 00:53:30,879
Speaker 1: if you can't sing?

1144
00:53:31,120 --> 00:53:33,400
Speaker 2: Oh, I had to get into performing arts somehow. I

1145
00:53:33,520 --> 00:53:35,719
Speaker 2: was like, Oh, I'll just transfer across. After a year,

1146
00:53:36,320 --> 00:53:40,239
Speaker 2: I was like, I was pretty like determined. And my

1147
00:53:40,440 --> 00:53:42,400
Speaker 2: auntie was a singer and he had to sing a

1148
00:53:42,480 --> 00:53:44,080
Speaker 2: cappella for the audition.

1149
00:53:44,480 --> 00:53:46,200
Speaker 1: Oh my god, that's so hard.

1150
00:53:46,719 --> 00:53:50,279
Speaker 2: I did Janis Joplin. Oh lord, why don't you buy

1151
00:53:50,320 --> 00:53:52,840
Speaker 2: me a Mercedes Bens And they literally stopped me halfway

1152
00:53:52,880 --> 00:53:55,280
Speaker 2: through the audition, Sam and they said.

1153
00:53:56,840 --> 00:53:57,120
Speaker 1: Stop.

1154
00:53:57,760 --> 00:53:59,760
Speaker 2: Don't we think you have a pitching problem?

1155
00:54:00,000 --> 00:54:04,720
Speaker 1: Oh my god, I'm dying. Oh my god.

1156
00:54:05,239 --> 00:54:07,960
Speaker 2: Never got in, never got it to you knowing you

1157
00:54:08,080 --> 00:54:08,719
Speaker 2: can't sing.

1158
00:54:09,320 --> 00:54:11,560
Speaker 1: It's like a bad episode of the voice or something.

1159
00:54:11,640 --> 00:54:13,840
Speaker 2: Oh it would have been times that by a million.

1160
00:54:14,280 --> 00:54:16,440
Speaker 2: I cannot sing for So there are those kind of

1161
00:54:16,520 --> 00:54:19,360
Speaker 2: like funny kind of like I did build character.

1162
00:54:20,760 --> 00:54:22,600
Speaker 1: You're like, nah, I never wanted to worry.

1163
00:54:22,640 --> 00:54:25,400
Speaker 2: I haven't told that story for so much. And I

1164
00:54:25,480 --> 00:54:29,320
Speaker 2: think it's a good like I think as a creative

1165
00:54:29,440 --> 00:54:31,480
Speaker 2: or an actor, I do think you're going to hit

1166
00:54:32,320 --> 00:54:34,680
Speaker 2: barriers and there's going to be roadblocks. And I think

1167
00:54:34,719 --> 00:54:37,000
Speaker 2: if you can get like obviously, if you can't sing,

1168
00:54:37,080 --> 00:54:39,600
Speaker 2: don't audition for musical theater course, but like there are

1169
00:54:39,840 --> 00:54:42,960
Speaker 2: other ways in and around. Say you didn't get the

1170
00:54:43,040 --> 00:54:45,760
Speaker 2: right marks, or say you didn't get into Whopper or Nider,

1171
00:54:45,920 --> 00:54:48,239
Speaker 2: there are other schools and there are other courses, Like

1172
00:54:48,280 --> 00:54:51,920
Speaker 2: there are ways to keep learning. If you get one

1173
00:54:52,040 --> 00:54:53,239
Speaker 2: or two setbacks, you know what I.

1174
00:54:53,320 --> 00:54:55,839
Speaker 1: Mean, Yeah, and you're going to get more than one

1175
00:54:55,920 --> 00:54:57,400
Speaker 1: or two. And I think that's the thing. It's like,

1176
00:54:57,719 --> 00:55:01,400
Speaker 1: don't ever be deterred because your career is going to

1177
00:55:01,400 --> 00:55:06,960
Speaker 1: be more setbacks than wins a thousand, a thousand percent.

1178
00:55:07,040 --> 00:55:08,760
Speaker 1: I was saying to Sam and the carm Wegg and coffee.

1179
00:55:08,800 --> 00:55:10,680
Speaker 1: I was like, oh my god, some days I just

1180
00:55:10,719 --> 00:55:11,000
Speaker 1: want to.

1181
00:55:11,040 --> 00:55:15,759
Speaker 2: Cry, Like it's just full lot. I have noticed a

1182
00:55:15,840 --> 00:55:20,200
Speaker 2: big difference between Oussie acting schools and American acting schools, okay,

1183
00:55:20,600 --> 00:55:23,040
Speaker 2: and I don't know if it's so in Australia. So

1184
00:55:23,160 --> 00:55:25,800
Speaker 2: for Ossie's listening to this, we have access to some

1185
00:55:25,880 --> 00:55:29,640
Speaker 2: of the most amazing, world renowned drama schools you would

1186
00:55:29,680 --> 00:55:34,239
Speaker 2: know and teachers, Oh yeah, and you've trained in didn't

1187
00:55:34,280 --> 00:55:35,640
Speaker 2: you do a director's.

1188
00:55:36,080 --> 00:55:39,560
Speaker 1: Yeah, yeah, I've done a couple of directors courses and yeah.

1189
00:55:39,960 --> 00:55:42,800
Speaker 2: It were so lucky in Australia and like the talent

1190
00:55:43,040 --> 00:55:46,040
Speaker 2: and it's incredible. But in America I've noticed there's a

1191
00:55:46,120 --> 00:55:48,000
Speaker 2: lot more kind of like you can drop into scene

1192
00:55:48,080 --> 00:55:51,600
Speaker 2: classes and scene study groups and it's like weekly classes.

1193
00:55:51,880 --> 00:55:53,760
Speaker 1: Yeah, we don't have that as much in Australia.

1194
00:55:53,800 --> 00:55:57,600
Speaker 2: You do like a three year degree almost vibes. But

1195
00:55:57,719 --> 00:56:00,480
Speaker 2: in America, because people literally get cast all the time,

1196
00:56:00,760 --> 00:56:02,640
Speaker 2: you'll see someone for a few weeks and then you're like,

1197
00:56:02,680 --> 00:56:05,279
Speaker 2: where's that, Oh, that person is on Literally I was

1198
00:56:05,360 --> 00:56:09,520
Speaker 2: in a class last year and I was auditing and

1199
00:56:09,600 --> 00:56:11,640
Speaker 2: there was like that which means you're sitting in the

1200
00:56:11,719 --> 00:56:13,719
Speaker 2: audience and watching, and this actor went up and the

1201
00:56:13,760 --> 00:56:16,200
Speaker 2: teacher said, oh, congrats on new movie role, Alex. And

1202
00:56:16,280 --> 00:56:20,800
Speaker 2: I was like, oh, lucky him. I'm driving down Sunset

1203
00:56:20,840 --> 00:56:23,239
Speaker 2: and I see the billboard and he's on it. Yeah,

1204
00:56:23,600 --> 00:56:26,680
Speaker 2: with that actor. So in LA they kind of design

1205
00:56:26,719 --> 00:56:28,600
Speaker 2: it so that if you get booked for a role,

1206
00:56:28,960 --> 00:56:31,359
Speaker 2: will you just drop back into classes after your work's done.

1207
00:56:31,400 --> 00:56:34,600
Speaker 2: So it is designed for working actors, which is really cool.

1208
00:56:35,200 --> 00:56:37,880
Speaker 2: The other thing that's amazing here, and this is not

1209
00:56:38,000 --> 00:56:39,320
Speaker 2: to have a go at ossies at all, but I

1210
00:56:39,360 --> 00:56:41,280
Speaker 2: think it's just because there are so many more actors

1211
00:56:41,360 --> 00:56:45,800
Speaker 2: here and there's so much work here. Everybody cheers. So

1212
00:56:46,040 --> 00:56:48,560
Speaker 2: every time you go up on stage and put a

1213
00:56:48,600 --> 00:56:52,080
Speaker 2: scene up, everyone's clapping. Oh my gosh, Like they'll be

1214
00:56:52,160 --> 00:56:54,239
Speaker 2: like you go, yeah, I love that scene.

1215
00:56:54,480 --> 00:56:55,000
Speaker 3: I love that.

1216
00:56:55,160 --> 00:56:58,239
Speaker 2: Yeah. So they any improv school, you get cheered to

1217
00:56:58,320 --> 00:57:01,560
Speaker 2: go up as like a bit of good luck, and

1218
00:57:01,640 --> 00:57:02,919
Speaker 2: you get cheered when you come down.

1219
00:57:03,200 --> 00:57:04,200
Speaker 1: Ah, that's cool.

1220
00:57:04,320 --> 00:57:04,840
Speaker 3: I like that.

1221
00:57:05,360 --> 00:57:08,080
Speaker 2: It's a really really nice thing. Versus in when I

1222
00:57:08,239 --> 00:57:11,520
Speaker 2: got down to the final months of training in Australia,

1223
00:57:11,680 --> 00:57:14,680
Speaker 2: like doing a longer course. You'd go up and like

1224
00:57:14,840 --> 00:57:16,840
Speaker 2: sweat your guts out for six weeks on a really

1225
00:57:16,960 --> 00:57:21,000
Speaker 2: hardcore Tennessee Williamsine or something, and you get off stage

1226
00:57:21,040 --> 00:57:23,200
Speaker 2: and you'd be like, I've just pulled my entire life

1227
00:57:23,240 --> 00:57:25,880
Speaker 2: on the stage right now, given it. You're all and

1228
00:57:26,640 --> 00:57:27,480
Speaker 2: you could hear a pendra.

1229
00:57:27,600 --> 00:57:31,600
Speaker 1: I'm just pictraying this, you know, from like one person,

1230
00:57:31,880 --> 00:57:32,760
Speaker 1: and you're like, okay.

1231
00:57:33,160 --> 00:57:35,880
Speaker 2: People say your mates will say nice things to you after,

1232
00:57:35,960 --> 00:57:37,960
Speaker 2: But I think it is strong. Maybe it's more competitive.

1233
00:57:38,080 --> 00:57:39,480
Speaker 2: I don't know, but.

1234
00:57:39,760 --> 00:57:40,920
Speaker 1: Maybe it's cultural too.

1235
00:57:41,080 --> 00:57:43,400
Speaker 2: I feel, yeah, just interesting to know.

1236
00:57:43,720 --> 00:57:44,880
Speaker 1: Yeah, yeah, I didn't know that.

1237
00:57:45,800 --> 00:57:48,560
Speaker 2: I just I could talk for yolks on acting school.

1238
00:57:48,600 --> 00:57:50,800
Speaker 2: But I just want to make kind of like share

1239
00:57:50,840 --> 00:57:52,640
Speaker 2: things that you can totally implement in your own life.

1240
00:57:52,680 --> 00:57:56,200
Speaker 2: That way from acting school and improv school, because improv

1241
00:57:56,320 --> 00:57:58,920
Speaker 2: is what I'm in right now. There's four rules for

1242
00:57:59,000 --> 00:58:02,960
Speaker 2: improv school. Know any of them? Yeah, give them to me.

1243
00:58:04,480 --> 00:58:08,520
Speaker 2: There's yes and yeah, which is basically like if you

1244
00:58:09,360 --> 00:58:13,960
Speaker 2: set up a scene and you go or I'll go, oh,

1245
00:58:14,120 --> 00:58:16,160
Speaker 2: these tulips are beautiful, you'd be.

1246
00:58:16,240 --> 00:58:21,360
Speaker 1: Like, yeah, they're beautiful, Lola. I can't say no, correct,

1247
00:58:21,800 --> 00:58:24,120
Speaker 1: I can't block her, so I have to accept the

1248
00:58:24,240 --> 00:58:26,560
Speaker 1: offer and then create an offer of my own or

1249
00:58:26,680 --> 00:58:29,720
Speaker 1: run with what she's presented with me, whether it's the

1250
00:58:29,800 --> 00:58:33,040
Speaker 1: truth or not exactly. And can I just say something

1251
00:58:33,120 --> 00:58:35,640
Speaker 1: really interesting? Marcus Brown, who we talked about in the

1252
00:58:35,720 --> 00:58:39,240
Speaker 1: Pitching episode, he has another company which is an advertising agency,

1253
00:58:39,360 --> 00:58:42,480
Speaker 1: and he's built the whole advertising agency on this one

1254
00:58:42,560 --> 00:58:45,520
Speaker 1: premise of yes and And what they do is they

1255
00:58:45,600 --> 00:58:48,240
Speaker 1: have days where they pitch ideas to a client and

1256
00:58:48,320 --> 00:58:51,320
Speaker 1: there's no wrong idea. You go into rooms, you run

1257
00:58:51,400 --> 00:58:53,120
Speaker 1: with the idea, you build on it, you build on it,

1258
00:58:53,320 --> 00:58:55,000
Speaker 1: and at the end of the two three day pitching

1259
00:58:55,040 --> 00:58:57,480
Speaker 1: they have forty ideas to present the client, and no

1260
00:58:57,520 --> 00:58:59,200
Speaker 1: one's really allowed to say no. You just have to

1261
00:58:59,320 --> 00:59:03,760
Speaker 1: add to the idea. And he said, the results are remarkable.

1262
00:59:04,200 --> 00:59:06,880
Speaker 2: And did you say it was because he read an

1263
00:59:06,880 --> 00:59:08,840
Speaker 2: improv book? Is that like what sinspired?

1264
00:59:09,160 --> 00:59:09,320
Speaker 3: Yeah?

1265
00:59:09,360 --> 00:59:11,840
Speaker 1: He read an improv book and thought, why can't we

1266
00:59:12,400 --> 00:59:14,000
Speaker 1: come up with ideas in this way?

1267
00:59:14,720 --> 00:59:16,600
Speaker 2: It's such a cool way to run businesses if you

1268
00:59:16,640 --> 00:59:19,560
Speaker 2: think about nearly any business. The other rules are listen,

1269
00:59:20,440 --> 00:59:24,160
Speaker 2: which applies to all acting support and trust your scene partner.

1270
00:59:24,600 --> 00:59:26,520
Speaker 2: So you're a team. You don't want to like knock

1271
00:59:26,520 --> 00:59:28,800
Speaker 2: your team partner down like you said, or block them.

1272
00:59:29,200 --> 00:59:31,600
Speaker 1: Yeah, the biggest thing in improv is you never leave

1273
00:59:31,680 --> 00:59:33,000
Speaker 1: your seed partner out to dry.

1274
00:59:33,520 --> 00:59:37,360
Speaker 2: Yes, And that's why it's so I think, so fun

1275
00:59:37,440 --> 00:59:39,320
Speaker 2: to watch because you're kind of watching two people with

1276
00:59:39,440 --> 00:59:43,200
Speaker 2: no real script or plan kind of both try and

1277
00:59:43,600 --> 00:59:46,680
Speaker 2: help one another, not sink. That's where I think it

1278
00:59:46,800 --> 00:59:49,520
Speaker 2: is quite entertaining, really entertaining to watch. And then this

1279
00:59:49,640 --> 00:59:52,400
Speaker 2: one's really cool so you always assume that you know

1280
00:59:52,520 --> 00:59:54,680
Speaker 2: your scene partner. So your scene partner is really going

1281
00:59:54,720 --> 01:00:01,040
Speaker 2: to be a stranger, so they're going to be a mate, employee, employer, dad, brother.

1282
01:00:01,560 --> 01:00:04,000
Speaker 2: There's only two girls in my improv class, so I

1283
01:00:04,120 --> 01:00:06,360
Speaker 2: end up always being like the lover or the why

1284
01:00:06,920 --> 01:00:10,560
Speaker 2: or like the mom. Like but yeah, they say, you

1285
01:00:10,680 --> 01:00:13,120
Speaker 2: never don't know what's going on in a scene, and

1286
01:00:13,240 --> 01:00:16,400
Speaker 2: you never don't know you've seen partner. That's really interesting.

1287
01:00:18,080 --> 01:00:20,200
Speaker 2: And then I'll rapid fire this stuff. This is just

1288
01:00:20,280 --> 01:00:24,280
Speaker 2: some cool stuff from acting school that I totally think

1289
01:00:24,400 --> 01:00:27,440
Speaker 2: is like life Hackey song, Bring it on all right,

1290
01:00:28,120 --> 01:00:30,800
Speaker 2: Connect to your body. Yeah, you go to the gym

1291
01:00:30,840 --> 01:00:32,680
Speaker 2: every day. I do yog's, Like I think that's a

1292
01:00:32,720 --> 01:00:34,920
Speaker 2: no brainer, especially as an actor, but also like if

1293
01:00:34,960 --> 01:00:36,880
Speaker 2: you're in a pitching meeting or if you're writing a

1294
01:00:36,960 --> 01:00:43,040
Speaker 2: script and just for mental health, be specific. That's like

1295
01:00:43,120 --> 01:00:46,280
Speaker 2: you with the golden egg and your measuring day, be

1296
01:00:46,480 --> 01:00:51,000
Speaker 2: over prepared. We both do that. Breathe and get control

1297
01:00:51,080 --> 01:00:51,720
Speaker 2: of your breath.

1298
01:00:52,280 --> 01:00:52,760
Speaker 1: That's good.

1299
01:00:53,560 --> 01:00:56,320
Speaker 2: Ian one of my favorite teachers in Australia, says, often

1300
01:00:56,360 --> 01:00:58,520
Speaker 2: when you've dropping a line, it's just that you're not

1301
01:00:58,600 --> 01:01:00,400
Speaker 2: breathing properly and was.

1302
01:01:00,360 --> 01:01:03,400
Speaker 1: Talking about Ian Sinclair. She's spoken about him. I'm fearlessly failing.

1303
01:01:03,960 --> 01:01:06,200
Speaker 1: But if you haven't listened to that, he is a genius.

1304
01:01:06,960 --> 01:01:09,320
Speaker 1: I actually worked with him fifteen years ago. I directed

1305
01:01:09,400 --> 01:01:12,440
Speaker 1: him in a theaters at Belvoir and he's just an

1306
01:01:12,480 --> 01:01:16,120
Speaker 1: amazing human being. He's so knowledgeable, he's such an incredible director.

1307
01:01:16,800 --> 01:01:18,760
Speaker 1: So if you haven't heard of him and you want

1308
01:01:18,760 --> 01:01:21,040
Speaker 1: to study acting or want to look him up, because

1309
01:01:21,080 --> 01:01:22,280
Speaker 1: he's just and I'll put.

1310
01:01:22,120 --> 01:01:24,440
Speaker 2: A link to the show notes. Thank you for that.

1311
01:01:25,160 --> 01:01:28,480
Speaker 2: Sam know what's happening right before you enter the scene,

1312
01:01:29,160 --> 01:01:33,120
Speaker 2: which sounds like a really simple thing, but it's so

1313
01:01:33,320 --> 01:01:36,240
Speaker 2: easy to just learn what's on the written page, especially

1314
01:01:36,280 --> 01:01:40,960
Speaker 2: for an audition, and just think you've popped out of

1315
01:01:41,000 --> 01:01:43,520
Speaker 2: thin air, when really there's a whole set of circumstances.

1316
01:01:43,680 --> 01:01:45,800
Speaker 1: And it's so important when you're filming a TV show

1317
01:01:45,840 --> 01:01:49,280
Speaker 1: in a movie because it's shot not in sequential order.

1318
01:01:50,240 --> 01:01:52,160
Speaker 1: If you're doing a scene and you've just had a

1319
01:01:52,200 --> 01:01:54,600
Speaker 1: car accident in the scene before, but you haven't even

1320
01:01:54,600 --> 01:01:56,560
Speaker 1: shot that scene yet, and you've got to come into

1321
01:01:56,600 --> 01:01:59,720
Speaker 1: a room and act flustered and whatever, and that may

1322
01:01:59,800 --> 01:02:02,600
Speaker 1: not necessarily be in the script, and you may know

1323
01:02:02,680 --> 01:02:04,320
Speaker 1: you've had a car accident, but may not be like

1324
01:02:04,440 --> 01:02:08,040
Speaker 1: you're flustered or whatever. Who knows it's not going to sink.

1325
01:02:08,160 --> 01:02:09,840
Speaker 1: So you've got to know where you're coming from and

1326
01:02:09,960 --> 01:02:13,160
Speaker 1: also where you're going to. If at the end of

1327
01:02:13,200 --> 01:02:15,280
Speaker 1: the scene you're about to go out on a date,

1328
01:02:15,360 --> 01:02:17,200
Speaker 1: that's going to be very different to you going to

1329
01:02:17,280 --> 01:02:17,600
Speaker 1: the beach.

1330
01:02:18,320 --> 01:02:20,920
Speaker 2: Yes. Yeah, it's so interesting though, because I think I

1331
01:02:21,040 --> 01:02:23,600
Speaker 2: know I've made the mistake of just learning what's on

1332
01:02:23,680 --> 01:02:26,360
Speaker 2: the page, and I think as an actor you can

1333
01:02:26,440 --> 01:02:29,600
Speaker 2: get a bit in your head and sometimes ignore like

1334
01:02:29,800 --> 01:02:31,440
Speaker 2: stage notes, and you're just like, well, I'm just going

1335
01:02:31,480 --> 01:02:33,320
Speaker 2: to learn my lines and it's what you want to

1336
01:02:33,400 --> 01:02:36,360
Speaker 2: know as much as humanly possible. Okay. Next one is

1337
01:02:36,440 --> 01:02:39,760
Speaker 2: do the work, which I think we both believe in

1338
01:02:40,280 --> 01:02:43,360
Speaker 2: and where I trained in Melbourne at Sixteenth Street, they

1339
01:02:43,440 --> 01:02:46,840
Speaker 2: were like, this is your Olympics, so treat it like

1340
01:02:46,960 --> 01:02:50,000
Speaker 2: the Olympics. Like work hard, work harder than you ever

1341
01:02:50,080 --> 01:02:52,800
Speaker 2: worked before. So me being a type, I love that.

1342
01:02:52,880 --> 01:02:54,480
Speaker 2: I feel like that's how you work as well.

1343
01:02:54,880 --> 01:02:57,320
Speaker 1: Yeah. Absolutely, But I think also we were talking about this.

1344
01:02:57,440 --> 01:02:59,280
Speaker 1: I can't remember the other day. And I think this

1345
01:02:59,560 --> 01:03:02,320
Speaker 1: applies to film school and just training in general, Like

1346
01:03:03,080 --> 01:03:05,520
Speaker 1: you're never going to have those opportunities to try something

1347
01:03:05,640 --> 01:03:07,479
Speaker 1: and it doesn't work if you do that on set.

1348
01:03:07,920 --> 01:03:10,480
Speaker 1: I'm not saying don't try things on set, but do

1349
01:03:10,520 --> 01:03:12,440
Speaker 1: you know what I mean? Like, it's really important use

1350
01:03:12,520 --> 01:03:15,640
Speaker 1: that space. You can fail miserably in class, it doesn't matter.

1351
01:03:16,000 --> 01:03:18,040
Speaker 1: There's not one hundred and fifty crew waiting for you

1352
01:03:18,160 --> 01:03:18,960
Speaker 1: to do a performance.

1353
01:03:19,240 --> 01:03:21,680
Speaker 2: And remember, you learn every time you fall, you learn,

1354
01:03:21,920 --> 01:03:24,160
Speaker 2: you build so that when you are on set you're like,

1355
01:03:24,240 --> 01:03:27,520
Speaker 2: hang on, han, I've been here and you're kind of prepared.

1356
01:03:28,600 --> 01:03:31,400
Speaker 2: Trust yourself. That's a big one, especially here.

1357
01:03:31,920 --> 01:03:34,400
Speaker 1: I feel like trust yourself and your choices. I would

1358
01:03:34,480 --> 01:03:37,960
Speaker 1: add to that, Oh, I like, if you can't commit

1359
01:03:38,040 --> 01:03:40,280
Speaker 1: to the choice that you make, it's going to read

1360
01:03:40,560 --> 01:03:43,640
Speaker 1: like buggery. So make a choice, commit to it and

1361
01:03:43,840 --> 01:03:46,040
Speaker 1: play that choice. Don't half ask it.

1362
01:03:46,680 --> 01:03:48,840
Speaker 2: Oh I love it, feel the fear, and do it

1363
01:03:48,920 --> 01:03:53,880
Speaker 2: anyway or skidif that'll make you feel nus anyway, Stay disciplined.

1364
01:03:54,960 --> 01:03:57,160
Speaker 2: I know that sounds like a really a type personality

1365
01:03:57,200 --> 01:03:59,320
Speaker 2: thing that you and I do anyway on a natural

1366
01:04:00,040 --> 01:04:01,960
Speaker 2: but it's really important when it comes to I think

1367
01:04:02,040 --> 01:04:06,040
Speaker 2: acting because it's so easy to get not necessarily lazy,

1368
01:04:06,120 --> 01:04:08,960
Speaker 2: but be like, oh, I haven't had any auditions come

1369
01:04:09,040 --> 01:04:11,800
Speaker 2: in or you know, like it's easy to kind of

1370
01:04:12,320 --> 01:04:14,400
Speaker 2: dip your toe in the acting pool and then step

1371
01:04:14,480 --> 01:04:15,160
Speaker 2: the f out of it.

1372
01:04:15,360 --> 01:04:17,400
Speaker 1: But look at this guy in your class. He's on

1373
01:04:17,560 --> 01:04:20,080
Speaker 1: a billboard in a feature film and he's still showing

1374
01:04:20,200 --> 01:04:20,880
Speaker 1: up to class.

1375
01:04:21,240 --> 01:04:26,920
Speaker 2: Yeah, I love it. At lead with the truth, you

1376
01:04:26,960 --> 01:04:30,360
Speaker 2: can't really let you down understand your own psychology. You

1377
01:04:30,480 --> 01:04:33,959
Speaker 2: and I are so pro this one and both super

1378
01:04:34,000 --> 01:04:38,080
Speaker 2: pro therapy, and there's no clear pathway which you actually

1379
01:04:38,160 --> 01:04:41,480
Speaker 2: taught me. I did no because I've asked you. I've

1380
01:04:41,480 --> 01:04:42,440
Speaker 2: been like, how did they do it?

1381
01:04:42,480 --> 01:04:42,800
Speaker 3: What was it?

1382
01:04:42,840 --> 01:04:44,480
Speaker 2: Why? And you're like it's different for everyone.

1383
01:04:44,640 --> 01:04:47,760
Speaker 1: Loola, Like there's no right or wrong. I mean, you're

1384
01:04:47,840 --> 01:04:50,120
Speaker 1: studying acting and you've been studying it for five years.

1385
01:04:50,480 --> 01:04:54,880
Speaker 1: Look at all the methods like this, danis laskyis ma.

1386
01:04:56,120 --> 01:04:58,080
Speaker 1: I mean it goes on and on and on and on,

1387
01:04:58,320 --> 01:05:01,880
Speaker 1: and with anything, even with reducing directing whatever, You've got

1388
01:05:01,960 --> 01:05:05,200
Speaker 1: to work out what works for you. And I remember,

1389
01:05:05,480 --> 01:05:08,600
Speaker 1: you know, working in London and I would bid jobs

1390
01:05:08,840 --> 01:05:11,440
Speaker 1: as a producer, and then sometimes that job would be

1391
01:05:11,520 --> 01:05:13,520
Speaker 1: handed over. That's what a bidding producer does. You hand

1392
01:05:13,560 --> 01:05:15,640
Speaker 1: it over to and maybe that person would then book

1393
01:05:15,640 --> 01:05:18,320
Speaker 1: another job, and each of us would bid it in

1394
01:05:18,360 --> 01:05:20,240
Speaker 1: a different way, would look at it in a different way.

1395
01:05:20,280 --> 01:05:22,560
Speaker 1: You'd still get the same end product. And I think

1396
01:05:22,920 --> 01:05:24,000
Speaker 1: the same thing applies.

1397
01:05:24,600 --> 01:05:27,080
Speaker 2: Oh I like that. I also think as well, don't

1398
01:05:27,080 --> 01:05:29,040
Speaker 2: attach yourself to how it needs to look or how

1399
01:05:29,080 --> 01:05:31,840
Speaker 2: the pathway needs to look. Just do the work, trust it,

1400
01:05:32,000 --> 01:05:32,720
Speaker 2: trust your joys.

1401
01:05:32,840 --> 01:05:34,720
Speaker 1: So do you know one of my life mottoes, Oh

1402
01:05:34,800 --> 01:05:38,920
Speaker 1: my God, tell me, tell me it's expectation breeds disappointment.

1403
01:05:41,200 --> 01:05:45,600
Speaker 2: No, totally. I've spent the majority of my therapy dollars

1404
01:05:45,640 --> 01:05:50,040
Speaker 2: on dropping expectation on myself and others, because I think

1405
01:05:50,120 --> 01:05:52,360
Speaker 2: that's now we're getting to psychology. But like, if you're

1406
01:05:52,360 --> 01:05:54,600
Speaker 2: an A type personality and you work really hard and

1407
01:05:54,680 --> 01:05:57,720
Speaker 2: respective on you work with, you accidentally expect that of

1408
01:05:57,800 --> 01:05:58,600
Speaker 2: everybody else.

1409
01:05:59,080 --> 01:06:00,840
Speaker 1: And also, if you think I've got this, I'm going

1410
01:06:00,920 --> 01:06:02,640
Speaker 1: to do an amazing audition and you go in and

1411
01:06:02,760 --> 01:06:04,320
Speaker 1: it comes out and in your head you think, oh

1412
01:06:04,400 --> 01:06:06,160
Speaker 1: this isn't great. You can throw yourself out. You can

1413
01:06:06,200 --> 01:06:07,320
Speaker 1: be like Oh my god. I thought it was going

1414
01:06:07,360 --> 01:06:09,160
Speaker 1: to be great and it's not great. And actually, for

1415
01:06:09,440 --> 01:06:12,520
Speaker 1: me the casting director, you might be fucking fantastic, but

1416
01:06:12,600 --> 01:06:14,520
Speaker 1: you've got in your head and you've psyched yourself out

1417
01:06:14,560 --> 01:06:19,040
Speaker 1: because you expected to do this amazing audition. Yeah, and

1418
01:06:19,160 --> 01:06:21,720
Speaker 1: that's also why side note, a lot of people feel

1419
01:06:21,800 --> 01:06:23,840
Speaker 1: let down by New Years Eve because they build up

1420
01:06:23,880 --> 01:06:25,160
Speaker 1: it's got to be a big night, it's got to

1421
01:06:25,200 --> 01:06:26,880
Speaker 1: be a big night, and then it's just another night.

1422
01:06:27,200 --> 01:06:30,080
Speaker 2: Hahaps you. I've dated two DJs and they both hate

1423
01:06:30,360 --> 01:06:33,240
Speaker 2: me because they're always working on it. There's one other

1424
01:06:33,480 --> 01:06:35,560
Speaker 2: acting note that the only reason I'm saying is because

1425
01:06:35,600 --> 01:06:38,240
Speaker 2: Larry Moss, who was like one of the godfathers of

1426
01:06:38,320 --> 01:06:41,960
Speaker 2: acting training, he always says, like, get carbonated. And I

1427
01:06:42,040 --> 01:06:44,120
Speaker 2: think it's a really nice thing to think about when

1428
01:06:44,160 --> 01:06:46,760
Speaker 2: you think about, like what makes you feel carbonated, Like

1429
01:06:46,880 --> 01:06:50,000
Speaker 2: what gives you that life? What's that feeling of electricity

1430
01:06:50,080 --> 01:06:51,800
Speaker 2: running through your veins? And it's like, if you're in

1431
01:06:51,840 --> 01:06:53,880
Speaker 2: a scene and it's feeling like you're at a stalemate,

1432
01:06:55,080 --> 01:06:57,040
Speaker 2: find that thing that's going to carbonate you, whether it

1433
01:06:57,160 --> 01:06:59,479
Speaker 2: be like a scene objective, whether it be a change

1434
01:06:59,480 --> 01:07:02,479
Speaker 2: of breath, whether it be moving in the space, whether

1435
01:07:02,520 --> 01:07:05,360
Speaker 2: it be thinking about something different, like having a different

1436
01:07:05,400 --> 01:07:09,280
Speaker 2: internal dialogue. Getting carbonated is a really nice little like

1437
01:07:09,400 --> 01:07:12,400
Speaker 2: even a mantra before an audition, like do something to carbonate?

1438
01:07:12,600 --> 01:07:15,280
Speaker 1: Yeah, cool, I've never heard it like that. I just

1439
01:07:15,400 --> 01:07:19,360
Speaker 1: pictured you drinking soda water. I'm like, where is this going?

1440
01:07:19,960 --> 01:07:22,800
Speaker 1: Play a soda stream and carbonate guys before your audition?

1441
01:07:23,840 --> 01:07:25,480
Speaker 2: Funp, Sam, fun F.

1442
01:07:25,680 --> 01:07:26,959
Speaker 1: Now I want to play a little game.

1443
01:07:29,000 --> 01:07:29,920
Speaker 2: Oh oh my goodness.

1444
01:07:30,080 --> 01:07:32,880
Speaker 1: Yes, I've got notes and everyone listening can play at

1445
01:07:32,920 --> 01:07:36,080
Speaker 1: home too. We are going to play a casting game

1446
01:07:37,360 --> 01:07:43,600
Speaker 1: and I am going to For example, Heath Ledger played

1447
01:07:43,640 --> 01:07:46,960
Speaker 1: the Joker in The Dark Knight, but what you may

1448
01:07:47,040 --> 01:07:49,000
Speaker 1: not know is he originally auditioned for the role of

1449
01:07:49,080 --> 01:07:52,600
Speaker 1: Bruce Wayne and Batman begin did. So we're going to

1450
01:07:52,680 --> 01:07:55,960
Speaker 1: play a game with those type of casting scenarios. So

1451
01:07:56,320 --> 01:07:58,320
Speaker 1: I will start, and what you have to do is

1452
01:07:58,840 --> 01:08:01,320
Speaker 1: I'm going to tell you who got the role, and

1453
01:08:01,360 --> 01:08:03,120
Speaker 1: then I'm going to give you a multiple choice of

1454
01:08:03,240 --> 01:08:05,400
Speaker 1: who was the runner up and you have to guess

1455
01:08:05,480 --> 01:08:06,760
Speaker 1: or who else was being considered.

1456
01:08:07,120 --> 01:08:08,560
Speaker 2: S Hang on, but who am I trying to guess?

1457
01:08:08,760 --> 01:08:12,760
Speaker 1: So I'll tell you so in the notebook, right.

1458
01:08:13,960 --> 01:08:16,639
Speaker 2: I've got my game face on. I'm serious, you should.

1459
01:08:17,439 --> 01:08:18,479
Speaker 1: I feel like she's about to eat me.

1460
01:08:18,600 --> 01:08:19,479
Speaker 2: I do not want to lose.

1461
01:08:19,920 --> 01:08:23,559
Speaker 1: So the role of Ali was played by Rachel McAdams,

1462
01:08:23,640 --> 01:08:26,760
Speaker 1: but there was also another person that was in consideration

1463
01:08:26,920 --> 01:08:31,040
Speaker 1: for this role. Was it a Lindsay Lohan, b Britney

1464
01:08:31,080 --> 01:08:33,200
Speaker 1: Spears or see Scarlet Your Handsen.

1465
01:08:32,960 --> 01:08:35,600
Speaker 2: Scull at your hands and bullshit?

1466
01:08:36,560 --> 01:08:37,280
Speaker 1: Do you know who it was?

1467
01:08:38,560 --> 01:08:39,599
Speaker 2: Norine Spear?

1468
01:08:40,479 --> 01:08:44,840
Speaker 1: That this is such a good example of how a

1469
01:08:44,920 --> 01:08:48,439
Speaker 1: film can completely changed. Can you imagine Britney in that role? Well?

1470
01:08:48,479 --> 01:08:53,400
Speaker 2: Also, Ryan Gosling and Rachel mccams dated after and they

1471
01:08:53,439 --> 01:08:55,240
Speaker 2: had the most They won awards for that kiss.

1472
01:08:55,439 --> 01:08:59,400
Speaker 1: And I think she is amazing. She is such an

1473
01:08:59,400 --> 01:09:01,679
Speaker 1: amazing actress. Rachel mc adams, not Brittany.

1474
01:09:02,439 --> 01:09:07,760
Speaker 2: Also our Goslin down the street, been keeping my eyes out.

1475
01:09:07,840 --> 01:09:12,280
Speaker 2: No luck yet. Okay, you're gonna go get or drop me?

1476
01:09:12,640 --> 01:09:17,080
Speaker 2: You go? Oh okay, I'm so nervous about this changed format. Okay, okay,

1477
01:09:17,240 --> 01:09:23,639
Speaker 2: So who did Quentin Tarantino have to get drunk slash

1478
01:09:23,800 --> 01:09:26,519
Speaker 2: high to say yes to being in one of his movies?

1479
01:09:27,760 --> 01:09:31,479
Speaker 2: A Leonardo DiCaprio in Once Upon a Time in Hollywood.

1480
01:09:33,000 --> 01:09:37,880
Speaker 2: B Brad Pitt in Glorious Bastards or see Uma Thurman

1481
01:09:38,080 --> 01:09:38,840
Speaker 2: in Pulp Fiction.

1482
01:09:40,800 --> 01:09:42,200
Speaker 1: I'm going see Uma.

1483
01:09:42,840 --> 01:09:44,599
Speaker 2: No, who was it Brad Pitt?

1484
01:09:44,880 --> 01:09:45,000
Speaker 1: Oh?

1485
01:09:45,160 --> 01:09:47,519
Speaker 2: Really got him drunken high? And then six weeks later

1486
01:09:47,560 --> 01:09:50,519
Speaker 2: found himself on the set for Glorious Bastards. Oh my god,

1487
01:09:51,040 --> 01:09:51,720
Speaker 2: am I allowed to say?

1488
01:09:51,800 --> 01:09:51,920
Speaker 1: Hi?

1489
01:09:52,080 --> 01:09:53,120
Speaker 2: It's set it on the website?

1490
01:09:53,640 --> 01:09:53,920
Speaker 3: Why not?

1491
01:09:54,200 --> 01:09:54,720
Speaker 1: We didn't do it?

1492
01:09:55,680 --> 01:09:57,040
Speaker 2: How cool? Am I playing the game?

1493
01:09:57,120 --> 01:09:57,280
Speaker 3: Right?

1494
01:09:57,520 --> 01:10:02,080
Speaker 1: Yeah? This is great? Okay, so so very famous, cult

1495
01:10:02,120 --> 01:10:03,120
Speaker 1: classic clueless?

1496
01:10:03,640 --> 01:10:04,200
Speaker 2: Oh love?

1497
01:10:04,560 --> 01:10:07,519
Speaker 1: We all know Alicia Silverstone played the lead role. Yes,

1498
01:10:07,880 --> 01:10:13,840
Speaker 1: but it was offered to or inconsideration. Was also a

1499
01:10:14,160 --> 01:10:20,599
Speaker 1: Reese Witherspoon, b Angelina Joey and see Jessica Alba. Now

1500
01:10:20,680 --> 01:10:23,080
Speaker 1: this is a trick question because two of those answers

1501
01:10:23,120 --> 01:10:23,559
Speaker 1: are correct.

1502
01:10:24,520 --> 01:10:28,800
Speaker 2: Oh okay, So like my I want to pick like

1503
01:10:28,920 --> 01:10:32,920
Speaker 2: a non, I'm just gonna say Jessica Alba. No, Well,

1504
01:10:32,920 --> 01:10:34,360
Speaker 2: because that's why I didn't think it a be so

1505
01:10:34,400 --> 01:10:35,040
Speaker 2: I thought i'd win.

1506
01:10:35,320 --> 01:10:37,719
Speaker 1: Reese and Angelina were also up for that role.

1507
01:10:37,600 --> 01:10:44,840
Speaker 2: Because Reese is down blonde, okay, which pretty mega actor

1508
01:10:46,680 --> 01:10:52,560
Speaker 2: took the sag minimum wage just to work with Martin Scorsese.

1509
01:10:54,040 --> 01:10:55,720
Speaker 2: I feel like I picked really hard one. No, I

1510
01:10:55,840 --> 01:11:01,280
Speaker 2: love this, it's good one Jonah Hill, Wolf of Wall Street. Two,

1511
01:11:02,000 --> 01:11:07,519
Speaker 2: Matt Damon, The Departed. Three al Pacino, the Irishman.

1512
01:11:09,000 --> 01:11:11,519
Speaker 1: Al Pacino? No, who was it?

1513
01:11:11,880 --> 01:11:14,880
Speaker 2: Jonah Hill so badly wanted to work with Martin Scorsese

1514
01:11:15,080 --> 01:11:18,040
Speaker 2: that he agreed on the SAG minimum wage, which was

1515
01:11:18,160 --> 01:11:21,840
Speaker 2: sixty thousand dollars for the whole shoot. And Leonard DiCaprio

1516
01:11:21,960 --> 01:11:25,360
Speaker 2: got paid ten million. Oh my, And Jonah Hill kind

1517
01:11:25,360 --> 01:11:26,920
Speaker 2: of is an integral character.

1518
01:11:27,240 --> 01:11:31,799
Speaker 1: Yeah, but that's a but that's an example of believing

1519
01:11:31,840 --> 01:11:34,479
Speaker 1: in yourself. Jonah Hill obviously really knew that he could

1520
01:11:34,640 --> 01:11:36,879
Speaker 1: bring home the bacon on that role. And he's brilliant

1521
01:11:36,920 --> 01:11:37,120
Speaker 1: in it.

1522
01:11:37,479 --> 01:11:40,160
Speaker 2: Oh phenomenal, How interesting? Okay?

1523
01:11:40,200 --> 01:11:40,960
Speaker 1: What's sex? Six?

1524
01:11:41,479 --> 01:11:42,000
Speaker 3: Is that it? No?

1525
01:11:42,080 --> 01:11:44,400
Speaker 1: I've got more? Do you want to keep going? Keep going? Okay?

1526
01:11:44,800 --> 01:11:46,439
Speaker 1: Ten things I hate about you? Love it?

1527
01:11:46,680 --> 01:11:48,120
Speaker 2: I'm in there. I know the soundtrack.

1528
01:11:48,320 --> 01:11:52,160
Speaker 1: I mean okay. So Heath Ledger played Patrick Farronayes of

1529
01:11:52,240 --> 01:11:57,719
Speaker 1: course so hot. Also in consideration was other a Ashton Kutcher,

1530
01:11:58,200 --> 01:12:03,639
Speaker 1: Fitz b Taylor, Laultner No too young see Joseph Gordon Levitt.

1531
01:12:03,760 --> 01:12:09,679
Speaker 2: Joseph Gordon Levitt, No Ashton, but Joseph Levet's in it right. Yeah,

1532
01:12:10,840 --> 01:12:12,439
Speaker 2: I'm really doing crap at this case.

1533
01:12:13,520 --> 01:12:13,760
Speaker 1: Either.

1534
01:12:14,720 --> 01:12:19,320
Speaker 2: I love these games, Sam, society so far like researching

1535
01:12:19,400 --> 01:12:21,720
Speaker 2: it all. I have a nerdy casting question for you.

1536
01:12:22,920 --> 01:12:27,439
Speaker 2: Have you ever not cast someone because of their offscreen behavior,

1537
01:12:27,560 --> 01:12:28,559
Speaker 2: like if they are a meanie?

1538
01:12:28,800 --> 01:12:31,800
Speaker 1: Ah? Do you know? I have a really interesting story

1539
01:12:31,840 --> 01:12:34,800
Speaker 1: about this. When I used to work in casting. Do

1540
01:12:34,840 --> 01:12:37,920
Speaker 1: you know sometimes my casting assistant would be sick or

1541
01:12:37,960 --> 01:12:41,320
Speaker 1: we wouldn't have money for them, and I would check

1542
01:12:41,400 --> 01:12:44,320
Speaker 1: the actors in and they would wait in the hallway

1543
01:12:44,520 --> 01:12:46,519
Speaker 1: and then I would go through another door into studio

1544
01:12:46,720 --> 01:12:48,439
Speaker 1: and I would call them in. And some of them

1545
01:12:48,479 --> 01:12:50,640
Speaker 1: were so rude to me because they thought I was

1546
01:12:50,760 --> 01:12:52,479
Speaker 1: just the assistant. And then they literally walk in the

1547
01:12:52,560 --> 01:12:56,880
Speaker 1: room and be like, where's the casting director. I'm like, Hi,

1548
01:12:58,200 --> 01:13:01,320
Speaker 1: it's me. So that was a really good lesson I

1549
01:13:01,439 --> 01:13:03,479
Speaker 1: learned early on just and again it's a life lesson.

1550
01:13:03,720 --> 01:13:04,919
Speaker 1: Just be nice to everyone.

1551
01:13:05,880 --> 01:13:09,600
Speaker 2: That's wild. Sam. Did you let if someone was a

1552
01:13:09,720 --> 01:13:14,720
Speaker 2: real rude person to you? Yeah, and they're like, would

1553
01:13:14,760 --> 01:13:15,920
Speaker 2: you still put their audition through?

1554
01:13:16,120 --> 01:13:19,080
Speaker 1: Yeah? Yeah, yeah, absolutely, because it's still based on their talent,

1555
01:13:19,720 --> 01:13:23,880
Speaker 1: but it's just you always remembered it, you know, it's

1556
01:13:24,080 --> 01:13:24,960
Speaker 1: very very yeah.

1557
01:13:26,120 --> 01:13:30,240
Speaker 2: Oh wow, be nice, be kind and we are doing

1558
01:13:30,280 --> 01:13:32,880
Speaker 2: and ask us anything episode, especially our one.

1559
01:13:33,080 --> 01:13:35,439
Speaker 1: Yeah, because we've had lots of questions. So if you've

1560
01:13:35,479 --> 01:13:38,679
Speaker 1: got any other questions, just send them in dm us.

1561
01:13:39,320 --> 01:13:41,760
Speaker 2: Comment box on the podbitt and please share it with

1562
01:13:41,840 --> 01:13:43,320
Speaker 2: your mates because that means we get to.

1563
01:13:43,360 --> 01:13:46,559
Speaker 1: Grow yeah together, and then we'll do a whole episode

1564
01:13:46,560 --> 01:13:49,559
Speaker 1: announce everyone's questions about the industry or whatever I've had.

1565
01:13:49,600 --> 01:13:53,000
Speaker 1: There's been a few do you care more questions in there?

1566
01:13:53,520 --> 01:13:54,280
Speaker 1: We might throw them in.

1567
01:13:54,479 --> 01:13:57,800
Speaker 2: Any questions that aren't Sexy Times related.

1568
01:13:58,520 --> 01:14:00,519
Speaker 1: Oh well, there were a few that you know, I

1569
01:14:00,680 --> 01:14:05,160
Speaker 1: might respond to privately. But Lala, your instagram is.

1570
01:14:05,640 --> 01:14:07,720
Speaker 2: Yeah by Lola Berry and you are I know yours

1571
01:14:07,720 --> 01:14:10,960
Speaker 2: off by heart out Sam r Ken, Yes, well done.

1572
01:14:11,760 --> 01:14:13,679
Speaker 2: Have been doing pitching docs and stuff and I'm.

1573
01:14:13,520 --> 01:14:18,000
Speaker 1: Like, thank you so much, thanks for listening, guys.

1574
01:14:18,560 --> 01:14:21,200
Speaker 2: I love this And special thank you to Alex bergive

1575
01:14:21,680 --> 01:14:25,800
Speaker 2: really nice tips as well. Thank you big love from

1576
01:14:26,160 --> 01:14:27,200
Speaker 2: from Lala Land