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Speaker 1: Get a.

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Speaker 2: I'm Lala 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.

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Speaker 1: And face our blind spots.

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Speaker 2: Each week, I'll interview a different guest about their highs

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Speaker 2: as well as their lows, all in a bid to

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Speaker 2: inspire us to fearlessly fail.

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Speaker 1: Yiloha, Welcome to the pod.

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Speaker 2: Today's guest is Sean Will, actor, comedian, host, and my

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Speaker 2: very own improv teacher. So in this episode, we absolutely

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Speaker 2: talk about his career, the highs.

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Speaker 1: And the lows.

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Speaker 2: He talks about bombing on stage and how to get

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Speaker 2: through that and how to turn failure into lessons and

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Speaker 2: an opportunity to grow. We also unpack improv rules, so

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Speaker 2: we talk about some of the classic mantras of improv

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Speaker 2: that are really handy and really good in so many

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Speaker 2: parts of everyday life, Like you could totally take these

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Speaker 2: rules into a board meeting, into for me, like I

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Speaker 2: was seeing. They're so handy for morning tally segments. So

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Speaker 2: I really encourage you to listener even if you're not

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Speaker 2: into improv or anything like that. It's really inspiring and

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Speaker 2: I think you'll learn something from it.

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Speaker 1: So thank you so much, Sean.

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Speaker 2: You are an absolute legend and you are a ripper

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Speaker 2: improv teacher.

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Speaker 1: Sean will thank you.

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Speaker 3: Yes, thank you so much. Lola. Oh, I'm so excited

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Speaker 3: to be here.

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Speaker 2: Yes, actor, comedian, host and my improv teacher.

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Speaker 3: I know, look at this, like Lola has been in

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Speaker 3: my class for five weeks now, and I'm telling you,

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Speaker 3: she's saying like this is her first time in amprov

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Speaker 3: and I'm like, that's crazy. I do not believe you.

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Speaker 1: Whatso right?

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Speaker 2: Do you know? How I get full blown impostersis syndrome

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Speaker 2: in class even because everyone's so funny and I and

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Speaker 2: I obviously everything runs through like a more Australiana lens

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Speaker 2: for me, so it takes me a beat to catch

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Speaker 2: up sometimes.

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Speaker 3: Yeah.

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Speaker 2: Like different, I feel like different Australia feels like it's

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Speaker 2: got a different kind of like comedy bones versus America

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Speaker 2: versus British, you know what I mean.

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Speaker 1: I feel like they're all kinds of different.

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Speaker 3: Yeah, because I know America, like American comedy is a

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Speaker 3: little more in your face abrasiveness and like kind of

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Speaker 3: like British comedy is very.

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Speaker 1: Like sancastic sarcastic, and.

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Speaker 3: It's like very subverted, and it's like all over the place,

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Speaker 3: a little bit a little more wacky. So how would

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Speaker 3: you consider Australian humor that.

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Speaker 1: We're self deprecating.

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Speaker 2: So it's the first thing and Ossie will do is

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Speaker 2: like disarm themselves kind of thing by bringing themselves down.

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Speaker 2: We have a thing in Australia called tall poppy syndrome

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Speaker 2: which Americans exactly give me the face that you escape me.

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Speaker 2: So and Ossie's famously when they come to America, I

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Speaker 2: have to get really confident really quick, Like I get

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Speaker 2: really nervous story to say, I've written eleven books.

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Speaker 1: But you tell an American that they're like cool, Yeah,

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Speaker 1: that's cool.

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Speaker 2: In Australia, you wouldn't. You'd be like, oh yeah, right,

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Speaker 2: I've written a few books. You kind of pull back

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Speaker 2: a little bits. It bleeds into comedy too, So the

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Speaker 2: comedy is often self deprecating, which is funny but very

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Speaker 2: different to hear.

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Speaker 3: That is so interesting because when I think of Australia

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Speaker 3: and Australians, some of like my favorite actors like Chris Himsworth,

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Speaker 3: I think is amazing at humor. Obviously, he's gorgeous, but

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Speaker 3: he's also it helped. That helps, but he's also super funny.

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Speaker 3: I never thought of it from a self deprecation point

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Speaker 3: of view, but yeah, because like a lot of his

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Speaker 3: humor with Thor is more self deprecating. I never thought

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Speaker 3: of that until you said that.

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Speaker 2: I think that's the aussy thing. I think that's interesting.

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Speaker 2: Back to you, though, my friends, I arned.

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Speaker 3: I just learned something. No cool.

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Speaker 2: So okay, I have deep dived. I've watched all your reels.

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Speaker 2: I've watched the Taylist with video clears.

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Speaker 3: Well, I think I didn't know you saw that.

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Speaker 1: Yes, oh, I watched it all. It's all.

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Speaker 2: But my question is to you because my experience with

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Speaker 2: you is as your student learning improv, but I love

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Speaker 2: seeing like your more theatrical drama real as well, Like

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Speaker 2: where would you say you're And of course you do

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Speaker 2: live like you do you do. You're in an improv

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Speaker 2: gang as well, aren't you a.

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Speaker 3: Couple of them? Yeah? Yeah?

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Speaker 1: But so where's the passion?

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Speaker 2: Like, I know you've got a lot of you wear

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Speaker 2: a lot of different hats, but like, what's the fave?

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Speaker 1: If you had to boil it right down.

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Speaker 3: I would say pretty much comedy, like in particular improv

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Speaker 3: and sketch. Growing up, I watched a lot of Saturday

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Speaker 3: Night Live and a bathing color Mad TV, a lot

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Speaker 3: more of those shows that were very character based. Yeah,

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Speaker 3: and I always want to do that, like Chris Farley's

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Speaker 3: Matt Foley living in a van down by the river

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Speaker 3: somebody who should not be a motivational speaker is one,

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Speaker 3: or characters like that, like Will Ferrell to me is

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Speaker 3: like one of my favorites because when he does a

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Speaker 3: character or his comedy, he just goes all in. Yeah,

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Speaker 3: and so I do that. And so I say comedy

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Speaker 3: because also I feel like we're comedy. You can if

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Speaker 3: you can handle comedy and you can handle those comedic

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Speaker 3: beats and the timing still have the emotion, then I

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Speaker 3: feel like you can also veer into drama as well.

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Speaker 2: So I did drama training all last year here in

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Speaker 2: Los Angeles, and the first thing and I said.

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Speaker 1: I think I want to train in like comedy.

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Speaker 2: And improvince was like, it's harder, just so you know.

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Speaker 2: And I was like, really, it feels so light and fun,

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Speaker 2: and they're like no, no, no, no no, Like it is

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Speaker 2: a base of its own and that's why I'm slowly

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Speaker 2: learning of week.

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Speaker 3: Five, but you know, but you have it down. And

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Speaker 3: that's the thing because like the one thing I always

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Speaker 3: say in our class, I teach a class at Improv

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Speaker 3: LA and that's where Lola is currently my student. So

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Speaker 3: that's why I say emotion is key. Emotion like that,

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Speaker 3: that's that's the part that humanizes the character that you're playing.

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Speaker 1: Because you can connect right an audience.

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Speaker 2: Man is like, oh my goodness, I felt so I

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Speaker 2: felt like that, I feel sorry for that character exactly.

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Speaker 3: So imagine doing that, like having to emote but then

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Speaker 3: also being funny.

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Speaker 1: Oh yeah.

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Speaker 3: So whereas with drama, like you're emoting, you're really living

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Speaker 3: into the scene and you're playing off of one another.

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Speaker 3: With comedy, you're still doing that, but you're just adding

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Speaker 3: that extra bit of like a punchline or like I joke,

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Speaker 3: like something funny.

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Speaker 2: So that's a bit that petrifies me, like having that,

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Speaker 2: And I've noticed some people in the class are just

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Speaker 2: like designed for that, like it's in their DNA.

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Speaker 3: We all are, we all can do that, like seriously, Like,

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Speaker 3: because I know she was saying that she gets nervous

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Speaker 3: every time that she performs improv, but I'm telling all

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Speaker 3: of you right now, you cannot tell, like you just

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Speaker 3: cannot tell when she's up on stage, or with any

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Speaker 3: of my class mates or any of my students that

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Speaker 3: are up there on stage, because you all are confident

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Speaker 3: and even if you don't know what you're doing, that's

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Speaker 3: the beauty of improv. We don't know where it's going

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Speaker 3: to go. We don't have a script in front of us,

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Speaker 3: so I know the beats and things like that. We're

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Speaker 3: figuring it out as we go along. And as long

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Speaker 3: as you're confident and you're emotional and you're invested in it,

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Speaker 3: then at the end of the day, you're great work.

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Speaker 3: You can't go wrong. There's no way.

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Speaker 2: Oh I love Okay, you're getting me pumped next week already. Yeah,

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Speaker 2: class Okay, So I guess I want to rewind a

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Speaker 2: little bit, like what inspired you? What made you want

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Speaker 2: to get into comedy and being in the entertainment industry.

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Speaker 1: We all know it's a really hard industry.

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Speaker 3: Oh yeah, definitely, But if it was easy, everybody will do.

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Speaker 3: So For me, I grew up in movies. I didn't

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Speaker 3: really have a lot of friends growing up, so it

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Speaker 3: was always my Nintendo. I'd go home, play video games,

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Speaker 3: or I watch movies, in particular Steven Spielberg. He's my

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Speaker 3: favorite director ever and my favorite movie is Raiders of

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Speaker 3: the Lost Start with Harrison Ford.

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Speaker 1: Which I haven't say.

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Speaker 2: No in class as well because I know you're a

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Speaker 2: massive Star Wars and in class every time there's a

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Speaker 2: Star Wars and I'm like, please don't for me.

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Speaker 1: I've never seen it. I've never seen it.

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Speaker 3: You've never seen Oh my god.

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Speaker 2: But my mate's in the new Obi Wan Kenobi show.

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Speaker 2: Is I have to Now I have to go back

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Speaker 2: and do my research.

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Speaker 3: Oh you have to support Yeah, definitely, that's a that's

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Speaker 3: a super huge deal and that's going to be a great,

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Speaker 3: great show. But yeah, like watching that type of escapism

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Speaker 3: of that adventure type of movie. And then I say

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Speaker 3: Steven Spielberg because he also had a hand in making

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Speaker 3: not only Indiana Jones, but Grimlins.

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Speaker 2: And anything at wasn't that Stevensberg?

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Speaker 3: Yeah, that was his biggest one, And that was the

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Speaker 3: one I left out.

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Speaker 1: There's heaps I think he did, like there's still big Guns.

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Speaker 3: Was Jurassic Jurassic Park is him. I was about to

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Speaker 3: go to that as well. So just the idea of

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Speaker 3: being able to embody escapism and embodying these fantastical stories.

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Speaker 3: We're bringing a human element to it. That's when I

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Speaker 3: knew I wanted to be an actor. When I was

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Speaker 3: going through college, I stayed in college because that's what

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Speaker 3: my parents wanted.

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Speaker 1: They were like, well, safety knit exactly.

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Speaker 3: We'll support you whatever you want to do, but I

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Speaker 3: just we just want you to graduate. So I was like, okay, cool,

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Speaker 3: so I do that. But as soon as I graduated,

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Speaker 3: I knew I wanted to act, so I would do

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Speaker 3: I would take scene study classes in Texas, in Houston

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Speaker 3: and then and then start trying to build my resume

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Speaker 3: little by little.

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Speaker 1: Yeah.

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Speaker 3: But then it gets to a point where it's like,

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Speaker 3: you know what, just got to jump out there. Yeah,

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Speaker 3: And it was like, okay, forget it. If I fail,

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Speaker 3: I failed, but I'm just going to go out there.

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Speaker 3: And I just came out to LA And.

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Speaker 1: How long have you been out in LA now?

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Speaker 3: Now since twenty ten, so twelve years.

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Speaker 1: Oh wow, you've done.

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Speaker 2: You've trained it some pretty impressive places. So you see

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Speaker 2: big groundlings. Am I with Wes side?

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Speaker 1: Am I saying that?

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Speaker 3: Right?

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Speaker 1: Pack theater? That's a lot of places. There's probably even more.

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Speaker 3: There's more, there's uh yeah, it was like r I

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Speaker 3: p iOS iOS was a big school for me as

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Speaker 3: well as well as Second City.

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Speaker 2: Oh well, we own a Second City because Stephen Colbert

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Speaker 2: se many goodies that come out of Second City.

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Speaker 3: In Groundings, and I think he's the new artistic character,

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Speaker 3: which is great, and uh, it's going to do such

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Speaker 3: wonders for that school. And I and I encouraged this

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Speaker 3: with anybody, with anyone listening, and of course with you,

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Speaker 3: Lola Is. I took I took classes at those different

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Speaker 3: schools because I wanted to incorporate those teaching things that

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Speaker 3: I know I'm good at, maybe things that I'm not

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Speaker 3: so good at, and and and create like a singular voice,

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Speaker 3: like what my voice is? What makes Sean Well funny?

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Speaker 3: Like what who is he?

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Speaker 1: Yeah?

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Speaker 2: I love that well because it isn't groundlings like traditionally

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Speaker 2: really good for character work.

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Speaker 3: Oh very yes, very very good for that.

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Speaker 2: And then I've met some people that have taught at UCB,

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Speaker 2: and so I've heard u c B around in the traps.

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Speaker 1: I'm like, that sounds like a good spot to train,

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Speaker 1: you know.

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Speaker 2: Let you start hearing that these places that you've trained at.

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Speaker 2: Are the big guns when it comes to exactly comedy chops,

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Speaker 2: big time exactly. Okay, so you've been out here for

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Speaker 2: a little while now, a little while now, can you

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Speaker 2: share a failure, like a really like So for me,

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Speaker 2: I've only been here three or four weeks now, and

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Speaker 2: I'm putting up, like submitting self tapes every single day.

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Speaker 2: And one came in the other day and I was

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Speaker 2: so I was like, oh, Kristen Belle, comedic type. I

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Speaker 2: was like, oh this, Oh yeah, this feels good. I'm

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Speaker 2: reading down the script. It was for vagina deodorant. I'm

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Speaker 2: not joking. I am not joking.

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Speaker 1: I'm not joking.

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Speaker 3: Oh my gosh.

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Speaker 2: And I did it. I did it, mate, I did

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Speaker 2: it an American, I did it Ouzsie. I was like, submit, commit, Lola.

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Speaker 3: That's it. Yeah, but exactly, And that's what you have

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Speaker 3: to do. Like you will see breakdowns, and I'll get

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Speaker 3: breakdowns from my agent and I'm just like, are you

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Speaker 3: sure this is me? Because you see me. I'm I'm

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Speaker 3: I'm tall, I'm six ' three, but I'm lanky, I'm

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Speaker 3: pretty skinny. So I'll get breakdowns of like tough motorcycle

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Speaker 3: type or I like belly yeah, like like bike rider

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Speaker 3: up around the edges and I'm like you sure, that's me,

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Speaker 3: but you know what, like you say submit, commit or

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Speaker 3: commit submit, and so it's like, you know what, I'm

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Speaker 3: just gonna do it. And there are plenty of times

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Speaker 3: I fail in in particular like even still, okay, case

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Speaker 3: in point. I had a just the other day, I

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Speaker 3: had audition for a Toyota commercial and it was literally

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Speaker 3: all I had was just two easy lines, easy right.

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Speaker 3: And so it's in person, so I'm like, yes, I

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Speaker 3: love in person again something about human being, yes, and

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Speaker 3: not just at a screen. And then your thing freezes

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Speaker 3: are your muty I forgot? Uh? So yeah, so I

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Speaker 3: do it and he tells me exactly how to do it,

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Speaker 3: and I thought I did it, but I don't think so,

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Speaker 3: because it was like, okay, let's do it again and

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Speaker 3: it let's doing over time, and so I did and

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Speaker 3: I thought I made the adjustment, but when I left,

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Speaker 3: I was like, oh my god, I don't think I

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Speaker 3: don't think I did it. So now I'm starting to

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Speaker 3: get in my head of oh man, I wish I

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Speaker 3: could have went back and did that. Or we always

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Speaker 3: have those like, I wish I could have changed this,

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Speaker 3: or I wish I could have switched that out. But

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Speaker 3: at the end of the day, we don't know, because

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Speaker 3: sometimes those mistakes that we made they love.

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Speaker 1: And then they like, that's what books the job.

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Speaker 3: Right exactly. There's been times where I've been on stage

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Speaker 3: and I'll perform and it doesn't go over well if

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Speaker 3: he like, I might make a reference or something, it

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Speaker 3: might get a groan, and I'm like, oh, I could

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Speaker 3: pull back, but I've already committed the bit, so i

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Speaker 3: gotta stay with it. Like that's improv is about embracing failure,

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Speaker 3: like embracing the mistakes you're going to fail, but it's

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Speaker 3: all about how you respond to it, how you rebound

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Speaker 3: from it, and not second guessing yourself. But it's like,

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Speaker 3: you know what, this might not have worked for this audience,

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Speaker 3: but it will for this other audience, you know, and

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Speaker 3: as long as you're obviously playing it to the height

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Speaker 3: of your intelligence.

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Speaker 1: You always said that, that's like your mantra.

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Speaker 3: I feel very always play everything to the height of

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Speaker 3: your intelligence. I don't I don't you know, I don't

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Speaker 3: believe in trying to do stereotypical comedy and like trying

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Speaker 3: to you're making fun of at the expense of somebody.

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Speaker 3: It's like, no, no, no, no no, you can still play

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Speaker 3: that type of character or that type of point of view,

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Speaker 3: will play it to the height of your intelligence, and

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Speaker 3: that way it doesn't feel like you're talking down or

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Speaker 3: your yeah, your.

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Speaker 1: Fund of something like a satire of a personal.

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Speaker 3: Totally yeah exactly.

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Speaker 2: So yeah, this is going to sound like a really

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Speaker 2: hippy question, but I love this question. If we could

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Speaker 2: look into a crystal ball, what would you love to

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Speaker 2: be doing two years from now, Like is there a

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Speaker 2: dream gig or something? Is it like an sn L spot?

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Speaker 2: Is there something where you're just like, oh really, that's

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Speaker 2: my dream.

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Speaker 3: Uh. I would love in two years from now not

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Speaker 3: only be on a sketch show or like an episodic

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Speaker 3: like an episodic sitcom.

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Speaker 1: Oh yeah, I love, love.

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Speaker 3: Love that, and I can see that I'm gonna manifest

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Speaker 3: it so episodic sitcom, but then also be able to

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Speaker 3: transition that to movies a little bit. So uh again,

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Speaker 3: I bring up Will Ferrell. I I that that reckless abandonment,

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Speaker 3: but as long as it's uh true, true to the funny,

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Speaker 3: and true to form and then branch that or like

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Speaker 3: Steve Correll is another great example of somebody who's funny,

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Speaker 3: but he can also be very good dramatic wise.

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Speaker 1: Oh beautiful. You would have said in a stri it's

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Speaker 1: called Morning was here? I think it's called The Morning Show.

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Speaker 2: Yes, Oh, he's so dramatic in that there is not funny.

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Speaker 1: That's so phenomenal.

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Speaker 3: Right, and then look at Jennifer Anderson, who was a

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Speaker 3: background and like friends. Yeah, and like you said, with

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Speaker 3: The Morning Show, she's very serious.

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Speaker 1: I love that though.

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Speaker 2: I love seeing actors with the Latin like I personally

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Speaker 2: think that's something to aspire to.

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Speaker 1: I also love your dream. I could see you in

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Speaker 1: a sitcom thank you.

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Speaker 3: Yeah, that's that's the main goals. And getting the pilot

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Speaker 3: picked up. Yeah, I run for a couple of seasons

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Speaker 3: and yeah, that's the that's the dream, that's the goal.

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Speaker 3: But honestly, I'm just taking it one like literally, you

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Speaker 3: have to take it one day at a time. And

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Speaker 3: the more you're performing, the more you get those reps

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Speaker 3: in you know this, I'm talking to you like you

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Speaker 3: don't know this. Lola is like one of the biggest

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Speaker 3: hustlers I've ever met, Like Lola has her hands in.

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Speaker 3: Everything is so so awesome. And because of that, because

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Speaker 3: you're putting in your ten thousand hours, there's no way

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Speaker 3: you're not going to succeed. That's how I think of it.

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Speaker 3: Like ten thousand hours, Malcolm Gladwell, like you put that

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Speaker 3: time in. If you do one thing for that long

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Speaker 3: period of time, it's going to happen.

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Speaker 1: I love I'm a huge fan. I'm a huge fan

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Speaker 1: of that Athos.

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Speaker 2: There's a really cool saying about Los Angeles and they

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Speaker 2: say the people that take home the chips are the

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Speaker 2: people that sit at the table the longest. So if

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Speaker 2: you if you hear long enough, you're panning the pavement

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00:17:01,560 --> 00:17:05,679
Speaker 2: long enough, you're committing and submitting long enough, something's eventually

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Speaker 2: going to give right.

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Speaker 3: Exactly exactly it has to. And I joke with my

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Speaker 3: friends about this. LA is the biggest smallest city, especially

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Speaker 3: depending on what circle you're in. So if you're within

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Speaker 3: the circle of entertainment, everybody knows everybody, especially comedy, Oh

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Speaker 3: my god, everybody all of us know all of us.

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Speaker 3: So when your friend becomes a writer on a show,

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Speaker 3: or you have a friend that might be a PA

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Speaker 3: and then they're working their way up, or you see

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Speaker 3: your friends, like I see my friends on Saturday Live

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Speaker 3: and on NBC and I'm just like, oh, this is awesome.

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Speaker 3: And I was just doing karaoke with them the other.

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Speaker 1: Night, so good. I love it.

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Speaker 2: That's what so beautiful about Hollywood is like it's like

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Speaker 2: it's actually beautiful and then also quite heart breaking. You

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Speaker 2: can feel so close to something and then you're like,

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Speaker 2: hang on, but I feel really far away from that

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Speaker 2: right now to good point. But it does give you,

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Speaker 2: like this hope and trust to just keep going, keep

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Speaker 2: focused because you are seeing people rise, you know, which

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Speaker 2: is beautiful, but you've kind of got to catch yourself

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Speaker 2: from going nope, stay strong, stay eyes.

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Speaker 1: On the price.

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Speaker 3: Let me ask you this, Lola. So there's this comic strip,

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Speaker 3: like this illustration, and it's this there's two miners and

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Speaker 3: they're digging underneath the ground and they're both at about

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Speaker 3: the same distance, right, They both dug about the same distance.

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Speaker 3: Yet one miner decides to turn around they had enough,

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Speaker 3: and the other one's still going and there's a diamond

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Speaker 3: literally right there.

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Speaker 1: It's that point of giving out that you keep going.

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Speaker 3: Right, what did that? That's what makes you think of

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Speaker 3: I think of I literally think of that comic strip

396
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Speaker 3: every single time if I get frustrated or if I'm

397
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Speaker 3: like what am I doing? Especially the last two years

398
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Speaker 3: where everything is kind of shut down, it's like, oh boy,

399
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Speaker 3: what am I? What am I doing?

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Speaker 1: It was so I couldn't get a meeting, I couldn't

401
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Speaker 1: get a sit down. Last year.

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Speaker 2: I was like, I have sent out eighty five emails

403
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Speaker 2: to managers and I just couldn't get a sit down

404
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Speaker 2: because it was so shut down. Whereas now it feels

405
00:19:01,680 --> 00:19:05,680
Speaker 2: so alive and you're auditioning and it just feels very

406
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Speaker 2: and like going to real shows again, like great phenomen no.

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Speaker 3: Such great energy, I know.

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Speaker 2: So yeah, speaking of live shows, I've got to ask,

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Speaker 2: do you still get nervous?

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Speaker 3: Oh? Yeah?

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Speaker 1: Really?

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Speaker 2: Do you have like a little thing that you do

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Speaker 2: before like you go up or anything where you're just like,

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Speaker 2: do you do like breath work? Do you do anything

415
00:19:25,320 --> 00:19:28,280
Speaker 2: to like chill yourself down? Or is it more like

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Speaker 2: what we do when we start in prov class where

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Speaker 2: we do that like five body shake with the counting

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Speaker 2: down from five for three to one.

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Speaker 3: That's one that we usually do as a team will

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Speaker 3: count it down that way. We're out of our head.

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00:19:42,720 --> 00:19:44,800
Speaker 3: That's the main thing. You're shaking off all the bad

422
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Speaker 3: energy or all the outside interference, and now you're like

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Speaker 3: you're saying no, no, no, I'm bringing positive energy in and

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Speaker 3: we're all going to be on one accord. So we're

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Speaker 3: going to shake out the rest of the world and

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Speaker 3: right now we're focused on the here and now. So

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Speaker 3: that's a big one, I know for me, Like it depends,

428
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Speaker 3: like I get more nervous during auditions, which is kind

429
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Speaker 3: of crazy.

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Speaker 1: I had a feeling you were going to say that

431
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Speaker 1: like in more.

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Speaker 3: Yeah, Like I guess because I because it's been a while,

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Speaker 3: and especially now that's in person.

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Speaker 1: It's still intimidating.

435
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Speaker 2: I still think any casting is Like the first casting

436
00:20:18,040 --> 00:20:20,359
Speaker 2: I did in person after COVID, I literally wanted the

437
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Speaker 2: earth to eat me up, completely bombed.

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Speaker 1: Like she was like the lady, She's like, can you

439
00:20:25,560 --> 00:20:26,480
Speaker 1: just take it back a notch?

440
00:20:26,520 --> 00:20:29,639
Speaker 2: And I was like, yeah, sure, and I did it

441
00:20:29,640 --> 00:20:31,879
Speaker 2: again and she's like no, no, no way more, and

442
00:20:31,920 --> 00:20:34,560
Speaker 2: I was like, oh my goodness, I'm effing this happen.

443
00:20:34,640 --> 00:20:36,879
Speaker 2: I really got in my head to the point that

444
00:20:36,880 --> 00:20:38,880
Speaker 2: she's like, do it deadpan, and I was like, oh

445
00:20:38,920 --> 00:20:41,439
Speaker 2: my goodness, I'm like really making it, you know, and

446
00:20:41,480 --> 00:20:43,440
Speaker 2: I just made it worse and worse for myself.

447
00:20:43,480 --> 00:20:45,640
Speaker 3: Yeah, but you know what she might have been looking for.

448
00:20:45,960 --> 00:20:47,440
Speaker 3: She might have been trying to see if you take

449
00:20:47,480 --> 00:20:50,760
Speaker 3: adjustment totally so necessarily, you know.

450
00:20:50,840 --> 00:20:53,480
Speaker 2: In your head kind of goes lowly, your crap, your crap,

451
00:20:53,520 --> 00:20:54,200
Speaker 2: your crap, your crap.

452
00:20:54,320 --> 00:20:56,160
Speaker 3: I did that, I said the other day in that commercial.

453
00:20:56,200 --> 00:20:58,080
Speaker 3: I was like, oh, I can't believe I just bombed that.

454
00:20:58,440 --> 00:21:01,920
Speaker 3: And so but for my nerves, besides shaking it out,

455
00:21:02,240 --> 00:21:05,399
Speaker 3: I also try to listen to music that's upbeat and

456
00:21:05,440 --> 00:21:08,119
Speaker 3: then I'll like you. And I'm not encouraging this because

457
00:21:08,119 --> 00:21:10,560
Speaker 3: if if you don't drink, don't do so. I always

458
00:21:10,560 --> 00:21:12,679
Speaker 3: take a shot of whiskey before I go up, just

459
00:21:12,720 --> 00:21:13,560
Speaker 3: like a small.

460
00:21:13,240 --> 00:21:16,439
Speaker 2: One, heaps of I've interviewed actors and if they're if

461
00:21:16,440 --> 00:21:19,320
Speaker 2: they're really nervous, if they say, I've had someone come

462
00:21:19,320 --> 00:21:21,359
Speaker 2: on they wanted this part so bad, which they got

463
00:21:21,440 --> 00:21:24,359
Speaker 2: and was a massive in Australia, this role. But I

464
00:21:24,480 --> 00:21:26,159
Speaker 2: had to do a shot of vodka before because just

465
00:21:26,200 --> 00:21:27,440
Speaker 2: to calm the f down.

466
00:21:27,640 --> 00:21:29,320
Speaker 3: That's it, yep, exactly, and.

467
00:21:29,359 --> 00:21:31,400
Speaker 2: Just go in there but yeah, I've heard I've heard

468
00:21:31,400 --> 00:21:33,959
Speaker 2: that trick bit of Dutch courage, like a little bit

469
00:21:33,960 --> 00:21:36,280
Speaker 2: of like we got this, we got this, we got this, we.

470
00:21:36,280 --> 00:21:37,280
Speaker 3: Got this exactly.

471
00:21:37,440 --> 00:21:40,800
Speaker 2: So yeah, what would you say is the hardest thing

472
00:21:40,880 --> 00:21:43,200
Speaker 2: about improv? Because I've got to be honest, like, I'm loving,

473
00:21:43,320 --> 00:21:45,880
Speaker 2: loving being in your class, But I every Saturday morning,

474
00:21:45,880 --> 00:21:49,479
Speaker 2: I have this little moment where I'm like jump okay,

475
00:21:49,600 --> 00:21:51,159
Speaker 2: like i have to kind of ge myself because I'm

476
00:21:51,160 --> 00:21:54,000
Speaker 2: a bit nervous because it does feel really scary, I

477
00:21:54,040 --> 00:21:57,560
Speaker 2: think to me coming from so much theater training where

478
00:21:57,720 --> 00:22:01,480
Speaker 2: you script analyze for potentially six weeks for one character there,

479
00:22:01,520 --> 00:22:04,360
Speaker 2: you know, you want to know they're in a dialogue,

480
00:22:04,480 --> 00:22:08,240
Speaker 2: all the beat changes, dialect change or anything. Yeah, moment

481
00:22:08,320 --> 00:22:10,680
Speaker 2: before all of it and two within an inch of

482
00:22:10,720 --> 00:22:12,480
Speaker 2: its life really, and so this feels like you're kind

483
00:22:12,520 --> 00:22:14,800
Speaker 2: of throwing that whole concept on its head and just

484
00:22:14,840 --> 00:22:15,919
Speaker 2: being present.

485
00:22:16,000 --> 00:22:17,720
Speaker 1: Exactly, which is really scary for me.

486
00:22:17,880 --> 00:22:20,960
Speaker 2: So what would you say is this the hardest thing

487
00:22:21,040 --> 00:22:22,159
Speaker 2: for people about?

488
00:22:22,560 --> 00:22:24,520
Speaker 1: Not necessarily you because you've obviously been in it for

489
00:22:24,560 --> 00:22:25,040
Speaker 1: so long.

490
00:22:25,960 --> 00:22:31,600
Speaker 3: That's a good one. Honestly, it's the uh, it's getting

491
00:22:31,640 --> 00:22:34,840
Speaker 3: back to basics That's why I enjoy teaching one on

492
00:22:34,840 --> 00:22:37,080
Speaker 3: one because it's a reminder for me. It's like, oh, yeah,

493
00:22:37,600 --> 00:22:40,920
Speaker 3: just something as simple as just yes, and like sometimes

494
00:22:40,920 --> 00:22:43,399
Speaker 3: I might get a little too comfortable and then I

495
00:22:43,800 --> 00:22:46,359
Speaker 3: don't do it and I'm like wait, oh no, like

496
00:22:46,760 --> 00:22:48,480
Speaker 3: yes and it like that. That's a great that's a

497
00:22:48,480 --> 00:22:52,240
Speaker 3: great idea. It's a great concept. Also, another hard thing

498
00:22:52,320 --> 00:22:55,320
Speaker 3: that I feel that I do sometimes with improv is

499
00:22:55,359 --> 00:22:58,879
Speaker 3: pulling back because sometimes if, like if I see a

500
00:22:59,000 --> 00:23:02,400
Speaker 3: scene where two of my scene partners are out there

501
00:23:02,440 --> 00:23:05,639
Speaker 3: and it's not really going super well, I always feel

502
00:23:05,640 --> 00:23:08,840
Speaker 3: like it's my job or I should be able to

503
00:23:08,920 --> 00:23:11,600
Speaker 3: help save the scene or try to help.

504
00:23:12,440 --> 00:23:14,800
Speaker 1: You know, you're a nurturer, you're a naturer.

505
00:23:14,880 --> 00:23:17,359
Speaker 3: Yeah, and sometimes that's good. But sometimes it's like, Okay,

506
00:23:17,359 --> 00:23:20,200
Speaker 3: I'm doing too much. Let's pull back a little bit,

507
00:23:20,320 --> 00:23:23,439
Speaker 3: trust your scene partnerrself, figure it out, and maybe the

508
00:23:23,480 --> 00:23:25,720
Speaker 3: scene doesn't need to be saved. Maybe we could just

509
00:23:25,760 --> 00:23:28,399
Speaker 3: move on to the next one. That's something that I

510
00:23:28,480 --> 00:23:29,840
Speaker 3: still have a hard time with doing.

511
00:23:30,240 --> 00:23:31,440
Speaker 1: Oh that's so interesting.

512
00:23:31,880 --> 00:23:33,880
Speaker 2: Do you know. That's what stopped me jumping in today

513
00:23:33,880 --> 00:23:35,280
Speaker 2: because I was like, what if if the scene up?

514
00:23:35,280 --> 00:23:36,200
Speaker 1: What if I make it worse.

515
00:23:36,280 --> 00:23:38,520
Speaker 2: And so I really that I was really getting in

516
00:23:38,560 --> 00:23:40,359
Speaker 2: my head and I know you clocked that I didn't

517
00:23:40,400 --> 00:23:42,440
Speaker 2: tap in today and you're like I see you.

518
00:23:42,400 --> 00:23:44,240
Speaker 1: And I'm like, oh, I'm getting eyes now.

519
00:23:46,400 --> 00:23:47,960
Speaker 2: It was it was that thing of like, well, I

520
00:23:47,960 --> 00:23:50,760
Speaker 2: don't want to stuff up what is what already feels

521
00:23:51,359 --> 00:23:54,000
Speaker 2: like it's in a place, or what if I come

522
00:23:54,040 --> 00:23:56,359
Speaker 2: in and derail the whole thing. I had quite a

523
00:23:56,400 --> 00:23:59,080
Speaker 2: fear of like taking it to the wrong spot, you

524
00:23:59,119 --> 00:23:59,640
Speaker 2: know what I mean.

525
00:24:00,240 --> 00:24:03,159
Speaker 3: But you know what again, because it's we're creating it

526
00:24:03,240 --> 00:24:06,120
Speaker 3: on the on the fly. There is no right or wrong,

527
00:24:06,600 --> 00:24:09,480
Speaker 3: like we can talk about it like, okay, maybe this

528
00:24:09,560 --> 00:24:11,800
Speaker 3: decision might have been a little bit better, but there's

529
00:24:11,800 --> 00:24:14,719
Speaker 3: no right or wrong. The only wrong answer is not

530
00:24:14,800 --> 00:24:16,879
Speaker 3: to do anything at all, which is pretty much what

531
00:24:16,920 --> 00:24:20,479
Speaker 3: I I know. That does sound like I'm harping on you. No,

532
00:24:20,520 --> 00:24:23,119
Speaker 3: I swear everyone, I'm not harping on about that. You

533
00:24:23,160 --> 00:24:25,800
Speaker 3: get eno f No, No, you're fine. But I say

534
00:24:25,840 --> 00:24:29,800
Speaker 3: that because sometimes people will leave their teammates. That's like

535
00:24:29,920 --> 00:24:32,160
Speaker 3: leaving your teammates high and dry, and they're like they're

536
00:24:32,200 --> 00:24:34,679
Speaker 3: like drowning there, like somebody throwing me a light preserver,

537
00:24:34,800 --> 00:24:37,280
Speaker 3: and it's like I could, but I'm not. Even if

538
00:24:37,320 --> 00:24:39,040
Speaker 3: it doesn't make sense or you take it to another

539
00:24:39,080 --> 00:24:42,000
Speaker 3: place and it's quote unquote derailing, We're still going to

540
00:24:42,080 --> 00:24:45,040
Speaker 3: be able to justify why that is and we'll figure

541
00:24:45,040 --> 00:24:48,040
Speaker 3: it out. But at least you jumped in and you

542
00:24:48,200 --> 00:24:50,840
Speaker 3: helped out. Yes, Yeah, oh I love.

543
00:24:51,040 --> 00:24:52,920
Speaker 2: This is like I said, I wish we were doing

544
00:24:52,920 --> 00:24:59,200
Speaker 2: this before class. I'd be all pumped up. So would

545
00:24:59,240 --> 00:25:02,199
Speaker 2: you say, you ever been on stage and bombed? And

546
00:25:02,320 --> 00:25:04,879
Speaker 2: if so, how have you handled that?

547
00:25:05,760 --> 00:25:11,879
Speaker 3: Yeah? I remember my biggest failure honestly, and it's still

548
00:25:12,840 --> 00:25:16,560
Speaker 3: it still not haunts me, but it still resides within

549
00:25:17,000 --> 00:25:21,400
Speaker 3: my psyche. When I had my growlings writing lab and

550
00:25:22,280 --> 00:25:24,679
Speaker 3: everything that we worked on, everything that I worked up too.

551
00:25:25,720 --> 00:25:30,960
Speaker 3: Once I got on stage, I didn't really push myself

552
00:25:31,000 --> 00:25:33,080
Speaker 3: forward as much as I think I could have or

553
00:25:33,080 --> 00:25:35,720
Speaker 3: that I should have, And so it was a lot

554
00:25:35,760 --> 00:25:39,439
Speaker 3: of when I got the call that I you know,

555
00:25:39,720 --> 00:25:43,959
Speaker 3: obviously didn't progress forward it. Yeah, I heard because I was.

556
00:25:44,119 --> 00:25:47,280
Speaker 3: I invested so much time and energy in it. But

557
00:25:48,080 --> 00:25:51,560
Speaker 3: I also knew that I could have done more, or

558
00:25:51,600 --> 00:25:58,200
Speaker 3: I could have either committed more or created, you know, better,

559
00:25:58,280 --> 00:26:00,800
Speaker 3: characters or whatever the case is. And that was always

560
00:26:00,880 --> 00:26:04,360
Speaker 3: something that kind of resided in me as far as

561
00:26:04,359 --> 00:26:07,600
Speaker 3: like biggest regret on stage would be like if I

562
00:26:07,600 --> 00:26:10,120
Speaker 3: could do that again, Oh, I'd do it in a heartbeat,

563
00:26:10,160 --> 00:26:14,120
Speaker 3: and I would. I've grown from it, and so now

564
00:26:14,119 --> 00:26:18,080
Speaker 3: it's like, Okay, I definitely know what I would change out,

565
00:26:18,520 --> 00:26:22,920
Speaker 3: like things that I would adjust, and I think that

566
00:26:22,920 --> 00:26:25,480
Speaker 3: that failure had to happen. I think that had happened.

567
00:26:25,520 --> 00:26:27,760
Speaker 3: So then now it's like, you know, when I move forward,

568
00:26:27,880 --> 00:26:29,960
Speaker 3: or when I'm teaching, or when I'm performing at UH

569
00:26:30,359 --> 00:26:33,320
Speaker 3: at m I or UCB or at the pack, I

570
00:26:33,720 --> 00:26:35,639
Speaker 3: still have that in my head of like Okay, I

571
00:26:35,720 --> 00:26:38,800
Speaker 3: don't ever want to do that again totally.

572
00:26:38,840 --> 00:26:40,400
Speaker 1: So you've grown from it to like.

573
00:26:40,400 --> 00:26:43,199
Speaker 3: You have to, yeah, yeah, you almost have to. But

574
00:26:43,240 --> 00:26:46,560
Speaker 3: it was it was it's it's almost especially like when

575
00:26:46,600 --> 00:26:51,440
Speaker 3: you're not getting laughs. Oh that's so it's it's it's humiliating,

576
00:26:51,480 --> 00:26:53,160
Speaker 3: you know. It's like, oh my gosh, I'm like back

577
00:26:53,160 --> 00:26:56,480
Speaker 3: in my childhood when I used to like like have

578
00:26:56,600 --> 00:27:00,280
Speaker 3: to perform, uh and people are just like I only

579
00:27:00,280 --> 00:27:02,000
Speaker 3: looking at me and laughing. It's like, oh my gosh,

580
00:27:02,040 --> 00:27:05,360
Speaker 3: like I'm not I'm not doing what I'm not being

581
00:27:05,400 --> 00:27:08,040
Speaker 3: the best version of myself. I'm not putting that best

582
00:27:08,119 --> 00:27:08,760
Speaker 3: version forward.

583
00:27:09,000 --> 00:27:11,560
Speaker 1: But we are human and we all have been there.

584
00:27:11,560 --> 00:27:13,119
Speaker 2: But I get that feeling of like where you're like,

585
00:27:13,160 --> 00:27:14,800
Speaker 2: here's my heart and it just feels like I've been

586
00:27:14,840 --> 00:27:15,359
Speaker 2: stomped on.

587
00:27:15,520 --> 00:27:19,080
Speaker 1: I get I fully, I fully emphathize.

588
00:27:19,640 --> 00:27:22,840
Speaker 2: I am really looking forward to talking about the improv rule,

589
00:27:23,000 --> 00:27:25,119
Speaker 2: some of the improv rules with you, because I just

590
00:27:25,160 --> 00:27:26,160
Speaker 2: think they're so.

591
00:27:26,119 --> 00:27:27,960
Speaker 1: Interesting for life in general.

592
00:27:28,160 --> 00:27:30,119
Speaker 2: Like you know, if you're listening to this and you

593
00:27:31,040 --> 00:27:33,399
Speaker 2: not thinking about doing improv. It's quite hard to study

594
00:27:33,400 --> 00:27:36,400
Speaker 2: improv in Australia as well. It's not there's so many

595
00:27:36,440 --> 00:27:39,359
Speaker 2: options here. I feel like a kidney candy. So I'm like, oh,

596
00:27:39,440 --> 00:27:43,640
Speaker 2: what school, what school I try today? You know, in Australia,

597
00:27:43,880 --> 00:27:46,040
Speaker 2: our drama schools are very different. So when you go

598
00:27:46,080 --> 00:27:47,800
Speaker 2: to drama school, it can be like up to a

599
00:27:47,800 --> 00:27:50,879
Speaker 2: three year course and you'll train in like Maisner and

600
00:27:50,880 --> 00:27:53,760
Speaker 2: then you'll train in like a term on Shakespeare even

601
00:27:53,800 --> 00:27:55,840
Speaker 2: and you'll learn the classics and then you'll do a

602
00:27:55,840 --> 00:27:58,400
Speaker 2: whole we need a whole semester on tennessee Williams and

603
00:27:58,440 --> 00:28:01,000
Speaker 2: like it's really cool. But it's it's like college or

604
00:28:01,080 --> 00:28:03,600
Speaker 2: like being in a university degree. It's very very different

605
00:28:03,760 --> 00:28:06,200
Speaker 2: where it's like a six week improv of course, Like

606
00:28:06,280 --> 00:28:10,120
Speaker 2: this isn't that common. So I thought if we can

607
00:28:10,119 --> 00:28:13,000
Speaker 2: share some of the especially the first four rules that

608
00:28:13,040 --> 00:28:13,760
Speaker 2: you taught.

609
00:28:13,480 --> 00:28:15,840
Speaker 3: Me, so we should peel back the curtain for the

610
00:28:16,160 --> 00:28:18,399
Speaker 3: for the audience here. Huh see look at that you

611
00:28:18,440 --> 00:28:20,720
Speaker 3: again a special tree right here. We're going to choose

612
00:28:20,760 --> 00:28:23,200
Speaker 3: some of my improv. Yeah, but you know, a lola,

613
00:28:23,200 --> 00:28:25,200
Speaker 3: how about this. We'll go with some of the rules.

614
00:28:25,200 --> 00:28:28,000
Speaker 3: But actually, if you want to talk about the rules

615
00:28:28,000 --> 00:28:28,840
Speaker 3: and then I'll jump in.

616
00:28:29,040 --> 00:28:31,520
Speaker 2: Like I had a feeling this might happen, I want

617
00:28:31,520 --> 00:28:34,520
Speaker 2: to do that. Last night I was making my show notes,

618
00:28:34,520 --> 00:28:35,920
Speaker 2: so I was like, I bet you I'm going to

619
00:28:35,960 --> 00:28:41,160
Speaker 2: get here. But so as someone that in Australia, I

620
00:28:41,200 --> 00:28:44,600
Speaker 2: work in morning TV, and I was like, oh, these

621
00:28:44,640 --> 00:28:46,840
Speaker 2: are so handy because when you're on TV doing a

622
00:28:46,880 --> 00:28:48,720
Speaker 2: segment right you gets three to five minutes.

623
00:28:48,760 --> 00:28:51,160
Speaker 1: It is quick. Oh wow, and your brain's got to

624
00:28:51,160 --> 00:28:52,080
Speaker 1: be quick. You got to be sharp.

625
00:28:52,120 --> 00:28:54,760
Speaker 2: You're working two other TV hosts for me, I'm a nutritionist,

626
00:28:54,760 --> 00:28:56,640
Speaker 2: I'm off and cooking a meal and I'm putting people

627
00:28:56,640 --> 00:28:58,760
Speaker 2: to work and be like, you know, can you come

628
00:28:58,760 --> 00:29:02,040
Speaker 2: to op onions for me? Like the whole time you're

629
00:29:02,040 --> 00:29:04,240
Speaker 2: trying to put this meal together, and then of course

630
00:29:04,280 --> 00:29:06,560
Speaker 2: you've got one you've prepared earlier. But there's a lot

631
00:29:06,560 --> 00:29:09,080
Speaker 2: of theater and there's a lot of things going on

632
00:29:09,080 --> 00:29:10,840
Speaker 2: at one time, and I was like, oh my godness,

633
00:29:10,880 --> 00:29:13,120
Speaker 2: I knew these improv rules.

634
00:29:13,160 --> 00:29:13,720
Speaker 3: Interesting.

635
00:29:13,720 --> 00:29:16,000
Speaker 2: It would be a really cool mantra or checklist to

636
00:29:16,000 --> 00:29:18,400
Speaker 2: have before you went on too something like Morning TV

637
00:29:18,760 --> 00:29:22,000
Speaker 2: or had a segment or had not casting audition. Like

638
00:29:22,520 --> 00:29:24,680
Speaker 2: I feel like it's just really good life mantras.

639
00:29:24,720 --> 00:29:27,160
Speaker 3: So you know what, after we say the rules, like

640
00:29:27,160 --> 00:29:30,560
Speaker 3: the four rules, then how would you apply those rules?

641
00:29:30,600 --> 00:29:32,000
Speaker 3: Like each one to Morning TV?

642
00:29:32,200 --> 00:29:32,560
Speaker 1: Okay?

643
00:29:32,840 --> 00:29:38,960
Speaker 2: Oh okay, So the first one is.

644
00:29:39,280 --> 00:29:41,560
Speaker 3: Listen yep, that's a big one.

645
00:29:41,760 --> 00:29:44,600
Speaker 2: And the way you taught it I love, which is

646
00:29:44,640 --> 00:29:48,320
Speaker 2: like take in and accept what your scene partner says,

647
00:29:48,400 --> 00:29:51,760
Speaker 2: so like you're there, and I love every time we

648
00:29:52,000 --> 00:29:54,400
Speaker 2: jump up to a scene, you're like connect with your

649
00:29:54,440 --> 00:29:54,880
Speaker 2: scene partner.

650
00:29:54,920 --> 00:29:55,680
Speaker 1: That's my favorite bit.

651
00:29:55,720 --> 00:29:57,640
Speaker 2: By the way, when you tell everyone to make eye

652
00:29:57,640 --> 00:29:59,800
Speaker 2: contact because a lot of people naturally don't.

653
00:30:00,280 --> 00:30:03,040
Speaker 3: Which is crazy. And that's even from a societal perspective,

654
00:30:03,120 --> 00:30:05,440
Speaker 3: like we don't typically make eye contact, like when you

655
00:30:05,480 --> 00:30:08,280
Speaker 3: want to say, like hi, some people walk with their

656
00:30:08,320 --> 00:30:10,600
Speaker 3: heads down because they're always or you're always on your phone,

657
00:30:10,760 --> 00:30:13,720
Speaker 3: whereas you know, you walk down street high Hi. It's

658
00:30:13,760 --> 00:30:16,800
Speaker 3: so weird now, but yeah, like make eye contact and

659
00:30:16,800 --> 00:30:20,600
Speaker 3: and and recent know that I'm receiving what you're yeh.

660
00:30:20,600 --> 00:30:23,160
Speaker 2: And you guys, you feel like you're a teammate. Like

661
00:30:23,480 --> 00:30:26,760
Speaker 2: when I've done more dramatic scenes, especially intimate ones, which

662
00:30:26,840 --> 00:30:28,920
Speaker 2: like you've got to play like a really full on

663
00:30:29,200 --> 00:30:31,960
Speaker 2: steamy scene and you're like, oh, like my brain's like,

664
00:30:31,960 --> 00:30:34,040
Speaker 2: oh shit, this person's ten years younger than Oh my god.

665
00:30:34,840 --> 00:30:36,880
Speaker 2: So I would always do this thing before we go on,

666
00:30:36,960 --> 00:30:39,680
Speaker 2: as we just sit and breathe together, so we match

667
00:30:39,720 --> 00:30:42,640
Speaker 2: each other's breath. But in looking at making eye contact,

668
00:30:42,640 --> 00:30:44,600
Speaker 2: it's intimate as fuck. You're allowed to swear on this,

669
00:30:44,640 --> 00:30:46,360
Speaker 2: by the way, Oh nice, And then you go and

670
00:30:46,360 --> 00:30:47,680
Speaker 2: then you go on and do this scene.

671
00:30:48,320 --> 00:30:50,440
Speaker 1: You're the same tea. So when I say intimate, you

672
00:30:50,520 --> 00:30:51,080
Speaker 1: just connect it.

673
00:30:51,120 --> 00:30:54,040
Speaker 2: That's all it is. But it's a great superpower exactly

674
00:30:54,120 --> 00:30:56,200
Speaker 2: to have to go on and it's I'm loving it.

675
00:30:56,240 --> 00:30:58,080
Speaker 2: In improv school, it's the first thing is to do.

676
00:30:58,120 --> 00:31:00,760
Speaker 2: You're like connect, but I notice I'm always looking for

677
00:31:00,800 --> 00:31:03,880
Speaker 2: the other person's eyes, like I'm like, there, go, let's connect.

678
00:31:03,680 --> 00:31:05,880
Speaker 1: Let's connect.

679
00:31:06,080 --> 00:31:08,240
Speaker 3: But sometimes you have to like look right on, like hey,

680
00:31:08,320 --> 00:31:10,959
Speaker 3: well you like really like we're a team with your fingers,

681
00:31:10,960 --> 00:31:12,840
Speaker 3: like where a team, Like yeah, look at me.

682
00:31:13,640 --> 00:31:16,560
Speaker 1: And the listening thing is so cool.

683
00:31:16,600 --> 00:31:19,400
Speaker 2: So any profit school it makes sense because it's this

684
00:31:19,600 --> 00:31:24,000
Speaker 2: kind of like you're with your team partner, you're taking

685
00:31:24,040 --> 00:31:26,040
Speaker 2: in what they say, and it's really hard for someone

686
00:31:26,080 --> 00:31:27,600
Speaker 2: like me who's a type who has already got this

687
00:31:27,680 --> 00:31:29,000
Speaker 2: backup plan ready to go.

688
00:31:29,200 --> 00:31:30,000
Speaker 1: You can already sell.

689
00:31:30,720 --> 00:31:33,280
Speaker 3: But that's good. That's good because I could tell, like

690
00:31:33,400 --> 00:31:35,720
Speaker 3: every time she goes up there, I can she doesn't

691
00:31:35,800 --> 00:31:37,520
Speaker 3: show that the wheels are turning in her head, but

692
00:31:37,560 --> 00:31:39,880
Speaker 3: I know she already has like a straight like a

693
00:31:40,280 --> 00:31:43,320
Speaker 3: set idea, and it's so funny to like when the

694
00:31:43,600 --> 00:31:45,520
Speaker 3: scene goes the other way and she has to adjust,

695
00:31:45,680 --> 00:31:47,600
Speaker 3: she does very good though everyone trusts me.

696
00:31:47,680 --> 00:31:49,480
Speaker 2: She takes a feat though it takes a few beats

697
00:31:49,520 --> 00:31:51,440
Speaker 2: and a few little coaching note street from you.

698
00:31:51,520 --> 00:31:52,360
Speaker 1: So yeah, listening.

699
00:31:52,440 --> 00:31:54,600
Speaker 2: I think if we were to do this on set,

700
00:31:54,720 --> 00:31:56,960
Speaker 2: or on any kind of set, whether it be morning TV,

701
00:31:57,240 --> 00:31:58,480
Speaker 2: a sitcom set, or a.

702
00:31:58,440 --> 00:32:00,400
Speaker 1: Film set, super important you.

703
00:32:00,400 --> 00:32:02,800
Speaker 2: Naturally want to be listening to your teammates, whether it

704
00:32:02,800 --> 00:32:06,080
Speaker 2: be a TV host, whether it be the assistant director

705
00:32:06,200 --> 00:32:06,920
Speaker 2: behind the camera.

706
00:32:06,960 --> 00:32:10,320
Speaker 1: That is, like you're on in four three two, like you.

707
00:32:10,400 --> 00:32:14,120
Speaker 2: Need to like almost not melt, but like meld into

708
00:32:14,160 --> 00:32:16,200
Speaker 2: what is going on in the scene that you're in

709
00:32:16,280 --> 00:32:19,160
Speaker 2: because it's especially if you're on a morning TV shots

710
00:32:19,200 --> 00:32:22,719
Speaker 2: multi caam, it's probably what fourteen fifteen people that are

711
00:32:22,800 --> 00:32:25,520
Speaker 2: crue and then you've got your kind of cast, so

712
00:32:25,600 --> 00:32:27,160
Speaker 2: to speak, so there's like a bit of a gang

713
00:32:27,160 --> 00:32:27,960
Speaker 2: of about twenty people.

714
00:32:28,000 --> 00:32:30,000
Speaker 1: Then if throwing the lives to your audience, I.

715
00:32:30,000 --> 00:32:33,880
Speaker 2: Know, it quickly becomes like a fifty person situation, right,

716
00:32:33,960 --> 00:32:36,320
Speaker 2: And so I think it's when it comes to listening,

717
00:32:36,560 --> 00:32:39,120
Speaker 2: I think it's it is kind of like acknowledging all

718
00:32:39,120 --> 00:32:41,520
Speaker 2: these kind of facets that are around you and like

719
00:32:42,800 --> 00:32:44,760
Speaker 2: somehow making them your teammate.

720
00:32:44,680 --> 00:32:46,920
Speaker 3: Exactly because and like you said, when you're on set,

721
00:32:47,000 --> 00:32:50,080
Speaker 3: everybody obviously you have you're supposed to be on set

722
00:32:50,080 --> 00:32:52,040
Speaker 3: for a certain period of time, you don't want to

723
00:32:52,040 --> 00:32:54,600
Speaker 3: waste anybody's mid way. So that's why when you're when

724
00:32:54,640 --> 00:32:57,120
Speaker 3: you're listening and you already you know, you already have

725
00:32:57,240 --> 00:32:59,480
Speaker 3: your ideas in the back of your mind, but you're

726
00:32:59,520 --> 00:33:03,000
Speaker 3: being press and you're acknowledging like okay, yeah, I'm ready,

727
00:33:03,080 --> 00:33:05,280
Speaker 3: Like let's let's let's roll with it. Because it's like

728
00:33:05,320 --> 00:33:07,520
Speaker 3: you said, there are multiple things, especially on set, that

729
00:33:07,560 --> 00:33:10,840
Speaker 3: you have to handle. So if you're in the back

730
00:33:10,880 --> 00:33:13,360
Speaker 3: of your if you're just in your mind, or if

731
00:33:13,360 --> 00:33:15,280
Speaker 3: you're in your head and you're worried about what you're

732
00:33:15,320 --> 00:33:17,680
Speaker 3: saying and doing and you're not present, you're going to

733
00:33:17,720 --> 00:33:22,200
Speaker 3: see that, especially on camera. On camera catches everything, you

734
00:33:22,240 --> 00:33:24,160
Speaker 3: know what I mean. So like when you're on stage,

735
00:33:24,160 --> 00:33:26,120
Speaker 3: you have a little more leeway, but when you're in

736
00:33:26,160 --> 00:33:27,760
Speaker 3: front of the camera, it's like, oh no, no, no, no, no,

737
00:33:27,920 --> 00:33:33,000
Speaker 3: you gotta it's close, intimate exactly. Yeah. So listening, yep,

738
00:33:33,080 --> 00:33:33,920
Speaker 3: that's that's number one.

739
00:33:34,040 --> 00:33:37,120
Speaker 2: It's a good yes, and of course is yes and

740
00:33:37,360 --> 00:33:39,800
Speaker 2: is probably the one that I go in went into

741
00:33:39,800 --> 00:33:41,280
Speaker 2: improv of being aware of.

742
00:33:41,400 --> 00:33:42,240
Speaker 3: The biggest Yep.

743
00:33:42,960 --> 00:33:44,760
Speaker 1: I love it.

744
00:33:44,760 --> 00:33:47,440
Speaker 2: It's probably my favorite kind of It's so for me

745
00:33:47,640 --> 00:33:51,320
Speaker 2: as someone that has multi businesses and whatnot. It's so

746
00:33:51,400 --> 00:33:54,040
Speaker 2: cool to go into a business meeting with that as

747
00:33:54,080 --> 00:33:57,640
Speaker 2: your mantra, because sometimes I'm a bit of like a

748
00:33:57,640 --> 00:34:00,280
Speaker 2: fierce mama cat with my businesses, and if I like

749
00:34:00,280 --> 00:34:01,760
Speaker 2: an idea, I can be like, well, that's not gonna

750
00:34:01,760 --> 00:34:03,520
Speaker 2: work because you're protecting the business.

751
00:34:03,600 --> 00:34:05,880
Speaker 1: Right. Of course, I thought, well, what if I just

752
00:34:05,960 --> 00:34:06,280
Speaker 1: tried it?

753
00:34:06,280 --> 00:34:08,839
Speaker 2: If? Yes, and and so you hear what the other

754
00:34:08,880 --> 00:34:10,640
Speaker 2: person tell me. If I'm saying this wrong, but you

755
00:34:10,680 --> 00:34:13,080
Speaker 2: hear what the other person is saying, you take it

756
00:34:13,120 --> 00:34:14,560
Speaker 2: on and accept it and then.

757
00:34:14,480 --> 00:34:18,279
Speaker 3: Add, yes, that's it, that's exactly it. You're And it's

758
00:34:18,320 --> 00:34:21,640
Speaker 3: also a good and I know you use this term often,

759
00:34:21,680 --> 00:34:25,200
Speaker 3: but it's a good mantra. Yes. And now granted, if

760
00:34:25,200 --> 00:34:29,520
Speaker 3: somebody's telling you to do something unsafe, know that no, no, no,

761
00:34:29,600 --> 00:34:33,719
Speaker 3: I'm not doing that. But we tend to talk ourselves

762
00:34:33,760 --> 00:34:36,600
Speaker 3: out of things, or it's like, oh, what about this possibility,

763
00:34:36,600 --> 00:34:41,719
Speaker 3: what about potentially this opportunity? Yeah, well no, I don't know,

764
00:34:41,800 --> 00:34:43,959
Speaker 3: I might have this coming up, might have that coming up, YadA,

765
00:34:44,000 --> 00:34:48,040
Speaker 3: YadA YadA, instead of like, hmm, yeah, I can do it,

766
00:34:48,120 --> 00:34:51,560
Speaker 3: and if you want, I can bring this or we

767
00:34:51,600 --> 00:34:55,560
Speaker 3: can talk about that and then bam, now you're you're

768
00:34:55,600 --> 00:34:59,160
Speaker 3: accepting what is being presented to you. And also that

769
00:35:00,080 --> 00:35:03,319
Speaker 3: alleviates that that negative voice, that little negative Nancy that's

770
00:35:03,320 --> 00:35:04,920
Speaker 3: in our head that's always saying no, no, no, no, you

771
00:35:04,920 --> 00:35:07,440
Speaker 3: can't do that. No, no, no, you shouldn't do that, YadA, YadA, YadA,

772
00:35:07,480 --> 00:35:10,840
Speaker 3: instead of just embracing it and seeing where it goes.

773
00:35:10,840 --> 00:35:13,480
Speaker 3: Like the last two years has been like a big

774
00:35:13,520 --> 00:35:17,280
Speaker 3: old reset button, Like thet from underneath us was so much,

775
00:35:17,840 --> 00:35:22,319
Speaker 3: and before then I would always tend to like overthink

776
00:35:22,360 --> 00:35:25,919
Speaker 3: it or take myself out like maybe I shouldn't. Now

777
00:35:25,920 --> 00:35:28,760
Speaker 3: it's just like yes, and you know what, let's do it. Sure,

778
00:35:28,840 --> 00:35:30,759
Speaker 3: I got a little bit of time. Yeah, let's do it. Yeah,

779
00:35:30,800 --> 00:35:31,480
Speaker 3: and let's go.

780
00:35:31,760 --> 00:35:34,880
Speaker 1: It's such a I absolutely love it.

781
00:35:34,920 --> 00:35:38,080
Speaker 2: And a good example of like seeing two greats using

782
00:35:38,120 --> 00:35:41,120
Speaker 2: it is when your fave Will Farrell was being interviewed

783
00:35:41,160 --> 00:35:44,160
Speaker 2: by my fave Steve Colbert and Will Ferrell is holding

784
00:35:44,200 --> 00:35:47,000
Speaker 2: the cutest little tiny kitten that Will Farrell was like,

785
00:35:47,040 --> 00:35:52,359
Speaker 2: this is a Peruvian manga that's super dangerous, and.

786
00:35:52,280 --> 00:35:56,080
Speaker 1: You see Steve like take on. It's like, hmm, yeah,

787
00:35:57,040 --> 00:36:00,040
Speaker 1: I could be wrong. It looks a little bit like

788
00:36:00,080 --> 00:36:00,719
Speaker 1: a kiddick.

789
00:36:00,440 --> 00:36:02,920
Speaker 2: Cat kind of thing, and it's like so like and

790
00:36:02,960 --> 00:36:05,799
Speaker 2: they just kind of like went back and forth and

791
00:36:05,840 --> 00:36:07,520
Speaker 2: it was a real I was like, Oh, they're doing yes,

792
00:36:07,600 --> 00:36:09,920
Speaker 2: and like they he picked up what he was putting

793
00:36:09,920 --> 00:36:13,120
Speaker 2: down basically and then run with it, but was still

794
00:36:13,160 --> 00:36:15,279
Speaker 2: able to challenge in like a really kind of like

795
00:36:15,920 --> 00:36:18,360
Speaker 2: open and inviting way, which I thought was cool.

796
00:36:18,640 --> 00:36:21,080
Speaker 3: And we all see that that is a very cute,

797
00:36:21,239 --> 00:36:25,640
Speaker 3: precocious kid. But Will Ferrell like, no, this is a

798
00:36:25,760 --> 00:36:30,000
Speaker 3: fierce warrior. It's so funny. Yeah, But like I said,

799
00:36:30,000 --> 00:36:31,640
Speaker 3: as long as you yes and and then you're having

800
00:36:31,640 --> 00:36:34,480
Speaker 3: fun with it, it just makes it makes everything fun.

801
00:36:34,560 --> 00:36:35,960
Speaker 3: It makes life fun in general.

802
00:36:36,080 --> 00:36:40,279
Speaker 1: So yeah, support and trust number three big one. I

803
00:36:40,320 --> 00:36:40,920
Speaker 1: love this.

804
00:36:40,920 --> 00:36:44,839
Speaker 2: Because if you go in with this, you know that yes,

805
00:36:44,880 --> 00:36:47,360
Speaker 2: you've got your teammates back or seen partners back, but

806
00:36:47,360 --> 00:36:51,800
Speaker 2: you also in return, you're trusting that they've got yours.

807
00:36:51,400 --> 00:36:53,680
Speaker 3: Exactly and they're not going to They're not doing anything

808
00:36:53,719 --> 00:36:56,480
Speaker 3: to embarrass you or make you look foolish or anything. No,

809
00:36:56,640 --> 00:36:58,799
Speaker 3: it's like, we got you, We'll figure this out.

810
00:36:58,920 --> 00:37:00,759
Speaker 2: Yeah. And I think you you said you're like you

811
00:37:00,920 --> 00:37:02,879
Speaker 2: never leave its team partner high and dry, like you're

812
00:37:02,920 --> 00:37:06,719
Speaker 2: always there with your partner in the trenches together and

813
00:37:07,120 --> 00:37:10,120
Speaker 2: you can feel that in class like I bet again,

814
00:37:10,560 --> 00:37:13,120
Speaker 2: what a great one to take outside the classroom.

815
00:37:12,760 --> 00:37:16,400
Speaker 3: Exactly, Like you can use that in whatever profession you have,

816
00:37:16,520 --> 00:37:18,799
Speaker 3: Like if you're if you work at a job and

817
00:37:18,840 --> 00:37:22,000
Speaker 3: you work within a team environment, that is key. I

818
00:37:22,560 --> 00:37:25,200
Speaker 3: have to be able to write because if not, then

819
00:37:25,280 --> 00:37:28,000
Speaker 3: if you're just one person and you're like, well, I'm

820
00:37:28,040 --> 00:37:30,279
Speaker 3: not going to incorporate what so and so is saying

821
00:37:30,280 --> 00:37:32,000
Speaker 3: because I don't think that might be right for the job.

822
00:37:32,320 --> 00:37:34,880
Speaker 3: What you're doing is you're creating animosity at the workplace

823
00:37:35,080 --> 00:37:38,000
Speaker 3: or even at home. You know, if you can't trust

824
00:37:38,080 --> 00:37:42,120
Speaker 3: and support your partner, that's a huge flag.

825
00:37:42,200 --> 00:37:43,440
Speaker 1: You know, this is what I mean.

826
00:37:43,480 --> 00:37:46,120
Speaker 2: These are all good life life.

827
00:37:46,719 --> 00:37:48,680
Speaker 3: Yeah yeah, look at you're like writing it down like

828
00:37:48,719 --> 00:37:51,239
Speaker 3: this is gonna be in the next book. Yes, yes,

829
00:37:51,560 --> 00:37:53,400
Speaker 3: as long as I get a a little bit of

830
00:37:53,640 --> 00:37:56,480
Speaker 3: a forward.

831
00:37:55,560 --> 00:37:56,560
Speaker 1: Consider it done.

832
00:37:56,680 --> 00:38:00,600
Speaker 2: So Number four is always assume that you know, so

833
00:38:00,640 --> 00:38:03,400
Speaker 2: can you explain what that means? Because that took me

834
00:38:03,480 --> 00:38:05,279
Speaker 2: a couple of guys to get my head around.

835
00:38:05,280 --> 00:38:09,240
Speaker 3: And which he did, definitely eventually nice to do it,

836
00:38:09,280 --> 00:38:13,840
Speaker 3: but always assume that means anytime you begin a scene

837
00:38:13,920 --> 00:38:16,440
Speaker 3: or anytime you step on stage or your scene partner,

838
00:38:16,840 --> 00:38:20,080
Speaker 3: you know them. So you're not starting off as strangers

839
00:38:20,160 --> 00:38:24,239
Speaker 3: and you're just meeting one another. You can, but it's

840
00:38:24,280 --> 00:38:26,839
Speaker 3: so much more fun to watch a scene between two

841
00:38:26,920 --> 00:38:31,000
Speaker 3: people that have a shared history that obviously have weathered

842
00:38:31,080 --> 00:38:36,480
Speaker 3: some storms and now, for whatever reason, something is happening

843
00:38:36,600 --> 00:38:39,359
Speaker 3: this day where these two people that know each other

844
00:38:39,640 --> 00:38:44,200
Speaker 3: have to deal with this premise. The best, the best scenes,

845
00:38:44,239 --> 00:38:48,439
Speaker 3: even like whether it's film, television, on stage, the best

846
00:38:48,440 --> 00:38:50,839
Speaker 3: scenes happen when two people know each other.

847
00:38:51,400 --> 00:38:53,839
Speaker 2: Like today we have Betty and Sheila, eighty five year

848
00:38:53,840 --> 00:38:56,080
Speaker 2: old sisters playing bingo.

849
00:38:57,000 --> 00:38:59,759
Speaker 3: That was a great damn scene. I'm sorry, just these

850
00:38:59,800 --> 00:39:03,879
Speaker 3: two older sisters playing bingo and one is the best

851
00:39:03,920 --> 00:39:07,279
Speaker 3: at everything and the other one wishes they were more

852
00:39:07,360 --> 00:39:09,879
Speaker 3: like their sister, and I mean, it just got outrageous,

853
00:39:10,760 --> 00:39:13,160
Speaker 3: but it was so much fun, and we're we're in

854
00:39:13,200 --> 00:39:15,879
Speaker 3: the class, we're watching and we are laughing our behinds off.

855
00:39:16,160 --> 00:39:19,680
Speaker 3: But that's only that only happens because they're they're sisters,

856
00:39:19,719 --> 00:39:23,800
Speaker 3: are they They have a relationship that makes it so

857
00:39:23,880 --> 00:39:25,759
Speaker 3: much fun. So that's why I say, always assume, or

858
00:39:25,800 --> 00:39:28,480
Speaker 3: not even just assume that you know the person. But

859
00:39:29,080 --> 00:39:30,960
Speaker 3: even when you come in, like I know you were

860
00:39:31,000 --> 00:39:34,120
Speaker 3: saying you don't understand Star Wars because you haven't watched it,

861
00:39:34,600 --> 00:39:36,560
Speaker 3: but you when you come in, you have to assume

862
00:39:36,600 --> 00:39:39,800
Speaker 3: that you do and not be afraid to fail. Don't

863
00:39:39,920 --> 00:39:42,279
Speaker 3: be afraid to fail. Like so, if you're holding up

864
00:39:42,320 --> 00:39:45,120
Speaker 3: a gun, we're gonna say that's a laser gun. If

865
00:39:45,160 --> 00:39:49,080
Speaker 3: you have like a this is my knife saver. Oh

866
00:39:49,160 --> 00:39:51,319
Speaker 3: you mean, oh you got that new life saver, but

867
00:39:51,360 --> 00:39:53,319
Speaker 3: it's a knife saver. Yeah, that's what I'm talking about.

868
00:39:53,880 --> 00:39:57,520
Speaker 3: Something like that. So much fun. One of our one

869
00:39:57,520 --> 00:40:02,040
Speaker 3: of Lola's classmates earlier, she didn't know what Hogwarts was,

870
00:40:02,719 --> 00:40:05,600
Speaker 3: you know, but the rest of us did. Ye remember,

871
00:40:05,640 --> 00:40:07,359
Speaker 3: it was like no, no, no, don't tell her what it is.

872
00:40:07,600 --> 00:40:09,279
Speaker 3: We'll figure it out. And she was able to go

873
00:40:09,560 --> 00:40:12,799
Speaker 3: the concept as soon as we said perfectly spells things

874
00:40:12,840 --> 00:40:15,719
Speaker 3: like that. But yeah, I always assume that you know

875
00:40:16,000 --> 00:40:18,120
Speaker 3: what it is, you know who you are to each other,

876
00:40:18,200 --> 00:40:21,520
Speaker 3: you know where you are, and it just makes us

877
00:40:21,800 --> 00:40:24,600
Speaker 3: a hundred times funnier to watch. It's so much more enjoyable.

878
00:40:24,880 --> 00:40:27,359
Speaker 2: Yeah, because you're watching these dynamics that you've probably got

879
00:40:27,360 --> 00:40:30,239
Speaker 2: potentially something like in your own life exactly.

880
00:40:30,360 --> 00:40:32,879
Speaker 1: You know, relatability, yeah, big time.

881
00:40:33,320 --> 00:40:36,960
Speaker 2: This one is a very specific rule for improv, but

882
00:40:37,000 --> 00:40:40,920
Speaker 2: I still think it's really interesting. Like, so it's the

883
00:40:40,960 --> 00:40:43,520
Speaker 2: crew which you were working on today, they're kind of

884
00:40:43,560 --> 00:40:44,120
Speaker 2: like cruise up.

885
00:40:44,160 --> 00:40:49,840
Speaker 1: So that is character relationship yep? Environment? Oh my goodness,

886
00:40:50,120 --> 00:40:50,879
Speaker 1: why yes?

887
00:40:53,120 --> 00:40:53,319
Speaker 2: I know.

888
00:40:53,440 --> 00:40:55,120
Speaker 3: Right for a second I was worried. I was like,

889
00:40:55,120 --> 00:40:56,640
Speaker 3: oh you got this. Come on, we've been doing it

890
00:40:56,680 --> 00:41:00,719
Speaker 3: for five weeks now you got this? Why yes? So yeah,

891
00:41:00,760 --> 00:41:04,239
Speaker 3: and with crew, anything that you watch on TV, you

892
00:41:04,280 --> 00:41:06,640
Speaker 3: could break it down. You can break down characters like

893
00:41:06,680 --> 00:41:09,040
Speaker 3: who these characters are, you can break down their relationship,

894
00:41:09,120 --> 00:41:12,400
Speaker 3: who they are to each other. You see the environment,

895
00:41:12,560 --> 00:41:15,880
Speaker 3: you know, because we've all had a universal understanding of

896
00:41:16,360 --> 00:41:19,959
Speaker 3: what a zoo is or an island, things like that.

897
00:41:20,360 --> 00:41:24,239
Speaker 3: And then the why is the why is this the

898
00:41:24,320 --> 00:41:29,239
Speaker 3: day that this particular moment or this particular feeling or

899
00:41:29,280 --> 00:41:30,560
Speaker 3: activity is taking place?

900
00:41:30,760 --> 00:41:33,240
Speaker 2: And you say that sometimes kind of like unfolds itself

901
00:41:33,320 --> 00:41:36,520
Speaker 2: as the as the scene kind of like comes to life.

902
00:41:36,560 --> 00:41:36,960
Speaker 2: Is that right?

903
00:41:37,000 --> 00:41:40,479
Speaker 3: Because that's the scene, the scene is seen that why

904
00:41:40,800 --> 00:41:43,879
Speaker 3: unfold and how these two people are dealing with it

905
00:41:44,320 --> 00:41:47,840
Speaker 3: and that environment that's what makes it so much fun.

906
00:41:48,560 --> 00:41:52,440
Speaker 3: So like the why with the older sisters, one feels

907
00:41:52,760 --> 00:41:57,120
Speaker 3: not as adequate as the area. She feels inferior, and

908
00:41:58,000 --> 00:42:00,160
Speaker 3: that's what that's and that's why I we're seeing in

909
00:42:00,200 --> 00:42:02,600
Speaker 3: that unfold and then we could take those sisters to

910
00:42:02,680 --> 00:42:05,480
Speaker 3: other places and we see that on Oh it's just

911
00:42:05,520 --> 00:42:08,239
Speaker 3: so cool. But yeah, that's it. You're right though they

912
00:42:08,360 --> 00:42:11,000
Speaker 3: always assume is a very improv driven one and then

913
00:42:11,120 --> 00:42:15,040
Speaker 3: crew breaking it down. These are all concepts that I

914
00:42:15,080 --> 00:42:17,879
Speaker 3: say that's within improv. But again, you can use these

915
00:42:18,000 --> 00:42:19,319
Speaker 3: in your everyday life, I know.

916
00:42:19,440 --> 00:42:20,919
Speaker 2: And this is why I was so excited to get

917
00:42:20,920 --> 00:42:22,560
Speaker 2: you on. I think I asked you like a week two.

918
00:42:22,600 --> 00:42:24,440
Speaker 1: I was like, can you be on my podcast? There

919
00:42:24,480 --> 00:42:25,759
Speaker 1: was a Q and a part of the class and

920
00:42:25,800 --> 00:42:27,640
Speaker 1: I was like, excuse me, can you be on my podcast?

921
00:42:27,640 --> 00:42:29,200
Speaker 3: And I was like you know what, I was like, oh,

922
00:42:29,239 --> 00:42:31,439
Speaker 3: well yeah, because of yes, and so I'm like, yeah,

923
00:42:31,480 --> 00:42:34,120
Speaker 3: that sounds like fun. And then I started listening to

924
00:42:34,160 --> 00:42:35,400
Speaker 3: a lot of these podcasts and I was like, oh

925
00:42:35,440 --> 00:42:39,040
Speaker 3: my gosh, these are really good. Okay, this is legit

926
00:42:39,080 --> 00:42:40,760
Speaker 3: I gotta make sure my shits together.

927
00:42:40,800 --> 00:42:42,560
Speaker 1: Okay, of course you're nailing it.

928
00:42:42,560 --> 00:42:44,800
Speaker 2: You're doing so well, my friend, I can't believe have

929
00:42:44,920 --> 00:42:47,240
Speaker 2: ass it's gone. So I want to ask one final

930
00:42:47,320 --> 00:42:51,360
Speaker 2: gym from you. Yes, for someone maybe starting out at

931
00:42:51,400 --> 00:42:54,399
Speaker 2: improv or new to it, or quite scared of it.

932
00:42:54,520 --> 00:42:57,799
Speaker 2: Like I know that when I tell people I'm going

933
00:42:57,800 --> 00:43:00,359
Speaker 2: to improv school today, they're like, oh, my goodness, are

934
00:43:00,360 --> 00:43:04,480
Speaker 2: you crazy? Or too You're really courageous because it's scary.

935
00:43:04,680 --> 00:43:06,239
Speaker 2: So if people are kind of like, oh, I think

936
00:43:06,280 --> 00:43:07,800
Speaker 2: I want to do it, or I think I'm funny,

937
00:43:07,840 --> 00:43:09,640
Speaker 2: I don't know. You know, like if they're kind of

938
00:43:09,640 --> 00:43:12,000
Speaker 2: at that phase of like wanting to take the plunge

939
00:43:12,040 --> 00:43:15,600
Speaker 2: and train in improv school, but they're a bit fearful

940
00:43:15,640 --> 00:43:15,920
Speaker 2: of it.

941
00:43:16,160 --> 00:43:17,480
Speaker 1: What would your advice.

942
00:43:17,160 --> 00:43:18,919
Speaker 2: Be to someone that kind of wants to start doing

943
00:43:19,000 --> 00:43:21,840
Speaker 2: kind of like what you're doing in your career right now,

944
00:43:22,480 --> 00:43:23,440
Speaker 2: but they're a bit afraid.

945
00:43:25,000 --> 00:43:32,480
Speaker 3: I say, embrace, embrace the unknown, you know, just don't

946
00:43:33,480 --> 00:43:36,640
Speaker 3: think of the negative aspects. I know it's hard because

947
00:43:37,640 --> 00:43:41,200
Speaker 3: I usually are. That's the way our minds are. Wow,

948
00:43:41,600 --> 00:43:45,840
Speaker 3: the imposter stuff, right, Yeah, you know, we've been living

949
00:43:45,880 --> 00:43:49,480
Speaker 3: for a while and so you've encountered experiences, so you

950
00:43:49,880 --> 00:43:51,600
Speaker 3: tend to learn. So your head tries to talk you

951
00:43:51,640 --> 00:43:54,279
Speaker 3: out of it, and sometimes we don't listen to the heart,

952
00:43:54,280 --> 00:43:58,160
Speaker 3: and the heart's going to win out always. So I say,

953
00:43:58,560 --> 00:44:01,360
Speaker 3: embrace the possibility, jump in and you know what, it

954
00:44:01,480 --> 00:44:05,320
Speaker 3: might not be for you. It might not with basic

955
00:44:05,360 --> 00:44:08,759
Speaker 3: one O one. That's just learning the like I said,

956
00:44:08,800 --> 00:44:12,440
Speaker 3: the basis of improv, but you could everyone should be

957
00:44:12,480 --> 00:44:14,680
Speaker 3: able to find something from it to translate to their

958
00:44:14,719 --> 00:44:15,319
Speaker 3: regular lives.

959
00:44:16,880 --> 00:44:19,759
Speaker 2: Like I don't have any drive to do stand up

960
00:44:19,840 --> 00:44:21,880
Speaker 2: or improv, believe it or not. I really want to

961
00:44:21,880 --> 00:44:23,840
Speaker 2: be a great talk show host, and so I wanted

962
00:44:23,840 --> 00:44:26,280
Speaker 2: to like make my brain really quick.

963
00:44:26,400 --> 00:44:28,480
Speaker 1: That was that's why I'm in class. And I thought,

964
00:44:28,640 --> 00:44:29,360
Speaker 1: if I can get.

965
00:44:29,239 --> 00:44:32,000
Speaker 2: My brain quick so that I can not be thrown

966
00:44:32,000 --> 00:44:34,880
Speaker 2: off when things like even when I've been doing Segy's

967
00:44:34,880 --> 00:44:37,320
Speaker 2: on TV, sometimes I'll make a smoothie and the little

968
00:44:37,360 --> 00:44:39,799
Speaker 2: blowoff and usually you see that as a bad thing.

969
00:44:39,800 --> 00:44:42,160
Speaker 2: But like now having impro school, what a great moment

970
00:44:42,200 --> 00:44:45,200
Speaker 2: that is just being gifted right, yes, exactly, And so

971
00:44:45,360 --> 00:44:47,960
Speaker 2: I think I want that's the reason why I'm here.

972
00:44:48,000 --> 00:44:50,840
Speaker 2: So for people listening, if you don't feel like I

973
00:44:50,840 --> 00:44:52,120
Speaker 2: feel like it'd be great if you had a fear

974
00:44:52,120 --> 00:44:52,920
Speaker 2: of public speaking.

975
00:44:53,000 --> 00:44:54,840
Speaker 3: Oh, definitely, fear of public speaking.

976
00:44:54,960 --> 00:44:57,960
Speaker 1: You've got a real estate agent in our class.

977
00:44:57,480 --> 00:45:01,479
Speaker 3: Right, whether you're worried about that or if you want

978
00:45:01,520 --> 00:45:07,160
Speaker 3: to work on being able to control the room and

979
00:45:07,760 --> 00:45:09,759
Speaker 3: work on vocal cadence.

980
00:45:10,480 --> 00:45:15,080
Speaker 1: But even just like social confidence, social right, that's big.

981
00:45:15,360 --> 00:45:19,360
Speaker 2: Right after you've mentioned you know, like yeah, and like

982
00:45:19,440 --> 00:45:21,839
Speaker 2: even for me, if I'm going to a comedy gig

983
00:45:21,840 --> 00:45:23,440
Speaker 2: tonight and I'm like, oh, I'm only going to know

984
00:45:23,480 --> 00:45:25,000
Speaker 2: one person, but I'm like, it's.

985
00:45:24,840 --> 00:45:26,080
Speaker 1: Okay, I've done improv.

986
00:45:26,160 --> 00:45:28,080
Speaker 2: I'll be able to just chat chit chat and be

987
00:45:28,200 --> 00:45:31,480
Speaker 2: open and trust and things they've talked about today.

988
00:45:31,520 --> 00:45:34,480
Speaker 3: Yeah, So it's like a great point, Lolis. So if

989
00:45:34,520 --> 00:45:38,600
Speaker 3: you are apprehensive and you always thought about doing improf

990
00:45:38,719 --> 00:45:42,640
Speaker 3: or even if it's not improv, whatever activity it is

991
00:45:42,680 --> 00:45:45,040
Speaker 3: that you've always told yourself that you want to do,

992
00:45:45,120 --> 00:45:48,279
Speaker 3: but for whatever reason you've held yourself back, just do

993
00:45:48,400 --> 00:45:50,520
Speaker 3: it and then if if it's not for you, it's

994
00:45:50,520 --> 00:45:53,000
Speaker 3: not for you, but it's better than not knowing and

995
00:45:53,040 --> 00:45:56,040
Speaker 3: then just not doing it because you're just like, Okay,

996
00:45:56,080 --> 00:45:57,919
Speaker 3: I'm afraid not to do it and then you never

997
00:45:58,040 --> 00:45:59,800
Speaker 3: know and why live with? Why have that?

998
00:46:00,480 --> 00:46:02,200
Speaker 1: But you're also going to gain something from it.

999
00:46:02,280 --> 00:46:05,359
Speaker 2: You will get thousand, Like we can both promise you

1000
00:46:05,440 --> 00:46:06,520
Speaker 2: that definitely.

1001
00:46:06,800 --> 00:46:11,560
Speaker 3: Please. Like I tell anybody, especially if you want to

1002
00:46:11,840 --> 00:46:16,879
Speaker 3: maintain a role within entertainment, whether it's broadcast or episodic

1003
00:46:17,000 --> 00:46:19,880
Speaker 3: or film or anything of that nature, I feel like

1004
00:46:19,920 --> 00:46:22,800
Speaker 3: you have to take some form of improv or writing

1005
00:46:22,920 --> 00:46:26,080
Speaker 3: or something. You have to. Like casting directors now are

1006
00:46:26,640 --> 00:46:29,480
Speaker 3: that is like a goal, Like that's one of their criteria.

1007
00:46:30,400 --> 00:46:32,520
Speaker 2: I'm talking into a mate the other day and I said,

1008
00:46:32,680 --> 00:46:35,799
Speaker 2: because I trained in dramatic acting as well, And I said,

1009
00:46:36,680 --> 00:46:38,759
Speaker 2: I don't care if it takes me years to get

1010
00:46:38,760 --> 00:46:40,880
Speaker 2: a roll, I'll never stop training. And even after I

1011
00:46:40,880 --> 00:46:42,840
Speaker 2: get a roll, I'll keep training the whole way through,

1012
00:46:42,920 --> 00:46:46,040
Speaker 2: because you're constantly like a sponge and you're just learning

1013
00:46:46,040 --> 00:46:46,799
Speaker 2: and learning it.

1014
00:46:46,920 --> 00:46:47,440
Speaker 3: You have to be.

1015
00:46:47,520 --> 00:46:50,720
Speaker 2: You're building this toolkit that is just like so handy

1016
00:46:50,760 --> 00:46:53,920
Speaker 2: to have in a plethora of situations.

1017
00:46:53,239 --> 00:46:56,440
Speaker 3: Exactly, and it's just and and that's the thing, and

1018
00:46:56,480 --> 00:46:59,000
Speaker 3: so it's like you know what cool? And then you

1019
00:46:59,160 --> 00:47:01,840
Speaker 3: just that's why I I still will do classes. I

1020
00:47:01,880 --> 00:47:04,680
Speaker 3: still coach, I still perform, is to keep that muscle

1021
00:47:05,600 --> 00:47:09,680
Speaker 3: going to not become stagnant. And then that way when

1022
00:47:09,760 --> 00:47:12,560
Speaker 3: things do happen, because it will. I'm a firm believer

1023
00:47:12,600 --> 00:47:16,480
Speaker 3: in manifestation and ten thousand hours, So when it happens,

1024
00:47:16,719 --> 00:47:20,800
Speaker 3: not only are you prepared, but you're also enthusiastic about

1025
00:47:20,840 --> 00:47:25,520
Speaker 3: it and nine ten times, just we only have one life.

1026
00:47:25,640 --> 00:47:28,600
Speaker 3: We're only we really do so have fun and do

1027
00:47:28,680 --> 00:47:31,160
Speaker 3: the things that you want to do. Do it, Just

1028
00:47:31,200 --> 00:47:33,200
Speaker 3: do it. There's nothing holding you back. There's no one

1029
00:47:33,239 --> 00:47:35,400
Speaker 3: holding you back. No one can hold you back but yourself.

1030
00:47:36,239 --> 00:47:38,600
Speaker 2: That is the perfect end to this podcast, my friend,

1031
00:47:38,600 --> 00:47:40,040
Speaker 2: it's a total honor to have you on.

1032
00:47:40,440 --> 00:47:42,560
Speaker 1: My friend, you are a legend.

1033
00:47:42,840 --> 00:47:44,680
Speaker 3: I'm going to put.

1034
00:47:44,640 --> 00:47:48,600
Speaker 2: All of your info in all your website, in your Insta,

1035
00:47:48,640 --> 00:47:50,160
Speaker 2: I'm going to put it all in the show notes.

1036
00:47:50,200 --> 00:47:53,600
Speaker 3: Please follow me on the Insta, yes please, I'm trying

1037
00:47:53,600 --> 00:47:54,720
Speaker 3: to build up those bats.

1038
00:47:54,760 --> 00:47:58,560
Speaker 2: And also you've always got shows, local shows where you're

1039
00:47:58,560 --> 00:48:02,040
Speaker 2: doing improven and so I'll make sure I've got all

1040
00:48:02,200 --> 00:48:04,280
Speaker 2: your details in the show notes.

1041
00:48:04,600 --> 00:48:06,240
Speaker 1: Sean, you are a legend, my friend.

1042
00:48:06,480 --> 00:48:09,080
Speaker 3: You have been a wonderful, wonderful student and more so

1043
00:48:09,160 --> 00:48:11,279
Speaker 3: a wonderful friend. Thank you so much for having me

1044
00:48:11,280 --> 00:48:11,600
Speaker 3: on you.

1045
00:48:14,080 --> 00:48:19,720
Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always,

1046
00:48:19,880 --> 00:48:23,239
Speaker 2: thank you to our guests, and let's continue the conversation

1047
00:48:23,400 --> 00:48:24,279
Speaker 2: on Instagram.

1048
00:48:24,800 --> 00:48:29,960
Speaker 1: I'm at Yamo Lollerberry. This potty my word for podcast

1049
00:48:30,520 --> 00:48:33,080
Speaker 1: is available on all streaming platforms.

1050
00:48:33,520 --> 00:48:36,520
Speaker 2: I'd love it if you could subscribe, rape and comment,

1051
00:48:36,760 --> 00:48:38,680
Speaker 2: and of course spread the love.