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Speaker 1: Get a I'm Lola Berry, nutritionist, author, actor, TV presenter,

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

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

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Speaker 1: grow and face our blind spots.

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Speaker 2: Each week I'll.

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Speaker 1: Interview a different guest about their highs as well as

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Speaker 1: their lows, all in a bid to.

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Speaker 2: Inspire us to fearlessly fail.

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Speaker 1: Hello Pottero fam Now you know I am mad for

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Speaker 1: interviewing a creative and today is no different. We have actor, singer,

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Speaker 1: dancer Stephen Is jumping on the pod and sharing all

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Speaker 1: the behind the scenes of not only his awesome TV career,

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Speaker 1: but also we talk a lot about musical theater as

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Speaker 1: well and go back to his training.

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Speaker 2: I hope you love this chat.

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Speaker 1: Very warm, soul, very sweet, very kind soul. So Stephen,

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Speaker 1: thank you so much for jumping on the pod.

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Speaker 2: To you the listener. This is a creative EP for you.

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Speaker 2: I hope you find it inspiring.

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Speaker 1: The next couple of epps to come are going to

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Speaker 1: be almost live pods from South By Southwest Festival in Austin, Texas,

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Speaker 1: so buckle in for them. The first one will drop

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Speaker 1: next Monday.

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Speaker 2: Welcome to the pod. Steven Madisen, Thank you very much.

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Speaker 3: It's pleasure to be here.

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Speaker 1: I want to call you a triple threat actor because

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Speaker 1: you can act, dance, and sing, right.

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Speaker 3: Yeah, I guess theoretically it's sort of a thing that

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Speaker 3: I think you let other people call you a triple threat.

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Speaker 3: Maybe I don't walk around calling myself. I'll proudly i'd

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Speaker 3: say act to sing a dancer in that order.

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Speaker 2: Okay, what about passion wise.

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Speaker 3: That's probably the same as passion Okay, And maybe that's

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Speaker 3: why I would put it in that order, because sort

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Speaker 3: of put more effort into the parts that I'm more

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Speaker 3: passionate about, and then hopefully those skills develop with the effort.

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Speaker 3: So it's probably a combination of effort and aptitude. Yeah.

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Speaker 1: Can I say though, there are some videos of you

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Speaker 1: online for singing from a scary sentence. Sorry sorry sorry,

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Speaker 1: Here there's and Mauriel's wedding.

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Speaker 2: Yeah, great pipes.

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Speaker 3: Oh, thank you, great singer.

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Speaker 1: Well, because also when you said yes the pod, I

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Speaker 1: was like, shit, is how am I going to see

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Speaker 1: these performances that are no longer and YouTube delivered the goods?

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Speaker 3: My friends? Oh that's good to know. It's a funny

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Speaker 3: thing with theater because it's a general You do it

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Speaker 3: and then it's gone, so so you know, you hope

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Speaker 3: that an audience has found it, but there's no chance

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Speaker 3: for an audience to really find it after it's over.

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Speaker 3: So it's it's been nice lately in my career going

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Speaker 3: into more film and TV's. It's one of the differences

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Speaker 3: that I appreciate is that people can discover it at

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Speaker 3: any time when they're ready to find it.

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Speaker 2: That's cool.

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Speaker 1: Well, I wanted to ask you, like, what and because

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Speaker 1: if you when I say, I feel like a lot

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Speaker 1: of actors listen to this pod, like especially I'm a

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Speaker 1: sixteenth Street I do it, so they'll be like, I

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Speaker 1: think this is like a little I'd like to think

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Speaker 1: it's an actor's part. So what would you say is

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Speaker 1: the main difference with theater acting versus film and TV.

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Speaker 3: It's an interesting question. I mean, I know a lot

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Speaker 3: of actors will say there is no difference, that it's

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Speaker 3: just acting, but I feel that it's a I feel

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Speaker 3: it's a bit different. Obviously, there's no audience when you're filming.

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Speaker 3: I mean to some extent there is. There's the crew,

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Speaker 3: and if you're on a big show that can be

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Speaker 3: a lot of people, but you're not creating a performance

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Speaker 3: that's to be taken in by the audience that's there.

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Speaker 3: On film, it's to be captured by the camera, which

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Speaker 3: is a small fixed point. So I think just technically

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Speaker 3: there's something different going on, and that affects the size

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Speaker 3: of the performance. You know, it affects eye lines, the

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Speaker 3: ways that you're sort of making sure that you're doing

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Speaker 3: a dance with the camera so that it captures what

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Speaker 3: you're doing. Whereas in theater you've got a bigger sense

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Speaker 3: of a whole room needs to catch this. So you know,

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Speaker 3: if you're in a big theater, that's going to change

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Speaker 3: the size of the performance, the volume of your voice,

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Speaker 3: all of it. It's all kind of technical things, but artistically, creatively,

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Speaker 3: it's the same thing.

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Speaker 1: Do you feel like when you're doing like theater or musical,

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Speaker 1: you're also feeding off that connection with the audience.

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Speaker 2: I imagine that's going to have an impact on you as.

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Speaker 3: A performer, right, Yeah, Well, you have the live feedback,

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Speaker 3: which can be a great thing and can also be

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Speaker 3: a tricky thing because the character is not aware of

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Speaker 3: the live feedback, So your actor's sense and your character

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Speaker 3: sense are having to work concurrently, and if you're in

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Speaker 3: a comedy, the live feedback I think is good because

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Speaker 3: you know, over the course of a season you make

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Speaker 3: little adjustments. You see how I can set this joke

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Speaker 3: up better for myself or for another cast member. If

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Speaker 3: I leave a bit more time before this, they've got

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Speaker 3: time to fully be prepared for that punchline, and that

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Speaker 3: live response is a good thing. I think comedy on

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Speaker 3: film is harder because even if people want to laugh

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Speaker 3: at something you're doing, they can't on set. They'll bore

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Speaker 3: the audio, so it can feel a bit dead. But

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Speaker 3: then you're also relying on the fact that an editor

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Speaker 3: is going to help you with the comedy film and TV,

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Speaker 3: and in drama, an editor is going to affect the

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Speaker 3: pacing of the scene, whereas in the theater you're in charge. Yeah,

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Speaker 3: you pace it how you want.

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Speaker 1: There's a saying that stars are made in the editing

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Speaker 1: room because they're in charge of who the shot ends on.

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Speaker 2: Super fascinating.

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Speaker 3: It's a huge amount of trust as an actor that

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Speaker 3: you give over to the director and the editor in

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Speaker 3: film and television because it's more collaborative, I think, because

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Speaker 3: you can serve up a version of what you think

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Speaker 3: the scene might be on the day, But they're cutting

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Speaker 3: it together. As you said, they're choosing whose coverage they use,

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Speaker 3: They're choosing how many cuts there are in the scene.

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Speaker 3: They might just choose to put it all in a

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Speaker 3: two shot, which is favoring the other person. Your great

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Speaker 3: work on the day might be to the back wall.

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Speaker 3: It's a huge amount of trust that they will put

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Speaker 3: it together in a way that is also satisfying to you.

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Speaker 3: But you have to really give up over to the

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Speaker 3: fact that film is a director's medium, even more so

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Speaker 3: that like theater. I think theater is so friendly to

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Speaker 3: actors because we have so much power on the stage.

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Speaker 1: That's such a good way looking at it. I never

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Speaker 1: even it makes total sense as well. I also would

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Speaker 1: imagine when you're talking about that live feedback, especially around comedies.

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Speaker 1: You've also performed in different territories, like doing shows in

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Speaker 1: Australia versus like the UK. Obviously there's like a crossover there,

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Speaker 1: like we have a similar sense of humor. Yes, but

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Speaker 1: then I know an American audience, you can go to

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Speaker 1: the movies and they're going to laugh at different things

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Speaker 1: to what an Ozzie or Britt would laugh at So

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Speaker 1: that's also an interesting beast.

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Speaker 3: Totally, and you don't you don't know what people are

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Speaker 3: going to find funny until you experience it. Really, I

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Speaker 3: think you're talking about Mirror's Wedding, which I did the

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Speaker 3: musical version of Mirrors Wedding in Australia, and then I

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Speaker 3: also did the UK production with a UK cast and

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Speaker 3: the same director and a lot of the same creative team,

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Speaker 3: but it was a new cast and it's an entirely

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Speaker 3: new audience. So obviously there's a lot of panic going

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Speaker 3: into the first preview. If are they going to find

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Speaker 3: this funny in the same way that we do? Yeah,

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Speaker 3: and I think, thankfully the sensibility between us and the

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Speaker 3: Bruts is pretty close. But it is a bit different.

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Speaker 3: You know. There were things in the show that played

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Speaker 3: very differently in the UK than they did here, and

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Speaker 3: that's yeah, it's just super interesting how that kind of

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Speaker 3: audience is different. But it's even different city to city,

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Speaker 3: Melbourne to Sydney to Brisbane. I feel like you can

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Speaker 3: notice the difference.

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Speaker 2: Well, I feel like Melbs is a very theater yes

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Speaker 2: three theater literate.

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Speaker 3: Yeah, it's I don't want to say I'm more cultured

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Speaker 3: audience that it feels like I'm dragging you.

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Speaker 1: I feel like there's an actor you'd be pretty pumped

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Speaker 1: about your Melbourne run.

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Speaker 3: Yes, but it can also be a little icy because

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Speaker 3: they are theater literate and they see a lot of things.

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Speaker 3: Sometimes it feels like you're in Brisbane and they're there

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Speaker 3: for a party, because it's not every show makes it

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Speaker 3: to Brisbane, you know, like if you're on a touring

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Speaker 3: show and you come to Brisbane, it feels like everybody

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Speaker 3: receives you very warmly. And then the other two cities,

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Speaker 3: it sort of depends whether you start in Sydney or Melbourne.

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Speaker 3: If things go really well in Melbourne, then Sydney will

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Speaker 3: be a little frosty, and vice versa.

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Speaker 1: Also the jealousy thing, Oh yeah, totally.

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Speaker 3: That. It's like those cities have a competitive a competitiveness

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Speaker 3: with each other and they want to own a success.

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Speaker 3: So there's always a bit of a sense of oh, well,

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Speaker 3: Melbourne like that, we'll see.

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Speaker 2: You know, Sydney born and bred ain't.

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Speaker 3: Yeah, I'm a Sydney boy.

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Speaker 2: But then you went to Wopper right, Yes, how was that?

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Speaker 2: Did you love it?

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Speaker 3: Yeah? I did love it? And also was totally mystified

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Speaker 3: by I think it's drama school such a wild thing,

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Speaker 3: you know, you know, it's it's an experience with a

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Speaker 3: capital B. But I think particularly for me going to Whopper,

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Speaker 3: you know, I wanted to. I really wanted to go

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Speaker 3: to Whopper as a Sydney boy because I wanted to

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Speaker 3: move out and I wanted to. You know, you were like, no, no,

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Speaker 3: I didn't audition for Nighter. I didn't audition for anywhere else,

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Speaker 3: only Whopper because I don't even really know what I

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Speaker 3: was thinking at that time. But partly I think it

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Speaker 3: was just I wanted to get out. And if I

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Speaker 3: had gone to Nider, I'm sure it would have been fantastic,

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Speaker 3: but I wouldn't have had that same feeling of now

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Speaker 3: I've got to grow up and live by myself and

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Speaker 3: not be not have my family. There is that support,

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Speaker 3: you know, you go to Perth and you're there to

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Speaker 3: grow up, You're there to sort it out of your own,

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Speaker 3: which I loved. That part of it was just great.

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Speaker 2: Was this anything from what?

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Speaker 1: Because like so many greats have gone to Whopper, right

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Speaker 1: that have gone on to like doing.

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Speaker 3: Jackman's and taking my Lisa mcewne he Fledger had done

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Speaker 3: some training a Whopper. I don't know that he did

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Speaker 3: the full three years Perth Boy as well. I feel

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Speaker 3: like he was a he has a bunch of interesting

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Speaker 3: people that come out of Whopper.

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Speaker 1: Is there anything that because obviously Whop to me from

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Speaker 1: just the outside, it feels theater heavy, like more a

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Speaker 1: theater and musical theater heavy.

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Speaker 3: I think it's changing, but certainly when I went there

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Speaker 3: it was very much you know, Nider is the acting

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Speaker 3: school and Whoppa was like the number one music theaticals

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Speaker 3: in the country. And I always wanted to be an actor,

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Speaker 3: but I think as a guy who could sing. I

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Speaker 3: was in a band in high school and that sort

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Speaker 3: of the music teacher at my high school got a

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Speaker 3: hold of our ep and and then cornered me and said,

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Speaker 3: you know, you've got to be in the musical. And

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Speaker 3: so that sort of led me into doing, you know,

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Speaker 3: some great roles in musicals at school, and I think

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Speaker 3: I just had a sense in my head that I

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Speaker 3: could get in. Yeah, And it's a bit scary auditioning

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Speaker 3: for drama schools. It's such a subjective thing. You don't know,

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Speaker 3: you know, ho are they going to think I'm ready,

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Speaker 3: and they're going to think this. There's so much guesswork,

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Speaker 3: and and I just felt like auditioning for a music

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Speaker 3: theater degree was more objectively plausible because I knew, like,

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Speaker 3: you can sing all you can't, you know, you can

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Speaker 3: dance all you can't, and then and then the acting part,

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Speaker 3: you know, I felt like I was all right, but

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Speaker 3: who knows what they're going to think, and so I

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Speaker 3: always maybe it was a safe choice. I just sort

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Speaker 3: of knew I could get in.

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Speaker 1: Ah, that's a good sense of very youngster like, that's

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Speaker 1: a pretty good sense of confidence and self kind of.

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Speaker 3: La overthinking type of kid, you know, really analyzing that,

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Speaker 3: you know, making just really this is the most logical Yeah.

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Speaker 1: Oh wow, okay, so I love As soon as you

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Speaker 1: said yes this, I was like, all right, we're gonna

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Speaker 1: I downloaded Stars in America, which is like the streamer

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Speaker 1: for So can we talk about your most recent work?

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Speaker 2: Is it?

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Speaker 1: You've probably doesn't feel like the most recent to you,

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Speaker 1: because I imagine you filmed this two years ago, the.

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Speaker 3: Most reason to come out. But we filmed it early

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Speaker 3: last year, so it's been a bit of time. It's

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Speaker 3: got a lot of sort of visual effects heavy, so

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Speaker 3: those things take longer.

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Speaker 1: Okay, this is what I can't wait to talk about. Okay,

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Speaker 1: So Court, if I'm something's wrong a bit. Spartacus, House of.

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Speaker 3: Asher, that's absolutely right.

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Speaker 1: Oh okay, let's talk about your experience on that show.

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Speaker 2: You can spoiler because the EPs are out so first,

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Speaker 2: or can I ask?

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Speaker 1: This is like gonna sound so materialistic, but I have

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Speaker 1: noticed there's a little theme in your work around getting

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Speaker 1: your bought out.

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Speaker 3: Yeah. I don't disagree.

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Speaker 1: That.

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Speaker 2: So I'm a nutritionist.

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Speaker 1: This is like full put your business hat on for

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Speaker 1: this one. Like Mike you if you've got a rock

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Speaker 1: up or be on stage like full six pack. I

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Speaker 1: imagine that's this very specific like regime.

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Speaker 3: Yeah.

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Speaker 1: And then Spartacus, I mean I feel like everyone had

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Speaker 1: eight packs.

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Speaker 3: Yeah, I mean Spartacus is the next level version of that,

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Speaker 3: and it's it's on screens, so screens forever make account.

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Speaker 2: Having that stuck over.

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Speaker 3: We all thought that just like, oh, it's gonna be

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Speaker 3: on film on the internet. It's funny you said, like

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Speaker 3: as you were saying that, I'm linking this to my

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Speaker 3: knowing I could get into what if I sorted out

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Speaker 3: some of the objective things required because the first show

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Speaker 3: I did that was very body heavy was really Mural's

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Speaker 3: Wedding and I played an Olympic swimmer in that. So

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Speaker 3: a lot of the show you're wearing speedos and there's

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Speaker 3: jokes where the butt of the joke is that you

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Speaker 3: look really fit, so you know, you better be fit

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Speaker 3: or that's not going to work it. So even when

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Speaker 3: I was when that show was sort of announced and

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Speaker 3: was coming, I sort of knew, oh, I know how

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Speaker 3: to take care of that. I'm quite a disciplined person,

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Speaker 3: and I thought, you know, if I look like that,

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Speaker 3: I'll have more of a shot of getting it. And

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Speaker 3: so I think it ties into that idea that there's

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Speaker 3: things that you can control and things that you can't.

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Speaker 3: And for me, like body is a control thing, it's

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Speaker 3: just a matter of time and discipline and sorting it out.

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Speaker 3: So for Spidercus, obviously I sort of was already fit.

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Speaker 3: It was already the right kind of physical world to

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Speaker 3: audition for, which I'm sure helped me get the audition

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Speaker 3: and probably help me get the role. But then after that,

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Speaker 3: before we started filming all of the guys playing the

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Speaker 3: main group of gladiators, the show's about a school essentially

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Speaker 3: a training house for gladiators, and so all the main

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Speaker 3: gladiators from that house. We went out a month before

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Speaker 3: shooting and did Gladiator boot Camp amazing, which was incredible.

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Speaker 3: You can watch a whole lot of behind.

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Speaker 2: The scenes, so much good stuff online.

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Speaker 3: You know. That was like how our life from dawn

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Speaker 3: to dusk for for in a bit weeks just doing

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Speaker 3: all of this physical training to get our bodies of

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Speaker 3: the right size and shape for the world of the show.

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Speaker 2: Was that like loads of weight training.

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Speaker 3: Yeah, So the morning was all fitness based stuff, So

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Speaker 3: it was lots of lots of kind of team fitness

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Speaker 3: stuff because we're training our bodies and also training and

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Speaker 3: training ourselves to have a bond.

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Speaker 2: Yeah.

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Speaker 3: And then in the afternoons it's stunt training, weapons training,

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Speaker 3: combat learning the fights, all of that sort of stuff.

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Speaker 3: So we're kind of doing it all at once and

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Speaker 3: it was physically insane. It was so intense. Lots of fun,

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Speaker 3: but they really worked us very hard.

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Speaker 2: Did they Did they give you like the advice of

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Speaker 2: a nutritionist or was all the fun?

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Speaker 3: Yeah, we had a nutritionist there as well, and we

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Speaker 3: had a lot of like sort of booklets that they'd

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Speaker 3: made up for us. You say, check with your dietaries

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Speaker 3: beforehand as well, so customized plans for people and lots

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Speaker 3: of helpful mints and then and then also a lot

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Speaker 3: of our food is getting provided on a film set.

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Speaker 3: So so that was all done very carefully, you know.

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Speaker 3: Usually on a big thing like that, you've got like

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Speaker 3: craft services and tables and meals and stuff. And there

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Speaker 3: was like the Gladiator food and everyone else's So everybody

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Speaker 3: else is like muffins and and we're like steam greens

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Speaker 3: and rice. I'm a vegetarian, so most people were eating

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Speaker 3: like chicken and lean protein. But it was just eggs

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Speaker 3: and you know, proteins smoothies NonStop all day every time

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Speaker 3: there's a big enough break, you know, for them to

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Speaker 3: do checks on her and make up outcome the assistance

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Speaker 3: with trays of protein smooths for us just the whole time,

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Speaker 3: because you're fighting all day, so you would.

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Speaker 2: Just you'd lose the weight, yeah, and you still got

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Speaker 2: to look big.

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Speaker 3: You got to be big, Yes, you might be like

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Speaker 3: just lean yeah exactly.

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Speaker 2: That's like an art form. That's that's like part of

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Speaker 2: the gig.

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Speaker 3: Like the thought that's gone into it's terrifying. But they've

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Speaker 3: done there were four seasons of the show years ago.

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Speaker 3: You know, it's sort of a reboot continuation of.

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Speaker 2: That so character, this Ash died, right, he did.

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Speaker 3: Die and so, but death isn't necessarily a final thing

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Speaker 3: in the spot because and at the start of the series,

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Speaker 3: you know, there's a scene in the Underworld where we

347
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Speaker 3: read on a few things and head off on a

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Speaker 3: different tangent of what might have happened if he didn't die,

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Speaker 3: which which fits so perfectly into that Roman world of

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Speaker 3: gods and the underworld, and that that all sort of

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Speaker 3: I think they do it with the glint in their eye.

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Speaker 3: They know they're being cheeky, and it's it's a show

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Speaker 3: that's meant to be fun.

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Speaker 2: Oh my goodness.

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Speaker 1: Okay, so you've got this whole physic do you know? Actually,

356
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Speaker 1: when I told someone that I was interviewing you, they.

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Speaker 3: Were like, oh my god.

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Speaker 1: He had to get his body out every night on

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Speaker 1: Muriel's wedding. Can you please ask him how he did

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Speaker 1: that and how he maintained that. I was like, sure, sure, sure,

361
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Speaker 1: But it.

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Speaker 2: Sounds like you're already had work.

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Speaker 1: It sounds like you already have like that, like lived

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Speaker 1: experience with the discipline and looking after it. I also

365
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Speaker 1: think as an actor, you've kind of got a you

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Speaker 1: want to feel ready to shoot at any moment, right, Yeah.

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Speaker 2: So you've got it.

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Speaker 1: But being I didn't know you were vegetarian, so like

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Speaker 1: being vegetarian getting that amount of protein in not letting

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Speaker 1: too heavy on carbohydrate, but having enough so that you've

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Speaker 1: got energy. Yeah, likes it'd be like a science project.

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Speaker 3: It sort of is, and it's a bit of trial

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Speaker 3: and error. Muriel's Muralor's wedding is really where that kicked

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Speaker 3: into gear for me. And I was involved in the

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Speaker 3: workshopping of that musical before it was on stages. And

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Speaker 3: so I finished drama school at the end of twenty

377
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Speaker 3: fourteen and I did the first workshop was either in

378
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Speaker 3: twenty fifteen or twenty sixteen, so you know, and I

379
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Speaker 3: just did the UK production earlier this year, so it's

380
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Speaker 3: ten years almost of mural sweating time. So that's always

381
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Speaker 3: sort of been in the back of my head of

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Speaker 3: like be ready. But I think it's harder on stage

383
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Speaker 3: than for film because for film, you know when your

384
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Speaker 3: shirtless scenes are coming up, or your body scenes whatever,

385
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Speaker 3: and you can you sort of have that to focus on,

386
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Speaker 3: whereas theater, we're doing it eight times a week, so

387
00:18:33,280 --> 00:18:35,520
Speaker 3: you really just have to figure out a plan that's

388
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Speaker 3: sustainable for that time. And that's also going to give

389
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Speaker 3: you the thing that I had, you know, pushing pul

390
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Speaker 3: trail and error thing with on Murals was working hard

391
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Speaker 3: enough in the gym to look right for the show.

392
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Speaker 3: But you can't work too hard or you can't do

393
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Speaker 3: the show because it's you know, it's a three hour

394
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Speaker 3: musical and there's huge dance numbers and like seventeen costume

395
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Speaker 3: changes in the show, so even that is exhausting, you know,

396
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Speaker 3: quick changing in and out of suits and things like that.

397
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Speaker 3: So you have to have enough energy to do your job. Yeah,

398
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Speaker 3: So figuring out the balance of you know, how often

399
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Speaker 3: can you go to the gym and when do you

400
00:19:09,160 --> 00:19:12,320
Speaker 3: need to be eating, like when do you eat in

401
00:19:12,359 --> 00:19:15,359
Speaker 3: relation to the performance totally so that you're not you know,

402
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Speaker 3: car bloating and then going and doing opening number of

403
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Speaker 3: bad shots. It's it's yeah, all of that is like

404
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Speaker 3: I don't even you just have to figure it out.

405
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Speaker 1: What we'll Like this is so nerdy, but I'm a nutritionist,

406
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Speaker 1: so I feel like I've asked, well, like your like

407
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Speaker 1: on set snacks when you were like backstage like doing

408
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Speaker 1: quick costume change, quick having something like was it more

409
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Speaker 1: like proteins like nuts and seas or like bars or

410
00:19:37,240 --> 00:19:37,920
Speaker 1: like shakes.

411
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Speaker 3: I don't really eat during during the show. I'm just

412
00:19:41,440 --> 00:19:46,320
Speaker 3: mainlining your water. Really, I'm just like almost obsessively drinking water,

413
00:19:46,359 --> 00:19:48,280
Speaker 3: I guess because you're singing as well, so you're trying

414
00:19:48,280 --> 00:19:54,440
Speaker 3: to you know, keep keep your vocal folds lubricated. So

415
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Speaker 3: I wouldn't eat during the show. Usually I would have

416
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Speaker 3: like small late dinner after the show, which again you

417
00:20:00,840 --> 00:20:02,480
Speaker 3: got to be careful with because then you've got to sleep,

418
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Speaker 3: you know, for getting home close to midnight. I was

419
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Speaker 3: very much like just managing the size of the meal

420
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Speaker 3: before the show and like a little meal after the show.

421
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Speaker 1: And it was all like always like proteins, a small

422
00:20:13,680 --> 00:20:15,879
Speaker 1: bit of carbohydrate and then like greens.

423
00:20:15,600 --> 00:20:19,600
Speaker 3: Yeah, and often quite a lot of carbohydrates for you know,

424
00:20:19,600 --> 00:20:21,440
Speaker 3: like complex carbohydrates.

425
00:20:20,840 --> 00:20:22,639
Speaker 2: But like sweet potatoes.

426
00:20:22,320 --> 00:20:25,280
Speaker 3: Yeah, yeah, or like quenoile, you know, brown rice, things

427
00:20:25,680 --> 00:20:27,680
Speaker 3: things that are going to give you energy release over

428
00:20:27,720 --> 00:20:31,280
Speaker 3: a larger period of time, and you need the carbohydrates

429
00:20:31,400 --> 00:20:33,840
Speaker 3: on something like Murals or Spartacus because there's so much

430
00:20:33,880 --> 00:20:38,600
Speaker 3: physical activity involved, he'd be if you were just eating

431
00:20:38,680 --> 00:20:39,760
Speaker 3: you know, fats and proteins.

432
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Speaker 1: So yeah, thanks for answering all those nerdy food questions.

433
00:20:43,359 --> 00:20:47,520
Speaker 1: I was like, Okay, I have to talk about Spartacus

434
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Speaker 1: and your death scene.

435
00:20:49,040 --> 00:20:49,560
Speaker 3: Yeah.

436
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Speaker 1: When I watched it with my boyfriend, he made an

437
00:20:52,880 --> 00:20:54,480
Speaker 1: audible sound when you died.

438
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Speaker 3: It's pretty horrific.

439
00:20:56,720 --> 00:21:00,880
Speaker 4: Yeah, he like literally was like, oh, it was like

440
00:21:01,240 --> 00:21:06,600
Speaker 4: a visceral and I imagine for any guy watching it,

441
00:21:06,640 --> 00:21:10,600
Speaker 4: they'd be like, what, like, is that not a worst nightmare?

442
00:21:11,040 --> 00:21:13,760
Speaker 3: Yeah? I think you can say something about what happens.

443
00:21:13,800 --> 00:21:15,600
Speaker 3: That's you know, I don't want to. I don't want

444
00:21:15,640 --> 00:21:17,560
Speaker 3: to fully explain what happens because I want you to

445
00:21:17,600 --> 00:21:20,200
Speaker 3: be shocked by but it is shocking. But what does

446
00:21:20,240 --> 00:21:24,200
Speaker 3: happen is it's really something that's visceral. It's something that

447
00:21:24,920 --> 00:21:27,560
Speaker 3: you know, hopefully wedges its way into your imagination and

448
00:21:27,600 --> 00:21:28,960
Speaker 3: you can't unsee it.

449
00:21:29,240 --> 00:21:30,840
Speaker 2: Did you know that was going to happen when you

450
00:21:30,880 --> 00:21:31,320
Speaker 2: signed on?

451
00:21:31,600 --> 00:21:35,399
Speaker 3: Yes, because of the nature of the scene that happens

452
00:21:35,440 --> 00:21:40,080
Speaker 3: in When I was offered the role, it was funny

453
00:21:40,080 --> 00:21:43,320
Speaker 3: because I didn't audition for that role. We all My

454
00:21:43,400 --> 00:21:45,960
Speaker 3: understanding is that all the guys auditioned for tark On,

455
00:21:46,320 --> 00:21:50,240
Speaker 3: the sort of young hero gladiator. I think those scenes

456
00:21:50,240 --> 00:21:53,400
Speaker 3: were really used as you know, general gladiator testing material.

457
00:21:54,640 --> 00:21:56,080
Speaker 3: From talking to the other guys who got the show,

458
00:21:56,119 --> 00:21:59,000
Speaker 3: it seems like we all audition for Takon, and then

459
00:21:59,080 --> 00:22:02,000
Speaker 3: from that sort of had a look at Oh, we

460
00:22:02,040 --> 00:22:03,920
Speaker 3: really like you, but maybe you fit better here, and

461
00:22:04,000 --> 00:22:06,160
Speaker 3: maybe you know something interesting about you that might work

462
00:22:06,200 --> 00:22:09,280
Speaker 3: for this character. And so when I got the offer,

463
00:22:09,440 --> 00:22:11,880
Speaker 3: it was very it was sort of random, like, oh,

464
00:22:12,080 --> 00:22:15,080
Speaker 3: you've been offered for this role who didn't know anything about.

465
00:22:15,160 --> 00:22:17,520
Speaker 3: And then there was a message from my agent saying,

466
00:22:17,920 --> 00:22:19,359
Speaker 3: but they want you to have a chat to the

467
00:22:19,400 --> 00:22:23,359
Speaker 3: director on the phone first before you sign, which is

468
00:22:23,400 --> 00:22:27,199
Speaker 3: a scary thing to hear that. Okay, what's that going

469
00:22:27,280 --> 00:22:30,040
Speaker 3: to be about? And I had seen some of the

470
00:22:30,080 --> 00:22:33,560
Speaker 3: previous episodes of Spartacus before, so I knew what world

471
00:22:33,560 --> 00:22:35,240
Speaker 3: it was. It's a world with a lot of you know,

472
00:22:35,359 --> 00:22:40,320
Speaker 3: intense violence and nudity and sex peral themes. Yeah, so

473
00:22:40,320 --> 00:22:43,480
Speaker 3: so I'm immediately thinking what's this going to be? And

474
00:22:43,520 --> 00:22:44,840
Speaker 3: then I had a chat with the director and he

475
00:22:44,880 --> 00:22:47,720
Speaker 3: sort of talked through what the characters arc would be

476
00:22:47,760 --> 00:22:50,520
Speaker 3: and what happens to him. I just thought it sounded great.

477
00:22:50,840 --> 00:22:53,359
Speaker 3: You know, I haven't seen that before, me and Coach.

478
00:22:54,200 --> 00:22:56,600
Speaker 3: What was really weird about it at the time is

479
00:22:56,640 --> 00:22:59,199
Speaker 3: that he was telling it to me as if, you know,

480
00:22:59,240 --> 00:23:01,919
Speaker 3: we've never heard of this sort of thing happening. And

481
00:23:02,000 --> 00:23:04,359
Speaker 3: I had been in a play about a year before

482
00:23:04,560 --> 00:23:08,360
Speaker 3: where my where a similar thing happened to my character, right,

483
00:23:09,119 --> 00:23:11,600
Speaker 3: And so I was listening to him thinking this is

484
00:23:11,720 --> 00:23:16,760
Speaker 3: so weird. I'm so uniquely prepared for this, absolutely crazy,

485
00:23:18,080 --> 00:23:20,159
Speaker 3: and he just couldn't believe it. But I was in

486
00:23:19,960 --> 00:23:22,560
Speaker 3: this play called Cleansed by Sarah Kane, which is this

487
00:23:22,720 --> 00:23:27,240
Speaker 3: incredible brutal play, and you know, the character I play

488
00:23:27,280 --> 00:23:30,600
Speaker 3: has his tongue cut out, and both his hands cut off,

489
00:23:30,640 --> 00:23:33,879
Speaker 3: both his feet cut off, and then he's sort of

490
00:23:33,920 --> 00:23:38,240
Speaker 3: castrated in this horrific operation gone wrong. It's just he's

491
00:23:38,359 --> 00:23:43,240
Speaker 3: probably the most horribly beleaguered character in the entire Western Cannon.

492
00:23:43,400 --> 00:23:47,040
Speaker 3: Just terrible things happened to this guy. And so I

493
00:23:47,840 --> 00:23:50,439
Speaker 3: signed on to Spartacas thinking, oh, I've already actually crossed

494
00:23:50,440 --> 00:23:52,080
Speaker 3: this bridge.

495
00:23:52,280 --> 00:23:52,680
Speaker 2: How good?

496
00:23:52,960 --> 00:23:56,360
Speaker 3: Yeah I feel? Then, yeah, it's a weird niche. This

497
00:23:56,440 --> 00:24:00,800
Speaker 3: is my niche. I guess like body things and extreme

498
00:24:01,080 --> 00:24:02,960
Speaker 3: you know, parts of your body being cut off.

499
00:24:05,160 --> 00:24:07,120
Speaker 1: When I saw an email to the next day, I

500
00:24:07,160 --> 00:24:10,600
Speaker 1: was like, I think I wrote to you wild Dead

501
00:24:10,640 --> 00:24:11,960
Speaker 1: scene Wild.

502
00:24:12,040 --> 00:24:14,600
Speaker 3: It's very grim, it's a lot.

503
00:24:14,440 --> 00:24:15,640
Speaker 2: So I want it.

504
00:24:16,359 --> 00:24:19,439
Speaker 1: Like, I'm so fascinated by anybody that works on a

505
00:24:19,720 --> 00:24:26,080
Speaker 1: soapy because of the speed. Yeah, so you play Eddie Shepherd,

506
00:24:26,200 --> 00:24:31,560
Speaker 1: Eddie Shepherd I went Away, which is obviously a quintessential

507
00:24:31,560 --> 00:24:35,280
Speaker 1: soapy here in Australia. Any actor I've interviewed that's been

508
00:24:35,320 --> 00:24:37,520
Speaker 1: on either Neighbors or Home and Away or Bold and

509
00:24:37,560 --> 00:24:41,480
Speaker 1: the Beautiful, they talk about the speed in which you're

510
00:24:41,480 --> 00:24:45,280
Speaker 1: getting a script, you're learning, you're onset, and I feel

511
00:24:45,280 --> 00:24:47,439
Speaker 1: like it would be like the best gift to have

512
00:24:47,560 --> 00:24:50,320
Speaker 1: before like going to an American territory, and because the

513
00:24:50,359 --> 00:24:54,600
Speaker 1: work ethic of Americans is off the train. Yes, with speed,

514
00:24:54,680 --> 00:24:57,080
Speaker 1: even with auditioning, you get an audition at like Fort

515
00:24:57,160 --> 00:25:01,639
Speaker 1: Stewart ten am the next day. So has Home and

516
00:25:01,680 --> 00:25:02,240
Speaker 1: Away taught you?

517
00:25:02,320 --> 00:25:02,399
Speaker 3: Like?

518
00:25:02,440 --> 00:25:03,720
Speaker 2: What have you learned about being on Home?

519
00:25:04,320 --> 00:25:06,359
Speaker 3: I'm sure I'm saying what other people have said before,

520
00:25:06,400 --> 00:25:10,440
Speaker 3: but you know, it bears repeating the speed is insane.

521
00:25:10,840 --> 00:25:13,280
Speaker 3: I couldn't believe it. I'd been warned and I couldn't

522
00:25:13,320 --> 00:25:13,879
Speaker 3: believe it.

523
00:25:14,000 --> 00:25:15,399
Speaker 1: Can you give me like a day in a lot,

524
00:25:15,480 --> 00:25:17,760
Speaker 1: like say you get a script on what whatever day,

525
00:25:17,800 --> 00:25:18,920
Speaker 1: and then when are you shooting?

526
00:25:19,080 --> 00:25:22,520
Speaker 3: Like, so we get scripts in blocks, which is five episodes.

527
00:25:22,560 --> 00:25:25,920
Speaker 3: It is a week's worth of airing episodes as five

528
00:25:25,960 --> 00:25:29,040
Speaker 3: episodes a week. So you'll get a block and then

529
00:25:30,240 --> 00:25:32,560
Speaker 3: probably a few days after that, you'll do a rehearsal,

530
00:25:32,640 --> 00:25:35,080
Speaker 3: which which is really just a read through. There's only

531
00:25:35,080 --> 00:25:38,200
Speaker 3: time to read it, and then you know, the next

532
00:25:38,200 --> 00:25:40,720
Speaker 3: week or the week after that, you'll be filming that block.

533
00:25:40,760 --> 00:25:43,040
Speaker 3: You might be filming two blocks at once, like the

534
00:25:43,080 --> 00:25:45,800
Speaker 3: interiors for one block while you're doing the xteriors for

535
00:25:45,840 --> 00:25:48,000
Speaker 3: the block after that, and I sort of swap around

536
00:25:48,080 --> 00:25:53,960
Speaker 3: and you're shooting five episodes a week. So you know,

537
00:25:54,000 --> 00:25:56,200
Speaker 3: when you think about the fact that that a movie

538
00:25:56,280 --> 00:25:58,439
Speaker 3: might take you know, weeks to months to shoot or

539
00:25:58,480 --> 00:26:00,879
Speaker 3: you know, Spartacus could take sort of six to eight

540
00:26:00,920 --> 00:26:02,959
Speaker 3: weeks to film an episode. Yeah, Home in a way,

541
00:26:03,080 --> 00:26:07,159
Speaker 3: it's an episode a day pretty much. Wow. So you

542
00:26:07,200 --> 00:26:11,400
Speaker 3: know it's thirty pages on location, forty pages on studio.

543
00:26:11,840 --> 00:26:15,080
Speaker 3: So if your character is in having a major arc

544
00:26:15,160 --> 00:26:17,280
Speaker 3: in that block, you know, you might be shooting forty

545
00:26:17,320 --> 00:26:20,520
Speaker 3: pages in the day. Wow, And this is stuff that

546
00:26:20,560 --> 00:26:22,600
Speaker 3: you got, you know, a couple of weeks before, or a

547
00:26:22,640 --> 00:26:24,480
Speaker 3: week before. You probably got the revisions a day or

548
00:26:24,480 --> 00:26:27,280
Speaker 3: two before. Wow. And then and then there you are.

549
00:26:27,400 --> 00:26:29,560
Speaker 3: Sometimes you're just looking at the other actor thinking, I

550
00:26:29,960 --> 00:26:31,840
Speaker 3: hope English is coming out of my mouth because I've

551
00:26:31,880 --> 00:26:35,040
Speaker 3: just memorized so many things I don't even know what

552
00:26:35,040 --> 00:26:35,880
Speaker 3: I'm saying anymore.

553
00:26:36,080 --> 00:26:37,000
Speaker 2: Do you have any tricks?

554
00:26:37,040 --> 00:26:38,879
Speaker 1: Because I know a lot of people that aren't actors,

555
00:26:38,920 --> 00:26:40,040
Speaker 1: their biggest perception is.

556
00:26:39,960 --> 00:26:40,840
Speaker 2: The hardest bait as learned.

557
00:26:42,000 --> 00:26:45,840
Speaker 1: Yeah, but like I have done a bit of miser trainings,

558
00:26:45,840 --> 00:26:48,280
Speaker 1: so like repetition is like keep it by roach, like

559
00:26:48,480 --> 00:26:52,080
Speaker 1: very much like don't add any like choices and emotion yet.

560
00:26:51,880 --> 00:26:55,280
Speaker 2: Just learn by and they have fun. Yeah, what's your

561
00:26:55,600 --> 00:26:56,199
Speaker 2: take on all that?

562
00:26:56,200 --> 00:26:58,720
Speaker 3: That's probably what I do when I have time is

563
00:26:59,000 --> 00:27:01,080
Speaker 3: just you know, sit down and try and you know,

564
00:27:01,720 --> 00:27:03,840
Speaker 3: we're learning. We're learning a dance that we're going to

565
00:27:03,880 --> 00:27:05,040
Speaker 3: do on the day, And so you don't want to

566
00:27:05,040 --> 00:27:06,919
Speaker 3: be dancing full that by yourself at home. You know,

567
00:27:07,000 --> 00:27:09,520
Speaker 3: you want to have an interplay with your partner when

568
00:27:09,520 --> 00:27:11,120
Speaker 3: you get to the set. So I'm trying to learn

569
00:27:11,160 --> 00:27:13,720
Speaker 3: things without reading too much into it, you know, just

570
00:27:13,720 --> 00:27:16,480
Speaker 3: so that I've got the skeleton there and we'll flash

571
00:27:16,480 --> 00:27:18,080
Speaker 3: it out on the day and I can actually listen

572
00:27:18,119 --> 00:27:21,520
Speaker 3: to what the other person's saying and respond hopefully in

573
00:27:21,520 --> 00:27:25,640
Speaker 3: the moment home. In a way, it's just do whatever

574
00:27:25,640 --> 00:27:29,199
Speaker 3: you can. I feel like it, really, you know, you

575
00:27:29,240 --> 00:27:32,320
Speaker 3: go into the show thinking I've got all of these,

576
00:27:32,440 --> 00:27:34,679
Speaker 3: you know, ambitions for how i want to approach scenes

577
00:27:34,920 --> 00:27:36,800
Speaker 3: and the kind of level of acting I'd like to

578
00:27:36,840 --> 00:27:38,560
Speaker 3: bring to it, and there are other actors who feel

579
00:27:38,600 --> 00:27:41,400
Speaker 3: exactly the same way. And the sheer volume of work

580
00:27:41,440 --> 00:27:44,160
Speaker 3: means that inevitably there's a time every week where you're

581
00:27:44,200 --> 00:27:49,160
Speaker 3: just you're just surviving because it's so intense. And that's

582
00:27:49,200 --> 00:27:51,560
Speaker 3: for every department. You know, we're all really trying to

583
00:27:51,560 --> 00:27:55,760
Speaker 3: make something that that respects its audience and that that

584
00:27:55,920 --> 00:27:58,320
Speaker 3: is as elevated as we possibly can get it. But

585
00:27:58,440 --> 00:28:01,919
Speaker 3: it's a huge amount of work and things are changing,

586
00:28:01,960 --> 00:28:06,440
Speaker 3: and so sometimes it's just read it, you know, read

587
00:28:06,480 --> 00:28:08,399
Speaker 3: it over five times and hope for the best. Because

588
00:28:08,640 --> 00:28:11,960
Speaker 3: because the speed is that intense? But you get better

589
00:28:11,960 --> 00:28:13,399
Speaker 3: at it as well. You know, the first couple of

590
00:28:13,440 --> 00:28:16,160
Speaker 3: weeks that I was doing Home and Away, you're sort

591
00:28:16,160 --> 00:28:20,600
Speaker 3: of walking around like an animal in the headlights, and

592
00:28:20,640 --> 00:28:23,720
Speaker 3: you get better at it, you sort of realize, oh, actually, yeah,

593
00:28:23,760 --> 00:28:25,919
Speaker 3: I think like your photographic memory kicks in a bit.

594
00:28:26,000 --> 00:28:28,040
Speaker 3: You can just like a musage, isn't Yeah, it's a musk.

595
00:28:28,240 --> 00:28:31,639
Speaker 3: Really is a muscle. And I've noticed, you know, even

596
00:28:31,680 --> 00:28:34,080
Speaker 3: when you're doing auditions while you're filming Home and Away,

597
00:28:34,160 --> 00:28:37,120
Speaker 3: it's so much quicker learning those as well, because my

598
00:28:37,160 --> 00:28:39,760
Speaker 3: brain is in that mode of quickly grab onto this

599
00:28:40,040 --> 00:28:42,400
Speaker 3: and then you forget them almost instantly. You have to

600
00:28:42,440 --> 00:28:44,560
Speaker 3: go back to a scene it's like, wow, I can't

601
00:28:44,600 --> 00:28:48,000
Speaker 3: even remember doing that. Oh wow. So they don't get

602
00:28:48,400 --> 00:28:50,920
Speaker 3: stored in the longer term memory like some theater things do.

603
00:28:51,200 --> 00:28:52,960
Speaker 2: Yeah, oh that's so interesting.

604
00:28:53,160 --> 00:28:54,080
Speaker 3: Yeah, so fun.

605
00:28:54,080 --> 00:28:54,280
Speaker 2: Though.

606
00:28:54,640 --> 00:28:58,000
Speaker 1: Is there a moment from like set on Home and

607
00:28:58,000 --> 00:29:00,440
Speaker 1: Away where you just like that was really cool day

608
00:29:00,440 --> 00:29:02,600
Speaker 1: at the office? Is there anything that sticks.

609
00:29:02,320 --> 00:29:05,320
Speaker 3: Out quite a lot? I mean, I grew up in Sydney,

610
00:29:05,440 --> 00:29:08,360
Speaker 3: so the first time you go on film on Palm Beach.

611
00:29:08,480 --> 00:29:10,200
Speaker 2: That's Northern Beaches, right, yeah, yeah, yeah.

612
00:29:10,200 --> 00:29:11,880
Speaker 3: And I grew up on the Northern Beaches too. I'm

613
00:29:11,920 --> 00:29:14,560
Speaker 3: from monavel So so that's really my neck of the woods.

614
00:29:14,600 --> 00:29:16,120
Speaker 3: And so we'd be going to the beach as kids

615
00:29:16,120 --> 00:29:17,960
Speaker 3: and you'd see all the film fans you see them

616
00:29:17,960 --> 00:29:21,880
Speaker 3: from so it's always sort of been present in the background,

617
00:29:21,920 --> 00:29:23,840
Speaker 3: and you know, family Christmas and like oh why and

618
00:29:23,880 --> 00:29:26,240
Speaker 3: you on Home and Away. It's exciting this Christmas Like,

619
00:29:26,840 --> 00:29:34,840
Speaker 3: well I am, yeah, you've never been watching it, so

620
00:29:34,840 --> 00:29:36,720
Speaker 3: so that's really fun. I think. Yeah, getting to film

621
00:29:36,760 --> 00:29:38,800
Speaker 3: on pump Beach and you know, you're doing a scene

622
00:29:39,840 --> 00:29:41,720
Speaker 3: looking I was doing a scene with Jeremy Lindsay Taylor,

623
00:29:41,760 --> 00:29:44,160
Speaker 3: a wonderful actor on the show, and just looking kind

624
00:29:44,160 --> 00:29:46,120
Speaker 3: of past his head and there's a pot of dolphins

625
00:29:46,240 --> 00:29:50,080
Speaker 3: just swimming beautiful, perfect day on Palm Beach. It's the

626
00:29:50,080 --> 00:29:52,560
Speaker 3: best job in the world. When that sort of thing's happening,

627
00:29:53,400 --> 00:29:56,560
Speaker 3: It's where else would you want to be. We just

628
00:29:56,640 --> 00:30:00,240
Speaker 3: had a big end of season cliffhanger moment home in

629
00:30:00,240 --> 00:30:03,040
Speaker 3: a way with your character, right yeah, yeah, which was

630
00:30:03,040 --> 00:30:05,840
Speaker 3: a big train crash that I was involved in, and

631
00:30:05,920 --> 00:30:07,960
Speaker 3: a lot of the stuff for that was it was

632
00:30:08,040 --> 00:30:09,480
Speaker 3: just super fun act of stuff on set.

633
00:30:09,560 --> 00:30:12,120
Speaker 2: There's a lot of conspiracy stuff online about your character.

634
00:30:12,200 --> 00:30:14,400
Speaker 3: There is, and I am not in a position to

635
00:30:14,440 --> 00:30:16,280
Speaker 3: confirm or tonay any of it. But it is very

636
00:30:16,280 --> 00:30:20,720
Speaker 3: funny seeing people's hot takes that are just completely off

637
00:30:20,800 --> 00:30:24,040
Speaker 3: the markets. It's very funny thinking what they're going to

638
00:30:24,120 --> 00:30:28,840
Speaker 3: think when they see it, Leeves, I tell you, but yeah,

639
00:30:28,880 --> 00:30:29,640
Speaker 3: it's very funny.

640
00:30:30,240 --> 00:30:34,440
Speaker 1: If we could look into a crystal ball like two, three, four,

641
00:30:34,480 --> 00:30:36,080
Speaker 1: even five years now, what would the dream be.

642
00:30:37,000 --> 00:30:39,200
Speaker 3: I think the dream for me would be just to

643
00:30:39,240 --> 00:30:43,960
Speaker 3: be acting regularly. That's I love it, and that's always

644
00:30:44,600 --> 00:30:46,600
Speaker 3: the career I've tried to build for myself. I don't

645
00:30:46,640 --> 00:30:50,479
Speaker 3: particularly care about being rich and famous. I just I

646
00:30:50,520 --> 00:30:53,000
Speaker 3: love the work and I would love to be working

647
00:30:53,120 --> 00:30:55,120
Speaker 3: all the time. I think a lot of actors like

648
00:30:55,160 --> 00:30:56,760
Speaker 3: that too. What we do is we put together a

649
00:30:56,760 --> 00:30:59,800
Speaker 3: big elaborate puzzle of jobs where things will last for

650
00:31:00,080 --> 00:31:02,080
Speaker 3: you know, six months and a couple of weeks, a

651
00:31:02,080 --> 00:31:04,600
Speaker 3: few days on this. You know, you're always putting together

652
00:31:04,680 --> 00:31:07,840
Speaker 3: with your agent, this this puzzle of how can I

653
00:31:07,880 --> 00:31:09,640
Speaker 3: go from job to job and mind these things up?

654
00:31:10,480 --> 00:31:12,200
Speaker 3: And I think sort of the more in demand you are,

655
00:31:12,240 --> 00:31:14,920
Speaker 3: I guess maybe the easier it is to put that together.

656
00:31:14,960 --> 00:31:17,280
Speaker 3: But for me, you know, in three or four years,

657
00:31:17,320 --> 00:31:19,400
Speaker 3: even over the next decade, just want to be working

658
00:31:19,440 --> 00:31:23,200
Speaker 3: on new and different things, learning, growing, meeting new people.

659
00:31:23,920 --> 00:31:25,720
Speaker 3: Yeah that's do you ever?

660
00:31:25,880 --> 00:31:27,760
Speaker 2: Do you ever go over to America and do like

661
00:31:27,800 --> 00:31:28,440
Speaker 2: a bit of time in.

662
00:31:28,360 --> 00:31:32,560
Speaker 3: America or would you I spend a little bit of

663
00:31:32,560 --> 00:31:35,840
Speaker 3: time straight when I finished drama school, I want a

664
00:31:35,880 --> 00:31:38,000
Speaker 3: scholarship thing with another girl and we went and did

665
00:31:38,000 --> 00:31:40,440
Speaker 3: some concerts in New York and Washington, which is really cool.

666
00:31:40,480 --> 00:31:43,680
Speaker 3: I love America. I love New York, especially fear to

667
00:31:43,680 --> 00:31:47,080
Speaker 3: get it hard, I guess, yeah, and I absolutely would.

668
00:31:47,160 --> 00:31:50,600
Speaker 3: I think my grand hope with that is that I

669
00:31:50,600 --> 00:31:52,880
Speaker 3: would book a job that would take me there. Oh yeah,

670
00:31:53,440 --> 00:31:53,600
Speaker 3: you know.

671
00:31:53,680 --> 00:31:55,160
Speaker 1: I feel like every actor is like I just want

672
00:31:55,160 --> 00:31:56,680
Speaker 1: a job in New York, which means I can live

673
00:31:56,680 --> 00:31:59,080
Speaker 1: in New York for a pocket a time. I mean,

674
00:31:59,120 --> 00:32:02,480
Speaker 1: because you can't really beat Australia, Like Australia is love

675
00:32:02,520 --> 00:32:04,640
Speaker 1: it here. It's such a beautiful place to call home.

676
00:32:05,360 --> 00:32:07,520
Speaker 1: As someone that lives in Los Angeles, like, I do

677
00:32:07,600 --> 00:32:10,000
Speaker 1: love it, but it is a grind like it is,

678
00:32:10,320 --> 00:32:14,600
Speaker 1: and you take you miss things about Australia like a

679
00:32:14,720 --> 00:32:16,280
Speaker 1: really good coffee, or.

680
00:32:16,240 --> 00:32:21,720
Speaker 3: Like the lifestyle here is really really wonderful. I think,

681
00:32:22,520 --> 00:32:24,600
Speaker 3: you know, I've been really lucky from Sydney to book

682
00:32:24,640 --> 00:32:27,080
Speaker 3: jobs that took me to New Zealand for After You

683
00:32:27,200 --> 00:32:29,840
Speaker 3: to do Spidacus, or to the UK to do Mural's wedding.

684
00:32:30,680 --> 00:32:32,880
Speaker 3: So I have been able to do a lot of

685
00:32:33,320 --> 00:32:36,640
Speaker 3: shot things in Thailand, and there's there's been there's been

686
00:32:36,680 --> 00:32:39,120
Speaker 3: a lot of fun international opportunities that have come up

687
00:32:39,120 --> 00:32:42,160
Speaker 3: from being here. So while that's working, like a huge

688
00:32:42,640 --> 00:32:46,160
Speaker 3: sense of all, I've got to get out. I think

689
00:32:46,200 --> 00:32:48,320
Speaker 3: if I was going to move somewhere, it would be

690
00:32:48,920 --> 00:32:52,000
Speaker 3: the UK. I would probably choose London over the US.

691
00:32:52,360 --> 00:32:54,920
Speaker 1: Just I feel like that's also super smart cause I

692
00:32:54,920 --> 00:32:58,080
Speaker 1: feel like Brits love our Australian zopie, so you've got

693
00:32:58,080 --> 00:32:59,880
Speaker 1: an already existing audience as well.

694
00:33:00,160 --> 00:33:02,800
Speaker 3: The sensibilities aligned, and I think a lot of the

695
00:33:03,040 --> 00:33:05,240
Speaker 3: kinds of TV shows that I would like to be

696
00:33:05,360 --> 00:33:07,080
Speaker 3: on are the sorts of things that film in Europe

697
00:33:07,200 --> 00:33:11,400
Speaker 3: film in the UK, so there's that too, and just

698
00:33:11,440 --> 00:33:13,560
Speaker 3: having Europe on your doorstep like that as well, it's

699
00:33:13,600 --> 00:33:14,320
Speaker 3: very appealing to me.

700
00:33:14,560 --> 00:33:15,800
Speaker 2: I have to ask you.

701
00:33:15,840 --> 00:33:18,600
Speaker 1: I can't have you on without asking what advice do

702
00:33:18,600 --> 00:33:20,960
Speaker 1: you have for like another actor that they might have

703
00:33:21,080 --> 00:33:23,400
Speaker 1: just watched your episodes on Spartacus and they might be like,

704
00:33:24,120 --> 00:33:25,840
Speaker 1: hang on a second, or they watch you on Home

705
00:33:25,880 --> 00:33:28,200
Speaker 1: Away and they're like, I want to do this, And

706
00:33:28,400 --> 00:33:31,160
Speaker 1: I think there's a big divide between being in drama

707
00:33:31,200 --> 00:33:33,760
Speaker 1: school and doing the thing because there's kind of like

708
00:33:33,800 --> 00:33:36,120
Speaker 1: a business side to it as well. Yeah, for sure,

709
00:33:36,520 --> 00:33:38,040
Speaker 1: what advice have you got for someone that might be

710
00:33:38,080 --> 00:33:40,320
Speaker 1: fresh out of drama school, Like we're recording this at

711
00:33:40,320 --> 00:33:42,320
Speaker 1: the end of the year, the fresh year when this

712
00:33:42,360 --> 00:33:43,720
Speaker 1: comes out, it's going to come out the start of

713
00:33:43,720 --> 00:33:47,240
Speaker 1: the year. Just someone that's hungry. They look at you,

714
00:33:47,360 --> 00:33:51,000
Speaker 1: they look after you, like, yeah, give me some little tips.

715
00:33:51,280 --> 00:33:54,920
Speaker 3: I think it's so important to find things in your

716
00:33:54,920 --> 00:33:58,880
Speaker 3: life that support your feeling that you are an artist

717
00:33:59,200 --> 00:34:01,960
Speaker 3: and that they can from you. That makes sense, so

718
00:34:02,320 --> 00:34:04,200
Speaker 3: so things that you can be in control of, because

719
00:34:04,240 --> 00:34:06,840
Speaker 3: so much of being an actor, being an artist in

720
00:34:06,880 --> 00:34:09,960
Speaker 3: any way, is feeling out of control because we're waiting

721
00:34:09,960 --> 00:34:12,600
Speaker 3: for other people to give us permission to do our art,

722
00:34:12,719 --> 00:34:15,400
Speaker 3: Which is why a violinist can at least play violin

723
00:34:15,440 --> 00:34:18,360
Speaker 3: at home. I can't really act at home, you know.

724
00:34:18,719 --> 00:34:21,560
Speaker 3: I mean you can practice monologues, I guess. But but

725
00:34:21,719 --> 00:34:23,319
Speaker 3: so much of the magic and joy of acting is

726
00:34:23,360 --> 00:34:26,000
Speaker 3: acting with other people, so collaborative and working with directors

727
00:34:26,000 --> 00:34:27,600
Speaker 3: and working on it, you know, writing.

728
00:34:27,360 --> 00:34:28,600
Speaker 2: You're a piece of a big puzzle.

729
00:34:28,760 --> 00:34:32,480
Speaker 3: Yeah, it's a collaborative thing. So so I think as

730
00:34:32,600 --> 00:34:34,960
Speaker 3: much as possible, Like it was valuable for me when

731
00:34:34,960 --> 00:34:37,880
Speaker 3: I graduated. It's just finding things that kept me feeling

732
00:34:37,920 --> 00:34:39,879
Speaker 3: like I was an actor even if other people weren't

733
00:34:39,880 --> 00:34:43,480
Speaker 3: paying me to be one. Everything the year, so, you know,

734
00:34:44,480 --> 00:34:47,320
Speaker 3: organizing to have play readings with your friends something teachers

735
00:34:47,360 --> 00:34:48,879
Speaker 3: talked about a lot, and it took me a little

736
00:34:48,880 --> 00:34:50,960
Speaker 3: while to actually kicking together and do things like that.

737
00:34:51,680 --> 00:34:56,279
Speaker 3: And it's so valuable even just reading, reading a whole

738
00:34:56,320 --> 00:34:58,719
Speaker 3: lot of material, you know, that work on your brain

739
00:34:58,760 --> 00:35:00,480
Speaker 3: the same way that you would work on your body

740
00:35:00,480 --> 00:35:05,840
Speaker 3: in the gym, you know, watching watching new and old

741
00:35:05,920 --> 00:35:08,840
Speaker 3: films and TV shows, you know, build up your library

742
00:35:08,840 --> 00:35:11,080
Speaker 3: of references because I couldn't tell you how many times

743
00:35:11,120 --> 00:35:12,759
Speaker 3: I've been in a rehearsal room or on a set

744
00:35:12,800 --> 00:35:15,840
Speaker 3: and people are making reference to things in pieces of direction,

745
00:35:16,400 --> 00:35:18,360
Speaker 3: and you can see who gets it and who clicks

746
00:35:18,360 --> 00:35:20,279
Speaker 3: into oh, yes, I understand what you're talking about, and

747
00:35:20,280 --> 00:35:22,319
Speaker 3: who's just got a glaze look on their faces. If oh,

748
00:35:22,360 --> 00:35:24,520
Speaker 3: nobody showed me that, it's up to us to go

749
00:35:24,560 --> 00:35:27,080
Speaker 3: and find that stuff. And you know, to mind to

750
00:35:27,200 --> 00:35:30,759
Speaker 3: be to be educated artists in that way. So I

751
00:35:30,800 --> 00:35:33,480
Speaker 3: think as much as you can find stuff to do

752
00:35:34,200 --> 00:35:37,279
Speaker 3: that that is like I'm an actor even if nobody's

753
00:35:37,920 --> 00:35:39,600
Speaker 3: you know, giving me a permission to be an actor.

754
00:35:39,640 --> 00:35:41,680
Speaker 3: I'm finding things to do with my friends, whether it's

755
00:35:41,680 --> 00:35:44,640
Speaker 3: like making sure films, doing practice self takes with each other.

756
00:35:44,840 --> 00:35:47,120
Speaker 3: Used to do that with friends a lot because we

757
00:35:47,160 --> 00:35:50,720
Speaker 3: felt like we weren't getting enough auditions in Australia versus

758
00:35:50,800 --> 00:35:52,799
Speaker 3: people in the UK or the US. And how do

759
00:35:52,840 --> 00:35:54,759
Speaker 3: you compete with that? Will you make it up like

760
00:35:54,800 --> 00:35:56,520
Speaker 3: you get a group of three people and you each

761
00:35:56,560 --> 00:35:58,480
Speaker 3: give each other a scene and you say, in a

762
00:35:58,520 --> 00:35:59,840
Speaker 3: week and a half we've all got to send them

763
00:35:59,880 --> 00:36:02,200
Speaker 3: to each other and give a bit of feedback. All

764
00:36:02,239 --> 00:36:04,960
Speaker 3: that sort of stuff, you know, because there's so many

765
00:36:05,000 --> 00:36:06,880
Speaker 3: things you can do that cost money, like going to

766
00:36:06,960 --> 00:36:10,320
Speaker 3: class or going and that's great, but I but I

767
00:36:11,040 --> 00:36:13,920
Speaker 3: really don't you don't want acting to become a classiest

768
00:36:13,960 --> 00:36:15,520
Speaker 3: thing either. I think there needs to be things that

769
00:36:15,560 --> 00:36:17,239
Speaker 3: we can do that are for free, that are just

770
00:36:17,239 --> 00:36:20,799
Speaker 3: with your friends to work on your craft and it's

771
00:36:20,800 --> 00:36:23,239
Speaker 3: not cost prohibitive, because otherwise it's just only going to

772
00:36:23,239 --> 00:36:24,280
Speaker 3: be rich people who are actism.

773
00:36:24,280 --> 00:36:26,440
Speaker 2: You don't want that totally. Oh, I love that. It

774
00:36:26,520 --> 00:36:29,200
Speaker 2: was really good advice. Can you chat to me about hope?

775
00:36:29,280 --> 00:36:34,719
Speaker 2: Esays right, Zim Butcher and you play Kai?

776
00:36:35,080 --> 00:36:37,480
Speaker 3: I Do? I Do? I play Kie So Zombu is

777
00:36:38,040 --> 00:36:41,359
Speaker 3: an Australian comedy comedy horror film that's that's coming out

778
00:36:41,440 --> 00:36:43,520
Speaker 3: in cinemas early next year, which is very exciting for

779
00:36:43,560 --> 00:36:45,440
Speaker 3: me because a lot of what a lot of the

780
00:36:45,440 --> 00:36:49,439
Speaker 3: films we audition for at the moment, for streamers, there's

781
00:36:49,600 --> 00:36:52,839
Speaker 3: a huge chunk of the market share goes there, and

782
00:36:52,880 --> 00:36:54,840
Speaker 3: for those of us who grew up in the nineties

783
00:36:54,880 --> 00:36:57,440
Speaker 3: and early two thousands, it's going to be exciting to

784
00:36:57,480 --> 00:36:59,960
Speaker 3: go and see film in the cinema.

785
00:37:00,320 --> 00:37:02,640
Speaker 2: It's about a millennial couple, right, yeah, So.

786
00:37:02,600 --> 00:37:07,279
Speaker 3: It's about it's about a couple you know who one

787
00:37:07,320 --> 00:37:08,759
Speaker 3: of them gets fired and one of them loses their

788
00:37:08,840 --> 00:37:10,759
Speaker 3: job on the same day and they're in this sort

789
00:37:10,800 --> 00:37:12,920
Speaker 3: of money stress about you know, it's time for us

790
00:37:12,920 --> 00:37:15,480
Speaker 3: to be having a baby, and they're those thirty somethings.

791
00:37:15,600 --> 00:37:17,000
Speaker 3: You know, I'm sure we can all relate to the

792
00:37:17,040 --> 00:37:18,839
Speaker 3: cost of living going through the roof and how we're

793
00:37:18,840 --> 00:37:21,040
Speaker 3: going to afford a house and a family and all

794
00:37:21,080 --> 00:37:25,640
Speaker 3: of those sorts of things. And they meet this charming

795
00:37:25,719 --> 00:37:29,680
Speaker 3: combucher salesman at a very overpriced Northern Beaches farmer's market

796
00:37:30,520 --> 00:37:33,600
Speaker 3: who I play, and they decide they're going to steal

797
00:37:34,680 --> 00:37:37,319
Speaker 3: some of the Scobie just what you make, compushing them

798
00:37:38,800 --> 00:37:41,239
Speaker 3: and go into rival business, which they do. But how

799
00:37:41,280 --> 00:37:44,680
Speaker 3: little do they know that the Scobie has this supernatural

800
00:37:44,719 --> 00:37:47,160
Speaker 3: sentient properties that are oh wow.

801
00:37:47,000 --> 00:37:48,799
Speaker 2: Would your character know about that?

802
00:37:49,040 --> 00:37:53,160
Speaker 3: Yeah, So I'm sort of this like charming young guy

803
00:37:53,160 --> 00:37:55,200
Speaker 3: who's who grows up with this. You know, I live

804
00:37:55,239 --> 00:37:57,719
Speaker 3: on this homestead with fore fathers and it's all a

805
00:37:57,719 --> 00:37:58,800
Speaker 3: bit of a strange cult.

806
00:37:58,920 --> 00:38:01,280
Speaker 2: And I was going to say, this is giving cult.

807
00:38:01,120 --> 00:38:06,399
Speaker 3: It's sort of terrifying and funny and wacky, and it's

808
00:38:06,400 --> 00:38:09,480
Speaker 3: a real throwback to the Australian cinema of the nineties.

809
00:38:09,480 --> 00:38:12,799
Speaker 3: When we were making The Castle, Priscilla and Mural's wedding.

810
00:38:12,800 --> 00:38:18,920
Speaker 3: It's very offbeat Australian comedy. Oh my god, mash Yeah. Anyway,

811
00:38:18,920 --> 00:38:22,600
Speaker 3: so that's in cinemas early next year. I joyed to

812
00:38:22,640 --> 00:38:26,879
Speaker 3: do something it's that feels very Australian and yeah film

813
00:38:26,920 --> 00:38:29,480
Speaker 3: getting a cinema release, which which is something we've got

814
00:38:29,520 --> 00:38:29,960
Speaker 3: to clean.

815
00:38:30,200 --> 00:38:31,399
Speaker 2: It up, soak it up.

816
00:38:31,640 --> 00:38:31,879
Speaker 3: Yeah.

817
00:38:32,440 --> 00:38:34,440
Speaker 2: Do you ever get nervous when you do red carpets?

818
00:38:35,160 --> 00:38:36,879
Speaker 3: Do I get nervous when I do red carpets? I've

819
00:38:36,920 --> 00:38:39,239
Speaker 3: really done that many red carpets, to be honest.

820
00:38:39,040 --> 00:38:40,880
Speaker 2: It wasn't well, there would have been one for Spartacus.

821
00:38:41,160 --> 00:38:44,640
Speaker 3: There was, but I wasn't. The big premiere stuff for

822
00:38:44,680 --> 00:38:47,719
Speaker 3: Spartacus was in la and London and I was here

823
00:38:47,719 --> 00:38:50,120
Speaker 3: working doing Home in the Away. Same for Same for

824
00:38:51,200 --> 00:38:53,719
Speaker 3: It had its premiere at Melbourne Film Festival and I

825
00:38:53,760 --> 00:38:57,120
Speaker 3: was filling. It's the only good excuse your premiere or

826
00:38:57,160 --> 00:38:59,080
Speaker 3: your red carpet is oh, I can't be there. I'm

827
00:38:59,080 --> 00:38:59,879
Speaker 3: filming the next thing.

828
00:39:00,400 --> 00:39:05,200
Speaker 1: That's well ye, Because I think I have a theory

829
00:39:05,200 --> 00:39:08,040
Speaker 1: that a lot of actors like when they're on a

830
00:39:08,160 --> 00:39:11,120
Speaker 1: set or on stage, like that's you're doing the thing

831
00:39:11,160 --> 00:39:13,799
Speaker 1: you love with people that are also doing the thing

832
00:39:13,880 --> 00:39:17,279
Speaker 1: they love, but their press or the media even like

833
00:39:17,320 --> 00:39:20,399
Speaker 1: what this is, I guess, and Red Carpets is kind

834
00:39:20,400 --> 00:39:23,760
Speaker 1: of a different beast, Like that's a different you're you,

835
00:39:23,760 --> 00:39:27,560
Speaker 1: You're Stephen talking about your experience with this character or

836
00:39:27,600 --> 00:39:30,359
Speaker 1: these roles as opposed to doing the art and being

837
00:39:30,360 --> 00:39:30,920
Speaker 1: in the craft.

838
00:39:30,960 --> 00:39:32,920
Speaker 3: Do you know what I mean? Absolutely? And you hear

839
00:39:32,960 --> 00:39:34,719
Speaker 3: a lot of actors say, you know, I do the

840
00:39:34,760 --> 00:39:37,080
Speaker 3: acting part for free. You pay me for the publicity. Oh,

841
00:39:37,280 --> 00:39:40,239
Speaker 3: I mean that tracks which is you know, it's understandable

842
00:39:40,280 --> 00:39:41,359
Speaker 3: because it is a different job.

843
00:39:41,480 --> 00:39:42,800
Speaker 2: This podcast for free.

844
00:39:45,840 --> 00:39:47,799
Speaker 3: Still enough of a novelty to meet it. But it's

845
00:39:47,920 --> 00:39:48,880
Speaker 3: just a total pleasure.

846
00:39:48,880 --> 00:39:51,279
Speaker 1: Okay, Well, I'm happy to hear that. It's been such

847
00:39:51,280 --> 00:39:53,640
Speaker 1: a joy to have you on this podcast. I could

848
00:39:53,640 --> 00:39:54,600
Speaker 1: talk to you all day long.

849
00:39:55,160 --> 00:39:57,040
Speaker 2: Thank you so much, Steven, You're very welcome.

850
00:39:57,080 --> 00:39:57,719
Speaker 3: Thanks for the chat.

851
00:39:59,560 --> 00:40:00,400
Speaker 2: So the have it.

852
00:40:00,760 --> 00:40:05,120
Speaker 1: There is a little peep behind the curtains into stephens

853
00:40:05,239 --> 00:40:08,759
Speaker 1: world water sweetie, And I love that he shared the

854
00:40:08,840 --> 00:40:11,000
Speaker 1: honest stuff about like because he's got to have his

855
00:40:11,120 --> 00:40:14,120
Speaker 1: rig out in a lot of not only theater productions

856
00:40:14,160 --> 00:40:17,200
Speaker 1: but also TV and film stuff. And he shared a

857
00:40:17,200 --> 00:40:19,279
Speaker 1: bit of the diet stuff, which as a nutritionist I

858
00:40:19,320 --> 00:40:20,400
Speaker 1: can't find that interesting, so I.

859
00:40:20,440 --> 00:40:21,120
Speaker 2: Hope you did too.

860
00:40:21,640 --> 00:40:24,840
Speaker 1: As always, share, like, comment, write to me on Insta

861
00:40:25,400 --> 00:40:29,839
Speaker 1: and remember next week we'll be coming to from Austin, Texas,

862
00:40:29,880 --> 00:40:31,080
Speaker 1: south By Southwest.

863
00:40:31,280 --> 00:40:33,080
Speaker 2: I can't wait for those episodes.

864
00:40:33,440 --> 00:40:37,880
Speaker 1: We will be chatting all different kinds of topics from

865
00:40:38,280 --> 00:40:45,320
Speaker 1: aerospace engineers to AI and tech, to musicians to writers, producers, directors, cinematographers,

866
00:40:45,440 --> 00:40:48,800
Speaker 1: you name it. Strap in for south By Southwest Festival.

867
00:40:49,120 --> 00:40:56,400
Speaker 1: Coming to from Australia House in Austin, Texas. That's a

868
00:40:56,440 --> 00:41:02,040
Speaker 1: wrap on another episode of Fearlessly Face. As always, thank

869
00:41:02,080 --> 00:41:06,160
Speaker 1: you to our guests and let's continue the conversation on Instagram.

870
00:41:06,719 --> 00:41:11,240
Speaker 2: I'm at Yamo Lollerberry. This potty my work.

871
00:41:11,160 --> 00:41:15,879
Speaker 1: For podcast is available on all streaming platforms. I'd love

872
00:41:15,920 --> 00:41:18,960
Speaker 1: it if you could subscribe, rape and comment and of

873
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Speaker 1: course spread the love