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Speaker 1: Get a.

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

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Speaker 2: This podcast is all about celebrating failure because I believe

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Speaker 2: it's a chance for us to learn, grow and face

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Speaker 2: our blind spots. Each week, I'll interview a different guest

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Speaker 2: about their highs as well as their lows, all in

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Speaker 2: a bid to inspire us to fearlessly fail. Hello, welcome

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Speaker 2: to the pod. You know I love a creative on

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Speaker 2: this podcast. So today's guest is Darren McFarlane. He's an

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Speaker 2: Australian film and commercial producer. So I've had actors on before,

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Speaker 2: I've had directors on before, but I haven't had a producer.

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Speaker 2: So he's also known as doctor Daz by the way,

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Speaker 2: so Doctor Das shares a little bit of that BTS

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Speaker 2: life of working on film and commercial sets in Australia.

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Speaker 2: An interesting fact, before he became a producer, he was

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Speaker 2: an engineer. So he's got this awesome problem solving brain

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Speaker 2: that we figure out you do really need as a producer.

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Speaker 2: And he actually said, he said, before all of that,

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Speaker 2: I had to be a waiter. And he said that

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Speaker 2: taught me so much because you're constantly kind of like

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Speaker 2: scanning the room and checking for problems and what needs

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Speaker 2: to be sorted out next, and he said that that

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Speaker 2: really helped him as a producer. So if you're creative,

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Speaker 2: I think this one will be for you. And he's

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Speaker 2: really passionate and humble and a kind soul to enjoy.

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Speaker 2: Doctor Das, Welcome to the podcast. Thank you aka Derin mcfahlan.

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Speaker 2: I'm so excited to get you on this podcast because

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Speaker 2: you are a wonderful film producer. Thank you commercial producer.

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Speaker 2: But I want to quickly talk about the first time

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Speaker 2: we met.

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Speaker 1: Yes, do you remember I did.

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Speaker 3: We were doing an a z TV commercial with an

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Speaker 3: amazing agency, TVWAH with Brian Padow, director who we've since partnered,

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Speaker 3: and we were in this where was the house, I

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Speaker 3: can't remember, but it was like beautiful, beautiful house and

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Speaker 3: we're making all sorts of drinks and stuff on the

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Speaker 3: kitchen bench and props everywhere, and it was a day

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Speaker 3: of organized chaos.

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Speaker 2: I thought it worked, so my ca This is why

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Speaker 2: I wanted to just bring up that experience really quickly,

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Speaker 2: is because I was so nervous that day, so so nervous.

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Speaker 2: I just started acting training like I'm talking two or

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Speaker 2: three weeks in fresh and so I felt really green

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Speaker 2: and I had that full imposter syndrome thing going on,

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Speaker 2: and I just remember you coming over and like getting

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Speaker 2: me laughing within like thirty seconds, I don't getting hair

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Speaker 2: and makeup done, and I was like, Oh, he's kind

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Speaker 2: and nice and it's overwhelming the first time on.

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Speaker 3: Sad is and I am acutely aware, like I've just

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Speaker 3: come from a casting session this morning, and I'm just

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Speaker 3: so acutely aware of how hard it is for actors,

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Speaker 3: talent whatever, coming in and having to pitch to a

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Speaker 3: rumor strangers. Hey, this is me, this is what I

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Speaker 3: can do for a few seconds. And then once that's happening,

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Speaker 3: then beyond set and be surrounded by thirty complete strangers

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Speaker 3: and be in the moment like that takes balls and

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Speaker 3: confidence and experience, and when you're been thrown into the

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Speaker 3: deep end, it's like fuck, It's like how do I

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Speaker 3: how do I not show what's fucking going on inside toxacting?

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Speaker 3: And for me, I've always just been very empathetic to

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Speaker 3: connecting with fear and anxiety because me and myself when

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Speaker 3: I first started, I had in the career was overcoming

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Speaker 3: status anxiety imposter syndrome as well as I grew up

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Speaker 3: in sort of working class you know Paul Town, you

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Speaker 3: know Neil half or two Melmondelae right, and all through

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Speaker 3: my childhood was drummed into me, You've got to do

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Speaker 3: a PhD. You've got to go to university, you got

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Speaker 3: to get all these degrees and stuff, which I did.

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Speaker 2: Didn't you study engineering?

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Speaker 1: Yes?

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Speaker 3: I did engineering at Melbourne UNI, and then I went

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Speaker 3: and did a PhD in chemistry. But all the while,

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Speaker 3: my dream and ambition was always to work in film

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Speaker 3: and TV. So I've been the good son, did what

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Speaker 3: my parents' dream was, which was to do all these

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Speaker 3: wonderful things. And then you know, once I graduated from

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Speaker 3: my PhD, I went full time, full time as a

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Speaker 3: as a production runner.

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Speaker 1: And so I went.

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Speaker 3: I knocked back an offer for a sixty five thousand

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Speaker 3: dollars job working on creating Heart Valve or whatever to

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Speaker 3: being a runner on a VCA film with Damian Walsh Howling,

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Speaker 3: but for no money, and because my.

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Speaker 1: Parents are going, what what are you for real?

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Speaker 3: We've spent all this money and now you're doing none

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Speaker 3: of it. And of course my wife was like, hang

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Speaker 3: on a minute, you've just said no to a job.

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Speaker 3: I've spent six seven years trying to help you get

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Speaker 3: through all this, and now you're working as a runner

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Speaker 3: and on the side organizing brave parties and stuff like

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Speaker 3: that as all good producers do, you know, And then

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Speaker 3: you know, that's sort of my journey to that point.

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Speaker 3: And then and then of course going back to sort

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Speaker 3: of overcoming fear. I because I was twenty eight when

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Speaker 3: when I sort of went full time film, I had

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Speaker 3: a lot of because of my parents' status, anxiety, job anxiety.

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Speaker 3: And I remember one time at the VIC market running

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Speaker 3: into friends who I did did the engineering degree with,

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Speaker 3: and I had like this full blown panic attack. And

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Speaker 3: I had never had a panic attack before. It was

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Speaker 3: all about my loaded sense of who I think I

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Speaker 3: should be, who I don't think I am, all of

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Speaker 3: that fear, and I just I couldn't talk and I

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Speaker 3: literally had to, you know, to breathe all that sort

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Speaker 3: of stuff, so that I had to learn to overcome

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Speaker 3: that fear and anxiety. And I had just for the

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Speaker 3: first three or four years of my career as a

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Speaker 3: runner was overcoming panic attacks and identity and all that

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Speaker 3: sort of stuff, because there was the loaded thing of

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Speaker 3: like going, you should be a PhD earning this amount

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Speaker 3: of money, and I was on probably twelve grand fifteen

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Speaker 3: grand a year selling pot on the side to get.

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Speaker 1: By, you know, creative to go on my dream of being.

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Speaker 3: A creative yea, and trying to direct short films and

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Speaker 3: all that sort of stuff, because that's where I wanted

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Speaker 3: to be in the beginning.

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Speaker 1: And look, you know, I'm very like I've got an

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Speaker 1: amazing wife.

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Speaker 3: You met at school listening right, So if it wasn't

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Speaker 3: for my PhD, I would never have met my wife.

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Speaker 3: So I got back from Belgium after doing a PhD

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Speaker 3: there and then finished the final years at rm I

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Speaker 3: T and at RT is where I met my wife,

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Speaker 3: and I saw a post in the wall going auditions

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Speaker 3: for neuromance and I thought, look, this would be great.

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Speaker 3: I'll maybe meet some nice creative people. And who would

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Speaker 3: have thought I'd meet my future wife.

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Speaker 1: But look, that was a really interesting time.

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Speaker 3: I met my wife and because of her, I then

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Speaker 3: enrolled into r MI TV, and then because of working

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Speaker 3: at r MiTV, James jan and Lee Bnell were studying

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Speaker 3: film at rm I T at the time, so I

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Speaker 3: got to know those guys, and we sort of became

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Speaker 3: friends at the time. And then a little bit down

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Speaker 3: the track, I remember getting a call from Lee going, hey, Daz,

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Speaker 3: we got this short film. Then we need to make

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Speaker 3: this short film. And I said, yeah, sure, what's the

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Speaker 3: short film? Said, it's sore. You know we we we've

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Speaker 3: been trying to make this film sore and we can't

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Speaker 3: get anyone.

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Speaker 1: We can't get it made the way we want to

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Speaker 1: make it.

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Speaker 3: So the story was is that the guys Hollywood loved

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Speaker 3: the script, but they didn't want these two guys because

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Speaker 3: they didn't have enough runs on the board and they

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Speaker 3: just come out of Union and all that sort of thing.

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Speaker 3: And I remember reading James Lee Lee's script, James's script,

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Speaker 3: their script, and was.

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Speaker 1: Just holy crap, it was so good.

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Speaker 3: Like I'm terrible at reading scripts, but this script was

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Speaker 3: so good, like bang just I just I literally read

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Speaker 3: it in ninety minutes. And because Lee does this clever

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Speaker 3: thing where he writes or paginates the page in such

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Speaker 3: a way that at the bottom of every page is

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Speaker 3: a hook just could be a tiny hook like the

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Speaker 3: door opens. And so what the boys decided, which I

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Speaker 3: think was so clever, was hey, we're going to do

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Speaker 3: a fifteen minute version of the film of the of

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Speaker 3: the sort of hero scene. Lee's going to play the

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Speaker 3: main character, which is obviously why I wrote the script

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Speaker 3: and James is to direct.

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Speaker 1: And they rang me and said, look, you know, we

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Speaker 1: need a producer to help us.

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Speaker 3: Make this short film. And I said, mate, I'd love to.

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Speaker 3: I'd absolutely love to. So got all my runner mates.

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Speaker 3: We all got together because we all wanted to be

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Speaker 3: producers and filmmakers, and we shot it in the basement

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Speaker 3: of Saint Vincent's Hospital and the old oiler room, and

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Speaker 3: I remember when we got there, I gave two slabs

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Speaker 3: of beers to the security guard, saying, look, you know,

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Speaker 3: we're probably going to run over time.

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Speaker 1: And I remember the security guard coming.

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Speaker 3: At like one in the morning, and he walked down

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Speaker 3: the stairs into the boiler room just as James was

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Speaker 3: pulling on his string the little puppet guy on the

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Speaker 3: on this little trike tricycle, and I heard the security

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Speaker 3: guard go, I don't know what the fuck's going on here,

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Speaker 3: but lock up after you'd done, and he turned around

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Speaker 3: and went and then that was like an eighteen to

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Speaker 3: twenty out of a day. But it was just phenomenal to

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Speaker 3: think that it started in this little basement, and again

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Speaker 3: clever to what they did. They did everything in American accent,

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Speaker 3: so there was nothing jarring when they pitched it to America.

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Speaker 2: They shoot it in seventeen days or something.

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Speaker 1: Yeah, it has this.

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Speaker 3: So they went to the States with that pitch video,

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Speaker 3: with the script and just went around and they had

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Speaker 3: meeting after meeting after meeting, until eventually they got a

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Speaker 3: meeting with someone who.

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Speaker 1: Said, you know what, I think. I think.

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Speaker 3: I don't know where this is true, but I think

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Speaker 3: that business mortgaged their business from William Bucks, I think,

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Speaker 3: and then all everyone.

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Speaker 1: Worked on what do you call it? For free and

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Speaker 1: deferrals and all that sort of thing.

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Speaker 3: So they made it from million bucks over seventeen days

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Speaker 3: and I think that was literally six weeks after we made.

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Speaker 1: The short film.

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Speaker 3: That's amazing, phenomenal and restless history, so.

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Speaker 2: So much success from such it's incredible.

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Speaker 3: Yeah, and they've been so clever about their career and

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Speaker 3: their path. But look, both are incredibly talented.

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Speaker 1: Like it's.

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Speaker 3: Lee is one of those storytellers that when you're at

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Speaker 3: a party, he'll be the center, standing up telling stories

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Speaker 3: and he's just so animated and detailed. It's fantastic. And

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Speaker 3: James just such a gifted visionary. He just distinctly knows

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Speaker 3: exactly what he wants and how to do it. It's

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Speaker 3: it's you know, it's amazing to sit back and you

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Speaker 3: see their career and the trajectory and the amazing stuff

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Speaker 3: they make.

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Speaker 1: So just sharing pleasure.

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Speaker 2: I want to know how you because I think when

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Speaker 2: you was kind of like starting out going I think

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Speaker 2: I want to be a director. I think I want

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Speaker 2: to be a director. How did you then go?

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Speaker 3: No?

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Speaker 2: I think like to me and I'm a novice, but

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Speaker 2: like to me, a director and a producer of reasonably

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Speaker 2: different brains like kinds of I feel like you would

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Speaker 2: be a problem solver. I feel like you would be

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Speaker 2: the people person. You'd be like keeping everything floating and thinking,

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Speaker 2: whereas the director can kind of get into their.

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Speaker 3: Creative what's a good analogy the duck on water with

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Speaker 3: the legs going underneath? So yeah, well look, I directed

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Speaker 3: a few short films and after that I realized that

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Speaker 3: my skill set was in the you know, the glue, organizing,

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Speaker 3: finding the money, making it happen.

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Speaker 1: I was.

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Speaker 3: Just I when I when I was on set directing actors.

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Speaker 3: I couldn't find the words of what I had in

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Speaker 3: my head to be able to communicate clearly like I

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Speaker 3: would when I call cut.

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Speaker 1: I'd sit there and go, fuck what I say? What

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Speaker 1: do I say?

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Speaker 3: To get it's in here out there onto the onto?

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Speaker 3: And that was not my skill set. And and you know,

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Speaker 3: working with so many great directors just I mean, you

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Speaker 3: know in awe of just how clever they are being

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Speaker 3: able to articulate what it is that they envision. And

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Speaker 3: that's one part of the process, of course, and it's

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Speaker 3: so you've got to have a good vision as well,

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Speaker 3: so you know, it's amazing. And then for me, I

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Speaker 3: just love being on set and organizing that. But you know,

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Speaker 3: I sort of have a vision of world that I

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Speaker 3: can offer up and I'm quite happy is that take

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Speaker 3: it or leave it, and they usually leave it. So

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Speaker 3: but Pato is great, like he he's of the of

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Speaker 3: the like if someone has a suggestion, he'll listen to it,

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Speaker 3: and he doesn't care where the suggestion comes from. If

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Speaker 3: it makes the shot or the same or the editor,

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Speaker 3: whatever it is, better, then why wouldn't you listen?

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Speaker 2: There's this saying there are some directors that they call

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Speaker 2: actors directors and often they've acted before. And one of

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Speaker 2: my favorite directors is theater Base. But he's here in

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Speaker 2: Melbourne called Ian Sinclair, and he used to be an

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Speaker 2: actor for me is and a chef and so he's

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Speaker 2: got this beautiful like understanding where he can like just

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Speaker 2: be like quicken your breath, just quick in the breath

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Speaker 2: if you want to, and it just like something just

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Speaker 2: str in a second changes and it's that you can

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Speaker 2: tell you it's an actor's.

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Speaker 3: Director, absolutely, and and PADO is all about the energy.

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Speaker 2: Right oh and so much.

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Speaker 3: And it's incredible just how simple to be focused on.

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Speaker 3: I've got to have the right energy. You have to

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Speaker 3: have the right but also part of that energy, which

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Speaker 3: is my job. I'm always very particular about the team

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Speaker 3: that we build around the set. So it's always about

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Speaker 3: having the right team of people who are kind and

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Speaker 3: generous and and you know, collaborative, and that creates this

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Speaker 3: wonderful energy of you know what is we have this

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Speaker 3: no dickhead policy basically, which is, you know, they're the

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Speaker 3: sort of people we would have to place for barbecue.

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Speaker 1: And that's how we sort of crew our films and

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Speaker 1: stuff like that.

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Speaker 3: Which is which is fine, but but you know, it's

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Speaker 3: it's the way Pado directs is fantastic and I really

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Speaker 3: love it, and every director is different.

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Speaker 1: And it makes me think.

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Speaker 3: Of a funny story where someone I know worked with

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Speaker 3: Mel Gibson on one of his films and he asked, Mel, goes,

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Speaker 3: what's your secret to acting? And Mel's gone, it's it's

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Speaker 3: it's the breathing. It's all in the breathing. So I

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Speaker 3: when I read the script, I go, what is that

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Speaker 3: person experiencing at that point in time? And he's got

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Speaker 3: all these different levels of breathing that he uses a

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Speaker 3: character level of a scene, and that's what he does well.

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Speaker 2: That director I was just talking to you about. I

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Speaker 2: watched a character have to go, an actor have to

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Speaker 2: go from irate anger to tears, very very quickly, and

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Speaker 2: he goes, all you do is shorten your breath, Yeah,

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Speaker 2: and it'll do it for you. And it didn't costume

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Speaker 2: anything psychologically, like he got there through the breath. So

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Speaker 2: I'm very and I think, having studied in LA for

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Speaker 2: the last six months, it's super psychological. It's very methody,

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Speaker 2: very substitution, and you just see what these actors put

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Speaker 2: themselves through an ara. Oh like, I think I prefer

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Speaker 2: the other way that I've learned back home, because it's

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Speaker 2: sustainable and you know the result you're probably going to get,

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Speaker 2: or you know the ballpark you're going to be in.

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Speaker 2: Whereas emotions, it's a bit of a lucky dip.

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Speaker 1: Some day, I know.

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Speaker 3: And it's so funny. I was when I was directing

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Speaker 3: a short film. I had this group of casts, and

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Speaker 3: it was so funny the different reactions that each of

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Speaker 3: the actors wanted. So one actor that I need to

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Speaker 3: get to a certain level that I was after, required adjectives.

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Speaker 1: Just give me adjectives. Tell me what is what is

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Speaker 1: the verb? Sorry, what's the acting verb? Give me the verbs?

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Speaker 1: Give me the verb. I need to know a verb.

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Speaker 3: Yeah, if you give me the right verb, then I'll

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Speaker 3: get you that verb and IM going. And that's when

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Speaker 3: I went, oh fuck. And that was at the point

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Speaker 3: when the first ad just I'd never tantrum and went,

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Speaker 3: oh my god, okay, all right, A verb, A verb,

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Speaker 3: a verb.

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Speaker 1: And then and then another actor who was over hearing

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Speaker 1: the whole thing come up to me later, goes, you

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Speaker 1: can just give me a number one to ten.

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Speaker 3: I got so, oh my god, seven right now?

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Speaker 2: How good?

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Speaker 1: I love it?

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Speaker 2: So I looked, I looked up all the work you've done,

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Speaker 2: because you've done different interviews and people pick up different

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Speaker 2: things that you've done, so correct me if I'm wrong

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Speaker 2: with you this. But Charlotte's Web, what were you doing

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Speaker 2: in Charlte Sebs? I love that movie.

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Speaker 3: Charlotte's Webb was my first foray into working on film.

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Speaker 3: So amazing producer Ben Grogan, who I've worked a lot

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Speaker 3: with and he was actually the first ad on the

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Speaker 3: Saw short. So he got me. Yeah, so he got

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Speaker 3: me on actual I badgert him. I said, may you

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Speaker 3: gotta give me on a film, Give me a film.

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Speaker 3: I've been doing commercials for five years. So he got

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Speaker 3: me on as the runner onto Charlotte's Web, and then

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Speaker 3: I was able to encrashut myself into the production office

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Speaker 3: and be one of the production assistants. But that was

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Speaker 3: amazing to work on an America production where you see

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Speaker 3: money is not an hub checked really like you know

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Speaker 3: if something needs to be.

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Speaker 2: Done that well, that class was pretty massive, fantastic, Like

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Speaker 2: the voice of Charlot was Julia Roberts, wasn't it?

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Speaker 3: It was I know, and so that was an amazing experience

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Speaker 3: just to see all the toys and all like amazing

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Speaker 3: lighting guys now who do all the big American stuff,

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Speaker 3: you know, just incredible. And the art department, the sets

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Speaker 3: they built were just amazing. And it was the first

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Speaker 3: time I saw Previous, which is so they they brought

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Speaker 3: in the whole team from America, all on their laptops.

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Speaker 3: And of course it's two thousand and full five or

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Speaker 3: three or something.

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Speaker 2: And six it says on your but that could be

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Speaker 2: when it came out.

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Speaker 1: That means.

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Speaker 3: So, you know, so computers weren't the greatest, so they

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Speaker 3: brought out all their computer systems and they were doing

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Speaker 3: this Wi frame animation Previous and stuff like that. So

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Speaker 3: basically storyboarded everything before you got on set, which is

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Speaker 3: just and of course, you know you're spending eighty million

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Speaker 3: dollars or whatever on this film, of course you want

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Speaker 3: to previous and no everything is covered.

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Speaker 2: So how's it go though? Because I imagine it being

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Speaker 2: like there are so many animals with actors voices, and

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Speaker 2: those actors are in America in studios, are they not?

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Speaker 2: You're not You're just seeing Dakota Fanning. You're seeing your lead.

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Speaker 3: She was amazing by the way, to Coder and el

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Speaker 3: Fanning was only like this tall in the office, and

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Speaker 3: Dakota was so lovely. She gave us all, even in

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Speaker 3: the office, a little gift which I've still got sitting

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Speaker 3: on my bookcase of thank you for so much being

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Speaker 3: amazing went on great.

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Speaker 2: Well she had the lion share to carry that.

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Speaker 1: Yeah, she was incredible. So but yes, so.

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Speaker 2: Many actors aren't versus like when you do, say a

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Speaker 2: commercial or even like a film here, like as I

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Speaker 2: walked up to meet I saw these amazing Australian film

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Speaker 2: posters and like, I must be very different doing something

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Speaker 2: that's animated where you don't have access to your act Yeah.

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Speaker 3: So I with the post production process of that, I'm

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Speaker 3: not sure. I'm not sure what Charlotte did because I

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Speaker 3: wasn't part of the post process. But it can be

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Speaker 3: a case of they get a first read of the

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Speaker 3: lines and then they try and animate to that, and

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Speaker 3: then they then they fine tune the read.

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Speaker 1: I don't I can't remember what the process was on.

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Speaker 2: So interesting, so amazing, fascinating and you know like we

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Speaker 2: we had to shoot this big fair scene.

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Speaker 3: Yeah yeah, right, so because the season in Melbourne at

390
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Speaker 3: the time was different to the scene in the script.

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Speaker 1: Of course, they had an entire art department team come

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Speaker 1: in and paint all the trees in this park yellow

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Speaker 1: and brown.

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Speaker 3: To match autumn autumnal leaves, and so they all and

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Speaker 3: they had to use this special dye that was non

396
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Speaker 3: toxic of course, but the detail of that Utime did

397
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Speaker 3: was phenomenal, like all all just went out there and

398
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Speaker 3: painted these things amazing incredible, not.

399
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Speaker 2: To change tone too much. But more recently working on Grace,

400
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Speaker 2: what an incredible.

401
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Speaker 1: Story, just in phenomenal story.

402
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Speaker 3: So I've been working for five years with amazingly talented

403
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Speaker 3: director Brian Patto, which is how we met on them.

404
00:21:10,720 --> 00:21:15,760
Speaker 3: Iron Z shoot a Z and he's an Iraqi born

405
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Speaker 3: refugee whose father, mother, two brothers, a brother, sister and

406
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Speaker 3: pregnant with another. Escaped the bombing of Bagdad I think

407
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Speaker 3: nineteen ninety and paid people smugglers to get out of

408
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Speaker 3: the country and cross the river into Turkey and spent

409
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Speaker 3: three years in a detention camp refugee camp in Turkey

410
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Speaker 3: before coming to Australia and then him and his family

411
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Speaker 3: worked their tits off to build a new life and

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Speaker 3: now he's one of the top directors here in Melbourne,

413
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Speaker 3: so it's an incredible trajectory for him and his family.

414
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Speaker 3: And then to be working with him, you know, is

415
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Speaker 3: such an honor and a privilege because he's just such

416
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Speaker 3: a great guy.

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Speaker 1: Then, you know, we were away on a job.

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Speaker 3: In fact, we're in Adelaide shooting something with the Sweat team,

419
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Speaker 3: and and you know, spend time traveling, you know, and

420
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Speaker 3: he told me that story of his family. And then

421
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Speaker 3: I said, dude, mate, that's a phenomenal story. Have you

422
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Speaker 3: ever thought that you would tell that in a film

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Speaker 3: or tell part of that in the film? And I

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Speaker 3: think at that stage he was going, I'm not sure

425
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Speaker 3: if that's my story to tell. And I'm not sure

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Speaker 3: if I'm ready to because he's only thirty. I'm not

427
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Speaker 3: sure if I'm ready to tell that story. And then

428
00:22:34,040 --> 00:22:35,800
Speaker 3: and and that that was the same stage he gave

429
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Speaker 3: me this short film that he wanted to direct, which was,

430
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Speaker 3: you know, nicely written little short film, but was cliched

431
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Speaker 3: in the sense that it was inspired by you know, Scorsese.

432
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Speaker 1: Had all the all the all the tropes.

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Speaker 3: It is a great little script, but it's a bit

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Speaker 3: of cliches, and you know you can do you can

435
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Speaker 3: do better than that. I said, what about what about

436
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Speaker 3: your family? You know, you know, escaping the bombing of Bagdad.

437
00:23:03,640 --> 00:23:07,280
Speaker 3: I mean, fuck, man, that's insane story. You know, your

438
00:23:07,600 --> 00:23:10,879
Speaker 3: pregnant mother and your dad carrying two kids on his

439
00:23:10,880 --> 00:23:14,000
Speaker 3: shoulders across the river into Turkey, you know, as people

440
00:23:14,040 --> 00:23:17,680
Speaker 3: have been washed away to their death right. And so

441
00:23:17,760 --> 00:23:20,080
Speaker 3: he then went, okay, okay, okay, let me speak to

442
00:23:20,080 --> 00:23:22,879
Speaker 3: my dad. And so then after speaking to his family,

443
00:23:23,160 --> 00:23:25,760
Speaker 3: they said, you know you're you're a director. You know,

444
00:23:25,920 --> 00:23:28,600
Speaker 3: this is this, this is our story to tell. This

445
00:23:28,680 --> 00:23:31,639
Speaker 3: is maybe what God intended, you know, which is funny

446
00:23:31,640 --> 00:23:35,879
Speaker 3: because I'm an atheist and he's a very God believing family,

447
00:23:37,440 --> 00:23:40,760
Speaker 3: and but it's exciting and I saw that sort of

448
00:23:41,280 --> 00:23:43,399
Speaker 3: you know, there was a magic around this. Once we

449
00:23:43,800 --> 00:23:47,080
Speaker 3: decided to do this film, and I say magic, he

450
00:23:47,119 --> 00:23:51,200
Speaker 3: says God. And you know, so once his parents said,

451
00:23:51,240 --> 00:23:53,080
Speaker 3: you know you should tell this, maybe God willing, this

452
00:23:53,119 --> 00:23:56,800
Speaker 3: is what what your calling calling is is to tell

453
00:23:57,160 --> 00:24:00,679
Speaker 3: tell our story, this story. And so there was this

454
00:24:00,720 --> 00:24:04,720
Speaker 3: horrendous instant I shouldn't say it, instant, this attack that

455
00:24:04,800 --> 00:24:09,800
Speaker 3: happened to his family when Isis invaded most ail and

456
00:24:10,520 --> 00:24:14,639
Speaker 3: basically all the Christians were given an automatum and you know,

457
00:24:14,720 --> 00:24:17,560
Speaker 3: get out in three days. Most got out, but some

458
00:24:17,720 --> 00:24:20,080
Speaker 3: stay because this is their home. And you can imagine

459
00:24:20,119 --> 00:24:22,320
Speaker 3: these homes are not just you know, a home that

460
00:24:22,320 --> 00:24:23,720
Speaker 3: you've bought twenty years ago.

461
00:24:23,800 --> 00:24:27,480
Speaker 1: This is their generational family for hundreds of years. So

462
00:24:27,600 --> 00:24:28,880
Speaker 1: this is not a light decision.

463
00:24:29,040 --> 00:24:32,560
Speaker 3: And so one of his cousins said, this has been

464
00:24:32,600 --> 00:24:37,000
Speaker 3: my family's home for generations. We're staying here and we're

465
00:24:37,000 --> 00:24:42,119
Speaker 3: protecting what we what is our legacy. And then Isis knocked.

466
00:24:42,359 --> 00:24:44,560
Speaker 3: We just went door to door, knocking on doors. They

467
00:24:44,600 --> 00:24:47,480
Speaker 3: would drag the families out, they would execute the men

468
00:24:47,560 --> 00:24:49,720
Speaker 3: and take the women, all this horrendous stuff.

469
00:24:50,240 --> 00:24:52,360
Speaker 1: They come to his house, but most of.

470
00:24:52,320 --> 00:24:56,119
Speaker 3: The men, all families all have their own kleshnikov, you know,

471
00:24:56,520 --> 00:24:59,480
Speaker 3: machine gun, and so he went to the door with

472
00:24:59,840 --> 00:25:04,080
Speaker 3: a to confront them, and then a firefight broke out

473
00:25:04,640 --> 00:25:08,880
Speaker 3: and Isis shot machine gun bullets all through his house

474
00:25:08,920 --> 00:25:13,560
Speaker 3: as they ran away, and he was fine. But when

475
00:25:13,600 --> 00:25:15,719
Speaker 3: he turns around on the floor as his seven year

476
00:25:15,760 --> 00:25:17,760
Speaker 3: old son who come out to help his dad and

477
00:25:17,800 --> 00:25:22,280
Speaker 3: got shot and killed. So we thought that this is

478
00:25:22,320 --> 00:25:26,440
Speaker 3: an incredibly powerful story to share with the world because

479
00:25:26,440 --> 00:25:28,840
Speaker 3: no one knows, well, not many people know about all

480
00:25:29,160 --> 00:25:32,080
Speaker 3: the stuff that's going on over there. And for Pato,

481
00:25:32,160 --> 00:25:37,639
Speaker 3: this is a very passionate, incredible reality of all of

482
00:25:37,680 --> 00:25:39,960
Speaker 3: his family and all of Iraqis and then of course

483
00:25:40,040 --> 00:25:42,560
Speaker 3: not just the Raqis, but refugees around the world. They're

484
00:25:42,640 --> 00:25:46,040
Speaker 3: escaping this for a new life. It's not a light decision,

485
00:25:46,400 --> 00:25:47,880
Speaker 3: you know. They're not coming here to get on the doll.

486
00:25:48,160 --> 00:25:50,200
Speaker 3: They're coming here for a new life.

487
00:25:49,840 --> 00:25:49,960
Speaker 1: You know.

488
00:25:50,480 --> 00:25:55,040
Speaker 3: And so we retold that story to be about a

489
00:25:55,119 --> 00:25:59,320
Speaker 3: father and a daughter rather than his cousin and his wife.

490
00:25:59,760 --> 00:26:03,679
Speaker 3: And because it's quite a bleak outcome, we redid the

491
00:26:03,800 --> 00:26:06,960
Speaker 3: ending to be when the father confronts Isis, he's the

492
00:26:06,960 --> 00:26:12,119
Speaker 3: one that faces that outcome as opposed to her. But

493
00:26:12,400 --> 00:26:14,880
Speaker 3: what this father does, because she's so young and doesn't

494
00:26:14,960 --> 00:26:18,359
Speaker 3: understand isis he teaches her hide and seek, so that

495
00:26:19,000 --> 00:26:21,160
Speaker 3: when the time comes, he says it's time to play

496
00:26:21,200 --> 00:26:23,560
Speaker 3: hide and seek, just as Isis is banging on the

497
00:26:23,600 --> 00:26:27,959
Speaker 3: door and she doesn't know why, but suspects something. And

498
00:26:28,000 --> 00:26:31,359
Speaker 3: that's our short film Grace, which we're now working with

499
00:26:31,480 --> 00:26:33,840
Speaker 3: writer Jamie Brown to turn into a feature.

500
00:26:34,359 --> 00:26:37,600
Speaker 2: So good, so good, so exciting, I know, and that

501
00:26:37,880 --> 00:26:40,080
Speaker 2: for people listening, I'm going to put the trailer to

502
00:26:40,119 --> 00:26:42,600
Speaker 2: it in the show notes of this podcast. It is

503
00:26:42,720 --> 00:26:45,840
Speaker 2: so and great. The actress that plays Grace her eye,

504
00:26:45,960 --> 00:26:46,359
Speaker 2: Oh my.

505
00:26:46,280 --> 00:26:46,800
Speaker 1: God, Lara.

506
00:26:47,240 --> 00:26:51,560
Speaker 3: So we auditioned, Oh my god, so you know, so

507
00:26:52,080 --> 00:26:57,560
Speaker 3: Pado So. Assyrian is the ancient dialect of Christians of Iraq.

508
00:26:58,240 --> 00:27:02,199
Speaker 3: You know, the oldest student sect in the world are

509
00:27:02,240 --> 00:27:05,920
Speaker 3: the Assyrians. You know, it's where Christianity began. So we

510
00:27:06,080 --> 00:27:10,000
Speaker 3: decided that we should use Assyrian as a language because

511
00:27:10,000 --> 00:27:15,960
Speaker 3: that's for authenticity. So we then needed to find our

512
00:27:16,160 --> 00:27:18,320
Speaker 3: cast who could speak a Syrian, which is not just

513
00:27:18,359 --> 00:27:25,119
Speaker 3: a Ruck or Middle Eastern. It's a very specific dialect.

514
00:27:25,200 --> 00:27:30,280
Speaker 3: And so we were using the local community to reach

515
00:27:30,320 --> 00:27:34,200
Speaker 3: out and find people who who could speak it and

516
00:27:34,240 --> 00:27:35,400
Speaker 3: then if they could act.

517
00:27:35,480 --> 00:27:37,159
Speaker 1: So quite a big ask for.

518
00:27:37,359 --> 00:27:40,120
Speaker 3: A small community in Melbourne, which is of three manon

519
00:27:40,119 --> 00:27:43,879
Speaker 3: people anyway, So we just reached out to schools and

520
00:27:43,880 --> 00:27:47,320
Speaker 3: all that sort of the usual process, and we got

521
00:27:47,440 --> 00:27:51,040
Speaker 3: onto Our first video to come through was this lovely

522
00:27:51,080 --> 00:27:52,800
Speaker 3: girl Lara, and.

523
00:27:54,400 --> 00:27:58,040
Speaker 1: We just looked at it and I just when I do.

524
00:27:58,200 --> 00:28:01,040
Speaker 3: Casting, I'm just like I just instantly timplely go this

525
00:28:01,200 --> 00:28:04,080
Speaker 3: is the one, right, and I just go, yeah, she's

526
00:28:04,119 --> 00:28:06,800
Speaker 3: great to look to feel the energy everything, I just went,

527
00:28:06,960 --> 00:28:07,760
Speaker 3: she's it.

528
00:28:08,359 --> 00:28:09,640
Speaker 1: I mean, of course I looked at everybody.

529
00:28:09,680 --> 00:28:12,320
Speaker 2: Ye'ah real, but I think Brian might have called your

530
00:28:12,359 --> 00:28:14,480
Speaker 2: something a beat. Make I found her and you were like,

531
00:28:14,560 --> 00:28:16,760
Speaker 2: hang on, this is number one, Like, let's just take

532
00:28:16,800 --> 00:28:17,120
Speaker 2: a beat.

533
00:28:17,160 --> 00:28:21,160
Speaker 1: Here has gone? Am I mad? Yeah, like seriously, I've

534
00:28:21,160 --> 00:28:23,240
Speaker 1: looked at it. She's the first one.

535
00:28:23,880 --> 00:28:26,880
Speaker 3: But she goes and my mad, she's good, and she goes, dude,

536
00:28:26,880 --> 00:28:27,520
Speaker 3: she's not good.

537
00:28:27,800 --> 00:28:29,280
Speaker 1: She's fucking great.

538
00:28:29,760 --> 00:28:33,560
Speaker 3: Like look at those eyes, her face, the energy, she's

539
00:28:33,560 --> 00:28:36,720
Speaker 3: got spunk, she's you know, you need that because she's

540
00:28:36,720 --> 00:28:39,880
Speaker 3: gonna be on set with all these adults.

541
00:28:39,400 --> 00:28:41,160
Speaker 1: And and we need that energy.

542
00:28:41,240 --> 00:28:46,680
Speaker 3: And and and we kept casting, kept casting, kept casting,

543
00:28:47,080 --> 00:28:50,320
Speaker 3: and then eventually I just went to seriously, you've got

544
00:28:50,360 --> 00:28:53,920
Speaker 3: your lead. And and I remember when we finally were

545
00:28:53,960 --> 00:28:59,760
Speaker 3: on set with Lara and Basil, who was Brian's uncle.

546
00:29:00,960 --> 00:29:04,520
Speaker 2: You share the story of cars, yeah.

547
00:29:04,360 --> 00:29:06,680
Speaker 3: Acting, And when we did the first scene, I turned

548
00:29:06,680 --> 00:29:10,800
Speaker 3: to go, yeah.

549
00:29:09,840 --> 00:29:12,080
Speaker 1: The fucking look like father daughter.

550
00:29:12,600 --> 00:29:14,720
Speaker 3: They nailed it, and it was so we got goosebumps

551
00:29:14,720 --> 00:29:18,320
Speaker 3: and getting goosebumps reliving or thinking that scene because it

552
00:29:18,360 --> 00:29:20,160
Speaker 3: was just it was beautiful.

553
00:29:20,640 --> 00:29:22,800
Speaker 2: This is also a testament to you as well though,

554
00:29:22,880 --> 00:29:25,720
Speaker 2: like seeing you like you're sharing also your energy, and

555
00:29:25,800 --> 00:29:27,680
Speaker 2: I think the way you talk about as a producer

556
00:29:27,760 --> 00:29:31,600
Speaker 2: the blue and then how for Brian energy is so important.

557
00:29:31,640 --> 00:29:35,040
Speaker 2: I think, like, don't ever underrate your energy because you

558
00:29:35,120 --> 00:29:37,160
Speaker 2: were also for me the ones to calm me down.

559
00:29:37,480 --> 00:29:40,440
Speaker 2: I was freaking out right, And so you've got this

560
00:29:40,520 --> 00:29:44,000
Speaker 2: like magic kind of like energy too, and I imagine

561
00:29:44,040 --> 00:29:47,840
Speaker 2: you bring that to every single I do, yeah, project

562
00:29:48,280 --> 00:29:48,960
Speaker 2: that you do.

563
00:29:51,440 --> 00:29:52,960
Speaker 1: I mean, like, I'll tell you what.

564
00:29:53,000 --> 00:29:57,120
Speaker 3: The one thing I've learned is to be attuned to

565
00:29:57,240 --> 00:30:01,440
Speaker 3: when it's an asset and attuned when it's annoying the

566
00:30:01,440 --> 00:30:08,280
Speaker 3: funk out of everyone. But you know, I just I'm

567
00:30:08,360 --> 00:30:12,320
Speaker 3: very tuned now to you know, just how important to

568
00:30:12,360 --> 00:30:17,040
Speaker 3: help people connect if people feeling nervous, just to take

569
00:30:17,200 --> 00:30:19,320
Speaker 3: time to you know it's okay.

570
00:30:19,800 --> 00:30:24,600
Speaker 1: You know, I've got a very good energy.

571
00:30:24,880 --> 00:30:27,160
Speaker 2: That was my first read on you. I was like, Okay,

572
00:30:27,160 --> 00:30:30,880
Speaker 2: I found the nice person because it's very overwhelming whenever

573
00:30:30,880 --> 00:30:33,360
Speaker 2: I's just setting up and like I'd rocked up and

574
00:30:33,400 --> 00:30:35,160
Speaker 2: there was a generator at the front, and I was like,

575
00:30:35,680 --> 00:30:37,240
Speaker 2: oh my god, I've never been on a set with.

576
00:30:39,400 --> 00:30:43,200
Speaker 1: The game that was like, this is the big this

577
00:30:43,280 --> 00:30:43,680
Speaker 1: is the one.

578
00:30:44,120 --> 00:30:46,480
Speaker 3: I know because I've been in I've been on situations

579
00:30:46,480 --> 00:30:54,120
Speaker 3: where you know, we've that people an actor has frozen and.

580
00:30:53,480 --> 00:30:55,760
Speaker 1: That happens, right, and wouldn't get out of a rut.

581
00:30:55,840 --> 00:30:59,840
Speaker 3: And you know, I did a voiceover session once where

582
00:31:01,840 --> 00:31:05,720
Speaker 3: that someone had said to the actor before I got there.

583
00:31:06,200 --> 00:31:08,240
Speaker 3: They got there early and said to actor, so, okay,

584
00:31:08,280 --> 00:31:10,520
Speaker 3: so we just need you to do this line. We're

585
00:31:10,560 --> 00:31:13,320
Speaker 3: just going to play you what the last person did, right,

586
00:31:13,320 --> 00:31:16,240
Speaker 3: because that's what we don't want you to do. And

587
00:31:16,320 --> 00:31:21,560
Speaker 3: so once that was in the actor's head, the poor

588
00:31:21,560 --> 00:31:25,400
Speaker 3: person could not on here and could not and so

589
00:31:25,960 --> 00:31:29,080
Speaker 3: we for an hour kept trying to say this line

590
00:31:29,880 --> 00:31:33,040
Speaker 3: on line one line, and it just was the same intonation,

591
00:31:33,200 --> 00:31:36,160
Speaker 3: the same everything, and so hard when.

592
00:31:36,040 --> 00:31:37,720
Speaker 2: You've got like an ingrained intonation.

593
00:31:38,680 --> 00:31:41,760
Speaker 3: Yeah, it's like you know when you when you've got kids.

594
00:31:42,440 --> 00:31:44,080
Speaker 3: This is one of the music videos I did once

595
00:31:44,120 --> 00:31:47,720
Speaker 3: we had these two had these twins, and for trying

596
00:31:47,720 --> 00:31:51,760
Speaker 3: to reenact the scene out of the shining with the twins. Yeah,

597
00:31:51,800 --> 00:31:54,640
Speaker 3: and one of the twins could stop giggling, and I

598
00:31:54,880 --> 00:31:57,400
Speaker 3: just because I was not very good director, I couldn't

599
00:31:57,440 --> 00:32:01,440
Speaker 3: think of what to do to stay to stop them

600
00:32:01,440 --> 00:32:05,240
Speaker 3: from giggling. And of course the mum is just stop

601
00:32:05,440 --> 00:32:08,200
Speaker 3: stop giggling. Of course that makes it worse worse, because

602
00:32:08,200 --> 00:32:09,880
Speaker 3: that's all they can do, is they stop.

603
00:32:10,120 --> 00:32:11,280
Speaker 1: They just can't stop giggling.

604
00:32:11,320 --> 00:32:16,000
Speaker 2: So AnyWho, how did you get them to start? Oh?

605
00:32:16,600 --> 00:32:19,360
Speaker 3: I think it just we just we just know, we

606
00:32:19,520 --> 00:32:23,440
Speaker 3: just kept just kept doing it until eventually they got tired.

607
00:32:24,160 --> 00:32:26,360
Speaker 2: So for me, when I'm tired is when I'm gonna

608
00:32:26,360 --> 00:32:28,960
Speaker 2: if I'm going to break, It's when I'm tiring. I'm

609
00:32:29,000 --> 00:32:31,360
Speaker 2: fine at the start, and then I'm like, oh, theen's

610
00:32:31,360 --> 00:32:35,080
Speaker 2: going off. Okay, So I did quite an into Stalk

611
00:32:35,120 --> 00:32:36,760
Speaker 2: of You you got to figure out by now I'm

612
00:32:36,840 --> 00:32:39,520
Speaker 2: quite o c D with my guests. And really liked

613
00:32:39,720 --> 00:32:44,600
Speaker 2: that Metrosexual that was a comedy on a Channel nine,

614
00:32:45,720 --> 00:32:49,200
Speaker 2: so funny it looked like for everything that I saw online,

615
00:32:49,400 --> 00:32:51,120
Speaker 2: and Ryan Shelton.

616
00:32:50,680 --> 00:32:56,360
Speaker 3: Who was like Ryan Shelton's fantastic and a lovely guy.

617
00:32:56,640 --> 00:32:59,960
Speaker 3: I mean looks all all the everyone on that just

618
00:33:00,280 --> 00:33:03,160
Speaker 3: so phenomenally lovely because we had to do that.

619
00:33:03,800 --> 00:33:08,040
Speaker 1: On AA based rates. What does that mean, Like that's

620
00:33:08,120 --> 00:33:09,600
Speaker 1: just the lowest rate.

621
00:33:09,720 --> 00:33:12,160
Speaker 3: Yeah, because that's all the money we managed to raise

622
00:33:12,240 --> 00:33:16,040
Speaker 3: and get and but because it was such fun and

623
00:33:16,080 --> 00:33:18,600
Speaker 3: refreshing and we kept everything.

624
00:33:19,000 --> 00:33:23,680
Speaker 1: We're very mindful of time and being.

625
00:33:24,240 --> 00:33:27,120
Speaker 3: Considerate to the fact that everybody is doing as a

626
00:33:27,200 --> 00:33:30,560
Speaker 3: solo to help make this. But everyone was just so

627
00:33:30,640 --> 00:33:36,440
Speaker 3: generous and lovely. And Ryan is just just he just

628
00:33:37,800 --> 00:33:42,120
Speaker 3: on set he can just add lib the best line,

629
00:33:42,640 --> 00:33:43,400
Speaker 3: like the best.

630
00:33:44,600 --> 00:33:45,560
Speaker 1: It's so amazing.

631
00:33:45,600 --> 00:33:47,920
Speaker 3: And he came up to me afterwards after we did

632
00:33:48,040 --> 00:33:50,480
Speaker 3: the first time we filmed with him, is like, thank

633
00:33:50,520 --> 00:33:51,000
Speaker 3: you so much.

634
00:33:51,040 --> 00:33:53,640
Speaker 1: It's just such a joy to be on.

635
00:33:53,920 --> 00:33:57,360
Speaker 3: A kind and generous set where where everybody's laughing and

636
00:33:57,400 --> 00:34:00,880
Speaker 3: having fun and I felt free to be able to

637
00:34:01,720 --> 00:34:03,960
Speaker 3: live like I did this. Oh mate, that's it's a

638
00:34:03,960 --> 00:34:06,360
Speaker 3: pleasure to work with you. But ad libbing like it

639
00:34:06,400 --> 00:34:09,920
Speaker 3: was your zingers were fantastic, you.

640
00:34:09,880 --> 00:34:12,040
Speaker 1: Know, and it's so good. And then of course then

641
00:34:12,080 --> 00:34:14,080
Speaker 1: he's saying his great zingers and Geraldine hickeys.

642
00:34:15,200 --> 00:34:17,480
Speaker 3: Then the pair of them bouncing off for each other

643
00:34:17,680 --> 00:34:20,080
Speaker 3: because they meant to be cousins so it was fun

644
00:34:20,600 --> 00:34:21,400
Speaker 3: funny to watch.

645
00:34:21,960 --> 00:34:24,400
Speaker 2: Yeah, it's so. I just thank you so much for

646
00:34:24,400 --> 00:34:27,200
Speaker 2: sharing all these little like different bits and bobs, because

647
00:34:27,200 --> 00:34:28,760
Speaker 2: also I want to talk to you about broad Radio,

648
00:34:29,480 --> 00:34:32,880
Speaker 2: which I was on recently, and thank you. So I

649
00:34:32,880 --> 00:34:34,640
Speaker 2: didn't know that that was half few. I knew it

650
00:34:34,680 --> 00:34:37,759
Speaker 2: was Joe obviously because she was interviewing me. But is

651
00:34:37,800 --> 00:34:40,040
Speaker 2: that part of your Is that something you're working on

652
00:34:40,080 --> 00:34:40,799
Speaker 2: as well? Well?

653
00:34:40,840 --> 00:34:45,880
Speaker 3: For me as the co founder of broad Radio, I'm

654
00:34:46,800 --> 00:34:49,920
Speaker 3: it's Joe's baby. It's her, like you know, So for

655
00:34:50,040 --> 00:34:54,200
Speaker 3: Joe who's gone from being number one radio personality on

656
00:34:54,440 --> 00:34:58,400
Speaker 3: Fox FM and then bringing GOLDFM to number one as well,

657
00:34:58,960 --> 00:35:03,439
Speaker 3: and then suddenly normal work, and it's this thing that

658
00:35:04,080 --> 00:35:08,839
Speaker 3: she really struggled with in regards to acceptance, rejection, her

659
00:35:08,840 --> 00:35:12,480
Speaker 3: own acceptance, like you know, and sense of worse, all

660
00:35:12,520 --> 00:35:15,000
Speaker 3: of those things when you lose a job go through

661
00:35:15,320 --> 00:35:19,640
Speaker 3: your mind and require incredible amounts of work and and

662
00:35:19,640 --> 00:35:22,960
Speaker 3: and you know, and she's works so hard at being

663
00:35:23,000 --> 00:35:25,560
Speaker 3: the best she can be. And she was the one

664
00:35:25,640 --> 00:35:28,600
Speaker 3: who got me into couples therapy and into therapy, and

665
00:35:28,640 --> 00:35:32,920
Speaker 3: I'm huge advocate for cognitive therapy is the best, like

666
00:35:33,040 --> 00:35:34,440
Speaker 3: you know, if you go to the gym and workout,

667
00:35:34,440 --> 00:35:35,279
Speaker 3: why wouldn't.

668
00:35:34,920 --> 00:35:37,040
Speaker 1: You go to a therapist totally?

669
00:35:37,440 --> 00:35:40,480
Speaker 3: You know, you can't keep packing everything away like fucking

670
00:35:40,480 --> 00:35:42,920
Speaker 3: George Gastanze's wallet, and it's all going to burst out,

671
00:35:43,800 --> 00:35:46,799
Speaker 3: you know, it's all going to burst out, and you've

672
00:35:46,800 --> 00:35:47,759
Speaker 3: got no control over that.

673
00:35:48,640 --> 00:35:50,839
Speaker 1: And so anyway, so back to broad radio.

674
00:35:50,960 --> 00:35:54,920
Speaker 3: So she she said, well, you know what, if the

675
00:35:54,960 --> 00:35:56,480
Speaker 3: work's not going to come to me, I'm going to

676
00:35:56,560 --> 00:35:59,160
Speaker 3: go to it and make my own work. And so

677
00:35:59,840 --> 00:36:03,320
Speaker 3: she conceive the idea of broad radio, which is radio

678
00:36:03,400 --> 00:36:06,400
Speaker 3: for women by women, such a fun.

679
00:36:06,880 --> 00:36:08,520
Speaker 2: Like I loved it when I was on. I was

680
00:36:08,560 --> 00:36:10,000
Speaker 2: like nice, stick around.

681
00:36:10,080 --> 00:36:12,600
Speaker 3: Yes, It's like it was so much fun, so good,

682
00:36:12,640 --> 00:36:16,320
Speaker 3: and it's and like when we were doing this together,

683
00:36:16,520 --> 00:36:19,080
Speaker 3: like we're doing all our research, going okay, let's let's

684
00:36:19,080 --> 00:36:22,040
Speaker 3: look around the world and go what are other female

685
00:36:22,120 --> 00:36:24,080
Speaker 3: networks doing, How are they doing it?

686
00:36:24,120 --> 00:36:26,760
Speaker 1: What's their model? And like two our.

687
00:36:27,680 --> 00:36:33,319
Speaker 3: Surprise disappointment but then they're not surprised was that there's

688
00:36:33,400 --> 00:36:38,640
Speaker 3: no commercial run networks owned by women and run by women.

689
00:36:39,000 --> 00:36:42,000
Speaker 3: So all the commercial ones are owned by men. There's

690
00:36:42,040 --> 00:36:44,600
Speaker 3: community based radio is owner run by women. But we

691
00:36:44,640 --> 00:36:48,479
Speaker 3: want that's just bullshit. And so we have been working

692
00:36:48,560 --> 00:36:51,400
Speaker 3: very hard for the last two years to build.

693
00:36:52,960 --> 00:36:53,440
Speaker 1: So we're just.

694
00:36:53,960 --> 00:36:57,440
Speaker 3: Working on Angel investors and just doing a sort of

695
00:36:57,440 --> 00:37:01,680
Speaker 3: bootstrapping our own little radio network which we stream through

696
00:37:02,080 --> 00:37:05,040
Speaker 3: the website and YouTube and Facebook.

697
00:37:05,520 --> 00:37:08,279
Speaker 1: But the key now is we're building an app so

698
00:37:08,320 --> 00:37:11,120
Speaker 1: that literally it's a global audience.

699
00:37:10,800 --> 00:37:14,080
Speaker 3: Can easily tap into it. And you know, she's getting

700
00:37:14,080 --> 00:37:15,400
Speaker 3: amazing guests coming on.

701
00:37:15,800 --> 00:37:16,319
Speaker 1: And in this.

702
00:37:16,360 --> 00:37:21,200
Speaker 3: Current climate of Murdock Media and the Australian government attacking

703
00:37:21,280 --> 00:37:26,239
Speaker 3: Britney Higgins and Grace Tame victims, Yeah, what will these

704
00:37:26,320 --> 00:37:28,879
Speaker 3: men are attacking women like I.

705
00:37:28,840 --> 00:37:31,480
Speaker 2: Just it's the perfect timing for something like this. It's

706
00:37:31,520 --> 00:37:35,239
Speaker 2: empowering and sharing a voice that is unfiltered.

707
00:37:34,800 --> 00:37:37,960
Speaker 1: Exactly exactly, and it wanted to be a guest thank you.

708
00:37:38,000 --> 00:37:40,800
Speaker 3: And then the thing that one of our Angel investors,

709
00:37:41,200 --> 00:37:44,640
Speaker 3: he goes, I'm investing you because we need more independent

710
00:37:44,680 --> 00:37:49,120
Speaker 3: media that is free to tell the truth. And I

711
00:37:49,160 --> 00:37:51,960
Speaker 3: was like, oh my god, I even think about that aspect.

712
00:37:52,000 --> 00:37:55,319
Speaker 3: I was thinking how important it is for women to

713
00:37:55,440 --> 00:37:59,799
Speaker 3: have a voice, you know that's not filtered by men.

714
00:38:00,120 --> 00:38:01,439
Speaker 1: You know, this is their thing.

715
00:38:01,560 --> 00:38:03,680
Speaker 2: You know, how cool that it exists now.

716
00:38:04,360 --> 00:38:05,279
Speaker 1: It's amazing.

717
00:38:05,520 --> 00:38:08,799
Speaker 2: Yeah, So I've heard you talk about resilience before, and

718
00:38:08,840 --> 00:38:11,239
Speaker 2: I feel like the theme of like nearly everything you

719
00:38:11,280 --> 00:38:13,680
Speaker 2: say has got like a pinch of resilt, like in

720
00:38:13,719 --> 00:38:17,000
Speaker 2: a good way. Absolutely for somebody that might be listening

721
00:38:17,000 --> 00:38:19,760
Speaker 2: to this, that might have a similar kind of background

722
00:38:19,760 --> 00:38:22,040
Speaker 2: to you, to be like, Okay, I've kind of done

723
00:38:22,440 --> 00:38:24,000
Speaker 2: what I know my parents want me to do, but

724
00:38:24,040 --> 00:38:26,560
Speaker 2: I've really got this passion to do something more creative.

725
00:38:26,600 --> 00:38:28,160
Speaker 2: If what would your advice be?

726
00:38:29,040 --> 00:38:31,800
Speaker 1: Yeah, well, look it's a tough path.

727
00:38:32,000 --> 00:38:33,839
Speaker 3: Oh look, you know, any industry is a tough path,

728
00:38:34,000 --> 00:38:37,680
Speaker 3: and I think as you go through, well, certainly for me,

729
00:38:38,440 --> 00:38:40,719
Speaker 3: you know, I was late into the industry.

730
00:38:42,600 --> 00:38:43,479
Speaker 1: I was in the way I.

731
00:38:43,400 --> 00:38:46,560
Speaker 2: Think it's that late. I started acting training at thirty two.

732
00:38:46,640 --> 00:38:47,040
Speaker 1: Well there you go.

733
00:38:47,120 --> 00:38:48,960
Speaker 3: I was about thirty two when it sort of started

734
00:38:48,960 --> 00:38:50,920
Speaker 3: to happen, right, And I think that's a good age

735
00:38:50,920 --> 00:38:53,960
Speaker 3: because I felt like in my twenties and didn't know shit,

736
00:38:54,120 --> 00:38:56,560
Speaker 3: I don't know who you are. So it's not to

737
00:38:56,600 --> 00:39:00,040
Speaker 3: say they're incredibly talented storytellers in that decade, but not

738
00:39:00,080 --> 00:39:03,480
Speaker 3: for me. And so I was just starting to understand

739
00:39:03,560 --> 00:39:06,160
Speaker 3: who I was and what I wanted in my thirties,

740
00:39:06,440 --> 00:39:11,480
Speaker 3: but still reconciling with you childhood pasts and you know,

741
00:39:11,960 --> 00:39:16,040
Speaker 3: lack of confidence and you know, sense of self and

742
00:39:16,760 --> 00:39:19,000
Speaker 3: self worth and all that sort of stuff, and all

743
00:39:19,000 --> 00:39:22,160
Speaker 3: those things kept come clash, it crashing in and of course,

744
00:39:22,400 --> 00:39:25,839
Speaker 3: you know you in my thirties, I drank a lot

745
00:39:26,400 --> 00:39:30,040
Speaker 3: right into my mid forties, to the point where in

746
00:39:30,080 --> 00:39:32,440
Speaker 3: our industry, you know, we drink every day, so we're

747
00:39:32,480 --> 00:39:35,319
Speaker 3: you know, functioning alcoholics essentially, and I just got to

748
00:39:35,320 --> 00:39:40,400
Speaker 3: a point where I went, I'm just masking all my

749
00:39:40,520 --> 00:39:45,320
Speaker 3: anxieties through alcohol, you know. And so once I started

750
00:39:45,320 --> 00:39:50,239
Speaker 3: doing cognitive I had peticotacs to the point where I

751
00:39:50,280 --> 00:39:52,640
Speaker 3: needed to do something to figure out what's going on

752
00:39:53,280 --> 00:39:59,160
Speaker 3: with that manifestation of you know, these physical reactions. And

753
00:39:59,200 --> 00:40:00,680
Speaker 3: then there was the same point, you know, the seven

754
00:40:00,760 --> 00:40:02,920
Speaker 3: year each sort of thing with a relationship where you know,

755
00:40:03,480 --> 00:40:06,240
Speaker 3: Joe's gone. You know, we need to do therapy because

756
00:40:06,600 --> 00:40:09,760
Speaker 3: you know, I'm not happy and.

757
00:40:09,640 --> 00:40:11,200
Speaker 1: So and so and shit.

758
00:40:11,400 --> 00:40:14,640
Speaker 3: Okay, so we did therapy and then and I was resistant,

759
00:40:15,239 --> 00:40:19,680
Speaker 3: you know, classic you know, male cliche, resistant to therapy.

760
00:40:20,520 --> 00:40:23,080
Speaker 1: But once I was in there, Fuck, I loved it.

761
00:40:23,360 --> 00:40:25,280
Speaker 1: My god, You're talking.

762
00:40:24,880 --> 00:40:29,560
Speaker 3: About all these stories and storylines and characters which I

763
00:40:29,600 --> 00:40:32,840
Speaker 3: love and going, oh my god, I'm the central character

764
00:40:32,920 --> 00:40:35,640
Speaker 3: to my own story, which I was ignoring, and so

765
00:40:35,719 --> 00:40:39,000
Speaker 3: then I was paying attention to Okay, what did this?

766
00:40:39,200 --> 00:40:40,280
Speaker 1: What happened to this child?

767
00:40:40,280 --> 00:40:42,480
Speaker 3: And whine or going all through these things, and then

768
00:40:42,920 --> 00:40:46,640
Speaker 3: it's amazing just and for me just talking, which I

769
00:40:46,680 --> 00:40:50,640
Speaker 3: do a lot, you come off each time with a little.

770
00:40:50,440 --> 00:40:53,880
Speaker 2: Bit weight totally, and I feel like I'm into my

771
00:40:53,920 --> 00:40:55,840
Speaker 2: fifty year straight of therapy and to me as my

772
00:40:56,000 --> 00:40:59,719
Speaker 2: non negotiable. But I think you you developed I don't

773
00:40:59,719 --> 00:41:02,600
Speaker 2: know if it's like neuroplasticity or something, but you develop

774
00:41:02,800 --> 00:41:05,640
Speaker 2: a skill to be able to process things really quickly.

775
00:41:06,280 --> 00:41:09,120
Speaker 2: And I think working in the entertainment industry, if you've

776
00:41:09,120 --> 00:41:11,560
Speaker 2: got that, it's like a superpower. And then this brings

777
00:41:11,560 --> 00:41:13,520
Speaker 2: me back to the resilience point, which I didn't even

778
00:41:13,560 --> 00:41:16,000
Speaker 2: ask you, probably, but like, do you think resilience is

779
00:41:16,000 --> 00:41:18,560
Speaker 2: a key to anyone in the creative industry?

780
00:41:18,640 --> 00:41:20,000
Speaker 1: Absolutely? I am.

781
00:41:20,440 --> 00:41:22,759
Speaker 3: A good example was I was working on the first

782
00:41:22,840 --> 00:41:27,279
Speaker 3: year of Rush I and then my first year so

783
00:41:27,360 --> 00:41:30,759
Speaker 3: first season of Brush was at the point where all

784
00:41:30,840 --> 00:41:34,960
Speaker 3: these things were happening at once. So the relationship with

785
00:41:35,040 --> 00:41:37,839
Speaker 3: Joe was at its lowest point. We'd fallen out of love.

786
00:41:38,760 --> 00:41:41,600
Speaker 3: We're trying to have a baby and we weren't successful.

787
00:41:41,719 --> 00:41:44,520
Speaker 3: My drinking was at it's worst, and I'd ignored all

788
00:41:44,600 --> 00:41:49,160
Speaker 3: these things, and I was not I was not resilient

789
00:41:49,200 --> 00:41:52,320
Speaker 3: at all, Like the smallest things would make me react poorly.

790
00:41:52,920 --> 00:41:56,440
Speaker 3: I you know, you know, I wasn't. I wasn't a

791
00:41:56,520 --> 00:41:58,880
Speaker 3: count or anything like that, or a bastard to people.

792
00:41:59,360 --> 00:42:03,080
Speaker 3: I was just not kind and I was short tempered

793
00:42:03,320 --> 00:42:07,160
Speaker 3: and that sort of thing. And I look back and go,

794
00:42:07,239 --> 00:42:10,640
Speaker 3: oh fuck, you know, I was just I could have

795
00:42:10,680 --> 00:42:14,680
Speaker 3: been a much better person, But considering what I was

796
00:42:14,719 --> 00:42:16,520
Speaker 3: going through, it made all perfect sense.

797
00:42:16,920 --> 00:42:17,200
Speaker 1: Anyway.

798
00:42:17,239 --> 00:42:19,279
Speaker 3: I was very lucky that Joe was in radio at

799
00:42:19,280 --> 00:42:22,040
Speaker 3: that time. I was able to, you know, get to

800
00:42:22,080 --> 00:42:25,120
Speaker 3: the point with doing therapy, step away from the job,

801
00:42:26,080 --> 00:42:29,920
Speaker 3: and this wonderful thing happened where I remember, we've been

802
00:42:29,920 --> 00:42:32,360
Speaker 3: doing therapy for a year and I come out of

803
00:42:32,360 --> 00:42:35,880
Speaker 3: a session going to Joe like un grasping the concept of,

804
00:42:35,920 --> 00:42:41,120
Speaker 3: oh my god, I'm feeling like I'm falling back in love.

805
00:42:41,000 --> 00:42:44,760
Speaker 1: Again, which is beautiful. And then we found.

806
00:42:44,560 --> 00:42:47,960
Speaker 3: Out a week later that we were pregnant with Willow.

807
00:42:48,560 --> 00:42:51,600
Speaker 3: So it was such a beautiful story of all this

808
00:42:51,680 --> 00:42:55,360
Speaker 3: hard work, all this therapy and coming to a point

809
00:42:55,440 --> 00:42:59,080
Speaker 3: of you know, realizing so many given aspects of ourselves

810
00:42:59,160 --> 00:43:02,960
Speaker 3: and what were were creating or recreating in our home

811
00:43:03,000 --> 00:43:07,880
Speaker 3: life to our childhood upbringing, and then recognizing that stuff

812
00:43:07,880 --> 00:43:11,440
Speaker 3: and then going hang on a minute. This ability to stop,

813
00:43:12,160 --> 00:43:15,080
Speaker 3: step out of something and just go we'll hang on

814
00:43:15,600 --> 00:43:18,520
Speaker 3: instead of just reacting poorly, which I would always do

815
00:43:19,520 --> 00:43:21,680
Speaker 3: similar to my dad. Would I go, no, hang on

816
00:43:21,719 --> 00:43:25,560
Speaker 3: a minute. No I'm not I'm just not going to

817
00:43:25,600 --> 00:43:29,479
Speaker 3: do that, or if I did, I would just say

818
00:43:29,520 --> 00:43:31,680
Speaker 3: I'm sorry, I didn't mean to say that.

819
00:43:31,800 --> 00:43:34,560
Speaker 1: Let's let's be able to call it exactly.

820
00:43:35,320 --> 00:43:38,560
Speaker 2: So fascinating. It's really cool that you just shared that though,

821
00:43:38,600 --> 00:43:40,759
Speaker 2: because like my experience of you, and I know it

822
00:43:40,800 --> 00:43:43,000
Speaker 2: was just the one time in a very professional sense,

823
00:43:44,160 --> 00:43:48,200
Speaker 2: was that you were such a kind person, but you

824
00:43:48,280 --> 00:43:53,640
Speaker 2: also were able to, like from an emotionally intelligent perspective,

825
00:43:53,719 --> 00:43:57,040
Speaker 2: not to psychoanalyze you, by the way, but you were

826
00:43:57,040 --> 00:43:59,880
Speaker 2: able to read the room so well, and I was

827
00:44:00,120 --> 00:44:04,680
Speaker 2: you knew every probably knew everybody. You're the producer the gig,

828
00:44:04,880 --> 00:44:08,919
Speaker 2: but I could I always felt like Das knows what's

829
00:44:08,960 --> 00:44:11,120
Speaker 2: going on, and I know that that's the role of

830
00:44:11,120 --> 00:44:14,040
Speaker 2: a producer, but on an emotionally intelligent sense, like you

831
00:44:14,080 --> 00:44:16,799
Speaker 2: could read where we were all at and what we

832
00:44:16,840 --> 00:44:20,200
Speaker 2: all needed, and it was just really I think, like,

833
00:44:20,200 --> 00:44:21,560
Speaker 2: I don't know if it's a therapy. I don't know

834
00:44:21,560 --> 00:44:24,560
Speaker 2: if it's that you've gone through those like you've processed

835
00:44:24,560 --> 00:44:27,280
Speaker 2: the stuff that you process. But I think take stock

836
00:44:27,440 --> 00:44:30,399
Speaker 2: because yeah, you not only did you put my mind

837
00:44:30,440 --> 00:44:34,879
Speaker 2: at ease, but to work with I felt safe as

838
00:44:34,920 --> 00:44:38,319
Speaker 2: somebody that was excited but scared at the same time.

839
00:44:38,400 --> 00:44:38,919
Speaker 1: Yeah, totally.

840
00:44:39,000 --> 00:44:44,279
Speaker 3: It's I always say a wonderful skill is if you're

841
00:44:45,960 --> 00:44:48,719
Speaker 3: if you can master the skills for being a waiter, yeah,

842
00:44:48,960 --> 00:44:51,640
Speaker 3: like a good waiter, then being on set you will

843
00:44:51,680 --> 00:44:55,319
Speaker 3: have great skills because you know, I did eight years

844
00:44:55,360 --> 00:44:58,080
Speaker 3: of watering and it was all about looking around the

845
00:44:58,120 --> 00:44:59,719
Speaker 3: room and going I can't We'll do that first, then

846
00:44:59,719 --> 00:45:01,319
Speaker 3: I'll do that second, then i'll do that third, and

847
00:45:01,320 --> 00:45:02,759
Speaker 3: then I'll come back to that, and then I'll do this,

848
00:45:02,840 --> 00:45:04,160
Speaker 3: and I'll do that. And that's how I used to

849
00:45:04,160 --> 00:45:07,520
Speaker 3: function right circle room and then look back, and that's

850
00:45:07,520 --> 00:45:08,359
Speaker 3: how it sort of do things.

851
00:45:08,400 --> 00:45:10,880
Speaker 1: I love that, and I still do that today, like

852
00:45:10,920 --> 00:45:11,680
Speaker 1: when I look.

853
00:45:11,600 --> 00:45:13,880
Speaker 3: At the set and I go ally, I'll deal with that,

854
00:45:13,920 --> 00:45:16,000
Speaker 3: and I'll get onto that, and then I'll chase up

855
00:45:16,040 --> 00:45:17,160
Speaker 3: that and then you know.

856
00:45:17,480 --> 00:45:18,160
Speaker 2: I love it.

857
00:45:18,520 --> 00:45:22,360
Speaker 1: That's how that's sort of like the waiter again.

858
00:45:23,200 --> 00:45:25,880
Speaker 2: I love it. But you're incredible, thank you.

859
00:45:25,920 --> 00:45:28,520
Speaker 3: And then but for me, I think also to now

860
00:45:28,920 --> 00:45:37,080
Speaker 3: I'm learning to kindness is so important, and gratitude and

861
00:45:37,160 --> 00:45:40,719
Speaker 3: you know, also to There's an interesting thing that I've

862
00:45:40,719 --> 00:45:44,680
Speaker 3: noticed as I got older that little things I just

863
00:45:44,719 --> 00:45:47,719
Speaker 3: don't they don't let the little.

864
00:45:47,440 --> 00:45:50,120
Speaker 1: Things get the better of you or what is it?

865
00:45:50,160 --> 00:45:52,200
Speaker 1: I was just I was listening to Smartness.

866
00:45:51,760 --> 00:45:54,120
Speaker 2: Podcasts, my favorite, it's my favorite, and.

867
00:45:54,040 --> 00:45:56,160
Speaker 3: They keep asking each other, so when did you reach

868
00:45:56,160 --> 00:45:57,319
Speaker 3: a point where you just didn't give a fuck?

869
00:45:58,520 --> 00:46:02,560
Speaker 4: Who's your favorite host on Smartlet Well, look, I've always

870
00:46:02,560 --> 00:46:04,839
Speaker 4: been a huge fan of Jason Babs and so I

871
00:46:04,880 --> 00:46:06,600
Speaker 4: love all of his stories because I have a very

872
00:46:06,640 --> 00:46:12,239
Speaker 4: similar with the same age and similar trajectory of the

873
00:46:12,320 --> 00:46:14,400
Speaker 4: things like the Pillars of his life sort of thing.

874
00:46:14,480 --> 00:46:16,680
Speaker 1: You know, not so much the success, but will An

875
00:46:17,040 --> 00:46:20,280
Speaker 1: is just funny as funck just what a voice. Oh god,

876
00:46:20,960 --> 00:46:23,040
Speaker 1: And I just loved the rapport of all three.

877
00:46:23,480 --> 00:46:26,080
Speaker 2: My favorite is the Ricky Gervais episode Oh my God,

878
00:46:26,239 --> 00:46:28,239
Speaker 2: so and George Cliney. I can't get us with.

879
00:46:28,200 --> 00:46:29,520
Speaker 1: George Cliney shitting in the k.

880
00:46:32,160 --> 00:46:32,680
Speaker 3: What a man?

881
00:46:33,520 --> 00:46:33,759
Speaker 1: What?

882
00:46:33,840 --> 00:46:36,400
Speaker 3: It was just so funny. But Brian Cranston's story as

883
00:46:36,400 --> 00:46:39,640
Speaker 3: well was just fascinating, just him talking about which I

884
00:46:39,880 --> 00:46:43,239
Speaker 3: teld a lot of people that because this is great

885
00:46:43,239 --> 00:46:45,799
Speaker 3: saying that one of the producers from Mental Sexual said

886
00:46:45,800 --> 00:46:48,479
Speaker 3: to him, which I love, which is the hardier work,

887
00:46:48,760 --> 00:46:52,560
Speaker 3: the luckier you get, right. And so listening to Brian

888
00:46:52,600 --> 00:46:55,759
Speaker 3: Cranston who talks about do you remember when he talks

889
00:46:55,800 --> 00:46:58,440
Speaker 3: about how they were going to go to season eight

890
00:46:58,640 --> 00:47:01,799
Speaker 3: of Mechlcolm in the middle, sets, built everything, and then

891
00:47:01,840 --> 00:47:04,000
Speaker 3: all of a sudden he got canned and then he

892
00:47:04,080 --> 00:47:06,200
Speaker 3: was asked to come in the week they would have

893
00:47:06,200 --> 00:47:10,240
Speaker 3: been shooting to do it like a so to speak,

894
00:47:10,280 --> 00:47:12,759
Speaker 3: audition for the role because they had to sell him

895
00:47:12,760 --> 00:47:13,360
Speaker 3: into the studio.

896
00:47:13,480 --> 00:47:18,000
Speaker 2: Yeah, that's right. And then luck and then the tables

897
00:47:18,080 --> 00:47:19,320
Speaker 2: just completely turning.

898
00:47:19,120 --> 00:47:20,520
Speaker 1: Isn't it. So it's so cool.

899
00:47:20,920 --> 00:47:23,720
Speaker 3: You know, it's all a lot of luck. But timing,

900
00:47:23,800 --> 00:47:27,640
Speaker 3: but obviously, yeah.

901
00:47:27,160 --> 00:47:28,800
Speaker 2: Thank you so much for sharing. I know it was

902
00:47:28,800 --> 00:47:31,560
Speaker 2: a random request to ask you to come onto this podcast.

903
00:47:31,640 --> 00:47:32,600
Speaker 1: Thank you so much for me.

904
00:47:32,880 --> 00:47:33,520
Speaker 2: Have you had fun.

905
00:47:33,719 --> 00:47:35,640
Speaker 1: I've had a ball as you can see, laughing.

906
00:47:35,960 --> 00:47:39,480
Speaker 2: Can I ask one more secret from you, of course,

907
00:47:40,320 --> 00:47:42,759
Speaker 2: and that is I go back to Los Angeles very soon.

908
00:47:42,880 --> 00:47:43,320
Speaker 1: Yeah.

909
00:47:43,360 --> 00:47:47,120
Speaker 2: And it's a cutthroat well, and you'll meet with fifty managers.

910
00:47:47,160 --> 00:47:49,200
Speaker 2: You'll never have a bad meeting. But it can be

911
00:47:49,280 --> 00:47:52,560
Speaker 2: really tough as well. I always say it's like the

912
00:47:52,560 --> 00:47:54,439
Speaker 2: best city but the worst city at the same time,

913
00:47:55,000 --> 00:47:57,480
Speaker 2: and it's really rough. Like I remember acting schools. Started

914
00:47:57,480 --> 00:48:01,120
Speaker 2: my car in the morning, car battery stolen. It's a

915
00:48:01,120 --> 00:48:02,880
Speaker 2: birth of fire or whatever that's saying.

916
00:48:04,120 --> 00:48:05,319
Speaker 1: That's it. Back to the fire.

917
00:48:05,360 --> 00:48:07,520
Speaker 2: I was like, man, what is going on? I'd be

918
00:48:07,600 --> 00:48:09,920
Speaker 2: buying like an avocado and I get followed home like

919
00:48:09,920 --> 00:48:13,600
Speaker 2: it's that stuff hapens all the time, right. But then

920
00:48:13,640 --> 00:48:16,440
Speaker 2: you'll be in class in a little lake theater on

921
00:48:16,560 --> 00:48:19,320
Speaker 2: Melrose Avenue and the teacher will be like, hey, Alex,

922
00:48:19,360 --> 00:48:21,840
Speaker 2: congrats on your movie. Drive Home. Alex is on a

923
00:48:21,840 --> 00:48:25,920
Speaker 2: poster on Sunset that's fantasic, right, which is a different movie.

924
00:48:26,000 --> 00:48:28,359
Speaker 2: The one that the teachers just said congrats to something

925
00:48:28,480 --> 00:48:31,279
Speaker 2: is filmed a year ago, you know, and I just

926
00:48:31,360 --> 00:48:34,279
Speaker 2: think as someone that's going so my fear going to

927
00:48:34,480 --> 00:48:36,080
Speaker 2: LA is like I get scared done a bit too

928
00:48:36,160 --> 00:48:38,560
Speaker 2: old because I'm thirty six and everyone in my acting

929
00:48:38,560 --> 00:48:42,319
Speaker 2: class is like twenty three around that age. What do

930
00:48:42,400 --> 00:48:45,400
Speaker 2: you think is a standout that you look for in

931
00:48:45,480 --> 00:48:46,760
Speaker 2: talent or as an actor?

932
00:48:47,480 --> 00:48:53,240
Speaker 1: Oh okay, okay, So for me, it could be the resilience. Yeah,

933
00:48:53,480 --> 00:48:57,520
Speaker 1: I think just the naturalness.

934
00:48:57,560 --> 00:49:00,520
Speaker 3: It's really hard because I instantly connect when I notice

935
00:49:00,560 --> 00:49:03,960
Speaker 3: someone's a bit nervous and try our best to make

936
00:49:04,000 --> 00:49:07,200
Speaker 3: sure they feel comfortable, and and you know, we'll just

937
00:49:07,239 --> 00:49:09,480
Speaker 3: wait till you feel okay, let's just chat. Let's just chat,

938
00:49:09,560 --> 00:49:13,840
Speaker 3: let's just chat things. But what is it about a performance?

939
00:49:15,760 --> 00:49:18,080
Speaker 1: You know what? The thing that got me with young

940
00:49:18,160 --> 00:49:19,040
Speaker 1: Lara was her eyes.

941
00:49:19,080 --> 00:49:21,239
Speaker 3: Now you've got amazing eyes, like you know, you've got

942
00:49:21,320 --> 00:49:27,719
Speaker 3: these incredible engaging eyes. So eyes are fantastic authenticity, natural realness, right,

943
00:49:28,560 --> 00:49:30,560
Speaker 3: you know, and I think we're in a really I

944
00:49:30,600 --> 00:49:35,799
Speaker 3: think Nicole Kidman and who's her partner that they did

945
00:49:36,320 --> 00:49:41,800
Speaker 3: Big Little Lies with? Yeah, you know, similar to Joe's story,

946
00:49:41,800 --> 00:49:43,600
Speaker 3: which is like, you know, we're not getting.

947
00:49:43,360 --> 00:49:46,520
Speaker 1: Great roles, so let's just let's write, let's do our

948
00:49:46,560 --> 00:49:47,000
Speaker 1: own role.

949
00:49:47,760 --> 00:49:51,040
Speaker 3: And so then with Laura Dern and that great cast,

950
00:49:51,120 --> 00:49:53,360
Speaker 3: I just think it's really exciting now that you know

951
00:49:53,760 --> 00:49:59,359
Speaker 3: there is more real for older women and who is it?

952
00:49:59,440 --> 00:50:03,000
Speaker 3: I think Reese Witherspoon actually said in the SmartLess podcast,

953
00:50:03,520 --> 00:50:06,160
Speaker 3: you know, older women are more interesting.

954
00:50:05,800 --> 00:50:09,680
Speaker 1: Because they've lived life experience exactly, and then all this

955
00:50:09,840 --> 00:50:10,680
Speaker 1: shit's gone on.

956
00:50:10,800 --> 00:50:15,080
Speaker 3: And I find those and I find female stories far

957
00:50:15,120 --> 00:50:18,040
Speaker 3: more interesting than men because of the complexity of you know,

958
00:50:19,120 --> 00:50:22,399
Speaker 3: how much harder things are, how much difficult things can be,

959
00:50:22,760 --> 00:50:25,759
Speaker 3: and you know, this male centric society and trying to

960
00:50:25,760 --> 00:50:30,080
Speaker 3: compete with that, and so I'm loving all the female

961
00:50:30,120 --> 00:50:32,760
Speaker 3: driven stories that are happening at the moment, and older

962
00:50:32,840 --> 00:50:35,560
Speaker 3: women's stories as well, Like have you seen Katan Hahn?

963
00:50:35,600 --> 00:50:37,839
Speaker 1: And I love Dick fucking great?

964
00:50:38,239 --> 00:50:42,440
Speaker 3: Really, that's incredible just a one off season on Amazon,

965
00:50:42,480 --> 00:50:43,839
Speaker 3: which okay, I love.

966
00:50:44,160 --> 00:50:45,399
Speaker 1: I'm a big fan of Katarin Hahn.

967
00:50:45,520 --> 00:50:48,360
Speaker 2: She's just there are so many amazing But speaking of

968
00:50:48,400 --> 00:50:52,960
Speaker 2: Race Morning Wars, it's called in Australia anything anytime. My

969
00:50:53,000 --> 00:50:55,440
Speaker 2: agents like we need fresh American self tapes from me.

970
00:50:55,520 --> 00:50:58,000
Speaker 2: I'm like, hang tight, I'm getting a morning, was mynologue

971
00:50:58,000 --> 00:51:00,120
Speaker 2: for I. Just I've done every on.

972
00:51:01,600 --> 00:51:02,640
Speaker 1: And you've seen the first season.

973
00:51:02,719 --> 00:51:04,680
Speaker 2: Yeah, A.

974
00:51:06,320 --> 00:51:09,759
Speaker 3: Just move camera moving in on to Steve Carell, like

975
00:51:09,840 --> 00:51:11,960
Speaker 3: only Steve Carell could play that character.

976
00:51:12,120 --> 00:51:14,080
Speaker 2: So he didn't have an easy start either. There is

977
00:51:14,560 --> 00:51:16,399
Speaker 2: there are so many he got told he would never

978
00:51:16,440 --> 00:51:20,120
Speaker 2: make it so fascinating. And what I love about that

979
00:51:20,160 --> 00:51:21,520
Speaker 2: show is my other dream is to be like a

980
00:51:21,560 --> 00:51:24,000
Speaker 2: Steve Colbert. I'd love to be a talking so you

981
00:51:24,080 --> 00:51:25,439
Speaker 2: get to here's the King.

982
00:51:26,920 --> 00:51:30,480
Speaker 3: I highly recommend catching one of his first shows, Strangers

983
00:51:30,480 --> 00:51:31,399
Speaker 3: with Candy.

984
00:51:33,120 --> 00:51:37,399
Speaker 2: Yes, wildest, Okay, okay, thank you, I could, I could

985
00:51:37,440 --> 00:51:42,839
Speaker 2: geek out. Thank you so so much. Absolutely wonderful and

986
00:51:42,880 --> 00:51:45,240
Speaker 2: he really inspired me. I came straight off the airplane

987
00:51:45,400 --> 00:51:45,960
Speaker 2: just to see you.

988
00:51:46,280 --> 00:51:50,120
Speaker 1: Fantastic. I wouldn't have known. Thank you, Thank you.

989
00:51:52,120 --> 00:51:57,800
Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always,

990
00:51:57,920 --> 00:52:02,279
Speaker 2: thank you to our guests and continue the conversation on Instagram.

991
00:52:02,840 --> 00:52:08,000
Speaker 2: I'm at Yamo lollaberry. This potty my word for podcast

992
00:52:08,560 --> 00:52:12,359
Speaker 2: is available on all streaming platforms. I'd love it if

993
00:52:12,400 --> 00:52:16,360
Speaker 2: you could subscribe rape and comment, and of course spread

994
00:52:16,360 --> 00:52:16,719
Speaker 2: the love.