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

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

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

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

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

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

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Speaker 1: I've got a ripper of an episode for you today.

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Speaker 1: It is with Anthony Mindel, incredible acting coach, also a screenwriter, director.

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Speaker 1: He's an actor himself, teacher and founder of AMAW.

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Speaker 2: If you're an Aussie, a new train in our lay

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Speaker 2: as an actor.

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Speaker 1: This is usually the spot where a lot of OSSI's land.

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Speaker 1: He started teaching and created this studio twenty seven years

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Speaker 1: ago and now there's over ten schools all across the world.

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Speaker 1: He's got this amazing ability to just kind of draw

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Speaker 1: the truth out of the actor. I have ordered him,

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Speaker 1: I want to say, three or four times now and

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Speaker 1: every time I walk away with like pages and pages

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Speaker 1: of notes. Anthony, it was such a joy to sit

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Speaker 1: down with you. You are wonderful, your energy is infectious and

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Speaker 1: to you the listener, enjoy this is just like a

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Speaker 1: pocket full of sunshine, and I hope you love it.

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Speaker 1: Welcome to the Potter Rooney Anthony, mind out, my lad

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Speaker 1: to call you Tony.

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Speaker 2: I am wrapped to have you on the pod.

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Speaker 1: You are an award winning screenwriter, director, actor, teacher, founder

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Speaker 1: and artistic director.

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Speaker 2: Hang on, is it true? There's ten schools.

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Speaker 3: Globally and I mean at one point we had twelve schools.

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Speaker 2: Wow?

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Speaker 4: Yeah, post pandemic. You know, we've kind of like streamlined

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Speaker 4: a little bit.

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Speaker 1: But yeah, and the Los Angeles one's about twenty seven

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Speaker 1: years old now right.

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Speaker 3: Yeah, next year, twenty eighth year. I think so. I'm

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Speaker 3: terrible at math, but I think so.

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Speaker 2: Oh that's amazing.

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Speaker 1: Holy mac Well, I oh.

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Speaker 3: I love you. You're so full of ausieisms, do you think? Yes?

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Speaker 3: I love it.

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Speaker 4: The only Aussie I can do is face it, frame.

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Speaker 4: You're never going to be good enough. But I just

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Speaker 4: want to train for the Pan pacifics.

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Speaker 2: Oh yeah, Muriel's wedding right?

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Speaker 3: Oh no, what is that strictly ballroom? Sorry?

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Speaker 4: Sorry, fact, she's been in America for two long people. Yeah,

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Speaker 4: she has to give back her Aussie card.

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Speaker 2: Honestly, Strictly ballroom is one of the late.

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Speaker 3: So is Muriel's wedding. It's pretty brilliant.

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Speaker 2: Yeah, this is true. This is true, So hang on.

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Speaker 1: I like I am five books, two of which I

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Speaker 1: have read and loved, and they're highlighted to with an

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Speaker 1: inch of their life.

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Speaker 3: Thank you?

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Speaker 2: And I love.

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Speaker 1: What I love about you as an author is that

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Speaker 1: when two things, probably many, but two things that come

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Speaker 1: to mind is it feels like you're talking to me,

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Speaker 1: Like it just feels like this conversation right now. And

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Speaker 1: then the other thing is you don't need to be

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Speaker 1: an actor to get something out of it, you know

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Speaker 1: what I mean? Like it just is essentially like a

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Speaker 1: guide in almost like being.

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Speaker 2: A good human.

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Speaker 3: Oh? Thank you?

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Speaker 2: Is that was that kind of the goal?

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Speaker 4: It's the goal because I think I think we should

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Speaker 4: not make acting a separate subset in life itself, because

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Speaker 4: it isn't. It's just we have this unique Are we

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Speaker 4: just jumping in already?

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Speaker 3: Yeah?

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Speaker 4: Okay, hello everybody. There was no intro which I love

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Speaker 4: you don't I do?

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Speaker 2: I do?

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Speaker 1: I don't know, but I just love that you're so

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Speaker 1: natural anyway, and like I don't think you feel to

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Speaker 1: what you say.

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Speaker 2: Say it again, You're not someone that ever filters what

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Speaker 2: they say.

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Speaker 4: I really do not add it, which you know probably

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Speaker 4: gets me into trouble. And I just say it. I

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Speaker 4: don't even always mean it. Like I mean, I do

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Speaker 4: mean what I say, but sometimes because I'm very emotional

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Speaker 4: and passionate about things, it doesn't mean. Yeah, I just

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Speaker 4: try not to edit it, you know what I mean.

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Speaker 4: But like I said, like you know, I mean, yeah,

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Speaker 4: maybe that's another conversation on drinks, you know what I mean.

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Speaker 4: But no, I guess what I was just going to

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Speaker 4: say about what we're talking about the book about yeah,

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Speaker 4: being acting to me as in a separate subset of life.

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Speaker 4: And I think the challenge of training actors and working

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Speaker 4: with actors is trying to get them to build skills

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Speaker 4: that weirdly we already possess because we're human beings being human,

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Speaker 4: But for some reason we've kind of lost that ability

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Speaker 4: throughout history as actors. In our acting, we forget how

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Speaker 4: to be human. So I'm actually just trying to get

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Speaker 4: people to be what we already are. So it's kind

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Speaker 4: of like a mind fuck. Pardon my friend. Yeah, it's

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Speaker 4: so simple, but it's not easy. So I guess my

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Speaker 4: books are about being human more than they are about

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Speaker 4: being an actor.

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Speaker 2: Yeah, a thousand percent.

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Speaker 1: I feel like even being lucky enough to order you

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Speaker 1: last week, thank you.

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Speaker 3: Oh yeah, it was great to see you and your friend.

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Speaker 2: Oh so fun. But I love that.

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Speaker 1: It feels like I don't know if this is true,

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Speaker 1: so correct me if I'm wrong, but it feels like

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Speaker 1: you completely lead with truth in the way that you teach.

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Speaker 1: I imagine in the way that you direct right act yourself.

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Speaker 4: Well, I think thank you. I think I just download,

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Speaker 4: and I think we're all channeling and we're all downloaded.

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Speaker 2: You're a conduit.

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Speaker 3: Yeah, well we all are. I love that word.

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Speaker 4: And if we're all a conduit, then we all have

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Speaker 4: How many people are on the planet thirteen billion. There's

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Speaker 4: thirteen billion expressions of the divine through humanity. Plus look,

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Speaker 4: I'm looking outside here my house, these trees and flowers

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Speaker 4: and the hills and the sky, and I mean even

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Speaker 4: buildings started as a thought, right, somebody had an idea, Oh,

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Speaker 4: we need to build a vertical compound. And so it's

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Speaker 4: starts as a thought. But where what is the genesis

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Speaker 4: of thought? Where does it come from? What creates the

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Speaker 4: idea that we then act on? So I feel like creators,

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Speaker 4: which we all are, but people who create for a

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Speaker 4: living are maybe more attuned to the channel or can

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Speaker 4: dial past the static and try not to get in

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Speaker 4: the way of the flow.

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Speaker 2: I love, which is.

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Speaker 4: What I think acting is is when actors have done

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Speaker 4: the best work and when you see it when you

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Speaker 4: were in classes, Like I'd never say I rarely use

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Speaker 4: the word I or me when I teach, but sometimes

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Speaker 4: I'll just say that. But my point is is when

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Speaker 4: the work facilitates getting somebody in the flow, they are channeling.

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Speaker 4: They don't even realize that. You don't even realize it,

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Speaker 4: but you are. That's that's our nature. So trying to

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Speaker 4: get back to nature in a way.

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Speaker 2: And I've read you have written about this in your books.

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Speaker 1: So I think it was when you switched to like

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Speaker 1: super active listening, but you almost felt like you didn't

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Speaker 1: remember scene, like it was like an outer body body experience.

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Speaker 2: And I think we.

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Speaker 1: Feel that like when we're in class, where you know

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Speaker 1: when a scene has like clicked in you don't remember it.

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Speaker 1: That's right, Like it's like some alien has taken your body, right.

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Speaker 4: I think that's why we want to do it, because

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Speaker 4: it is like a I always say it's a heightened

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Speaker 4: way of living and it's a drug because we're like, well,

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Speaker 4: I want that all the time. That's why people want

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Speaker 4: to act. When you hit that sweet spot, it does

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Speaker 4: feel like I'm alive in a way that in our

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Speaker 4: daily lives. I think there's a lot of science that

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Speaker 4: supports us now too, Like you know, the habituated mind, Yeah,

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Speaker 4: is really based on what we know and patterns of

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Speaker 4: thought and also patterns of behavior, and so it becomes

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Speaker 4: even though every morning is a new sunrise, we don't

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Speaker 4: see it new, right, And so I think the point

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Speaker 4: about acting is because we're living in the moment to

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Speaker 4: momentness in such a crystallized way, it does feel like

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Speaker 4: this is how life should be.

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Speaker 1: You're right in saying it's very almost like it's like

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Speaker 1: this the way I describe it. The first time I

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Speaker 1: ever felt it was like electricity running through my veins,

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Speaker 1: but it being so much bigger than me, And just

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Speaker 1: why I come back to this like conduit kind of

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Speaker 1: goal where you're just like and I had a teacher

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Speaker 1: in Australia say it's it's they call it when an

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Speaker 1: angel walks across the stage and it's like you've got

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Speaker 1: like that magic happens, everything kind of clicks in.

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Speaker 2: You're in that state of flow. Right?

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Speaker 1: Can I break down even further because I just I

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Speaker 1: love the way that you do this. If you had

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Speaker 1: to put into a nutshell your philosophy when it comes

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Speaker 1: to working with actors, is it what you've touched on,

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Speaker 1: like becoming more human, like accessing that truth?

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Speaker 3: Yeah?

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Speaker 4: You know, after almost twenty eight years or thirty years

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Speaker 4: of teaching, I still don't call you know, I don't

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Speaker 4: call it like the mindal method.

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Speaker 3: All of that has good alliteration, it does, doesn't it technically?

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Speaker 3: What technique do you study?

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Speaker 4: No? But I did hear this one time from Brene

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Speaker 4: Brown many years ago, and I was so blown away

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Speaker 4: because she's a social scientist, you know, as you know

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Speaker 4: Brene Brown. But when she described what I'm going to

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Speaker 4: paraphrase it here for a second, but when she was

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Speaker 4: talking about the definition of bravery, bravery, which coincidentally also

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Speaker 4: is vulnerability, means living in emotional exposure, not knowing the outcome,

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Speaker 4: and emotional risk, And I was like, whoa wait a minute,

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Speaker 4: that's what I teach. You're simultaneously having to be brave,

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Speaker 4: which also makes you vulnerable because you're living in emotional

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Speaker 4: exposure uncertainty. Sorry, is the other word, to choose emotional

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Speaker 4: exposure uncertainty without knowing the outcome. And that's the trap

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Speaker 4: of the actor, which is we read the material or

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Speaker 4: we rehearse it or memorize it, but you can't play

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Speaker 4: your knowing. And so if you don't know, this is

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Speaker 4: why improv is so great, because that's a heightened again,

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Speaker 4: it's at great emotional exposure because you don't know, just

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Speaker 4: like life right now, we don't think I'm that emotional exposure,

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Speaker 4: but you could pop a real doozy at me right

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Speaker 4: now and I might start crying, And that's it is vulnerable.

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Speaker 4: So that's what I teach, is living in emotional exposure.

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Speaker 4: So thank you Brene Brown. Yes, she'd defined that that

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Speaker 4: does make us vulnerable. And Lola, that is the walk

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Speaker 4: of life. Who is not walking a walk of uncertainty,

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Speaker 4: emotional exposure without knowing the outcome. We know the outcome

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Speaker 4: at some level that we're all going to depart, but

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Speaker 4: we don't know when or how or what's going to

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Speaker 4: happen tomorrow. So again, I don't think acting is a

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Speaker 4: separate subset we just have to keep applying the same

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Speaker 4: principles that are governing our existence.

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Speaker 3: And then you're.

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Speaker 1: Doing it as you describe it.

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Speaker 2: And in theory it sounds amazing. Sign me up.

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Speaker 3: Yes, so simple, But I am.

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Speaker 1: A control free oh yea yeah yeah, time and like

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Speaker 1: and the constant note that I will get is stop

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Speaker 1: holding on so tired.

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Speaker 2: I know you're doing the work, but.

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Speaker 4: But but see that's analogous to life. Just like today

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Speaker 4: I think, I was like, just have to keep surrendering,

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Speaker 4: just have to keep let going, like when we get

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Speaker 4: worked up about something or again in our business, like

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Speaker 4: wanting to get I just coached a client before you came,

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Speaker 4: and she put down some really great tapes and she's

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Speaker 4: worked up about it because she really wants a book

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Speaker 4: at job.

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Speaker 3: I was like, just let it go. I know, it's

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Speaker 3: e's just something done.

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Speaker 4: Actors, creators, you just have to let go. You have

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Speaker 4: to surrender. You have to trust that the part that

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Speaker 4: you've already done is done. It is, it's already done.

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Speaker 3: You're not. Just get on with what it's next.

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Speaker 2: It's a waste of time to continue to like hold on.

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Speaker 1: You're right something I love that you're all about because

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Speaker 1: of the like an audition came in for me this afternoon,

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Speaker 1: it's due tomorrow morning.

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Speaker 3: Oh shit, okay, right, I'll coach you right now.

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Speaker 1: But you're very proscript in hand, and in Australia it's

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Speaker 1: very not that way, like you're expected to be off

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Speaker 1: book and it's so freeing in your class where you're

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Speaker 1: like no, like in many ways can get in the way.

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Speaker 1: And I've heard you talk about using different parts of

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Speaker 1: the brain like memorization.

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Speaker 4: Prefrontal quart that could stimulate when we memorize, which is

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Speaker 4: again I don't want people to confuse that my methodology

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Speaker 4: or my philosophy is that we don't. I have people

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Speaker 4: working in all from Broadway to like TV or film

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Speaker 4: or whatever.

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Speaker 3: Like. It doesn't mean that you're not off book by

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Speaker 3: the time.

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Speaker 4: You're professionally executing that phase of the work, right, But

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Speaker 4: to get there organically is not to make the lines.

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Speaker 3: What's my word.

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Speaker 4: The lines are as a result of what we hear

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Speaker 4: in life. Just like life again, I don't know what

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Speaker 4: you're telling me, so my response is by listening, my

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Speaker 4: words will come. It's also that way with script. But

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Speaker 4: because we've all been trained myself as well at first

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Speaker 4: to learn the lines, memorize them, then even worse, how

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Speaker 4: to say the lines, and then even way way it

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Speaker 4: gets worse. Then on this line it means double back

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Speaker 4: wheremy double flip black maybe up words, and then we're

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Speaker 4: going to add an accent schwah and motivation and the

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Speaker 4: action and the emotional theme.

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Speaker 3: So on this line, I'm sad on this line, I'm

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Speaker 3: scared on this line. But you don't do that in life.

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Speaker 4: I'm not able to dictate my emotional output based on

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Speaker 4: what I'm receiving.

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Speaker 3: So this is good. This is why I'm very passionate

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Speaker 3: about it.

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Speaker 4: I think all those things can be helpful to maybe

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Speaker 4: chart and understand a scene totally.

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Speaker 3: And then the problem.

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Speaker 4: Is is most actors, if you're trained that way, can't

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Speaker 4: let that go and they play the idea of it

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Speaker 4: rather than they've not been trained to play the moment

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Speaker 4: and actually is and even playing the moment at all,

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Speaker 4: it's just living the moment. The moment will do it

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Speaker 4: for you. It will do it for you because it

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Speaker 4: does it in life. Sol That's my thing is like

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Speaker 4: I just use I learned thirty years ago that using

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Speaker 4: script in hand helps hasten and facilitate a faster and

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Speaker 4: way of getting to the text in a way without

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Speaker 4: controlling it.

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Speaker 3: But it's both.

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Speaker 4: I don't, you know, I also work with you know,

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Speaker 4: I just finished a movie where I want those people.

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Speaker 3: Actually, when they weren't off the book, I was like nervous.

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Speaker 4: But they're also but they're also very flexible to the moment,

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Speaker 4: you know what I'm saying. So I don't I think

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Speaker 4: the thing is is memorized, not memorized, rehearsed. Whatever you

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Speaker 4: can do to prepare for the audition or your work,

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Speaker 4: that's up to the actor. But then you have to

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Speaker 4: play ball in the moment.

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Speaker 3: Yeah, and we forget that.

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Speaker 1: And I think sometimes when you memorize, you can also

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Speaker 1: have these with little habits that you like on one

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Speaker 1: word and then it's really hard.

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Speaker 3: It's like this to get out of that.

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Speaker 1: Yeah, this behavior, and it's like edged into your brain

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Speaker 1: and you do it, or you trip on the same

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Speaker 1: thing from a dialect like it can get really like

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Speaker 1: technical and you lose all freedom. Yeah, and then you're

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Speaker 1: not even accessible in the moment because you're worrying about

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Speaker 1: that word that you always trip on or that's coming

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Speaker 1: up in two lines.

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Speaker 3: Alot like I'm always saying casting doesn't even track any

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Speaker 3: of that.

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Speaker 4: They don't even know you do say that they don't.

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Speaker 4: They don't track it, they don't notice, they don't. I

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Speaker 4: don't want to say they don't care, because they care

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Speaker 4: about good work, but I mean they don't care about

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Speaker 4: if you invert a line. They know that you're going

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Speaker 4: to be able to learn that line on set. It's

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Speaker 4: not an issue.

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Speaker 3: Guys.

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Speaker 2: Yeah, that's very freeing to hear.

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Speaker 4: Well, you just have to be committed to the intentionality

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Speaker 4: of it. So I said maybe in class, like if

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Speaker 4: the line is I need you to get out my

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Speaker 4: parents are coming, and you say go now my parents

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Speaker 4: are here.

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Speaker 3: It's fine.

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Speaker 4: Yeah, don't get don't jettison out of the moment just

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Speaker 4: because you said if you stay in the flow of

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Speaker 4: the truth of it. Yeah, Now, you can't do that

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Speaker 4: every single moment because then they're gonna be like, oh wow,

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Speaker 4: this person really is not looking at their lines at all.

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Speaker 2: Totally.

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Speaker 3: But actors get too fixated on.

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Speaker 2: Yeah holding on soiti Yeah.

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Speaker 3: And also like if they made a mistake.

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Speaker 2: Pray Yeah.

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Speaker 1: I've seen many an actor like emotionally beat themselves up

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Speaker 1: if they've dropped a line and stuff.

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Speaker 2: It's like, oh no, we've got to play because I

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Speaker 2: think also.

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Speaker 4: Think we're heading toward okay, if we're going to go

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Speaker 4: there now, I think we're heading. Andrew Garfield just talked

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Speaker 4: about this in an interview. I think the business, let's

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Speaker 4: make no bones about it, like the business is heading.

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Speaker 4: It's tech driven nowadays. And if it's a tech driven business,

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Speaker 4: all they care about are eyeballs, and eyeballs equals money.

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Speaker 4: And it also doesn't mean it's just about churning out content.

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Speaker 4: And I think it's it's it's moving toward homogeneity because

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Speaker 4: homogeneity is safe and if you look around, everything is

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Speaker 4: HARMI Jannis. Nowadays we all kind of look the same

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Speaker 4: and want to have the same aesthetic, and we curate

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Speaker 4: our social media page of what is popular and looks

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Speaker 4: good and ikiaing of our lives and you see what

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Speaker 4: I'm saying. That is right, But I think that there's

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Speaker 4: something very dangerous when the actor, our own unique humanity

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Speaker 4: gets compromised or co opted to do something perfectly.

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Speaker 3: Nobody wants a perfect robot.

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Speaker 1: You well, you lose your essence right and you're very

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Speaker 1: into like if you're present, then we get to see yours.

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Speaker 4: Well, that's how we were just talking about a friend

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Speaker 4: of ours. It just booked a job. You can't be

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Speaker 4: You can only be who you are, and the gift

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Speaker 4: is being more of who you are visa via role

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Speaker 4: you're playing, and then you stand out like people. I

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Speaker 4: think people sometimes ask me, well, how do I stand out?

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Speaker 4: And I was like, standing out isn't having to do

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Speaker 4: something that's like very unattractive. I was that way in

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Speaker 4: my twenties, like in the datings the gay Bars. I'd

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Speaker 4: really try to like stand out because I had such

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Speaker 4: low self esteem and self confidence around who I was.

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Speaker 4: So if I was quirky and funny and stood out

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Speaker 4: by doing something, somebody would love me. But that's analogous

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Speaker 4: to acting. You don't have to do something. If you're

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Speaker 4: being who you are, you have to trust that there's

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Speaker 4: something intrinsically interesting about you. But that's batshit scary. Nobody

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Speaker 4: would listen. That's hard to do. That takes courage, that

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Speaker 4: takes bravery, and it also takes bravery plus time equals

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Speaker 4: a career because it doesn't mean everybody's going to get you.

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Speaker 4: It may take ten years, so you just have to

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Speaker 4: stay in the game.

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Speaker 1: Yeah, yeah, I love it and I love this. You

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Speaker 1: said people who do the.

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Speaker 3: Work work, Yeah, I did say that.

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Speaker 1: Yeah, like as in like if you're just one foot

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Speaker 1: some days like an LA like can feel like in Hollywood,

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Speaker 1: can feel like a grind some days where you're putting

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Speaker 1: up self tape, putting out self tape, and for listeners

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Speaker 1: that aren't in the acting realm, like if you don't

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Speaker 1: get booked, it's a donut. It's not like you get feedback.

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Speaker 1: You literally just don't hear, which it can be like

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Speaker 1: you've got to have that real resilience piece as well

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Speaker 1: to just keep moving forward, keep doing the work, learning, growing,

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Speaker 1: being in class.

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Speaker 2: Yeah, it's not an easy racket. I don't think.

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Speaker 4: Yeah, I mean, as you're saying that, I'm just thinking, yeah,

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Speaker 4: we are. I don't want to speak to other careers

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Speaker 4: because I think it's it's just hard whatever we're doing

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Speaker 4: in life, if you want to excel, but we're in

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Speaker 4: a hard business because I think we're one of the

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Speaker 4: very few professions where you're rejected based on who you are.

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Speaker 4: In a way you're offering which is very vulnerable and

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Speaker 4: brave and takes courage to show up and here's my offering.

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Speaker 3: I hope you like me.

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Speaker 4: And also the rejection also doesn't always come. Actually, it

404
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Speaker 4: very rarely comes because they're rejecting you as your essence.

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Speaker 4: They're rejecting you because you just don't fit that role,

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Speaker 4: and so it's not personal at all. The actor personalizes

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Speaker 4: it completely as human as we do.

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Speaker 1: You know, Yeah, I want to talk to you about

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Speaker 1: vocal commitment.

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Speaker 3: O me me, me, me, me me me.

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Speaker 1: Do you know though, like even with this pod, I'm

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Speaker 1: over six hundred EPs in now, I will book people often.

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Speaker 2: If, like Jesus, if I love their voice.

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Speaker 1: I had a well shocked on recently and he had

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Speaker 1: this incredible voice, and I was like, how do I

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Speaker 1: get this person?

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Speaker 3: Oh? Now I feel the pressure again.

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Speaker 4: But really my voice is kind of scratchy tonight because

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Speaker 4: I stayed up later.

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Speaker 2: As you have a beautiful voice.

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Speaker 1: I also think like being able to audit and what

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Speaker 1: you work with actors on building that vocal commitment was

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Speaker 1: incredible because it was night and day that you can

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Speaker 1: feel the difference.

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Speaker 4: Yeah, I mean for your listeners if I mean they

426
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Speaker 4: weren't there. I'm just trying to have a summation of

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Speaker 4: what my thinging about voice is getting when I try

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Speaker 4: to get the actor on voice, is the voice is

429
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Speaker 4: feeling right, And so if we're on our voice again,

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Speaker 4: the work will happen for you. And also what I

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Speaker 4: always say is who we are, and like, after the

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Speaker 4: actors do the scene and we rework it or I

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Speaker 4: give adjustments or whatever, then afterwards we talk about the

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Speaker 4: experience and what they're up against or whatever, and the talkback. Invariably,

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Speaker 4: when somebody's not on voice. In the talk back, I'm like,

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Speaker 4: how was that, They're like, oh god, it's sucked. They're

437
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Speaker 4: on the worzidder. Ever, I can't do it. I'm scared,

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Speaker 4: blah blah blah. And I was like, wait a minute,

439
00:21:31,359 --> 00:21:34,280
Speaker 4: that how you're talking right now is how you have

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Speaker 4: to talk in the scene.

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Speaker 3: But in the scene they put on their acts. No,

442
00:21:41,920 --> 00:21:44,960
Speaker 3: I know, it's a thing. It's so annoying to me.

443
00:21:45,520 --> 00:21:50,439
Speaker 4: I can't take a lola because every actor proves my

444
00:21:50,640 --> 00:21:53,119
Speaker 4: point because they just talk to me like a real person.

445
00:21:53,840 --> 00:21:55,200
Speaker 3: So why are you acting now? Well?

446
00:21:55,240 --> 00:21:59,040
Speaker 4: I know why because to be in a real voice,

447
00:21:59,119 --> 00:22:01,679
Speaker 4: I just called it our drop voice is to be

448
00:22:01,760 --> 00:22:04,600
Speaker 4: in feeling, and people don't want to be in feeling.

449
00:22:04,920 --> 00:22:08,280
Speaker 3: Because it's scary work vulnerable.

450
00:22:08,720 --> 00:22:11,359
Speaker 2: What was that exercise where you got someone to hold

451
00:22:11,400 --> 00:22:11,920
Speaker 2: the actors?

452
00:22:12,359 --> 00:22:15,480
Speaker 4: Well, that's a body thing. I like, I just you know,

453
00:22:15,560 --> 00:22:17,639
Speaker 4: it's weird. I'm kind of trying to work on a

454
00:22:17,640 --> 00:22:20,879
Speaker 4: book right now. My ex boyfriend who's not an actor,

455
00:22:20,880 --> 00:22:23,400
Speaker 4: although now he wants to be an actor. Jesus Christ,

456
00:22:23,760 --> 00:22:26,560
Speaker 4: I know he wasn't an actor and now he's like once.

457
00:22:26,359 --> 00:22:31,720
Speaker 3: ACKed, yeah, but and I support him totally. But he

458
00:22:31,880 --> 00:22:32,600
Speaker 3: was telling me.

459
00:22:34,040 --> 00:22:36,639
Speaker 4: Like, I need to write a book with all of

460
00:22:36,680 --> 00:22:40,320
Speaker 4: my exercises, which is really interesting because I was like, who.

461
00:22:40,400 --> 00:22:41,520
Speaker 2: Oh, yes, signed me up.

462
00:22:41,640 --> 00:22:48,000
Speaker 4: Really yeah, Okay, maybe afterwards we'll talk in the show notes, we.

463
00:22:48,040 --> 00:22:49,679
Speaker 3: Can talk about like you know what I mean, Like,

464
00:22:49,880 --> 00:22:50,280
Speaker 3: I don't know.

465
00:22:50,359 --> 00:22:52,399
Speaker 4: I'd like to pick your brain on that, but I

466
00:22:52,440 --> 00:22:56,000
Speaker 4: guess I just intuitively, over the years, just just come

467
00:22:56,080 --> 00:22:59,040
Speaker 4: up within the moment exercises to try to get the

468
00:22:59,080 --> 00:23:01,639
Speaker 4: person more in their body, in their feelings and their

469
00:23:01,680 --> 00:23:05,840
Speaker 4: voice in the moment, integrated to who they are. And

470
00:23:05,880 --> 00:23:07,960
Speaker 4: I just have really unorthodox ways of doing it, but

471
00:23:08,000 --> 00:23:08,840
Speaker 4: they always work.

472
00:23:09,359 --> 00:23:11,359
Speaker 1: I there was something I wrote down when I was

473
00:23:11,440 --> 00:23:17,040
Speaker 1: ordering about you talking about body and like, and I

474
00:23:17,160 --> 00:23:20,720
Speaker 1: was watching actors move around the scene like one was

475
00:23:20,720 --> 00:23:23,680
Speaker 1: like super like in my body. One's like body led

476
00:23:23,720 --> 00:23:26,480
Speaker 1: movement kind of thing, like intuitive like wherever you and

477
00:23:26,560 --> 00:23:28,199
Speaker 1: others are, like, I am going to move to my

478
00:23:28,280 --> 00:23:30,560
Speaker 1: mark right now because that's where I've rehearsed that I

479
00:23:30,600 --> 00:23:34,359
Speaker 1: want to be for this delivery exactly, and you beautifully

480
00:23:34,480 --> 00:23:37,439
Speaker 1: can the way you articulated it in when I was

481
00:23:37,480 --> 00:23:39,399
Speaker 1: sorry to put you on the spotlight, by the way,

482
00:23:39,640 --> 00:23:42,080
Speaker 1: but also like seeing the difference between the two of

483
00:23:42,240 --> 00:23:46,120
Speaker 1: like just being super open in the moment, listening, connecting

484
00:23:46,680 --> 00:23:49,639
Speaker 1: and trusting that versus yeah, this is some kind of

485
00:23:49,680 --> 00:23:52,920
Speaker 1: like planned out thing in your brain that I've definitely

486
00:23:52,920 --> 00:23:54,360
Speaker 1: done a million in one times.

487
00:23:54,600 --> 00:23:56,199
Speaker 2: Yeah, like because it felt safer.

488
00:23:56,320 --> 00:23:58,760
Speaker 4: Yeah, weirdly or even I'm not even sure if they're

489
00:23:58,760 --> 00:24:01,320
Speaker 4: planning it, And I think they're in the heads because

490
00:24:01,320 --> 00:24:05,880
Speaker 4: they're disconnected from the feeling body. Our feeling body knows

491
00:24:05,920 --> 00:24:09,040
Speaker 4: what to do, like I'm reaching out to you right now. Yeah,

492
00:24:09,280 --> 00:24:12,520
Speaker 4: I'm not high. I'm not overthinking that. But an actor

493
00:24:12,600 --> 00:24:14,479
Speaker 4: gets up and they start to overthink everything.

494
00:24:14,560 --> 00:24:15,040
Speaker 3: Is this right?

495
00:24:15,080 --> 00:24:19,840
Speaker 4: Can the character do that? These nonsensical The character is

496
00:24:19,880 --> 00:24:23,760
Speaker 4: created by you doing what you do and the way

497
00:24:23,800 --> 00:24:27,000
Speaker 4: you do it is different than somebody else doing it.

498
00:24:27,359 --> 00:24:30,520
Speaker 4: I'll say that again because that's pretty brilliant. The character

499
00:24:30,960 --> 00:24:36,400
Speaker 4: is created, is forged, is discovered, is presented, is performed

500
00:24:36,920 --> 00:24:41,640
Speaker 4: by you being and doing what you do, and what

501
00:24:41,680 --> 00:24:43,240
Speaker 4: you do is unique to you.

502
00:24:43,440 --> 00:24:43,920
Speaker 3: It's not.

503
00:24:45,520 --> 00:24:47,560
Speaker 4: The way Nicole Kidman would do it. She has her

504
00:24:47,600 --> 00:24:52,760
Speaker 4: own way and so that's her composite of a character.

505
00:24:53,160 --> 00:24:57,320
Speaker 4: Yours is yours. So again it comes back to trusting self.

506
00:24:58,040 --> 00:24:59,840
Speaker 4: But that skill building, that's why we.

507
00:25:01,160 --> 00:25:05,879
Speaker 1: Totally and like I have a big thing in like

508
00:25:05,960 --> 00:25:09,960
Speaker 1: highlighted here, and it's like trusting yourself into taking bigger risks,

509
00:25:10,080 --> 00:25:13,200
Speaker 1: which again like as a goal written on paper or

510
00:25:13,240 --> 00:25:15,440
Speaker 1: a goal for twenty twenty five is like a really

511
00:25:15,440 --> 00:25:19,120
Speaker 1: cool thing. But like I think also when it comes

512
00:25:19,160 --> 00:25:20,919
Speaker 1: down to it and you're in an acting class or

513
00:25:20,960 --> 00:25:24,080
Speaker 1: in a callback or you know, and you've got either

514
00:25:24,200 --> 00:25:27,639
Speaker 1: like you know, casting directors and all that jazz in

515
00:25:27,640 --> 00:25:30,080
Speaker 1: front of you on a couch probably eating snacks and

516
00:25:30,119 --> 00:25:32,560
Speaker 1: taking notes, or you're in an acting class and you

517
00:25:32,600 --> 00:25:34,760
Speaker 1: feel like you're being judged even though you're probably not.

518
00:25:34,840 --> 00:25:36,720
Speaker 1: You feel like that feeling is going on.

519
00:25:37,040 --> 00:25:38,160
Speaker 2: It can be really.

520
00:25:37,880 --> 00:25:40,920
Speaker 1: Hard to like because that self doubt is this weird

521
00:25:40,960 --> 00:25:43,199
Speaker 1: primal protection thing, like, oh, don't do that, You're not

522
00:25:43,240 --> 00:25:45,000
Speaker 1: going to be liked or the clan won't like you.

523
00:25:45,040 --> 00:25:48,919
Speaker 1: Whatever the weird primal kind of thing is. But it's like,

524
00:25:49,000 --> 00:25:51,440
Speaker 1: how do we get out of our heads and kind

525
00:25:51,440 --> 00:25:54,080
Speaker 1: of like kick that self doubt to the curb so

526
00:25:54,080 --> 00:25:57,320
Speaker 1: that we can take those big risks and trust ourselves.

527
00:25:57,440 --> 00:26:00,439
Speaker 4: Well, I think that's all you're really on it. I

528
00:26:00,480 --> 00:26:03,800
Speaker 4: think like that's all technique. That's the word for technique.

529
00:26:03,840 --> 00:26:06,320
Speaker 4: Like people think technique is like some high falutin word

530
00:26:06,400 --> 00:26:12,320
Speaker 4: of Like a technique just means I'm emotionally available to

531
00:26:12,359 --> 00:26:17,240
Speaker 4: feel feeling. And I think technique is built by again,

532
00:26:17,440 --> 00:26:21,400
Speaker 4: the saturation of the moment. Like I don't I don't

533
00:26:21,400 --> 00:26:23,520
Speaker 4: think all those things that you just said, they're never

534
00:26:23,560 --> 00:26:24,200
Speaker 4: going to go away.

535
00:26:24,400 --> 00:26:25,320
Speaker 3: They're always going to be there.

536
00:26:25,359 --> 00:26:28,080
Speaker 4: For every actor, every famous actor you see who's like

537
00:26:28,240 --> 00:26:32,160
Speaker 4: crushing it, they also struggle with self doubt and being

538
00:26:32,160 --> 00:26:34,000
Speaker 4: in and out of the moment. And but the point

539
00:26:34,040 --> 00:26:37,680
Speaker 4: about technique is even when that stuff is happening, you're

540
00:26:37,800 --> 00:26:40,680
Speaker 4: driving deeper into the moment and your own.

541
00:26:41,960 --> 00:26:43,919
Speaker 3: Aspect of being Yeah, you know what I mean?

542
00:26:44,560 --> 00:26:46,000
Speaker 2: Luck and be like, I' here.

543
00:26:47,720 --> 00:26:49,600
Speaker 3: That's right, because I don't. I don't.

544
00:26:49,800 --> 00:26:52,840
Speaker 4: I don't think that ever ends. No, I think there's

545
00:26:52,920 --> 00:26:55,800
Speaker 4: this this belief. I used to maybe believe this because

546
00:26:56,040 --> 00:26:58,120
Speaker 4: you know, I'd be in therapy for it. Like I

547
00:26:58,160 --> 00:27:00,560
Speaker 4: suffered from really bad stage anxiety, and I was doing

548
00:27:00,640 --> 00:27:02,399
Speaker 4: some kind of big stuff.

549
00:27:02,440 --> 00:27:04,560
Speaker 3: I had a performed at the Hollywood.

550
00:27:04,200 --> 00:27:07,679
Speaker 4: Ball and I was doing this show that ran for

551
00:27:07,720 --> 00:27:09,720
Speaker 4: a long time here in la It was a big success,

552
00:27:09,840 --> 00:27:15,440
Speaker 4: and like I guess, I started learning that even when

553
00:27:15,480 --> 00:27:19,679
Speaker 4: you reach a certain level, that you're still carrying your

554
00:27:19,800 --> 00:27:22,800
Speaker 4: stuff with you. Yeah, and again you have to use

555
00:27:22,840 --> 00:27:26,240
Speaker 4: it and it feeds the work and becomes part of

556
00:27:26,240 --> 00:27:29,800
Speaker 4: the work. But I think there's this, like what our

557
00:27:29,800 --> 00:27:34,520
Speaker 4: business likes to portray is once you've become what you're like, sick,

558
00:27:34,640 --> 00:27:37,320
Speaker 4: problem free. Yeah yeah, I don't know. I just think

559
00:27:37,359 --> 00:27:38,480
Speaker 4: more money, more problems.

560
00:27:38,920 --> 00:27:39,680
Speaker 2: Yeah.

561
00:27:40,520 --> 00:27:43,680
Speaker 1: Yeah, I think you're I think you're spot on. I

562
00:27:43,760 --> 00:27:45,400
Speaker 1: noticed you give a note the other night that.

563
00:27:45,400 --> 00:27:48,240
Speaker 3: I have you really took notes at her I'm a

564
00:27:48,240 --> 00:27:48,879
Speaker 3: triple virgo.

565
00:27:49,240 --> 00:27:55,760
Speaker 1: Oh so, and I noticed if I ever have, if

566
00:27:55,800 --> 00:27:58,679
Speaker 1: I'm ever in a scene where my character could be

567
00:27:58,760 --> 00:28:03,960
Speaker 1: hurting another character, I shut my eyes on deliverance or

568
00:28:04,000 --> 00:28:06,040
Speaker 1: I smile all subconscious.

569
00:28:06,400 --> 00:28:09,199
Speaker 3: Well, I gotta work with you. Yeah, I know, but

570
00:28:09,280 --> 00:28:11,720
Speaker 3: I watched you notice both of those things.

571
00:28:11,800 --> 00:28:14,080
Speaker 1: And I noticed it was with females a lot like

572
00:28:14,320 --> 00:28:17,399
Speaker 1: not wanting like oh, I'm saying so, And it's completely

573
00:28:17,400 --> 00:28:21,120
Speaker 1: subconscious because the actor you coach was like, I had

574
00:28:21,200 --> 00:28:22,159
Speaker 1: no idea I did that.

575
00:28:22,440 --> 00:28:26,560
Speaker 3: Yeah, she's amazing, by the way, phenomenal. It's still yeah.

576
00:28:25,920 --> 00:28:29,120
Speaker 1: And I've had the same note around I have no

577
00:28:29,400 --> 00:28:33,280
Speaker 1: idea and well weird is that a weird?

578
00:28:33,480 --> 00:28:35,760
Speaker 4: Like no, but see, but this is the thing about

579
00:28:36,240 --> 00:28:38,000
Speaker 4: to me, what's beautiful about that is so now you

580
00:28:38,000 --> 00:28:41,480
Speaker 4: have an insight, And the insights to me about acting

581
00:28:42,320 --> 00:28:45,840
Speaker 4: are really quite simple, like that's you understand that. Your

582
00:28:45,840 --> 00:28:48,640
Speaker 4: listeners probably understand that. Now we can fix that. Now

583
00:28:48,720 --> 00:28:50,960
Speaker 4: that there's anything wrong with that, it's just an insight.

584
00:28:51,040 --> 00:28:54,040
Speaker 4: It's it's holding you back from a deeper expression and

585
00:28:54,080 --> 00:28:57,520
Speaker 4: a deeper connection to feeling. So I try to make acting,

586
00:28:58,120 --> 00:29:01,040
Speaker 4: the components of acting and the prince of acting, the

587
00:29:01,120 --> 00:29:03,800
Speaker 4: technique of acting, if you will, are so much easier,

588
00:29:03,840 --> 00:29:07,080
Speaker 4: And it comes down to a number of like basic

589
00:29:07,080 --> 00:29:15,000
Speaker 4: principles like breathing, We forget to breathe really listening right,

590
00:29:15,560 --> 00:29:18,360
Speaker 4: really checking in and allowing herself a lot of times.

591
00:29:18,480 --> 00:29:20,120
Speaker 4: So I'm going off on tangent. I want to answer that,

592
00:29:20,160 --> 00:29:22,320
Speaker 4: but like I think it was the class you were in.

593
00:29:22,400 --> 00:29:25,360
Speaker 4: I asked the guy the one, what are you feeling

594
00:29:25,400 --> 00:29:27,600
Speaker 4: right now? And the guy could not even identify what

595
00:29:27,640 --> 00:29:30,600
Speaker 4: he was feeling. He did a description about the scene.

596
00:29:31,000 --> 00:29:32,640
Speaker 2: Yeah, but I.

597
00:29:32,560 --> 00:29:33,560
Speaker 3: Don't do that in life.

598
00:29:34,080 --> 00:29:38,040
Speaker 4: I feel blank, I feel angry, or I feel discontent,

599
00:29:38,200 --> 00:29:40,720
Speaker 4: or I feel restless, or I feel upset or I

600
00:29:40,760 --> 00:29:44,440
Speaker 4: feel scared. We are able to identify, well, maybe we're

601
00:29:44,480 --> 00:29:46,920
Speaker 4: not able to identify things in life, which is also

602
00:29:48,640 --> 00:29:52,160
Speaker 4: paramount for the actor to start realizing they don't in life.

603
00:29:52,320 --> 00:29:52,520
Speaker 3: Right.

604
00:29:53,080 --> 00:29:54,680
Speaker 4: So I guess my point that I was trying to

605
00:29:54,680 --> 00:29:57,760
Speaker 4: say about all these things is once we start to

606
00:29:57,880 --> 00:30:03,120
Speaker 4: get h ourselves in the work, I think they're really

607
00:30:03,160 --> 00:30:05,880
Speaker 4: simple core concepts that we keep coming back to, and

608
00:30:05,920 --> 00:30:10,800
Speaker 4: then there are simple extensions of that, like, yes, women

609
00:30:10,880 --> 00:30:15,280
Speaker 4: have a hard time staying in conflict and hurting somebody

610
00:30:15,280 --> 00:30:18,680
Speaker 4: else's feeling or taking up space is something that I

611
00:30:18,760 --> 00:30:20,560
Speaker 4: work on a lot with women.

612
00:30:20,800 --> 00:30:23,520
Speaker 3: Or being unlikable or.

613
00:30:23,400 --> 00:30:26,440
Speaker 4: You know what I mean, really leaning into these qualities

614
00:30:26,480 --> 00:30:30,680
Speaker 4: that may perceive them as unlikable.

615
00:30:30,800 --> 00:30:32,240
Speaker 3: Mean, yeah, whatever.

616
00:30:32,440 --> 00:30:36,400
Speaker 4: Yeah, And so I think it's it's almost like, yeah,

617
00:30:36,440 --> 00:30:38,920
Speaker 4: I think it's like a self self what do you

618
00:30:38,960 --> 00:30:40,680
Speaker 4: call it, like self preservation mechanisms?

619
00:30:40,720 --> 00:30:44,120
Speaker 1: Yeah, yeah, to protect yourself, to protect yourself a thousand

620
00:30:45,160 --> 00:30:48,400
Speaker 1: I And I know I'm not asking this just for me,

621
00:30:48,480 --> 00:30:50,880
Speaker 1: but I'm secretly so excited for your answer on this

622
00:30:51,840 --> 00:30:59,680
Speaker 1: being this a type over prepare natured human. Yeah, how

623
00:30:59,760 --> 00:31:06,080
Speaker 1: on earth can we combat the fucking inner critic? Because

624
00:31:06,160 --> 00:31:08,760
Speaker 1: it I think it is something that we all face

625
00:31:08,840 --> 00:31:14,200
Speaker 1: in different ways as well. And I think it's like

626
00:31:14,360 --> 00:31:17,080
Speaker 1: such a quick way to take the joy of just

627
00:31:17,120 --> 00:31:17,920
Speaker 1: being present.

628
00:31:18,280 --> 00:31:20,360
Speaker 2: Yeah, and the magic.

629
00:31:20,160 --> 00:31:24,560
Speaker 4: Right, Well, I guess my short answer would be it

630
00:31:24,600 --> 00:31:27,280
Speaker 4: does get easier as you get older, Yeah, because you

631
00:31:27,320 --> 00:31:30,160
Speaker 4: give less Fox and he also realize nobody knows.

632
00:31:30,960 --> 00:31:32,800
Speaker 3: Yeah that's the truth.

633
00:31:33,000 --> 00:31:33,440
Speaker 2: Yeah.

634
00:31:33,480 --> 00:31:37,880
Speaker 4: And I think the self critic, I think you just

635
00:31:38,000 --> 00:31:41,080
Speaker 4: have to unravel. Like I think the self critic comes

636
00:31:41,160 --> 00:31:45,520
Speaker 4: from when something happens in our life, we don't get

637
00:31:45,560 --> 00:31:48,600
Speaker 4: something or we are up for something, when we just

638
00:31:48,640 --> 00:31:51,440
Speaker 4: keep it in acting terms or whatever, and our nervous

639
00:31:51,480 --> 00:31:53,760
Speaker 4: system gets stimulated. And you were saying earlier about I

640
00:31:53,800 --> 00:31:56,400
Speaker 4: really believe in that, Like you know, when we're our

641
00:31:56,560 --> 00:32:00,720
Speaker 4: ancient ancient forefathers and Neanderthal cousins were thrown out of

642
00:32:00,760 --> 00:32:03,600
Speaker 4: the cave. You didn't survive, So there is that aspect

643
00:32:03,640 --> 00:32:06,560
Speaker 4: of being rejected that is primal and in our DNA

644
00:32:06,760 --> 00:32:09,400
Speaker 4: that we don't even realize is getting stimulated. But as

645
00:32:09,400 --> 00:32:11,280
Speaker 4: you start to have a little bit more self awareness

646
00:32:11,320 --> 00:32:14,320
Speaker 4: around okay, this is just my eight year old self

647
00:32:14,360 --> 00:32:17,080
Speaker 4: being triggered, I'm in a trauma response, or if that's

648
00:32:17,120 --> 00:32:18,520
Speaker 4: too strong of a word is I don't really like

649
00:32:18,560 --> 00:32:21,520
Speaker 4: that word, but like if I'm in a reactionary response,

650
00:32:22,080 --> 00:32:24,080
Speaker 4: I just need to come back to right now and

651
00:32:24,200 --> 00:32:30,360
Speaker 4: know that I'm okay, I'm safe. This this outcome does

652
00:32:30,400 --> 00:32:31,280
Speaker 4: not mean.

653
00:32:32,680 --> 00:32:35,720
Speaker 3: X, because it doesn't. There's so many possibilities of other

654
00:32:35,800 --> 00:32:40,440
Speaker 3: things unfolding in ways that we can't even imagine yet.

655
00:32:41,440 --> 00:32:44,200
Speaker 3: And I also think a little the two like as

656
00:32:44,200 --> 00:32:47,880
Speaker 3: cliche as Lady Gaga made it sound, all it takes

657
00:32:47,960 --> 00:32:48,320
Speaker 3: is one.

658
00:32:49,960 --> 00:32:53,640
Speaker 4: You know, when you've got a what was the movie

659
00:32:53,680 --> 00:32:58,160
Speaker 4: she broke through on Starsbourne and Bradley Cooper was her one?

660
00:32:58,240 --> 00:33:00,320
Speaker 4: She said it, and then that went around, that went

661
00:33:00,320 --> 00:33:02,400
Speaker 4: around because she said it like in every press junken.

662
00:33:02,920 --> 00:33:04,320
Speaker 4: She said it over and over again, but I think

663
00:33:04,320 --> 00:33:07,960
Speaker 4: it was. It bears repeating. All it takes is one

664
00:33:08,440 --> 00:33:14,040
Speaker 4: so you you it's true, and you just the rejections

665
00:33:14,040 --> 00:33:15,680
Speaker 4: may pile up, and then all of a sudden somebody

666
00:33:15,720 --> 00:33:17,840
Speaker 4: sees you and is like, well, first of all, you

667
00:33:17,840 --> 00:33:18,400
Speaker 4: have to see.

668
00:33:18,200 --> 00:33:21,720
Speaker 2: Yourself and be comfortable with that too.

669
00:33:22,080 --> 00:33:23,840
Speaker 3: You have to see and acknowledge yourself.

670
00:33:24,520 --> 00:33:27,600
Speaker 4: As we take a deep breath, I know, I like,

671
00:33:27,640 --> 00:33:33,760
Speaker 4: I feel like, yeah, what is it anyway, Lola, that

672
00:33:33,800 --> 00:33:40,480
Speaker 4: we're looking for? As I'm the seeking of validation from

673
00:33:40,560 --> 00:33:46,080
Speaker 4: the external is really the mirror of the projection of self.

674
00:33:47,360 --> 00:33:50,440
Speaker 4: So me wanting this person to really like my work

675
00:33:50,960 --> 00:33:54,240
Speaker 4: is me wanting to really like my work. But I'm

676
00:33:54,520 --> 00:33:59,440
Speaker 4: I cast it upon somebody else because that external validation

677
00:33:59,560 --> 00:34:01,280
Speaker 4: is what we have been taught to.

678
00:34:01,200 --> 00:34:02,240
Speaker 3: Believe is real.

679
00:34:02,400 --> 00:34:03,160
Speaker 2: Isn't that wild?

680
00:34:03,360 --> 00:34:04,800
Speaker 3: But it's not real? I know.

681
00:34:05,600 --> 00:34:08,840
Speaker 4: Well one could even say like, isn't you know, depending

682
00:34:08,840 --> 00:34:11,840
Speaker 4: on your philosophical beliefs about what is this world that

683
00:34:11,880 --> 00:34:15,200
Speaker 4: we're living in? And what is the materialistic view? Meaning

684
00:34:15,239 --> 00:34:18,920
Speaker 4: materialistic I don't mean capitalism, I mean the materialistic view

685
00:34:19,360 --> 00:34:22,400
Speaker 4: is the scientific view that this three dimensional world is

686
00:34:22,400 --> 00:34:25,239
Speaker 4: the only world that we see, but it's not. We

687
00:34:25,360 --> 00:34:28,759
Speaker 4: know that what is the spirit world? Or even if

688
00:34:28,800 --> 00:34:32,480
Speaker 4: spirit world doesn't make it doesn't sit with everybody. What

689
00:34:32,600 --> 00:34:35,600
Speaker 4: is the world of physics which could mean spirit world

690
00:34:35,800 --> 00:34:40,239
Speaker 4: or the world of mathematics or the quantum or when

691
00:34:40,719 --> 00:34:42,280
Speaker 4: you think of somebody and then all of a sudden

692
00:34:42,320 --> 00:34:45,919
Speaker 4: they call yeah. Now, somebody could argue, well, that's coincidence,

693
00:34:45,960 --> 00:34:51,640
Speaker 4: But doesn't even coincidence mean more than one event occurring

694
00:34:51,719 --> 00:34:56,560
Speaker 4: at the same time. So I think it's too magical

695
00:34:57,320 --> 00:35:02,680
Speaker 4: to identify with. I think just the external. And for me,

696
00:35:02,880 --> 00:35:06,799
Speaker 4: where I am in my life is trying to not

697
00:35:07,120 --> 00:35:13,200
Speaker 4: tell apathy, but like keep trying to tap into the

698
00:35:13,320 --> 00:35:17,520
Speaker 4: validation is of self. Everybody and everything is just a

699
00:35:17,600 --> 00:35:20,279
Speaker 4: mirror of myself, just like for you it.

700
00:35:20,280 --> 00:35:20,799
Speaker 3: Is for you.

701
00:35:21,640 --> 00:35:26,080
Speaker 1: I also one thing that I noticed last week watching you,

702
00:35:26,120 --> 00:35:29,799
Speaker 1: because I was really researching you the whole time. You

703
00:35:29,840 --> 00:35:31,840
Speaker 1: said something and you said I'm feeling this, and so

704
00:35:31,920 --> 00:35:34,960
Speaker 1: I know it's true, And I was like, whoa to

705
00:35:35,040 --> 00:35:40,799
Speaker 1: live that connected and trusting of self? Because I think

706
00:35:40,960 --> 00:35:43,120
Speaker 1: in truth a lot of people will get that feeling

707
00:35:43,120 --> 00:35:44,839
Speaker 1: and be like, oh, like we talk about like gut

708
00:35:44,880 --> 00:35:47,040
Speaker 1: feeling and all that, and will often be like, oh no,

709
00:35:48,920 --> 00:35:51,719
Speaker 1: that will kind of ignore it or like not sit

710
00:35:51,760 --> 00:35:54,520
Speaker 1: in that, and you're very comfortable being like, hang on,

711
00:35:55,239 --> 00:35:57,160
Speaker 1: I need to honor this thing right now because this

712
00:35:57,280 --> 00:35:57,680
Speaker 1: is real.

713
00:35:58,880 --> 00:35:59,480
Speaker 3: Yeah, I guess.

714
00:35:59,560 --> 00:36:02,160
Speaker 4: I I just want to say, like when I say that,

715
00:36:02,280 --> 00:36:04,840
Speaker 4: I don't to me, it's a relative truth in terms

716
00:36:04,880 --> 00:36:09,440
Speaker 4: of I don't want to I'm not trying to dictate

717
00:36:09,800 --> 00:36:12,920
Speaker 4: that my truth equals your truth. But what I was

718
00:36:12,960 --> 00:36:15,200
Speaker 4: saying in that example is the person was starting to

719
00:36:15,239 --> 00:36:18,200
Speaker 4: feel feeling and I felt that, and that to me

720
00:36:18,440 --> 00:36:21,239
Speaker 4: is true because I feel it, and so if I

721
00:36:21,320 --> 00:36:24,640
Speaker 4: feel it, therefore is a feeling that's going on, you

722
00:36:24,640 --> 00:36:27,319
Speaker 4: know what I mean. Now, just like we all have

723
00:36:27,440 --> 00:36:30,160
Speaker 4: experience in the world, we can be gas lit, somebody

724
00:36:30,200 --> 00:36:32,640
Speaker 4: can say I don't feel that whatever, We can be

725
00:36:32,640 --> 00:36:36,279
Speaker 4: in denial about it. But you know, I think I

726
00:36:36,280 --> 00:36:38,719
Speaker 4: also think, like, just to go off on a little

727
00:36:38,719 --> 00:36:41,799
Speaker 4: bit of a topic, I think we're it reminds me

728
00:36:41,880 --> 00:36:45,520
Speaker 4: of how I think where we're heading culturally is we're

729
00:36:45,560 --> 00:36:49,120
Speaker 4: more and more scared to deal with reality. We don't

730
00:36:49,120 --> 00:36:50,879
Speaker 4: want to look at reality, we don't want to talk

731
00:36:50,920 --> 00:36:54,680
Speaker 4: about reality. We don't want to face reality. And my

732
00:36:54,880 --> 00:36:57,759
Speaker 4: friend I think she was in Tuesday Night. Yeah, we

733
00:36:57,760 --> 00:37:01,000
Speaker 4: were talking about if you want to be a fan nowadays,

734
00:37:01,000 --> 00:37:04,759
Speaker 4: because there are many that are overtaking the world, be

735
00:37:04,840 --> 00:37:10,360
Speaker 4: a fascist for truth, stand up for art and love

736
00:37:10,560 --> 00:37:13,879
Speaker 4: and the climate crisis and nature and the environment and

737
00:37:14,600 --> 00:37:18,560
Speaker 4: humanitarian rights and social work and you know what I mean,

738
00:37:19,120 --> 00:37:21,960
Speaker 4: be a fascist for truth that is good and love

739
00:37:22,320 --> 00:37:25,960
Speaker 4: I think is, but I don't think. I think also

740
00:37:26,360 --> 00:37:31,440
Speaker 4: to our again, technology. Technology is all about the denial

741
00:37:31,480 --> 00:37:34,960
Speaker 4: of reality, to go into worlds that exist on the

742
00:37:35,000 --> 00:37:38,839
Speaker 4: screen that aren't real, to take us away from so

743
00:37:38,880 --> 00:37:43,160
Speaker 4: we don't have to look at X not X as

744
00:37:43,160 --> 00:37:44,880
Speaker 4: in Twitter.

745
00:37:45,800 --> 00:37:48,440
Speaker 2: Oh my goodness, I could talk to you about so

746
00:37:48,480 --> 00:37:49,080
Speaker 2: many things now.

747
00:37:49,160 --> 00:37:51,600
Speaker 4: I know I always go off on this because I

748
00:37:51,640 --> 00:37:54,000
Speaker 4: can't just I think I would have been retired a

749
00:37:54,040 --> 00:37:56,080
Speaker 4: long time ago if I just talked about acting. It's

750
00:37:56,120 --> 00:37:59,640
Speaker 4: not that I don't think any of us are actors.

751
00:37:59,640 --> 00:38:03,160
Speaker 4: Are such amazing artists, Like why do we just keep

752
00:38:03,160 --> 00:38:05,920
Speaker 4: it at the level of acting. Anybody can learn.

753
00:38:05,800 --> 00:38:08,520
Speaker 2: To act, And you say we are all artists.

754
00:38:08,280 --> 00:38:11,520
Speaker 3: While we are. Yeah, you know, my mom, I don't

755
00:38:11,560 --> 00:38:14,160
Speaker 3: have it out here, But hold on hold on a second.

756
00:38:14,760 --> 00:38:15,560
Speaker 2: Oh, I love this.

757
00:38:16,280 --> 00:38:19,920
Speaker 4: I'm just pulling out a afghan. I guess you'd call

758
00:38:20,000 --> 00:38:22,480
Speaker 4: this not a quilt. This is crochet.

759
00:38:22,840 --> 00:38:24,640
Speaker 3: I mean, my mom made this. I have like four

760
00:38:24,680 --> 00:38:25,240
Speaker 3: other ones.

761
00:38:25,880 --> 00:38:30,880
Speaker 4: So my mom, this is so beautiful. And she to

762
00:38:30,960 --> 00:38:33,640
Speaker 4: this day she wasn't an artist. She didn't get paid

763
00:38:33,719 --> 00:38:37,880
Speaker 4: for making her crochete ye blankets.

764
00:38:38,560 --> 00:38:39,359
Speaker 3: But this is art.

765
00:38:39,719 --> 00:38:42,480
Speaker 4: Yeah, the design, she came up with, the design and

766
00:38:42,520 --> 00:38:46,400
Speaker 4: the knitting of it, And so everybody's an artist. I

767
00:38:46,480 --> 00:38:49,680
Speaker 4: just think again, we live in this capitalist world that

768
00:38:50,280 --> 00:38:58,279
Speaker 4: art only means money. But art is the tree. The

769
00:38:58,320 --> 00:39:01,080
Speaker 4: tree is not interested in money. I get as much

770
00:39:01,200 --> 00:39:04,200
Speaker 4: value looking at trees. Everybody's like, why see aways going

771
00:39:04,239 --> 00:39:07,880
Speaker 4: on about trees. I get as much. I get more

772
00:39:08,080 --> 00:39:11,239
Speaker 4: art out of nature than any art we could ever make.

773
00:39:11,680 --> 00:39:14,399
Speaker 2: Biophilia healing power of mother nature and human being.

774
00:39:14,480 --> 00:39:14,960
Speaker 3: That's right.

775
00:39:15,160 --> 00:39:18,520
Speaker 4: Yeah, So of course we are nature, you know what

776
00:39:18,560 --> 00:39:21,600
Speaker 4: I mean? So if we are the very thing that

777
00:39:21,680 --> 00:39:26,719
Speaker 4: we're I think the goal is we should not be

778
00:39:26,920 --> 00:39:30,960
Speaker 4: separating ourselves from that which we are, and when we're

779
00:39:30,960 --> 00:39:34,359
Speaker 4: more attuned to it, your whole life can become I'm

780
00:39:34,360 --> 00:39:39,200
Speaker 4: always telling actors, your greatest work of art is your

781
00:39:39,200 --> 00:39:40,879
Speaker 4: own life, you know what I mean.

782
00:39:41,280 --> 00:39:46,040
Speaker 1: Yeah, of course it makes total sense for an actor

783
00:39:46,080 --> 00:39:48,720
Speaker 1: that might be listening to this right now and hasn't

784
00:39:48,760 --> 00:39:50,880
Speaker 1: trained at your schools yet, there's a lot to choose

785
00:39:50,920 --> 00:39:53,280
Speaker 1: from those, depending on where you were based in the world.

786
00:39:53,719 --> 00:39:56,279
Speaker 2: To the Aussie listeners Sydney, Yes, we have school in.

787
00:39:56,200 --> 00:39:59,840
Speaker 3: Sydney and London and New York and.

788
00:40:00,120 --> 00:40:05,399
Speaker 1: Gosh, you're a travel bunny. So for someone that's like, oh,

789
00:40:05,440 --> 00:40:08,239
Speaker 1: I think I have an inkling to chase this dream,

790
00:40:08,280 --> 00:40:10,880
Speaker 1: but I'm kind of like not sure where to start.

791
00:40:11,520 --> 00:40:15,520
Speaker 1: Where can someone start like dip their toe in the

792
00:40:15,560 --> 00:40:17,960
Speaker 1: water around doing the work, because I do think like

793
00:40:18,320 --> 00:40:20,000
Speaker 1: sometimes it can be a bit scary and we put

794
00:40:20,040 --> 00:40:22,080
Speaker 1: scary things off, Like I even know for me, like

795
00:40:22,120 --> 00:40:24,799
Speaker 1: if I've gone through like a couple of months of

796
00:40:24,960 --> 00:40:28,160
Speaker 1: rejections of self tape, sometimes I'll stop doing classes for

797
00:40:28,160 --> 00:40:30,200
Speaker 1: a little while because it'll just be all I'll need

798
00:40:30,239 --> 00:40:33,080
Speaker 1: a reset. I I'll be too like holding on so

799
00:40:33,200 --> 00:40:36,600
Speaker 1: tight to everything. Need to focus on nature or something

800
00:40:36,600 --> 00:40:40,200
Speaker 1: else and reset. But to someone that might be like

801
00:40:40,280 --> 00:40:42,600
Speaker 1: I really want to try this thing and sitting this

802
00:40:42,680 --> 00:40:46,120
Speaker 1: space as an actor where it's actor, a writer, director, whatever,

803
00:40:46,160 --> 00:40:49,799
Speaker 1: it is. What advice would you have for someone that

804
00:40:49,920 --> 00:40:52,480
Speaker 1: might be a little bit scared about taking that first step.

805
00:40:52,520 --> 00:40:53,880
Speaker 4: Well, I think you're always going to be scared. Like

806
00:40:53,920 --> 00:40:57,040
Speaker 4: we said earlier, you know, there was a guy auditing

807
00:40:57,480 --> 00:40:59,400
Speaker 4: maybe the night you were there, and he came up

808
00:40:59,440 --> 00:41:01,520
Speaker 4: to me and he said, just to get here was

809
00:41:01,560 --> 00:41:04,040
Speaker 4: the scariest thing. He's like, I tried to like get

810
00:41:04,080 --> 00:41:06,440
Speaker 4: out of it, and yeah, like I don't think he

811
00:41:06,480 --> 00:41:08,120
Speaker 4: was going to wreck his car, but he was really

812
00:41:08,200 --> 00:41:09,759
Speaker 4: trying to find a way to I was like, well,

813
00:41:09,760 --> 00:41:13,080
Speaker 4: first of all, nobody, you know, nobody's you can decide

814
00:41:13,080 --> 00:41:14,799
Speaker 4: to come an audit and then just not come buty

815
00:41:15,000 --> 00:41:17,879
Speaker 4: he held himself to his fear, and he's like, I'm

816
00:41:17,920 --> 00:41:19,759
Speaker 4: so glad I did. It was like life changing. And

817
00:41:20,239 --> 00:41:22,040
Speaker 4: I think that's the thing is you go. I think

818
00:41:22,080 --> 00:41:25,080
Speaker 4: you should always go check out a class at any school,

819
00:41:25,480 --> 00:41:27,960
Speaker 4: and if they don't allow observing, I always think that's

820
00:41:28,000 --> 00:41:31,960
Speaker 4: a little weird because yeah, whatever I mean, acting is private,

821
00:41:32,040 --> 00:41:34,520
Speaker 4: but not really like you're going to be doing it

822
00:41:34,560 --> 00:41:36,920
Speaker 4: on set with hundreds of people. So an acting class

823
00:41:36,920 --> 00:41:39,040
Speaker 4: should be open so that you come and see the

824
00:41:39,080 --> 00:41:43,200
Speaker 4: work and see how the teacher flows with the energy

825
00:41:43,200 --> 00:41:46,640
Speaker 4: of teaching and and if you you know, vibe with

826
00:41:46,680 --> 00:41:49,759
Speaker 4: that offering. It's like test driving a car. I'm not

827
00:41:49,760 --> 00:41:53,399
Speaker 4: going to make an investment without checking it out first,

828
00:41:53,480 --> 00:41:56,480
Speaker 4: right driving the car. And then if once you find

829
00:41:56,520 --> 00:41:58,640
Speaker 4: a class that I think you need to be inspired

830
00:41:58,719 --> 00:42:01,080
Speaker 4: and maybe a little bit scared or like whoa, that's

831
00:42:01,160 --> 00:42:03,279
Speaker 4: really intriguing, and then you jump in.

832
00:42:04,000 --> 00:42:04,960
Speaker 3: That's just how you do it.

833
00:42:05,040 --> 00:42:08,719
Speaker 1: Even that kitty cat career won't. But my hands were

834
00:42:08,840 --> 00:42:09,560
Speaker 1: so witty.

835
00:42:10,040 --> 00:42:13,040
Speaker 3: Oh really, that's hilarious, Lola Loally.

836
00:42:13,080 --> 00:42:15,360
Speaker 4: Can I tell you one story that is really crazy

837
00:42:15,440 --> 00:42:18,120
Speaker 4: that hasn't come to me in forever that I just

838
00:42:18,239 --> 00:42:20,360
Speaker 4: thought about this in terms of like finding an acting class.

839
00:42:20,400 --> 00:42:23,160
Speaker 4: When I first moved to New York, I was like,

840
00:42:23,320 --> 00:42:27,880
Speaker 4: you know, slinging hash at many restaurants, you know what

841
00:42:27,920 --> 00:42:31,040
Speaker 4: I mean. Running joke is, oh yeah, I got you know,

842
00:42:32,200 --> 00:42:34,640
Speaker 4: somebody whould ask me what do you do for I'm

843
00:42:34,640 --> 00:42:36,279
Speaker 4: like an actor and they're like, oh, what restaurant you

844
00:42:36,320 --> 00:42:37,000
Speaker 4: wait tables at?

845
00:42:37,719 --> 00:42:40,480
Speaker 3: And that was true for many years. And then I

846
00:42:40,520 --> 00:42:41,440
Speaker 3: had gone.

847
00:42:41,200 --> 00:42:46,560
Speaker 4: To observe a class that really scared me. And I

848
00:42:46,600 --> 00:42:48,680
Speaker 4: remember going to like they had an open house or whatever,

849
00:42:48,800 --> 00:42:51,080
Speaker 4: and then they gave me the literature. I put that

850
00:42:51,120 --> 00:42:54,040
Speaker 4: in my drawer for like a year, the bottom of

851
00:42:54,080 --> 00:42:56,680
Speaker 4: my drawer. And then and I went and took some

852
00:42:56,719 --> 00:43:00,319
Speaker 4: other acting classes, which I also always remind people like

853
00:43:00,520 --> 00:43:04,440
Speaker 4: all steps are necessary and okay, right, but these other

854
00:43:04,480 --> 00:43:07,839
Speaker 4: classes were like whatever. And then I remember cleaning out

855
00:43:07,840 --> 00:43:10,799
Speaker 4: that drawer and I came across the literature. And then

856
00:43:10,880 --> 00:43:14,399
Speaker 4: like over a year after I had gone to observe it,

857
00:43:14,920 --> 00:43:18,960
Speaker 4: I went and that teacher, she just recently passed, Rest

858
00:43:19,000 --> 00:43:20,240
Speaker 4: in peace, Sandy.

859
00:43:20,440 --> 00:43:21,680
Speaker 3: She changed my life.

860
00:43:22,400 --> 00:43:24,920
Speaker 4: And so I think that's the thing is you want

861
00:43:24,960 --> 00:43:27,880
Speaker 4: to be stimulated in a way that.

862
00:43:27,320 --> 00:43:29,799
Speaker 3: Oh wow, this is going to be a test, yeah.

863
00:43:29,719 --> 00:43:34,000
Speaker 2: You know, yeah, like scary scary, but scary.

864
00:43:33,640 --> 00:43:36,720
Speaker 1: Scary safe yeah yeah, yeah.

865
00:43:36,440 --> 00:43:41,040
Speaker 2: One hundred million percent. I wanted we're running out of time.

866
00:43:40,920 --> 00:43:42,360
Speaker 3: Because I could talk to you so fast.

867
00:43:42,520 --> 00:43:44,120
Speaker 4: I could talk to you well, we could do a

868
00:43:44,120 --> 00:43:47,040
Speaker 4: part two if if your viewers respond and they say,

869
00:43:47,080 --> 00:43:48,680
Speaker 4: please bring Tony Mack.

870
00:43:48,760 --> 00:43:52,040
Speaker 1: Yes please, what for somebody because a lot of Australians

871
00:43:52,080 --> 00:43:54,840
Speaker 1: hearing this will come over to LA and just try.

872
00:43:55,480 --> 00:43:57,279
Speaker 1: And I don't know if you know this, but you're

873
00:43:57,320 --> 00:44:00,440
Speaker 1: known as Australia's favorite acting coach in LA You know that.

874
00:44:01,080 --> 00:44:02,840
Speaker 1: I can't tell you how many Aussie's.

875
00:44:02,400 --> 00:44:05,560
Speaker 3: A like I class that means so much.

876
00:44:05,880 --> 00:44:07,759
Speaker 1: So many of my friends are like, no, no, I'm in

877
00:44:07,760 --> 00:44:09,279
Speaker 1: this class where I'm in Summer's class, or.

878
00:44:09,239 --> 00:44:10,880
Speaker 2: They're like at your school.

879
00:44:11,400 --> 00:44:14,319
Speaker 1: And I always say to people Ozzie's when they come out,

880
00:44:14,360 --> 00:44:17,000
Speaker 1: I'm like, this is your school is like the best

881
00:44:17,080 --> 00:44:19,440
Speaker 1: landing pad for an Aussie when they first get here

882
00:44:19,480 --> 00:44:25,040
Speaker 1: as well, because you're all about connection. But I guess

883
00:44:25,080 --> 00:44:27,480
Speaker 1: like being in Hollywood can be exciting but also kind

884
00:44:27,480 --> 00:44:29,839
Speaker 1: of overwhelming. A lot of rejection, a lot of like

885
00:44:30,480 --> 00:44:34,120
Speaker 1: Australians can burn through a lot of cash very quickly. Oh,

886
00:44:34,160 --> 00:44:36,120
Speaker 1: what are some of the good things that like, let's

887
00:44:36,160 --> 00:44:37,439
Speaker 1: end on a positive, what are some of the good

888
00:44:37,440 --> 00:44:38,760
Speaker 1: things about being here in Hollywood?

889
00:44:38,840 --> 00:44:39,000
Speaker 3: Yeah?

890
00:44:39,000 --> 00:44:40,239
Speaker 4: I love that you say that. Can I just say

891
00:44:40,239 --> 00:44:42,839
Speaker 4: one thing I had at an Aussie's student. He took

892
00:44:42,920 --> 00:44:44,880
Speaker 4: intensives with me in Sydney. I don't know if he

893
00:44:44,960 --> 00:44:46,520
Speaker 4: was in our Sydney school. He may have been, and

894
00:44:46,520 --> 00:44:50,120
Speaker 4: then he came over, but he and then he was

895
00:44:50,160 --> 00:44:52,640
Speaker 4: here for like a year, and then he went back

896
00:44:53,160 --> 00:44:55,680
Speaker 4: and then and then he came back after that, just

897
00:44:55,719 --> 00:44:57,279
Speaker 4: to feel it out again. And I said to him,

898
00:44:57,320 --> 00:45:00,440
Speaker 4: why what happened? And he said, I it was so

899
00:45:00,640 --> 00:45:04,160
Speaker 4: lonely I had to go back. But it's a cautionary tale.

900
00:45:04,200 --> 00:45:07,160
Speaker 4: But I was like, well, wait a minute, why did

901
00:45:07,200 --> 00:45:10,640
Speaker 4: you get into classes? Were you involved in community where

902
00:45:10,680 --> 00:45:15,480
Speaker 4: you and he wasn't. So you cannot alienate yourself and

903
00:45:15,560 --> 00:45:17,759
Speaker 4: be at it alone now. And again I'm not saying

904
00:45:17,800 --> 00:45:19,080
Speaker 4: you have to be at our school or have to

905
00:45:19,120 --> 00:45:20,799
Speaker 4: be at any school, but you do have to get

906
00:45:20,800 --> 00:45:25,680
Speaker 4: plugged into a community, whether that is service work, you're helping, volunteer,

907
00:45:26,560 --> 00:45:28,400
Speaker 4: you're something outside of acting completely.

908
00:45:28,440 --> 00:45:30,799
Speaker 3: You join a soccer league that.

909
00:45:32,440 --> 00:45:36,320
Speaker 4: You just got to get plugged in, a theater company,

910
00:45:36,440 --> 00:45:39,799
Speaker 4: a writing group. You get plugged in so that you

911
00:45:39,960 --> 00:45:43,279
Speaker 4: don't feel So he was like, I'm going to go

912
00:45:43,400 --> 00:45:46,120
Speaker 4: back and then like figure it out. But I think

913
00:45:46,160 --> 00:45:48,439
Speaker 4: a lot of times that doesn't happen because your first

914
00:45:48,480 --> 00:45:51,360
Speaker 4: experience sometimes is the signature.

915
00:45:51,440 --> 00:45:51,600
Speaker 3: Yeah.

916
00:45:51,680 --> 00:45:54,400
Speaker 4: Yeah, yeah, So now that's just a cautionary tale. I think, like,

917
00:45:54,600 --> 00:45:57,200
Speaker 4: because I've had so many ausies that have done so well.

918
00:45:57,200 --> 00:46:02,640
Speaker 4: Here was Ruby Rose, John Harlan Kim, who's like really

919
00:46:02,719 --> 00:46:08,239
Speaker 4: crushing it. Yeah, uh, John Rodrigae not John Jordan Rodriguez,

920
00:46:08,840 --> 00:46:11,040
Speaker 4: Todd Las Sands, who is.

921
00:46:10,840 --> 00:46:16,760
Speaker 3: The lead on Ygeous to Rebecca Breeze, was at our school,

922
00:46:16,840 --> 00:46:18,320
Speaker 3: like so many great Aussies.

923
00:46:18,520 --> 00:46:23,399
Speaker 4: Yeah, and Lincoln un they're all working. But here's the thing,

924
00:46:23,680 --> 00:46:25,200
Speaker 4: they've all gone back to Australia.

925
00:46:25,360 --> 00:46:26,920
Speaker 2: Lincoln is killing it.

926
00:46:27,680 --> 00:46:28,840
Speaker 3: They're all like elevating.

927
00:46:29,200 --> 00:46:30,440
Speaker 2: I interviewed him on this party.

928
00:46:31,080 --> 00:46:34,279
Speaker 1: He COVID stuff really affected him because he was cast

929
00:46:34,280 --> 00:46:37,279
Speaker 1: in a c W and then and then COVID shut

930
00:46:37,280 --> 00:46:39,520
Speaker 1: the whole thing down and so but he's gone back.

931
00:46:39,600 --> 00:46:41,200
Speaker 2: He's like the king of Australia right now.

932
00:46:41,200 --> 00:46:43,480
Speaker 3: Though, John Presidia do you know John, he was on

933
00:46:43,560 --> 00:46:45,719
Speaker 3: Kung Fu. Yeah, there's so.

934
00:46:45,680 --> 00:46:52,359
Speaker 4: Many you are like the there's so many great Aussis Whisperer. Well,

935
00:46:52,400 --> 00:46:55,439
Speaker 4: I think Aussie's are amazing, actress, I really, I jokingly said,

936
00:46:55,440 --> 00:46:56,160
Speaker 4: I don't know if you were.

937
00:46:56,040 --> 00:46:56,600
Speaker 3: There that night.

938
00:46:57,280 --> 00:46:59,840
Speaker 4: Yes, well, it's true. Like I've been I teach all

939
00:46:59,840 --> 00:47:02,160
Speaker 4: of the world. I've taught in New Zealand, I taught

940
00:47:02,160 --> 00:47:04,959
Speaker 4: in Bali. I mean, y'all, I have taught in place.

941
00:47:05,040 --> 00:47:08,680
Speaker 4: I've taught, I've taught everywhere. But I do think, okay,

942
00:47:08,800 --> 00:47:13,240
Speaker 4: Aley Is I do think Ausie's are pretty special.

943
00:47:13,760 --> 00:47:16,080
Speaker 3: Yeah, it's pretty crazy.

944
00:47:16,280 --> 00:47:18,280
Speaker 4: I don't know what it is. I haven't fully figured

945
00:47:18,280 --> 00:47:23,040
Speaker 4: it out yet. Maybe because you come from a rough stock.

946
00:47:23,280 --> 00:47:24,520
Speaker 2: Yeah, no, more so.

947
00:47:24,600 --> 00:47:26,520
Speaker 1: And you'll notice there's a difference between the energy of

948
00:47:26,560 --> 00:47:29,600
Speaker 1: a Keyway or a New Zealand because we've got that

949
00:47:29,719 --> 00:47:32,640
Speaker 1: a little bit more of adversity start. That's why I

950
00:47:32,680 --> 00:47:35,759
Speaker 1: think Ossie's quite don't mind that initial because I think

951
00:47:35,760 --> 00:47:38,120
Speaker 1: when you first learn in LA, it's like a little

952
00:47:38,160 --> 00:47:39,560
Speaker 1: bit of like you got to walk through the fire

953
00:47:39,680 --> 00:47:40,319
Speaker 1: a little No.

954
00:47:40,280 --> 00:47:42,319
Speaker 3: For sure, because it's such a I mean it's La.

955
00:47:42,600 --> 00:47:44,800
Speaker 4: Yeah, I want to I want to shoot something in

956
00:47:45,160 --> 00:47:48,720
Speaker 4: Australia with so many of my Aussie I just am.

957
00:47:48,560 --> 00:47:52,360
Speaker 3: Really inspired by shoots so much there commitment to the work.

958
00:47:52,520 --> 00:47:52,800
Speaker 2: Yeah.

959
00:47:52,920 --> 00:47:54,600
Speaker 4: So I guess I didn't really answer it a little,

960
00:47:54,719 --> 00:47:57,359
Speaker 4: but I think, like listen, LA is amazing. I'm always

961
00:47:57,360 --> 00:47:59,520
Speaker 4: telling people they should come and check it out. You

962
00:47:59,560 --> 00:48:02,040
Speaker 4: can you come and do workshops, you can come meet

963
00:48:02,040 --> 00:48:04,600
Speaker 4: people just to feel it out and feel the vibe.

964
00:48:04,680 --> 00:48:07,520
Speaker 4: And like you know, I think life is to be

965
00:48:07,680 --> 00:48:09,920
Speaker 4: experienced and don't get too in your head about it.

966
00:48:09,960 --> 00:48:11,680
Speaker 4: And it may not be your jam, but it is

967
00:48:11,840 --> 00:48:13,200
Speaker 4: worth exploring.

968
00:48:13,640 --> 00:48:15,520
Speaker 1: And I've heard you say and I fully agree with you.

969
00:48:15,600 --> 00:48:20,000
Speaker 1: It's one place where things can change really quick, which

970
00:48:20,040 --> 00:48:22,200
Speaker 1: is much harder sometimes in Australia.

971
00:48:21,719 --> 00:48:22,480
Speaker 3: Because it's smaller.

972
00:48:22,600 --> 00:48:26,000
Speaker 4: Yeah, and it's localized, right, Like those actors that I

973
00:48:26,120 --> 00:48:29,880
Speaker 4: just mentioned that have gone back, they're also filming things there,

974
00:48:30,000 --> 00:48:32,799
Speaker 4: and you know they were already working here. You know,

975
00:48:33,320 --> 00:48:38,359
Speaker 4: John is on that CW remake of Cruel Intentions, right,

976
00:48:38,400 --> 00:48:41,400
Speaker 4: Like yeah, I mean it's like you go where the

977
00:48:41,480 --> 00:48:44,560
Speaker 4: work is. I guess so. But I think LA is

978
00:48:44,560 --> 00:48:46,520
Speaker 4: a great launching pad. And I'll have to say the

979
00:48:46,560 --> 00:48:51,280
Speaker 4: one thing for your listeners, LA casting douctors love Aussie's

980
00:48:52,040 --> 00:48:59,640
Speaker 4: really yes, because they there's this bias that they're really good.

981
00:48:59,640 --> 00:49:01,560
Speaker 4: But I think it's it's a correct bias.

982
00:49:02,080 --> 00:49:05,200
Speaker 2: Thanks Margot and Chris.

983
00:49:04,880 --> 00:49:05,359
Speaker 3: Thank you.

984
00:49:06,160 --> 00:49:09,440
Speaker 4: I mean Mel Gibson, I mean like he was great back,

985
00:49:10,400 --> 00:49:12,600
Speaker 4: Like I mean, there's so many great looking for kid men.

986
00:49:13,640 --> 00:49:16,239
Speaker 4: What's her best friend? Nami Watts? Like, oh yeah, there's

987
00:49:16,320 --> 00:49:19,520
Speaker 4: so many good yes, are you kidding me? Half the

988
00:49:19,560 --> 00:49:21,440
Speaker 4: time I find out like somebody I love and I'm

989
00:49:21,480 --> 00:49:24,120
Speaker 4: like they're an ausye, God damn it.

990
00:49:24,600 --> 00:49:26,040
Speaker 2: He's worked so hard on their dialect.

991
00:49:26,239 --> 00:49:30,480
Speaker 1: I know we work hard to become American with our dialect.

992
00:49:30,719 --> 00:49:31,480
Speaker 2: You are wonderful.

993
00:49:31,520 --> 00:49:33,719
Speaker 3: Thank you. I want to become a what do you

994
00:49:33,719 --> 00:49:34,000
Speaker 3: call it?

995
00:49:34,120 --> 00:49:39,600
Speaker 4: An honorary honorary please, I would move to Sydney.

996
00:49:39,640 --> 00:49:41,759
Speaker 3: By the way, I've been threatening this lately. It's just

997
00:49:41,840 --> 00:49:42,760
Speaker 3: a little tomorrow.

998
00:49:43,480 --> 00:49:45,239
Speaker 2: You should just do like a big stint there.

999
00:49:46,239 --> 00:49:47,560
Speaker 3: I think I did. Girl.

1000
00:49:47,640 --> 00:49:50,440
Speaker 4: I was there in Sydney in March, and then I

1001
00:49:50,480 --> 00:49:53,800
Speaker 4: went to Melbourne, and then I was there again last month,

1002
00:49:54,440 --> 00:49:55,759
Speaker 4: and I've been asked to go to the Gold Coast.

1003
00:49:55,760 --> 00:49:57,120
Speaker 3: It just hasn't worked out yet.

1004
00:49:57,320 --> 00:49:59,759
Speaker 2: But it's shooting so much on the I know I'll

1005
00:49:59,800 --> 00:50:00,279
Speaker 2: get there.

1006
00:50:00,320 --> 00:50:00,919
Speaker 3: I will get there.

1007
00:50:00,960 --> 00:50:03,719
Speaker 4: I just I'm also doing my own movies and like that,

1008
00:50:03,800 --> 00:50:05,760
Speaker 4: so I don't have all the time in the world

1009
00:50:05,760 --> 00:50:08,240
Speaker 4: to like teaching Tasmania.

1010
00:50:08,719 --> 00:50:10,759
Speaker 1: Can I ask you, and this is going to come

1011
00:50:10,760 --> 00:50:12,560
Speaker 1: out in January, what is next for you? Because I

1012
00:50:12,640 --> 00:50:16,120
Speaker 1: want to support you anyway I can.

1013
00:50:16,840 --> 00:50:19,440
Speaker 4: I want to support you when we're when we sign off,

1014
00:50:19,440 --> 00:50:20,160
Speaker 4: we'll talk about that.

1015
00:50:20,480 --> 00:50:22,920
Speaker 3: I mean, I mean, if any of my listeners. I

1016
00:50:23,000 --> 00:50:25,160
Speaker 3: just finished a movie about the climate crisis that we're

1017
00:50:25,200 --> 00:50:28,160
Speaker 3: in post On and we shot all over the world

1018
00:50:28,200 --> 00:50:32,240
Speaker 3: last year, not in Sydney, sadly, but in South Africa

1019
00:50:32,239 --> 00:50:37,800
Speaker 3: and Amibia, Greece, Canada, Taiwan, India. It's really beautiful.

1020
00:50:38,040 --> 00:50:44,160
Speaker 4: And if anybody knows any climate or environmentalist supporters, hit

1021
00:50:44,239 --> 00:50:46,440
Speaker 4: me up, like you know, we're we're finishing it up

1022
00:50:46,440 --> 00:50:47,160
Speaker 4: and I want to get.

1023
00:50:47,000 --> 00:50:48,799
Speaker 1: It out there so amazing. We'll let me know how

1024
00:50:48,840 --> 00:50:50,800
Speaker 1: I can help. I will be helping my friends.

1025
00:50:51,280 --> 00:50:53,479
Speaker 2: You are wonderful and I'm taking you up on that offer.

1026
00:50:53,520 --> 00:50:55,200
Speaker 2: You're coming back on this podcast.

1027
00:50:54,840 --> 00:50:58,680
Speaker 3: Okay, no, no, no pressure. I'm going to start hounding

1028
00:50:58,719 --> 00:51:01,279
Speaker 3: your man. What am I going back? Where am I

1029
00:51:01,320 --> 00:51:06,760
Speaker 3: coming back? Lola? You said thirty years ago? Shit years? Okay,

1030
00:51:06,800 --> 00:51:08,600
Speaker 3: oh my god, Okay, panic attack.

1031
00:51:08,800 --> 00:51:09,640
Speaker 2: No, you're the best.

1032
00:51:09,719 --> 00:51:12,480
Speaker 1: Thank you so much, Tony, And like I said, I

1033
00:51:12,480 --> 00:51:13,640
Speaker 1: can't wait to see it next week.

1034
00:51:13,680 --> 00:51:16,239
Speaker 3: Thanks guys, and I'll be back in Australia sometime in

1035
00:51:16,280 --> 00:51:16,719
Speaker 3: the new year.

1036
00:51:17,040 --> 00:51:17,680
Speaker 2: Yeah. Perfect.

1037
00:51:17,760 --> 00:51:24,960
Speaker 1: Okay, that's a wrap on another episode of Fearlessly Failing.

1038
00:51:25,640 --> 00:51:29,080
Speaker 1: As always, thank you to our guests, and let's continue

1039
00:51:29,120 --> 00:51:31,000
Speaker 1: the conversation on Instagram.

1040
00:51:31,440 --> 00:51:36,000
Speaker 2: I'm at Yamo Lullaberry. This potty my word.

1041
00:51:35,840 --> 00:51:40,560
Speaker 1: For podcast is available on all streaming platforms. I'd love

1042
00:51:40,600 --> 00:51:43,640
Speaker 1: it if you could subscribe, rape and comment and of

1043
00:51:43,719 --> 00:51:45,279
Speaker 1: course spread the love.