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Speaker 1: This is a podcast about failure with me.

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Speaker 2: Lola Berry, author, nutritionist, and yoga teacher, join me as

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Speaker 2: we get to know these guests and learn about how

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Speaker 2: their failures have ultimately shaped their dreams. Welcome to Fearlessly

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Speaker 2: Failing with Lola Berry. Hello, Today we have Julia Grace

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Speaker 2: on the podcast. So I met Julia because she was

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Speaker 2: one of my acting teachers. She's an actor, a director,

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Speaker 2: and an acting teacher. Her whole ethos is really about

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Speaker 2: showing up, being open, being honest, being vulnerable, and kind

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Speaker 2: of like having the courage to be vulnerable. So if

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Speaker 2: you're an actor, of course you something from this. But

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Speaker 2: if you're not an actor, I believe that you'll get

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Speaker 2: loads from this because I think we can all gain

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Speaker 2: a little bit from embracing our own vulnerability.

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Speaker 1: And I remember one of the things.

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Speaker 2: Julia said in class and she said eyes up, heart open,

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Speaker 2: and I don't like that metaphor for life, Big love

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Speaker 2: and enjoy, Julia Grace. I am so honored to have

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Speaker 2: you here. When I wrote to you on instat to

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Speaker 2: slid into your.

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Speaker 1: DMS, I was like, do you want to jump on

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Speaker 1: the pod. So for people.

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Speaker 2: Listening, I'm lucky enough that Julia is one. I been

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Speaker 2: one of my teachers at acting school for two terms.

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Speaker 1: Now I'm pretty sure.

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Speaker 3: Do you know what who knows? No one knows you

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Speaker 3: your day of the week, month, year, it is this year,

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Speaker 3: it for ten years, and no one would know. So yeah, but.

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Speaker 2: You're also an actor, a writer, a producer, rector teacher,

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Speaker 2: which we just mentioned, and I want to like learn

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Speaker 2: a little bit about what it is that you teach

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Speaker 2: because you've got a very specific style. And I still

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Speaker 2: remember my first ever class with you. I went this morning.

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Speaker 2: I went over my first class notes of yours. Hilarious,

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Speaker 2: so hilarious, but so not even hilarious, just like I

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Speaker 2: was like, oh, this is this is gold for life.

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Speaker 2: And that's why I really want to get you on

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Speaker 2: the podcast because I think that whether people are into

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Speaker 2: acting or not, they will definitely take something from the

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Speaker 2: way your brain ticks and the way that I would

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Speaker 2: say you choose to live. So that's why I'm here today.

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Speaker 3: Oh good, Well, you know, I guess because I've learned

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Speaker 3: so many techniques through being an actor, and then I

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Speaker 3: studied specific techniques which include the Myersner technique and viewpoints.

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Speaker 3: But if you asked me, well, what do you each

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Speaker 3: or what specifically? Really if I had to put it

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Speaker 3: in a nutshell? And now I'm laughing because every time

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Speaker 3: I say in a nutshell, I think of Austin Powers,

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Speaker 3: which a shows how old I am and also how

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Speaker 3: daggy as well.

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Speaker 1: As Powers is the best though, do you know who

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Speaker 1: does that thing?

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Speaker 3: Of like, this is me in a nutshell?

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Speaker 1: You know what?

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Speaker 3: Bit it's oh god, this is how I've started excellent. Well,

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Speaker 3: I'm not going to reenact it for you right now, Lola,

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Speaker 3: because we're talking about serious acting things. No, not at all.

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Speaker 3: I would say that I teach or I encourage people

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Speaker 3: to embrace everything there and bring that to the role.

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Speaker 3: You know that that's sort of like the byline underneath

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Speaker 3: the techniques that I teach. At the end of it,

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Speaker 3: what are you going to get? Hopefully a more embodied

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Speaker 3: self to bring to any role that you play.

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Speaker 2: I love it, and that's where I think that applies

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Speaker 2: to life as well. Like if you're going into a meeting,

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Speaker 2: you want to be embodied, connected, truthful, not stuck in

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Speaker 2: your mind.

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Speaker 1: No, really open.

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Speaker 2: So this is exciting, but I want to hear first

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Speaker 2: a little bit about your history, which was a little

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Speaker 2: bit of fun to research.

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Speaker 1: So at school, is it true that.

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Speaker 2: You joined like the drama, Like you got involved with

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Speaker 2: drama because you're like, where are the kids to play with?

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Speaker 1: And you figured out they're all in drama? Is that right? Yeah?

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Speaker 3: Yeah, Lola, I was alone. I was on first day,

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Speaker 3: lunchtimes or whatever day of the week it was, I

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Speaker 3: was alone, and when I said where is everyone, They're like,

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Speaker 3: we got a drama obviously. So of course I went

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Speaker 3: home and said, well, this is not on send me

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Speaker 3: to drama class. And I distinctly remember going in and

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Speaker 3: Miss Amanda that was the teacher's name, saying, we're auditioning

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Speaker 3: for a play. It's King Midas in the Golden Touch.

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Speaker 3: So everyone showed me your best king and I got

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Speaker 3: a ruler instead of banging on the table, and that

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Speaker 3: seemed pretty straightforward. And then I got the main role. Like, oh,

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Speaker 3: this is busy.

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Speaker 2: And fun as well, Like I think that it sounds

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Speaker 2: I've heard you share that story.

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Speaker 1: It sounds like just fun.

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Speaker 2: But so young to have that moment, yeah, I would

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Speaker 2: have been about eight. Yeah, But then if you talk

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Speaker 2: to a lot of actors creatives, they're like, yeah.

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Speaker 1: I was in all the school plays.

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Speaker 2: You know, I was the fairy on top of the

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Speaker 2: Christmas tree every Christmas at my school.

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Speaker 3: Yeah, And do you know, I think it's so interesting

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Speaker 3: whenever you ask someone about their past, because obviously we

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Speaker 3: have created memories that may or may not be true.

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Speaker 3: We have a perspective of what's happened to us. And

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Speaker 3: if you ask your parents or your siblings, how do

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Speaker 3: you remember it, it's obviously going to be different. So

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Speaker 3: I remember being or being told I was a shy child,

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Speaker 3: so I was not in every school play. This play

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Speaker 3: seemed to be a revelatory experience because I remember, which

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Speaker 3: I actually think is problematic. But I can talk about

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Speaker 3: that later because I do remember parents coming up to

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Speaker 3: me afterwards going, oh, Mark, what the Julia? We've never

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Speaker 3: seen you do anything like this before, so which, yes,

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Speaker 3: all very well intentioned, but actually I think that can

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Speaker 3: come back to bite you in the ass later from.

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Speaker 1: A validation perspective, correct, got it?

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Speaker 2: So like people kind of praising you and then you

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Speaker 2: being yeah. But then I think if you look at creatives,

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Speaker 2: and this is what I love about. I didn't even

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Speaker 2: have a note to talk to you about this, but

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Speaker 2: I love that in the first class I did with you,

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Speaker 2: you were like, acting isn't therapy, It's quite separate. But

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Speaker 2: I think a lot of creatives use acting as therapy

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Speaker 2: and validation and self worth and all these other things

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Speaker 2: that you kind of need to sort out either with

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Speaker 2: a therapist or on your own and figure out your

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Speaker 2: own psychology.

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Speaker 1: Oh I'm kind of right.

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Speaker 3: Oh yeah, and you've just caught me coming off the

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Speaker 3: back of a workshop that I ran with a psychologist,

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Speaker 3: Chris Cheers, who the whole weekend was about this, And

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Speaker 3: I actually think it's really confronting for creatives. But actually, anyone,

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Speaker 3: you know, whether you're a doctor or a lawyer, or

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Speaker 3: a landscape gardener, architects, whatever it is, if you have

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Speaker 3: tied what you do to your self worth. The minute

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Speaker 3: that thing that you do isn't going well or isn't

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Speaker 3: successful by your rubric, then your identity is in trouble,

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Speaker 3: your self worth is in trouble, and especially well. You know,

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Speaker 3: I can only speak to being an actor or being

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Speaker 3: a creative because that's all I've ever done. I'd love

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Speaker 3: to be a landscape architecture. Is that a do I

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Speaker 3: make that up?

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Speaker 1: No, that's a thing that I'm pretty sure.

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Speaker 3: That's is that a thing we'll go maybe gardens look nice? Yeah,

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Speaker 3: I wish I could do that, but yeah, because obviously

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Speaker 3: as a creative you get so many rejections, of course,

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Speaker 3: so it can really put it through a few bullet

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Speaker 3: holes through you and I yeah, I look, I've heard

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Speaker 3: a teacher say to me. Acting is not therapy, but

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Speaker 3: it can become therapeutic. So you may learn about yourself

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Speaker 3: in the process of studying acting or being an actor,

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Speaker 3: but I do not think it is a place.

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Speaker 1: Look.

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Speaker 3: My perspective, and it's different depending on what techniques you've learned,

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Speaker 3: is that I would prefer to rely on my imagination

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Speaker 3: rather than dragging up past trauma totally. So that's where

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Speaker 3: I sit on there. Acting is not about your trauma.

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Speaker 2: And about therapy scale the other I was just telling

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Speaker 2: you before this started, I put up a scene that

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Speaker 2: we've been working on Zoom for Ian's class, and I

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Speaker 2: was playing Maggie out of cat on a hot tin

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Speaker 2: roof Tennis Williams and that had a bit of weight

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Speaker 2: and I put a bit of pressure on myself anyway,

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Speaker 2: and he was amazing, and we workshopped it for quite

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Speaker 2: a while.

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Speaker 1: In real life. So it was like asthetic and.

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Speaker 2: I was like, oh, I could literally feel electricity running

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Speaker 2: through my body. And he said, can you see that

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Speaker 2: now Lola has more into Maggie, but really it's just

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Speaker 2: Lola under imaginary circumstance.

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Speaker 1: And I was like, that's what Julius says.

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Speaker 3: I mean, actually, that's really I'm glad that Ian said that,

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Speaker 3: because it's I often worry for actors sometimes learning multiple

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Speaker 3: techniques that you're gonna your brain's gonna explode because you'll

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Speaker 3: have people telling you different things. Yeah, which is not

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Speaker 3: a bad thing because everyone will choose the way that

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Speaker 3: works for them and that's great. But yes, I am

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Speaker 3: a big proponent of that. It's you under imaginary circumstances.

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Speaker 3: It's always you to me.

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Speaker 2: And this is what I felt the moment I started

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Speaker 2: doing your classes. This feels like a very sustainable way

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Speaker 2: to be in the craft and be in the world

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Speaker 2: of acting and being able to put yourself in, you know,

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Speaker 2: reasonably confronting situations if it's a dark or heavier scene,

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Speaker 2: but to not attach your yeah you're worth, but not

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Speaker 2: get your psychology or come at a cost of your psychology.

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Speaker 3: Definitely, And I you know, just what we're saying before.

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Speaker 3: I feel like it doesn't matter what you do. If

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Speaker 3: you have put your entire self worth into that sales pitch,

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Speaker 3: into that client and it doesn't come through, not only

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Speaker 3: will it affect your self esteem, but it'll probably affect

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Speaker 3: your ability to book the next client or to sell

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Speaker 3: the next thing that you're doing. But it's so hard.

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Speaker 3: We grew up in a goal orientated world. We're taught

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Speaker 3: that that's success, right, that's what we're here to do.

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Speaker 3: So it's a hard thing to push against.

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Speaker 2: Back to your earlier training years, you've done a lot,

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Speaker 2: my friend, I've got here Australian Theater for Young People,

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Speaker 2: then University of Sydney and then you were hanging out

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Speaker 2: at sud Seeps.

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Speaker 1: Is that right? Yes?

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Speaker 2: And that was like we had connections with a lot

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Speaker 2: of people doing cool things in theater.

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Speaker 1: Yeah.

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Speaker 3: Because my father's an academic, he wouldn't let me. Oh

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Speaker 3: it sounds like, you know, he's sort of like cracking

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Speaker 3: the whip, only only in terms of I got a

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Speaker 3: very clear communication from my father that I should go

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Speaker 3: and do a university degree first and then if you

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Speaker 3: want to go to a drama school after.

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Speaker 1: So I was same. Don't worry. My dad's a vet

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Speaker 1: and I love him dearly.

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Speaker 2: But he was like, please get a degree, Please get

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Speaker 2: a degree exactly.

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Speaker 3: But actually it was great because he said, and look,

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Speaker 3: you should go to the University of Sydney because I've

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Speaker 3: got a very good drama society there. And I did,

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Speaker 3: and those people I met, I was just lucky enough

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Speaker 3: to be in a cohort of the most incredibly talented

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Speaker 3: people who still work in theater today, not only in

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Speaker 3: Australia but overseas as well, and so it was a

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Speaker 3: great stomping ground and it has been for a lot

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Speaker 3: of people in the Australian entertainment industry. So university was

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Speaker 3: a lot of fun. And I've failed.

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Speaker 1: Failing is good. This is one thing. I've got a

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Speaker 1: note for me.

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Speaker 2: And in one of our classes recently said fuck it

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Speaker 2: up as much as you want, y'all. And then and

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Speaker 2: then you're like start saying and I like that you

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Speaker 2: celebrate failure, and I want to definitely speak more to that.

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Speaker 1: But after Sydney UNI, you audition.

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Speaker 2: For like Nina Whopper VCA, Like we've all been through

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Speaker 2: that process and you got into VCA, Is that right?

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Speaker 3: Yeah, that's right. And I'm laughing because at the time

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Speaker 3: that was the end of the world for me if

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Speaker 3: I if I didn't get into Nider or I mean

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Speaker 3: I was I'm from Sydney, so obviously Nighter was yeah.

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Speaker 3: I was like, okay, yeah, night is easy. But also,

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Speaker 3: you know, I had xes there and people that I

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Speaker 3: was like, it's funny how you have an idea of

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Speaker 3: what you want, you never get what you want, you

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Speaker 3: get what you need totally, and and then I thought, yea,

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Speaker 3: actually I don't want to go to Nighter And it

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Speaker 3: was a whole I mean, I cried through that. I

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Speaker 3: got to like the second round and they started pummeling

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Speaker 3: me with questions and cracked and started bawling my eyes out.

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Speaker 3: It was really embarrassing. But then went to Whopper, got through,

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Speaker 3: got shortlisted, didn't get a place, was like, what is

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Speaker 3: going on here? And I had auditioned for VCA, but

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Speaker 3: I was so certain that I would get into Whopper.

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Speaker 3: And I think this is you know, if we have

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Speaker 3: time to talk about this, but I actually think this

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Speaker 3: is an important lesson that the minute that you stop

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Speaker 3: making something your everything, that's when doors start to open.

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Speaker 3: So I didn't go into my VCA audition going oh,

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Speaker 3: you better give me a spot. I better get in.

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Speaker 3: I went in going I don't look y'all, I wan

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Speaker 3: only getting into whopper. So yeah, yeah, I didn't though,

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Speaker 3: but it meant that the energy that I went into that.

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Speaker 2: Audition with was ah, yeah, this doesn't mean no expectation,

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Speaker 2: no expectation.

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Speaker 3: And then Lauren and behold. I got into VCA, and

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Speaker 3: again you never know it at the time, but I

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Speaker 3: met the most incredible people there who were still my friends.

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Speaker 3: I had great teachers, But I will say at that time,

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Speaker 3: VCA was an institution that culled people. So we started

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Speaker 3: with thirty one students and ended with eighteen. And I

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Speaker 3: am not someone I have perfectionist tendencies and I am

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Speaker 3: not someone that thrives under the pressure of are you

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Speaker 3: going to be good enough to stay this term?

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Speaker 1: Oh wow?

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Speaker 3: You know? So that was three years of that for me,

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Speaker 3: and everyone's different, but for me, not the best way

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Speaker 3: for me to flourish.

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Speaker 2: No, I understand that, and I think it just adds

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Speaker 2: if you've already got the perfectionist tendencies, which I totally

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Speaker 2: relate to, but that means there's already some kind of

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Speaker 2: like subconscious pressure, and then if you've got the pressure

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Speaker 2: of the institution, it's a recipe fair. So is it

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Speaker 2: true that after VCA there was a bit of a

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Speaker 2: lull for work for you in the industry.

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Speaker 3: Yes, yeah, especially because it's even though I felt pressure

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Speaker 3: at VCA, I still, I guess to an extent. I got,

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Speaker 3: you know, in Inverticoma's good roles, meaty roles, so the

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Speaker 3: expectation is Okay, Well, if I've been getting the good

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Speaker 3: roles at drama school, it's only a matter of time

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Speaker 3: before I do you know, all the roles in the industry.

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Speaker 3: And when that doesn't happen, yeah, my pilot light completely

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Speaker 3: went out, so I spent about three years just bumbling around.

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Speaker 2: I do feel like there's a disconnect though, to be honest,

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Speaker 2: like as someone that's in drama school now, but I

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Speaker 2: have a few friends that are in the course of me

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Speaker 2: are like, you're kind of back engineering at LOLA because

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Speaker 2: I've built a career and then I'm going in and

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Speaker 2: studying kind of back kind of a backwards order, which

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Speaker 2: I kind of love for some reason. But I can

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Speaker 2: see that there's a disconnect between graduation and then getting

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Speaker 2: into the workforce. I can just from my business mind like,

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Speaker 2: oh there's something not clicking or not. Everyone's going to

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Speaker 2: get an agent straight.

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Speaker 1: Away clearly, or get that job or get that gig.

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Speaker 2: And so yeah, I just as someone that's observing it,

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Speaker 2: and I'm made. So if you'd be able to just

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Speaker 2: graduated and I'm like, what on earth do you do next?

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Speaker 3: And you know what, I think it's important to normalize

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Speaker 3: the fact that you may not get an agent straight away,

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Speaker 3: you may not have an agent out in the world,

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Speaker 3: and I have not. I have had periods where I

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Speaker 3: haven't been represented. Yeah, it's okay, it's fine.

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Speaker 2: So you had this kind of the pilot lighter gone out,

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Speaker 2: then you go to the theater and you see it's Stephan

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Speaker 2: Wolf production.

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Speaker 1: Is that right? Yeah?

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Speaker 3: So well, the hilarious an embarrassing thing is that I

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Speaker 3: saw the Melbourne Theater Company version of Augustosage County.

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Speaker 1: First.

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Speaker 3: So I remembering I was sitting in the front row

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Speaker 3: and this play is one of the most incredible plays

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Speaker 3: and it's got two intervals, long time to sit in

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Speaker 3: the theater, but it was riveting. And a friend of

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Speaker 3: mine said, well, you know that theater company has a

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Speaker 3: residency program over their summer a winter. You know, maybe

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Speaker 3: you should see if you would like to do that,

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Speaker 3: And well, as they had nothing else to do, so

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Speaker 3: I auditioned for that. And again this will be a

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Speaker 3: running theme. The day that I was to send in

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Speaker 3: my self tape, so you know, you write an essay

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Speaker 3: about why you want to go there, and then they go, okay, yep,

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Speaker 3: can you please send in an audition. I had quite

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Speaker 3: a big car accident and I was very shaken. I'd

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Speaker 3: written off not only my car, but another car. Yes,

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Speaker 3: it was my fault. Time you find to accept that.

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Speaker 3: But I'm actually a really good drive. I'm just going

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Speaker 3: to put that in there.

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Speaker 1: Awesome, keep that in.

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Speaker 3: But when I went over to my friend's house directly

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Speaker 3: after this accident to choose the tape that I was

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Speaker 3: to send over to Chicago, I chose the one where

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Speaker 3: I fuck up in the middle of it. Yes, I

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Speaker 3: was probably in shock shaking, but I mean, you know

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Speaker 3: what that one. Send that one because it was the

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Speaker 3: most authentic one, and I think that's what everyone wants

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Speaker 3: to see. They want to see people being authentic.

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Speaker 2: And it was yeah, I think I've heard you say that,

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Speaker 2: like it was something that was honest. And when you're

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Speaker 2: watching something that's honest, that's when you're really on the

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Speaker 2: you're connected to that person, and so ballsy move, but

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Speaker 2: smart move, I think.

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Speaker 3: You know, I think at the time again, because my

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Speaker 3: energy was dispersed, I had just written off two cars.

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Speaker 3: I was still in shock. I knew this tape had

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Speaker 3: to go off that night to America. Okay, you know

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Speaker 3: what that one. Choose that one. It's like the ballsiness

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Speaker 3: came because that wasn't my whole world at that point.

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Speaker 3: My whole world was I've just written off two cars. Well,

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Speaker 3: my insurance pay for it. I can't believe. And you know,

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Speaker 3: I have a very strong imagination, so I immediately went

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Speaker 3: into what if I'd killed someone? What if I'd killed someone? Yeah,

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Speaker 3: So yeah, that dispersion of energy allowed me. It actually

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Speaker 3: allowed me to have clearer vision.

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Speaker 2: Yeah, and share something truthful and honest. And that had

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Speaker 2: your cut through, which is ties into everything that you

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Speaker 2: teach us at school.

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Speaker 1: Pretty much.

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Speaker 2: You're trying to find that moment of very real human.

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Speaker 1: Experience.

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Speaker 3: It feels like that when you're I hope so yes.

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Speaker 2: When you're coaching and like, I've watched your coach other

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Speaker 2: because I love.

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Speaker 1: Auditing you when I'm not up and you'll be like,

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Speaker 1: all right, just dance, And I was like, oh my god,

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Speaker 1: if she asked me to death, I'm screwed.

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Speaker 2: Sitting there, Like, then I go after, and you'll play

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Speaker 2: with pace with me.

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Speaker 1: I can.

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Speaker 2: It's so amazing, Like if we were so just for

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Speaker 2: people listening the last term, we're working with Julia on

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Speaker 2: zoom and so if you go up, you've probably got

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Speaker 2: like ten minutes with you or so, and then it's

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Speaker 2: gone to the next student.

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Speaker 1: And I remember like, oh my gosh, if you just

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Speaker 1: me to dance or seeing I'm screwed. I'm screwed it.

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Speaker 2: And then I go up and you play with pace.

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Speaker 2: But the difference between minute one and minute ten was like,

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Speaker 2: and you use this as an example, like you were

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Speaker 2: shaking it from our feet, and so you're everything that.

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Speaker 1: We've held on so tight too. We were forced to

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Speaker 1: let go of.

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Speaker 3: Yeah, because I think the thing that the most exciting

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Speaker 3: performances that I see and the most exciting actors that

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Speaker 3: I see seem to be working from a place of spontaneity.

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Speaker 3: They don't know what's coming next, so we'd watching them

389
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Speaker 3: don't know what's coming next, and that is so exciting.

390
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Speaker 3: So when I'm tipping you upside down and shaking you

391
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Speaker 3: from your feet, I'm just trying to shake off that

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Speaker 3: unconscious way because we all, you know, want to do

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Speaker 3: it right or we're embarrassed of what might. Oh god,

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Speaker 3: if Julia makes me sing, you know, I'd always sing

395
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Speaker 3: in front of people, but actually being open and vulnerable

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Speaker 3: enough to share with us that you hate. I hate

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Speaker 3: singing too, hate singing in front of people, will actually

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Speaker 3: share something authentic with us. And that means. See, if

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Speaker 3: I'm watching you and I don't feel like I'm a

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Speaker 3: very good singer, and I see you go, you know what,

401
00:21:29,880 --> 00:21:32,679
Speaker 3: fuck it, Okay, I'll do it. Then I go, oh cool,

402
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Speaker 3: Yeah it's okay. But I feel crappy about singing in

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Speaker 3: front of other people. And that's what you want to

404
00:21:37,480 --> 00:21:40,960
Speaker 3: share with a wider audience. You want to tell them.

405
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Speaker 3: I'm giving myself permission to embarrass myself, be as silly

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Speaker 3: as I can possibly be, be as raw and open

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Speaker 3: and vulnerable as I can be, so you can too.

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Speaker 2: And I think that carries across from acting into like

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Speaker 2: part of.

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Speaker 1: My life is influencer as well, and when you.

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Speaker 2: Speak to camp, whenever I speak to camera, even if

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00:22:01,000 --> 00:22:03,480
Speaker 2: it's for like an ambassador campaign or something, my mantra

413
00:22:03,560 --> 00:22:05,760
Speaker 2: is just just be real, don't think about it, be

414
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Speaker 2: in the moment, connect and I really try to get

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Speaker 2: out of my own way mentally. Yeah, and I yeah,

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Speaker 2: that's why I love everything that you preach, because I

417
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Speaker 2: believe that it's something that can be used, yes for acting,

418
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Speaker 2: but also just for life. I want to know more

419
00:22:21,280 --> 00:22:23,720
Speaker 2: about Stephenwolf because that was a ten week course you

420
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Speaker 2: went over and did, and it sounds like it was

421
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Speaker 2: the game changer.

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Speaker 3: For you, totally game changing because and the way I

423
00:22:32,440 --> 00:22:38,720
Speaker 3: speak about it is that in Australia we have a

424
00:22:38,760 --> 00:22:44,880
Speaker 3: scarcity mindset, especially around the acting industry, which is not untrue. Yeah,

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00:22:45,440 --> 00:22:48,239
Speaker 3: there are not millions of jobs here. We do know

426
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Speaker 3: that our industry is tiny. However, if you are working,

427
00:22:53,200 --> 00:22:56,080
Speaker 3: you are making your box smaller by working from that

428
00:22:56,160 --> 00:22:58,640
Speaker 3: place of scarcity. So when I went to America, obviously

429
00:22:58,680 --> 00:23:03,800
Speaker 3: you know, like a huge acting industry there, the thing

430
00:23:03,840 --> 00:23:07,639
Speaker 3: that struck me was that all of the teachers, they

431
00:23:07,680 --> 00:23:11,960
Speaker 3: were working from a place of abundance. And the thing

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Speaker 3: that stuck with me was the generosity. They were so

433
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Speaker 3: willing to call you on your bullshit but support you

434
00:23:20,160 --> 00:23:23,679
Speaker 3: getting through that bullshit and shaking that bullshit off. So

435
00:23:23,760 --> 00:23:26,439
Speaker 3: their willingness to share, and especially you know, when I

436
00:23:26,480 --> 00:23:29,119
Speaker 3: went back to learn from them, to learn how to

437
00:23:29,160 --> 00:23:33,520
Speaker 3: teach the way they did their generosity in sharing that

438
00:23:33,600 --> 00:23:36,400
Speaker 3: with me and sharing their wisdom with me, I thought,

439
00:23:36,480 --> 00:23:38,600
Speaker 3: you know what, I'm learning these fabulous techniques, but the

440
00:23:38,600 --> 00:23:42,400
Speaker 3: thing I'm learning more is that generosity and working from

441
00:23:42,440 --> 00:23:46,640
Speaker 3: abundance will help an actor more than any technique will.

442
00:23:47,200 --> 00:23:50,280
Speaker 3: And I'm not saying techniques bad and it's actually very important.

443
00:23:51,119 --> 00:23:54,280
Speaker 3: But without heart, soul and generosity, your technique only gets

444
00:23:54,280 --> 00:23:54,760
Speaker 3: you so far.

445
00:23:55,840 --> 00:23:58,920
Speaker 2: Totally, and I think as well of course, by the way,

446
00:23:58,960 --> 00:24:01,200
Speaker 2: when I say totally, I myself because it's my little

447
00:24:01,240 --> 00:24:02,520
Speaker 2: like comfy word.

448
00:24:04,000 --> 00:24:06,399
Speaker 3: You can just you should do like a word tally

449
00:24:06,440 --> 00:24:09,080
Speaker 3: of everyone's you could deliver. Yeah, you know the result

450
00:24:09,080 --> 00:24:10,960
Speaker 3: to people like you know what your little comfort work?

451
00:24:11,080 --> 00:24:14,199
Speaker 3: Yes you say you know all the time, or you

452
00:24:14,280 --> 00:24:16,600
Speaker 3: know where we go cut that bit.

453
00:24:17,320 --> 00:24:20,399
Speaker 2: Edit. I don't even remember my question was around that,

454
00:24:20,480 --> 00:24:23,400
Speaker 2: but basically at Stephen Wolf, So you were talking about

455
00:24:23,400 --> 00:24:27,080
Speaker 2: abundance and I think also living from that place of

456
00:24:27,119 --> 00:24:29,359
Speaker 2: abundance and giving and being generous.

457
00:24:29,440 --> 00:24:30,080
Speaker 1: It takes.

458
00:24:30,280 --> 00:24:34,000
Speaker 2: In Australia, there's this weird kind of competitive thing for

459
00:24:34,280 --> 00:24:37,280
Speaker 2: jobs and you can feel it in the classroom big time.

460
00:24:37,760 --> 00:24:42,600
Speaker 2: And I think that when you don't, you kind of

461
00:24:42,680 --> 00:24:46,639
Speaker 2: don't get caught up in that, and you're just willing

462
00:24:46,720 --> 00:24:52,000
Speaker 2: to give and be there and and share. Like people

463
00:24:52,000 --> 00:24:53,520
Speaker 2: ask me all the time what kind of podcast you.

464
00:24:53,560 --> 00:24:56,400
Speaker 1: Should I buy? I'm like, here's a list, go for it.

465
00:24:56,560 --> 00:25:01,240
Speaker 3: I was flawed when I was sitting with a couple

466
00:25:01,320 --> 00:25:03,760
Speaker 3: of actors in Chicago, one who would just come off

467
00:25:03,800 --> 00:25:08,200
Speaker 3: Broadway and this actor said to the other actor, oh, hey,

468
00:25:08,359 --> 00:25:11,080
Speaker 3: I just got this audition for Bladi Blah. You should

469
00:25:11,080 --> 00:25:13,200
Speaker 3: see if you can get a slot too. And I'm

470
00:25:13,240 --> 00:25:17,720
Speaker 3: sitting there going this would nerver happen in Australia, Yeah,

471
00:25:17,760 --> 00:25:21,720
Speaker 3: because it's the well, there's only one role. It's not

472
00:25:21,760 --> 00:25:23,639
Speaker 3: like there are a million sitcoms that you can be

473
00:25:23,720 --> 00:25:26,320
Speaker 3: on in Australia. So don't tell other people about this.

474
00:25:27,400 --> 00:25:31,159
Speaker 2: But it's the wrong mindset, is it's the wrong energy

475
00:25:31,240 --> 00:25:33,280
Speaker 2: that to put out Yes, And it's like you know

476
00:25:33,320 --> 00:25:35,840
Speaker 2: how you said, if you attach yourself to what you

477
00:25:35,920 --> 00:25:38,080
Speaker 2: do and like attach your worth a.

478
00:25:38,160 --> 00:25:39,000
Speaker 1: It's that same kind of like.

479
00:25:39,080 --> 00:25:41,760
Speaker 2: It's like it's like holding onto something because you're scared

480
00:25:41,880 --> 00:25:45,080
Speaker 2: that somebody else might get it, even even though they

481
00:25:45,160 --> 00:25:46,399
Speaker 2: may be better suited for it.

482
00:25:46,400 --> 00:25:49,280
Speaker 1: It's like release that it's not serving you right.

483
00:25:49,320 --> 00:25:51,960
Speaker 3: You can't control that. You have no idea what they want,

484
00:25:52,080 --> 00:25:54,600
Speaker 3: so you trying to control that if you're right for

485
00:25:54,640 --> 00:25:57,199
Speaker 3: the role, and you tell your ten friends about it

486
00:25:57,240 --> 00:25:59,600
Speaker 3: as well, but you're right for it, it doesn't mean

487
00:25:59,640 --> 00:26:02,040
Speaker 3: you have any less chance of getting it just because

488
00:26:02,080 --> 00:26:05,200
Speaker 3: ten friends have went in as well. So why wouldn't

489
00:26:05,240 --> 00:26:09,520
Speaker 3: you be generous? Because that spirit of generosity is more

490
00:26:09,720 --> 00:26:14,920
Speaker 3: likely to book you the role than the spirit of fuckers.

491
00:26:14,960 --> 00:26:18,119
Speaker 3: You better give me this role, yea? Because casting agents

492
00:26:18,119 --> 00:26:21,679
Speaker 3: and directors can feel that. And again, if we're speaking

493
00:26:21,680 --> 00:26:26,080
Speaker 3: on a broader level, other people, no matter what context,

494
00:26:26,280 --> 00:26:28,879
Speaker 3: can feel you holding on for dear life. You know

495
00:26:28,920 --> 00:26:33,840
Speaker 3: that reek of desperation, whatever context. And while they may

496
00:26:33,840 --> 00:26:37,080
Speaker 3: not be able to articulate why there is something about

497
00:26:37,080 --> 00:26:44,040
Speaker 3: you that I'm not really into, I would My hypothesis

498
00:26:44,240 --> 00:26:48,840
Speaker 3: is if you want that thing so badly that you've

499
00:26:48,880 --> 00:26:52,680
Speaker 3: got tunnel vision about it, you're completely missing everything else

500
00:26:52,720 --> 00:26:55,680
Speaker 3: around you, and you're also making the thing or person.

501
00:26:56,040 --> 00:26:57,639
Speaker 3: You're putting a lot of pressure on them and they

502
00:26:57,680 --> 00:27:00,040
Speaker 3: can feel that. So they can feel the desperation and

503
00:27:00,040 --> 00:27:02,480
Speaker 3: they can feel the pressure. Nobody wants that. They're not

504
00:27:02,520 --> 00:27:04,960
Speaker 3: gonna buy from you. They're not gonna give you that role.

505
00:27:06,680 --> 00:27:08,800
Speaker 2: I've totally been in that desperate like, as you said,

506
00:27:08,960 --> 00:27:12,359
Speaker 2: I'm like, oh, man, my managers are in Sydney, and

507
00:27:12,400 --> 00:27:14,760
Speaker 2: I remember I go up to do morning TV segments

508
00:27:15,280 --> 00:27:17,760
Speaker 2: and in Australia, because there's a lot of nutritionists, they'll

509
00:27:17,800 --> 00:27:19,760
Speaker 2: put you on and then they'll blacklist you for like

510
00:27:19,840 --> 00:27:21,199
Speaker 2: a couple of months, and then you go back on

511
00:27:21,240 --> 00:27:23,520
Speaker 2: again because they'll want to use other talents so that

512
00:27:23,600 --> 00:27:24,680
Speaker 2: it looks like a variety.

513
00:27:25,119 --> 00:27:25,760
Speaker 1: And I said to.

514
00:27:25,720 --> 00:27:27,560
Speaker 2: My managers up there, I was like, how can I

515
00:27:27,600 --> 00:27:29,320
Speaker 2: get back on that show? I love it so much.

516
00:27:29,359 --> 00:27:32,000
Speaker 2: I know it works, like I know they enjoy it.

517
00:27:32,000 --> 00:27:34,280
Speaker 2: And she's like, you sound so friggin' desperate right now,

518
00:27:34,320 --> 00:27:38,600
Speaker 2: Like chill out, You'll get rebooked, just you know, be

519
00:27:39,200 --> 00:27:42,560
Speaker 2: stop like and it's this real neediness and and she

520
00:27:42,680 --> 00:27:45,160
Speaker 2: used the word desperate. She's like, you sound so desperate

521
00:27:45,240 --> 00:27:45,560
Speaker 2: right now.

522
00:27:45,560 --> 00:27:49,080
Speaker 3: And I was like, oh, wow, I know, I know,

523
00:27:50,320 --> 00:27:54,040
Speaker 3: and I it's not that you you don't. Of course,

524
00:27:54,080 --> 00:27:56,080
Speaker 3: we all have things that we want. That's very human

525
00:27:56,080 --> 00:27:57,600
Speaker 3: and we talk about that in acting. Yeah, what do

526
00:27:57,640 --> 00:28:02,240
Speaker 3: you want from the other person? But I think it

527
00:28:02,240 --> 00:28:06,280
Speaker 3: it's all about where that want is seeded in you,

528
00:28:06,720 --> 00:28:08,760
Speaker 3: if it's coming from a place of If I don't

529
00:28:08,760 --> 00:28:11,800
Speaker 3: get this, it means I'm a crappy actor, crappy lawyer,

530
00:28:11,960 --> 00:28:15,480
Speaker 3: crappy whatever. This is the I put that in the

531
00:28:15,480 --> 00:28:19,720
Speaker 3: bad basket as opposed to I want this because I'll

532
00:28:19,760 --> 00:28:22,760
Speaker 3: grow from a challenge. And this goes into value stuff,

533
00:28:22,760 --> 00:28:26,360
Speaker 3: which I've been teaching a thing that I didn't know

534
00:28:26,840 --> 00:28:31,960
Speaker 3: was a legitimate psychology methodology. Oh that's a psychology methodology.

535
00:28:32,280 --> 00:28:37,639
Speaker 3: I mean, and this is Chris Cheerser's framework that you

536
00:28:37,720 --> 00:28:42,560
Speaker 3: work from a value mindset rather than an outcome or

537
00:28:42,600 --> 00:28:44,120
Speaker 3: a goal based mindset.

538
00:28:44,280 --> 00:28:48,080
Speaker 2: You want to be coming from the value exactly exactly.

539
00:28:48,320 --> 00:28:52,760
Speaker 2: It's the psychology movement of like intrinsic values versus extrindy

540
00:28:53,040 --> 00:28:55,560
Speaker 2: like so things outside of you as opposed to how

541
00:28:55,560 --> 00:28:58,200
Speaker 2: I'm doing this because it feels like it resonates with

542
00:28:58,320 --> 00:28:59,800
Speaker 2: who I am and what I'm all about.

543
00:29:00,080 --> 00:29:02,360
Speaker 3: Exactly, exactly, so cool.

544
00:29:02,560 --> 00:29:04,320
Speaker 2: This is one of the reasons why I love acting

545
00:29:04,360 --> 00:29:07,760
Speaker 2: training so much. I feel like I'm understanding human behavior.

546
00:29:08,640 --> 00:29:12,080
Speaker 2: And I've said that to another teacher and they said, well,

547
00:29:12,080 --> 00:29:13,120
Speaker 2: that's what good acting is.

548
00:29:13,560 --> 00:29:17,360
Speaker 1: It's human behavior, it's it flows our mind. It makes

549
00:29:17,400 --> 00:29:18,400
Speaker 1: me just want to keep learning.

550
00:29:18,480 --> 00:29:19,640
Speaker 3: I'm just closing this window.

551
00:29:19,720 --> 00:29:20,320
Speaker 1: Go for it.

552
00:29:20,520 --> 00:29:22,200
Speaker 2: I'm going to ask your next question when you close

553
00:29:22,240 --> 00:29:24,680
Speaker 2: your window. So at Stephenworlf just go back there for

554
00:29:24,680 --> 00:29:24,960
Speaker 2: a sec.

555
00:29:25,080 --> 00:29:25,720
Speaker 1: Did it?

556
00:29:25,800 --> 00:29:31,000
Speaker 2: Was the structure mainly Meisner viewpoints, yees.

557
00:29:31,080 --> 00:29:38,560
Speaker 3: So it's Steppenwolf. They have an ensemble of actors, directors, playwrights,

558
00:29:39,080 --> 00:29:43,840
Speaker 3: stage managers. So whoever's teaching in that particular ten week

559
00:29:43,920 --> 00:29:48,920
Speaker 3: program will be what the main subjects are. However, ninety

560
00:29:48,960 --> 00:29:51,880
Speaker 3: nine percent of the time there will always be someone

561
00:29:52,000 --> 00:29:55,680
Speaker 3: who teaches Meisner and someone who teaches a viewpoints, so

562
00:29:55,720 --> 00:29:58,920
Speaker 3: they can they are the anchors of the program. So

563
00:29:58,960 --> 00:30:04,080
Speaker 3: you'll do voice work, movement work, and it's eight thirty

564
00:30:04,120 --> 00:30:05,160
Speaker 3: to about six.

565
00:30:05,320 --> 00:30:07,560
Speaker 1: Big yeah, solid five days a week.

566
00:30:07,640 --> 00:30:11,400
Speaker 3: Yeah, it's five or even sometimes six days a week,

567
00:30:12,120 --> 00:30:17,440
Speaker 3: but always five. So you'll do a plethora of subjects,

568
00:30:17,480 --> 00:30:22,240
Speaker 3: but Meisner and viewpoints you'll do those for the whole

569
00:30:22,360 --> 00:30:24,800
Speaker 3: ten weeks, and then you'll do maybe some camera work

570
00:30:24,960 --> 00:30:27,480
Speaker 3: or voice work, or you'll do voice and movement the

571
00:30:27,480 --> 00:30:30,800
Speaker 3: whole ten weeks as well, or monologue work, and you'll

572
00:30:30,800 --> 00:30:35,480
Speaker 3: do ensemble scene study. But yes, they're the underpinning philosophies.

573
00:30:35,600 --> 00:30:38,120
Speaker 2: And if we can just have like Misner in a

574
00:30:38,160 --> 00:30:41,719
Speaker 2: little what's what I'm looking for? If you could just

575
00:30:41,720 --> 00:30:45,120
Speaker 2: describe miser and then describe viewpoints for anyone that's like,

576
00:30:45,120 --> 00:30:46,240
Speaker 2: what are those words?

577
00:30:46,320 --> 00:30:50,760
Speaker 3: Yeah? Cool? No, fair enough. So the Meisner technique is

578
00:30:51,000 --> 00:30:54,240
Speaker 3: an acting technique and the byeline for that is living

579
00:30:54,280 --> 00:31:01,400
Speaker 3: truthfully under imaginary circumstances and viewpoints. The view points was

580
00:31:01,440 --> 00:31:05,880
Speaker 3: created by am Bogart and Tina Landau as taken from

581
00:31:06,000 --> 00:31:10,280
Speaker 3: Mary Overly, who is a choreographer. And that is a

582
00:31:10,320 --> 00:31:14,760
Speaker 3: physical methodology, and that's sort of like an outside in

583
00:31:14,920 --> 00:31:16,960
Speaker 3: way of working. So we're not working for any sort

584
00:31:16,960 --> 00:31:25,280
Speaker 3: of you know, emotional, We're not working for any heightened emotions.

585
00:31:25,600 --> 00:31:31,360
Speaker 3: We're working to get your whole body into action or activated,

586
00:31:31,480 --> 00:31:35,520
Speaker 3: getting your whole body activated and seeing what happens from there.

587
00:31:35,600 --> 00:31:38,760
Speaker 3: Because all of your impulses and your instincts live in

588
00:31:38,800 --> 00:31:41,960
Speaker 3: your body. So if you can unlock those, that's when

589
00:31:42,000 --> 00:31:45,320
Speaker 3: you're moving towards an actor who doesn't know what's coming next,

590
00:31:45,480 --> 00:31:48,760
Speaker 3: and not in an unsafe way, but in a surprising way,

591
00:31:49,160 --> 00:31:51,120
Speaker 3: in a way that keeps you engaged not only with

592
00:31:51,160 --> 00:31:53,120
Speaker 3: your scene partner, but with the audience as well.

593
00:31:53,440 --> 00:31:56,280
Speaker 1: Ah, thank you for that. I had notes for each

594
00:31:56,320 --> 00:31:57,320
Speaker 1: of them, and I was like, oh, no, I want

595
00:31:57,400 --> 00:31:58,200
Speaker 1: Julia's version.

596
00:31:59,760 --> 00:32:03,440
Speaker 2: I've got a quote here, And it's like actors who

597
00:32:03,640 --> 00:32:07,000
Speaker 2: live their way through a scene versus thinking their way

598
00:32:07,080 --> 00:32:11,160
Speaker 2: through a scene. That's your whole jam right, yes, because

599
00:32:11,160 --> 00:32:14,160
Speaker 2: it's that's like watching real human behavior.

600
00:32:14,400 --> 00:32:18,600
Speaker 3: Well, you talked about human behavior is acting. The great

601
00:32:18,600 --> 00:32:21,680
Speaker 3: thing I think about human behavior is often people don't

602
00:32:21,720 --> 00:32:23,520
Speaker 3: behave how you think they're going to.

603
00:32:23,800 --> 00:32:24,560
Speaker 1: Totally yes.

604
00:32:25,080 --> 00:32:28,280
Speaker 3: So the minute you're thinking, oh I think I would

605
00:32:28,320 --> 00:32:31,080
Speaker 3: behave like this, now don't want to watch it as

606
00:32:31,080 --> 00:32:34,120
Speaker 3: opposed to do you know what? The way that actor

607
00:32:34,120 --> 00:32:37,480
Speaker 3: has looked at me is making me piss my pants

608
00:32:37,560 --> 00:32:42,920
Speaker 3: laughing even though we're talking about our dead parent. That's

609
00:32:43,000 --> 00:32:46,560
Speaker 3: far more realistic to me than you bawling and crying

610
00:32:46,640 --> 00:32:50,320
Speaker 3: over the loss of your you know, because human behavior, yes,

611
00:32:50,360 --> 00:32:54,200
Speaker 3: it's a center point of acting, but only if it's

612
00:32:54,360 --> 00:32:56,080
Speaker 3: truthful big time.

613
00:32:56,600 --> 00:32:57,160
Speaker 1: I get you.

614
00:32:57,440 --> 00:33:01,560
Speaker 2: I get you, and I know this only from feeling

615
00:33:01,560 --> 00:33:06,080
Speaker 2: it really clearly. The other night and Ian said, stop, Lola,

616
00:33:06,440 --> 00:33:10,080
Speaker 2: stop art walking across the stage. And he said, also,

617
00:33:10,240 --> 00:33:12,959
Speaker 2: humans don't walk backwards, Lola, humans don't walk. And I

618
00:33:13,000 --> 00:33:15,720
Speaker 2: was like, because I was being backed into a scene

619
00:33:16,440 --> 00:33:19,000
Speaker 2: by my scene partner, and he's like, humans will turn

620
00:33:19,040 --> 00:33:22,760
Speaker 2: around and look where they're walking. And I was like, oh, thanks,

621
00:33:23,920 --> 00:33:26,440
Speaker 2: but you know it's again, it's being so human and

622
00:33:26,800 --> 00:33:32,360
Speaker 2: little things like there was a line that I think

623
00:33:32,400 --> 00:33:34,360
Speaker 2: I'd build a habit around a bit like when you

624
00:33:34,360 --> 00:33:36,800
Speaker 2: and I were doing monologues and I knew I could

625
00:33:36,840 --> 00:33:39,080
Speaker 2: feel the intonation my voice was doing the same thing.

626
00:33:39,160 --> 00:33:41,800
Speaker 2: I could feel, I could feel my action was the same.

627
00:33:41,840 --> 00:33:43,240
Speaker 2: I was playing the same action.

628
00:33:43,280 --> 00:33:43,880
Speaker 1: Over and over.

629
00:33:44,400 --> 00:33:46,320
Speaker 2: And Ian just goes to me, I'm talking about Ian

630
00:33:46,360 --> 00:33:48,480
Speaker 2: Sinclare by the way, who has also been on this podcast,

631
00:33:48,560 --> 00:33:51,400
Speaker 2: and he said, if you got me lippy, and I go, yeah,

632
00:33:51,400 --> 00:33:53,280
Speaker 2: I got lippy and he's like, go popu lyppy on.

633
00:33:53,640 --> 00:33:56,920
Speaker 2: And the moment I was putting lippy on while delivering

634
00:33:56,920 --> 00:34:01,120
Speaker 2: the line, it felt like it landed in my body. Yes,

635
00:34:01,320 --> 00:34:04,280
Speaker 2: and I wasn't up here anymore. I was enjoying this

636
00:34:04,480 --> 00:34:05,959
Speaker 2: sassy rola.

637
00:34:06,440 --> 00:34:10,520
Speaker 3: Yes, yeah, because your body actually has all of this information.

638
00:34:11,160 --> 00:34:16,080
Speaker 3: And when I I didn't do very well at movement

639
00:34:16,160 --> 00:34:21,359
Speaker 3: when I studied at BCA, and my approach to when

640
00:34:21,360 --> 00:34:24,879
Speaker 3: I've been asked to work physically, I always have huge

641
00:34:24,880 --> 00:34:29,640
Speaker 3: amounts of trepidation because I know the more exciting, which

642
00:34:29,719 --> 00:34:33,800
Speaker 3: means more dangerous because I'm less in control. Stuff lives

643
00:34:33,840 --> 00:34:36,360
Speaker 3: in my body. So when you ask me to do

644
00:34:36,440 --> 00:34:40,000
Speaker 3: something physical, fuck, I don't want to do it. You know,

645
00:34:40,080 --> 00:34:41,719
Speaker 3: there is a side of me that goes absolutely not,

646
00:34:41,760 --> 00:34:45,799
Speaker 3: which is why I teach it, because if I do

647
00:34:45,920 --> 00:34:49,680
Speaker 3: work from that place, I know impulses are going to

648
00:34:49,680 --> 00:34:52,279
Speaker 3: be unleashed that I could never have thought through, that

649
00:34:52,320 --> 00:34:54,200
Speaker 3: I could never have planned. And that is a far

650
00:34:54,239 --> 00:34:55,480
Speaker 3: more exciting way to work.

651
00:34:55,600 --> 00:34:57,759
Speaker 2: And it's just been present as well, like being in

652
00:34:57,760 --> 00:35:00,319
Speaker 2: the moment of present. I've made a little list things

653
00:35:00,360 --> 00:35:01,239
Speaker 2: I've learnt from you.

654
00:35:01,520 --> 00:35:04,040
Speaker 3: Oh goodness, okay.

655
00:35:04,160 --> 00:35:05,759
Speaker 2: But these are my notes from a lot of them

656
00:35:05,760 --> 00:35:08,080
Speaker 2: are notes from term one, bit of notes from term two,

657
00:35:08,120 --> 00:35:11,280
Speaker 2: and I just think such great life hacks.

658
00:35:12,040 --> 00:35:14,719
Speaker 1: So and also I don't know if you remember this.

659
00:35:14,800 --> 00:35:18,840
Speaker 2: But I sat in on your Zoom course about auditioning

660
00:35:18,880 --> 00:35:23,200
Speaker 2: for commercials and doing commercials. Yes, and so for people listening, like,

661
00:35:23,360 --> 00:35:27,399
Speaker 2: I think a thing that I'm very aware of as

662
00:35:27,440 --> 00:35:29,960
Speaker 2: an actor, even as a TV presenter, which is kind

663
00:35:29,960 --> 00:35:33,440
Speaker 2: of more my field. You get really nervous before an audition,

664
00:35:33,920 --> 00:35:36,359
Speaker 2: a casting, a meeting, and you can kind of get

665
00:35:36,400 --> 00:35:37,080
Speaker 2: in your own way.

666
00:35:38,120 --> 00:35:40,040
Speaker 1: And I remember I asked you in that Zoom.

667
00:35:40,040 --> 00:35:42,280
Speaker 2: I was like, what's your advice right before the audition,

668
00:35:42,440 --> 00:35:45,719
Speaker 2: and You're like, well, it was pretty much just be present.

669
00:35:45,400 --> 00:35:49,240
Speaker 1: In the moment. And then you said you are enough.

670
00:35:50,760 --> 00:35:54,120
Speaker 2: And I think if that's your mantra going into anything,

671
00:35:55,239 --> 00:35:58,239
Speaker 2: this pressure is may not drop totally, but it's sure

672
00:35:58,280 --> 00:36:02,560
Speaker 2: as hell gonna decrease because you like, I'm here, I'm enough,

673
00:36:03,239 --> 00:36:05,600
Speaker 2: and it's like, breathe it in and just be there.

674
00:36:05,960 --> 00:36:09,560
Speaker 3: Yeah, Because you can be nervous and enough. You can

675
00:36:09,600 --> 00:36:12,640
Speaker 3: be nervous and excited that you're about to do a

676
00:36:12,680 --> 00:36:19,279
Speaker 3: TV show. You can be nervous and thrilled that you're

677
00:36:19,320 --> 00:36:21,080
Speaker 3: about to go on a date with a person you

678
00:36:21,160 --> 00:36:24,360
Speaker 3: really like. You know they can live in the same territory.

679
00:36:24,840 --> 00:36:27,160
Speaker 3: But the minute you try and shut down a feeling

680
00:36:27,200 --> 00:36:30,799
Speaker 3: that you think doesn't belong somewhere. Well, AI would probably

681
00:36:30,800 --> 00:36:32,239
Speaker 3: come back and bite you in the ass in the

682
00:36:32,280 --> 00:36:39,360
Speaker 3: most inappropriate moment. Inappropriate moment. And also that person on

683
00:36:39,400 --> 00:36:42,320
Speaker 3: the date, or the producer of the TV show, or

684
00:36:42,360 --> 00:36:45,240
Speaker 3: the audience watching at home will be like, oh yeah again.

685
00:36:45,320 --> 00:36:47,640
Speaker 3: They won't be able to articulate what's going on, but

686
00:36:47,680 --> 00:36:50,680
Speaker 3: what they'll receive is someone trying to squash part of

687
00:36:50,719 --> 00:36:53,160
Speaker 3: who they are to fit into a box of what

688
00:36:53,520 --> 00:36:56,239
Speaker 3: they think you want to see. But actually all we

689
00:36:56,280 --> 00:36:59,279
Speaker 3: want to see are people being human and authentic.

690
00:37:01,000 --> 00:37:02,560
Speaker 1: Big time. I couldn't have said it better.

691
00:37:03,320 --> 00:37:06,640
Speaker 2: Like, I think that whether we know it or not

692
00:37:06,719 --> 00:37:10,640
Speaker 2: as well subconsciously, that's what we connect to as an

693
00:37:10,640 --> 00:37:14,239
Speaker 2: audience member. I know for me, I've just been reading

694
00:37:14,239 --> 00:37:16,560
Speaker 2: Matthew mcconney's book, and so I've been listening to all

695
00:37:16,600 --> 00:37:20,200
Speaker 2: this podcasts and I'm like, you're a legend. And because

696
00:37:20,239 --> 00:37:22,560
Speaker 2: he shares so much of his self, his childhood, what

697
00:37:22,600 --> 00:37:25,440
Speaker 2: he's been through, and he's very he's got no it

698
00:37:25,480 --> 00:37:28,600
Speaker 2: feels like there's no filter there. Yeah, and so you

699
00:37:28,840 --> 00:37:32,239
Speaker 2: already are like, he feels like a comrade. And it's

700
00:37:32,280 --> 00:37:35,120
Speaker 2: that ability to connect when people are just like And

701
00:37:35,440 --> 00:37:36,759
Speaker 2: this is one of the other things I used to

702
00:37:36,760 --> 00:37:39,480
Speaker 2: say at the Star Class, heart open, eyes up. And

703
00:37:39,560 --> 00:37:41,239
Speaker 2: I know we were using that when we were doing

704
00:37:41,239 --> 00:37:45,120
Speaker 2: physical things, but I think it's a good life hack

705
00:37:45,200 --> 00:37:47,960
Speaker 2: in general, like walk into a meeting, walk into an audition,

706
00:37:48,080 --> 00:37:49,040
Speaker 2: walk into a date.

707
00:37:50,800 --> 00:37:52,560
Speaker 1: Yeah, my eyes open. It's so good.

708
00:37:52,920 --> 00:37:55,880
Speaker 3: Yeah. You know, that's funny that you brought that up,

709
00:37:55,920 --> 00:37:59,440
Speaker 3: because you're right. I would have said that because I

710
00:37:59,440 --> 00:38:02,480
Speaker 3: would have seen people walking around either looking at the

711
00:38:02,480 --> 00:38:05,720
Speaker 3: ground or looking at the sky. So there's something about

712
00:38:05,719 --> 00:38:09,920
Speaker 3: looking beyond or looking below. But actually the bravest thing

713
00:38:09,960 --> 00:38:13,000
Speaker 3: to do is look not a head is in not

714
00:38:13,080 --> 00:38:15,600
Speaker 3: being present, but at the thing that's right in front

715
00:38:15,640 --> 00:38:15,799
Speaker 3: of you.

716
00:38:18,080 --> 00:38:22,440
Speaker 1: Totally. Oh there goes totally again. Well, we're just going

717
00:38:22,520 --> 00:38:22,920
Speaker 1: to go with it.

718
00:38:23,600 --> 00:38:25,960
Speaker 2: Another thing I love is you say go before you're ready.

719
00:38:26,000 --> 00:38:28,920
Speaker 2: And I think I know that that was very specific

720
00:38:28,960 --> 00:38:30,920
Speaker 2: for our monologues and the work we were doing, but

721
00:38:30,960 --> 00:38:33,680
Speaker 2: if you think about it in life, like a lot

722
00:38:33,719 --> 00:38:36,040
Speaker 2: of us, and it's been common on this podcast, will

723
00:38:36,040 --> 00:38:39,480
Speaker 2: so I'll be like, what's your secret to a wonderful career?

724
00:38:39,520 --> 00:38:42,560
Speaker 2: I interviewed Dennis Walter, who's a wonderful radio voice, been

725
00:38:42,560 --> 00:38:45,560
Speaker 2: working three w for twenty one years. Read the news

726
00:38:45,600 --> 00:38:47,759
Speaker 2: of Channel nine and he sings on the carols every year,

727
00:38:48,680 --> 00:38:50,080
Speaker 2: most beautiful dulcet tones.

728
00:38:50,120 --> 00:38:51,200
Speaker 1: I was like, how do I get it?

729
00:38:51,280 --> 00:38:53,239
Speaker 2: I actually went to a voice class in Matt after

730
00:38:53,280 --> 00:38:54,719
Speaker 2: Matt Fladdie, and I was like, how do.

731
00:38:54,719 --> 00:38:59,400
Speaker 1: I get Chess residents like that? And it's like, okay, lollawell.

732
00:39:01,040 --> 00:39:05,439
Speaker 2: But he said he never let his self doubt get

733
00:39:05,920 --> 00:39:07,680
Speaker 2: in the way. And he said I was shy when

734
00:39:07,680 --> 00:39:10,239
Speaker 2: I went on Young Talent time. I was really shy, kid.

735
00:39:11,160 --> 00:39:15,960
Speaker 2: But he said, I let my drive be stronger than

736
00:39:15,960 --> 00:39:19,080
Speaker 2: my self doubt. And that idea of go before you're ready.

737
00:39:19,480 --> 00:39:21,600
Speaker 2: We can wait for ages until we, you know, lose

738
00:39:21,640 --> 00:39:25,279
Speaker 2: that sneaky five kilos or feel like we have got

739
00:39:25,280 --> 00:39:28,000
Speaker 2: a handle on it or and again it's like you're

740
00:39:28,000 --> 00:39:31,320
Speaker 2: trying to control a situation. It's almost like wasted energy.

741
00:39:31,840 --> 00:39:32,160
Speaker 1: Yeah.

742
00:39:32,200 --> 00:39:34,800
Speaker 3: And also you are pretending to be a fortune teller

743
00:39:35,080 --> 00:39:39,799
Speaker 3: because you'll have an idea of what ready means, but

744
00:39:39,840 --> 00:39:42,279
Speaker 3: you have no idea what ready means. You have an

745
00:39:42,280 --> 00:39:46,360
Speaker 3: idea of I'll be ready when this happens. How do

746
00:39:46,400 --> 00:39:48,920
Speaker 3: you know that? Just go now? Just go now and

747
00:39:48,960 --> 00:39:49,680
Speaker 3: see what happens.

748
00:39:50,840 --> 00:39:53,359
Speaker 2: And I think again that means it forces us to

749
00:39:53,400 --> 00:39:55,680
Speaker 2: not be in our heads, but to be more from

750
00:39:55,680 --> 00:39:58,439
Speaker 2: the heart. Definitely, And I've I remember when you talked

751
00:39:58,440 --> 00:40:01,359
Speaker 2: about a class where it was like heart got head,

752
00:40:01,360 --> 00:40:04,440
Speaker 2: where do you think you're kind of like where do

753
00:40:04,440 --> 00:40:05,560
Speaker 2: you lead or live from?

754
00:40:05,560 --> 00:40:07,600
Speaker 1: When I was like, oh, totally the heart. I'm gonna

755
00:40:07,600 --> 00:40:08,280
Speaker 1: get this one.

756
00:40:08,160 --> 00:40:12,440
Speaker 2: Right, And I remember you being I'm pretty sure you

757
00:40:12,440 --> 00:40:14,880
Speaker 2: said gut was like the powerhouse.

758
00:40:15,480 --> 00:40:15,719
Speaker 1: Yeah.

759
00:40:15,760 --> 00:40:21,640
Speaker 3: And it's not that I think working from the heart,

760
00:40:22,239 --> 00:40:25,560
Speaker 3: because we all have a different idea of what it

761
00:40:25,680 --> 00:40:27,440
Speaker 3: means to work from the heart. And I think you

762
00:40:27,520 --> 00:40:30,880
Speaker 3: do need to have heart and soul in something, but

763
00:40:31,200 --> 00:40:35,040
Speaker 3: this is probably a very acting centric idea. I think

764
00:40:35,120 --> 00:40:39,640
Speaker 3: some actors associate emotionality with good acting, and so when

765
00:40:39,680 --> 00:40:42,600
Speaker 3: I'm thinking about the heart, the heart to me seems

766
00:40:42,680 --> 00:40:45,359
Speaker 3: very emotional. And that is not to say that there

767
00:40:45,400 --> 00:40:47,520
Speaker 3: won't be emotion in acting, of course, Yeah, but it's

768
00:40:47,520 --> 00:40:50,400
Speaker 3: a byproduct. So if I'm working from instinct, which I

769
00:40:50,400 --> 00:40:54,560
Speaker 3: would say lives in the gut, then I have more

770
00:40:54,560 --> 00:40:58,160
Speaker 3: of a chance of that scenario I mentioned earlier, of

771
00:40:58,440 --> 00:41:00,920
Speaker 3: I have more of a chance of lasing at a funeral,

772
00:41:01,600 --> 00:41:06,280
Speaker 3: crying when someone tells me they love me or whatever.

773
00:41:06,920 --> 00:41:10,919
Speaker 3: Then if I work from the heart, where I may

774
00:41:11,000 --> 00:41:17,240
Speaker 3: get stuck in the quagmire of emotionality instead of working

775
00:41:17,239 --> 00:41:20,640
Speaker 3: from impulse and emotion may just be a byproduct of that.

776
00:41:20,239 --> 00:41:21,280
Speaker 1: That makes total sense.

777
00:41:21,640 --> 00:41:23,359
Speaker 3: And in you're glad because I was like, I don't

778
00:41:23,360 --> 00:41:24,960
Speaker 3: know if that makes no sense right now.

779
00:41:25,560 --> 00:41:28,319
Speaker 2: In yoga, that's like solar plexus, so that's like, yeah,

780
00:41:28,520 --> 00:41:32,560
Speaker 2: power has your passion, and so I teach yogos, so

781
00:41:32,560 --> 00:41:34,160
Speaker 2: I'm a bit of a yogi and it makes sense

782
00:41:34,239 --> 00:41:37,000
Speaker 2: like when you articulate it, I'm like, oh, of course.

783
00:41:37,080 --> 00:41:40,960
Speaker 2: And I still I love to make my choices from

784
00:41:41,000 --> 00:41:43,120
Speaker 2: my heart, but not in emotive way, more just like

785
00:41:43,280 --> 00:41:45,400
Speaker 2: energetically like, oh, that feels right in my heart. But

786
00:41:45,440 --> 00:41:47,439
Speaker 2: it could be me saying that feels right in my gut.

787
00:41:47,520 --> 00:41:49,760
Speaker 2: But I'm just using the heart as totally.

788
00:41:49,800 --> 00:41:53,480
Speaker 3: And it's it's not that one cancels out another. Obviously,

789
00:41:53,520 --> 00:41:56,160
Speaker 3: we're still using our analytical brain when we pick up

790
00:41:56,160 --> 00:41:58,879
Speaker 3: a script, when we walk into a meeting, whatever it is.

791
00:41:59,160 --> 00:42:02,160
Speaker 3: But it's the balance between the three. I would say

792
00:42:02,920 --> 00:42:05,840
Speaker 3: that puts you in better stead than if you're just

793
00:42:05,960 --> 00:42:11,960
Speaker 3: working cognitively or you're just working emotionally. I mean because

794
00:42:12,560 --> 00:42:14,759
Speaker 3: and this is the only anchor point I can come

795
00:42:14,760 --> 00:42:16,960
Speaker 3: back to. When I see actors who I believe are

796
00:42:16,960 --> 00:42:20,840
Speaker 3: just working from instinct their gut, I can't take my

797
00:42:20,840 --> 00:42:21,880
Speaker 3: eyes off them.

798
00:42:22,560 --> 00:42:22,759
Speaker 1: Yeah.

799
00:42:22,840 --> 00:42:25,279
Speaker 2: I think you've mentioned before, like that's when you're at

800
00:42:25,280 --> 00:42:27,840
Speaker 2: the theater and you're sitting on the edge of your

801
00:42:28,000 --> 00:42:31,080
Speaker 2: seat and just being like, what's going to happen next?

802
00:42:31,160 --> 00:42:34,200
Speaker 2: And Stella, my little mate, said to me at the

803
00:42:34,280 --> 00:42:36,080
Speaker 2: end of class, She's like, I went from the first

804
00:42:36,160 --> 00:42:37,040
Speaker 2: run of your scene.

805
00:42:37,040 --> 00:42:38,680
Speaker 1: She was like, I knew exactly what was going to happen.

806
00:42:38,840 --> 00:42:40,239
Speaker 1: She's like, there was no danger for me.

807
00:42:40,440 --> 00:42:43,120
Speaker 2: I was just and she's like by the second run

808
00:42:43,160 --> 00:42:45,080
Speaker 2: when Ian had kind of like tinkered with us, and

809
00:42:45,440 --> 00:42:47,520
Speaker 2: she said, I couldn't peel my eyes Why And she said,

810
00:42:47,520 --> 00:42:49,319
Speaker 2: I was sitting right on the edge, and I was like,

811
00:42:50,160 --> 00:42:54,480
Speaker 2: that's the that's the magic, right, Yeah. And it feels

812
00:42:54,600 --> 00:42:57,560
Speaker 2: very out of bottom, out of body as the actor too,

813
00:42:57,760 --> 00:43:00,720
Speaker 2: because you're honoring this thing that you're never gonna back again.

814
00:43:01,200 --> 00:43:03,920
Speaker 2: It's just the moment that is the moment of that time.

815
00:43:04,000 --> 00:43:05,880
Speaker 3: And a lot of actors come off stage going, I

816
00:43:05,920 --> 00:43:08,960
Speaker 3: don't know what just happened, which actually makes sense. If

817
00:43:09,000 --> 00:43:13,080
Speaker 3: you've been living presently and moment to moment, those moments

818
00:43:13,120 --> 00:43:15,400
Speaker 3: have gone, they have left you. So for you to

819
00:43:15,400 --> 00:43:17,400
Speaker 3: come off stage and go, I don't know what just happened,

820
00:43:17,719 --> 00:43:19,680
Speaker 3: I think is a great indication, because if you do

821
00:43:19,800 --> 00:43:22,480
Speaker 3: know what happened, it's probably because you've projected it, you

822
00:43:22,600 --> 00:43:25,480
Speaker 3: curated it, and you weren't listening. So exactly what you

823
00:43:25,520 --> 00:43:27,680
Speaker 3: thought was going to happen did happen because you thought

824
00:43:27,719 --> 00:43:29,359
Speaker 3: it through instead of just living through it.

825
00:43:30,480 --> 00:43:32,719
Speaker 2: And I think that it takes courage to do that,

826
00:43:32,840 --> 00:43:39,120
Speaker 2: because thinking it through was kind of like I may type,

827
00:43:39,160 --> 00:43:40,920
Speaker 2: I'm a bit of a control freak that feels very

828
00:43:40,920 --> 00:43:43,799
Speaker 2: control freak, and I know that that's my tenancy because

829
00:43:43,800 --> 00:43:44,680
Speaker 2: I'm like, well, it just worked.

830
00:43:44,560 --> 00:43:45,279
Speaker 1: Really really hard.

831
00:43:45,320 --> 00:43:48,080
Speaker 2: I'll len all my lines, I'll beat them, i'll action them,

832
00:43:48,120 --> 00:43:50,839
Speaker 2: I'll yep, I'm ready, I'm ready, I'm ready, I'm ready.

833
00:43:50,880 --> 00:43:53,600
Speaker 2: But the flip side of that is if you're not

834
00:43:53,680 --> 00:43:57,160
Speaker 2: open to let go of all of that, then I

835
00:43:57,160 --> 00:43:59,000
Speaker 2: would be the person that thinks it through.

836
00:43:59,120 --> 00:44:00,960
Speaker 1: And I'm one hundred percent done.

837
00:44:00,800 --> 00:44:06,120
Speaker 3: That, And there will be times when we all work

838
00:44:06,280 --> 00:44:08,279
Speaker 3: like that. But I think at the end of the day,

839
00:44:08,400 --> 00:44:11,680
Speaker 3: you get to decide what was more exciting, what was

840
00:44:11,680 --> 00:44:15,719
Speaker 3: more invigorating, and what did I learn from In what

841
00:44:15,800 --> 00:44:18,560
Speaker 3: way did I learn the most about myself when I

842
00:44:18,680 --> 00:44:22,839
Speaker 3: planned something out or when i'd you know, done the work,

843
00:44:22,880 --> 00:44:27,520
Speaker 3: done the research. But then I was open to seeing

844
00:44:27,520 --> 00:44:31,600
Speaker 3: what happened on the day, on the night in the audition.

845
00:44:31,440 --> 00:44:33,879
Speaker 2: And really that's all we have, Like that's the best

846
00:44:33,880 --> 00:44:36,640
Speaker 2: way I do. I was doing a morning TV segment

847
00:44:36,719 --> 00:44:40,320
Speaker 2: and Karl Stevanovic was the host and the producer. I

848
00:44:40,320 --> 00:44:42,520
Speaker 2: totally prepped it and knew everything back to front was

849
00:44:42,560 --> 00:44:45,000
Speaker 2: all about healthy cereals, what was the healthiest, And the

850
00:44:45,000 --> 00:44:47,879
Speaker 2: producer walked up to me and said, hey, you've got Karl.

851
00:44:48,280 --> 00:44:50,640
Speaker 1: He might throw cereal at you. Just be ready for that.

852
00:44:50,680 --> 00:44:52,759
Speaker 2: And I was like, oh, I hope he does, because

853
00:44:52,760 --> 00:44:55,239
Speaker 2: I was so in that moment and he's so entertaining

854
00:44:55,800 --> 00:45:00,160
Speaker 2: that and like true blue entertainer, so you just the

855
00:45:00,160 --> 00:45:02,279
Speaker 2: presence of this like vortex, and I was just like,

856
00:45:02,640 --> 00:45:04,920
Speaker 2: take me in your vortex because I knew I'd done

857
00:45:04,960 --> 00:45:08,200
Speaker 2: the work, but I'd let go of the planning and

858
00:45:08,400 --> 00:45:10,560
Speaker 2: it's now I'm like, oh, I understad to apply that

859
00:45:10,600 --> 00:45:13,200
Speaker 2: to acting, but I think there's a magic in doing

860
00:45:13,239 --> 00:45:15,640
Speaker 2: that work. It's not like you can just rock up

861
00:45:15,840 --> 00:45:19,560
Speaker 2: and be lazy, because some actors are lazy too. Yeah,

862
00:45:19,600 --> 00:45:22,400
Speaker 2: you can feel that and see that, and so I

863
00:45:22,440 --> 00:45:24,080
Speaker 2: think it's do the work, but let it go.

864
00:45:24,320 --> 00:45:28,080
Speaker 3: That's the right moment, that's right. I mean, imagine if

865
00:45:28,080 --> 00:45:30,920
Speaker 3: you had thrown cereal at you and you had just

866
00:45:31,040 --> 00:45:35,560
Speaker 3: frozen because this wasn't in the plan, yes, and then

867
00:45:35,680 --> 00:45:38,520
Speaker 3: suddenly there's this twenty seconds of television, which is a

868
00:45:38,680 --> 00:45:44,880
Speaker 3: very long time of Lola just going. I mean they

869
00:45:44,880 --> 00:45:47,000
Speaker 3: would have had to cut to a commercial breaking up.

870
00:45:48,480 --> 00:45:50,200
Speaker 2: Of There's so many more things on this list, so

871
00:45:50,239 --> 00:45:51,680
Speaker 2: I want to make sure I get through at least some.

872
00:45:51,760 --> 00:45:53,239
Speaker 1: Okay, this one I love.

873
00:45:53,719 --> 00:45:56,040
Speaker 2: I've written it down two ways, though, so please correct

874
00:45:56,040 --> 00:45:58,959
Speaker 2: me which the right way is. As humans, we only

875
00:45:59,080 --> 00:46:01,719
Speaker 2: use is it forty capacity or sixty? Because I've written

876
00:46:01,719 --> 00:46:02,239
Speaker 2: them both down.

877
00:46:02,400 --> 00:46:06,480
Speaker 3: Okay, So well, let's call Audrey Francis up because she

878
00:46:06,600 --> 00:46:09,800
Speaker 3: is the one gave me the statistic when I was

879
00:46:09,840 --> 00:46:14,760
Speaker 3: studying and learning from her. I think we are fine

880
00:46:14,960 --> 00:46:19,640
Speaker 3: to say forty percent totally because I know I feel

881
00:46:19,640 --> 00:46:22,760
Speaker 3: like I work at forty percent. So Audrey had spoken

882
00:46:22,760 --> 00:46:30,520
Speaker 3: about a Navy Seals study that had researched humans in

883
00:46:30,520 --> 00:46:33,359
Speaker 3: in a physical context and the fact that we only

884
00:46:33,400 --> 00:46:37,640
Speaker 3: ever use forty percent of our total capacity. I think

885
00:46:37,680 --> 00:46:40,600
Speaker 3: there are biological reasons why that happens, right, because you

886
00:46:40,680 --> 00:46:43,160
Speaker 3: have to drag the time after you kill stalk the tiger,

887
00:46:43,239 --> 00:46:44,560
Speaker 3: you have to drag it back to your cave and

888
00:46:44,600 --> 00:46:47,160
Speaker 3: eat it. But in well, actually IM about to go

889
00:46:47,239 --> 00:46:50,040
Speaker 3: in twenty twenty, but actually this is a pretty fucked

890
00:46:50,080 --> 00:46:53,320
Speaker 3: up year. Maybe the next thing that happens is having

891
00:46:53,400 --> 00:46:55,720
Speaker 3: to well, I don't hope it. I have to hunt tigers.

892
00:46:55,719 --> 00:47:02,600
Speaker 3: Tigers are beautiful animals. But the fact that there's always

893
00:47:02,600 --> 00:47:09,239
Speaker 3: something in reserve in an acting context, having something in

894
00:47:09,360 --> 00:47:15,200
Speaker 3: reserve is akin to keeping a part of yourself locked

895
00:47:15,200 --> 00:47:18,399
Speaker 3: down or not being prepared to share that with us,

896
00:47:19,400 --> 00:47:22,920
Speaker 3: which will keep you and stop you from living authentically.

897
00:47:23,080 --> 00:47:28,440
Speaker 3: Spontaneitis spontaneit no spontaneous.

898
00:47:29,520 --> 00:47:30,520
Speaker 1: I couldn't get it out.

899
00:47:32,480 --> 00:47:35,440
Speaker 3: That was me trying to conflate two words. Sometimes I

900
00:47:35,520 --> 00:47:40,640
Speaker 3: just like making up words spontaneously. Yeah, if you know

901
00:47:40,719 --> 00:47:44,880
Speaker 3: that you're not giving it, you're all that for me

902
00:47:45,400 --> 00:47:48,279
Speaker 3: is an actor locking part of themselves away, and that's

903
00:47:48,320 --> 00:47:50,799
Speaker 3: not your job. Your job is to be there, give

904
00:47:50,840 --> 00:47:54,680
Speaker 3: it everything. And also we have ideas of how much

905
00:47:54,719 --> 00:47:58,080
Speaker 3: we can handle and how much we can endure. And

906
00:47:58,120 --> 00:48:00,759
Speaker 3: that probably is a life thing. I definitely know it

907
00:48:00,800 --> 00:48:04,080
Speaker 3: is for me. And it's being able to call yourself

908
00:48:04,120 --> 00:48:06,680
Speaker 3: on your bullshit when you go. You know what, I

909
00:48:06,719 --> 00:48:09,120
Speaker 3: didn't do the work. I looked at the script once

910
00:48:09,160 --> 00:48:12,480
Speaker 3: and then I walked in. Or I researched this person

911
00:48:12,640 --> 00:48:20,200
Speaker 3: on wiki, but I didn't actually research them properly. And

912
00:48:20,239 --> 00:48:27,879
Speaker 3: that only that only works to keep you small, keep

913
00:48:27,960 --> 00:48:32,239
Speaker 3: you from reaching your full potential in whatever context you're

914
00:48:32,280 --> 00:48:35,839
Speaker 3: working in, because you haven't put the work in. And

915
00:48:36,239 --> 00:48:38,240
Speaker 3: I think a lot of people are scared of failing,

916
00:48:38,320 --> 00:48:40,200
Speaker 3: right of course, So if I don't put the work

917
00:48:40,239 --> 00:48:43,239
Speaker 3: in and I fail, well that's fine because I didn't

918
00:48:43,239 --> 00:48:45,560
Speaker 3: put the work in. But again, how would you prefer

919
00:48:45,600 --> 00:48:45,959
Speaker 3: to live.

920
00:48:47,920 --> 00:48:51,040
Speaker 2: I love that you've just mentioned the failure, because I

921
00:48:51,040 --> 00:48:55,320
Speaker 2: feel like you celebrate the failure, especially with us as students.

922
00:48:55,320 --> 00:48:57,920
Speaker 2: You're like, fuck it up, guys, come on like just

923
00:48:58,400 --> 00:49:01,040
Speaker 2: and the moment that we that for me as well,

924
00:49:01,080 --> 00:49:03,160
Speaker 2: the moment that I dropped the expectation of it needing

925
00:49:03,239 --> 00:49:05,240
Speaker 2: to look like something or be something.

926
00:49:05,320 --> 00:49:07,000
Speaker 1: I'm like, if I fuck it up, I suck it up,

927
00:49:07,040 --> 00:49:08,000
Speaker 1: I'm going to learn from it.

928
00:49:08,920 --> 00:49:13,240
Speaker 3: And also you notice sound like a broken record. Humans

929
00:49:13,239 --> 00:49:18,080
Speaker 3: are not perfect. Yeah, that is why we love seeing

930
00:49:19,760 --> 00:49:23,319
Speaker 3: stage shows where people either corpse and corpsing in a

931
00:49:23,320 --> 00:49:26,160
Speaker 3: stage show means they break out laughing when they shouldn't.

932
00:49:26,480 --> 00:49:28,279
Speaker 3: You know, if you ever to watch Saturday Night Live,

933
00:49:29,040 --> 00:49:32,319
Speaker 3: oh my goodness, and because those actors are reading off

934
00:49:32,400 --> 00:49:35,080
Speaker 3: big what are they called low the.

935
00:49:35,360 --> 00:49:42,560
Speaker 1: Tallyprompt basically right, and you can see them laughing through it,

936
00:49:42,640 --> 00:49:44,719
Speaker 1: And there is a certain amount of joy that we

937
00:49:44,800 --> 00:49:46,360
Speaker 1: get because we're.

938
00:49:46,200 --> 00:49:49,400
Speaker 3: Watching someone have an honest emotion and honest reaction to something,

939
00:49:49,400 --> 00:49:53,000
Speaker 3: which is they or their castmates are making themselves laugh.

940
00:49:53,400 --> 00:49:55,840
Speaker 2: Have you seen this a special of Ricky Gervais after

941
00:49:55,880 --> 00:49:58,120
Speaker 2: extras the show he did, and it's a whole special

942
00:49:58,120 --> 00:50:02,600
Speaker 2: on him trying to make every single castmate corpse good

943
00:50:03,040 --> 00:50:03,640
Speaker 2: and it's not.

944
00:50:03,680 --> 00:50:04,239
Speaker 1: But then I.

945
00:50:04,200 --> 00:50:07,960
Speaker 2: Think I find him very real and very no filter,

946
00:50:08,080 --> 00:50:11,680
Speaker 2: and I'm like, he's that guy that I remember he

947
00:50:11,719 --> 00:50:14,040
Speaker 2: wanted he won a BAFT or something, he'd won some

948
00:50:14,360 --> 00:50:17,640
Speaker 2: phenomenal award, got home. He was forty one, and he

949
00:50:17,719 --> 00:50:20,600
Speaker 2: said to his partner, why do I wait so long

950
00:50:20,640 --> 00:50:22,200
Speaker 2: to chase his dream? And she said, you had to

951
00:50:22,280 --> 00:50:27,280
Speaker 2: live like life. Experience has made you a better entertainer. Yeah,

952
00:50:27,480 --> 00:50:29,879
Speaker 2: And I think we put these weird timelines, these weird

953
00:50:29,920 --> 00:50:33,680
Speaker 2: expectations on ourselves, even like these weird hang ups about failure,

954
00:50:33,760 --> 00:50:37,480
Speaker 2: and it's like, no, no, let go be present experience

955
00:50:38,120 --> 00:50:42,040
Speaker 2: and kind of throw your heart or throw yourself into things.

956
00:50:43,120 --> 00:50:45,640
Speaker 2: And to me, this is where a very long winded

957
00:50:45,680 --> 00:50:49,160
Speaker 2: way of asking this question. But you feel fearless to me?

958
00:50:52,040 --> 00:50:52,360
Speaker 3: Cool?

959
00:50:52,560 --> 00:50:52,759
Speaker 2: Yeah?

960
00:50:54,640 --> 00:50:56,440
Speaker 1: Would you would you say that that's all? Would you?

961
00:50:56,880 --> 00:51:00,239
Speaker 1: Would you say no, I'm courageous. I wouldn't say because.

962
00:51:00,560 --> 00:51:03,399
Speaker 2: I like that idea of feeling the fear and being like, oh,

963
00:51:03,400 --> 00:51:05,080
Speaker 2: I'm going to do it like it's skydiving.

964
00:51:05,320 --> 00:51:12,400
Speaker 1: I'm sure that's scary. I'm going to do it anyway.

965
00:51:13,120 --> 00:51:19,759
Speaker 3: My instinct wants to say, you're incorrect. However, my actions.

966
00:51:20,080 --> 00:51:22,760
Speaker 3: If I look at the actions I've taken in my life,

967
00:51:24,239 --> 00:51:27,719
Speaker 3: I think maybe, oh, actually I may have a little

968
00:51:27,719 --> 00:51:31,120
Speaker 3: bit of skin in the game of fearlessness, because when

969
00:51:31,120 --> 00:51:34,000
Speaker 3: I think about myself, because I fail all the time

970
00:51:35,600 --> 00:51:39,480
Speaker 3: and I have perfectionist tendencies. When you ask that question,

971
00:51:39,680 --> 00:51:44,239
Speaker 3: my brain goes, oh goodness, no, But if I look

972
00:51:44,280 --> 00:51:52,480
Speaker 3: at the actions that I've taken.

973
00:51:51,239 --> 00:51:52,360
Speaker 1: You're pretty ballsy.

974
00:51:52,560 --> 00:51:54,640
Speaker 3: Well, I you know, when I look at those actions

975
00:51:54,680 --> 00:51:57,680
Speaker 3: I'm taking, if I'm to sort of step out of

976
00:51:57,680 --> 00:52:00,520
Speaker 3: my life for a bit, I go, oh, no, that

977
00:52:00,680 --> 00:52:07,560
Speaker 3: seems cool, but I don't. But I maybe that's normal.

978
00:52:07,760 --> 00:52:10,960
Speaker 3: Do people think of themselves as fearless? Because if I

979
00:52:11,000 --> 00:52:14,640
Speaker 3: were to think of myself as fearless, I don't know

980
00:52:14,920 --> 00:52:15,960
Speaker 3: if because it.

981
00:52:16,040 --> 00:52:20,640
Speaker 1: Too well, I didn't even know who to answer that.

982
00:52:20,680 --> 00:52:23,840
Speaker 2: I just know that you feel to me, you feel fearless,

983
00:52:23,880 --> 00:52:28,120
Speaker 2: and I think you invite us to kind of like

984
00:52:28,200 --> 00:52:31,240
Speaker 2: feel the fear and go go anyway. And so maybe

985
00:52:31,280 --> 00:52:35,360
Speaker 2: I'm associating that feeling with you. But I know that

986
00:52:35,400 --> 00:52:37,600
Speaker 2: I feel fear and do things like I know, like

987
00:52:37,640 --> 00:52:39,839
Speaker 2: I'll swim with whale shot like I've swam with shot.

988
00:52:39,880 --> 00:52:43,400
Speaker 2: I love it like I but I love that moment

989
00:52:43,440 --> 00:52:45,480
Speaker 2: because I think as well, it's quite addictive. It jack's

990
00:52:45,520 --> 00:52:47,360
Speaker 2: up dope meine and you're like, oh, oh I just

991
00:52:47,400 --> 00:52:49,360
Speaker 2: did this thing and now I can do other things,

992
00:52:49,400 --> 00:52:52,319
Speaker 2: And so maybe that might be more of the psychology

993
00:52:52,360 --> 00:52:53,720
Speaker 2: of facing fear.

994
00:52:53,960 --> 00:52:57,640
Speaker 1: But I just your whole shtick.

995
00:52:57,600 --> 00:53:02,760
Speaker 2: Is like vulnerability, open and be who you are, be truthful,

996
00:53:02,840 --> 00:53:05,400
Speaker 2: let go of all the bullshit. And to me, that

997
00:53:05,520 --> 00:53:09,040
Speaker 2: is fearlessness because you're dropping all these layers of who

998
00:53:09,080 --> 00:53:13,040
Speaker 2: you are and you're just showing up courageously as yourself.

999
00:53:13,640 --> 00:53:16,640
Speaker 3: And I think because I've had so much experience in

1000
00:53:16,680 --> 00:53:20,400
Speaker 3: what we do in the acting world, I have definitely

1001
00:53:20,480 --> 00:53:23,759
Speaker 3: gotten to a place where I have no fucks left

1002
00:53:23,800 --> 00:53:28,200
Speaker 3: to give in terms of what people think about me

1003
00:53:28,840 --> 00:53:32,320
Speaker 3: or their ideas of how a role should be performed.

1004
00:53:32,560 --> 00:53:37,080
Speaker 3: So in that realm most definitely, I've yet to swim

1005
00:53:37,120 --> 00:53:38,200
Speaker 3: with whale sharks.

1006
00:53:39,480 --> 00:53:41,160
Speaker 1: They're like giant golden retrievers.

1007
00:53:41,200 --> 00:53:44,080
Speaker 3: They're really I would totally do that. Then I love

1008
00:53:44,080 --> 00:53:45,000
Speaker 3: a golden retriever.

1009
00:53:45,920 --> 00:53:48,080
Speaker 1: They're just big, like a bus.

1010
00:53:49,000 --> 00:53:49,960
Speaker 3: That's pretty cute.

1011
00:53:50,280 --> 00:53:52,520
Speaker 1: I have done a little bit of digging.

1012
00:53:52,680 --> 00:53:55,040
Speaker 2: I spoke to one of my classmates, Ben, and I

1013
00:53:55,080 --> 00:53:57,600
Speaker 2: was like, Hey, can you give me any juice?

1014
00:53:58,760 --> 00:54:02,560
Speaker 1: Hilarious And he said to me, and I think I

1015
00:54:02,600 --> 00:54:03,840
Speaker 1: have the exact same phobia.

1016
00:54:04,040 --> 00:54:08,800
Speaker 2: He's like, Julia has a very serious phoba phobia of vomiting.

1017
00:54:09,200 --> 00:54:14,120
Speaker 3: I sure do yeah, I sure do. And it's hilarious

1018
00:54:14,120 --> 00:54:18,520
Speaker 3: when you tell people about this because everyone's response is yeah, no,

1019
00:54:18,560 --> 00:54:20,560
Speaker 3: one likes being sick. I'm like, no, no, no, no, no,

1020
00:54:20,560 --> 00:54:25,600
Speaker 3: no no. There is a difference between phobic avoidance behaviors

1021
00:54:26,120 --> 00:54:31,480
Speaker 3: that one will do and just not liking getting food poisoning.

1022
00:54:33,600 --> 00:54:34,560
Speaker 1: And you're the phobic.

1023
00:54:34,880 --> 00:54:38,160
Speaker 3: Oh sure, am, did you even write a play about it?

1024
00:54:38,239 --> 00:54:38,840
Speaker 3: I did?

1025
00:54:39,360 --> 00:54:40,000
Speaker 1: Is this turtle?

1026
00:54:40,360 --> 00:54:45,399
Speaker 3: I that's correct? Yes, I did. I really did. And

1027
00:54:45,719 --> 00:54:49,160
Speaker 3: you know what, Lola, yes, fuck yes. There is a

1028
00:54:49,200 --> 00:54:53,959
Speaker 3: certain amount of fearlessness that went into going I find

1029
00:54:54,000 --> 00:54:58,760
Speaker 3: this embarrassing about myself. I think it is a stupid phobia.

1030
00:54:59,400 --> 00:55:02,200
Speaker 3: I wish I didn't have it. So what will I do?

1031
00:55:02,560 --> 00:55:05,320
Speaker 3: I'm going to write a play about it and show

1032
00:55:05,719 --> 00:55:11,920
Speaker 3: the general public and my students and my peers. So, yep,

1033
00:55:12,160 --> 00:55:14,799
Speaker 3: I do have that phobia. I wrote a play about

1034
00:55:14,800 --> 00:55:18,440
Speaker 3: it and actually did very well. So there you go,

1035
00:55:19,000 --> 00:55:21,239
Speaker 3: you know, moving towards the things that fear you and

1036
00:55:21,320 --> 00:55:24,319
Speaker 3: acknowledging that and going, look, I have this phobia. I

1037
00:55:24,320 --> 00:55:27,560
Speaker 3: think it's quite silly, but it's also very real, and

1038
00:55:27,600 --> 00:55:30,560
Speaker 3: I'm going to make some about it and show everybody

1039
00:55:31,320 --> 00:55:32,240
Speaker 3: actually paid off.

1040
00:55:33,320 --> 00:55:35,440
Speaker 2: I love it so used not to get to technical

1041
00:55:35,480 --> 00:55:37,360
Speaker 2: about vomiting and stuff, But are you someone that like,

1042
00:55:37,520 --> 00:55:39,440
Speaker 2: can't hear it, can't smell it, You're like, I need

1043
00:55:39,440 --> 00:55:40,200
Speaker 2: to be away from that?

1044
00:55:40,440 --> 00:55:44,880
Speaker 1: Is that how far it is? Yes?

1045
00:55:45,560 --> 00:55:48,600
Speaker 3: But after many you know. The weird thing about it

1046
00:55:48,640 --> 00:55:52,200
Speaker 3: is that I didn't realize I had a phobia until

1047
00:55:52,239 --> 00:55:55,440
Speaker 3: about five years ago when I was scrolling through the

1048
00:55:55,480 --> 00:55:58,319
Speaker 3: old Instagram as we do, and there was a post

1049
00:55:58,360 --> 00:56:02,000
Speaker 3: from Amy Schumer and she had food poisoning in she

1050
00:56:02,080 --> 00:56:04,000
Speaker 3: was on tour and she had food poisoning. And someone

1051
00:56:04,040 --> 00:56:08,719
Speaker 3: had commented I can't hear about this or like I

1052
00:56:08,760 --> 00:56:11,799
Speaker 3: hate this stuff because I have a metaphobia, And I'm like,

1053
00:56:11,920 --> 00:56:15,160
Speaker 3: what's that? And then I researched it and I was like,

1054
00:56:15,360 --> 00:56:19,040
Speaker 3: oh goodness, this is what I've got right, And I'm

1055
00:56:19,040 --> 00:56:22,720
Speaker 3: in my thirties, like going, that thing that has plagued

1056
00:56:22,800 --> 00:56:29,920
Speaker 3: me my whole life has a name. So in the

1057
00:56:29,960 --> 00:56:36,000
Speaker 3: research I've done about it, it's not actually about the

1058
00:56:36,080 --> 00:56:39,440
Speaker 3: seeing smelling. I mean, sure, that's never a good thing.

1059
00:56:40,160 --> 00:56:44,800
Speaker 3: It's actually about for me. I think it's different for

1060
00:56:44,800 --> 00:56:48,160
Speaker 3: a lot of people. By actually this is common inconveniencing others.

1061
00:56:48,800 --> 00:56:51,680
Speaker 1: Oh wow, So.

1062
00:56:52,320 --> 00:56:56,120
Speaker 3: If I'm on a train and I suddenly get food poisoning,

1063
00:56:57,040 --> 00:57:00,200
Speaker 3: then I'm going to spew over the train passengers, and

1064
00:57:00,239 --> 00:57:04,160
Speaker 3: that is a very bad thing because all those those

1065
00:57:04,400 --> 00:57:07,160
Speaker 3: civilians are going to be none too please. They just

1066
00:57:07,200 --> 00:57:09,920
Speaker 3: got spewed on. So I don't want that to happen.

1067
00:57:10,800 --> 00:57:17,880
Speaker 3: So it's not, of course I catch trains. But if

1068
00:57:17,920 --> 00:57:19,840
Speaker 3: I'm on a train and I start feeling just a

1069
00:57:19,840 --> 00:57:23,600
Speaker 3: bit nauseous for whatever reason, there is every chance that

1070
00:57:23,680 --> 00:57:26,800
Speaker 3: I'll start getting anxious, because like what if it's what

1071
00:57:26,840 --> 00:57:27,280
Speaker 3: if it's that?

1072
00:57:27,440 --> 00:57:31,200
Speaker 2: So your brain does the crisis mode thing, and oh.

1073
00:57:30,600 --> 00:57:34,320
Speaker 3: I love I love a bit of worst case scenario thinking. Yes,

1074
00:57:34,760 --> 00:57:36,760
Speaker 3: which is why I'm an actor, because now I have

1075
00:57:36,800 --> 00:57:38,840
Speaker 3: a place to put my very fertile imagination.

1076
00:57:39,560 --> 00:57:41,040
Speaker 1: You said that in our first class.

1077
00:57:41,120 --> 00:57:43,920
Speaker 2: You were like, this is my imagination, and you gave

1078
00:57:43,920 --> 00:57:46,760
Speaker 2: an analogy of you were hiking with your partner somewhere

1079
00:57:46,760 --> 00:57:48,520
Speaker 2: and you the whole way you were like, I don't

1080
00:57:48,560 --> 00:57:50,919
Speaker 2: like hiking, and then you're like, what if I die?

1081
00:57:51,000 --> 00:57:52,800
Speaker 1: Like your brain was like, what if I die?

1082
00:57:53,960 --> 00:57:56,919
Speaker 3: Yeah, And again coming back to you asking me about fearlessness,

1083
00:57:57,040 --> 00:57:59,240
Speaker 3: I did do that. I hiked through a very remote

1084
00:57:59,320 --> 00:58:02,120
Speaker 3: jungle in Japan at the beginning of this year, before Corona,

1085
00:58:02,560 --> 00:58:07,400
Speaker 3: And it is not something that I would normally do,

1086
00:58:08,000 --> 00:58:10,760
Speaker 3: but I did it because I knew that I would

1087
00:58:10,800 --> 00:58:13,240
Speaker 3: be very scared of it. It was is one of

1088
00:58:13,240 --> 00:58:14,920
Speaker 3: the hardest things I've ever done in my life, but

1089
00:58:14,960 --> 00:58:18,000
Speaker 3: I did it anyway. Yeah, that's actually what the next

1090
00:58:18,000 --> 00:58:20,280
Speaker 3: play will be about, really that I write.

1091
00:58:20,360 --> 00:58:22,440
Speaker 1: Yeah, see fearlessness.

1092
00:58:22,640 --> 00:58:25,040
Speaker 2: Hmmm, so what and that's what I want to know?

1093
00:58:25,080 --> 00:58:28,720
Speaker 2: What is next for you? So this is a January

1094
00:58:28,760 --> 00:58:31,120
Speaker 2: release pod. We are recording this a little bit in advance.

1095
00:58:31,360 --> 00:58:37,280
Speaker 3: Yes, there is no question that the arts industry has

1096
00:58:37,320 --> 00:58:40,960
Speaker 3: been decimated, Like look all over the world. Sure, we're

1097
00:58:40,960 --> 00:58:45,520
Speaker 3: going through a really crazy time, but artists have such

1098
00:58:45,560 --> 00:58:50,920
Speaker 3: a great way of being flexible and adapting. So the

1099
00:58:50,960 --> 00:58:55,600
Speaker 3: next thing that's going to happen, I want to give actors, artists,

1100
00:58:55,640 --> 00:59:00,320
Speaker 3: writers a place and a room where they can get

1101
00:59:00,320 --> 00:59:05,840
Speaker 3: creative in the making of things. So the next journey,

1102
00:59:05,840 --> 00:59:08,040
Speaker 3: in terms of what I'm going to be teaching, is

1103
00:59:08,120 --> 00:59:15,000
Speaker 3: running workshops about creating your own work. Awesome, So fueling

1104
00:59:15,120 --> 00:59:17,400
Speaker 3: up to create because I think that's what we need

1105
00:59:17,440 --> 00:59:23,280
Speaker 3: more of now. We need more creation of things and well, look,

1106
00:59:23,440 --> 00:59:30,240
Speaker 3: I'm always writing. Yeah I don't, and look, writing takes

1107
00:59:30,280 --> 00:59:32,280
Speaker 3: a long time, so I don't know what will happen

1108
00:59:33,120 --> 00:59:38,080
Speaker 3: in terms of future projects along those lines. But yeah,

1109
00:59:38,160 --> 00:59:40,880
Speaker 3: I am. I'm excited to give other artists the space

1110
00:59:41,320 --> 00:59:45,840
Speaker 3: to create, to fuck things up and see what comes

1111
00:59:45,880 --> 00:59:46,320
Speaker 3: out of it.

1112
00:59:47,040 --> 00:59:48,840
Speaker 2: Did you ever follow Mazie. I don't know who his

1113
00:59:48,880 --> 00:59:51,440
Speaker 2: secondame is. She's off Game of Thrones, the little Kid. Yeah,

1114
00:59:51,520 --> 00:59:53,640
Speaker 2: she set up a hub for artists and it's all

1115
00:59:53,680 --> 00:59:55,840
Speaker 2: just for connect It's an app and it's all just

1116
00:59:55,920 --> 00:59:59,320
Speaker 2: about connecting artists, so that like, if you're say you're

1117
00:59:59,360 --> 01:00:02,520
Speaker 2: working in in Chicago again, you jump on this app

1118
01:00:02,560 --> 01:00:04,480
Speaker 2: and you're like, I want to work in the cinematographer

1119
01:00:04,480 --> 01:00:07,080
Speaker 2: today and it connects you and it's designed for a

1120
01:00:07,160 --> 01:00:08,240
Speaker 2: hub for artists.

1121
01:00:08,360 --> 01:00:09,160
Speaker 3: That's great.

1122
01:00:09,400 --> 01:00:11,560
Speaker 2: I'll research and send it to you because I feel

1123
01:00:11,600 --> 01:00:13,240
Speaker 2: like and I'll pop it in the show notes too.

1124
01:00:13,280 --> 01:00:16,200
Speaker 2: It's a really cool app that's all like Daisy something

1125
01:00:16,240 --> 01:00:19,240
Speaker 2: or rather. But yeah, she's got an epic ted talk

1126
01:00:19,320 --> 01:00:24,320
Speaker 2: to Wow. Okay, munchkin, really cool human.

1127
01:00:24,480 --> 01:00:25,400
Speaker 3: I'll look that up.

1128
01:00:25,960 --> 01:00:27,680
Speaker 2: Can I ask one like this is the lucky last question?

1129
01:00:27,760 --> 01:00:30,320
Speaker 2: I promise, I promise I promise. I always get too

1130
01:00:30,360 --> 01:00:33,200
Speaker 2: excited and get wrapped up, which feels your cut more

1131
01:00:33,240 --> 01:00:36,920
Speaker 2: teaching or be like writing? Acting like the and I

1132
01:00:36,960 --> 01:00:40,160
Speaker 2: know you direct as well, but which is is it

1133
01:00:40,280 --> 01:00:42,760
Speaker 2: the to help one another? Like Ian talks about the

1134
01:00:42,800 --> 01:00:43,920
Speaker 2: two feeding one another?

1135
01:00:44,200 --> 01:00:49,800
Speaker 3: Definitely, Yeah, they definitely do. I. I will get better

1136
01:00:49,840 --> 01:00:51,480
Speaker 3: at teaching the more I act. I will get a

1137
01:00:51,480 --> 01:00:54,080
Speaker 3: bit better at acting the more I teach, the more

1138
01:00:54,120 --> 01:00:58,120
Speaker 3: I write. I write because I want to say words

1139
01:00:58,160 --> 01:01:00,920
Speaker 3: that feel cool to say. You know, often we're not

1140
01:01:00,920 --> 01:01:03,520
Speaker 3: given amazing roles, so I figured, well, you just got

1141
01:01:03,520 --> 01:01:07,040
Speaker 3: to make your own. So I don't have a I'm

1142
01:01:07,080 --> 01:01:09,360
Speaker 3: on all the caps, give me all the caps lolap

1143
01:01:10,480 --> 01:01:14,040
Speaker 3: fill them all up and throw them at me. They

1144
01:01:14,080 --> 01:01:15,760
Speaker 3: do you want to mix the flavors together.

1145
01:01:16,120 --> 01:01:19,600
Speaker 2: And also I think as an artist often it's like, well,

1146
01:01:19,640 --> 01:01:20,320
Speaker 2: are you an actor?

1147
01:01:20,360 --> 01:01:21,400
Speaker 1: Are you a teacher? Are you this?

1148
01:01:21,440 --> 01:01:23,880
Speaker 2: And it's like I mentioned earlier, I had that radio

1149
01:01:23,920 --> 01:01:26,600
Speaker 2: host Dennis Walter on and he said, at fifteen, he goes,

1150
01:01:26,680 --> 01:01:29,360
Speaker 2: I knew I wanted to be a talkback radio host.

1151
01:01:29,760 --> 01:01:31,680
Speaker 2: I knew I wanted to read the news, and I

1152
01:01:31,760 --> 01:01:34,400
Speaker 2: knew one to sing, So I did all three yeah

1153
01:01:34,440 --> 01:01:36,920
Speaker 2: for his entire career. That's what he's known for. And

1154
01:01:37,120 --> 01:01:38,520
Speaker 2: because I always was like, oh am I going to

1155
01:01:38,560 --> 01:01:40,560
Speaker 2: do more TV presenting or acting, and I'm like, eh,

1156
01:01:40,720 --> 01:01:42,080
Speaker 2: they both make me feel great.

1157
01:01:42,480 --> 01:01:43,640
Speaker 1: Why not chase them both?

1158
01:01:43,960 --> 01:01:49,200
Speaker 3: Yeah, and then also be an amazing cook, be an

1159
01:01:49,200 --> 01:01:53,960
Speaker 3: amazing dog walker. You know, if you love taking care

1160
01:01:54,000 --> 01:01:56,919
Speaker 3: and playing with children, doing all of those things will

1161
01:01:56,960 --> 01:02:02,360
Speaker 3: only help your acting, your TV presenting, your open heart surgery.

1162
01:02:02,920 --> 01:02:03,240
Speaker 1: Do you know?

1163
01:02:03,480 --> 01:02:03,680
Speaker 2: Yeah?

1164
01:02:04,000 --> 01:02:06,600
Speaker 3: Yeah, yeah, Because when we get tunnel vision into the

1165
01:02:06,600 --> 01:02:08,960
Speaker 3: one thing that we do, that's what we're more likely

1166
01:02:09,360 --> 01:02:10,600
Speaker 3: to lose our love for it.

1167
01:02:12,320 --> 01:02:12,840
Speaker 1: I agree.

1168
01:02:13,840 --> 01:02:16,600
Speaker 2: Final one, if you had a bumper sticker or a mantra,

1169
01:02:16,840 --> 01:02:18,600
Speaker 2: what's your what's your?

1170
01:02:19,640 --> 01:02:24,520
Speaker 1: Fuck it? Julia Grace, you are phenomenal.

1171
01:02:24,600 --> 01:02:26,240
Speaker 2: It's been an honor to have you on the pod,

1172
01:02:26,280 --> 01:02:28,960
Speaker 2: and I cannot wait till the day our paths cross again.

1173
01:02:29,120 --> 01:02:30,520
Speaker 3: Thank you so much, Lola.

1174
01:02:32,240 --> 01:02:37,880
Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always,

1175
01:02:38,040 --> 01:02:41,400
Speaker 2: thank you to our guests, and let's continue the conversation

1176
01:02:41,560 --> 01:02:42,400
Speaker 2: on Instagram.

1177
01:02:42,960 --> 01:02:45,120
Speaker 1: I'm at Yamo, Lola Berry.

1178
01:02:45,800 --> 01:02:50,000
Speaker 2: This potty my word for podcast is available on all

1179
01:02:50,040 --> 01:02:53,919
Speaker 2: streaming platforms. I'd love it if you could subscribe, rate

1180
01:02:54,080 --> 01:03:05,680
Speaker 2: and comment, and of course spread the love, oh