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Speaker 1: Get a.

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Speaker 2: I'm Lola Berry, nutritionist, author, actor, TV presenter and professional

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Speaker 2: overshare us. This podcast is all about celebrating failure because

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Speaker 2: I believe it's a chance for us to learn, grow

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Speaker 2: and face our blind spots. Each week I'll interview a

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Speaker 2: different guest about their highs as well as their lows,

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Speaker 2: all in a bid to inspire us to fearlessly fail.

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Speaker 2: Holy Mac, we have a ripper guest for you on

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Speaker 2: the pod today. It is Aussie actor Damon Harryman. He's unreal,

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Speaker 2: so lovely, so kind, so humble, and might I say,

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Speaker 2: an incredible body of work as an actor, both here

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Speaker 2: in America and in Australia. There are so many shows

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Speaker 2: you would have seen him on missed in between The

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Speaker 2: Artful Dodger. He is on the new Bikes movie with

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Speaker 2: Austin Butler and Tom Hardy. In fact, we held this

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Speaker 2: episode so that it could time in with the movie,

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Speaker 2: so if you're in Australia or America, the movie is

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Speaker 2: officially out now. It's called The Bike Riders, Go and

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Speaker 2: see it. We talk about the behind the scenes of

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Speaker 2: it a lot in this chat. Like it's set in

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Speaker 2: the sixties around a bike gang, like a bike Rider's Gang.

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Speaker 1: Yeah, I want to say bike Rider's gang. That's the

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Speaker 1: right thing to say, isn't it.

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Speaker 2: And they actually had to ride legit bikes from this

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Speaker 2: time and as a result, like the throttle is different,

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Speaker 2: the clutches are different, the breaks are different, and you'll

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Speaker 2: hear David say, like, you know, all the stuff we

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Speaker 2: did our training on was different to how it was

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Speaker 2: actually on set.

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Speaker 1: So very lovely chat. I learned so much from him.

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Speaker 1: He was so giving of his time and such a sweetie.

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Speaker 2: Damon. I cannot wait to see what is next for you,

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Speaker 2: And thank you so much for just share during your

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Speaker 2: time so honestly, and you're so generous with your time

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Speaker 2: as well, your wonderful friend. Thank you so much for

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Speaker 2: jumping on the pod and to you the listener, go

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Speaker 2: out and see the bike riders. Damon's incredible God, Damon Harriman,

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Speaker 2: I'm so pumped to have you here.

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Speaker 3: I'm happy to be here. Thanks for having me.

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Speaker 2: I just told you before we hit record, I get

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Speaker 2: so nerdy and I nerd out over not just the

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Speaker 2: guest but the process. And you have had such a

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Speaker 2: wonderful career to deep dive. So when a friend of

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Speaker 2: mine connected me to to jump on the pod. I

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Speaker 2: was living in my little apartment in Byron Bay and

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Speaker 2: we have a frame poster on the wall of Once

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Speaker 2: Upon a Time in Hollywood, and I was like, this

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Speaker 2: has got to be a good sign, right, And then

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Speaker 2: when you said yes to this podcast, I looked out

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Speaker 2: my apartment window here where I live in LA and

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Speaker 2: they just change ed the movie poster to the Bike Rider.

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Speaker 1: So I feel like this all feels quite set to be.

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Speaker 2: So You've had such an incredible career both here in

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Speaker 2: America and in Australia.

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Speaker 1: But is it true you started like eight I did?

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Speaker 3: Yeah, Yeah, I was living.

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Speaker 4: I was born in Adelaide in Australia, lived in Alice

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Speaker 4: Springs for about five years. And while we were in

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Speaker 4: Alice Springs, I did these radio commercials with my dad.

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Speaker 3: Just threw someone he knew at the radio station.

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Speaker 4: And my dad sort of got this idea based on

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Speaker 4: those commercials and just the kind of play acting I

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Speaker 4: used to do in front of the family, pretending to

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Speaker 4: be characters and things, that maybe I could be an actor.

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Speaker 4: And so he decided to take it upon himself to

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Speaker 4: write a letter to the only film director he could

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Speaker 4: think of which was Peter Weir, and Peter Weir at

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Speaker 4: the time was not as famous as he is now,

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Speaker 4: but he was still famous for him picnicing hanging rock

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Speaker 4: in the Last Wave and it was a sort of

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Speaker 4: a pretty bold thing to do.

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Speaker 3: But he wrote to him.

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Speaker 4: Peter we amazingly wrote back, I still have the letter

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Speaker 4: and said, yeah, if you're going back to Adelaide, which

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Speaker 4: we were, go and see this agent. And I did

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Speaker 4: and she signed me. And look, I don't think that

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Speaker 4: was because I blew her socks off. I think I

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Speaker 4: was one of, you know, one of the few eight

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Speaker 4: year olds that was coming in to see it, you know,

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Speaker 4: and it was and I could I could string two

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Speaker 4: words together. And she took me on and yeah, did

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Speaker 4: a bunch of ads and then and then got into

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Speaker 4: some TV after that.

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Speaker 2: Is it true that you're not technically not technically but

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Speaker 2: like you haven't.

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Speaker 1: Done much traditional like drama training.

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Speaker 3: Yeah, I don't really know if I've done any that

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Speaker 3: I can think of. Really, it's amazing, Yeah.

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Speaker 4: But I mean it's you know, every every time you

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Speaker 4: do a job, it's it's kind of totally train you know,

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Speaker 4: there's no there's no.

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Speaker 3: Question that you pick up.

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Speaker 4: You get better by working with good people, And that's happened,

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Speaker 4: you know, That's that's that's been like you know, a

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Speaker 4: mixing bowl that's had like new ingredients added to it

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Speaker 4: for years and years and years and stirred in and

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Speaker 4: and I think, you know, you take on all the

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Speaker 4: bits that feel like they're good and discard the ones

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Speaker 4: that don't, and hopefully end up with a form of

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Speaker 4: training that's just on the job training.

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Speaker 2: Really, yeah, by doing I feel like and I also

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Speaker 2: feel like we were talking about drama school before this,

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Speaker 2: Like what you do in a drama class often.

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Speaker 1: Isn't what you're going to be doing in a on.

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Speaker 2: A TV set or on a film set, And like

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Speaker 2: that preparation time can be different, especially in the moment

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Speaker 2: as well, like you get to like love it, which

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Speaker 2: I feel like would be quite different to being we're

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Speaker 2: going to do script analysis on this one piece for the.

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Speaker 1: Next six weeks.

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Speaker 4: Yeah, no, totally, yeah, I mean, who knows. Look, I

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Speaker 4: never I never went. I never auditioned for any of

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Speaker 4: those schools. And it was never because I thought I

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Speaker 4: didn't need to. It was really just because the main

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Speaker 4: reason was I was sort of already acting at that.

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Speaker 3: Yeah, in my.

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Speaker 4: I gave up for like five years over high school.

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Speaker 4: But then I took it up again and I started

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Speaker 4: sort of getting enough work that I my reasoning was, well,

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Speaker 4: I don't want to have three years where I can't

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Speaker 4: get a job. And at the moment, I'm working enough

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Speaker 4: that and doing jobs that I wouldn't want to miss

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Speaker 4: out of. Yeah, that I figured, well, I don't want

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Speaker 4: to have three years where I can't do that, And

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Speaker 4: so I just kind of kept going.

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Speaker 1: I love I love it.

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Speaker 2: So we talk about or you look at an actor's

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Speaker 2: career and you're like, Okay, well that could have been

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Speaker 2: a break that you've had all these moments, like was

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Speaker 2: the big Steel like a did it feel like a

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Speaker 2: big break through you?

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Speaker 3: It definitely did. I mean that was so The Big

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Speaker 3: Steal for people that don't know, was a film released

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Speaker 3: in nineteen.

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Speaker 1: Nineteeny Mester, you would have been nineteen.

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Speaker 4: It was nineteen when we shot it, and yeah, I

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Speaker 4: guess I was nineteen or twenty when it came out.

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Speaker 4: Ben Mendelssohn was in it, Claudia Carvion was in it

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Speaker 4: was it was, it was, it was you know, it

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Speaker 4: was a sort of a hit, but not like a

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Speaker 4: big It wasn't a big Murals wedding kind of Priscilla

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Speaker 4: type hit, but it was a semi hit, and it

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Speaker 4: certainly had a lot of love in the following years

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Speaker 4: as a kind of a VHSDVD rental.

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Speaker 3: But that definitely felt like a break.

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Speaker 4: I think partly partly because I just had never done

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Speaker 4: a feature film before, I'd done a bunch of TV.

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Speaker 4: But also, you know, Ben Mendilsson was sort of known

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Speaker 4: from the year My Voice broke, Claudia Carvin had done

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Speaker 4: High Tide. I was excited to be working with these

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Speaker 4: film actors, you know, and Malcolm had been such a

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Speaker 4: big film for Nadia Tas and David Parker, and I

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Speaker 4: couldn't believe I was going to work with them. So

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Speaker 4: it definitely felt like a big break. I mean, ultimately,

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Speaker 4: it didn't change a lot in my career. It's not

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Speaker 4: like I suddenly became I didn't suddenly have a film career,

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Speaker 4: for example, I don't. I think it was years before

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Speaker 4: I did another film. But you know, looking back, that's

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Speaker 4: one of the highlights for me.

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Speaker 2: How because I feel like I've heard you say throughout

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Speaker 2: like that kind of like maybe around up to mid twenties,

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Speaker 2: you had another job as well, like that had nothing

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Speaker 2: to do with like an insurance.

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Speaker 4: For me, yeah, yeah, from eighteen to twenty seven, I

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Speaker 4: was basically that I finished high school on a Friday

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Speaker 4: from the Monday after I was working at the insurance

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Speaker 4: company my dad worked at.

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Speaker 3: And then we moved to Sydney.

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Speaker 4: Dad transferred with his job at that insurance company, and

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Speaker 4: I kept working at that insurance company as well. And

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Speaker 4: so in the same way that actors often will drive

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Speaker 4: taxis or work behind the bar or white tables, this

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Speaker 4: was that job for me. It was my in between job,

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Speaker 4: but it was it was my I was working there

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Speaker 4: way more than I was acting.

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Speaker 3: You know.

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Speaker 4: I would work there for months without an acting job,

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Speaker 4: and then maybe I would do a play for three months,

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Speaker 4: or you know, maybe I would do a guest role

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Speaker 4: on a TV show or you know, but I never

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Speaker 4: I didn't leave that job until I was twenty seven,

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Speaker 4: and that was only because it sort of it was

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Speaker 4: just I think it was a week after I turned

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Speaker 4: twenty seven I went, you know, what if I don't

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Speaker 4: choose to leave this office job, I reckon, I'm going

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Speaker 4: to be fifty and still here going. This is my

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Speaker 4: in between job when I'm not acting. But like I

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Speaker 4: sort of thought, I have to force myself to take

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Speaker 4: this a bit more seriously, even if financially it'll be

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Speaker 4: a bit harder.

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Speaker 3: And that's what I did.

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Speaker 2: It's so interesting not to get too hip in wo

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Speaker 2: wu on you, but that's your sat in return, and

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Speaker 2: so that's true. Yeah, when you start, you know, those

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Speaker 2: big life changes and life lessons kickins. I was like,

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Speaker 2: you were already in tune on like a spiritual esoteric level, right,

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Speaker 2: But I want to ask about house or wax because

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Speaker 2: I feel like that was a turning point view with

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Speaker 2: a with American careers.

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Speaker 3: Yeah. Yeah, yeah, so in a similar way to the

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Speaker 3: Big Steel.

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Speaker 4: Actually, that was, you know, probably the next thing that

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Speaker 4: felt like it was a change, and it ultimately was

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Speaker 4: a huge change because it's what got me to come

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Speaker 4: over here properly. I had done a trip over here

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Speaker 4: a few years earlier, which was a naive attempt to

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Speaker 4: get work in America, not knowing anything about anything and

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Speaker 4: not having an agent and not having any auditions and

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Speaker 4: getting very depressed and leaving with my tail firmly between.

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Speaker 1: A city I agree with a tough city.

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Speaker 3: But it was.

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Speaker 4: Tough, even tougher then because there were just weren't the

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Speaker 4: number of Aussies that had been here kind of traveling

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Speaker 4: that road before us that allows you to then know

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Speaker 4: what to expect. And there had been big Aussie movie stars,

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Speaker 4: but I didn't know any of those people. There hadn't

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Speaker 4: really been just the working actors that are here now

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Speaker 4: and have been here in the last sort of fifteen

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Speaker 4: twenty years. But anyway, so yeah, House of Wax was

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Speaker 4: was a big change because it was an American What

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Speaker 4: I didn't realize when I came over that first time

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Speaker 4: was you sort of if you really want it to be,

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Speaker 4: you know, to make things a lot easier, you either

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Speaker 4: need an American credit, they know, or an Australian film

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Speaker 4: or something that's broken through here, and those two things,

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Speaker 4: you know, we can. I mean, there are a million

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Speaker 4: examples of those things that have happened, you know. I

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Speaker 4: didn't have either of those things on that first trip.

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Speaker 4: But on the second trip, which was about two thousand

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Speaker 4: and four or five, I had just done House of

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Speaker 4: Wax which was an American film shooting in Australia Paris, Hilton,

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Speaker 4: and I played you know what became a reasonably long

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Speaker 4: list of Southern rednecks from that point onwards, which was

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Speaker 4: the kind which was the other thing that changed a lot,

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Speaker 4: because I was really only playing lots of nerds with

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Speaker 4: glasses and nice guys and best friends in Australia. I

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Speaker 4: never got to play those sort of people on the fringes,

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Speaker 4: the bad guys that do the dirtier characters.

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Speaker 3: I didn't just I just couldn't get an audition for those.

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Speaker 3: And I got this audition, I got this.

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Speaker 4: Role, and then I came over here, got an agent,

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Speaker 4: and then then it was it really opened a door,

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Speaker 4: which was I mean, I am a little bit half

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Speaker 4: glass empty on this stuff.

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Speaker 3: I never kind of think.

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Speaker 4: I didn't sort of go, okay, great, I've got my

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Speaker 4: American credit. I'm going to go take America by storm.

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Speaker 4: I thought, there's no way I'm going to get cast

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Speaker 4: in America. I barely get cast in Australia. But I

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Speaker 4: also I had this term I needed to get some

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Speaker 4: regret insurance and I and then what I mean by

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Speaker 4: that is I didn't want to be in my rocking

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Speaker 4: chair at eighty five going why didn't I take advantage

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Speaker 4: of that opportunity just to see if something were to happen,

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Speaker 4: and if I if I'd done House of Wax and

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Speaker 4: then stayed in Australia, I think I always would have

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Speaker 4: been wondering, well, it's too late now, but why didn't

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Speaker 4: I try something then? When I had an American credit

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Speaker 4: and it did, it was worth doing because I did

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Speaker 4: get an agent. It was a very slow process to

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Speaker 4: then start getting work and start getting decent jobs, but

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Speaker 4: then when it happened, it sort of changed everything.

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Speaker 2: It's funny that you meant well, first of all, I

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Speaker 2: feel you on there no regrets thing. That's my whole

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Speaker 2: driving force because Australia is awesome and it's so easy

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Speaker 2: Australia in comparison to here on many different levels. But

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Speaker 2: like being here and just knowing that you're giving it

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Speaker 2: a red hot crack. There's just there are so many

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Speaker 2: opportunities here if you want it, if you have the

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Speaker 2: someone told me acting as here is.

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Speaker 1: A resilience game.

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Speaker 3: Yeah, it's true.

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Speaker 1: It kind of feels like that.

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Speaker 2: But I love that you brought up the Southern because

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Speaker 2: I was like, as I said, research and I was like,

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Speaker 2: hang on, there's a lot of Southern dialect, like Dewey. Yes,

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Speaker 2: Justified was that because that became like what you cast

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Speaker 2: in the pilot, and that was kind of like you

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Speaker 2: might just be in the pilot.

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Speaker 3: Yes, yeah, yeah, it was. It was a character that

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Speaker 3: was in the pilot. So yeah, I did it.

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Speaker 4: I did a bunch of guest roles here and there,

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Speaker 4: which I was blown away by just getting any job

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Speaker 4: at all. I couldn't believe I was working in America really,

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Speaker 4: And then this audition came along for Justified, which was

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Speaker 4: a character in a pilot. Yeah, and I did that

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Speaker 4: and it was super fun, and then the show got

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Speaker 4: picked up, and then yeah, the character just sort of

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Speaker 4: ended up getting They would call up every few months

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Speaker 4: or years or whatever it was, and I think I

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Speaker 4: did twenty five episodes or something over six years. But

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Speaker 4: they would say, hey, we're thinking of putting Dewey back

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Speaker 4: in it. Do you do You're available? I was always

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Speaker 4: I always made sure I was available.

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Speaker 3: Why I loved that role.

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Speaker 4: So much, and that was, if you know, if the

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Speaker 4: Big Steel and House of Wax were too kind of

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Speaker 4: moments that change things. I think Justified was the next

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Speaker 4: one because it was a cool enough show and a

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Speaker 4: cool enough role, and I was in it enough to

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Speaker 4: actually then open a few more doors, because it was

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Speaker 4: something to hold on to and say, look, this is

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Speaker 4: a thing he's done, you know, and that did that

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Speaker 4: That did open some doors to things like doing the

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Speaker 4: Clinice would film j Edgar, or to doing a guest

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Speaker 4: role in Breaking Bad. These are things that I think

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Speaker 4: were helped by the fact that I'd already done Justified and.

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Speaker 1: Such a fun like character like sit.

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Speaker 3: In like I mean, so much fun. Like you know,

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Speaker 3: whenever a new script would come, I.

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Speaker 4: Would just be like like rushing to the pages that

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Speaker 4: do he was under, see what absurd situation he'd get

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Speaker 4: into and what funny lines I got to site so

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Speaker 4: good and they would they really wrote it, The writers

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Speaker 4: were so good. But it was that thing too of like,

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Speaker 4: you know, the version of him in the pilot is

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Speaker 4: a lot more of a bland you know, he's not

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Speaker 4: sort of fully for not really fully fleshed out, either by.

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Speaker 3: The writers or by me. At that point. It's a

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Speaker 3: character we don't really know much about.

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Speaker 4: And then there's a nice back and forth that happens

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Speaker 4: between the actor and the writer writers when something's ongoing,

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Speaker 4: where they see what you're doing and then you see

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Speaker 4: what they're writing and you kind of work together to

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Speaker 4: form something that really becomes this guy. And then I

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Speaker 4: think by probably season three or something, you kind of.

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Speaker 3: Have the character.

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Speaker 2: Oh I love this and ps, I want to apologize

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Speaker 2: because my brain is like a pinball machine and so

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Speaker 2: you'll see me ask questions you might, but that's not

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Speaker 2: in the same timeline, Laura. But I have to ask

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Speaker 2: you about because as soon as you said yes to

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Speaker 2: this pod, I started watching Mister in Between, right, and

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Speaker 2: I like, and you know, it's.

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Speaker 3: A great show.

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Speaker 2: Ah, but there's like montages on YouTube of the relationship

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Speaker 2: of Freddy. You play Freddie right, Freddy and Ray Oh

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Speaker 2: really and like to like romance music in the backgrounds

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Speaker 2: very very sweet on YouTube. But it was such fun

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Speaker 2: but also like heartwarming at moment, Like it was a

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Speaker 2: really incredible show to watch. But the character once again

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Speaker 2: that you got to play like Freddy was like you know,

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Speaker 2: late and complex, but also like there was a love

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Speaker 2: and kind of like a bit messed up as well,

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Speaker 2: but there was like a lovableness.

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Speaker 4: Do you know what You've actually I've never thought about this,

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Speaker 4: but there's a weird similarity between Dewey and and Freddy

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Speaker 4: that you've just made me realize, which is sort of

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Speaker 4: like the hapless kind of friend enemy whatever love hate

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Speaker 4: relationship with the main guy, which is like Raylan and

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Speaker 4: Dewey and Justified and ray and Freddy in Mystery Between

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Speaker 4: who is kind of a pathetic version of a bad guy.

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Speaker 4: You know, they sort of want to be more of

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Speaker 4: a bad guy, but they're a bit hapless.

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Speaker 3: Yeah. I never really thought about.

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Speaker 2: That because I wrote down here that you were a

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Speaker 2: lovable baddie, like as the like the audience were kind

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Speaker 2: of like, oh no, what's what's going to Like, what's.

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Speaker 1: Freddy going to get up to this episode?

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Speaker 2: You kind of like as the audience were kind of

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Speaker 2: like rooting for you, you know what I mean, because

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Speaker 2: like nothing ever kind.

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Speaker 1: Of went your way.

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Speaker 2: There's a funny line where like I think Race is

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Speaker 2: to Freddy like you've been miserule for twenty years.

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Speaker 1: You got to change something, you.

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Speaker 2: Know, because his character was always like having winge about something.

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Speaker 3: Essentially Yeah, yeah, yeah, but.

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Speaker 2: It looked like such a fun character that was so

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Speaker 2: much fun.

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Speaker 4: Oh, I mean very similar as well in the sense

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Speaker 4: that you know, excited to read any new script. You

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Speaker 4: know that show was extraordinary, you know, because you know

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Speaker 4: Scott Ryan, who plays Ray, not only brilliant in the role,

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Speaker 4: but wrote every single episode. The Edgerton brilliantly directed every

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Speaker 4: single episode.

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Speaker 3: Those two were.

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Speaker 4: The ingredients that made that show so special. And I

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Speaker 4: don't think any of us when we started it had

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Speaker 4: any idea how good it was going to be.

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Speaker 3: And yeah, that's that's massive highlight for me totally.

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Speaker 2: I have to ask, because you've also played some really

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Speaker 2: darker like The nighting like heavier characters, did they feel

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Speaker 2: a little bit when you first see like you get

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Speaker 2: sent the sides and you're like, whoa like, does that

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00:18:09,600 --> 00:18:11,800
Speaker 2: feel at all confronting that first moment when you see

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Speaker 2: something that's quite sits in a bit more darkness, or certainly.

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Speaker 4: With something like The Nightingale, like it doesn't really get

389
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Speaker 4: much darker. Yeah, you know, people often bring up the

390
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Speaker 4: Charles Manson things, so how that must have been full

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Speaker 4: on to play him.

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Speaker 3: But the scenes weren't full of the scenes weren't dark.

393
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Speaker 3: The scenes in The.

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Speaker 4: Nightingale are about as dark as they get, you know,

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Speaker 4: So yeah, yeah, it's a it's a that's a full

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Speaker 4: on thing, and you know it, it's sort of a

397
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Speaker 4: testament to the the cast and crew of that film

398
00:18:41,720 --> 00:18:43,919
Speaker 4: that there was some sort of love on set around

399
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Speaker 4: all these horrible scenes that we had to shoot that

400
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Speaker 4: kind of made us get you know, helped us get

401
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Speaker 4: through that.

402
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Speaker 3: But it was it wasn't. Yeah, that wasn't a fun

403
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Speaker 3: film to shoot. A lot of the time. It was grueling.

404
00:18:56,119 --> 00:18:59,199
Speaker 2: I've heard people say when it's a heavier set, like

405
00:18:59,240 --> 00:19:03,680
Speaker 2: the tented is heavier, there's often lightness off, like when

406
00:19:03,840 --> 00:19:05,960
Speaker 2: you're not filming and you're not rolling.

407
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Speaker 4: And you know, like ashling friend Josie and Sam Klaflin

408
00:19:12,040 --> 00:19:14,760
Speaker 4: are the leads in that we were. They are just

409
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Speaker 4: the loveliest people, and we had the most so many

410
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Speaker 4: laughs off set, you know, and but yeah, you sort

411
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Speaker 4: of had to yeah.

412
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Speaker 1: Like neutral, yeah, a little bit.

413
00:19:26,200 --> 00:19:29,360
Speaker 2: I obviously can't interview without asking about Charles Manson. I

414
00:19:29,520 --> 00:19:32,880
Speaker 2: love that there's so many moments I've heard you share

415
00:19:32,920 --> 00:19:33,200
Speaker 2: about it.

416
00:19:33,240 --> 00:19:34,639
Speaker 1: I love that you'd already been.

417
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Speaker 2: Cast in mind Hunter and then the audition for Once

418
00:19:40,080 --> 00:19:42,239
Speaker 2: upon a Time in Hollywood came through and you're like, well,

419
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Speaker 2: I'm already cast in mind As if they're going to

420
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Speaker 2: want me to play the same character. Sides get fedexed

421
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Speaker 2: over to you, right for that audition, right.

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Speaker 4: Yeah, I forgot about that, that's right. They wouldn't even

423
00:19:53,560 --> 00:19:54,399
Speaker 4: email them, that's.

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Speaker 1: Right, because it was leaked from Hateful Light or something.

425
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Speaker 4: I think Quentin Tarantina was very understandably guarded about his

426
00:20:02,520 --> 00:20:04,720
Speaker 4: script getting out because Hate for Late had been leaked,

427
00:20:05,080 --> 00:20:08,240
Speaker 4: so there was no digital version of the of the script,

428
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Speaker 4: and they were FedEx from the audition pages were FedEx

429
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Speaker 4: from America.

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Speaker 1: Were you in Australia.

431
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Speaker 4: I was in Australia, really, yeah, I was in Australia.

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Speaker 4: And I remember thinking, and the character wasn't even called

433
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Speaker 4: Charles or Charlie or anything. It was called I think

434
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Speaker 4: it was called shaggy guy or something. A shaggy guy

435
00:20:25,240 --> 00:20:27,679
Speaker 4: appears on the and you knew exactly who it was.

436
00:20:29,359 --> 00:20:32,480
Speaker 4: And yeah, I remember thinking, look, there's no way I'm

437
00:20:32,480 --> 00:20:34,639
Speaker 4: not going to put down an audition for that in Tarantino.

438
00:20:34,840 --> 00:20:36,359
Speaker 4: But there's also no way I'm going to get this

439
00:20:36,480 --> 00:20:40,680
Speaker 4: because I'm already playing him in mind Hunter. And at

440
00:20:40,720 --> 00:20:42,560
Speaker 4: that point, I think it was about five months into

441
00:20:42,600 --> 00:20:48,600
Speaker 4: the the you know, very long makeup sort of sessions

442
00:20:48,720 --> 00:20:51,160
Speaker 4: with the makeup artist Kazu, who did.

443
00:20:51,080 --> 00:20:54,760
Speaker 3: An extraordinary Yeah, so there was there was no Yeah,

444
00:20:54,760 --> 00:20:56,760
Speaker 3: there was no question about but I thought, but it was.

445
00:20:56,920 --> 00:20:57,239
Speaker 3: It was.

446
00:20:57,320 --> 00:21:01,520
Speaker 4: It was bizarre because I'd spent, without question, the most

447
00:21:01,520 --> 00:21:05,120
Speaker 4: time I've ever researched any character was on watching and

448
00:21:05,160 --> 00:21:08,160
Speaker 4: listening to and reading about Charles Manson for mind Hunter.

449
00:21:08,280 --> 00:21:11,119
Speaker 4: By the time I got the audition for Charles Manson

450
00:21:11,160 --> 00:21:13,320
Speaker 4: in Once Upon a Time in Hollywood, it.

451
00:21:13,240 --> 00:21:14,920
Speaker 3: Was like I couldn't have been more ready.

452
00:21:14,920 --> 00:21:17,359
Speaker 4: And the only difference really was that he was He

453
00:21:17,440 --> 00:21:21,280
Speaker 4: was like eleven years younger in the movie, and you know,

454
00:21:21,359 --> 00:21:22,920
Speaker 4: he did sound a bit different. His voice was a

455
00:21:22,960 --> 00:21:26,360
Speaker 4: little lighter, and he was also just in general more

456
00:21:26,440 --> 00:21:30,080
Speaker 4: sort of like a playful court jester y, kind of

457
00:21:30,160 --> 00:21:34,840
Speaker 4: like little impish. Like in prison, he's very dark, gruff

458
00:21:34,920 --> 00:21:38,640
Speaker 4: and furious, you know, before he went to prison, he's

459
00:21:38,680 --> 00:21:40,840
Speaker 4: kind of had a lightness to him. So that was

460
00:21:40,920 --> 00:21:42,919
Speaker 4: one little thing that I could inject into it. But

461
00:21:42,960 --> 00:21:45,000
Speaker 4: other than that, it was like it was sort of

462
00:21:45,040 --> 00:21:47,879
Speaker 4: what I'd already been doing. It was extraordinary. And then

463
00:21:47,880 --> 00:21:53,119
Speaker 4: I flew to America to shoot mind Hunter, and the

464
00:21:53,200 --> 00:21:56,280
Speaker 4: day after the first day I got here was like

465
00:21:56,320 --> 00:21:58,359
Speaker 4: a final makeup fitting for mind Hunter.

466
00:21:58,960 --> 00:22:00,200
Speaker 3: The next day I found.

467
00:22:00,000 --> 00:22:01,720
Speaker 4: And that I got Once upon a time in Hollywood,

468
00:22:02,080 --> 00:22:05,040
Speaker 4: how I was just like, this is this is too bizarre.

469
00:22:05,400 --> 00:22:08,119
Speaker 2: I've been able to see the deleted scenes that you've done,

470
00:22:08,160 --> 00:22:10,200
Speaker 2: because you did like a lot more filming than what

471
00:22:10,200 --> 00:22:10,800
Speaker 2: we actually see.

472
00:22:10,840 --> 00:22:13,240
Speaker 4: Well, yeah, I mean whatever the scene, it's the scenes

473
00:22:13,280 --> 00:22:15,240
Speaker 4: in the movie, and then the couple that you've seen. Yeah,

474
00:22:16,320 --> 00:22:18,760
Speaker 4: there's one particular one which is a lot more substantial

475
00:22:18,800 --> 00:22:21,200
Speaker 4: than what's in the film, which is on the deleted scene.

476
00:22:21,320 --> 00:22:24,159
Speaker 2: Yeah, and also seeing that court Jester kind of like

477
00:22:24,680 --> 00:22:27,000
Speaker 2: playing with Brad Pitt's character as well when he's on

478
00:22:27,040 --> 00:22:27,600
Speaker 2: the roof and.

479
00:22:27,560 --> 00:22:30,520
Speaker 1: You're like, it must have been so much and it's

480
00:22:30,520 --> 00:22:31,160
Speaker 1: so interesting.

481
00:22:31,240 --> 00:22:34,240
Speaker 2: The way in interviews you talk about the difference between

482
00:22:34,280 --> 00:22:36,359
Speaker 2: the two is I'm a big mind Hunter fan, like

483
00:22:36,440 --> 00:22:38,919
Speaker 2: from the score to the way it's written to like,

484
00:22:39,200 --> 00:22:42,520
Speaker 2: and also like as one of my textbooks for one

485
00:22:42,560 --> 00:22:44,080
Speaker 2: of one of the drama schools I went to, they

486
00:22:44,119 --> 00:22:47,280
Speaker 2: made us read mind Hunter to understand human behavior through

487
00:22:47,280 --> 00:22:51,760
Speaker 2: a different lens. But it was so fascinating watching both

488
00:22:51,800 --> 00:22:54,160
Speaker 2: of your because to me, they feel like you can

489
00:22:54,200 --> 00:22:56,439
Speaker 2: feel like there's a lightness to that first one, that

490
00:22:56,600 --> 00:22:59,639
Speaker 2: youth and also like he was an aspiring rocks, like

491
00:22:59,680 --> 00:23:00,680
Speaker 2: he want to be a rock star.

492
00:23:00,800 --> 00:23:01,399
Speaker 3: Absolutely.

493
00:23:01,480 --> 00:23:04,119
Speaker 4: I mean I feel a lot of people feel that

494
00:23:04,200 --> 00:23:07,720
Speaker 4: had he had the success that he wanted, then those

495
00:23:07,800 --> 00:23:11,520
Speaker 4: murders never would have happened, because I think a big

496
00:23:11,600 --> 00:23:14,760
Speaker 4: part of why he did that and shows that house

497
00:23:14,880 --> 00:23:17,760
Speaker 4: is because Terry Melcher, the producer, used to live there.

498
00:23:18,359 --> 00:23:19,480
Speaker 3: The music producer used to.

499
00:23:19,520 --> 00:23:22,400
Speaker 4: Live there and had promised him an audition that sort

500
00:23:22,400 --> 00:23:24,239
Speaker 4: of never happened. I can't remember it happened, and then

501
00:23:24,240 --> 00:23:25,879
Speaker 4: he turned him down or whatever, but he didn't get

502
00:23:25,880 --> 00:23:29,080
Speaker 4: a recording contact, and he was kind of he lost

503
00:23:29,160 --> 00:23:32,280
Speaker 4: face amongst his group, and he was embarrassed. I think

504
00:23:32,320 --> 00:23:34,360
Speaker 4: that was kind of a form of revenge.

505
00:23:34,800 --> 00:23:35,159
Speaker 1: Ah.

506
00:23:35,200 --> 00:23:38,159
Speaker 2: So there's a I got sent a little meme about

507
00:23:38,920 --> 00:23:42,800
Speaker 2: the cast that they had for the ranch. All the

508
00:23:42,880 --> 00:23:46,440
Speaker 2: casts from that ranch was like Austin Butler, Sydney Sweeney,

509
00:23:46,720 --> 00:23:47,840
Speaker 2: like all people.

510
00:23:48,600 --> 00:23:51,879
Speaker 1: Yeah, all people that have like popped since true.

511
00:23:51,880 --> 00:23:56,040
Speaker 2: Actually, yeah, it's fascinating to Yeah, look, I just love

512
00:23:56,880 --> 00:23:58,960
Speaker 2: the fact, like I love the fact that you wanted

513
00:23:59,000 --> 00:24:03,080
Speaker 2: to play both in it with two incredible directors that

514
00:24:03,760 --> 00:24:05,280
Speaker 2: are kind of like always going to go down in

515
00:24:05,280 --> 00:24:08,359
Speaker 2: the history books. Like what a pinch yourself kind of moment.

516
00:24:08,400 --> 00:24:10,880
Speaker 2: And I've heard you say been on a Quintin set

517
00:24:11,000 --> 00:24:13,639
Speaker 2: is like it's almost like going back to just like

518
00:24:13,680 --> 00:24:16,720
Speaker 2: people having fun and doing a little short together kind.

519
00:24:16,600 --> 00:24:17,520
Speaker 3: Of feels like that.

520
00:24:17,680 --> 00:24:23,320
Speaker 4: It didn't feel other than looking around and seeing you know,

521
00:24:23,680 --> 00:24:26,639
Speaker 4: Brad Pitt and Margot, Robbie and whatever walking around and

522
00:24:26,680 --> 00:24:28,320
Speaker 4: Quentin Tarantino, which were like, oh no, this is a

523
00:24:28,320 --> 00:24:29,080
Speaker 4: big Hollywood movie.

524
00:24:29,119 --> 00:24:29,440
Speaker 3: It didn't.

525
00:24:29,520 --> 00:24:32,760
Speaker 4: It felt like time was of no issue. Everyone was

526
00:24:32,840 --> 00:24:35,080
Speaker 4: very casual, everyone was very relaxed, and.

527
00:24:35,040 --> 00:24:37,920
Speaker 3: It did feel a bit like being on a short

528
00:24:38,040 --> 00:24:39,679
Speaker 3: film with Hacko. Yeah.

529
00:24:39,840 --> 00:24:41,480
Speaker 1: Yeah, that's like pretty special.

530
00:24:42,080 --> 00:24:45,159
Speaker 3: Oh you know, I still can't believe we've got to

531
00:24:45,160 --> 00:24:48,280
Speaker 3: do it. You know, I would never in a million

532
00:24:48,359 --> 00:24:49,879
Speaker 3: years have imagined.

533
00:24:49,920 --> 00:24:52,560
Speaker 4: When I first came over here, you know, I just thought,

534
00:24:52,800 --> 00:24:55,160
Speaker 4: could I ever get at one episode of Guest TV

535
00:24:55,680 --> 00:24:56,080
Speaker 4: over here?

536
00:24:56,119 --> 00:24:58,360
Speaker 3: That was like is that even possible?

537
00:24:58,400 --> 00:24:58,600
Speaker 2: You know?

538
00:24:59,080 --> 00:25:01,040
Speaker 4: And then so all the all the stuff, the other

539
00:25:01,080 --> 00:25:04,080
Speaker 4: stuff has been kind of cream on top, and that's

540
00:25:04,200 --> 00:25:05,760
Speaker 4: just like the cherry on top of the cream.

541
00:25:06,240 --> 00:25:09,160
Speaker 2: Yeah, that's so interesting. I have to ask you, because

542
00:25:09,160 --> 00:25:11,879
Speaker 2: I think I told you before we started this that

543
00:25:11,920 --> 00:25:14,760
Speaker 2: I watched you speak to a room of actors and

544
00:25:15,000 --> 00:25:18,199
Speaker 2: you so beautifully describe because I think a lot of

545
00:25:18,200 --> 00:25:20,600
Speaker 2: Aussie's come over here in one of from one of

546
00:25:20,640 --> 00:25:23,800
Speaker 2: two ways. One is like, yeah, they've got that Aussie

547
00:25:23,800 --> 00:25:26,760
Speaker 2: project or credit behind them that they know has got

548
00:25:26,800 --> 00:25:30,160
Speaker 2: like the beautiful like Chopper Eric Banner story or you know.

549
00:25:30,160 --> 00:25:34,879
Speaker 4: Like there's something, Yeah there's Russell Crowe, but this just

550
00:25:35,000 --> 00:25:35,600
Speaker 4: goes on and on.

551
00:25:35,680 --> 00:25:35,880
Speaker 3: Yeah.

552
00:25:35,960 --> 00:25:37,639
Speaker 2: But like even for me, I've got a lot of

553
00:25:37,680 --> 00:25:40,080
Speaker 2: mates that just come over on an esther or like

554
00:25:40,119 --> 00:25:41,879
Speaker 2: a tourist fees and they're like, oh, I'm gonna make it,

555
00:25:41,920 --> 00:25:45,000
Speaker 2: and they're gone within six weeks, like just burnt through cash,

556
00:25:45,119 --> 00:25:48,200
Speaker 2: lived a large life for six weeks and then they're

557
00:25:48,240 --> 00:25:51,480
Speaker 2: gone and that doesn't happen again. And then you've got

558
00:25:51,480 --> 00:25:54,960
Speaker 2: the people that kind of like lock in, give it

559
00:25:55,000 --> 00:25:57,440
Speaker 2: a red hot crack for like years at a time,

560
00:25:58,840 --> 00:26:00,800
Speaker 2: end up doing a lot of sigh'd hustle kind of

561
00:26:00,880 --> 00:26:04,040
Speaker 2: jobs to survive because Ala is a very expensive city.

562
00:26:04,520 --> 00:26:06,440
Speaker 2: And then there's you that kind of does this half

563
00:26:06,520 --> 00:26:10,080
Speaker 2: half kind of like split you kind of like do

564
00:26:10,119 --> 00:26:13,159
Speaker 2: it do Australian time, do American time, And it sounds

565
00:26:13,200 --> 00:26:13,480
Speaker 2: like you.

566
00:26:13,480 --> 00:26:16,480
Speaker 1: Just follow the work. That's how it looks from the outside.

567
00:26:16,520 --> 00:26:17,080
Speaker 1: Is that true?

568
00:26:17,200 --> 00:26:19,639
Speaker 4: Certainly now that's pretty much how it goes. At the start,

569
00:26:19,720 --> 00:26:22,119
Speaker 4: it was just, oh, I better go and put in

570
00:26:22,160 --> 00:26:25,400
Speaker 4: some time in America like I would do. Basically, Initially,

571
00:26:25,400 --> 00:26:27,400
Speaker 4: I just thought, well, I'm not going to move there

572
00:26:27,440 --> 00:26:30,760
Speaker 4: to live because A I like my life in Australia.

573
00:26:30,800 --> 00:26:34,199
Speaker 4: B I work in Australia enough to not want to

574
00:26:34,240 --> 00:26:37,720
Speaker 4: disappear from their minds, I guess, be out of the loop.

575
00:26:39,160 --> 00:26:42,000
Speaker 4: So I would sort of choose these three months trips,

576
00:26:42,040 --> 00:26:44,600
Speaker 4: and I tended to do the first number a few years.

577
00:26:44,600 --> 00:26:47,920
Speaker 4: I tended to do like two three month trips a year.

578
00:26:48,960 --> 00:26:50,760
Speaker 4: So I just sort of pick a three month period

579
00:26:50,960 --> 00:26:54,439
Speaker 4: like I do, like January, February, March, and then September, October,

580
00:26:54,480 --> 00:26:58,080
Speaker 4: November or something like that, and then sometimes work would

581
00:26:58,119 --> 00:27:00,680
Speaker 4: happen outside those in either place and that would govern

582
00:27:00,840 --> 00:27:03,399
Speaker 4: what I did. But that tended to be what I

583
00:27:03,400 --> 00:27:07,640
Speaker 4: did just to start, Yeah, I guess, because I also

584
00:27:07,720 --> 00:27:11,560
Speaker 4: didn't want to be I did see those people who'd

585
00:27:11,600 --> 00:27:14,080
Speaker 4: moved here and were starting to get a bit disheartened

586
00:27:14,119 --> 00:27:16,680
Speaker 4: because it had been two years now and nothing had happened,

587
00:27:16,720 --> 00:27:18,320
Speaker 4: and they were just working at a bar, and they

588
00:27:18,720 --> 00:27:20,480
Speaker 4: just sort of weren't really an actor anymore. They're just

589
00:27:20,640 --> 00:27:22,520
Speaker 4: an Australian working at a bar in America. And I'm like,

590
00:27:22,560 --> 00:27:26,159
Speaker 4: I don't want to do that, and I don't want

591
00:27:26,200 --> 00:27:28,480
Speaker 4: to just bleed cash, whereas I could save cash back

592
00:27:28,480 --> 00:27:30,399
Speaker 4: home and then go even if I come here and

593
00:27:30,400 --> 00:27:33,320
Speaker 4: spend three months and spend it all, spend all my

594
00:27:33,359 --> 00:27:35,200
Speaker 4: money and you know, spend a chunk of money and

595
00:27:35,880 --> 00:27:38,720
Speaker 4: nothing happens at least it's only been three months. And

596
00:27:39,119 --> 00:27:40,600
Speaker 4: as it was getting to the end of the three months,

597
00:27:40,600 --> 00:27:42,359
Speaker 4: I'd be like, oh, I'm excited, I'm going home soon.

598
00:27:42,720 --> 00:27:44,560
Speaker 4: And then as it was approaching my next trip over here,

599
00:27:44,600 --> 00:27:46,520
Speaker 4: I'd be like, I'm excited, I'm going back to a lesson.

600
00:27:46,560 --> 00:27:49,840
Speaker 4: You know, nothing ever felt too overwhelming or depressing, and

601
00:27:49,880 --> 00:27:52,480
Speaker 4: it's very easy for things to get overwhelming and depressing here.

602
00:27:52,680 --> 00:27:56,000
Speaker 3: Yeah, so, yeah, you're right. Not many people do it

603
00:27:56,040 --> 00:27:56,400
Speaker 3: that way.

604
00:27:57,200 --> 00:28:00,120
Speaker 4: Maybe I was just sort of fortunate enough to be

605
00:28:00,160 --> 00:28:03,840
Speaker 4: able to do it that way, but I think it's

606
00:28:03,880 --> 00:28:06,000
Speaker 4: definitly I'm glad I did. I'm really glad I did.

607
00:28:06,119 --> 00:28:09,359
Speaker 3: And now it tends to be more around where the

608
00:28:09,400 --> 00:28:10,000
Speaker 3: work is.

609
00:28:09,960 --> 00:28:14,159
Speaker 2: You know, yeah, I like that. I like that mentality.

610
00:28:14,640 --> 00:28:17,120
Speaker 2: Whenever I land here. We were talking about beautiful Anthey

611
00:28:17,200 --> 00:28:20,800
Speaker 2: Lapalia before this. He always goes buckle in, Lula buckle in.

612
00:28:20,920 --> 00:28:24,320
Speaker 2: He's like that QF flight every night, is there waiting

613
00:28:24,320 --> 00:28:25,680
Speaker 2: for you if you need to go home, and he's

614
00:28:25,720 --> 00:28:26,480
Speaker 2: like and just don't.

615
00:28:26,520 --> 00:28:28,160
Speaker 1: He's like, he's like, stuff it out.

616
00:28:28,160 --> 00:28:30,199
Speaker 2: But that is also like he came at seventeen one

617
00:28:30,240 --> 00:28:33,000
Speaker 2: hundred bucks in his back pocket, you know, like did

618
00:28:33,040 --> 00:28:35,399
Speaker 2: that was a very different time And.

619
00:28:36,640 --> 00:28:38,600
Speaker 3: Yeah, well he's one of the exceptions.

620
00:28:38,400 --> 00:28:41,000
Speaker 4: He's one of the people who didn't come with an

621
00:28:41,000 --> 00:28:44,760
Speaker 4: Australian big movie or an American credit. They knew he

622
00:28:44,880 --> 00:28:47,400
Speaker 4: just started and was awesome and they loved him and

623
00:28:47,440 --> 00:28:50,200
Speaker 4: he's you know, and that and that does happen. Then again,

624
00:28:50,240 --> 00:28:53,640
Speaker 4: he was seventeen. If he was thirty seven would have

625
00:28:53,640 --> 00:28:54,320
Speaker 4: been a lot harder.

626
00:28:54,440 --> 00:28:55,680
Speaker 1: Yeah, yeah, yeah, yeah.

627
00:28:55,720 --> 00:28:58,800
Speaker 2: So in it's just so I'm so fascinating in everyone's journey.

628
00:28:58,840 --> 00:29:01,840
Speaker 2: I loved when you did this chat to the acting school.

629
00:29:01,840 --> 00:29:05,680
Speaker 2: So you talked about having heat on you round so just.

630
00:29:05,640 --> 00:29:08,200
Speaker 4: To just to clarify not having heat on me, because

631
00:29:08,200 --> 00:29:10,400
Speaker 4: heat on people in general, I don't know if I've

632
00:29:10,720 --> 00:29:12,920
Speaker 4: ever quite had a heat You talked about how much

633
00:29:12,960 --> 00:29:15,680
Speaker 4: heat there was and how you're.

634
00:29:15,520 --> 00:29:18,360
Speaker 3: Just smoking smoking with heat.

635
00:29:18,720 --> 00:29:21,400
Speaker 4: No, I think talk about you the general you having

636
00:29:21,440 --> 00:29:23,719
Speaker 4: a heat on you. To have heat on you as

637
00:29:23,720 --> 00:29:26,640
Speaker 4: an actor here makes a massive difference.

638
00:29:27,560 --> 00:29:28,840
Speaker 3: I don't know.

639
00:29:29,000 --> 00:29:31,000
Speaker 4: I mean, like that's never happened to me here, but

640
00:29:31,000 --> 00:29:33,239
Speaker 4: I've had you know, there are degrees of it, you know,

641
00:29:33,440 --> 00:29:37,320
Speaker 4: like you know, if like using one of those examples

642
00:29:37,800 --> 00:29:40,240
Speaker 4: like Tony Coleetda Murel's wedding would have had a huge

643
00:29:40,280 --> 00:29:43,040
Speaker 4: amount of heat on her the second that America discovered

644
00:29:43,080 --> 00:29:43,880
Speaker 4: that foudition for.

645
00:29:43,840 --> 00:29:46,480
Speaker 1: That didn't I did, actually, yeah.

646
00:29:46,120 --> 00:29:48,280
Speaker 4: Yeah, I auditioned for a role that Gould made of

647
00:29:48,280 --> 00:29:52,400
Speaker 4: mind Matt Day ended up getting and yeah, and he

648
00:29:52,480 --> 00:29:55,200
Speaker 4: was brilliant. I mean, lots of lots of things I've

649
00:29:55,240 --> 00:29:58,800
Speaker 4: auditioned for that I didn't get over the years.

650
00:29:59,000 --> 00:30:02,320
Speaker 1: There was something as Lemon. I feel like as well, my.

651
00:30:02,440 --> 00:30:06,440
Speaker 4: Auditioned for Yeah, audition for Gatsby. Yeah, I think Jason

652
00:30:06,760 --> 00:30:10,560
Speaker 4: the Royal Jason Clark also brilliantly. I mean, it's it's

653
00:30:10,600 --> 00:30:12,040
Speaker 4: good when you audition for something and then see the

654
00:30:12,040 --> 00:30:13,800
Speaker 4: person do and go oh, no, they were really good

655
00:30:14,280 --> 00:30:16,480
Speaker 4: that they should have got that role. It sucks when

656
00:30:16,480 --> 00:30:19,200
Speaker 4: you audition and watch and go, I know.

657
00:30:20,840 --> 00:30:23,479
Speaker 2: But so what I mean around the heat thing is,

658
00:30:23,680 --> 00:30:27,680
Speaker 2: and the only reason why I'm asking about it is

659
00:30:27,720 --> 00:30:31,640
Speaker 2: because I've heard actors talk about if you work hard enough,

660
00:30:31,760 --> 00:30:32,920
Speaker 2: eventually you're probably going to.

661
00:30:32,960 --> 00:30:34,120
Speaker 1: Get an opportunity.

662
00:30:34,440 --> 00:30:36,760
Speaker 2: But then you have to choose to be ready for

663
00:30:36,760 --> 00:30:40,000
Speaker 2: that opportunity and be find the momentum off the back

664
00:30:40,040 --> 00:30:43,520
Speaker 2: of it, which is the same idea about having like, say,

665
00:30:44,040 --> 00:30:47,239
Speaker 2: for example, doing Justified and then cut to you at

666
00:30:47,240 --> 00:30:51,280
Speaker 2: a premiere of Hateful Eight in Sydney, and then Quinton

667
00:30:51,400 --> 00:30:53,960
Speaker 2: was a fan of your and you had no idea.

668
00:30:54,800 --> 00:30:59,040
Speaker 4: Well, well basically what happened, Well, he's a fan of Justified.

669
00:30:59,200 --> 00:31:02,080
Speaker 4: He's a big fan of Justified. And I was at

670
00:31:02,120 --> 00:31:06,040
Speaker 4: the premiere of Hateful Eight. Quentin bizarrely, with Samuel L. Jackson,

671
00:31:06,080 --> 00:31:08,040
Speaker 4: sat in and watched the whole movie with the audience,

672
00:31:08,040 --> 00:31:09,520
Speaker 4: which was so quite rare.

673
00:31:09,600 --> 00:31:11,640
Speaker 1: Is that rare for them to say, yeah.

674
00:31:11,480 --> 00:31:13,520
Speaker 4: I feel like it is when they've seen it so

675
00:31:13,600 --> 00:31:16,000
Speaker 4: many times, especially when it's the Sydney premiere. It's not

676
00:31:16,080 --> 00:31:19,960
Speaker 4: the premiere, you know. I thought that was really cool. Anyway,

677
00:31:20,200 --> 00:31:23,440
Speaker 4: I knew that. I mean Walton Goggins from Justified. I'd

678
00:31:23,440 --> 00:31:25,680
Speaker 4: worked with a lot on Justified and he was in

679
00:31:25,680 --> 00:31:29,080
Speaker 4: the Hape forl Eate and I emailed him and said, hey,

680
00:31:29,080 --> 00:31:30,920
Speaker 4: I'm going to go see your film tomorrow, and he said,

681
00:31:31,080 --> 00:31:32,920
Speaker 4: say hi to Quentin from me if you see him there.

682
00:31:32,920 --> 00:31:34,200
Speaker 4: I wish I could be there, and I was like, well,

683
00:31:34,200 --> 00:31:35,680
Speaker 4: that's not going to happen. I'm not going to run

684
00:31:35,680 --> 00:31:38,920
Speaker 4: into Quentin. The movie ends, I'm walking up the steps

685
00:31:38,920 --> 00:31:41,080
Speaker 4: of the cinema and I look to my left and

686
00:31:41,120 --> 00:31:43,520
Speaker 4: there's a giant man and it's Quentin Tarantino. I'm like,

687
00:31:43,680 --> 00:31:46,920
Speaker 4: oh my god, I'm walking up the steps Tarantino and

688
00:31:47,000 --> 00:31:49,760
Speaker 4: I thought, okay, well, Walton said to say hi, I

689
00:31:49,800 --> 00:31:52,200
Speaker 4: better say hi. I was like, hey, that the congrats.

690
00:31:52,240 --> 00:31:53,719
Speaker 4: The movie was awesome. He's like, oh, thank you so much,

691
00:31:53,760 --> 00:31:55,680
Speaker 4: thank you so much. I was like, by the way

692
00:31:55,680 --> 00:31:58,360
Speaker 4: Walton Goggin said to say hi, I'm a friend a

693
00:31:58,400 --> 00:32:00,480
Speaker 4: friend of his, and he went on, well, thank you,

694
00:32:00,520 --> 00:32:03,640
Speaker 4: thank you. And then I suddenly saw that he recognized

695
00:32:03,680 --> 00:32:04,960
Speaker 4: me from Justifying, and he.

696
00:32:04,960 --> 00:32:07,520
Speaker 3: Went, oh my god, oh my god, you're Dewey Crow.

697
00:32:07,880 --> 00:32:09,560
Speaker 3: I can't believe you're doing And now I was just

698
00:32:09,680 --> 00:32:12,960
Speaker 3: like stunned that he knew the name of my character.

699
00:32:13,440 --> 00:32:16,360
Speaker 4: He grabbed my hand and pulled me back down the

700
00:32:16,400 --> 00:32:18,680
Speaker 4: cinema back to where Samuel L.

701
00:32:18,760 --> 00:32:20,520
Speaker 3: Jackson was sitting and.

702
00:32:20,560 --> 00:32:24,400
Speaker 4: Said Sam Sam Sam, look, look it's do we crow

703
00:32:25,000 --> 00:32:28,480
Speaker 4: Because Samuel Jackson apparently also who loves Justified and so

704
00:32:28,520 --> 00:32:29,880
Speaker 4: he's like, oh my god, do he croach?

705
00:32:29,960 --> 00:32:32,880
Speaker 3: I was like so weird, like this is this is surreal.

706
00:32:33,600 --> 00:32:36,320
Speaker 3: And then then Samuel Jackson pulls at his Camera's like,

707
00:32:36,400 --> 00:32:38,880
Speaker 3: we got to get a photo for Walton. I'm like, yeah, yeah,

708
00:32:38,920 --> 00:32:41,520
Speaker 3: we do, go to get a for Walton. I'll be

709
00:32:41,560 --> 00:32:46,720
Speaker 3: making sure I get that photo off Walton. And then yeah,

710
00:32:46,840 --> 00:32:47,400
Speaker 3: and then the.

711
00:32:47,320 --> 00:32:51,360
Speaker 4: Next day in my email, I get a photograph from

712
00:32:51,400 --> 00:32:54,360
Speaker 4: Walton of me with Quentin Tarantino when Samuel L.

713
00:32:54,440 --> 00:32:55,560
Speaker 3: Jackson was pretty funny.

714
00:32:55,600 --> 00:33:00,520
Speaker 2: How good? How good? That's an incredible story. I have

715
00:33:00,640 --> 00:33:05,760
Speaker 2: to ask about the Bike Riders because it's by the

716
00:33:05,800 --> 00:33:07,840
Speaker 2: time it's about to be released here in America as

717
00:33:07,840 --> 00:33:09,880
Speaker 2: we record this, but by the time this comes out,

718
00:33:10,400 --> 00:33:12,720
Speaker 2: it will be out in America and will have just

719
00:33:12,760 --> 00:33:17,520
Speaker 2: been released in Australia. And first of all. It looks incredible.

720
00:33:17,800 --> 00:33:20,880
Speaker 2: I've seen the trailer. I've said, there's all this behind

721
00:33:20,880 --> 00:33:24,800
Speaker 2: the scenes stuff and great interviews with Jeff have come

722
00:33:24,840 --> 00:33:26,920
Speaker 2: out now, and so it's so much fun. There's some

723
00:33:26,960 --> 00:33:29,440
Speaker 2: fun behind the scenes stuff of you in fight scenes,

724
00:33:29,480 --> 00:33:32,200
Speaker 2: getting your makeup retouched and all this, like all these

725
00:33:32,200 --> 00:33:36,400
Speaker 2: stuff's slowly coming out on YouTube. But so it's basically

726
00:33:37,560 --> 00:33:42,400
Speaker 2: Midwest bike It became a biker's gang, right, Yeah.

727
00:33:42,240 --> 00:33:46,640
Speaker 4: It's it's based on a real biker gang. It was

728
00:33:46,680 --> 00:33:49,640
Speaker 4: really like a biker club. Yeah, you know, it's sort

729
00:33:49,640 --> 00:33:53,480
Speaker 4: of like when people got together because they appreciated motorbikes

730
00:33:53,480 --> 00:33:56,200
Speaker 4: and riding together. It was before they had long hair,

731
00:33:56,280 --> 00:33:59,440
Speaker 4: and it was before that was sort of necessarily crime involved,

732
00:33:59,440 --> 00:34:02,280
Speaker 4: which doesn't happen in every biker club, but that's sort

733
00:34:02,280 --> 00:34:05,200
Speaker 4: of kind of what biker clubs, some biker clubs became

734
00:34:05,240 --> 00:34:08,400
Speaker 4: renowned for. So it's kind of starts in the mid sixties.

735
00:34:08,440 --> 00:34:11,359
Speaker 4: It's based on this book of photographs by a guy

736
00:34:11,400 --> 00:34:17,440
Speaker 4: called Danny Lyon who went and spent you know, a

737
00:34:17,480 --> 00:34:20,919
Speaker 4: lot of months living with this biker gang and taking

738
00:34:21,000 --> 00:34:23,000
Speaker 4: photographs of them, and then this book came out of

739
00:34:23,000 --> 00:34:26,240
Speaker 4: these beautiful black and white photographs of the Gang. Jeff Nichols,

740
00:34:26,280 --> 00:34:29,319
Speaker 4: the writer director, found that book years ago and saw

741
00:34:29,360 --> 00:34:32,120
Speaker 4: something in it that he thought would make a great movie.

742
00:34:32,160 --> 00:34:34,719
Speaker 4: So he kind of took the actual characters that we

743
00:34:34,800 --> 00:34:39,200
Speaker 4: see and read about in this photo book and wrote

744
00:34:39,200 --> 00:34:44,480
Speaker 4: a script about them. And yeah, and it's incredible cast

745
00:34:44,840 --> 00:34:48,160
Speaker 4: another sort of pinch me moment to be working with

746
00:34:48,200 --> 00:34:48,720
Speaker 4: these people.

747
00:34:49,239 --> 00:34:51,680
Speaker 2: So there's a beautiful moment in an interview he's done

748
00:34:51,680 --> 00:34:55,360
Speaker 2: recently where he mentions you, which is so sweet. He says,

749
00:34:55,600 --> 00:34:59,399
Speaker 2: I could point the camera in any direction and there

750
00:34:59,480 --> 00:35:03,279
Speaker 2: was always somebody doing something interesting, and he brings your

751
00:35:03,360 --> 00:35:05,560
Speaker 2: name up, and he brings a few other actors up,

752
00:35:05,600 --> 00:35:08,000
Speaker 2: and I was like, how sweet is that to hear?

753
00:35:08,560 --> 00:35:11,239
Speaker 4: That's so nice to hear. Yeah, that's that makes me

754
00:35:11,280 --> 00:35:17,280
Speaker 4: feel very nice. Like Jeff Nichols is the quintessential actors

755
00:35:17,280 --> 00:35:20,719
Speaker 4: director there is. You know, there is no one you

756
00:35:20,719 --> 00:35:23,200
Speaker 4: would rather work with on a film set than him

757
00:35:23,640 --> 00:35:25,640
Speaker 4: in terms of how he deals with the actors. He's

758
00:35:25,680 --> 00:35:31,480
Speaker 4: just such a beautiful gentleman, so so intelligent, so kind,

759
00:35:31,760 --> 00:35:36,200
Speaker 4: and you know, one of the really the last sort

760
00:35:36,200 --> 00:35:39,200
Speaker 4: of filmmakers of that kind is almost like a filmmaker

761
00:35:39,200 --> 00:35:43,280
Speaker 4: from the seventies, you know, making these smaller quality dramas,

762
00:35:43,320 --> 00:35:45,160
Speaker 4: which is sort of not so much of a genre

763
00:35:45,200 --> 00:35:46,600
Speaker 4: anymore in the way it used to be.

764
00:35:46,880 --> 00:35:48,760
Speaker 1: He shoots on film, too, doesn't He does.

765
00:35:48,640 --> 00:35:53,080
Speaker 3: Shoot on film, which is again very very rare these days.

766
00:35:54,239 --> 00:35:58,239
Speaker 4: And you know, I think that's why I think, you know,

767
00:35:58,360 --> 00:36:01,440
Speaker 4: his reputation is why he's able to pull together casts

768
00:36:01,600 --> 00:36:04,480
Speaker 4: like you know, Austin Butler and Tom Hardy, Gody Kmer

769
00:36:04,520 --> 00:36:08,000
Speaker 4: and Michael Shannon and Norman Readers and all these incredible people,

770
00:36:09,040 --> 00:36:11,560
Speaker 4: and then and then people like me get to get

771
00:36:11,600 --> 00:36:15,200
Speaker 4: to somehow squeeze in there as well, and and just

772
00:36:15,719 --> 00:36:18,480
Speaker 4: look around trying to pretend that you're you're part of

773
00:36:18,480 --> 00:36:19,080
Speaker 4: the cool gang.

774
00:36:19,400 --> 00:36:22,360
Speaker 2: It looks like in the trailer you're like Tom Hardy's

775
00:36:22,440 --> 00:36:23,040
Speaker 2: right hand man.

776
00:36:23,120 --> 00:36:24,160
Speaker 3: Yeah, that's pretty much.

777
00:36:24,239 --> 00:36:27,920
Speaker 1: That's how fun I mean to be around. Great.

778
00:36:27,920 --> 00:36:31,400
Speaker 2: It's like, did you because Jeff also talks about Tom.

779
00:36:31,440 --> 00:36:34,440
Speaker 2: He says, it's like there's something vibrating, like a millimeter

780
00:36:34,560 --> 00:36:37,040
Speaker 2: under his skin, like there's never nothing going on there,

781
00:36:37,080 --> 00:36:39,759
Speaker 2: whether he's having a drag of a city or you know,

782
00:36:39,760 --> 00:36:43,799
Speaker 2: he said, it's just there's always something to capture with him.

783
00:36:44,000 --> 00:36:44,759
Speaker 1: Could you feel that.

784
00:36:46,800 --> 00:36:51,520
Speaker 5: Yeah, he he he does have that thing, that next factor,

785
00:36:51,600 --> 00:36:55,520
Speaker 5: that screen presence thing that you can't quite put your

786
00:36:55,520 --> 00:36:59,560
Speaker 5: finger on, and you do, you do feel it like

787
00:36:59,640 --> 00:37:00,440
Speaker 5: you do feel it.

788
00:37:00,680 --> 00:37:02,879
Speaker 4: You feel it around him as a person. And by

789
00:37:02,880 --> 00:37:05,720
Speaker 4: the way, he was lovely to be around, really friendly,

790
00:37:05,760 --> 00:37:08,040
Speaker 4: chatty guy, walked on set every day and hugged everybody

791
00:37:08,120 --> 00:37:13,000
Speaker 4: and talked about his family and I really really liked him.

792
00:37:13,719 --> 00:37:16,600
Speaker 4: But yeah, no, I mean, he just he does have

793
00:37:16,640 --> 00:37:19,440
Speaker 4: a certain electricity. And then you know, as soon as

794
00:37:19,480 --> 00:37:22,640
Speaker 4: the camera's rolling, you're looking at a face that is

795
00:37:23,719 --> 00:37:27,000
Speaker 4: both doing nothing and doing everything all at once, you know,

796
00:37:27,400 --> 00:37:30,640
Speaker 4: which I think is true. Have a lot of great actors,

797
00:37:30,640 --> 00:37:32,560
Speaker 4: and he's certainly one of them.

798
00:37:33,000 --> 00:37:35,080
Speaker 2: I have to ask, this is how nerdy I get

799
00:37:35,080 --> 00:37:37,279
Speaker 2: when I do like research and people. Apparently all the

800
00:37:37,320 --> 00:37:40,920
Speaker 2: bikes were literally from the fifties and sixties, but that

801
00:37:41,080 --> 00:37:43,680
Speaker 2: meant they're quite a lot harder to ride, like from

802
00:37:43,680 --> 00:37:46,759
Speaker 2: a brakes perspective and a throttle perspective. Was that was,

803
00:37:46,880 --> 00:37:48,800
Speaker 2: did you have to learn how to ride this style

804
00:37:48,840 --> 00:37:49,279
Speaker 2: of a bike?

805
00:37:49,480 --> 00:37:49,760
Speaker 3: Yeah?

806
00:37:49,880 --> 00:37:55,000
Speaker 4: Yeah, and mine mine was particularly unusual because apparently back

807
00:37:55,040 --> 00:38:00,440
Speaker 4: then they hadn't decided as an industry which side the

808
00:38:00,440 --> 00:38:04,120
Speaker 4: the foot brake should go on versus the foot clutch

809
00:38:05,520 --> 00:38:07,920
Speaker 4: if i'm remember, or the gears. I've even't ridden a

810
00:38:07,960 --> 00:38:10,040
Speaker 4: bike for a while now, but something to do with

811
00:38:10,160 --> 00:38:14,719
Speaker 4: the clutch, the brake, the gears. They hadn't kind of

812
00:38:14,760 --> 00:38:16,480
Speaker 4: all come to a consensus on where they should be

813
00:38:16,640 --> 00:38:19,560
Speaker 4: and which side they should be. On modern bikes, they're

814
00:38:19,560 --> 00:38:22,120
Speaker 4: all the same, and we were, we were learning on

815
00:38:22,200 --> 00:38:25,200
Speaker 4: modern bikes. So I do remember them saying, look, just

816
00:38:25,239 --> 00:38:28,480
Speaker 4: so you know whatever your foot your feet are doing,

817
00:38:30,080 --> 00:38:32,200
Speaker 4: well you're learning, it's going to be the exact opposite

818
00:38:32,239 --> 00:38:33,880
Speaker 4: when you get on the bike you're riding.

819
00:38:34,280 --> 00:38:35,920
Speaker 3: And I was just like, oh, this is going to

820
00:38:35,920 --> 00:38:39,520
Speaker 3: be a disaster. But it was. It was fine. I

821
00:38:39,640 --> 00:38:41,680
Speaker 3: could say it's just like riding a bike. No, it was.

822
00:38:42,040 --> 00:38:44,280
Speaker 4: It was it was you know, there was a second

823
00:38:44,280 --> 00:38:48,160
Speaker 4: there where you're like, okay, you know, it's like that

824
00:38:48,160 --> 00:38:50,080
Speaker 4: thing of tapping your head and what is that thing

825
00:38:50,080 --> 00:38:51,719
Speaker 4: when you tap ahead and you're starting at the same

826
00:38:51,719 --> 00:38:53,360
Speaker 4: tread coming at the same time, You're like, okay, I

827
00:38:53,400 --> 00:38:56,279
Speaker 4: really have to concentrate to make sure I can do this.

828
00:38:57,600 --> 00:39:01,520
Speaker 4: But yeah, and you know I had to get my bike,

829
00:39:00,960 --> 00:39:03,960
Speaker 4: my motorbike license for the It was kind of call.

830
00:39:04,040 --> 00:39:08,120
Speaker 4: So my license now has a motorbike permission thing on it.

831
00:39:08,360 --> 00:39:11,880
Speaker 4: I haven't ridden a bike since then, and yeah, I

832
00:39:11,920 --> 00:39:14,479
Speaker 4: probably want to go into an isolated car park before

833
00:39:14,480 --> 00:39:16,080
Speaker 4: I do that again, because it's been a while now.

834
00:39:16,120 --> 00:39:18,440
Speaker 4: But it was a lot of fun, exciting.

835
00:39:18,480 --> 00:39:23,560
Speaker 2: How exciting I imagine like a biker movie set in

836
00:39:23,560 --> 00:39:27,319
Speaker 2: the sixties, Like everyone in Hollywood that's a guy is

837
00:39:27,360 --> 00:39:29,640
Speaker 2: going to be like knocking on the door to be

838
00:39:29,760 --> 00:39:33,400
Speaker 2: cast in a movie like this, Like it already screams

839
00:39:33,440 --> 00:39:36,640
Speaker 2: like yes, like amazing to be working with this team,

840
00:39:36,680 --> 00:39:38,800
Speaker 2: but also like this is a cool kind of movie,

841
00:39:38,840 --> 00:39:40,759
Speaker 2: like this is a kind of like Sons of Anarchy

842
00:39:41,880 --> 00:39:44,799
Speaker 2: was massive, Like I feel like this is what was

843
00:39:44,840 --> 00:39:47,359
Speaker 2: the process, like auditioning and like did you get a

844
00:39:47,360 --> 00:39:48,080
Speaker 2: call or.

845
00:39:48,320 --> 00:39:52,720
Speaker 4: I have to totally give a shout out to Joel Edgerton,

846
00:39:53,239 --> 00:39:57,120
Speaker 4: amazing Australian actor and friend who had worked with Jeff

847
00:39:57,160 --> 00:40:02,160
Speaker 4: Nichols a couple of times. And I think an audition

848
00:40:02,320 --> 00:40:06,640
Speaker 4: had come through for a role in this through my

849
00:40:06,719 --> 00:40:11,520
Speaker 4: American agent and because Joel had worked with him, I

850
00:40:11,960 --> 00:40:13,279
Speaker 4: mentioned that to John, you know, this is.

851
00:40:13,200 --> 00:40:13,839
Speaker 3: What actors do.

852
00:40:13,880 --> 00:40:16,919
Speaker 4: They Hey, I'm about to audition for your buddy, feel

853
00:40:16,960 --> 00:40:20,080
Speaker 4: free to, you know, put in a word. And Joel's

854
00:40:20,080 --> 00:40:21,520
Speaker 4: done that for me a couple of times. He did

855
00:40:21,520 --> 00:40:24,439
Speaker 4: that with Barry Jenkins on the Underground Railroad as well,

856
00:40:24,840 --> 00:40:27,279
Speaker 4: and in both times Joel put in a word, I

857
00:40:27,360 --> 00:40:29,960
Speaker 4: ended up getting the role. So I'm incredibly thankful to

858
00:40:30,000 --> 00:40:33,799
Speaker 4: him because legend. Yeah, I mean, you know, it just

859
00:40:33,840 --> 00:40:37,800
Speaker 4: sort of it does count for something to have somebody

860
00:40:37,800 --> 00:40:42,000
Speaker 4: that you know. These directors get thousands of people in

861
00:40:42,000 --> 00:40:45,960
Speaker 4: front of them and they have to somehow differentiate between them,

862
00:40:46,239 --> 00:40:50,120
Speaker 4: and I imagine it's quite overwhelming at some point where

863
00:40:50,120 --> 00:40:52,240
Speaker 4: you where you're trying to decide, even if you narrow

864
00:40:52,239 --> 00:40:54,200
Speaker 4: it down to one hundred, how do you so?

865
00:40:54,200 --> 00:40:55,640
Speaker 3: So having the point of difference.

866
00:40:55,320 --> 00:40:57,799
Speaker 4: Of having someone say, hey, I know this person and

867
00:40:57,840 --> 00:41:01,320
Speaker 4: I can vouch for this person really really makes the difference.

868
00:41:01,320 --> 00:41:04,359
Speaker 4: And I have I have no idea if I ever

869
00:41:04,360 --> 00:41:06,040
Speaker 4: would have got either of those roles if Shoe hadn't

870
00:41:06,080 --> 00:41:09,000
Speaker 4: made that call. So I'm super appreciative to him for that.

871
00:41:09,080 --> 00:41:11,960
Speaker 4: But yeah, yeah, he is a legend. Yeah.

872
00:41:12,000 --> 00:41:13,799
Speaker 2: So I have to ask, I've heard you say you

873
00:41:13,840 --> 00:41:15,440
Speaker 2: don't mark up your script that much?

874
00:41:15,719 --> 00:41:16,360
Speaker 1: Is that true?

875
00:41:16,800 --> 00:41:19,080
Speaker 4: Not at all, really, not at all, not at all

876
00:41:19,160 --> 00:41:21,799
Speaker 4: unless the only time I would mark it up would

877
00:41:21,840 --> 00:41:25,200
Speaker 4: be if we do a rehearsal and there are notes

878
00:41:25,200 --> 00:41:29,320
Speaker 4: to take on based on what happened in that rehearsal,

879
00:41:29,400 --> 00:41:31,600
Speaker 4: so I remember them when we shoot it that this

880
00:41:31,680 --> 00:41:33,560
Speaker 4: is what we talked about on that line or this

881
00:41:33,600 --> 00:41:36,560
Speaker 4: is where I'm moving. But I don't, yeah, because I

882
00:41:36,560 --> 00:41:39,360
Speaker 4: think I and of course you know what, Yeah, I

883
00:41:39,440 --> 00:41:41,960
Speaker 4: work with actors who've gone through acting school, and they

884
00:41:42,000 --> 00:41:45,360
Speaker 4: nearly all have scripts that are covered in INC because

885
00:41:45,760 --> 00:41:47,560
Speaker 4: I guess you learn to But if you don't learn

886
00:41:47,640 --> 00:41:52,799
Speaker 4: to do that, I wouldn't know what to write, you know, No,

887
00:41:52,840 --> 00:41:54,600
Speaker 4: my scripts are completely blank.

888
00:41:55,280 --> 00:41:58,000
Speaker 2: I mean, it makes sense in a way why it

889
00:41:58,080 --> 00:42:00,200
Speaker 2: kind of works for you, because there's a sense like

890
00:42:00,360 --> 00:42:03,840
Speaker 2: as awesome as training can be, like it as someone

891
00:42:03,880 --> 00:42:06,080
Speaker 2: that's been in it for a while, like you get

892
00:42:06,239 --> 00:42:08,520
Speaker 2: taught to like hold on so tight to the work

893
00:42:08,680 --> 00:42:10,719
Speaker 2: and the training, and then as a result, you lose

894
00:42:10,760 --> 00:42:13,960
Speaker 2: freedom sometimes and you lose presence, and you lose just

895
00:42:14,000 --> 00:42:16,640
Speaker 2: like honoring the writing and being.

896
00:42:16,440 --> 00:42:17,760
Speaker 1: In the moment with another person.

897
00:42:18,320 --> 00:42:21,160
Speaker 2: And so I can see how it's been such a

898
00:42:21,200 --> 00:42:23,080
Speaker 2: gift for you to be like, well, I'm just going

899
00:42:23,160 --> 00:42:26,600
Speaker 2: to go in like obviously line ready, but like also

900
00:42:26,760 --> 00:42:29,719
Speaker 2: just like open to the scene and connecting with your

901
00:42:29,760 --> 00:42:30,440
Speaker 2: scene partner.

902
00:42:31,000 --> 00:42:34,760
Speaker 4: Yeah, I guess I guess that's if you haven't study acting.

903
00:42:35,000 --> 00:42:38,040
Speaker 4: I guess I guess it ultimately becomes an instinctial thing.

904
00:42:38,080 --> 00:42:41,200
Speaker 4: And so you know, a lot of the things that

905
00:42:41,239 --> 00:42:43,600
Speaker 4: I'm sure people write down on their script are things

906
00:42:43,800 --> 00:42:48,480
Speaker 4: I've thought about anyway, but I I, yeah, I'm thinking

907
00:42:48,480 --> 00:42:50,640
Speaker 4: about them as I'm going through the script in my

908
00:42:50,680 --> 00:42:53,520
Speaker 4: head or going through it on the page, rather than putting.

909
00:42:53,320 --> 00:42:55,799
Speaker 2: In, isn't it Anthony Hopkins, that's just like read read,

910
00:42:56,040 --> 00:42:57,920
Speaker 2: like go over the script a certain amount of times

911
00:42:57,920 --> 00:42:58,919
Speaker 2: and then it's with you.

912
00:42:59,120 --> 00:43:02,480
Speaker 4: That's right, I think, Key, Yeah, doesn't he read the

913
00:43:02,480 --> 00:43:04,480
Speaker 4: script an insane amount of times.

914
00:43:04,320 --> 00:43:06,480
Speaker 2: As opposed to there's a beat here, I'm going to

915
00:43:06,560 --> 00:43:08,520
Speaker 2: do this action on this line at this time.

916
00:43:08,640 --> 00:43:11,200
Speaker 3: Right, It's just like, but be so yeah.

917
00:43:11,200 --> 00:43:13,239
Speaker 4: I think his thing is be so familiar with it

918
00:43:13,400 --> 00:43:15,080
Speaker 4: that you can do absolutely anything.

919
00:43:15,120 --> 00:43:17,080
Speaker 3: It's you're so free.

920
00:43:17,160 --> 00:43:19,759
Speaker 2: Which it feels like that feels like more you're more

921
00:43:19,840 --> 00:43:22,200
Speaker 2: that school than say Daniel day Lewis.

922
00:43:22,600 --> 00:43:24,719
Speaker 3: One might say, well, I don't know what's Daniel d

923
00:43:24,840 --> 00:43:26,880
Speaker 3: Lewis's meant. I mean, I know he gets into character

924
00:43:27,080 --> 00:43:28,880
Speaker 3: complete men. Yeah, he stays in character.

925
00:43:29,120 --> 00:43:31,360
Speaker 2: Yes, yeah, yeah, yeah, But I mean I feel like,

926
00:43:32,719 --> 00:43:36,040
Speaker 2: you like the beauty of you playing like a Charles

927
00:43:36,080 --> 00:43:39,279
Speaker 2: Manson and having the technique that you will call it

928
00:43:39,320 --> 00:43:41,720
Speaker 2: the Damon technique sans.

929
00:43:41,440 --> 00:43:43,120
Speaker 1: That you can no but it means that you can

930
00:43:43,160 --> 00:43:47,040
Speaker 1: go home and not be like I'm in the mindset

931
00:43:47,040 --> 00:43:48,839
Speaker 1: of a cult lead a serial killer.

932
00:43:49,520 --> 00:43:53,160
Speaker 4: Yeah, I definitely don't have that thing of taking characters home,

933
00:43:53,200 --> 00:43:56,760
Speaker 4: which I think would be, you know, potentially awful depending

934
00:43:56,800 --> 00:43:57,560
Speaker 4: on who you were playing.

935
00:43:57,680 --> 00:43:58,960
Speaker 3: Yeah.

936
00:43:59,320 --> 00:44:03,759
Speaker 4: Yeah, I tend to feel, you know, certainly if things

937
00:44:03,760 --> 00:44:06,239
Speaker 4: are going well, I feel like I am in the

938
00:44:06,360 --> 00:44:10,080
Speaker 4: character to a degree between action and cut, but after

939
00:44:10,120 --> 00:44:11,640
Speaker 4: that I'm just back to me.

940
00:44:12,200 --> 00:44:13,320
Speaker 1: And same with dialect.

941
00:44:13,360 --> 00:44:16,319
Speaker 2: Like a lot of Australians will stay like they'll rock

942
00:44:16,400 --> 00:44:18,279
Speaker 2: up on, They'll wake up at like five I've heard

943
00:44:18,320 --> 00:44:20,160
Speaker 2: actors be like, Okay, I wake up at five am,

944
00:44:20,239 --> 00:44:22,279
Speaker 2: I go to the gym. I stay in dialect. If

945
00:44:22,280 --> 00:44:25,520
Speaker 2: I'm doing you know, I'm an American show. I'm in

946
00:44:25,600 --> 00:44:28,920
Speaker 2: dialect all day long. I don't break when we're at Crafty.

947
00:44:29,000 --> 00:44:31,520
Speaker 2: You know like, and I've heard you say yeah, and

948
00:44:31,719 --> 00:44:33,600
Speaker 2: I've heard you be like, well no, when they call action,

949
00:44:33,719 --> 00:44:37,080
Speaker 2: I'm on dialect and when they call cut, I'm back

950
00:44:37,160 --> 00:44:41,120
Speaker 2: to my But that's also a beautiful attribute to you.

951
00:44:41,160 --> 00:44:43,520
Speaker 2: And my dialect coach in Australia is like, that's where

952
00:44:43,560 --> 00:44:45,000
Speaker 2: you want to be. He's like, you want to be

953
00:44:45,000 --> 00:44:47,280
Speaker 2: able to like flick into it and then let.

954
00:44:47,160 --> 00:44:48,520
Speaker 3: It go right. Yeah.

955
00:44:48,640 --> 00:44:50,719
Speaker 4: Look, I think it's one of those whatever works for

956
00:44:50,760 --> 00:44:52,560
Speaker 4: you things, So I think I would. I think it's

957
00:44:52,560 --> 00:44:54,480
Speaker 4: partly because i'd feel a bit weird just staying in

958
00:44:54,520 --> 00:44:57,840
Speaker 4: an accent between because between takes, I am me, and

959
00:44:57,880 --> 00:45:00,520
Speaker 4: I guess I would feel weird. But that's not to

960
00:45:00,560 --> 00:45:02,920
Speaker 4: say if for some reason I felt that was the

961
00:45:02,920 --> 00:45:04,759
Speaker 4: only way I could keep an accent, I guess I

962
00:45:04,800 --> 00:45:07,759
Speaker 4: would do it. But I've never felt like I had

963
00:45:07,760 --> 00:45:11,719
Speaker 4: to stay in it in order to keep it, you

964
00:45:11,800 --> 00:45:12,319
Speaker 4: know what I mean.

965
00:45:13,120 --> 00:45:15,520
Speaker 2: You have so much fun with Southern dialects, by the way,

966
00:45:15,640 --> 00:45:18,920
Speaker 2: like every I'm like suther and again, yeah, I've.

967
00:45:18,800 --> 00:45:20,960
Speaker 4: Done quite a few of those and they are a

968
00:45:20,960 --> 00:45:22,680
Speaker 4: lot of fun. I just had to do a Boston

969
00:45:22,719 --> 00:45:24,960
Speaker 4: one actually, which was a new one that I've never done.

970
00:45:24,960 --> 00:45:27,000
Speaker 1: Boston's heart feel like it's trickier.

971
00:45:27,680 --> 00:45:29,640
Speaker 4: It is tricky, and it's also got that weird thing

972
00:45:29,680 --> 00:45:31,920
Speaker 4: where there are some sounds that are almost Australian that

973
00:45:32,960 --> 00:45:35,040
Speaker 4: you know, park your car and half the yard kind

974
00:45:35,040 --> 00:45:38,160
Speaker 4: of thing where they they the ar is almost the

975
00:45:38,200 --> 00:45:39,040
Speaker 4: same as Australian.

976
00:45:39,320 --> 00:45:39,799
Speaker 3: Do you do?

977
00:45:40,120 --> 00:45:41,359
Speaker 1: Did you work with a dialect coach?

978
00:45:41,400 --> 00:45:41,879
Speaker 4: What do you all?

979
00:45:41,960 --> 00:45:42,120
Speaker 3: Yes?

980
00:45:42,200 --> 00:45:45,879
Speaker 4: Yeah, yeah, no, I mean pretty much always unless it's

981
00:45:45,920 --> 00:45:50,920
Speaker 4: something just like I don't know this miniseries I did

982
00:45:50,960 --> 00:45:52,600
Speaker 4: back home called The Artful Dodger.

983
00:45:52,400 --> 00:45:57,840
Speaker 3: Recently, that was like I love watching that, you know,

984
00:45:58,160 --> 00:45:58,560
Speaker 3: that was.

985
00:45:58,560 --> 00:46:00,959
Speaker 4: Just like, well, he's he's breadis, but he's been living

986
00:46:00,960 --> 00:46:02,840
Speaker 4: in Australia for years and we don't really even know

987
00:46:02,880 --> 00:46:05,160
Speaker 4: what the accent was in Australia in eighteen fifty, so

988
00:46:05,719 --> 00:46:07,840
Speaker 4: that I didn't have a dialect coach because it was

989
00:46:07,920 --> 00:46:10,520
Speaker 4: just sort of you know, that didn't.

990
00:46:10,239 --> 00:46:13,160
Speaker 1: Feel British is easy for Aussie's too, yeah, and.

991
00:46:13,120 --> 00:46:15,120
Speaker 3: It wasn't like a strict British anyway.

992
00:46:15,200 --> 00:46:17,640
Speaker 4: And if I'm playing an American, I don't have a

993
00:46:17,680 --> 00:46:20,600
Speaker 4: dialect coach, you know, unless it's a new accent that

994
00:46:20,680 --> 00:46:24,279
Speaker 4: I haven't done, Like Boston, I wouldn't try and do

995
00:46:24,320 --> 00:46:26,279
Speaker 4: a Boston on my own because it's too new and

996
00:46:26,320 --> 00:46:28,400
Speaker 4: too different and there are too many sounds that I'm

997
00:46:28,400 --> 00:46:29,040
Speaker 4: not familiar.

998
00:46:29,120 --> 00:46:30,520
Speaker 1: Yeah, oh so interesting.

999
00:46:30,800 --> 00:46:34,840
Speaker 2: Okay, So actors do listen to this, like young aspiring actors,

1000
00:46:35,120 --> 00:46:38,960
Speaker 2: A lot of Aussie's do. For an Aussie that might

1001
00:46:39,040 --> 00:46:41,680
Speaker 2: be have, you know, big stars in their eyes and

1002
00:46:41,760 --> 00:46:45,520
Speaker 2: really want to make it here in America. Obviously, we've

1003
00:46:45,560 --> 00:46:48,400
Speaker 2: talked about like how everybody has a different trajectory, and

1004
00:46:48,440 --> 00:46:50,640
Speaker 2: I think it seems like one shoe doesn't fit all.

1005
00:46:52,080 --> 00:46:54,400
Speaker 2: But is it a resilience game or is it a

1006
00:46:54,920 --> 00:46:57,759
Speaker 2: like come over with the white reps, come over with

1007
00:46:57,840 --> 00:47:01,800
Speaker 2: the right credits again of like it could be any

1008
00:47:01,920 --> 00:47:03,239
Speaker 2: all or a bit of each.

1009
00:47:04,080 --> 00:47:08,839
Speaker 4: Yeah, there's definitely no one size fits all, unfortunately, and

1010
00:47:08,880 --> 00:47:11,280
Speaker 4: I think at the top of the list is again

1011
00:47:11,360 --> 00:47:15,600
Speaker 4: unfortunately timing and luck. You know, I think that there's

1012
00:47:15,640 --> 00:47:19,239
Speaker 4: no recipe for how to do this. Look if you

1013
00:47:20,000 --> 00:47:22,320
Speaker 4: there are some things that are close to a certainty,

1014
00:47:22,360 --> 00:47:25,560
Speaker 4: and that is if you are a good looking twenty

1015
00:47:25,640 --> 00:47:29,239
Speaker 4: year old who just played the lead brilliantly in an

1016
00:47:29,239 --> 00:47:33,080
Speaker 4: Australian film that was a hit at sun Dance. Yeah,

1017
00:47:33,120 --> 00:47:34,879
Speaker 4: you're going to be fine. Here, you're going to get

1018
00:47:35,520 --> 00:47:37,839
Speaker 4: several agents and managers want to sign you, and you're

1019
00:47:37,840 --> 00:47:41,000
Speaker 4: probably going to get an instant career. But that's a

1020
00:47:41,120 --> 00:47:43,560
Speaker 4: very specific set of circumstances that you can't plan. You

1021
00:47:43,600 --> 00:47:45,440
Speaker 4: can't even plan to have got that Australian film. You

1022
00:47:45,480 --> 00:47:48,400
Speaker 4: have to have had that happen for you too, So again,

1023
00:47:48,560 --> 00:47:54,000
Speaker 4: you know, so yeah, it's that there is an element

1024
00:47:54,040 --> 00:47:57,840
Speaker 4: of resilience. I guess looking at my own situation, I

1025
00:47:58,719 --> 00:48:01,960
Speaker 4: you know, when I came I came over for two

1026
00:48:02,480 --> 00:48:05,680
Speaker 4: three month trips where absolutely nothing happened after House of Wax,

1027
00:48:06,160 --> 00:48:11,640
Speaker 4: and I gave myself one more trip two. Yeah, but

1028
00:48:11,719 --> 00:48:14,560
Speaker 4: you know, there's just as much chance that it would

1029
00:48:14,600 --> 00:48:16,719
Speaker 4: have also not happened. It hadn't happened twice, so that

1030
00:48:16,800 --> 00:48:19,160
Speaker 4: could have easily not happened again, and I wasn't coming back.

1031
00:48:19,280 --> 00:48:23,239
Speaker 4: So you know, there's an argument therefore sticking it out

1032
00:48:23,280 --> 00:48:26,120
Speaker 4: because you just don't know what's around the corner. At

1033
00:48:26,120 --> 00:48:28,880
Speaker 4: the same time, I also am a realist and I

1034
00:48:28,880 --> 00:48:31,160
Speaker 4: would say, yeah, but I wouldn't have stuck it out

1035
00:48:31,160 --> 00:48:34,680
Speaker 4: for ten trips with nothing happening, because I would be like, Okay, damon,

1036
00:48:34,800 --> 00:48:38,120
Speaker 4: take the hint like they do not like you, like

1037
00:48:38,400 --> 00:48:43,480
Speaker 4: you're not going to work here. I think, yeah, having

1038
00:48:43,560 --> 00:48:49,239
Speaker 4: a healthy sense of you know, drive, but also a

1039
00:48:49,560 --> 00:48:54,399
Speaker 4: healthy sense of being realistic. You know, you don't want

1040
00:48:54,440 --> 00:48:57,280
Speaker 4: to come here and get broke and depressed.

1041
00:48:57,560 --> 00:48:58,920
Speaker 3: Yeah, don't you know.

1042
00:48:59,080 --> 00:49:02,520
Speaker 4: At the same time, if you come here and and

1043
00:49:02,520 --> 00:49:04,440
Speaker 4: and spend two weeks here and go, oh, nothing happened

1044
00:49:04,480 --> 00:49:07,680
Speaker 4: stuff that I'm never coming back, that's probably underselling yourself

1045
00:49:07,719 --> 00:49:11,080
Speaker 4: a little bit. I think, you know, I was pretty

1046
00:49:12,360 --> 00:49:15,000
Speaker 4: I came here with just enough self doubt, like I

1047
00:49:15,520 --> 00:49:17,440
Speaker 4: was lot of one of those actors who oscillates between

1048
00:49:18,239 --> 00:49:23,400
Speaker 4: thinking I can do anything and thinking I can't do anything, and.

1049
00:49:22,920 --> 00:49:25,320
Speaker 3: Which I'm sure is familiar to a lot of actors.

1050
00:49:27,120 --> 00:49:31,680
Speaker 4: And I think, you know, but but most of the time,

1051
00:49:31,719 --> 00:49:33,959
Speaker 4: I'm sort of somewhere in the middle of those two things.

1052
00:49:33,960 --> 00:49:37,240
Speaker 4: And I think that gives you the ability to go Okay.

1053
00:49:37,760 --> 00:49:41,080
Speaker 4: I know, I know I can do this job enough

1054
00:49:42,480 --> 00:49:44,680
Speaker 4: because I've I've done it enough so far.

1055
00:49:44,640 --> 00:49:45,960
Speaker 3: And and and and and and.

1056
00:49:46,080 --> 00:49:48,560
Speaker 4: Been hir at enough times that I can't be truly awful.

1057
00:49:48,800 --> 00:49:50,800
Speaker 4: I can't be as awful as I think I am sometimes,

1058
00:49:51,600 --> 00:49:55,200
Speaker 4: so I guess it's worth sticking out to a degree

1059
00:49:55,520 --> 00:49:59,040
Speaker 4: and seeing what happens. But also yeah, not not not

1060
00:49:59,239 --> 00:50:01,160
Speaker 4: driving yourself in at the ground and thinking, come on,

1061
00:50:01,239 --> 00:50:05,000
Speaker 4: come on, I'm you know, why isn't anyone hiring me.

1062
00:50:05,520 --> 00:50:08,040
Speaker 4: I was realistic when I came here after House of Wax,

1063
00:50:08,040 --> 00:50:11,000
Speaker 4: partly because I was thirty five years old. I didn't

1064
00:50:11,000 --> 00:50:14,120
Speaker 4: look like Chris Hemsworth. I didn't have I had, you know,

1065
00:50:14,160 --> 00:50:16,840
Speaker 4: an American credit, but I didn't have a huge credit

1066
00:50:16,880 --> 00:50:21,200
Speaker 4: behind me. So I knew that there was a small

1067
00:50:21,280 --> 00:50:24,280
Speaker 4: door had opened, a small crack in the door had opened,

1068
00:50:24,280 --> 00:50:26,280
Speaker 4: but it wasn't wide open, and I didn't ever expect

1069
00:50:26,360 --> 00:50:28,680
Speaker 4: it was. I thought it could have easily just slam shut,

1070
00:50:29,120 --> 00:50:31,120
Speaker 4: and I would have been fine with that too. You know,

1071
00:50:31,640 --> 00:50:34,160
Speaker 4: everything that happened to me over here was a surprise.

1072
00:50:34,719 --> 00:50:36,279
Speaker 3: You know. It never felt like.

1073
00:50:37,239 --> 00:50:39,480
Speaker 4: Okay, yeah, this is what I'm due and this is

1074
00:50:39,480 --> 00:50:41,880
Speaker 4: what I expect. What happened for me, it was always

1075
00:50:41,920 --> 00:50:44,759
Speaker 4: like sorry, what Like I really couldn't believe it.

1076
00:50:44,920 --> 00:50:47,759
Speaker 3: And I'm glad that.

1077
00:50:47,920 --> 00:50:51,480
Speaker 4: I just think from a psychological perspective that that was helpful,

1078
00:50:51,520 --> 00:50:55,640
Speaker 4: because everything good that happened was a pleasant surprise. Everything

1079
00:50:55,680 --> 00:50:58,280
Speaker 4: that didn't happen was Yeah, I didn't think what anyway,

1080
00:50:58,560 --> 00:51:00,880
Speaker 4: you know, so I think that helped.

1081
00:51:01,239 --> 00:51:02,480
Speaker 1: Yeah, it's so funny.

1082
00:51:02,640 --> 00:51:05,560
Speaker 2: I've been acting schools where they say this is your Olympics,

1083
00:51:05,640 --> 00:51:09,279
Speaker 2: nothing else matters. And because like I'm a bit more,

1084
00:51:09,320 --> 00:51:11,880
Speaker 2: I've got a real business ye kind of brain, I'm like, no,

1085
00:51:12,000 --> 00:51:14,880
Speaker 2: I think it's effing great to yet chase this dream,

1086
00:51:14,880 --> 00:51:18,239
Speaker 2: but I'm all for like having things that are going

1087
00:51:18,320 --> 00:51:22,240
Speaker 2: to facilitate and fuel that dream so that you've got

1088
00:51:22,440 --> 00:51:24,800
Speaker 2: like enough time to like sit in it long enough

1089
00:51:24,920 --> 00:51:27,600
Speaker 2: that you can give yourself chances for those lucky breaks.

1090
00:51:27,640 --> 00:51:29,080
Speaker 1: That's kind of my theory on it.

1091
00:51:29,080 --> 00:51:32,480
Speaker 2: But I love that you say, like take the plunge,

1092
00:51:32,480 --> 00:51:37,520
Speaker 2: but also be realistic, Like it's it's one thing to

1093
00:51:37,600 --> 00:51:39,520
Speaker 2: kind of like give it a crack and then run

1094
00:51:39,560 --> 00:51:42,359
Speaker 2: home and go, oh no that was my one and downe,

1095
00:51:42,400 --> 00:51:44,880
Speaker 2: you know, like, but it's another thing to be like, Okay,

1096
00:51:44,920 --> 00:51:47,560
Speaker 2: well it sounds like you're a good combo, is what

1097
00:51:47,560 --> 00:51:50,080
Speaker 2: I'm trying to say. Of, like, let's chase this dream.

1098
00:51:50,600 --> 00:51:51,960
Speaker 2: I'm going to give it a red hot crack, like

1099
00:51:51,960 --> 00:51:55,239
Speaker 2: I'm gonna give it a shake. Yeah, but also if it

1100
00:51:55,280 --> 00:51:57,520
Speaker 2: doesn't work, out, I'm going to be okay, knowing I

1101
00:51:57,520 --> 00:51:59,520
Speaker 2: gave it a red. I stuck at it long enough

1102
00:51:59,520 --> 00:52:00,520
Speaker 2: to give it that.

1103
00:52:00,520 --> 00:52:00,960
Speaker 3: That's right.

1104
00:52:01,480 --> 00:52:04,319
Speaker 4: As I said earlier, I didn't want to be in

1105
00:52:04,640 --> 00:52:06,759
Speaker 4: later life going, did I? I don't think I tried.

1106
00:52:06,800 --> 00:52:08,439
Speaker 4: I don't think I gave that enough of a crack.

1107
00:52:08,800 --> 00:52:11,040
Speaker 4: And by that third trip, where nothing had happened and

1108
00:52:11,120 --> 00:52:13,600
Speaker 4: I didn't expect it was going to happen, I felt like, No,

1109
00:52:13,719 --> 00:52:17,200
Speaker 4: you made three three month trips there, you didn't even

1110
00:52:17,200 --> 00:52:20,279
Speaker 4: get a call back. That's enough proof that nothing was

1111
00:52:20,320 --> 00:52:22,480
Speaker 4: going to happen. That's not to say that you weren't

1112
00:52:22,560 --> 00:52:24,440
Speaker 4: good enough. It might be you weren't good enough, or

1113
00:52:24,440 --> 00:52:27,040
Speaker 4: it just just like luck didn't go your way that day.

1114
00:52:27,400 --> 00:52:31,680
Speaker 4: But like you know, at least you gave it a shot.

1115
00:52:31,840 --> 00:52:37,040
Speaker 4: And yeah, I think that, you know, just having a

1116
00:52:37,080 --> 00:52:40,000
Speaker 4: healthy sense of what is how you know, what are

1117
00:52:40,000 --> 00:52:43,600
Speaker 4: you capable of? Are you genuinely do you have the

1118
00:52:43,880 --> 00:52:46,839
Speaker 4: goods to actually work there for a start? That's one thing,

1119
00:52:47,280 --> 00:52:50,319
Speaker 4: but then that doesn't just just be aware that that

1120
00:52:50,360 --> 00:52:53,120
Speaker 4: doesn't necessarily mean you're going to work there. You know,

1121
00:52:53,520 --> 00:52:57,160
Speaker 4: it is a lottery to some degree, you know there

1122
00:52:57,200 --> 00:53:00,239
Speaker 4: are you know I offered to have this thought that

1123
00:53:00,280 --> 00:53:03,440
Speaker 4: you know, the best actor in the world is probably

1124
00:53:03,560 --> 00:53:07,240
Speaker 4: working behind the bar in some distant pub in Ireland

1125
00:53:07,680 --> 00:53:09,839
Speaker 4: and we're never going to know about them, like they

1126
00:53:09,840 --> 00:53:12,120
Speaker 4: were just were never never go because they you know,

1127
00:53:12,280 --> 00:53:14,480
Speaker 4: they just didn't do the things and have the things

1128
00:53:14,480 --> 00:53:17,520
Speaker 4: fall into place that we're required for anyone to take notice.

1129
00:53:17,719 --> 00:53:21,680
Speaker 4: You know, being a good actor is only halfway there.

1130
00:53:21,840 --> 00:53:24,239
Speaker 4: Having people care and take notice that you are a

1131
00:53:24,239 --> 00:53:25,959
Speaker 4: good actor is the hard part.

1132
00:53:26,400 --> 00:53:28,160
Speaker 2: Yeah, Well, I always say to people there's a whole

1133
00:53:28,160 --> 00:53:30,439
Speaker 2: business side to it as well. It's not just the art,

1134
00:53:30,560 --> 00:53:33,239
Speaker 2: and it's like having the right agent and if you've

1135
00:53:33,280 --> 00:53:35,680
Speaker 2: got like a show coming out, is their publicity link

1136
00:53:35,719 --> 00:53:37,799
Speaker 2: to that? Like there is like a business side to

1137
00:53:37,880 --> 00:53:39,840
Speaker 2: it as well that a lot of people like, No,

1138
00:53:39,960 --> 00:53:41,759
Speaker 2: I just want to honor the craft and the art,

1139
00:53:41,880 --> 00:53:44,800
Speaker 2: which is awesome, But I always think if you almost

1140
00:53:44,840 --> 00:53:47,720
Speaker 2: need in if you are going to go to Axel,

1141
00:53:47,760 --> 00:53:49,759
Speaker 2: I'm like, someone needs to teach the business of it,

1142
00:53:49,800 --> 00:53:53,080
Speaker 2: because there is a like business e side, especially over

1143
00:53:53,120 --> 00:53:56,800
Speaker 2: here because you've got managers, agents, lawyers or taking little

1144
00:53:56,840 --> 00:53:59,520
Speaker 2: cuts as well, Like very different to back in Australia,

1145
00:54:00,080 --> 00:54:01,920
Speaker 2: like it feels like a whole different skill set to

1146
00:54:02,000 --> 00:54:04,280
Speaker 2: understand yourself as well.

1147
00:54:04,360 --> 00:54:05,320
Speaker 1: Like I find it fascinate.

1148
00:54:05,360 --> 00:54:06,799
Speaker 2: I don't know, I could talk about this, I could

1149
00:54:06,800 --> 00:54:09,120
Speaker 2: nerd out over this stuff all day long. I have

1150
00:54:09,239 --> 00:54:12,480
Speaker 2: to you've met, You've already kind of like touched on this.

1151
00:54:12,600 --> 00:54:15,520
Speaker 2: But like, so you do go for something like I know,

1152
00:54:15,560 --> 00:54:19,120
Speaker 2: the Murial's wedding and the Baslom and Gatsby moments. How

1153
00:54:19,160 --> 00:54:22,239
Speaker 2: do you handle that rejection when you're like, I did

1154
00:54:22,280 --> 00:54:22,919
Speaker 2: want that one.

1155
00:54:24,080 --> 00:54:27,960
Speaker 4: I think it depends on how emotionally you invested you

1156
00:54:28,000 --> 00:54:30,000
Speaker 4: are and how much you really want something. I remember,

1157
00:54:30,440 --> 00:54:35,319
Speaker 4: I think still to this day. The most pain I

1158
00:54:35,360 --> 00:54:38,680
Speaker 4: felt from not getting a role was in an Australian

1159
00:54:39,120 --> 00:54:41,919
Speaker 4: series called The Henderson Kids Too. When I was a kid,

1160
00:54:41,960 --> 00:54:45,200
Speaker 4: I was a big fan of The Henderson Kids, a

1161
00:54:45,280 --> 00:54:49,920
Speaker 4: huge crush on the Dean Ghana, and I got an

1162
00:54:49,920 --> 00:54:52,279
Speaker 4: audition for The Henderson Kids Too. I think I was

1163
00:54:52,360 --> 00:54:55,560
Speaker 4: fifteen or something and I wanted it so bad and

1164
00:54:55,600 --> 00:54:56,879
Speaker 4: I remember when I got the call that I didn't

1165
00:54:56,880 --> 00:54:59,120
Speaker 4: get it, I actually cried. I don't think I've ever

1166
00:54:59,200 --> 00:55:02,160
Speaker 4: cried not getting a roll before, but I was so devastated.

1167
00:55:02,480 --> 00:55:04,160
Speaker 4: And look, there have been a few of those over

1168
00:55:04,200 --> 00:55:04,600
Speaker 4: the years.

1169
00:55:04,640 --> 00:55:05,280
Speaker 3: I think.

1170
00:55:07,080 --> 00:55:09,239
Speaker 4: That, Yeah, the Mirror's Wedding one, I would have been

1171
00:55:09,280 --> 00:55:12,319
Speaker 4: pretty upset about. The Gatsby one. I was pretty down

1172
00:55:12,360 --> 00:55:15,919
Speaker 4: about because I think that had got down to only

1173
00:55:15,960 --> 00:55:21,080
Speaker 4: a handful of people. Thankfully, I think the oldie you get,

1174
00:55:21,120 --> 00:55:23,960
Speaker 4: the less it hurts. But other than that, I don't

1175
00:55:23,960 --> 00:55:27,520
Speaker 4: think there's a way to cope with it. It is a

1176
00:55:27,960 --> 00:55:30,359
Speaker 4: it's bad news, you know, it's like getting a call

1177
00:55:30,440 --> 00:55:33,879
Speaker 4: that's you know you've built, especially if you really felt

1178
00:55:33,960 --> 00:55:36,279
Speaker 4: like you were. Sometimes that's why it's best not to

1179
00:55:36,280 --> 00:55:39,279
Speaker 4: get too close to something, you know. When I mean

1180
00:55:39,480 --> 00:55:41,279
Speaker 4: a lot of actors I think feel this way, which is,

1181
00:55:41,320 --> 00:55:43,800
Speaker 4: you know, I'd rather have not even had a shot

1182
00:55:43,880 --> 00:55:46,160
Speaker 4: than hear it was between me and someone else, even

1183
00:55:46,200 --> 00:55:47,760
Speaker 4: though obviously it's way better.

1184
00:55:47,640 --> 00:55:48,759
Speaker 3: To be down to the final too.

1185
00:55:48,800 --> 00:55:52,279
Speaker 4: That's a really cool thing, but it feels so much

1186
00:55:52,360 --> 00:55:54,920
Speaker 4: worse because you because then you beat yourself up with

1187
00:55:55,080 --> 00:55:57,200
Speaker 4: what could I have done differently? What could have been

1188
00:55:57,200 --> 00:55:59,120
Speaker 4: the little thing that got me over the line?

1189
00:55:59,440 --> 00:56:03,080
Speaker 2: Yes, so fal On, that's saying that, like bronze middlists

1190
00:56:03,080 --> 00:56:05,360
Speaker 2: are happier than silver medal totally.

1191
00:56:05,600 --> 00:56:07,319
Speaker 3: You know, Yes, it's exactly that.

1192
00:56:07,840 --> 00:56:12,200
Speaker 2: Yeah, you have been such a joy to interview. I

1193
00:56:12,280 --> 00:56:13,400
Speaker 2: cannot wait.

1194
00:56:13,280 --> 00:56:14,440
Speaker 1: To see the bike riders.

1195
00:56:14,480 --> 00:56:18,279
Speaker 2: I think it's going to be amazing and I can't

1196
00:56:18,320 --> 00:56:20,239
Speaker 2: wait to see what's next for you. And I hope

1197
00:56:20,239 --> 00:56:23,400
Speaker 2: that Boston tape went really well and I hope that's

1198
00:56:24,000 --> 00:56:26,160
Speaker 2: I know actors can't talk about the next projects, but

1199
00:56:26,200 --> 00:56:27,040
Speaker 2: thank you so much.

1200
00:56:27,520 --> 00:56:28,320
Speaker 1: You're wonderful.

1201
00:56:28,480 --> 00:56:30,880
Speaker 3: Oh, thanks a lot. I've had a bore. It's been really, really,

1202
00:56:31,160 --> 00:56:31,680
Speaker 3: really fun.

1203
00:56:32,080 --> 00:56:32,960
Speaker 1: Thank you, my friend.

1204
00:56:35,480 --> 00:56:41,120
Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always,

1205
00:56:41,280 --> 00:56:44,640
Speaker 2: thank you to our guests, and let's continue the conversation

1206
00:56:44,800 --> 00:56:45,640
Speaker 2: on Instagram.

1207
00:56:46,200 --> 00:56:48,319
Speaker 1: I'm at Yumo Rollerberry.

1208
00:56:49,040 --> 00:56:53,239
Speaker 2: This potty my word for podcast is available.

1209
00:56:52,640 --> 00:56:54,440
Speaker 1: On all streaming platforms.

1210
00:56:54,920 --> 00:56:57,880
Speaker 2: I'd love it if you could subscribe, rape and comment,

1211
00:56:58,160 --> 00:57:05,680
Speaker 2: and of course spread the loves.