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

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

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

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

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

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

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Speaker 1: I'm gonna be really honest with you. This podcast was

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Speaker 1: the most nervous I've ever been to interview someone. The

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Speaker 1: Anthony Lapalia said yes to jumping on the pod. So

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Speaker 1: incredible Australian actor has won Emmys, Actors, AFI's Golden Globe,

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Speaker 1: Tony like incredible theater actor, TV actor, sitcom actor, want

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Speaker 1: to narm me for being on Frasier. Like the body

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Speaker 1: of work is so incredible and we really do get

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Speaker 1: to celebrate a lot of Anthony's works in this chat.

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Speaker 1: I hope you love it. I hope you just love it.

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Speaker 1: I was pinching myself. I was like, how did this happen?

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Speaker 1: Like just such a iconic and wonderful Australian actor. The

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Speaker 1: thing I think you're gonna love about hearing Anthony's story

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Speaker 1: is his work ethic and this ability to do a

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Speaker 1: project and then let go of it like like not

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Speaker 1: needing it to be anything, and he's then onto the

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Speaker 1: next thing. It's kind of his superpower. He's got this

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Speaker 1: ability to be like, great, I'm doing this thing, I'm

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Speaker 1: gonna give it my all, and then okay, I did

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Speaker 1: that thing. I'm onto that like really cool. Like I

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Speaker 1: think as artists as well, we can get really stuck

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Speaker 1: onto something, and he's just got this kind of like

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Speaker 1: cool calm ability to keep moving forward. I couldn't give

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Speaker 1: a bit enough wrap. Absolute legend and so kind and

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Speaker 1: so honest, like there's no filter, there's no bs. It's

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Speaker 1: just like what you see is what you get, and

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Speaker 1: I mean, what a legend. Thank you Anthony for jumping

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Speaker 1: on this pod. You are an incredible human and thank

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Speaker 1: you for just sharing so much for yourself. You're a legend.

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Speaker 1: Anthony Lapalia. I'm very excited to have you on the pod.

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Speaker 2: Thank you.

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Speaker 1: Do you know how many awards that you've won?

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Speaker 2: Mate?

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Speaker 1: Do you know? I've made a list if you'd like

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Speaker 1: a refresher.

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Speaker 2: I mean, I know, like the main ones and like, yeah,

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Speaker 2: a couple of a Tony Golden Globe afi oh a

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Speaker 2: bunch of yeah, yeah, yeah, and then there's a whole

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Speaker 2: bunch of smaller theater ones and I love it.

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Speaker 1: But what like what a career too? And this is

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Speaker 1: what I'm so excited to unpack. Adelaide boy. Yes, I

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Speaker 1: thought you'd be like a pro soccer player.

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Speaker 2: That's what I wanted to be goalkeeper.

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Speaker 1: And started playing soccer like at nine, right, soupery, Yeah,

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Speaker 1: eight or nine? And then is it that you realized

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Speaker 1: you were really good in training? But then you get

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Speaker 1: nervous for the matches.

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Speaker 2: That took a while for me to figure out. I

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Speaker 2: would train harder than anyone. Goalkeepers traditionally of the laziest

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Speaker 2: people on the team. So when we came into summer camp,

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Speaker 2: summer training, I could outrun anybody on the team. And

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Speaker 2: it's not necessarily your goalkeeper. Yeah, come on, last, doesn't it.

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Speaker 2: But I would make it my mission to train harder

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Speaker 2: than anyone. And then when we got to the goalkeeper training,

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Speaker 2: I would train harder than anyone. I'd put in time,

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Speaker 2: I come in earlier to live later and all that stuff.

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Speaker 2: And what I realized that politics doesn't care.

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Speaker 1: Yeah, it's a business.

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Speaker 2: The politics didn't care. And so that that because I

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Speaker 2: was so young that at my confidence and I don't know,

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Speaker 2: something just made me go, this isn't going to go

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Speaker 2: any further. I had one Italian coach, Gnaed Murrio Cordy

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Speaker 2: is the Italian guy who, interesting enough, was run out

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Speaker 2: of Italy for taking bribes. Yeah yeah, yeah, yeah, weird

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Speaker 2: interesting guys in that. And he was he was a

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Speaker 2: really accomplished player in Italy, but he had been run

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Speaker 2: out for taking bribes. Just a bit of a group

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Speaker 2: and but he was pretty good with me. And he

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Speaker 2: just said to me, you know, Aunt Dawn, one week

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Speaker 2: good the next week.

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Speaker 1: If that meme that goes there's a there's a famous

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Speaker 1: soccer coach and he goes, sometimes they were good. Sometimes

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Speaker 1: it'll be shipped.

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Speaker 2: Yeah, he would say to me, I remember in that

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Speaker 2: squad there was two other goalkeepers and like the third

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Speaker 2: I'm not going to mention his name because I want

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Speaker 2: to any trouble. But he was like he was really

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Speaker 2: like terrible. He said, this week, I'm going to replace

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Speaker 2: you with this guy. And I went, what why he

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Speaker 2: places him with Eric? Eric's better? He goes, I know

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Speaker 2: he's a ship, but I know I can't expect the ship.

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Speaker 2: He's no surprise for me. If he's shit, I put

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Speaker 2: you in. I don't know. I don't know. I don't know,

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Speaker 2: because you're trying to teach me, you know. He was

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Speaker 2: trying to teach me consistency. Yeah, And I had the

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Speaker 2: desire and the ability, I think, but that doesn't matter

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Speaker 2: if you don't have the mental aptitude that that's everything.

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Speaker 1: But this is where I like cut to you as

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Speaker 1: an actor, where I think, but you've built this like

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Speaker 1: not only incredible career, but this like I feel like

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Speaker 1: you've got that the mental like clarity there.

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Speaker 2: Yeah, because the only person I can let down is me.

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Speaker 1: Can we can? We cut to Anthony hitting the streets

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Speaker 1: in New York for the first time in his Dunlop

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Speaker 1: Volleys four. When I first got to do one hundred

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Speaker 1: Bucks in your back pucket.

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Speaker 2: When I first got to when I first got to

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Speaker 2: New York, it was kind of a snap.

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Speaker 1: Decision because you hadn't made any acting.

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Speaker 2: But I did. I did audition though you for like Yah.

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Speaker 2: I was dating a girl who was studying in the

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Speaker 2: literature in the university, and she said, well, what did

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Speaker 2: you try out for night? And I was like, what's

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Speaker 2: that Royce? I don't know. So I did and that,

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Speaker 2: you know, and you have to do like I don't know,

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Speaker 2: I have to pick a piece, you know. And I

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Speaker 2: actually got through the first two cuts, and then when

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Speaker 2: I got to the next cut, they said, oh you,

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Speaker 2: we're not going to accept you, but try again next year.

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Speaker 2: And by then I met people that had tried three

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Speaker 2: years in the Wow.

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Speaker 1: Yeah, I did a couple in a row, never got in.

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Speaker 2: Yeah. And so it's already like I've read that story.

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Speaker 2: And they said you have poor vocal quality. You something

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Speaker 2: else and something else, and I went, yeah, I know, that's.

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Speaker 1: Why I want to try it.

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Speaker 2: That's why I want to come here. If I and

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Speaker 2: I said, if I could do all that, I wouldn't

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Speaker 2: need you because I had big mouth.

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Speaker 1: Also, look at your voice is one of your most iconic.

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Speaker 2: That's the irony of it. I love that it didn't

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Speaker 2: fit their standard, you know, fire you know the stuff

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Speaker 2: that they like and what theatrical stuff, and that's not

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Speaker 2: putting shit on night. Actors and and it's actually not

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Speaker 2: even putting shit on night. Turned out remarkable actors. But

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Speaker 2: I was pretty young and impatient, and I just thought

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Speaker 2: the logic was whether they were trying to be nice

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Speaker 2: or let me down easy. They should have come up

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Speaker 2: with better excuses, because like I wasn't I had a

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Speaker 2: big mouth. I wasn't afraid to like, you know, if

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Speaker 2: somebody said something was illogical to me, I would go, ah,

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Speaker 2: that's why I want to come here, Because if I

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Speaker 2: could do that, I wouldn't need you. You know, I

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Speaker 2: didn't need to add that, but I did. That was

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Speaker 2: the problem.

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Speaker 1: Did you audition for neighbors as well? You did not

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Speaker 1: fully went to Americana.

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Speaker 2: Well, I'll tell you what. After Naida, after the night audition,

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Speaker 2: I just thought by then I already kind of had

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Speaker 2: this idea that I wanted to do it. And within

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Speaker 2: two months, I sold my car, sold my staff, bought

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Speaker 2: a ticket to the United States, and thought, if I'm

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Speaker 2: going to do it, fuck it, I'm going to go.

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Speaker 2: I'm going to go to where they really do it,

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Speaker 2: you know. And so I but you know, it's you know,

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Speaker 2: it's kind of that the humorous of youth not having

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Speaker 2: a clue what I was walking into. And so I

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Speaker 2: went from an Australian somewhere into a New York winter,

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Speaker 2: having never experienced anything like it.

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Speaker 1: Did you have winter clothes?

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Speaker 2: No, No, I was wearing a pair of Dunlop volleys,

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Speaker 2: nose socks, per juice, a T shirt and a paper

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Speaker 2: thin leather jacket.

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Speaker 1: When you got to America, did your restruct your Australian

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Speaker 1: accent kind of got in the way?

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Speaker 2: Right?

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Speaker 1: Oh?

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Speaker 2: Yeah, yeah yeah. When I when I got well, first

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Speaker 2: of all, I mean, I mean there were a lot

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Speaker 2: of stages before I got anywhere near like the acting Department.

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Speaker 2: And I got here, like the idea was, Okay, I'll

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Speaker 2: come and I'll find Then I realized I had done

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Speaker 2: no research. I got acting school whatever, just New York,

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Speaker 2: somewhere I would find something. And I got to I

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Speaker 2: got to New York and I got out off the

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Speaker 2: plane and it was just like I'd never seen African

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Speaker 2: Americans before. I thought I'd gotten off of the long country.

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Speaker 2: Like I really was so naive. Anyway, So I got

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Speaker 2: into the city. I had not I didn't have a

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Speaker 2: place to go. But I got this cab driver and

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Speaker 2: I said, if you just come to the city for

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Speaker 2: the first time, where would you stay go because you

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Speaker 2: could stay at the MC. Yes, at that point in time,

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Speaker 2: you could say, so he took me down. There was

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Speaker 2: a YMCA down in Chelsea downtown and it was pretty rough.

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Speaker 2: Nineteen eighty two one two New York was pretty crime,

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Speaker 2: you could say that. But I loved it. Look it

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Speaker 2: was like it was rough, but it had like an

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Speaker 2: energy like I've never experienced before.

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Speaker 1: You feel to me, you feel more New York than

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Speaker 1: l A.

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Speaker 2: Yeah, well boy, I didn't know at that time, but yeah,

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Speaker 2: and so. But that's the thing. I got there and

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Speaker 2: from the minute I from the minute I got out

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Speaker 2: of the car have I just went, uh, this is okay.

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Speaker 2: Just all the other stuff that the baggage, the Australian baggage,

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Speaker 2: I call it all that stuff where you're supposed to

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Speaker 2: know your place and this is where you are, and

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Speaker 2: if you're Italian, this is what you're allowed to do,

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Speaker 2: and if you're this is what you're allowed to do.

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Speaker 2: Back then, especially, it was word out a lot. You

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Speaker 2: were pigeonholed a lot, not just in acting in anything.

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Speaker 2: You know, there was there was limited expectations for the

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Speaker 2: children of immigrant.

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Speaker 1: Parents and when you got to New York.

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Speaker 2: New York, but none of that. And also like Italians

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Speaker 2: were like, hey, come on in it wasn't like fuck

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Speaker 2: off your walk. There wasn't There wasn't any of that

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Speaker 2: stuff going on, and so it felt quite liberating. But

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Speaker 2: I remember going into the wives and the walls didn't

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Speaker 2: go all the way to the ceiling basically, and so

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Speaker 2: I heard shit you never want to hear. You never

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Speaker 2: want to hear. And to be honest, the first couple

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Speaker 2: of nights were, like I said, I was, you know,

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Speaker 2: or tough with cool with it. But the first couple

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Speaker 2: of nights I was like, I gott to find a

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Speaker 2: place to live somewhere because this is not going to

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Speaker 2: work for me. It didn't feel safe.

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Speaker 1: Yeah yeah, yeah, culture shark as well.

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Speaker 2: It was a big culture shark. And what I found

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Speaker 2: was the people were like amazing. They were so accepting

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Speaker 2: and so positive, super positive. See back then it was

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Speaker 2: super positive.

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Speaker 1: You can't even feel that when you're here versus Australia nowadays.

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Speaker 2: And I didn't even say I've come here to be

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Speaker 2: an actor. I didn't because I don't know. I just

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Speaker 2: I wasn't one. I've never done it. I would like

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Speaker 2: to at that point, I would like to try it,

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Speaker 2: And that was more it. It was more I want

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Speaker 2: to try it. And see if it's something I want

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Speaker 2: to do. It wasn't like I wish I could say

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Speaker 2: it was like a burning desire from the time I

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Speaker 2: was three years old. They came tap dancing out of

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Speaker 2: the world. It's just not true.

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Speaker 1: That also might have been your superpower because you weren't

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Speaker 1: holding onto any kind of like extra To this.

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Speaker 2: Day, it's my superpower, really, yeah, because I don't to

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Speaker 2: this day. It's if I meet for a job and

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Speaker 2: I don't get it, I don't on to the next

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Speaker 2: like instantly.

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Speaker 1: I've heard you say, it's all about just one's done,

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Speaker 1: next one.

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Speaker 2: They made their mind up and it's got nothing to

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Speaker 2: do with you. Yes, it really hasn't. It really had

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Speaker 2: a certain point. I mean at the beginning it was

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Speaker 2: about how your auditioned. And then when I got to

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Speaker 2: the point where people were familiar enough with my work

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Speaker 2: that it was just a meeting. I didn't have to audition,

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Speaker 2: which was a great day. That's a really great day

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Speaker 2: when that. But then it was just a meeting. And

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Speaker 2: what you find, what you come to understand is that

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Speaker 2: that meeting could be for a million different reasons. They're

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Speaker 2: already negotiating with somebody else. I don't know if that's

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Speaker 2: going to work out. So they're taking meetings for backups.

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Speaker 2: Oh wow, yeah, I'll tell you that. But you figure

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Speaker 2: it out.

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Speaker 1: You must have a pretty thick kind of like skin

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Speaker 1: to be like, Okay, something might come of this, something

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Speaker 1: might not.

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Speaker 2: I don't think it was first choice on anything ever

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Speaker 2: went up on. No, No, I don't think.

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Speaker 1: So you've done like.

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Speaker 2: I think I was always second or third choice. Something

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Speaker 2: fell through. You've done such not in theater, in theater

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Speaker 2: of first choice. I can't wait.

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Speaker 1: I can't wait to So hang on. You've trained with

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Speaker 1: some incredible people, Stella.

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Speaker 2: I sat in one.

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Speaker 1: Ordered Yeah she looks a bit scary.

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Speaker 2: Great, but okay, well this is what I had ordered

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Speaker 2: a couple of classes. And you know, you should speak

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Speaker 2: ill of the dead, but I'm going to but I'm

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Speaker 2: not going to speak ill of her. It's just that

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Speaker 2: at this point in her life she was like the

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Speaker 2: you know, the grand Dame, and you know she would

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Speaker 2: start out since it was my brother Lusa. You know,

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Speaker 2: he invented Da Da Da Da and did you know

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Speaker 2: Golden Boy for the first time on stage, cover her

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Speaker 2: debts and you know all that kind of stuff. So

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Speaker 2: to be always these grand of soliloquies. So what I

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Speaker 2: realized is she had this huge jug on the table,

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Speaker 2: and initially it would think it was water, but as

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Speaker 2: the night went on, it got a bit more aggressive

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Speaker 2: and a bit more and a bit more slur and

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Speaker 2: I went, oh, she's drinking either vodka and oh my god,

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Speaker 2: you we get so many. I watched I watched these

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Speaker 2: two kids put up put up a scene from Golden Boys.

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Speaker 2: There was a mistake. There was a mistake on their

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Speaker 2: part because my brother Luthera originated that part. So anyway,

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Speaker 2: this poor guy was so nervous on stage and he

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Speaker 2: was moving around a lot on stage, and she stopped

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Speaker 2: it and she just ripped the shreds off this guy.

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Speaker 2: She said, why are you walking like a ninny? You're

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Speaker 2: walking like a ninny. Now I want you to walk

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Speaker 2: across the stage, not like a ninny. And he kept

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Speaker 2: walking like a ninni because that's the way he walked,

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Speaker 2: so you know, you couldn't quite And then the more

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Speaker 2: she said it, the more nervously gone. And I just thought,

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Speaker 2: I just thought, I feel like that's a private conversation,

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Speaker 2: and I felt like the class enjoyed it too much.

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Speaker 2: The class enjoyed the public crucifixion, and so I kept

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Speaker 2: looking and I tried a few places here and there

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Speaker 2: did I ended up that's the one. That's why I

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Speaker 2: really learned myself. I ended up with Kim Stanley and phenomenal. Yeah.

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Speaker 2: And I hadn't studied much with anybody else. A little

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Speaker 2: bit at at the HB Studios. Yes, with uh, there's

302
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Speaker 2: a book. I have a book. I have a book

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Speaker 2: on that day christ never, I'll think of it a minute.

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Speaker 2: So I started there a little bit and that was

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Speaker 2: not a bad class. But then a friend of mine

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Speaker 2: that are you should It's really hard to get into

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Speaker 2: you see, if you can get into Kim's class, And

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Speaker 2: so I went and I met her and she said, well,

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Speaker 2: it was thank you, thank you, thank you, and she

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Speaker 2: would lovely, she would lovely. And I thought she's a

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Speaker 2: great book. Yeah, and I thought she was quite good.

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Speaker 2: And Kim was like, your well, you know, there's a

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Speaker 2: whole thing about you know, method acting. And I actually

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Speaker 2: went to the studio act the studio a few times

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Speaker 2: and watch that and watch people pretend to be, you know,

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Speaker 2: be a helicopter or a peach falling out of a tree.

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Speaker 2: Or whatever you know, or whatever it was. And and

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Speaker 2: I met Kim and before anything, she said, well, I

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Speaker 2: only take twelve students, so for twelve weeks. So before

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Speaker 2: we start anything, I'm going to give you a scenario

321
00:20:06,359 --> 00:20:07,920
Speaker 2: and you're going to go outside and you're going to

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Speaker 2: come in and bring it in, bring the whole scenario in.

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Speaker 2: And I just my buck brain just went and she said,

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Speaker 2: Now it's summer in real life, she said, it's the

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Speaker 2: middle of winter. You are your wife is you're in Connecticut,

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Speaker 2: your wife's in New York and she's about to have

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Speaker 2: a baby, and you're stuck. Your car breaks down and

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Speaker 2: you finally make your way to this train station, but

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Speaker 2: the clock in the station is broken, so you don't

330
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Speaker 2: really know what time it is, but you know you

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Speaker 2: need this train to come so you can get into

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Speaker 2: the city. Okay, go outside and bring that in. And

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Speaker 2: I just went outside and I sat in the hot

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Speaker 2: side and went, I have no fucking clue, how fuck?

335
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Speaker 2: And you do? What the fuck am I doing? And anyway,

336
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Speaker 2: so I kind of pulled it together and went in there,

337
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Speaker 2: and like, you know, the part she liked, she said,

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Speaker 2: the part I liked is that you took your socks

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Speaker 2: off and wrung them dry. Really, yeah, she said. I

340
00:21:20,560 --> 00:21:23,919
Speaker 2: think that was the thing that got me in. Yeah,

341
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Speaker 2: And so I just kind of, you know, I calmed

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Speaker 2: down and I went in and I went it wasn't

343
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Speaker 2: hard to match. I've already been through a winter, so

344
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Speaker 2: you know. And it was more about like playing those

345
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Speaker 2: moments your wife's having a baby. You're on a time clock,

346
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Speaker 2: you don't know when the train's going, so you have anxiety,

347
00:21:42,640 --> 00:21:46,520
Speaker 2: you have expectations, you have all the stuff. Anyway, So

348
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Speaker 2: whatever the reason it took pretty of me or whatever,

349
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Speaker 2: I think it was the ringing of the socks. She

350
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Speaker 2: took me on. And for the first four weeks I

351
00:21:57,640 --> 00:22:00,520
Speaker 2: just sat there going, oh shit, I don't belong here.

352
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Speaker 2: I have no idea what she's talking about. I don't

353
00:22:03,040 --> 00:22:04,400
Speaker 2: know what she's talking about. I don't know what she's

354
00:22:04,440 --> 00:22:07,280
Speaker 2: talking about. And I do the exercises and stuff, and

355
00:22:08,720 --> 00:22:10,320
Speaker 2: you know, one of the first things she said to

356
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Speaker 2: me was, and she was great. She would never critique

357
00:22:13,880 --> 00:22:17,159
Speaker 2: you in front of the class. At the end of

358
00:22:17,200 --> 00:22:21,800
Speaker 2: the class, she would get you. She had a side

359
00:22:21,880 --> 00:22:24,400
Speaker 2: room and then she'd kind of go over your work

360
00:22:24,440 --> 00:22:26,800
Speaker 2: for that night. One a month and one of the

361
00:22:26,800 --> 00:22:30,720
Speaker 2: first things she said to me was, you have to

362
00:22:30,800 --> 00:22:35,440
Speaker 2: stop thinking about how well you think you're doing, because

363
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Speaker 2: you're not in the moment.

364
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Speaker 1: Easier said than done.

365
00:22:38,200 --> 00:22:44,359
Speaker 2: Yes, but it made sense for whatever the reason, you know,

366
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Speaker 2: whatever the reason. Like, after that kind of after that moment,

367
00:22:50,800 --> 00:22:55,200
Speaker 2: it all clicked. Really Yeah, I love that it all

368
00:22:55,200 --> 00:22:59,720
Speaker 2: clicked that I was trying to perform to please her.

369
00:23:00,440 --> 00:23:03,360
Speaker 2: She said, you're not trying to please me. I need

370
00:23:03,400 --> 00:23:06,960
Speaker 2: you to just speak the truth at the moment. She said,

371
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Speaker 2: you know, and she said, I'm a method actor. But

372
00:23:10,000 --> 00:23:13,600
Speaker 2: method acting is not being an imaginary helicopter or any

373
00:23:13,600 --> 00:23:16,879
Speaker 2: of that stuff. It's just plain the absolute truth of

374
00:23:16,960 --> 00:23:20,920
Speaker 2: the moment. And listening.

375
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Speaker 1: Yeah, that won't let you down.

376
00:23:23,440 --> 00:23:26,679
Speaker 2: Listening will not let you down. And don't go to

377
00:23:26,760 --> 00:23:32,240
Speaker 2: a place just because it's a cue. Wait and find

378
00:23:32,280 --> 00:23:37,600
Speaker 2: it before you respond. You know, at the pace you'll

379
00:23:37,640 --> 00:23:40,520
Speaker 2: get later. But you need to emotionally connect to the

380
00:23:40,560 --> 00:23:41,520
Speaker 2: words that you're saying.

381
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Speaker 1: It's interesting that you're saying this because I have deep

382
00:23:44,160 --> 00:23:46,400
Speaker 1: dived so much of your work over the last week.

383
00:23:46,480 --> 00:23:51,640
Speaker 1: It has been a joy. Yeah, but you never watching

384
00:23:51,720 --> 00:23:56,040
Speaker 1: you never feels like like I notice your breath, so

385
00:23:56,119 --> 00:23:59,199
Speaker 1: like you. You take the time that you feel the

386
00:23:59,280 --> 00:23:59,920
Speaker 1: truth needs.

387
00:24:00,040 --> 00:24:02,840
Speaker 2: That's what she told me. Really yeah. She said, you

388
00:24:02,880 --> 00:24:06,320
Speaker 2: shouldn't speak a line unless you absolutely feel it's truthful,

389
00:24:07,400 --> 00:24:09,680
Speaker 2: you know, and if you need to take the time

390
00:24:09,760 --> 00:24:12,600
Speaker 2: on it, take the time. She said, They're going to

391
00:24:12,640 --> 00:24:17,440
Speaker 2: be instances where you need pace, but you'll figure that out.

392
00:24:18,160 --> 00:24:24,159
Speaker 2: Your your deduction process and your thinking process will speed up,

393
00:24:24,160 --> 00:24:27,280
Speaker 2: and it will depend largely another character. You know, sometimes

394
00:24:27,320 --> 00:24:34,440
Speaker 2: the character demands it, and and she said, sometimes don't

395
00:24:34,440 --> 00:24:38,400
Speaker 2: overthink it. Louder, faster, she would say, yeah, well, see

396
00:24:38,520 --> 00:24:38,920
Speaker 2: this is.

397
00:24:38,840 --> 00:24:41,320
Speaker 1: What I was so surprised to learn about you. You've

398
00:24:41,320 --> 00:24:45,280
Speaker 1: got comedy chops, my friend a little bit and Emmy

399
00:24:45,359 --> 00:24:46,439
Speaker 1: winning comedy Chops.

400
00:24:46,520 --> 00:24:49,360
Speaker 2: Might I say it's funny because I started out more

401
00:24:49,359 --> 00:24:53,719
Speaker 2: in comedy. Yeah, I started out my first theater stuff.

402
00:24:54,400 --> 00:24:58,080
Speaker 2: It was comedy, and no one would take me serious.

403
00:24:58,240 --> 00:24:59,480
Speaker 2: Is a dramatic actor.

404
00:24:59,440 --> 00:25:01,960
Speaker 1: Because now if we look, if we look now, especially

405
00:25:02,000 --> 00:25:04,280
Speaker 1: through the lens of Australian films.

406
00:25:04,240 --> 00:25:08,320
Speaker 2: So much more. Yeah, it's so dramatic, which is what

407
00:25:08,400 --> 00:25:11,439
Speaker 2: I wanted to be. Really yeah. I wanted to be

408
00:25:11,440 --> 00:25:16,800
Speaker 2: a dramatic actor. And for some reason, you know, like

409
00:25:16,880 --> 00:25:23,320
Speaker 2: there was some something just and and I'm I mean,

410
00:25:23,359 --> 00:25:25,879
Speaker 2: this is the most too sweat this something funny about me.

411
00:25:28,480 --> 00:25:32,440
Speaker 2: It's just like an off rhythm. Sometimes it's not even intentional,

412
00:25:32,480 --> 00:25:35,960
Speaker 2: it's just like I don't know it works. Yeah, it's

413
00:25:36,000 --> 00:25:39,080
Speaker 2: just I have a tendency the starter sometimes do a

414
00:25:39,119 --> 00:25:41,239
Speaker 2: bit of the huge grant, you know.

415
00:25:41,400 --> 00:25:44,399
Speaker 1: Oh yeah, yeah, well that was my that was my

416
00:25:45,880 --> 00:25:49,600
Speaker 1: joy of deep diving, because I obviously being an Aussie,

417
00:25:50,760 --> 00:25:53,520
Speaker 1: like I've grown up with like looking for Ali Brandy's

418
00:25:53,640 --> 00:25:58,080
Speaker 1: and the Lantanas, which are incredible, and can I say

419
00:25:58,160 --> 00:26:03,639
Speaker 1: watching nit Ramor and whatever, Oh my goodness, yeah, that

420
00:26:03,920 --> 00:26:05,320
Speaker 1: holy smile.

421
00:26:05,080 --> 00:26:08,800
Speaker 2: That was you know what, And you know that look

422
00:26:08,880 --> 00:26:12,280
Speaker 2: at doing it for thirty five years now maybe longer

423
00:26:12,400 --> 00:26:17,200
Speaker 2: forty almost, that's the first time ever that I did

424
00:26:17,200 --> 00:26:21,520
Speaker 2: not play a proactive character. And I found that the

425
00:26:21,760 --> 00:26:25,040
Speaker 2: hardest thing I've ever done. I know, it doesn't seem

426
00:26:25,080 --> 00:26:26,920
Speaker 2: like much, you know when you see it on screen,

427
00:26:27,920 --> 00:26:34,439
Speaker 2: it's it's just it's just small and simple. And but

428
00:26:34,520 --> 00:26:37,880
Speaker 2: I gravitate towards playing characters that proactives push things along.

429
00:26:38,680 --> 00:26:43,200
Speaker 2: This guy, this guy gets pushed. He's reactive and gets

430
00:26:43,520 --> 00:26:47,320
Speaker 2: you know, he's not driving any scenes. He doesn't have

431
00:26:47,560 --> 00:26:51,600
Speaker 2: that in him, and I found that really difficult.

432
00:26:51,680 --> 00:26:56,480
Speaker 1: Can I say, though, that you nail to see you

433
00:26:56,520 --> 00:27:01,440
Speaker 1: looking so vulnerable to really work I mean produced it too, right.

434
00:27:01,960 --> 00:27:04,879
Speaker 2: But one of the producers that score.

435
00:27:04,680 --> 00:27:09,560
Speaker 1: As well, like the music that is, Ah.

436
00:27:08,800 --> 00:27:14,280
Speaker 2: It's fairly it's fairly spar us. It's like the movie.

437
00:27:15,000 --> 00:27:17,560
Speaker 2: There's something about the silences in the movie that really

438
00:27:17,680 --> 00:27:23,919
Speaker 2: kind of did. It's powerful that movie, you know what.

439
00:27:23,960 --> 00:27:28,879
Speaker 2: That's the thing like that movie. I've been involved in

440
00:27:28,920 --> 00:27:33,720
Speaker 2: a couple of movies like this where I hate the

441
00:27:33,800 --> 00:27:37,280
Speaker 2: term important movie. I don't. It just makes it sound

442
00:27:37,359 --> 00:27:40,960
Speaker 2: so wanky. But there are some movies that have real

443
00:27:41,280 --> 00:27:47,680
Speaker 2: legitimate substance and so you know, and I've done a

444
00:27:47,760 --> 00:27:55,399
Speaker 2: couple of them, mostly Australian things. Story. Yeah, And it

445
00:27:55,600 --> 00:27:58,360
Speaker 2: just blows my mind that when you're trying to do

446
00:27:58,480 --> 00:28:03,760
Speaker 2: something that has some significance or some substance, getting no

447
00:28:04,000 --> 00:28:08,040
Speaker 2: money to make them, like and it's surprising how well

448
00:28:08,119 --> 00:28:13,879
Speaker 2: they turn out despite being sand backed. Like before we

449
00:28:13,960 --> 00:28:19,720
Speaker 2: started Nitron, the day before shooting, I think we had

450
00:28:20,080 --> 00:28:22,960
Speaker 2: over a million dollars pulled out of our budget. Somebody

451
00:28:23,000 --> 00:28:26,280
Speaker 2: back down they got cold feet about it, and I

452
00:28:26,359 --> 00:28:28,680
Speaker 2: understand because it was a very delicate size.

453
00:28:29,400 --> 00:28:31,560
Speaker 1: Because people do not want us to make a kid.

454
00:28:31,640 --> 00:28:33,600
Speaker 2: We've got a lot of flak.

455
00:28:34,240 --> 00:28:39,760
Speaker 1: I actually saw an interview with some police officers from Tasmania.

456
00:28:39,880 --> 00:28:42,280
Speaker 1: They're like, we don't want it, we don't want it.

457
00:28:42,320 --> 00:28:44,760
Speaker 1: Aird here right, it's a few And I saw it

458
00:28:44,800 --> 00:28:45,040
Speaker 1: in the.

459
00:28:44,960 --> 00:28:48,240
Speaker 2: Flat because I think because I think people thought we

460
00:28:48,240 --> 00:28:51,280
Speaker 2: were going to make an exploitation movie where we were

461
00:28:51,280 --> 00:28:55,800
Speaker 2: going to we hadn't let the script out and we

462
00:28:55,800 --> 00:28:58,280
Speaker 2: were trying to go as far as we could under

463
00:28:58,280 --> 00:29:02,920
Speaker 2: the radar. But that didn't last long. And the thing

464
00:29:02,960 --> 00:29:09,160
Speaker 2: the movie was never about exploiting or glorifying guns, or

465
00:29:09,200 --> 00:29:14,600
Speaker 2: exploiting the tragic death and the deaths the ocurve. No,

466
00:29:15,080 --> 00:29:22,280
Speaker 2: we were doing a psychological study on what happened, Why

467
00:29:22,360 --> 00:29:27,200
Speaker 2: did this kid get to this point? What were the

468
00:29:27,280 --> 00:29:31,040
Speaker 2: contributing factors that led up to the day. Yes, and

469
00:29:32,760 --> 00:29:36,120
Speaker 2: I think that that's I think that that's really a

470
00:29:36,240 --> 00:29:40,320
Speaker 2: legitimate thing to look at because by saying don't do

471
00:29:40,480 --> 00:29:43,360
Speaker 2: it or don't look at that, you're setting yourself up

472
00:29:43,360 --> 00:29:45,440
Speaker 2: for it to happen again, because you have to look

473
00:29:45,440 --> 00:29:50,480
Speaker 2: for the symptoms, not the end results. And by recognizing

474
00:29:50,520 --> 00:29:55,960
Speaker 2: the symptoms of how somebody got to this point and

475
00:29:56,040 --> 00:29:58,440
Speaker 2: everybody else. This is the thing with shooting, as you know,

476
00:29:58,600 --> 00:30:02,520
Speaker 2: since you're here now, you know, school shootings are an

477
00:30:02,520 --> 00:30:06,400
Speaker 2: everyday occurrence here, and if they don't register over twelve,

478
00:30:06,440 --> 00:30:09,640
Speaker 2: they don't get any press. But they still happen, and

479
00:30:10,440 --> 00:30:14,720
Speaker 2: it's always the same fucking bullshit excuse, Oh he had

480
00:30:14,720 --> 00:30:20,040
Speaker 2: a mental illness. Oh he's unstable. You know what. Some

481
00:30:20,120 --> 00:30:22,960
Speaker 2: of them are not mentally unstable. Some of them are not.

482
00:30:23,600 --> 00:30:28,040
Speaker 2: They have a belief system. They they're actually quite normal.

483
00:30:30,360 --> 00:30:34,760
Speaker 2: They've just got a belief system that's doesn't match ours.

484
00:30:36,560 --> 00:30:41,080
Speaker 2: Well they have if they have psychological problems, it's not

485
00:30:41,120 --> 00:30:44,040
Speaker 2: presented in the right way. It's always presented like like

486
00:30:44,080 --> 00:30:48,640
Speaker 2: they're like like they've been locked away in a rubber box,

487
00:30:49,920 --> 00:30:53,600
Speaker 2: where what it is is that there's been a steady

488
00:30:53,680 --> 00:30:59,080
Speaker 2: build up of you know, you know what they say,

489
00:30:59,160 --> 00:31:02,720
Speaker 2: there was signs. There were signs all the way along,

490
00:31:02,840 --> 00:31:09,480
Speaker 2: and the system ignores the signs. Sometimes the parish outcast.

491
00:31:09,840 --> 00:31:11,680
Speaker 2: The thing I liked about Nigim is that you could

492
00:31:11,680 --> 00:31:16,080
Speaker 2: see the parents tried, they saw the signs they recognize,

493
00:31:16,200 --> 00:31:21,120
Speaker 2: especially Judy's character, she knew, she knew she we took

494
00:31:21,160 --> 00:31:23,440
Speaker 2: them to psychiatrists. We took him and they were like,

495
00:31:23,600 --> 00:31:29,600
Speaker 2: you know, we didn't take it seriously. You know, And

496
00:31:29,680 --> 00:31:33,360
Speaker 2: I think that there's been a I think there's been

497
00:31:33,400 --> 00:31:38,240
Speaker 2: a tendency to wait until after it's happened to start

498
00:31:38,320 --> 00:31:40,840
Speaker 2: examining what the problem was. And I think you have

499
00:31:40,920 --> 00:31:44,640
Speaker 2: to examine it. You have to if people, if people

500
00:31:44,640 --> 00:31:47,520
Speaker 2: are well trained and they pick up the signs early.

501
00:31:48,240 --> 00:31:51,160
Speaker 2: It doesn't mean you'll stop all of them, but I

502
00:31:51,200 --> 00:31:54,400
Speaker 2: think you cut out a good percentage of them. And

503
00:31:54,440 --> 00:31:59,080
Speaker 2: now we're talking about mental health issues and how I'm

504
00:31:59,080 --> 00:32:01,959
Speaker 2: I'm not sure what it's like in Australia, but they

505
00:32:01,960 --> 00:32:05,720
Speaker 2: shut down all the mental institutions. Reagan started that, and

506
00:32:05,800 --> 00:32:07,960
Speaker 2: so you know, you see all those harmeless people out there,

507
00:32:08,640 --> 00:32:11,320
Speaker 2: they're not homeless. They are used to be in the

508
00:32:11,320 --> 00:32:17,160
Speaker 2: mental institutions. They need care. They have nowhere to go, so,

509
00:32:17,680 --> 00:32:20,480
Speaker 2: you know, and you have this, you.

510
00:32:20,440 --> 00:32:25,280
Speaker 3: Also have like this whole generation of kids that are

511
00:32:26,240 --> 00:32:31,560
Speaker 3: disenfranchised as well. You know, their only communication is through

512
00:32:31,560 --> 00:32:35,280
Speaker 3: playing you know, Halo in a group chat situation.

513
00:32:36,400 --> 00:32:38,800
Speaker 1: But this is what is so great about nitrom is

514
00:32:38,800 --> 00:32:41,680
Speaker 1: that you're shining a light not just on gun laws

515
00:32:42,040 --> 00:32:45,800
Speaker 1: or gun violence, but also on mental health and the

516
00:32:45,880 --> 00:32:46,760
Speaker 1: possible prevention.

517
00:32:47,240 --> 00:32:49,840
Speaker 2: Well, I mean, the great thing about Australia is that

518
00:32:49,880 --> 00:32:52,280
Speaker 2: they may not have looked into the mental health issues,

519
00:32:52,600 --> 00:32:57,800
Speaker 2: but they definitely took control of the availability of guns

520
00:32:58,360 --> 00:33:00,000
Speaker 2: and got them off the street.

521
00:33:00,080 --> 00:33:00,880
Speaker 1: Yeah.

522
00:33:01,240 --> 00:33:07,720
Speaker 2: Fully my argument here, my argument is I'm not anti gun.

523
00:33:08,200 --> 00:33:10,760
Speaker 1: No, I know I've heard you talk. It's actually we've

524
00:33:10,800 --> 00:33:11,440
Speaker 1: spoken about it.

525
00:33:11,760 --> 00:33:15,320
Speaker 2: I'm not anti gun. What I am is anti you know,

526
00:33:17,400 --> 00:33:22,400
Speaker 2: AK forty seven AK eighteen assault rifle. It's like, what, really,

527
00:33:22,880 --> 00:33:25,320
Speaker 2: you're that good huntsman? You need that gun shoot a

528
00:33:25,400 --> 00:33:28,440
Speaker 2: fucking deer. Yeahgatic argument.

529
00:33:29,200 --> 00:33:31,640
Speaker 1: You know, I'm fully with you.

530
00:33:31,840 --> 00:33:35,040
Speaker 2: Yeah. And if you're going to have a gun, what

531
00:33:35,280 --> 00:33:38,400
Speaker 2: is with it not wanting to have the correct checks.

532
00:33:39,360 --> 00:33:41,280
Speaker 2: You should have to go through it two or two.

533
00:33:41,400 --> 00:33:43,200
Speaker 2: If you want a driver's license.

534
00:33:43,360 --> 00:33:44,480
Speaker 1: You have to sit a test.

535
00:33:45,000 --> 00:33:46,600
Speaker 2: You have to you have to sit a test, and

536
00:33:46,640 --> 00:33:49,400
Speaker 2: you have to have you have to have a You

537
00:33:49,440 --> 00:33:52,280
Speaker 2: sit with a guy who watches you drive and says

538
00:33:53,120 --> 00:33:55,600
Speaker 2: you're going to kill people who may give you your license? Correct?

539
00:33:55,760 --> 00:33:58,040
Speaker 2: Or you're fine, you can drive? Yeah? Correct?

540
00:33:58,520 --> 00:33:58,960
Speaker 1: Correct?

541
00:33:59,360 --> 00:34:00,000
Speaker 2: What's the difference.

542
00:34:00,360 --> 00:34:01,840
Speaker 1: Yeah, I'm.

543
00:34:02,960 --> 00:34:06,480
Speaker 2: Just like zero excuse other than you've got the NRA

544
00:34:06,880 --> 00:34:09,080
Speaker 2: and it's in their best interest to keep gun sales

545
00:34:09,080 --> 00:34:12,560
Speaker 2: as high as possible and not restrict the kinds of guns.

546
00:34:12,840 --> 00:34:16,040
Speaker 2: And you know this whole Second Amendment thing, people need

547
00:34:16,080 --> 00:34:19,719
Speaker 2: to read the whole fucking thing, not just the first half. Yeah,

548
00:34:19,800 --> 00:34:22,200
Speaker 2: the second half makes it very clear that this was

549
00:34:22,280 --> 00:34:24,600
Speaker 2: designed for when they had a musket that had a

550
00:34:24,680 --> 00:34:29,279
Speaker 2: lead ball, not not not you know, one hundred and

551
00:34:29,280 --> 00:34:32,120
Speaker 2: forty eight rounds per second, yeah, or much.

552
00:34:31,920 --> 00:34:35,719
Speaker 1: Different, big time. So, but that's just that is one

553
00:34:36,040 --> 00:34:39,000
Speaker 1: of so many things that you film that actually like

554
00:34:39,200 --> 00:34:43,680
Speaker 1: do touched on a social image or like it's social sorry,

555
00:34:43,760 --> 00:34:47,200
Speaker 1: like idea, like even holding the man.

556
00:34:47,200 --> 00:34:48,480
Speaker 2: Like, yeah, I love that.

557
00:34:48,920 --> 00:34:51,680
Speaker 1: I went to Loretto. So all my mates went to

558
00:34:51,760 --> 00:34:55,439
Speaker 1: Xavier and they were that book was of my ear.

559
00:34:55,520 --> 00:34:57,919
Speaker 1: That was a bible because I was in the theater club, right,

560
00:34:58,000 --> 00:35:00,680
Speaker 1: so all my gay guy friends like, you gotta read

561
00:35:00,680 --> 00:35:03,040
Speaker 1: this book. You gotta read this book. It became like

562
00:35:03,160 --> 00:35:06,839
Speaker 1: this very kind of like write a passage to read

563
00:35:07,320 --> 00:35:08,160
Speaker 1: in high school.

564
00:35:08,440 --> 00:35:10,919
Speaker 2: Very brave of him to write it.

565
00:35:10,840 --> 00:35:15,680
Speaker 1: So brave, but beautiful move like heartbreakingly beautiful movie.

566
00:35:15,680 --> 00:35:20,600
Speaker 2: New Armfield, and you know, a beautiful movie just the

567
00:35:20,600 --> 00:35:22,600
Speaker 2: way he directed it and the tone of it.

568
00:35:22,760 --> 00:35:26,800
Speaker 1: And that's when I noticed your breath. That was because

569
00:35:26,840 --> 00:35:31,799
Speaker 1: like your character, you could tell you're grappling with so

570
00:35:31,960 --> 00:35:33,560
Speaker 1: much and so that's when I was like, oh, he

571
00:35:33,640 --> 00:35:37,840
Speaker 1: uses his breath to take time or find the truth

572
00:35:37,880 --> 00:35:41,960
Speaker 1: that you were saying. I love. Okay, there are so

573
00:35:42,040 --> 00:35:42,719
Speaker 1: many things.

574
00:35:42,719 --> 00:35:42,960
Speaker 2: Do you know?

575
00:35:43,120 --> 00:35:45,399
Speaker 1: Out of everything I've watched, to be the only thing

576
00:35:45,400 --> 00:35:48,520
Speaker 1: that was the hard thing to watch was Annabelle Mate.

577
00:35:49,600 --> 00:35:51,279
Speaker 1: I would go to bed and I freak out that

578
00:35:51,280 --> 00:35:53,080
Speaker 1: a little letter is going to slide under my door.

579
00:35:53,760 --> 00:35:56,399
Speaker 2: Was like, you know what, I actually I loved doing

580
00:35:56,400 --> 00:35:58,799
Speaker 2: annabel But Annie, I'm gonna be honest. That was the

581
00:35:58,840 --> 00:36:00,200
Speaker 2: money movie, you know.

582
00:36:00,480 --> 00:36:02,560
Speaker 1: But it looked like a fun.

583
00:36:04,080 --> 00:36:06,040
Speaker 2: The set was fantastic. It was all built on this

584
00:36:06,160 --> 00:36:11,200
Speaker 2: downstairs and the director with some Swedish guy, I can't

585
00:36:11,239 --> 00:36:17,279
Speaker 2: remember his name, and I've never done that genre before.

586
00:36:17,640 --> 00:36:22,240
Speaker 1: But Bridget got you into it, right, your daughter's.

587
00:36:20,840 --> 00:36:24,160
Speaker 2: Gonna be That's what happened, because I said, I even

588
00:36:24,200 --> 00:36:27,719
Speaker 2: heard of it right, and I was sitting around I

589
00:36:27,760 --> 00:36:31,319
Speaker 2: just got off with some some movie called annabel She's

590
00:36:31,360 --> 00:36:35,520
Speaker 2: like what she don't she couldn't care less like no

591
00:36:35,680 --> 00:36:39,479
Speaker 2: other movie. I don't think she's watched anything. And she's

592
00:36:39,560 --> 00:36:42,719
Speaker 2: always so blase about anything that I do. And when

593
00:36:42,719 --> 00:36:44,719
Speaker 2: I said Annabelle, She's like, you have to do it,

594
00:36:44,920 --> 00:36:47,680
Speaker 2: you have to and I went, really, it's a big deal.

595
00:36:47,800 --> 00:36:53,920
Speaker 2: She's like, oh, my friends watch it. So it was

596
00:36:54,040 --> 00:36:56,120
Speaker 2: so scary.

597
00:36:57,120 --> 00:36:58,160
Speaker 1: Everything I love.

598
00:36:59,480 --> 00:37:05,319
Speaker 2: I loved. I loved doing the genre and uh, I

599
00:37:05,320 --> 00:37:09,120
Speaker 2: don't know. I liked playing the creepy guy. It was great.

600
00:37:09,160 --> 00:37:09,759
Speaker 2: Kind of suits me.

601
00:37:09,800 --> 00:37:12,480
Speaker 1: Now, can we can we speak about like, I know,

602
00:37:12,560 --> 00:37:17,200
Speaker 1: you play like cop a lot basically without a trade.

603
00:37:17,280 --> 00:37:20,200
Speaker 2: Yeah, I played cop lawyer, FBI.

604
00:37:20,239 --> 00:37:24,920
Speaker 1: Mafia, I love bad Blood. Yeah, oh your character and

605
00:37:25,000 --> 00:37:27,239
Speaker 1: that takes no prisoners.

606
00:37:27,080 --> 00:37:28,560
Speaker 2: He's a real character.

607
00:37:28,400 --> 00:37:31,040
Speaker 1: Yeah, based on a real.

608
00:37:31,760 --> 00:37:32,880
Speaker 2: He was actually from Sicily.

609
00:37:33,480 --> 00:37:36,960
Speaker 1: We moved to Montreal and then he like was the

610
00:37:37,040 --> 00:37:38,400
Speaker 1: king basically he was.

611
00:37:38,440 --> 00:37:41,320
Speaker 2: He ran all of Montreal and he was the funny

612
00:37:41,480 --> 00:37:45,720
Speaker 2: Oh my god. See he was so under the wire

613
00:37:45,920 --> 00:37:49,560
Speaker 2: that there was almost no footage of him, but they

614
00:37:49,560 --> 00:37:53,240
Speaker 2: had a lot of recordings of him that the FBI

615
00:37:53,600 --> 00:37:58,520
Speaker 2: was at bugs. I love the place and just listening

616
00:37:58,520 --> 00:38:01,160
Speaker 2: to him talk. He was it's just a really funny,

617
00:38:01,520 --> 00:38:08,959
Speaker 2: really yeah, like fuck kind of guy. You know and yeah,

618
00:38:09,200 --> 00:38:14,480
Speaker 2: you know, I don't know. You had very I I

619
00:38:14,480 --> 00:38:16,360
Speaker 2: found him quite charming to listen to.

620
00:38:16,719 --> 00:38:18,760
Speaker 1: Your character was quite child even.

621
00:38:18,560 --> 00:38:20,920
Speaker 2: Though you were like no, no, but when he lost it,

622
00:38:21,000 --> 00:38:23,759
Speaker 2: when he lost his you know, like when he kills

623
00:38:23,760 --> 00:38:28,520
Speaker 2: that guy with the astraid that really happened quite brutal.

624
00:38:29,160 --> 00:38:33,960
Speaker 2: And but see, I also love that. It's amazing how

625
00:38:34,000 --> 00:38:35,879
Speaker 2: your career goes, you know, like.

626
00:38:36,239 --> 00:38:40,839
Speaker 4: The first and in film, the first any attention I got,

627
00:38:40,920 --> 00:38:43,880
Speaker 4: and it was for Betsy's wedding where I played like

628
00:38:43,920 --> 00:38:47,799
Speaker 4: this young mobster. Yeah right, So of course then I

629
00:38:47,840 --> 00:38:52,040
Speaker 4: started getting all these mobsterst mobsterers, and I was fine

630
00:38:52,080 --> 00:38:56,640
Speaker 4: with that because I was like, you know what, yes,

631
00:38:56,760 --> 00:38:59,279
Speaker 4: it's a mobster, but all mobsters are different, so you

632
00:38:59,320 --> 00:39:01,000
Speaker 4: can but also.

633
00:39:00,960 --> 00:39:03,200
Speaker 1: So so fun from a dialect perspective.

634
00:39:03,480 --> 00:39:08,719
Speaker 2: Oh yeah, And also, you know, making those guys, I

635
00:39:08,760 --> 00:39:10,960
Speaker 2: always thought, I want to make them. I want to

636
00:39:10,960 --> 00:39:13,839
Speaker 2: make them likable, even if there are assholes, I want

637
00:39:13,840 --> 00:39:14,520
Speaker 2: to make them like them.

638
00:39:14,520 --> 00:39:16,560
Speaker 1: Do you know what I watched for the first time,

639
00:39:16,680 --> 00:39:20,120
Speaker 1: Twenty ninth Street. Oh so fun. It's fun.

640
00:39:20,560 --> 00:39:23,440
Speaker 2: That was that, I have to say, just from a shooting.

641
00:39:23,440 --> 00:39:25,920
Speaker 2: I'm not saying the movie. The movie is very flawed,

642
00:39:26,600 --> 00:39:30,279
Speaker 2: but from a fun perspective so much time it was

643
00:39:30,280 --> 00:39:33,560
Speaker 2: the most fun. Well that was my first lead in

644
00:39:33,640 --> 00:39:41,320
Speaker 2: the studio movie. And uh, I just and the director

645
00:39:42,239 --> 00:39:44,120
Speaker 2: is a guy named George Gallo who wrote me Not

646
00:39:44,239 --> 00:39:52,400
Speaker 2: Run and he he he cracked me up. He's this huge,

647
00:39:53,200 --> 00:39:56,200
Speaker 2: like six foot seven dude that used to deliver a

648
00:39:56,200 --> 00:39:59,920
Speaker 2: pepsi you drive a Pepsi truck. And when he writes

649
00:40:00,040 --> 00:40:02,680
Speaker 2: greenplays on the side. And then he sold me to

650
00:40:02,760 --> 00:40:04,719
Speaker 2: Not Run. And then he got money to direct twenty

651
00:40:04,800 --> 00:40:09,759
Speaker 2: ice Street. And so we shot that all out back

652
00:40:09,840 --> 00:40:11,879
Speaker 2: in North Carolina when there was nothing there was.

653
00:40:11,800 --> 00:40:13,799
Speaker 1: That because that looks very New Yorky to me.

654
00:40:14,080 --> 00:40:16,000
Speaker 2: No, every shot was North Carolina.

655
00:40:16,880 --> 00:40:19,040
Speaker 1: Didn't you shoot something recently? It might have been North

656
00:40:19,200 --> 00:40:20,920
Speaker 1: or South Carolina for Netflix.

657
00:40:21,200 --> 00:40:28,640
Speaker 2: Florida, Florida. Man, that's it so again in Florida. In Florida, Well,

658
00:40:29,080 --> 00:40:32,200
Speaker 2: you know, I guess Wilmington just actually covers quite a

659
00:40:32,239 --> 00:40:34,600
Speaker 2: few different what they what they had there, they had

660
00:40:34,640 --> 00:40:39,279
Speaker 2: a back lot. Uh way back when I did twenty

661
00:40:39,360 --> 00:40:42,200
Speaker 2: nine Street, they had a backlot that they built for

662
00:40:42,280 --> 00:40:46,160
Speaker 2: something else. They shot King Kong there. But Jessica Lank,

663
00:40:46,600 --> 00:40:50,959
Speaker 2: Jessica and uh right, And they had a backlot there

664
00:40:51,080 --> 00:40:52,920
Speaker 2: and I don't know how they pulled it off, but

665
00:40:53,000 --> 00:40:55,680
Speaker 2: they it did look like New York.

666
00:40:55,760 --> 00:40:59,480
Speaker 1: Well, you fooled me. I don't know if you remember this,

667
00:40:59,680 --> 00:41:01,240
Speaker 1: because I was chewing it.

668
00:41:01,600 --> 00:41:04,520
Speaker 2: I was saying, that was the most like a fun set.

669
00:41:04,600 --> 00:41:09,360
Speaker 2: Oh my god, I just had such a blast on that. Yeah.

670
00:41:09,440 --> 00:41:12,279
Speaker 1: I don't know if you remember this, because I pick

671
00:41:12,360 --> 00:41:17,719
Speaker 1: your brains nearly every time I see. But oh, I've

672
00:41:17,719 --> 00:41:19,520
Speaker 1: just had a mental blank just as I said that.

673
00:41:19,600 --> 00:41:23,320
Speaker 1: Oh yeah, here, I've got it so obviously, like Without

674
00:41:23,320 --> 00:41:26,320
Speaker 1: a Trace is like an iconic, seven seven year running,

675
00:41:26,960 --> 00:41:31,319
Speaker 1: incredible show, award winning. And you were telling me you

676
00:41:31,520 --> 00:41:34,960
Speaker 1: shadowed LAPD. I don't know if it was for that show,

677
00:41:35,120 --> 00:41:37,320
Speaker 1: it was for a different shows something else?

678
00:41:37,760 --> 00:41:38,040
Speaker 2: Have you?

679
00:41:38,280 --> 00:41:40,840
Speaker 1: Is that sometimes part of your process where you shadow

680
00:41:41,000 --> 00:41:41,359
Speaker 1: if I.

681
00:41:41,320 --> 00:41:44,640
Speaker 2: Can, Yeah, I mean I try to find out as

682
00:41:44,680 --> 00:41:47,960
Speaker 2: much as I can about the character and playing. Yeah.

683
00:41:48,000 --> 00:41:51,160
Speaker 2: And so I hang out with love guys for really.

684
00:41:50,960 --> 00:41:54,440
Speaker 1: Really sure, I like you so relaxed.

685
00:41:54,480 --> 00:41:58,160
Speaker 2: Oh sure, sure, it's quite nice most of them really,

686
00:41:58,239 --> 00:42:01,399
Speaker 2: Oh yeah, it's just don't get on their bad side.

687
00:42:02,280 --> 00:42:05,600
Speaker 2: And they love movies. So and they all got to hey,

688
00:42:05,680 --> 00:42:08,360
Speaker 2: I got a good looking cousins could act maybe in

689
00:42:08,480 --> 00:42:17,200
Speaker 2: your movie? Yeah, yeah, yeah, And I forget what I

690
00:42:17,280 --> 00:42:19,960
Speaker 2: was doing. I don't remember what film it was. Anyway,

691
00:42:20,080 --> 00:42:23,720
Speaker 2: I got to do a ride along for a week,

692
00:42:25,160 --> 00:42:27,400
Speaker 2: was it? He Yeah, with the l A p D.

693
00:42:28,280 --> 00:42:31,680
Speaker 2: And that was But I also did it in Sydney

694
00:42:31,719 --> 00:42:37,160
Speaker 2: for Lantana. There were two detectives though they were characters.

695
00:42:37,320 --> 00:42:40,400
Speaker 1: Really, Oh my god, did you see something? Did you

696
00:42:40,480 --> 00:42:40,920
Speaker 1: get to see?

697
00:42:41,040 --> 00:42:43,680
Speaker 2: Like I got to see a lot I got to see.

698
00:42:44,239 --> 00:42:46,520
Speaker 2: Now I really like this. I'm not going to mention

699
00:42:46,600 --> 00:42:49,920
Speaker 2: their names because they've been since for transferred out to

700
00:42:50,040 --> 00:42:55,839
Speaker 2: like the water rats and ship like, but they were

701
00:42:55,880 --> 00:42:59,239
Speaker 2: assigned me like they didn't want to do it, got

702
00:42:59,320 --> 00:43:01,720
Speaker 2: it and and so. But I've been through this before

703
00:43:01,920 --> 00:43:05,239
Speaker 2: with the l A p D. So the best thing

704
00:43:05,320 --> 00:43:06,279
Speaker 2: to do is you just sit in.

705
00:43:06,280 --> 00:43:09,879
Speaker 1: The back and shut up and do you do they eventually, like, yeah, they.

706
00:43:09,800 --> 00:43:12,799
Speaker 2: Start to they start to they if you don't ask

707
00:43:12,840 --> 00:43:15,440
Speaker 2: them a bunch of dumb questions and you just sit

708
00:43:15,600 --> 00:43:17,440
Speaker 2: back and let them do their job kind of thing,

709
00:43:18,040 --> 00:43:20,480
Speaker 2: they'll start to ask you questions. And you could ask

710
00:43:20,520 --> 00:43:24,200
Speaker 2: them little questions. But I got to know these two

711
00:43:24,400 --> 00:43:30,600
Speaker 2: Sydney detectives Phillant, Tana. Oh my god, it was you know.

712
00:43:30,760 --> 00:43:34,319
Speaker 2: We they say, hey, you want to drive through the city,

713
00:43:34,360 --> 00:43:37,840
Speaker 2: and like, you know, uh, you know, one hundred and

714
00:43:37,880 --> 00:43:41,880
Speaker 2: fifty kilometers an hour. I'm like, yeah, sure, and they

715
00:43:42,000 --> 00:43:44,759
Speaker 2: stick the lot on top of it and we just

716
00:43:44,840 --> 00:43:48,520
Speaker 2: go speeding through the city for no reason, just sh

717
00:43:48,640 --> 00:43:52,960
Speaker 2: I put the yeah. So, and then we go to

718
00:43:53,160 --> 00:43:56,360
Speaker 2: we got to like art, right, and I noticed. I

719
00:43:56,520 --> 00:43:58,839
Speaker 2: noticed we got a like art and we'd have lunch. Yeah,

720
00:43:58,920 --> 00:44:00,000
Speaker 2: and we didn't pay.

721
00:44:01,960 --> 00:44:03,440
Speaker 1: Never pa like celebrities.

722
00:44:04,120 --> 00:44:06,279
Speaker 2: These guys just knew all the guys, you know, and

723
00:44:06,440 --> 00:44:09,960
Speaker 2: the and the restaurant owners and stuff. They knew them,

724
00:44:10,880 --> 00:44:14,200
Speaker 2: and and you just didn't pay for anything, right, And

725
00:44:14,280 --> 00:44:18,920
Speaker 2: then how interesting, Yeah it was. And they said to

726
00:44:19,000 --> 00:44:23,160
Speaker 2: me at one point they said, oh yeah, yeah, give

727
00:44:23,160 --> 00:44:25,560
Speaker 2: me a call. They give me this other number. I said,

728
00:44:25,719 --> 00:44:27,520
Speaker 2: don't call us on those cell phone numbers you've got,

729
00:44:27,560 --> 00:44:31,400
Speaker 2: because we think we're being bugged. They knew that, they

730
00:44:31,440 --> 00:44:33,080
Speaker 2: knew that they were kind of under investigation.

731
00:44:33,320 --> 00:44:35,759
Speaker 1: That's a bit like your character in Phoenix. I watched

732
00:44:35,800 --> 00:44:40,080
Speaker 1: Phoenix this morning, actually I finished it. Yeah, that a

733
00:44:40,200 --> 00:44:45,200
Speaker 1: lot of yeas, yes, right, beautiful life.

734
00:44:45,960 --> 00:44:49,799
Speaker 2: He was you know what. He was a really yeah,

735
00:44:52,160 --> 00:44:52,879
Speaker 2: really great guy.

736
00:44:53,560 --> 00:44:56,239
Speaker 1: Alex is just telling me. Wasn't the director something at

737
00:44:56,280 --> 00:44:57,520
Speaker 1: your wedding, Danny Callen?

738
00:44:58,120 --> 00:45:00,600
Speaker 2: He was my best man. Yeah, I love that.

739
00:45:02,080 --> 00:45:04,320
Speaker 1: I can't have you on this podcast though without talking

740
00:45:04,400 --> 00:45:08,840
Speaker 1: about a View from the Bridge. Arthur Miller and the

741
00:45:09,160 --> 00:45:11,320
Speaker 1: one of the if not like he's definitely one of

742
00:45:11,400 --> 00:45:12,600
Speaker 1: the greatest.

743
00:45:12,360 --> 00:45:16,359
Speaker 2: Well you know, he actually said it. First of all,

744
00:45:18,280 --> 00:45:24,360
Speaker 2: I had the unbelievable gift of having Arthur in the

745
00:45:24,520 --> 00:45:29,520
Speaker 2: room during rehearsals almost every day, and so when I

746
00:45:29,560 --> 00:45:34,560
Speaker 2: would get to something in there and you're playing, yeah,

747
00:45:35,600 --> 00:45:41,120
Speaker 2: and here's what happened. I had my agent in New

748
00:45:41,200 --> 00:45:44,040
Speaker 2: York was one of the old school great agents, Sam Collin,

749
00:45:44,480 --> 00:45:47,680
Speaker 2: and he represented Arthur. And I had gone to Sam

750
00:45:47,760 --> 00:45:50,560
Speaker 2: and said it was about thirty eight, and I said,

751
00:45:50,600 --> 00:45:52,839
Speaker 2: I want to do Few from the Bridge. I've been

752
00:45:52,880 --> 00:45:55,200
Speaker 2: reading it for years in an acting class and lesson.

753
00:45:56,160 --> 00:45:59,520
Speaker 2: And he went, you're a bit young. He should be

754
00:45:59,560 --> 00:46:05,319
Speaker 2: about late forties fifty. Yeah, And and he said, let

755
00:46:05,360 --> 00:46:07,520
Speaker 2: me talk to Arthur. And he came. He said, Arthur

756
00:46:07,600 --> 00:46:10,239
Speaker 2: thinks you're too young too. And I said, just let

757
00:46:10,280 --> 00:46:12,840
Speaker 2: me do a reading, just let me get everyone and

758
00:46:13,120 --> 00:46:16,799
Speaker 2: just and Arthur came back and said, yeah, right, do reading.

759
00:46:17,800 --> 00:46:20,520
Speaker 2: And so I can't even remember. I mean I pulled

760
00:46:20,560 --> 00:46:23,680
Speaker 2: in every favor like chas parmeentary.

761
00:46:25,600 --> 00:46:28,200
Speaker 1: People, Brittany, didn't you, Brittany.

762
00:46:27,920 --> 00:46:31,760
Speaker 2: Wasn't she was not of that reading, not of that reading.

763
00:46:33,200 --> 00:46:35,680
Speaker 2: Just all the actors I knew in New York. Really,

764
00:46:35,920 --> 00:46:38,640
Speaker 2: I think stand Too might have been there. I think

765
00:46:39,680 --> 00:46:40,240
Speaker 2: just everybody.

766
00:46:40,600 --> 00:46:43,600
Speaker 1: He then directed you like, yeah, how fun.

767
00:46:43,760 --> 00:46:47,320
Speaker 2: Well we've been friends. Actually we met on a really

768
00:46:48,480 --> 00:46:51,880
Speaker 2: not great movie called Slaves of New York. It's probably

769
00:46:52,080 --> 00:46:55,959
Speaker 2: my first movie, maybe his second, and that was thirty

770
00:46:56,080 --> 00:46:58,279
Speaker 2: years ago, something like two years ago, and we've been

771
00:46:58,320 --> 00:47:02,719
Speaker 2: friends ever since. He's he's an amazing, amazing actor and

772
00:47:02,760 --> 00:47:08,320
Speaker 2: amazing man. So so anyway, so we do the reading,

773
00:47:09,280 --> 00:47:13,880
Speaker 2: and my take on it was, see Eddie has written

774
00:47:14,040 --> 00:47:17,319
Speaker 2: is kind of like an older, an older, more desperate thing,

775
00:47:18,160 --> 00:47:24,080
Speaker 2: and the sexual danger component isn't really there. Yeah, it's

776
00:47:24,239 --> 00:47:27,839
Speaker 2: just that's never going to happen. And and I thought

777
00:47:28,120 --> 00:47:32,600
Speaker 2: it would be more interesting it was possibly there, yeah,

778
00:47:32,719 --> 00:47:36,040
Speaker 2: because he's younger, and well, it reached.

779
00:47:36,080 --> 00:47:37,640
Speaker 1: It doesn't matter how many times you read a view

780
00:47:37,680 --> 00:47:38,240
Speaker 1: from the Bridge.

781
00:47:38,440 --> 00:47:43,799
Speaker 2: You don't know, like the sexual component's threatening, yeah thirty eight. Yeah,

782
00:47:44,280 --> 00:47:49,439
Speaker 2: so Arthur and I didn't say that, but when after

783
00:47:49,520 --> 00:47:53,160
Speaker 2: the reading after went that's interesting, it's going, you know,

784
00:47:53,320 --> 00:47:59,640
Speaker 2: you're more sexually threatening and yeah and so and I

785
00:47:59,680 --> 00:48:02,279
Speaker 2: think I had a lot to do with in my asient. Yeah,

786
00:48:02,320 --> 00:48:04,399
Speaker 2: he was lost to the old school agent Sam Card

787
00:48:05,080 --> 00:48:12,600
Speaker 2: and he because he represented people like no so so.

788
00:48:12,760 --> 00:48:14,920
Speaker 2: But I mean, it was amazing to have him in

789
00:48:14,960 --> 00:48:17,320
Speaker 2: the room. And I just remember stuff, you know, like

790
00:48:17,440 --> 00:48:19,640
Speaker 2: ask him. I'll be in the middle se I'd say

791
00:48:19,920 --> 00:48:22,560
Speaker 2: when he wrote this, what did you mean? And it

792
00:48:22,719 --> 00:48:27,120
Speaker 2: was like he would tell me, you know, or I mean,

793
00:48:27,160 --> 00:48:29,719
Speaker 2: I have a couple of great stories about him. When

794
00:48:32,320 --> 00:48:34,640
Speaker 2: as we were okay, so we were trying to cast

795
00:48:35,440 --> 00:48:43,160
Speaker 2: Catherine Yes, and director had somebody else in mind, and

796
00:48:43,960 --> 00:48:49,560
Speaker 2: and he hadn't told me that he'd already a directed

797
00:48:49,680 --> 00:48:54,160
Speaker 2: before in some smaller production. And then he had hired

798
00:48:54,200 --> 00:48:56,359
Speaker 2: this girl and she was fine, there was nothing wrong

799
00:48:56,360 --> 00:48:59,120
Speaker 2: with her. She was good. But then this girl came in.

800
00:48:59,320 --> 00:49:03,000
Speaker 2: She was eight, and she was a bit weird, and

801
00:49:04,120 --> 00:49:08,000
Speaker 2: she was there with her mother, and she gave this

802
00:49:08,200 --> 00:49:12,600
Speaker 2: performance that was like made the hair on the back

803
00:49:12,640 --> 00:49:16,040
Speaker 2: of your neck stand up. It was Brittany Murphy, and

804
00:49:16,400 --> 00:49:20,560
Speaker 2: I just went because I had say in the casting yeah,

805
00:49:20,719 --> 00:49:24,680
Speaker 2: and I just said, that's her, that's her. And the

806
00:49:24,800 --> 00:49:27,840
Speaker 2: director went, she's never done a play before. You know,

807
00:49:28,440 --> 00:49:30,279
Speaker 2: it's gonna be so much work, and blah blah blah blah.

808
00:49:31,040 --> 00:49:34,479
Speaker 2: And Arthur just sat there listening and I'm going, yeah,

809
00:49:34,600 --> 00:49:36,920
Speaker 2: and so I'll hope her. I'll work with her and

810
00:49:36,960 --> 00:49:39,120
Speaker 2: get her through it and whatever. She's just got that

811
00:49:39,320 --> 00:49:43,040
Speaker 2: thing you need. And at the end of it, you know,

812
00:49:44,200 --> 00:49:46,600
Speaker 2: the director looked at Arthur and said, what do you think, Arthur,

813
00:49:46,719 --> 00:49:52,920
Speaker 2: And he said, you're a director. Director. He was like that.

814
00:49:54,680 --> 00:49:57,080
Speaker 2: And then another time we were we had all these

815
00:49:57,200 --> 00:49:59,440
Speaker 2: like you know, you know, with these period magazines and

816
00:50:00,920 --> 00:50:03,839
Speaker 2: and there was this one magazine in there that had

817
00:50:03,840 --> 00:50:08,360
Speaker 2: an oracle about Maryland Joe DiMaggio in there, and we

818
00:50:08,480 --> 00:50:10,640
Speaker 2: always tried to like kind of get rid of that one,

819
00:50:11,360 --> 00:50:14,480
Speaker 2: hide it. And one day we've forgotten. So Arthur came

820
00:50:14,520 --> 00:50:15,840
Speaker 2: in and he was sitting at the table and he

821
00:50:15,840 --> 00:50:20,759
Speaker 2: starts he picks up that magazine and everybody's like, but

822
00:50:20,880 --> 00:50:23,440
Speaker 2: you can'tnot look right, like, no, no, we're watching him.

823
00:50:23,480 --> 00:50:25,800
Speaker 2: And he's just sitting there like because he's very he

824
00:50:25,920 --> 00:50:28,360
Speaker 2: was very tall, and at this point he was like

825
00:50:28,520 --> 00:50:32,560
Speaker 2: like seventies. But I'm telling you, he's one of those

826
00:50:32,600 --> 00:50:39,040
Speaker 2: guys who walked into a room. He just he had

827
00:50:39,120 --> 00:50:43,920
Speaker 2: a magnetism that you find rarely in people. And I

828
00:50:43,960 --> 00:50:46,600
Speaker 2: would see these twenty eight year old girls be like, oh,

829
00:50:49,200 --> 00:50:51,080
Speaker 2: you know, he still had that going on, you know.

830
00:50:51,760 --> 00:50:56,600
Speaker 2: And so he's sitting there and he's got his legs

831
00:50:56,640 --> 00:51:00,880
Speaker 2: crossed and he's just you know them, and he gets

832
00:51:00,920 --> 00:51:06,879
Speaker 2: to that one article and everybody's like oh, and then

833
00:51:07,120 --> 00:51:11,480
Speaker 2: he thinks his finger, turns the page over and he says, well,

834
00:51:11,560 --> 00:51:16,680
Speaker 2: you learn something new every day, and then he keeps going, yeah,

835
00:51:17,120 --> 00:51:20,160
Speaker 2: you know, but he was. He was so But you

836
00:51:20,239 --> 00:51:23,200
Speaker 2: know what. The other person in that production that really

837
00:51:26,000 --> 00:51:30,200
Speaker 2: made me better than I than I was was Alison Janny.

838
00:51:31,960 --> 00:51:35,960
Speaker 2: Oh yeah, she played me. And Alison Janny absolutely pushed

839
00:51:36,040 --> 00:51:40,400
Speaker 2: me to the incredible actor, pushed me harder than I

840
00:51:40,560 --> 00:51:44,440
Speaker 2: ever been pushed. She used to sit she'd get there early,

841
00:51:45,280 --> 00:51:47,160
Speaker 2: and she'd get in her costume and stuff, and she

842
00:51:47,200 --> 00:51:50,520
Speaker 2: would just sit in the green room and she would

843
00:51:50,560 --> 00:51:54,800
Speaker 2: just be knitting really and I'd walk in and she

844
00:51:54,960 --> 00:51:57,520
Speaker 2: just looked up at me, like that like better bring

845
00:51:57,600 --> 00:52:02,799
Speaker 2: your game, fucker, and what a beast I love.

846
00:52:04,480 --> 00:52:08,040
Speaker 1: I could talk to you all day long. I cannot

847
00:52:08,080 --> 00:52:14,239
Speaker 1: thank you absolutely honestly. You've absolutely made my day doing

848
00:52:14,600 --> 00:52:18,560
Speaker 1: this and you have inspired me a lot as well,

849
00:52:18,600 --> 00:52:19,879
Speaker 1: and you always give me a little bit of hope

850
00:52:19,880 --> 00:52:20,480
Speaker 1: when I see you.

851
00:52:21,680 --> 00:52:23,520
Speaker 2: I want you to do I want you to do well.

852
00:52:24,080 --> 00:52:25,640
Speaker 2: I want you to do well well.

853
00:52:25,760 --> 00:52:28,959
Speaker 1: Thank you, and thank you for sharing your Sunday.

854
00:52:28,640 --> 00:52:32,120
Speaker 2: Avo with me pleasure. It really is my pleasure.

855
00:52:32,600 --> 00:52:33,400
Speaker 1: Thank you, my friend.

856
00:52:33,520 --> 00:52:33,800
Speaker 2: Thank you.

857
00:52:36,280 --> 00:52:41,880
Speaker 1: That's a wrap on another episode of Fearlessly Failing. As always,

858
00:52:42,080 --> 00:52:45,400
Speaker 1: thank you to our guests, and let's continue the conversation

859
00:52:45,600 --> 00:52:51,359
Speaker 1: on Instagram. I'm at Yamo Lollerberry. This potty my word

860
00:52:51,440 --> 00:52:56,160
Speaker 1: for podcast is available on all streaming platforms. I'd love

861
00:52:56,200 --> 00:52:59,200
Speaker 1: it if you could subscribe, rate and comment and of

862
00:52:59,320 --> 00:53:00,879
Speaker 1: course spread the loud