1 00:00:02,960 --> 00:00:03,280 Speaker 1: Get a. 2 00:00:03,920 --> 00:00:09,799 Speaker 2: I'm Lola Berry, nutritionist, author, actor, TV presenter and professional 3 00:00:10,039 --> 00:00:15,560 Speaker 2: overshare us. This podcast is all about celebrating failure because 4 00:00:15,680 --> 00:00:18,760 Speaker 2: I believe it's a chance for us to learn, grow 5 00:00:19,079 --> 00:00:22,880 Speaker 2: and face our blind spots. Each week, all interview a 6 00:00:22,960 --> 00:00:26,720 Speaker 2: different guest about their highs as well as their lows, 7 00:00:26,760 --> 00:00:30,360 Speaker 2: all in a bid to inspire us to fearlessly fail. 8 00:00:33,760 --> 00:00:37,280 Speaker 2: Today on the pod we have photographer Hugh Stewart. He's super, 9 00:00:37,320 --> 00:00:40,920 Speaker 2: super talented, very very kind and can I say, one 10 00:00:40,920 --> 00:00:44,560 Speaker 2: of the coolest humans I have ever met. He has 11 00:00:44,600 --> 00:00:50,000 Speaker 2: worked with so many greats, Michael Caine, Clint Eastwood, Leonardo DiCaprio, 12 00:00:50,520 --> 00:00:54,720 Speaker 2: and he's just such a chiller. So the other cool 13 00:00:54,720 --> 00:00:57,240 Speaker 2: thing about Hugh Stewart is he does these pop up 14 00:00:57,680 --> 00:01:01,920 Speaker 2: portrait studios, so he's got them Melbourne, Sids and Bangalow, 15 00:01:01,920 --> 00:01:03,600 Speaker 2: which is the hinterland of Byron Bay. I'm going to 16 00:01:03,640 --> 00:01:06,200 Speaker 2: put all the details for booking in in the show notes. 17 00:01:06,120 --> 00:01:08,880 Speaker 1: But you are in for a real treat with. 18 00:01:08,840 --> 00:01:11,639 Speaker 2: This episode, and you thank you so much for sharing 19 00:01:11,680 --> 00:01:12,360 Speaker 2: your time with me. 20 00:01:13,200 --> 00:01:17,640 Speaker 1: You are wonderful. Welcome to the pod. 21 00:01:18,160 --> 00:01:21,720 Speaker 2: Hugh Stewart, incredible photographer that I've had the pleasure of 22 00:01:22,600 --> 00:01:24,400 Speaker 2: seeing in real life. This is the third time I've 23 00:01:24,440 --> 00:01:26,440 Speaker 2: seen you in real life, but I've seen you work 24 00:01:26,480 --> 00:01:27,800 Speaker 2: your magic twice now. 25 00:01:28,080 --> 00:01:29,360 Speaker 3: Yes, you have. 26 00:01:30,040 --> 00:01:33,320 Speaker 1: I booked in for it. Yeah. 27 00:01:33,360 --> 00:01:36,920 Speaker 2: Well I booked in for headshots because somebody wrote an 28 00:01:36,959 --> 00:01:40,880 Speaker 2: actor wrote to me and they were like, Lola, as soon. 29 00:01:40,800 --> 00:01:42,280 Speaker 1: As you get back from Byron. I was in la. 30 00:01:42,319 --> 00:01:44,080 Speaker 2: This says as soon as you get back to Byron 31 00:01:44,160 --> 00:01:46,080 Speaker 2: that like, you have to book in with this person. 32 00:01:46,760 --> 00:01:49,360 Speaker 2: And I was like, okay, great, Like had just dyed 33 00:01:49,400 --> 00:01:52,320 Speaker 2: my hair brown. I thought, let's let's do Let's do it. 34 00:01:52,440 --> 00:01:54,280 Speaker 1: And the more that. 35 00:01:55,800 --> 00:01:59,240 Speaker 2: I researched you, the more that I've found that your 36 00:01:59,320 --> 00:02:01,680 Speaker 2: whole star and please correct me if I'm wrong, feels 37 00:02:01,720 --> 00:02:04,800 Speaker 2: like it's just authenticity, like real shots. 38 00:02:06,120 --> 00:02:08,440 Speaker 3: Yeah, and I started I don't even like to call 39 00:02:08,480 --> 00:02:12,720 Speaker 3: them headshots. I kind of cook because I portraits portraits. Really. Yeah, 40 00:02:13,440 --> 00:02:19,760 Speaker 3: it came about what led to you being there. Was 41 00:02:19,840 --> 00:02:22,280 Speaker 3: that a couple of years ago. So I've got a 42 00:02:22,280 --> 00:02:25,280 Speaker 3: whole career outside of I have a little studio in 43 00:02:25,760 --> 00:02:28,919 Speaker 3: No let me start again. I always wanted a little 44 00:02:29,040 --> 00:02:32,959 Speaker 3: kind of very democratic, old school portraits. Yeah, and I've 45 00:02:32,960 --> 00:02:36,800 Speaker 3: had a really long career mainly doing portraits, you know, 46 00:02:36,880 --> 00:02:40,880 Speaker 3: all over the world for magazines and advertising agencies and stuff, 47 00:02:41,280 --> 00:02:44,840 Speaker 3: and which I love and it's been good to me, 48 00:02:45,440 --> 00:02:48,880 Speaker 3: but it you know what, as I got older, what 49 00:02:49,000 --> 00:02:51,960 Speaker 3: I was feeling more and more was that it was, 50 00:02:53,280 --> 00:02:56,079 Speaker 3: you know, there was an agenda around everything. There always is, 51 00:02:56,120 --> 00:02:58,160 Speaker 3: you know, no matter what you do. And I loved 52 00:02:58,160 --> 00:03:03,200 Speaker 3: this idea of having a little studio that was more democratic, 53 00:03:03,240 --> 00:03:06,359 Speaker 3: that anyone could come to, that wasn't expensive, and that 54 00:03:06,480 --> 00:03:09,840 Speaker 3: didn't have any kind of rules attached to it or 55 00:03:09,960 --> 00:03:12,160 Speaker 3: hid an agenda, or that I wasn't trying to upsell 56 00:03:12,280 --> 00:03:15,760 Speaker 3: anything or sell people prints or something. And also I 57 00:03:15,800 --> 00:03:19,560 Speaker 3: didn't want it to look like my career was going 58 00:03:19,600 --> 00:03:22,640 Speaker 3: so badly that I'd had to open a studio just 59 00:03:22,680 --> 00:03:25,360 Speaker 3: to let anyone you know that I was desperate. And 60 00:03:25,400 --> 00:03:27,800 Speaker 3: then I thought about it for ages, and then I 61 00:03:27,919 --> 00:03:31,320 Speaker 3: was on a job. I was shooting on a movie 62 00:03:31,600 --> 00:03:37,520 Speaker 3: on a TV series called The Lost Flowers of Alice Hart, 63 00:03:37,560 --> 00:03:40,040 Speaker 3: and I was in a really dodgy motel up in 64 00:03:40,080 --> 00:03:42,480 Speaker 3: the Hunter Valley on a rainy day when it was 65 00:03:42,560 --> 00:03:44,960 Speaker 3: rained out, and I was like, you know what, I'm 66 00:03:45,000 --> 00:03:46,920 Speaker 3: just going to put on my Instagram that I'm doing 67 00:03:46,960 --> 00:03:51,200 Speaker 3: portraits like in two saturdays time and anyone can come 68 00:03:51,280 --> 00:03:54,120 Speaker 3: and they're in thirty minute increments and they're like one 69 00:03:54,200 --> 00:03:57,040 Speaker 3: hundred dollars each at the time. That's what I and 70 00:03:58,080 --> 00:04:00,400 Speaker 3: I'll just see what happens. And I did it, and 71 00:04:00,880 --> 00:04:06,080 Speaker 3: it sold out and the thing that I got out 72 00:04:06,080 --> 00:04:09,200 Speaker 3: of it the most, and they were basically just people 73 00:04:09,240 --> 00:04:12,520 Speaker 3: coming as they saw themselves to be photographed and it 74 00:04:12,640 --> 00:04:16,640 Speaker 3: sort of worked. And now I think I've done over 75 00:04:16,680 --> 00:04:21,200 Speaker 3: the last couple of years, maybe three thousand people. But 76 00:04:21,320 --> 00:04:28,560 Speaker 3: it's it's it's fundamentally changed what I think about photography. 77 00:04:28,600 --> 00:04:32,320 Speaker 3: And I also think that it's fundamentally started to change 78 00:04:32,360 --> 00:04:34,599 Speaker 3: me as well. 79 00:04:34,640 --> 00:04:39,520 Speaker 2: You're sharing something quite you're holding the space and because 80 00:04:39,560 --> 00:04:43,479 Speaker 2: like having experienced how you work, you kind of like 81 00:04:43,600 --> 00:04:46,719 Speaker 2: meet a person connect with them and it's very relaxed. 82 00:04:46,960 --> 00:04:50,400 Speaker 2: But also I think as well, there's a sense of 83 00:04:50,480 --> 00:04:54,960 Speaker 2: vulnerability and and so you're creating this like moment where 84 00:04:56,440 --> 00:04:59,560 Speaker 2: you've created safety for the person that's sitting. 85 00:05:00,120 --> 00:05:03,080 Speaker 3: Well, yeah, look, and I think that's happened, but that 86 00:05:03,240 --> 00:05:06,359 Speaker 3: was all a bit inadvertent and that came about like 87 00:05:06,440 --> 00:05:09,520 Speaker 3: my little studio in Sydney is in the back of 88 00:05:09,520 --> 00:05:12,600 Speaker 3: a shop on a lane way, and when you're sitting 89 00:05:12,600 --> 00:05:14,760 Speaker 3: in there, you can see out and you know, you 90 00:05:14,800 --> 00:05:17,840 Speaker 3: can see the door, and it's and it's and it's 91 00:05:17,960 --> 00:05:21,200 Speaker 3: very much the opposite of what somebody might think of 92 00:05:21,480 --> 00:05:25,719 Speaker 3: a photographic studio is So it immediately feels quite safe 93 00:05:25,760 --> 00:05:27,919 Speaker 3: because I'm very aware that people are coming in to 94 00:05:27,960 --> 00:05:31,440 Speaker 3: be photographed by some crusty, old, sixty three year old man, 95 00:05:31,520 --> 00:05:34,760 Speaker 3: you know what I mean, Like, you know, old men 96 00:05:34,880 --> 00:05:37,440 Speaker 3: are responsible for a lot of shit, and I didn't 97 00:05:37,440 --> 00:05:40,560 Speaker 3: want anyone to be there to be any kind of 98 00:05:41,000 --> 00:05:43,520 Speaker 3: I didn't want it to be miss construedent anyway. And 99 00:05:43,600 --> 00:05:48,960 Speaker 3: so and what I've found is that people feel very 100 00:05:49,000 --> 00:05:51,400 Speaker 3: safe in there. And and my pictures, I mean, if 101 00:05:51,400 --> 00:05:54,240 Speaker 3: you ever, if you bother to look them up for 102 00:05:54,279 --> 00:05:57,159 Speaker 3: these ones, you know, they're on a very neutral little 103 00:05:57,640 --> 00:06:00,919 Speaker 3: in a very neutral little space, and I make them. 104 00:06:01,720 --> 00:06:05,440 Speaker 3: You know, I'm sitting opposite the person I'm being photographed, 105 00:06:05,440 --> 00:06:07,680 Speaker 3: and there's a table between us that the person that 106 00:06:07,720 --> 00:06:11,479 Speaker 3: I'm photographing can kind of lean on. So it immediately 107 00:06:11,560 --> 00:06:14,679 Speaker 3: creates this kind of barrier between you and the camera 108 00:06:14,760 --> 00:06:17,720 Speaker 3: where I think people feel, you know, there's a very 109 00:06:18,040 --> 00:06:22,080 Speaker 3: it's a kind of slightly obnoxious thing to put someone 110 00:06:22,160 --> 00:06:24,680 Speaker 3: up against a wall and point of fucking camera. Yeah, 111 00:06:24,880 --> 00:06:29,000 Speaker 3: you know, and like being there, it's intiligator, whereas you know, 112 00:06:29,120 --> 00:06:32,360 Speaker 3: like we're having a conversation even now across the table. Yeah, 113 00:06:32,400 --> 00:06:36,000 Speaker 3: and it's I think it's quite a familiar space for 114 00:06:36,080 --> 00:06:36,800 Speaker 3: people to be in. 115 00:06:37,400 --> 00:06:39,880 Speaker 2: I'm going to read a quote of yours to you 116 00:06:39,960 --> 00:06:41,880 Speaker 2: and it says, I like, when I can walk into 117 00:06:41,960 --> 00:06:45,920 Speaker 2: someone's home and connect with them, that's my drug and 118 00:06:45,960 --> 00:06:49,039 Speaker 2: that's what gives me energy. And I get having sat 119 00:06:49,080 --> 00:06:52,200 Speaker 2: opposite you in that moment, I feel like that's your 120 00:06:52,240 --> 00:06:55,440 Speaker 2: magic spark. Is like you can connect with people, you 121 00:06:55,480 --> 00:06:58,560 Speaker 2: can connect and you essentially give a shit about the 122 00:06:58,640 --> 00:07:00,880 Speaker 2: human being that is sit in front of you. Like 123 00:07:00,920 --> 00:07:04,360 Speaker 2: it doesn't feel like work. It feels like it is 124 00:07:04,440 --> 00:07:07,320 Speaker 2: your not to get too esoterical and HI be on you, 125 00:07:07,400 --> 00:07:08,800 Speaker 2: but damma or purpose. 126 00:07:09,960 --> 00:07:12,040 Speaker 3: Yeah, And it's come out of this thing that like 127 00:07:12,160 --> 00:07:15,760 Speaker 3: for years and years, even though I've been semi successful, 128 00:07:16,000 --> 00:07:19,560 Speaker 3: is that photographs. You know, when you're working for magazines 129 00:07:19,640 --> 00:07:22,640 Speaker 3: or film companies around agencies, you know their pr driven, 130 00:07:23,040 --> 00:07:26,200 Speaker 3: their photographs made before you even take it. You know, 131 00:07:26,600 --> 00:07:30,600 Speaker 3: photographing some actor, you know, and I decided I want 132 00:07:30,600 --> 00:07:32,440 Speaker 3: to shoot them in a bath. You know. I tell 133 00:07:32,480 --> 00:07:34,920 Speaker 3: the pr person I've got this idea to shoot them 134 00:07:34,920 --> 00:07:36,880 Speaker 3: in a bath. They tell them, they go, yeah, that 135 00:07:36,960 --> 00:07:39,120 Speaker 3: sounds cool, and then you know, I set it up 136 00:07:39,200 --> 00:07:41,440 Speaker 3: light that the actor comes in. They've only got half 137 00:07:41,440 --> 00:07:43,360 Speaker 3: an hour, an hour or something, and so there's no 138 00:07:43,560 --> 00:07:45,640 Speaker 3: real connect. I mean there is, and you know, the 139 00:07:45,680 --> 00:07:48,600 Speaker 3: pictures great and they love it, and the magazine likes it, 140 00:07:48,640 --> 00:07:50,920 Speaker 3: and I like doing it, but there's a lot of 141 00:07:51,000 --> 00:07:55,640 Speaker 3: people around, you know, and it's not there's still a wall. Yeah, 142 00:07:55,720 --> 00:08:01,120 Speaker 3: there's a wall. So this feels like there's no war totally. 143 00:08:01,240 --> 00:08:03,840 Speaker 3: You know. It takes me back to where I started 144 00:08:04,280 --> 00:08:06,480 Speaker 3: taking pictures, when it was just me in a camera. 145 00:08:06,600 --> 00:08:08,320 Speaker 3: There's only difference is now I kind of know what 146 00:08:08,360 --> 00:08:11,000 Speaker 3: I'm doing. At the time I didn't. But I love that. 147 00:08:11,720 --> 00:08:16,680 Speaker 3: I love the whole thing of I'm basically just nosy 148 00:08:17,400 --> 00:08:20,160 Speaker 3: and curious and I like having a chat to people, 149 00:08:20,440 --> 00:08:25,360 Speaker 3: and I guess, you know, I'm less concerned. I'm more 150 00:08:25,440 --> 00:08:29,320 Speaker 3: confident now with the technicalities of taking the picture. So 151 00:08:29,360 --> 00:08:33,880 Speaker 3: it's enabled me to make pictures where my sole concern 152 00:08:34,000 --> 00:08:36,720 Speaker 3: is just how I'm interacting with the person. I'm not 153 00:08:36,720 --> 00:08:38,720 Speaker 3: worried about whether it's going to come out anymore. 154 00:08:39,440 --> 00:08:41,880 Speaker 1: But how beautiful is that? How cool is that? 155 00:08:42,280 --> 00:08:44,880 Speaker 3: No, it's good, But I never really realized that was 156 00:08:44,920 --> 00:08:46,880 Speaker 3: what it would be, like, I had no idea. It's 157 00:08:46,920 --> 00:08:49,000 Speaker 3: just one of those things that I started and I thought, 158 00:08:49,280 --> 00:08:51,880 Speaker 3: I'll just do it and see what happens. And then 159 00:08:52,360 --> 00:09:01,640 Speaker 3: I've had really really quite moving and I can't even 160 00:09:01,640 --> 00:09:03,440 Speaker 3: think of the word right now. But you know, like 161 00:09:03,559 --> 00:09:07,480 Speaker 3: people come in to be you know, people come in 162 00:09:07,520 --> 00:09:11,080 Speaker 3: to be photographed for very real reasons. I've had people 163 00:09:11,080 --> 00:09:13,400 Speaker 3: come in who are dying, you know, people who are 164 00:09:13,400 --> 00:09:19,280 Speaker 3: having you know, maybe going parents, going into palletative cat like, 165 00:09:19,920 --> 00:09:21,920 Speaker 3: all sorts of stuff. People who just come because they 166 00:09:21,960 --> 00:09:24,200 Speaker 3: want to test themselves because they freaked out with getting 167 00:09:24,200 --> 00:09:27,640 Speaker 3: a photograph taken. And then as in your one, you know, 168 00:09:27,800 --> 00:09:31,520 Speaker 3: like I then ended up doing these days for actors 169 00:09:31,559 --> 00:09:35,920 Speaker 3: because my eldest daughter, Lily is an actor and she 170 00:09:36,000 --> 00:09:40,640 Speaker 3: went to film her she was night, I wasn't you, Yeah, 171 00:09:40,679 --> 00:09:42,840 Speaker 3: So she went to Opper and she needed a headshot 172 00:09:43,360 --> 00:09:45,280 Speaker 3: and of course she asked me if I would do it, 173 00:09:45,400 --> 00:09:46,760 Speaker 3: and I did, and she was going, I don't know, 174 00:09:46,840 --> 00:09:50,000 Speaker 3: Dan doesn't really look like everyone else, And I was like, well, 175 00:09:50,040 --> 00:09:53,800 Speaker 3: what what you know? What people get? And I just 176 00:09:53,880 --> 00:09:58,680 Speaker 3: thought I just seemed what what what was available seemed 177 00:09:58,800 --> 00:10:03,480 Speaker 3: very expensive, often didn't really give me a sense of 178 00:10:03,520 --> 00:10:04,880 Speaker 3: who the person was. 179 00:10:05,080 --> 00:10:09,800 Speaker 2: And over polished, and a lot of that. 180 00:10:09,760 --> 00:10:11,400 Speaker 1: Are real like disconnect. 181 00:10:11,920 --> 00:10:13,880 Speaker 3: And then the bit that really gave me the shits 182 00:10:14,040 --> 00:10:17,720 Speaker 3: was that they, you know, you as the actor, you 183 00:10:17,760 --> 00:10:20,680 Speaker 3: don't get given all the pictures. You get given access 184 00:10:20,679 --> 00:10:23,439 Speaker 3: to four or five and then you which they've chosen, 185 00:10:23,520 --> 00:10:26,800 Speaker 3: which I think is highly disrespectful. And then if you 186 00:10:26,840 --> 00:10:30,760 Speaker 3: want more, you pay extra. So and also you know, 187 00:10:32,120 --> 00:10:34,960 Speaker 3: I've worked with a lot of actors, right and about 188 00:10:35,080 --> 00:10:36,920 Speaker 3: five of them in their own house, you know what 189 00:10:37,000 --> 00:10:39,920 Speaker 3: I mean, Like you're not in it because you're making, 190 00:10:40,160 --> 00:10:42,880 Speaker 3: you know, the potential to get rich in it because 191 00:10:42,880 --> 00:10:46,640 Speaker 3: you love it. And young actors who often need you know, 192 00:10:46,920 --> 00:10:53,439 Speaker 3: headshots that there's, there's there's they're in a c being 193 00:10:53,559 --> 00:10:56,520 Speaker 3: circled by sharks. You know, go to this voice coach, 194 00:10:56,600 --> 00:10:59,240 Speaker 3: go and get acting lessons here, do this, go and 195 00:10:59,280 --> 00:11:01,720 Speaker 3: do that, you know, And I just think the photography 196 00:11:01,760 --> 00:11:04,600 Speaker 3: world around them, you know, is part of them. And 197 00:11:04,679 --> 00:11:07,000 Speaker 3: although there are good people doing it, don't get me wrong, 198 00:11:07,040 --> 00:11:08,840 Speaker 3: and I don't care what people charge. I just got 199 00:11:08,840 --> 00:11:10,679 Speaker 3: a bit cranky about the fact that you don't get 200 00:11:10,720 --> 00:11:13,360 Speaker 3: all the pictures and it seemed like it was just another, 201 00:11:13,960 --> 00:11:18,880 Speaker 3: you know, another way for people to capitalize some people. Yeah, 202 00:11:18,880 --> 00:11:20,839 Speaker 3: So I started this thing where I would just do 203 00:11:21,040 --> 00:11:23,679 Speaker 3: a I do these days and I just fell out 204 00:11:23,679 --> 00:11:27,880 Speaker 3: my whole day and actors come in. How cool and yeah, 205 00:11:27,920 --> 00:11:30,040 Speaker 3: and I love it. I mean it's quite tiring, I 206 00:11:30,080 --> 00:11:33,079 Speaker 3: have to say, like talking to sometimes twenty actors. 207 00:11:33,200 --> 00:11:38,640 Speaker 2: Yeah, could you get so many different personalities and so 208 00:11:38,679 --> 00:11:43,800 Speaker 2: many different Well look, you know, I know a handful 209 00:11:43,840 --> 00:11:45,680 Speaker 2: of people personally that have shot with you that are 210 00:11:45,880 --> 00:11:48,880 Speaker 2: you know, whether they're Melbourne based where And they're like 211 00:11:48,920 --> 00:11:51,240 Speaker 2: soll hue today And I'm like, and I've had like 212 00:11:51,280 --> 00:11:52,720 Speaker 2: coffees of them and hung with them, and I'm like, 213 00:11:52,880 --> 00:11:55,120 Speaker 2: I can only imagine the conbos that you would have had, 214 00:11:55,160 --> 00:11:58,720 Speaker 2: just because actors can be like eccentric and quirky and 215 00:11:58,920 --> 00:12:00,679 Speaker 2: you know, so, yeah, I can see why at the 216 00:12:00,760 --> 00:12:03,560 Speaker 2: end of the day you're like, okay, they to chill out. 217 00:12:03,760 --> 00:12:06,920 Speaker 3: Well, there's that, But equally, I mean, look, I love actors, 218 00:12:07,080 --> 00:12:09,520 Speaker 3: but actors kind of get it because I think they 219 00:12:09,559 --> 00:12:12,440 Speaker 3: feel often they get pictures done and they don't look 220 00:12:12,520 --> 00:12:14,760 Speaker 3: like now you know what it is, they don't feel 221 00:12:14,800 --> 00:12:18,080 Speaker 3: like them. Yes, and I think you know, at some 222 00:12:18,240 --> 00:12:20,880 Speaker 3: point in that profession you have to reveal who you are, 223 00:12:20,880 --> 00:12:23,040 Speaker 3: and you might as well do it fairly early on. Yeah, 224 00:12:23,120 --> 00:12:25,800 Speaker 3: you know, so you're not just in some cycle of 225 00:12:25,960 --> 00:12:28,600 Speaker 3: being called in to see bars lermon, you know, because 226 00:12:28,640 --> 00:12:30,080 Speaker 3: you can't quite tell what you look like. 227 00:12:30,200 --> 00:12:33,319 Speaker 1: Yeah, you might as well look like you for you. 228 00:12:33,440 --> 00:12:35,960 Speaker 3: Yeah, pictures work on that level. Yeah. 229 00:12:36,040 --> 00:12:40,160 Speaker 2: I love that you say you've had a semi successful career, 230 00:12:40,280 --> 00:12:44,440 Speaker 2: like spending like even just looking at your website and 231 00:12:44,480 --> 00:12:49,480 Speaker 2: just like clicking through like Johnny Cash, Leonardo DiCaprio. My 232 00:12:49,679 --> 00:12:54,400 Speaker 2: favorite photo is Clint Eastwood. Can you share a little 233 00:12:54,400 --> 00:12:56,600 Speaker 2: bit about the Clint Eastwood story because he sounds like 234 00:12:56,640 --> 00:12:57,760 Speaker 2: an absolute legend. 235 00:12:57,960 --> 00:13:03,800 Speaker 3: Yeah, that wasn't interesting day I got commissioned. I can't 236 00:13:03,800 --> 00:13:07,840 Speaker 3: remember who it was for to go to Carmel to 237 00:13:07,920 --> 00:13:12,560 Speaker 3: photograph Clint. And I mean, I equally love Clint Eastwood. 238 00:13:12,559 --> 00:13:14,480 Speaker 3: I think great. And also, you know, he kind of 239 00:13:14,640 --> 00:13:21,400 Speaker 3: came across from my dad's generation, so I what did 240 00:13:21,440 --> 00:13:24,640 Speaker 3: we do? I flew out to California from I was 241 00:13:24,640 --> 00:13:27,040 Speaker 3: living in New York. I went with my assistant, Scottie, 242 00:13:27,840 --> 00:13:30,160 Speaker 3: who I could do a whole podcast about scot But 243 00:13:31,280 --> 00:13:34,280 Speaker 3: Scotty and I went out to Carmel. We must have 244 00:13:34,480 --> 00:13:36,880 Speaker 3: either flown into San fran or La, I can't remember, 245 00:13:36,880 --> 00:13:39,880 Speaker 3: and then drove up or down to Carmel. And we 246 00:13:39,960 --> 00:13:42,120 Speaker 3: got there and we had a hotel and everything. We're 247 00:13:42,120 --> 00:13:45,480 Speaker 3: in there and I had to ring up I had 248 00:13:45,520 --> 00:13:47,719 Speaker 3: a number to ring when I got there that we're 249 00:13:47,760 --> 00:13:49,920 Speaker 3: going to organize a shoot. I assumed I was ringing 250 00:13:49,960 --> 00:13:55,240 Speaker 3: a publicist. Anyway, I rang up this person and they said, look, 251 00:13:55,240 --> 00:13:56,480 Speaker 3: what do you want to do? And I said, look, 252 00:13:56,480 --> 00:13:59,000 Speaker 3: I don't know. I found a field, you know, somewhere 253 00:13:59,760 --> 00:14:03,000 Speaker 3: that has these beautiful older oak trees in it near 254 00:14:03,040 --> 00:14:05,199 Speaker 3: the coast. I'd really like to shit there, but i'd 255 00:14:05,240 --> 00:14:06,959 Speaker 3: like to do it quite late in the afternoon when 256 00:14:06,960 --> 00:14:09,720 Speaker 3: the light's good. And they were like, yeah, no problem, 257 00:14:10,000 --> 00:14:11,679 Speaker 3: we'll get Clint there. And then they said do you 258 00:14:11,760 --> 00:14:14,000 Speaker 3: need anything else? And I said, look, i'd really love 259 00:14:14,760 --> 00:14:17,520 Speaker 3: like a prop, like a chair or something, and they 260 00:14:17,520 --> 00:14:20,920 Speaker 3: went well, it turned out it was Clint's wife who 261 00:14:21,000 --> 00:14:24,360 Speaker 3: I was talking to, and she goes, look, we've got 262 00:14:24,360 --> 00:14:27,440 Speaker 3: the truck from Ridges of Madison County. Why don't you 263 00:14:27,560 --> 00:14:29,680 Speaker 3: use that? Do you want to use that? I was like, 264 00:14:29,840 --> 00:14:34,440 Speaker 3: for sure. So she goes look and this is so 265 00:14:34,600 --> 00:14:37,240 Speaker 3: there's so old school, you know, even the whole idea 266 00:14:37,280 --> 00:14:40,800 Speaker 3: of fame around all of this, you know. And she goes, look, 267 00:14:41,320 --> 00:14:43,040 Speaker 3: I'll leave the key on. I'll leave it at the 268 00:14:43,040 --> 00:14:44,960 Speaker 3: bottom of the driveway with the key on the tire, 269 00:14:45,040 --> 00:14:47,400 Speaker 3: just come and pick it up. So we went by, 270 00:14:47,560 --> 00:14:49,760 Speaker 3: I picked it up, drove it out to this field 271 00:14:49,920 --> 00:14:51,560 Speaker 3: which was down a sort of dirt road. It was 272 00:14:51,640 --> 00:14:55,520 Speaker 3: quite private, and we sat up there and then Scotty 273 00:14:55,560 --> 00:14:58,680 Speaker 3: and I were just waiting around until Clint turned up. 274 00:14:58,720 --> 00:15:01,840 Speaker 3: And I would have imagined, like with most suites that 275 00:15:02,160 --> 00:15:07,920 Speaker 3: will be off an entourage, they're usually all in black SUVs. Anyway, 276 00:15:08,120 --> 00:15:10,800 Speaker 3: this kind of old at the time, it was probably 277 00:15:10,800 --> 00:15:15,960 Speaker 3: fifteen year old Mercedes sedan, really innocuous looking thing comes 278 00:15:16,000 --> 00:15:18,560 Speaker 3: down this dirt road and this old man gets out 279 00:15:18,920 --> 00:15:21,280 Speaker 3: and he's got his pants on up to like wigh 280 00:15:21,360 --> 00:15:23,640 Speaker 3: up around his chest and he was wearing a blue 281 00:15:23,640 --> 00:15:26,480 Speaker 3: golfing T shirt and it was Clint, and he was 282 00:15:26,520 --> 00:15:29,200 Speaker 3: carrying a bottle of wine and a packet of like 283 00:15:29,480 --> 00:15:32,720 Speaker 3: cheese and crackers, and he comes kind of ambling over it. 284 00:15:32,760 --> 00:15:38,000 Speaker 3: And he was absolutely charming and just totally laid back, 285 00:15:38,640 --> 00:15:41,800 Speaker 3: except he was wearing like this awful blue golf shirt, 286 00:15:42,000 --> 00:15:44,240 Speaker 3: and I at the time, I had like a blue 287 00:15:45,160 --> 00:15:47,920 Speaker 3: at the time, this freendom. Mine and I were making shirts. 288 00:15:48,000 --> 00:15:51,040 Speaker 3: We had like a shirt company, so I was wearing it. 289 00:15:51,080 --> 00:15:53,280 Speaker 3: I mean, it would have been good for the shirt company. 290 00:15:53,280 --> 00:15:55,240 Speaker 3: It must have happened now, but in those days you 291 00:15:55,240 --> 00:15:58,200 Speaker 3: couldn't do anything about it. So I took my shirt 292 00:15:58,200 --> 00:16:01,920 Speaker 3: off and Clint wore that, and then we took all 293 00:16:02,120 --> 00:16:05,720 Speaker 3: I've got rolls and rolls and rolls of film and 294 00:16:05,720 --> 00:16:08,040 Speaker 3: we shot there until it got dark, and he told 295 00:16:08,120 --> 00:16:11,960 Speaker 3: us stories about Sam Peck and Pow and you know, 296 00:16:12,040 --> 00:16:16,040 Speaker 3: spaghetti Western. He was a real He was lovely, like 297 00:16:16,280 --> 00:16:19,880 Speaker 3: absolutely and apparently I didn't even remember this, but Scotty 298 00:16:19,920 --> 00:16:22,920 Speaker 3: told me recently that someone from the local newspaper turned 299 00:16:23,000 --> 00:16:24,920 Speaker 3: up and was like, they did a story on this 300 00:16:25,040 --> 00:16:27,680 Speaker 3: magazine coming down from you. I have no recollection of that, 301 00:16:28,240 --> 00:16:31,440 Speaker 3: but we at the end of it, he offered to 302 00:16:31,560 --> 00:16:35,720 Speaker 3: help us tidy up, and which I declined, and then 303 00:16:36,480 --> 00:16:39,680 Speaker 3: he left. He said, just leave the truck back at 304 00:16:39,680 --> 00:16:42,640 Speaker 3: the mailbox, you know, leave the key on the tire, 305 00:16:43,320 --> 00:16:46,160 Speaker 3: and off he went. And funnily enough, like a couple 306 00:16:46,200 --> 00:16:48,080 Speaker 3: of days later, we flew back to New York and 307 00:16:48,080 --> 00:16:51,440 Speaker 3: I had to shoot like a celebrity chef, Bobby Flay, 308 00:16:51,880 --> 00:16:54,240 Speaker 3: who was like some sort of on the Food Network 309 00:16:54,280 --> 00:16:57,520 Speaker 3: and time. He was a big deal. And we shot him. 310 00:16:57,560 --> 00:16:59,240 Speaker 3: I shot him. I wanted to shoot him in the 311 00:16:59,280 --> 00:17:04,119 Speaker 3: meat packing of course. Yeah, in an old butcher's shop. Yeah, 312 00:17:04,160 --> 00:17:05,879 Speaker 3: with racks and meat and stuff. Oh, that's right. He 313 00:17:05,920 --> 00:17:10,080 Speaker 3: was quite famous for meat. And we got there and 314 00:17:10,119 --> 00:17:13,920 Speaker 3: there were honestly, there were like six blackist, no publicists 315 00:17:13,920 --> 00:17:15,560 Speaker 3: and all the rest of it, and Scotty and I 316 00:17:15,600 --> 00:17:17,480 Speaker 3: were like And then like two weeks later I shot 317 00:17:17,480 --> 00:17:20,280 Speaker 3: Paul Newman somewhere else and he was the same. He 318 00:17:20,400 --> 00:17:22,680 Speaker 3: drove himself to the shuit in a shitty old car. 319 00:17:23,400 --> 00:17:25,239 Speaker 3: He wouldn't wear any of the clothes that we had 320 00:17:25,240 --> 00:17:27,040 Speaker 3: a stylist on that He's like, what's wrong with what 321 00:17:27,080 --> 00:17:30,320 Speaker 3: I'm wearing, which was basically a pair of cords tucked 322 00:17:30,320 --> 00:17:32,400 Speaker 3: into a cowboy boot and one leg and the other 323 00:17:32,480 --> 00:17:35,359 Speaker 3: leg was out and just a denim shirt. 324 00:17:35,920 --> 00:17:39,880 Speaker 2: Yeah, and you see a sneaky Daytona, like a sneaky 325 00:17:40,000 --> 00:17:40,600 Speaker 2: roll on. 326 00:17:40,760 --> 00:17:42,920 Speaker 3: Yes, he had that on and dring. 327 00:17:43,200 --> 00:17:44,840 Speaker 1: It's a good, it's a great. 328 00:17:45,400 --> 00:17:47,760 Speaker 2: That photo was like, didn't you have you did you 329 00:17:47,760 --> 00:17:49,960 Speaker 2: say that you thought he may have had bad. 330 00:17:49,920 --> 00:17:52,440 Speaker 3: I was still at the time. I think then, yeah, 331 00:17:52,480 --> 00:17:55,560 Speaker 3: i'd shot him before. Actually I photographed him for an 332 00:17:55,840 --> 00:18:00,400 Speaker 3: HBO movie poster with Oh my God, with I'm trying 333 00:18:00,400 --> 00:18:01,919 Speaker 3: to think who was in the picture. There were like 334 00:18:02,080 --> 00:18:08,639 Speaker 3: fifteen like Helen Hohlan, Wow, Philip Seymour Hoffman, I can't remember. 335 00:18:08,640 --> 00:18:09,919 Speaker 3: There were a whole bunch of that was up in 336 00:18:10,040 --> 00:18:14,120 Speaker 3: Maine and that was like a movie poster shoot where 337 00:18:14,160 --> 00:18:16,560 Speaker 3: we would fly in about three days earlier. You know, 338 00:18:17,359 --> 00:18:19,480 Speaker 3: they get the cast and you've only got the cast 339 00:18:19,520 --> 00:18:21,920 Speaker 3: for half an hour, so we'd have stand ins for everything. 340 00:18:22,480 --> 00:18:25,280 Speaker 3: Every light that we were shedting in a diner that 341 00:18:25,440 --> 00:18:29,320 Speaker 3: existed that they'd been using, so we lit it ourselves 342 00:18:29,400 --> 00:18:32,080 Speaker 3: every light. You know, you'd have two spare heads and 343 00:18:32,119 --> 00:18:35,720 Speaker 3: a spare pack next because you've you've got to get 344 00:18:35,760 --> 00:18:38,640 Speaker 3: this thing and like nobody's going to stay a minute long. 345 00:18:39,160 --> 00:18:41,840 Speaker 3: Trying to think who else was in it. There was 346 00:18:41,920 --> 00:18:46,240 Speaker 3: like twelve quite well now in American actors, and John 347 00:18:46,280 --> 00:18:51,640 Speaker 3: Woodward as well, and Paul, but because Paul is a 348 00:18:51,680 --> 00:18:57,520 Speaker 3: method actor, he refused, even for a photo shoot to 349 00:18:57,600 --> 00:19:02,600 Speaker 3: come out of character. Wow, which was difficult because you'd 350 00:19:02,680 --> 00:19:05,840 Speaker 3: be like, firstly, I couldn't remember the name of the character, 351 00:19:05,920 --> 00:19:08,040 Speaker 3: you know, so I had to like, yeah, I had 352 00:19:08,080 --> 00:19:11,359 Speaker 3: to refer to him in character. And then you'd say, 353 00:19:11,600 --> 00:19:14,200 Speaker 3: daniel Lewis, can you move to the left, and he'd 354 00:19:14,720 --> 00:19:19,000 Speaker 3: walk off, you know, because the character would, which wasn't 355 00:19:19,080 --> 00:19:24,080 Speaker 3: very conducive atter anyway, that had been my other experience 356 00:19:24,080 --> 00:19:26,000 Speaker 3: with him. And then the second time he was just 357 00:19:26,119 --> 00:19:26,879 Speaker 3: he just rocked up. 358 00:19:26,920 --> 00:19:28,399 Speaker 1: Did he remember that first time? 359 00:19:28,800 --> 00:19:30,960 Speaker 3: I didn't really go into it. I can't remember, you know, 360 00:19:31,040 --> 00:19:32,520 Speaker 3: like when I shot and there are a lot of 361 00:19:32,520 --> 00:19:35,000 Speaker 3: people around. The Clint thing was just Clint. 362 00:19:35,280 --> 00:19:37,920 Speaker 1: That is that is like such wonderful. 363 00:19:38,600 --> 00:19:40,680 Speaker 2: And then the juxtaposition of like a couple of days 364 00:19:40,760 --> 00:19:43,439 Speaker 2: later in New York, who would you rather spend your 365 00:19:43,520 --> 00:19:44,080 Speaker 2: arbo with? 366 00:19:44,600 --> 00:19:47,159 Speaker 3: Well exactly, and that kind of brings me, you know, 367 00:19:47,240 --> 00:19:53,120 Speaker 3: and that look and for me, you know, it's always 368 00:19:53,160 --> 00:19:57,240 Speaker 3: been about the photography, you know, or about making the picture. 369 00:19:57,280 --> 00:20:02,239 Speaker 3: And I've always felt that I didn't ever want to 370 00:20:02,280 --> 00:20:05,159 Speaker 3: discriminate between who was famous and who was somebody I 371 00:20:05,240 --> 00:20:06,639 Speaker 3: just met on the side of the road that I 372 00:20:06,680 --> 00:20:09,280 Speaker 3: went in and photographed. You know, I felt that if 373 00:20:09,280 --> 00:20:13,440 Speaker 3: I could, at least, you know, keep that same kind 374 00:20:13,440 --> 00:20:18,080 Speaker 3: of democracy across all of my So I'd always had that. 375 00:20:18,160 --> 00:20:20,680 Speaker 3: I'd always thought that, and I'd always wanted my pictures 376 00:20:20,680 --> 00:20:23,159 Speaker 3: to look like that or to be quite timeless in 377 00:20:23,200 --> 00:20:27,120 Speaker 3: a way. And you know that. So now that I'm 378 00:20:27,160 --> 00:20:30,359 Speaker 3: doing this little portrait project, and I'm still doing other 379 00:20:30,400 --> 00:20:32,800 Speaker 3: work outside of it, so I still kind of go 380 00:20:32,920 --> 00:20:38,280 Speaker 3: between the two things, you know, I think what it's 381 00:20:38,800 --> 00:20:41,240 Speaker 3: why I think I'm so enamored with it and why 382 00:20:41,280 --> 00:20:44,199 Speaker 3: it's so important to me, is because it is really 383 00:20:44,240 --> 00:20:47,159 Speaker 3: and truly that it's just about making a picture of 384 00:20:47,280 --> 00:20:51,399 Speaker 3: someone that kind of like, there's a lovely picture I 385 00:20:51,440 --> 00:20:53,960 Speaker 3: saw of you, what I loved about when I photographed you, 386 00:20:54,480 --> 00:20:56,800 Speaker 3: And then I often like the way I look at 387 00:20:56,800 --> 00:21:00,199 Speaker 3: it is the experience of making the picture is what 388 00:21:00,240 --> 00:21:02,399 Speaker 3: I'm really into. Like doing it is the thing, and 389 00:21:02,400 --> 00:21:05,080 Speaker 3: then the picture itself becomes a bit of a byproduct. 390 00:21:05,119 --> 00:21:07,960 Speaker 3: Of that, And often because I've done so many, I 391 00:21:08,000 --> 00:21:10,399 Speaker 3: don't go back and look at the pictures I send 392 00:21:10,440 --> 00:21:13,080 Speaker 3: you all of them, but I don't have the time. 393 00:21:13,440 --> 00:21:15,560 Speaker 3: Well I will one day, but I haven't actually gone 394 00:21:15,560 --> 00:21:19,280 Speaker 3: through and picked out my favorite pictures. So I'm always 395 00:21:19,800 --> 00:21:23,159 Speaker 3: I'm always curious to see what people use and if 396 00:21:23,160 --> 00:21:24,640 Speaker 3: they you know, they put them on there and stay 397 00:21:24,720 --> 00:21:27,280 Speaker 3: do it, you know? And I loved you chosen a 398 00:21:27,320 --> 00:21:31,200 Speaker 3: picture that where you're laughing your head off and you're remember. 399 00:21:30,920 --> 00:21:32,960 Speaker 1: That you had a one Yeah. 400 00:21:32,640 --> 00:21:35,040 Speaker 3: And I mean that's one of my favorite pictures I've done, 401 00:21:35,119 --> 00:21:40,800 Speaker 3: I think because it kind of really did illustrate in 402 00:21:40,840 --> 00:21:45,800 Speaker 3: a way, you know what that second. 403 00:21:46,000 --> 00:21:48,960 Speaker 1: Yeah, it's like a little choice. 404 00:21:49,000 --> 00:21:52,800 Speaker 3: Which is why I think in this instance, Look maybe 405 00:21:52,800 --> 00:21:56,160 Speaker 3: if they all turned into an exhibition or something one day, Oh, 406 00:21:56,240 --> 00:21:59,760 Speaker 3: I will choose my pictures, you know, But I don't 407 00:21:59,760 --> 00:22:04,479 Speaker 3: think I have any I'm in any position to give you, 408 00:22:04,480 --> 00:22:06,919 Speaker 3: you know, to choose four pictures that I like and 409 00:22:06,960 --> 00:22:09,800 Speaker 3: say this is you, you know, rather you do? 410 00:22:10,320 --> 00:22:12,280 Speaker 1: You know how many of you sent me nine hundred? 411 00:22:12,359 --> 00:22:18,040 Speaker 2: And did I remember we had a window where someone 412 00:22:18,080 --> 00:22:20,560 Speaker 2: hadn't booked that so I got very very long. 413 00:22:20,680 --> 00:22:21,840 Speaker 3: I get really into it. 414 00:22:21,920 --> 00:22:22,159 Speaker 2: You know. 415 00:22:22,440 --> 00:22:24,919 Speaker 1: No, I would have spent all day with you. 416 00:22:24,720 --> 00:22:27,919 Speaker 3: And I and I yeah, which is what you know. 417 00:22:27,960 --> 00:22:33,880 Speaker 3: I genuinely enjoy the whole thing. And then also because 418 00:22:33,920 --> 00:22:36,520 Speaker 3: in many ways, you know, it's my you know, I've 419 00:22:36,520 --> 00:22:38,760 Speaker 3: got kids, you know, and like a home life and 420 00:22:38,760 --> 00:22:41,240 Speaker 3: all that sort of thing. And I'm not like going out, 421 00:22:41,400 --> 00:22:44,440 Speaker 3: you know, like the days of going out to clubs 422 00:22:44,440 --> 00:22:46,719 Speaker 3: and being silly and stuff. Don't you know this is 423 00:22:46,760 --> 00:22:47,720 Speaker 3: my social life? 424 00:22:47,800 --> 00:22:48,399 Speaker 1: Yeah? 425 00:22:48,600 --> 00:22:50,480 Speaker 3: Yeah, it is people. 426 00:22:50,600 --> 00:22:55,120 Speaker 1: Yeah, you know, I mean stories. Yeah, and then they go, which. 427 00:22:54,920 --> 00:22:55,560 Speaker 3: Is quite good. 428 00:22:55,760 --> 00:22:56,119 Speaker 1: Yeah. 429 00:22:56,359 --> 00:22:59,560 Speaker 3: And then and I also, you know, you get you 430 00:22:59,640 --> 00:23:03,080 Speaker 3: get a you know, people share like really full on 431 00:23:03,200 --> 00:23:03,879 Speaker 3: stuff with me. 432 00:23:04,040 --> 00:23:06,680 Speaker 2: That's also a testament to you, Like I think you're 433 00:23:06,920 --> 00:23:11,680 Speaker 2: very good at like meeting someone's energy and making them comfortable. 434 00:23:11,840 --> 00:23:15,720 Speaker 2: Because even when I booked Matt Boss in Yeah, I said, oh. 435 00:23:15,640 --> 00:23:17,280 Speaker 1: Leave you two, like I want it. I was like 436 00:23:17,320 --> 00:23:18,480 Speaker 1: it almost feels. 437 00:23:18,200 --> 00:23:20,360 Speaker 2: Like a spiritually kind of I was like, I don't 438 00:23:20,359 --> 00:23:21,720 Speaker 2: want to cramp, and He's like, no, no, to stay, 439 00:23:21,720 --> 00:23:23,760 Speaker 2: stays out. I'm nervous stay And I was like, all right, 440 00:23:23,880 --> 00:23:25,800 Speaker 2: no problem. And then like straight away it was just 441 00:23:25,840 --> 00:23:28,439 Speaker 2: like a little gang. We're all hanging out together. But 442 00:23:28,640 --> 00:23:31,840 Speaker 2: you're really great, I feel like at reading human behavior 443 00:23:31,880 --> 00:23:37,000 Speaker 2: I imagine and finding like even the way you're talking 444 00:23:37,000 --> 00:23:38,840 Speaker 2: about that laughing big, it was just like the essence. 445 00:23:38,880 --> 00:23:41,840 Speaker 2: You were able to find the essence of the person. 446 00:23:41,880 --> 00:23:43,520 Speaker 2: And in that moment as well. 447 00:23:44,400 --> 00:23:47,960 Speaker 3: I think I've learned to be quite you know, yeah, 448 00:23:48,119 --> 00:23:50,600 Speaker 3: you know, empathetic. I don't know what the word is, 449 00:23:50,640 --> 00:23:54,879 Speaker 3: but I look, I think when people come in to 450 00:23:55,200 --> 00:23:57,919 Speaker 3: have their photograph taken, you know, it's kind of like, 451 00:23:58,840 --> 00:24:01,920 Speaker 3: you know, it's a it's no small thing to do, 452 00:24:02,040 --> 00:24:06,639 Speaker 3: to commit to, and people take it quite seriously, you know, 453 00:24:07,359 --> 00:24:09,840 Speaker 3: they do it is quite like I feel it's a 454 00:24:09,920 --> 00:24:15,360 Speaker 3: serious thing and that and I think often people are 455 00:24:15,400 --> 00:24:18,600 Speaker 3: just wanting some sort of record of who they are 456 00:24:18,720 --> 00:24:22,639 Speaker 3: at that time. You know, they yeah, maybe there's a 457 00:24:22,680 --> 00:24:24,800 Speaker 3: big thing, there's stuff, maybe there's stuff going on in 458 00:24:24,800 --> 00:24:27,680 Speaker 3: their lives or something, and they want to just stop 459 00:24:27,800 --> 00:24:30,480 Speaker 3: and yeah, timestamp. That's a nice way of putting it. 460 00:24:30,920 --> 00:24:32,640 Speaker 3: And that's what I've found more and more, and that's 461 00:24:32,680 --> 00:24:37,000 Speaker 3: why I've I've gotten so into it kind of yeah, 462 00:24:37,240 --> 00:24:40,440 Speaker 3: involved in a way, I don't want it to stop. 463 00:24:41,119 --> 00:24:43,000 Speaker 3: So now it's like, you know, it's weird because it's 464 00:24:43,000 --> 00:24:44,960 Speaker 3: the beginning of a new year, isn't it. The beginning 465 00:24:45,000 --> 00:24:47,280 Speaker 3: of the new year always like I am never go 466 00:24:47,400 --> 00:24:50,240 Speaker 3: into it, the whole beginning of a new year with optimism. 467 00:24:50,240 --> 00:24:54,520 Speaker 3: I go in like complete pessimism. All the stuff that's 468 00:24:54,640 --> 00:24:57,800 Speaker 3: left over that I haven't dealt with from the year before, 469 00:24:58,400 --> 00:25:00,720 Speaker 3: you know, like there's always a lot going on. Like 470 00:25:00,800 --> 00:25:02,560 Speaker 3: the first thing I was thinking about this in the 471 00:25:02,600 --> 00:25:04,520 Speaker 3: current way over here, The first thing I have to 472 00:25:04,560 --> 00:25:07,880 Speaker 3: do is that we've got two storage units which I've 473 00:25:07,920 --> 00:25:10,400 Speaker 3: had for years. One of them's got most of our 474 00:25:10,440 --> 00:25:12,360 Speaker 3: life from New York still in it years and. 475 00:25:12,359 --> 00:25:15,280 Speaker 1: Years later, a New York here here, thank god. 476 00:25:15,119 --> 00:25:18,480 Speaker 3: And Sydney. And the other one is left over from 477 00:25:18,560 --> 00:25:20,560 Speaker 3: a like a beach house that we used to have, 478 00:25:20,680 --> 00:25:23,080 Speaker 3: and they just sit there. There's nothing in there that 479 00:25:23,119 --> 00:25:25,679 Speaker 3: I really want, but I have never I just had 480 00:25:25,800 --> 00:25:28,480 Speaker 3: every year, I haven't got around going and clearing them out, 481 00:25:28,520 --> 00:25:31,960 Speaker 3: and they're costing money. And like my list of things 482 00:25:31,960 --> 00:25:33,680 Speaker 3: to do when I get back to Sydney, the first 483 00:25:33,680 --> 00:25:35,760 Speaker 3: thing is get rid of that bloody storage in it. 484 00:25:35,800 --> 00:25:39,359 Speaker 3: And because no, it's because it's like my brain, you know, 485 00:25:39,840 --> 00:25:41,920 Speaker 3: My thing was that it's just my head. 486 00:25:42,400 --> 00:25:44,320 Speaker 1: Well, I've heard you say you like chaos. 487 00:25:45,359 --> 00:25:48,399 Speaker 3: I think I like that, and I probably say I 488 00:25:48,520 --> 00:25:52,640 Speaker 3: like chaos, but in reality, I am, you know, striving 489 00:25:52,880 --> 00:25:57,359 Speaker 3: for basically or order, living in a white room with 490 00:25:57,440 --> 00:26:01,120 Speaker 3: one thing piece. But I just can't seemed to pull 491 00:26:01,119 --> 00:26:04,600 Speaker 3: it off at some point, you know, and I'm running 492 00:26:04,600 --> 00:26:06,760 Speaker 3: out of time. I would love to get to that 493 00:26:06,800 --> 00:26:10,880 Speaker 3: point where I'm not minimalist. Yeah, well yeah, just where 494 00:26:10,920 --> 00:26:12,880 Speaker 3: I feel like I'm on top of stuff. 495 00:26:13,040 --> 00:26:15,320 Speaker 1: Yeah, I feel you. I think that could also be 496 00:26:15,359 --> 00:26:17,560 Speaker 1: the Virgo curse as well, do you think so? Yeah? 497 00:26:17,600 --> 00:26:21,720 Speaker 2: We love like order and oh yeah, for sure, I 498 00:26:21,760 --> 00:26:24,919 Speaker 2: have I have to ask you because you've you've had 499 00:26:24,920 --> 00:26:27,680 Speaker 2: a beautiful career working on movie sets as well. 500 00:26:28,119 --> 00:26:28,719 Speaker 3: Yeah, a little bit. 501 00:26:28,800 --> 00:26:32,400 Speaker 2: Yeah, And that's a long, a very long term relationship 502 00:26:32,440 --> 00:26:37,040 Speaker 2: you've had with Baz, right, I have, So I imagine 503 00:26:37,080 --> 00:26:40,520 Speaker 2: that's going to be a completely different experience to that 504 00:26:40,800 --> 00:26:43,960 Speaker 2: of like, and it sounds like with Elvis as well. 505 00:26:43,960 --> 00:26:46,520 Speaker 2: You were on there for two months, so you were 506 00:26:46,520 --> 00:26:49,840 Speaker 2: in charge of getting stills. Yeah, am I saying it's right? 507 00:26:49,920 --> 00:26:50,679 Speaker 2: Gallery shots? 508 00:26:50,760 --> 00:26:52,040 Speaker 1: Is that part of Yeah? 509 00:26:52,280 --> 00:26:55,600 Speaker 3: Well, like my whole relationship with Bats extends back to 510 00:26:56,119 --> 00:26:59,000 Speaker 3: rome and Juliet Ramey and Juliet. So how I met 511 00:26:59,520 --> 00:27:05,080 Speaker 3: that was I was living in New York and I 512 00:27:05,119 --> 00:27:07,240 Speaker 3: would come out to Australia for work. I mean I 513 00:27:07,280 --> 00:27:10,200 Speaker 3: already had I think I might have had my house 514 00:27:10,200 --> 00:27:12,359 Speaker 3: in Australia at that point. I can't remember, but I 515 00:27:12,840 --> 00:27:16,920 Speaker 3: was coming to Australia quite regularly. Yeah, And I used 516 00:27:16,920 --> 00:27:19,720 Speaker 3: to come out and do shoots for Country Road. So 517 00:27:19,760 --> 00:27:21,320 Speaker 3: they had bring me out from New York and I 518 00:27:21,320 --> 00:27:23,240 Speaker 3: would come here for a month or so and shoot, 519 00:27:23,440 --> 00:27:26,119 Speaker 3: you like a big bunch of stuff for them. So 520 00:27:26,480 --> 00:27:28,600 Speaker 3: I was here shooting for Country Road and I got 521 00:27:28,600 --> 00:27:30,840 Speaker 3: a phone call from my agent, got a phone call 522 00:27:31,280 --> 00:27:34,439 Speaker 3: from this filmmaker who I didn't well, I knew. I 523 00:27:34,440 --> 00:27:36,119 Speaker 3: think I must have known who he was, but I 524 00:27:36,160 --> 00:27:39,880 Speaker 3: didn't never meet him. And he wanted me to meet 525 00:27:40,040 --> 00:27:41,760 Speaker 3: Go and meet him. So I go down and I 526 00:27:41,800 --> 00:27:44,359 Speaker 3: meet Bas and Catherine and they're living in an apartment 527 00:27:44,600 --> 00:27:47,199 Speaker 3: above the tennis courts in rush Cutter's bake. It was 528 00:27:47,320 --> 00:27:50,960 Speaker 3: dark and it was small, and he goes, look, I've 529 00:27:51,359 --> 00:27:54,520 Speaker 3: got an idea to make Romeo and Juliet, you know, 530 00:27:54,760 --> 00:27:56,720 Speaker 3: and described how he wanted to do it, but no 531 00:27:56,840 --> 00:27:59,480 Speaker 3: one will give me the money. I can't raise the money. 532 00:28:00,000 --> 00:28:01,679 Speaker 3: So what I'm going to do is, I'm going to 533 00:28:01,720 --> 00:28:04,280 Speaker 3: invest a little bit of money that I've got from 534 00:28:04,640 --> 00:28:10,119 Speaker 3: strictly ballroom into making like a short, like a teaser 535 00:28:10,240 --> 00:28:14,160 Speaker 3: or like a teaser almost, yeah, like a little visual treatment. 536 00:28:14,800 --> 00:28:17,560 Speaker 3: So he said, what I want to do is, I'm 537 00:28:17,560 --> 00:28:19,800 Speaker 3: going to fly out this young actor from New York, 538 00:28:19,960 --> 00:28:23,639 Speaker 3: Leonardo DiCaprio, who at the time had I think he 539 00:28:23,760 --> 00:28:25,919 Speaker 3: was not you know, I knew who he was, but 540 00:28:26,000 --> 00:28:29,680 Speaker 3: he had only made basketball Diaries or something. 541 00:28:30,040 --> 00:28:33,440 Speaker 2: Yeah, and Natalie Portman was going to be Juliet, wasn't 542 00:28:33,440 --> 00:28:34,000 Speaker 2: it Natalie? 543 00:28:34,040 --> 00:28:36,760 Speaker 3: And I'm flying out Natalie Portman, who I knew because 544 00:28:36,800 --> 00:28:38,600 Speaker 3: she had already been in the professional but she was 545 00:28:38,640 --> 00:28:41,680 Speaker 3: like fifteen or something. So he goes, I'm going to 546 00:28:41,720 --> 00:28:45,280 Speaker 3: do that, and then I can't really afford to film 547 00:28:45,320 --> 00:28:47,960 Speaker 3: it too much. So I was hoping that I could 548 00:28:47,960 --> 00:28:50,200 Speaker 3: get you to just take lots and lots of photographs 549 00:28:50,240 --> 00:28:52,360 Speaker 3: and then I would cut them together and we would make, 550 00:28:52,640 --> 00:28:55,440 Speaker 3: you know, and we'll record sound and I'll put music 551 00:28:55,480 --> 00:28:57,400 Speaker 3: to it, and hopefully that will end up being like 552 00:28:57,440 --> 00:28:59,920 Speaker 3: a little real and then we're talking about it and 553 00:29:00,040 --> 00:29:01,600 Speaker 3: then I don't know whose idea it was, but we 554 00:29:01,600 --> 00:29:03,520 Speaker 3: were like, well, look, you know what, we should shoot 555 00:29:03,520 --> 00:29:05,480 Speaker 3: it on film, So why don't we shoot it on 556 00:29:05,520 --> 00:29:09,080 Speaker 3: Super eight. So we got all these Super eight cameras 557 00:29:09,640 --> 00:29:12,440 Speaker 3: and he rented the or he got into the Country 558 00:29:12,520 --> 00:29:16,280 Speaker 3: Road studio over the weekend and then he so Leo 559 00:29:16,440 --> 00:29:19,320 Speaker 3: came out. He offered Leonardo a business class ticket to 560 00:29:19,320 --> 00:29:22,400 Speaker 3: Australia and he said, look, can I have four economy 561 00:29:22,480 --> 00:29:24,800 Speaker 3: tickets instead so I can bring my friends with me. 562 00:29:24,920 --> 00:29:28,800 Speaker 3: So he bought his little posse with him. Natalie Portman came, 563 00:29:28,880 --> 00:29:32,360 Speaker 3: and then he had some actors from I think Belvoirre 564 00:29:32,440 --> 00:29:35,120 Speaker 3: Street actually, So we had like a cast of about 565 00:29:35,680 --> 00:29:38,480 Speaker 3: seven or eight people and shot for about four or 566 00:29:38,480 --> 00:29:42,600 Speaker 3: five days and recorded called a dialogue, and we shot 567 00:29:42,640 --> 00:29:46,240 Speaker 3: it in the studio and also in the lane ways 568 00:29:46,360 --> 00:29:50,240 Speaker 3: in the back of Yeah, it was below William Street 569 00:29:50,240 --> 00:29:55,320 Speaker 3: the studio there and then he so we did it 570 00:29:55,520 --> 00:29:58,800 Speaker 3: and then he cut it together and then made it's 571 00:29:58,840 --> 00:30:02,560 Speaker 3: like a little six minute promo cool music, which still 572 00:30:02,600 --> 00:30:04,320 Speaker 3: looks if you look at it now, because it's all 573 00:30:04,360 --> 00:30:08,120 Speaker 3: hand held, very rough and loose. It looks very much 574 00:30:08,200 --> 00:30:10,600 Speaker 3: like the way they ended up shooting it. It's really 575 00:30:10,840 --> 00:30:12,600 Speaker 3: In fact, I dug it out last year because one 576 00:30:12,640 --> 00:30:15,320 Speaker 3: of my kids think in year nine they do Romeo 577 00:30:15,360 --> 00:30:18,360 Speaker 3: and Juliet. So then of course his teacher, I don't know, 578 00:30:18,360 --> 00:30:20,360 Speaker 3: I think Flynn said to his teacher, and my dad 579 00:30:20,400 --> 00:30:22,600 Speaker 3: worked on that or something. So the next sevening, I 580 00:30:22,640 --> 00:30:25,400 Speaker 3: was like hauled into theo, you know, to like talk 581 00:30:25,440 --> 00:30:28,080 Speaker 3: to these kids about it. And I got bas to 582 00:30:28,280 --> 00:30:30,240 Speaker 3: because I didn't know where it was. I got Bads 583 00:30:30,280 --> 00:30:33,360 Speaker 3: to send me that little film and I showed it 584 00:30:33,400 --> 00:30:36,360 Speaker 3: to them. Yeah, and it was remarkably familiar. Actually, it's 585 00:30:36,400 --> 00:30:39,360 Speaker 3: interesting to see it again after And then out of 586 00:30:39,400 --> 00:30:43,120 Speaker 3: that shoot came what became the album cover and the 587 00:30:43,120 --> 00:30:45,600 Speaker 3: movie posters and the pictures of Leo with the gun. 588 00:30:45,800 --> 00:30:47,320 Speaker 1: Yeah, that's that's one of the most. 589 00:30:47,160 --> 00:30:49,360 Speaker 3: Kind of iconic pictures now I can't. 590 00:30:49,160 --> 00:30:51,680 Speaker 2: And like, as a child of the nineties, like that 591 00:30:51,760 --> 00:30:54,400 Speaker 2: movie for me was like very coming of age, and 592 00:30:54,680 --> 00:30:58,200 Speaker 2: like I even watched it over Christmas just because it 593 00:30:58,280 --> 00:31:01,160 Speaker 2: was on one of the streaming sights not and had 594 00:31:01,160 --> 00:31:02,600 Speaker 2: to put a big screen with my mom. We were 595 00:31:02,600 --> 00:31:04,479 Speaker 2: at my mom down at my mum's place, and I 596 00:31:04,520 --> 00:31:09,000 Speaker 2: was like, this movie tracks like it ages so beautifully. 597 00:31:09,160 --> 00:31:11,640 Speaker 3: It's a very good film. It's an extremely good film 598 00:31:11,960 --> 00:31:15,520 Speaker 3: and really enhanced by the way it was shot. Yeah, 599 00:31:15,640 --> 00:31:18,200 Speaker 3: you know, the way it was shot that sets the whole. 600 00:31:17,920 --> 00:31:21,280 Speaker 1: Thing, soundtrack, all of it. You can't fault it. 601 00:31:21,440 --> 00:31:25,680 Speaker 3: No, I think that's his most that's his most kind 602 00:31:25,720 --> 00:31:28,959 Speaker 3: of There are not many movies out there where you 603 00:31:29,000 --> 00:31:32,360 Speaker 3: just wouldn't change anything like with Nail and I, like 604 00:31:32,440 --> 00:31:34,720 Speaker 3: I can watch over and over again. You wouldn't change 605 00:31:34,720 --> 00:31:39,480 Speaker 3: a bloody punctuation point, you know, and that Rome and Juliet, 606 00:31:39,520 --> 00:31:42,200 Speaker 3: the way it shot, the way that it's edited, the music, everything, 607 00:31:42,240 --> 00:31:45,640 Speaker 3: the whole Yeah, it's equally extraordinary piece of filmmaking. 608 00:31:45,720 --> 00:31:49,840 Speaker 2: I think I have to ask about Elvis because didn't 609 00:31:49,880 --> 00:31:54,440 Speaker 2: you end up being on Elvis because you had to am. 610 00:31:54,280 --> 00:31:59,440 Speaker 1: I rolling his eyes? No enuff in it? 611 00:31:59,640 --> 00:32:02,080 Speaker 3: Yeah, I am in it. My god, you'd have to 612 00:32:02,160 --> 00:32:05,280 Speaker 3: like be really keen. You'd have to stop stop the 613 00:32:05,320 --> 00:32:09,040 Speaker 3: film to see. No. I Well, Elvis came around because 614 00:32:10,040 --> 00:32:11,800 Speaker 3: like I've worked, I've worked at Bass a lot over 615 00:32:11,840 --> 00:32:14,120 Speaker 3: the years, but I've never been like the on set 616 00:32:14,200 --> 00:32:15,680 Speaker 3: photographer for a whole thing. 617 00:32:15,880 --> 00:32:17,760 Speaker 1: So does that mean someone's literally on set? 618 00:32:17,960 --> 00:32:20,960 Speaker 3: Yes. I used to call it scene coverage. There's a 619 00:32:21,000 --> 00:32:23,640 Speaker 3: whole special skill and I'm not interested in doing it. 620 00:32:23,960 --> 00:32:26,120 Speaker 3: It's not enough money and it's like boring. 621 00:32:26,360 --> 00:32:27,360 Speaker 1: But because of COVID no. 622 00:32:27,320 --> 00:32:30,720 Speaker 3: One, COVID no One was coming. Bas sort of doesn't 623 00:32:30,760 --> 00:32:34,120 Speaker 3: even subscribe to that way of shooting films either, because 624 00:32:34,480 --> 00:32:36,200 Speaker 3: his whole thing is, look, if I want an image 625 00:32:36,240 --> 00:32:38,960 Speaker 3: that's exactly the same as my camp you know, the camera, 626 00:32:39,040 --> 00:32:41,320 Speaker 3: see still, I'll just use a still off the thing 627 00:32:41,360 --> 00:32:45,200 Speaker 3: and digital files are good enough now, whereas he's just like, look, 628 00:32:45,400 --> 00:32:47,719 Speaker 3: just come and take pictures, you know, set up at 629 00:32:47,760 --> 00:32:50,440 Speaker 3: Baker Studio. So I was like, okay, but I've got 630 00:32:50,480 --> 00:32:53,120 Speaker 3: to like be able to afford to be there for 631 00:32:53,160 --> 00:32:55,320 Speaker 3: three months. So we made a kind of Ponzi scheme 632 00:32:55,360 --> 00:32:57,920 Speaker 3: out of all these budgets. So I was able to 633 00:32:57,960 --> 00:33:02,040 Speaker 3: negotiate just my fee just with Warner Brothers in the US, so, 634 00:33:02,360 --> 00:33:05,240 Speaker 3: you know, because the dollar was pretty bad in Australia, 635 00:33:05,280 --> 00:33:07,520 Speaker 3: so it was ended up being worth my while to 636 00:33:07,560 --> 00:33:10,040 Speaker 3: be there and COVID as well. I wasn't going anywhere, 637 00:33:10,440 --> 00:33:13,640 Speaker 3: so I went up to the Gold Coast and fully 638 00:33:13,680 --> 00:33:16,240 Speaker 3: intending at the time that I said I'd do it 639 00:33:16,280 --> 00:33:20,440 Speaker 3: to come home every weekend and then everything shut down 640 00:33:20,480 --> 00:33:22,160 Speaker 3: and I was just stuck there. As it turned out, 641 00:33:22,240 --> 00:33:24,040 Speaker 3: it was so full on that I wouldn't have had 642 00:33:24,080 --> 00:33:27,680 Speaker 3: the energy to come home every weekend. But it was 643 00:33:27,720 --> 00:33:30,080 Speaker 3: a really extraordinary experience. So I was just on set 644 00:33:30,120 --> 00:33:34,680 Speaker 3: for pretty much all of it. And then I there 645 00:33:34,680 --> 00:33:36,480 Speaker 3: were just a lot of reasons that it was so 646 00:33:37,560 --> 00:33:41,360 Speaker 3: interesting so good to shoot. Was because well, Austin was 647 00:33:41,520 --> 00:33:44,760 Speaker 3: like a newcomer, so he was like dead keen. If 648 00:33:44,800 --> 00:33:46,280 Speaker 3: I said let's go and take a bit, he was 649 00:33:46,360 --> 00:33:48,000 Speaker 3: up for it. So there was no kind of pr 650 00:33:48,080 --> 00:33:50,640 Speaker 3: route that I had to go against to him. And 651 00:33:50,640 --> 00:33:52,920 Speaker 3: then like Halen Thompson, Richard Rocks for all those guys, 652 00:33:52,960 --> 00:33:55,680 Speaker 3: I was just photographed anyway, so I knew them, and 653 00:33:55,720 --> 00:33:58,080 Speaker 3: then so I knew all the other actors. And then 654 00:33:58,200 --> 00:33:59,760 Speaker 3: the only one that I had to sort of go 655 00:33:59,840 --> 00:34:03,840 Speaker 3: through was through his team was Tom so he was 656 00:34:04,080 --> 00:34:06,800 Speaker 3: he was which he was completely fine. He was just 657 00:34:06,840 --> 00:34:10,200 Speaker 3: super professional. So if I had a little studio built 658 00:34:11,320 --> 00:34:13,840 Speaker 3: to shoot what they call the gallery pictures as well, 659 00:34:13,880 --> 00:34:15,960 Speaker 3: which is that they might use for posters, isn't it. 660 00:34:16,440 --> 00:34:17,960 Speaker 3: And usually what you'll do is you'll go in and 661 00:34:18,000 --> 00:34:20,040 Speaker 3: do a gallery shoot on the weekend and the actors 662 00:34:20,080 --> 00:34:22,040 Speaker 3: don't want to be there, and that's where you make 663 00:34:22,080 --> 00:34:25,640 Speaker 3: your money as a photographer. But I just set up 664 00:34:25,640 --> 00:34:29,439 Speaker 3: a studio pretty much every day and then they would 665 00:34:29,440 --> 00:34:30,960 Speaker 3: just come out of a scene and walk in, and 666 00:34:31,320 --> 00:34:34,200 Speaker 3: which meant they stayed in character. You know, it looked 667 00:34:34,239 --> 00:34:37,280 Speaker 3: more authentic, and we got this huge library of pictures 668 00:34:37,280 --> 00:34:39,960 Speaker 3: at the end of it. I shot thirty something thousand frames, 669 00:34:40,000 --> 00:34:43,319 Speaker 3: I think, which I think. I saw Catherine the other 670 00:34:43,400 --> 00:34:46,000 Speaker 3: day and there's talk of it being a book, so 671 00:34:46,239 --> 00:34:48,640 Speaker 3: I think that's something that might get worked on this year. 672 00:34:48,680 --> 00:34:49,600 Speaker 3: We'll go back and look. 673 00:34:49,440 --> 00:34:51,879 Speaker 2: At the it's so beautiful looking at it, and you've 674 00:34:51,880 --> 00:34:54,160 Speaker 2: got a whole elvis section on your website and it 675 00:34:54,239 --> 00:34:57,719 Speaker 2: is so beautiful to just go through and just sit 676 00:34:58,000 --> 00:35:00,359 Speaker 2: and you can always having watched the movie, like see 677 00:35:00,400 --> 00:35:02,000 Speaker 2: the arcs of where they're at. 678 00:35:02,040 --> 00:35:03,439 Speaker 1: With filming, it's quite fun. 679 00:35:03,960 --> 00:35:05,720 Speaker 3: I mean, I've held back a lot of the pictures 680 00:35:05,760 --> 00:35:09,319 Speaker 3: because you know, there's certain amount the approval process as 681 00:35:09,360 --> 00:35:12,840 Speaker 3: well with using them. But yeah, and then you asked 682 00:35:12,840 --> 00:35:15,120 Speaker 3: me about was I in the film? Yes? 683 00:35:16,120 --> 00:35:17,279 Speaker 1: Didn't that make you cut your hair? 684 00:35:17,800 --> 00:35:22,319 Speaker 3: Yes? I was walking up. So there are these very 685 00:35:22,360 --> 00:35:26,120 Speaker 3: famous pictures of Albert of Elvis taken by this guy 686 00:35:26,200 --> 00:35:30,360 Speaker 3: called Albert Wertheimer, and he was a young photographer working 687 00:35:30,400 --> 00:35:32,600 Speaker 3: for I don't think it was Life magazine, it was 688 00:35:32,640 --> 00:35:34,719 Speaker 3: someone anyway. They had commissioned him to go and hang 689 00:35:34,760 --> 00:35:38,400 Speaker 3: out with this young singer from Memphis who was starting 690 00:35:38,440 --> 00:35:40,759 Speaker 3: to make it and he had had a single out, 691 00:35:40,880 --> 00:35:43,560 Speaker 3: and so Albert Wertheimer, who was about the same age 692 00:35:43,560 --> 00:35:46,120 Speaker 3: as Elvis, hung out with Elvis for a couple of 693 00:35:46,160 --> 00:35:48,600 Speaker 3: weeks and across the time that he was doing a 694 00:35:48,640 --> 00:35:52,360 Speaker 3: couple of concerts, and Elvis, from what I understand, was 695 00:35:52,400 --> 00:35:54,480 Speaker 3: such a nice kid that he liked, he slept in 696 00:35:54,480 --> 00:35:56,400 Speaker 3: his hotel room, that he was on the train with him, 697 00:35:56,440 --> 00:36:00,520 Speaker 3: all this stuff. And there were these photographs. Timer was 698 00:36:00,560 --> 00:36:03,280 Speaker 3: standing on the stage taking these pictures at a gig, 699 00:36:03,680 --> 00:36:05,640 Speaker 3: and Bears was like, we've got to get that picture, 700 00:36:06,160 --> 00:36:07,400 Speaker 3: but it means you're going to have to be on 701 00:36:07,440 --> 00:36:08,759 Speaker 3: this How are we going to do it? You're gonna 702 00:36:08,760 --> 00:36:10,920 Speaker 3: have to be on the stage while we're shooting. And 703 00:36:10,960 --> 00:36:12,319 Speaker 3: I was like, yeah, that's all right, and then he's 704 00:36:12,400 --> 00:36:15,000 Speaker 3: then Bears had and Bears also it comes up with 705 00:36:15,160 --> 00:36:18,120 Speaker 3: crazy ideas. He's like, yeah, we've got a whole props apartment. 706 00:36:18,320 --> 00:36:21,759 Speaker 3: We'll like get an old nineteen fifties camera and we'll 707 00:36:21,760 --> 00:36:25,399 Speaker 3: stick your camera inside it. You know, Wow, that's never 708 00:36:25,440 --> 00:36:28,200 Speaker 3: gonna work. But at least, like I've been in enough 709 00:36:28,200 --> 00:36:30,799 Speaker 3: film since I know when to put my camera. You know, 710 00:36:30,880 --> 00:36:32,799 Speaker 3: I know where the camera is, and you know what 711 00:36:32,920 --> 00:36:34,319 Speaker 3: leans have've got on and all the rest of it. 712 00:36:34,440 --> 00:36:37,520 Speaker 3: So he goes, all right, you can play Albert worthheut 713 00:36:37,600 --> 00:36:40,560 Speaker 3: you can play worth Timer, which was interesting considering at 714 00:36:40,560 --> 00:36:42,360 Speaker 3: the time, I think it was like fifty nine or 715 00:36:42,400 --> 00:36:46,080 Speaker 3: sixty and worth Timer was nineteen. So I go into 716 00:36:46,320 --> 00:36:48,640 Speaker 3: I get my haircut, I go into costume. I get 717 00:36:48,880 --> 00:36:52,320 Speaker 3: costume every day. And it meant that I was in 718 00:36:52,440 --> 00:36:56,359 Speaker 3: that Russwood scene standing on the stage taking pictures and 719 00:36:56,400 --> 00:36:59,600 Speaker 3: we got I mean I shot film as well, actually 720 00:36:59,640 --> 00:37:01,480 Speaker 3: because I got the pictures, and then I made a 721 00:37:01,480 --> 00:37:05,560 Speaker 3: little which I really love, which I think really encompasses 722 00:37:05,600 --> 00:37:08,200 Speaker 3: all the energy of the filmmaking process and that scene 723 00:37:08,320 --> 00:37:10,719 Speaker 3: of how much it I don't know if you've seen. 724 00:37:10,760 --> 00:37:12,279 Speaker 3: It's like a little back of white film. I have 725 00:37:12,320 --> 00:37:16,239 Speaker 3: to shout ye. Anyway, yeah, I got you know, we 726 00:37:16,320 --> 00:37:20,000 Speaker 3: got those pictures. But then and well, but then if 727 00:37:20,040 --> 00:37:22,440 Speaker 3: you watch the film, I mean, the thing about I 728 00:37:22,520 --> 00:37:25,200 Speaker 3: basically wasn't, although I was on the call sheet that day, 729 00:37:25,239 --> 00:37:27,319 Speaker 3: so I am. I do have like an actor's call 730 00:37:27,320 --> 00:37:32,280 Speaker 3: sheet with Tom Hanks, Austin Butler, Helen Thompson, Richard Roxburgh, 731 00:37:32,360 --> 00:37:33,040 Speaker 3: Hugh Stuart. 732 00:37:34,640 --> 00:37:35,759 Speaker 1: That's so fun. 733 00:37:36,000 --> 00:37:39,319 Speaker 3: So I got to copy that. But what was I 734 00:37:39,360 --> 00:37:41,719 Speaker 3: going to say? Yeah, oh, that's right. So basically the 735 00:37:41,760 --> 00:37:44,319 Speaker 3: basic job of an extra, as you know, is to 736 00:37:44,400 --> 00:37:46,520 Speaker 3: just stay with it, you know, put in a place 737 00:37:46,560 --> 00:37:48,399 Speaker 3: and stay there and be in the same spot when 738 00:37:48,440 --> 00:37:52,279 Speaker 3: they do take. After taking, I would get bored so 739 00:37:52,440 --> 00:37:54,200 Speaker 3: and it was a four day you know, there was 740 00:37:54,239 --> 00:37:58,120 Speaker 3: like a three day shoot on that scene, and you know, 741 00:37:58,320 --> 00:38:01,880 Speaker 3: so I wasn't. If you look at the film closely 742 00:38:02,040 --> 00:38:04,440 Speaker 3: and you're looking out for me, you will see that 743 00:38:04,560 --> 00:38:07,319 Speaker 3: in some I'm there, then I'm gone, then I'm there, 744 00:38:07,520 --> 00:38:10,200 Speaker 3: then I'm back again, then I'm over there. Yes, And 745 00:38:10,920 --> 00:38:13,000 Speaker 3: whereas really I should have just been in that one 746 00:38:13,040 --> 00:38:16,000 Speaker 3: spot so good. So you know, there was a bit 747 00:38:16,000 --> 00:38:17,960 Speaker 3: of I mean at the end of it. Because I 748 00:38:18,000 --> 00:38:22,520 Speaker 3: also worked with Mandy Walker the dop a lot, you know, 749 00:38:22,680 --> 00:38:25,000 Speaker 3: and because there was a lot of posts on that film. 750 00:38:25,719 --> 00:38:29,920 Speaker 3: Sometimes I would be sitting out of shot as far 751 00:38:29,960 --> 00:38:32,320 Speaker 3: as I knew, you know, shooting from the side of 752 00:38:32,360 --> 00:38:34,359 Speaker 3: a stage or something, and at the end of it, 753 00:38:34,400 --> 00:38:36,920 Speaker 3: Mandy would go, you were in that entire shot, but 754 00:38:36,960 --> 00:38:38,040 Speaker 3: we'll just paint you out. 755 00:38:38,400 --> 00:38:39,240 Speaker 1: Oh wow. 756 00:38:39,640 --> 00:38:41,279 Speaker 3: So they were pretty loose, you know what I mean. 757 00:38:41,320 --> 00:38:43,120 Speaker 3: And then since I've done that, I've been asked to 758 00:38:43,160 --> 00:38:44,719 Speaker 3: do the same thing in other films and I just 759 00:38:44,800 --> 00:38:48,920 Speaker 3: haven't done it because, you know, I actually did a 760 00:38:48,920 --> 00:38:50,799 Speaker 3: couple of days on something and I hated it so 761 00:38:50,880 --> 00:38:54,800 Speaker 3: much because you're just you know, it's a very different. 762 00:38:54,800 --> 00:38:57,279 Speaker 1: It sounds like you've got that common you know. 763 00:38:57,400 --> 00:38:59,160 Speaker 3: I remember once in a scene I was sitting on 764 00:38:59,200 --> 00:39:02,400 Speaker 3: Beds's feet, you know what I mean, He's on his tears. 765 00:39:02,400 --> 00:39:04,319 Speaker 3: They're directing. I'm sitting on his feet, so I could 766 00:39:04,320 --> 00:39:05,560 Speaker 3: get a shot Like I couldn't do that. 767 00:39:06,000 --> 00:39:06,800 Speaker 1: Yeah. 768 00:39:07,080 --> 00:39:09,160 Speaker 2: And also, like, because I think you did Australia more 769 00:39:09,200 --> 00:39:10,480 Speaker 2: on Richard, you do Goatsby as well. 770 00:39:10,600 --> 00:39:12,439 Speaker 3: Yeah. Look, I did a little bit of all of those, 771 00:39:12,520 --> 00:39:14,359 Speaker 3: but I didn't do the day to day stuff on 772 00:39:14,400 --> 00:39:16,440 Speaker 3: any of that. I just came in and did stuff 773 00:39:16,440 --> 00:39:20,399 Speaker 3: for like different magazines posted. Yeah, so I've been on 774 00:39:20,480 --> 00:39:24,800 Speaker 3: all of Yeah, I did all the s now campaign. 775 00:39:26,000 --> 00:39:28,239 Speaker 1: One with Nicolean Did that feel bigger than Ben Her? 776 00:39:28,440 --> 00:39:31,040 Speaker 3: Like they were huge? Yeah, that that first one with 777 00:39:31,160 --> 00:39:33,560 Speaker 3: Nicole Cadman. That was it. That was like that was 778 00:39:33,640 --> 00:39:35,400 Speaker 3: at the time, I think it was the most money 779 00:39:35,400 --> 00:39:36,279 Speaker 3: ever spent on the TV. 780 00:39:36,520 --> 00:39:37,120 Speaker 1: Oh wow. 781 00:39:37,680 --> 00:39:41,480 Speaker 3: Yeah, and like that was. What's been extraordinary about working 782 00:39:41,600 --> 00:39:45,120 Speaker 3: with bats and and Cancerine is that they've been you know, 783 00:39:45,160 --> 00:39:48,279 Speaker 3: they you know, like that paid for my hair, you 784 00:39:48,320 --> 00:39:50,240 Speaker 3: know what I mean. Like they're loyal people. 785 00:39:50,360 --> 00:39:51,359 Speaker 1: You've been part of the group. 786 00:39:51,480 --> 00:39:54,120 Speaker 3: Yeah, and they yeah, they kind of keep you on. Yeah, 787 00:39:54,200 --> 00:39:56,960 Speaker 3: they've They've got a lot of people that I know, 788 00:39:57,080 --> 00:39:59,560 Speaker 3: they've had around for a long time. They're familiar with that. 789 00:40:00,160 --> 00:40:02,239 Speaker 2: And it's also a testament to you. You want to 790 00:40:02,360 --> 00:40:04,759 Speaker 2: keep the good ones close. You want a good you 791 00:40:04,800 --> 00:40:07,120 Speaker 2: want to be working people that you respect, trust and 792 00:40:07,160 --> 00:40:07,680 Speaker 2: connect with. 793 00:40:07,760 --> 00:40:09,120 Speaker 1: So that's also a testament to you. 794 00:40:09,320 --> 00:40:11,880 Speaker 3: Yeah. Yeah, I think you just also want to not 795 00:40:12,000 --> 00:40:14,920 Speaker 3: have to think about stuff, you know, like they're not 796 00:40:15,000 --> 00:40:18,160 Speaker 3: they're going oh you know, because I've seen other people 797 00:40:18,200 --> 00:40:20,960 Speaker 3: come and go, you know, and and yeah, I think 798 00:40:21,000 --> 00:40:24,480 Speaker 3: there is trust there and also the nice even on Elvis, 799 00:40:24,520 --> 00:40:25,920 Speaker 3: you know, at the end of the day, I'd text 800 00:40:25,960 --> 00:40:30,320 Speaker 3: photographs to bands or I mean my phone. Honestly, I 801 00:40:31,120 --> 00:40:33,319 Speaker 3: didn't think too hard about it. But between the time 802 00:40:33,360 --> 00:40:35,560 Speaker 3: they stopped cheating and when the movie came out, you know, 803 00:40:35,640 --> 00:40:38,040 Speaker 3: my phone had about three thousand pictures on it. But 804 00:40:38,800 --> 00:40:41,600 Speaker 3: if i'd you know, I have like code to get 805 00:40:41,600 --> 00:40:44,719 Speaker 3: into my phone's like one two three or something, So 806 00:40:44,800 --> 00:40:47,000 Speaker 3: if I'd lost my phone, I would have been in 807 00:40:47,239 --> 00:40:51,560 Speaker 3: deep shit. I didn't really think about that till afterwards, 808 00:40:51,600 --> 00:40:54,960 Speaker 3: which is again interesting because you know, like what I 809 00:40:55,000 --> 00:40:57,319 Speaker 3: love about working with them is that they create this 810 00:40:57,480 --> 00:41:01,839 Speaker 3: kind of little indie film family, you know, thing under 811 00:41:01,880 --> 00:41:06,000 Speaker 3: the umbrella of this two hundred million dollar blockbuster thing, 812 00:41:06,280 --> 00:41:09,640 Speaker 3: but at the core of it just you know, a 813 00:41:09,680 --> 00:41:13,799 Speaker 3: little group of people making a film as they go 814 00:41:14,000 --> 00:41:16,720 Speaker 3: and that spirit of it has changed in their minds, 815 00:41:16,840 --> 00:41:19,279 Speaker 3: and you know, bas is very much. You'll come in 816 00:41:19,280 --> 00:41:21,600 Speaker 3: in the morning and have thought about something overnight, or 817 00:41:21,640 --> 00:41:23,920 Speaker 3: he's seen a photograph or he's seen something, and then 818 00:41:24,320 --> 00:41:26,000 Speaker 3: things you know, and that's it's this. 819 00:41:26,640 --> 00:41:30,080 Speaker 2: I remember I auditioned for just extras on Elvis and 820 00:41:30,120 --> 00:41:31,799 Speaker 2: they said, if you get this, it's so good because 821 00:41:31,840 --> 00:41:33,840 Speaker 2: bas can change it, change it in a day and 822 00:41:33,880 --> 00:41:36,480 Speaker 2: go Actually, I want you at the front and all 823 00:41:36,520 --> 00:41:39,600 Speaker 2: the time, and then you become bumped up featured, and 824 00:41:39,640 --> 00:41:41,400 Speaker 2: it changes the game for. 825 00:41:41,400 --> 00:41:42,160 Speaker 3: A lot of people. 826 00:41:42,320 --> 00:41:45,120 Speaker 2: Like it's a pretty beautiful thing that he does. That 827 00:41:46,040 --> 00:41:48,440 Speaker 2: one of the other photo I love so much, but 828 00:41:48,640 --> 00:41:49,839 Speaker 2: I love the photo. 829 00:41:51,120 --> 00:41:52,960 Speaker 1: Michael Michael Caine. 830 00:41:53,840 --> 00:41:57,480 Speaker 2: Oh, yeah, that was was that the Quiet America American? 831 00:41:57,560 --> 00:41:58,520 Speaker 1: Did you have to go over? 832 00:41:58,520 --> 00:42:01,920 Speaker 3: There was in Vietnam? That was so in those days. 833 00:42:02,040 --> 00:42:05,440 Speaker 3: You know, I was living in New York and Condonass Traveler. 834 00:42:06,160 --> 00:42:09,840 Speaker 3: This is when magazines had loads of money. Condonass Traveler 835 00:42:10,040 --> 00:42:13,959 Speaker 3: had They did a page every issue which was called 836 00:42:14,000 --> 00:42:15,919 Speaker 3: on set, and they would go to a movie set 837 00:42:16,040 --> 00:42:18,319 Speaker 3: somewhere that such a great idea, and they'd send you 838 00:42:18,360 --> 00:42:20,319 Speaker 3: there for like, I was on set for about a week. 839 00:42:20,440 --> 00:42:24,120 Speaker 3: They ran one picture and I probably shot two hundred 840 00:42:24,200 --> 00:42:27,680 Speaker 3: rolls of film. So we went out. I went out 841 00:42:28,000 --> 00:42:31,400 Speaker 3: to Vietnam with my old girlfriend actually, and we stayed 842 00:42:31,480 --> 00:42:35,200 Speaker 3: in like some beautiful hotel in Hanoi. And when I, well, 843 00:42:35,560 --> 00:42:38,759 Speaker 3: she went off cruising around Hanoi. I went on set 844 00:42:38,800 --> 00:42:42,400 Speaker 3: every day, and yeah, that came out of that. And 845 00:42:42,440 --> 00:42:47,000 Speaker 3: then because I don't know who's maybe Philip noise or 846 00:42:47,040 --> 00:42:49,480 Speaker 3: something sawt of the pictures. Then they asked me to 847 00:42:49,560 --> 00:42:52,480 Speaker 3: fly out to Australia to do the poster, so that 848 00:42:52,680 --> 00:42:55,160 Speaker 3: then it's a separate job, you know. I came out 849 00:42:55,320 --> 00:42:58,360 Speaker 3: from New York to Australia and shot in the at Fox. 850 00:42:58,400 --> 00:43:00,120 Speaker 3: We set up a studio and we shot all the 851 00:43:00,280 --> 00:43:01,360 Speaker 3: ingredients for the poster. 852 00:43:02,160 --> 00:43:04,120 Speaker 2: Was it pretty nice to shoot him? I feel like 853 00:43:04,160 --> 00:43:06,200 Speaker 2: he's one of those He was interesting. 854 00:43:06,400 --> 00:43:08,439 Speaker 3: He was like, I remember this one day we were 855 00:43:08,480 --> 00:43:14,239 Speaker 3: in Who was the cinematographer that crazy dude from Hong 856 00:43:14,320 --> 00:43:20,920 Speaker 3: Kong Jo what's his name? Really? He did all the 857 00:43:20,960 --> 00:43:23,080 Speaker 3: wank Wi films. I can't believe. I can't think of 858 00:43:23,120 --> 00:43:28,879 Speaker 3: his name. Very very good cinematographer, but nuts. Anyway, they 859 00:43:28,880 --> 00:43:30,600 Speaker 3: were shooting one day. I was on set. They were 860 00:43:30,600 --> 00:43:34,480 Speaker 3: shooting in what was an old bicycle factory in Hanoi, 861 00:43:34,680 --> 00:43:36,920 Speaker 3: and it was really shit that the floor was covered 862 00:43:36,920 --> 00:43:40,279 Speaker 3: in water, you know it was. It was horrible and 863 00:43:40,920 --> 00:43:43,839 Speaker 3: old and dank, and they had lights on in there. 864 00:43:43,920 --> 00:43:45,520 Speaker 3: I got in there and thought it was lit, and 865 00:43:45,560 --> 00:43:49,000 Speaker 3: then it turned out it wasn't lit because the dop 866 00:43:49,360 --> 00:43:52,200 Speaker 3: got a piece of bamboo taped it to the top 867 00:43:52,239 --> 00:43:54,400 Speaker 3: of the camera was hand holding the camera and he 868 00:43:54,520 --> 00:43:57,440 Speaker 3: was and he had a like electric light bulb on 869 00:43:57,480 --> 00:43:59,440 Speaker 3: a string hanging in front of the lens, so it 870 00:43:59,480 --> 00:44:02,960 Speaker 3: was just this light, you know, kind of carrying and 871 00:44:03,000 --> 00:44:05,759 Speaker 3: he was shooting. But it was a long scene and 872 00:44:05,840 --> 00:44:08,239 Speaker 3: Michael Caine had to walk all through this stuff and 873 00:44:08,800 --> 00:44:12,000 Speaker 3: was had you know, had lines. And at the end 874 00:44:12,040 --> 00:44:14,120 Speaker 3: and when he was in the middle of this one take, 875 00:44:14,200 --> 00:44:18,160 Speaker 3: this enormous water rat like just kind of almost came 876 00:44:18,200 --> 00:44:20,520 Speaker 3: and sat on his foot and keep going and he 877 00:44:21,400 --> 00:44:24,120 Speaker 3: never missed a beat, finished it and at the end 878 00:44:24,200 --> 00:44:27,440 Speaker 3: of it, someone said, oh, Michael, didn't you say it 879 00:44:27,520 --> 00:44:30,040 Speaker 3: was a water rat? And he's going, yeah, I know, 880 00:44:30,239 --> 00:44:34,080 Speaker 3: a dialogue, you know, so he didn't stop, so professional, 881 00:44:34,480 --> 00:44:38,919 Speaker 3: good dialogue. So he just yeah, that's right. 882 00:44:39,120 --> 00:44:41,000 Speaker 1: So so wonderful. 883 00:44:41,440 --> 00:44:44,400 Speaker 2: So like there is so many about like Jane Goodall, 884 00:44:44,840 --> 00:44:46,719 Speaker 2: Matt Damon, of course, Austin Butler. 885 00:44:46,760 --> 00:44:47,799 Speaker 1: You were just talking. 886 00:44:47,480 --> 00:44:51,239 Speaker 3: About Jane Goodall. Was interesting. So during COVID, I came 887 00:44:51,360 --> 00:44:55,080 Speaker 3: up with this idea to make It wasn't an original idea, 888 00:44:55,120 --> 00:44:59,440 Speaker 3: but people were making like portraits on FaceTime, and what 889 00:44:59,480 --> 00:45:01,360 Speaker 3: they were trying to do was disguise the fact that 890 00:45:01,360 --> 00:45:03,080 Speaker 3: they were on FaceTime, right, so they were kind of 891 00:45:03,080 --> 00:45:05,520 Speaker 3: screenshotting them off their computer and getting people to hold it. 892 00:45:05,880 --> 00:45:08,080 Speaker 3: I thought, well, and this is how my little portrait 893 00:45:08,120 --> 00:45:11,279 Speaker 3: studio really came about. I at the time had a 894 00:45:11,280 --> 00:45:13,520 Speaker 3: little studio set up at home in the garage and 895 00:45:13,560 --> 00:45:16,120 Speaker 3: I had a canvas backdrop and a chair and a 896 00:45:16,160 --> 00:45:18,160 Speaker 3: table and or a chair in front of it, and 897 00:45:18,200 --> 00:45:20,560 Speaker 3: I used to photograph people in there. And then I 898 00:45:20,840 --> 00:45:23,520 Speaker 3: came runner up in the National Portrait Prize, and the 899 00:45:23,680 --> 00:45:27,200 Speaker 3: prize was like an easo, like a monitor, a really 900 00:45:27,239 --> 00:45:32,160 Speaker 3: professional screen which I had no use for, zero useful anyway, 901 00:45:32,320 --> 00:45:37,640 Speaker 3: during COVID, I thought, well, maybe I could put the 902 00:45:37,760 --> 00:45:42,880 Speaker 3: monitor on the chair and connect FaceTime through it and 903 00:45:42,920 --> 00:45:46,279 Speaker 3: then photo come back far enough so that I'm showedographing 904 00:45:46,360 --> 00:45:49,720 Speaker 3: the chair and the monitor and the person's on the monitor, 905 00:45:50,120 --> 00:45:53,799 Speaker 3: so you're acknowledging that it's on face time. And I 906 00:45:53,840 --> 00:45:55,719 Speaker 3: got so, I got some of the one of my 907 00:45:55,800 --> 00:45:58,799 Speaker 3: kids to go inside and go and I worked out 908 00:45:58,800 --> 00:46:00,560 Speaker 3: how to do it and you could like screen share 909 00:46:00,600 --> 00:46:02,960 Speaker 3: this thing with it anyway, and I started doing it 910 00:46:03,000 --> 00:46:07,800 Speaker 3: and I again via Instagram, and over a two week period, 911 00:46:07,880 --> 00:46:12,239 Speaker 3: I think I shot three hundred people, including to send 912 00:46:12,239 --> 00:46:18,640 Speaker 3: her a dern yeah. So it wasn't like no, oh yes, yeah, no. 913 00:46:18,719 --> 00:46:22,560 Speaker 3: So but then that then segued off into me getting work. 914 00:46:22,719 --> 00:46:24,920 Speaker 1: Because Ella mag all sorts of. 915 00:46:24,880 --> 00:46:27,400 Speaker 3: People and for Vogue we did a big story and 916 00:46:27,440 --> 00:46:33,680 Speaker 3: then people started to realize that. So it was really 917 00:46:35,360 --> 00:46:39,479 Speaker 3: valid because it gave us access to people we didn't 918 00:46:39,480 --> 00:46:41,920 Speaker 3: normally have access to. So at the time, like I 919 00:46:42,040 --> 00:46:45,680 Speaker 3: photographed the person that started Black Lives Matter, you know, 920 00:46:46,239 --> 00:46:49,520 Speaker 3: Jane Goodall was part of that little series. But by 921 00:46:49,560 --> 00:46:53,520 Speaker 3: the time I shot Jane, I was on Elvis, right 922 00:46:54,000 --> 00:46:56,759 Speaker 3: and I remember I had to. I had to shoot 923 00:46:56,840 --> 00:46:58,279 Speaker 3: Jane good Or. She was the last one in the 924 00:46:58,320 --> 00:47:01,359 Speaker 3: series on deadline. They needed it. And it was when 925 00:47:01,400 --> 00:47:03,520 Speaker 3: we were doing those carnival shoots and they were night 926 00:47:03,560 --> 00:47:05,360 Speaker 3: shoots and we weren't in the studio, way in the 927 00:47:05,400 --> 00:47:09,920 Speaker 3: middle of nowhere. So Skyler, who's one of the producers 928 00:47:09,920 --> 00:47:12,400 Speaker 3: on Elvis, he had his own, you know kind of 929 00:47:13,239 --> 00:47:17,000 Speaker 3: r V out of the thing. So Skyler said, look, 930 00:47:17,040 --> 00:47:20,120 Speaker 3: you can use use my RV and hook up to 931 00:47:20,160 --> 00:47:22,359 Speaker 3: my internet. So in the middle of the night, because 932 00:47:22,440 --> 00:47:25,560 Speaker 3: Jane Goodall's in England, you know, I took my screen, 933 00:47:25,719 --> 00:47:28,520 Speaker 3: my monitor and my all my ingredients and I set 934 00:47:28,520 --> 00:47:32,360 Speaker 3: this thing up and then I raced off set, got 935 00:47:32,560 --> 00:47:35,960 Speaker 3: Jane Goodall on FaceTime and a tattoo and photographed her 936 00:47:36,040 --> 00:47:38,799 Speaker 3: in the middle of all that chaos. That's right. But yeah, 937 00:47:38,840 --> 00:47:41,400 Speaker 3: that was kind of interesting and then but yeah, and 938 00:47:41,400 --> 00:47:44,600 Speaker 3: that sort of led in a funny way to my 939 00:47:44,680 --> 00:47:47,400 Speaker 3: little portrait studio. The nice thing about that and I 940 00:47:47,400 --> 00:47:50,520 Speaker 3: should do something with that series is that I got 941 00:47:50,520 --> 00:47:53,799 Speaker 3: people to do it. And then they they also wrote 942 00:47:53,840 --> 00:47:57,080 Speaker 3: a couple of sentences about how they would like to see, Well, 943 00:47:57,080 --> 00:47:59,480 Speaker 3: what change that you would like to see come out 944 00:47:59,520 --> 00:48:01,799 Speaker 3: of that whole thing, you know, and people had all 945 00:48:01,960 --> 00:48:04,759 Speaker 3: people I think we're feeling very raw, you know, they 946 00:48:04,760 --> 00:48:07,600 Speaker 3: were very reflective, and I got I've got all these 947 00:48:07,880 --> 00:48:10,080 Speaker 3: some people are going to paragraph. Some people you've got 948 00:48:10,120 --> 00:48:13,319 Speaker 3: a release sentence, And it just seem to go back 949 00:48:13,360 --> 00:48:16,200 Speaker 3: and read it now and see if really people did 950 00:48:17,120 --> 00:48:18,919 Speaker 3: you know how I mean, it was impacting on people, 951 00:48:19,400 --> 00:48:21,920 Speaker 3: whether it's carried across into their lives now, I don't know. 952 00:48:22,160 --> 00:48:23,840 Speaker 1: Well, let's say let's say you need. 953 00:48:23,719 --> 00:48:25,480 Speaker 3: A Yeah, I should go back. There's a lot of 954 00:48:25,520 --> 00:48:27,800 Speaker 3: I've got That's what I mean about like the storage 955 00:48:27,840 --> 00:48:28,120 Speaker 3: in it. 956 00:48:28,520 --> 00:48:29,760 Speaker 1: Oh, yes. See. 957 00:48:29,680 --> 00:48:32,240 Speaker 2: Yeah, well even I feel like we haven't even touched 958 00:48:32,320 --> 00:48:33,719 Speaker 2: the iceberg. 959 00:48:33,280 --> 00:48:34,920 Speaker 1: And we're near the end. 960 00:48:35,040 --> 00:48:39,240 Speaker 2: But I loved there's this beautiful YouTube clip of behind 961 00:48:39,280 --> 00:48:42,040 Speaker 2: the scenes of a campaign you did for Ram Williams 962 00:48:42,719 --> 00:48:47,759 Speaker 2: and the I think the director said, when you want 963 00:48:47,800 --> 00:48:51,319 Speaker 2: to shoot real people authentically, there's only one man for 964 00:48:51,400 --> 00:48:53,040 Speaker 2: the job, and that's who Stuart. 965 00:48:53,400 --> 00:48:54,640 Speaker 3: Well, that's very kind of him. 966 00:48:54,640 --> 00:48:55,880 Speaker 1: But how sweet is that? 967 00:48:55,880 --> 00:48:57,640 Speaker 3: That is nice? I don't know who would have said that, 968 00:48:58,840 --> 00:49:02,680 Speaker 3: but yeah, maybe, but what. 969 00:49:02,960 --> 00:49:04,759 Speaker 2: You actually said that was really cool because then it 970 00:49:04,800 --> 00:49:07,799 Speaker 2: cuts to you being interviewed and you're like, it's just 971 00:49:07,960 --> 00:49:11,000 Speaker 2: real people that just so happened to be wearing these things. 972 00:49:11,000 --> 00:49:13,279 Speaker 2: It's not a fashion shoot, and it just and I 973 00:49:13,280 --> 00:49:14,919 Speaker 2: think that was the whole vibe of the show. 974 00:49:15,040 --> 00:49:18,800 Speaker 3: That was always my intention with those sorts of things. Yeah, 975 00:49:18,840 --> 00:49:21,200 Speaker 3: but I also but it just I just think that 976 00:49:21,320 --> 00:49:27,080 Speaker 3: every single person has the same value, you know, and 977 00:49:27,120 --> 00:49:31,680 Speaker 3: so I don't like discerning between that value. 978 00:49:31,880 --> 00:49:32,200 Speaker 1: Yeah. 979 00:49:32,280 --> 00:49:34,640 Speaker 3: Yeah, And I think if you can create an environment 980 00:49:34,760 --> 00:49:38,440 Speaker 3: where where people can feel valued, you know, in a space, 981 00:49:38,719 --> 00:49:41,759 Speaker 3: whether it's on a commercial job or not, then you 982 00:49:41,800 --> 00:49:46,440 Speaker 3: know that that that comes across in the photograph. 983 00:49:46,640 --> 00:49:48,239 Speaker 1: Yeah, yeah, I love that. 984 00:49:48,320 --> 00:49:50,880 Speaker 3: Well, like even when I went down, I've been asked 985 00:49:50,920 --> 00:49:53,480 Speaker 3: a lot to do these portrait things in Melbourne, and 986 00:49:53,480 --> 00:49:57,799 Speaker 3: I went down recently and set up actually and it 987 00:49:57,880 --> 00:50:00,640 Speaker 3: was again like a whole lovely thing. I put on 988 00:50:00,680 --> 00:50:02,840 Speaker 3: my Instagram that I was looking for a space to 989 00:50:02,480 --> 00:50:06,040 Speaker 3: do this in Melbourne. David Bromley, you know the punter 990 00:50:06,480 --> 00:50:08,120 Speaker 3: who I know from photographing him. 991 00:50:08,120 --> 00:50:09,680 Speaker 1: But yeah, I've seen your photo of him. 992 00:50:10,480 --> 00:50:13,719 Speaker 3: No, and he's a lovely bloke and he just you know, 993 00:50:13,880 --> 00:50:15,600 Speaker 3: had nothing to gain by it. He said, you know what, 994 00:50:15,719 --> 00:50:18,040 Speaker 3: I've got a studio, I've got a gallery. He's got 995 00:50:18,040 --> 00:50:21,279 Speaker 3: so much I don't use it. Come there. And what's more, 996 00:50:21,320 --> 00:50:24,040 Speaker 3: there's an apartment upstairs you can stay there. So I 997 00:50:24,120 --> 00:50:26,800 Speaker 3: drove down. I did one hundred families in four days, 998 00:50:26,800 --> 00:50:29,200 Speaker 3: so it was like full on. But you know, people 999 00:50:29,280 --> 00:50:33,640 Speaker 3: in Melbourne seem to respond to it. But a really 1000 00:50:33,680 --> 00:50:35,920 Speaker 3: lovely thing. And I'm sure this woman won't mind me 1001 00:50:36,000 --> 00:50:38,520 Speaker 3: saying this, but this, this is you know the real 1002 00:50:38,600 --> 00:50:42,000 Speaker 3: value in this. This This woman came in to be photographed. 1003 00:50:42,000 --> 00:50:45,160 Speaker 3: She'd seen me give a talk at a photo festival 1004 00:50:45,160 --> 00:50:48,839 Speaker 3: in Maomula or something, which was another whole thing. I 1005 00:50:48,880 --> 00:50:51,160 Speaker 3: wrote the talk while the talk prior. 1006 00:50:50,840 --> 00:50:53,160 Speaker 2: To me, I know, because you shot me like a 1007 00:50:53,239 --> 00:50:56,920 Speaker 2: day before, you were telling me I'm not ready. 1008 00:50:56,960 --> 00:51:00,000 Speaker 3: Yes, well, because I hate standing up until this is fine, 1009 00:51:00,000 --> 00:51:02,800 Speaker 3: because I know it's not life but the idea of anyway. 1010 00:51:02,840 --> 00:51:04,799 Speaker 3: I was so kind of mortified by I thought, if 1011 00:51:04,800 --> 00:51:06,560 Speaker 3: I really turned my attention to it, I have a 1012 00:51:06,600 --> 00:51:09,520 Speaker 3: fucking panic attack, which I there was a whole you 1013 00:51:09,560 --> 00:51:12,400 Speaker 3: could do part two of this about my all my 1014 00:51:12,560 --> 00:51:19,120 Speaker 3: issues over the years. But I I, what were we talking? Oh? Yes, 1015 00:51:19,160 --> 00:51:22,040 Speaker 3: so this Melbourne, this lovely woman comes in. She said, 1016 00:51:22,080 --> 00:51:24,400 Speaker 3: I saw you giving this talk that thing, and I 1017 00:51:25,880 --> 00:51:28,000 Speaker 3: have made all these changes in my life in the 1018 00:51:28,080 --> 00:51:32,120 Speaker 3: last year, and I wanted to give myself a gift, 1019 00:51:32,160 --> 00:51:33,960 Speaker 3: and my gift to myself is to come to you 1020 00:51:34,040 --> 00:51:37,040 Speaker 3: and be photographed. And she said I made and I 1021 00:51:37,040 --> 00:51:39,480 Speaker 3: didn't really go into what the changes were, but they 1022 00:51:39,480 --> 00:51:42,680 Speaker 3: were obviously significant. And she said, look, I'd always you know, 1023 00:51:42,760 --> 00:51:45,280 Speaker 3: I wanted to live a more creative life. I'd love photography, 1024 00:51:45,320 --> 00:51:47,279 Speaker 3: I love writing all this stuff. And so she said, 1025 00:51:47,320 --> 00:51:50,279 Speaker 3: over the last year, I've had some photographs published. I 1026 00:51:50,320 --> 00:51:52,720 Speaker 3: got in the final of a reach over the Gala 1027 00:51:52,840 --> 00:51:57,399 Speaker 3: Regional photography competition, you know, and I and she sat 1028 00:51:57,480 --> 00:52:00,239 Speaker 3: down opposite me and the table and then I to 1029 00:52:00,320 --> 00:52:03,320 Speaker 3: take the first picture and the enormity of what she 1030 00:52:03,360 --> 00:52:05,120 Speaker 3: had done over the years, I think her and she 1031 00:52:05,280 --> 00:52:09,520 Speaker 3: just burst into your yes and so ah. Then I 1032 00:52:09,560 --> 00:52:11,680 Speaker 3: was running around getting toilet. I mean, she'd written about 1033 00:52:11,680 --> 00:52:13,640 Speaker 3: this on her Instagram, so I'm not giving anything away, 1034 00:52:13,800 --> 00:52:15,440 Speaker 3: but you know, I had to go and get Tesshos 1035 00:52:15,520 --> 00:52:17,040 Speaker 3: and give her a hug and we had to talk 1036 00:52:17,120 --> 00:52:18,920 Speaker 3: about the photo. Well. I then asked her, do you 1037 00:52:19,040 --> 00:52:22,719 Speaker 3: mind like she's in floods and it is a beautiful picture. Yeah, 1038 00:52:23,120 --> 00:52:26,200 Speaker 3: it's a great picture, but you know that whole thing 1039 00:52:26,239 --> 00:52:29,600 Speaker 3: about you know, a marking time or that she just 1040 00:52:29,680 --> 00:52:32,440 Speaker 3: wanted to acknowledge something for herself. 1041 00:52:32,600 --> 00:52:35,440 Speaker 2: It takes courage to live a creative life, like we 1042 00:52:35,520 --> 00:52:39,680 Speaker 2: haven't even gone down like your start, which you know, 1043 00:52:39,800 --> 00:52:42,759 Speaker 2: the squat in London and like that. You know, it 1044 00:52:42,920 --> 00:52:48,520 Speaker 2: takes courage and real balls to be like effort, I'm 1045 00:52:48,560 --> 00:52:51,880 Speaker 2: going to freakin live this creative life like you do. 1046 00:52:52,120 --> 00:52:55,400 Speaker 2: Have to have that moment of sailing away from the 1047 00:52:55,400 --> 00:52:58,920 Speaker 2: safe harbor and kind of risking it all. 1048 00:52:59,040 --> 00:53:00,359 Speaker 1: And it sounds like she. 1049 00:53:01,239 --> 00:53:04,839 Speaker 3: Well that even from my you know, people looking from 1050 00:53:04,880 --> 00:53:07,080 Speaker 3: the outside and think if you've achieved stuff and it's 1051 00:53:07,320 --> 00:53:09,799 Speaker 3: but I don't find it any less risky now than 1052 00:53:09,840 --> 00:53:13,600 Speaker 3: I did when I started. I'm still you know, worrying 1053 00:53:13,640 --> 00:53:16,239 Speaker 3: about whether I can pay the tax or you know 1054 00:53:16,280 --> 00:53:19,760 Speaker 3: what I mean, or what am I really doing? Or yeah, 1055 00:53:20,000 --> 00:53:21,879 Speaker 3: that's the last job I'll ever do it. Yeah, that's 1056 00:53:21,920 --> 00:53:23,960 Speaker 3: that creative stopped. It's annoying. 1057 00:53:24,040 --> 00:53:26,879 Speaker 1: I wish it would, I think will say that. 1058 00:53:26,960 --> 00:53:29,399 Speaker 3: Yeah, I bet they do. Yeah, oh look you can 1059 00:53:29,480 --> 00:53:29,880 Speaker 3: see that. 1060 00:53:30,239 --> 00:53:30,439 Speaker 1: Yeah. 1061 00:53:30,880 --> 00:53:34,600 Speaker 2: But I do think there's something beautiful that comes from 1062 00:53:35,080 --> 00:53:38,279 Speaker 2: choosing to live a life of like a creative's life, 1063 00:53:38,280 --> 00:53:41,480 Speaker 2: and I do think it does. It definitely takes that 1064 00:53:42,680 --> 00:53:46,399 Speaker 2: stepping away often from status quo and being like, no, 1065 00:53:46,640 --> 00:53:49,880 Speaker 2: I want to be some form of an artist, you know. 1066 00:53:50,000 --> 00:53:52,759 Speaker 3: I think you're right. Yeah. I was like going on 1067 00:53:52,800 --> 00:53:54,880 Speaker 3: to my sister in law in kind of lofty terms 1068 00:53:54,880 --> 00:53:58,560 Speaker 3: recently about how I probably should have a degree in 1069 00:53:58,760 --> 00:54:02,240 Speaker 3: psychology because of like doing these and all the stuff, 1070 00:54:02,239 --> 00:54:04,319 Speaker 3: and she was going, no, you're just like a hairdresser. 1071 00:54:05,080 --> 00:54:07,000 Speaker 1: No, no, I think. 1072 00:54:07,080 --> 00:54:09,600 Speaker 3: Which again I'm not demeaning, you know, because they are. 1073 00:54:09,760 --> 00:54:10,879 Speaker 3: That's a similar thing. 1074 00:54:11,360 --> 00:54:14,280 Speaker 2: You would be a master of human behavior now for sure. 1075 00:54:14,719 --> 00:54:18,080 Speaker 2: For sure, for because the way that you can capture 1076 00:54:18,160 --> 00:54:21,399 Speaker 2: but then make people feel safe, it's having an understanding 1077 00:54:21,440 --> 00:54:24,520 Speaker 2: and or definitely an appreciation for human behavior and other 1078 00:54:24,520 --> 00:54:25,560 Speaker 2: people's human behin. 1079 00:54:25,440 --> 00:54:27,560 Speaker 3: No, I think so. And I think the difference between 1080 00:54:27,920 --> 00:54:30,080 Speaker 3: my career up to that point and then was that 1081 00:54:30,239 --> 00:54:35,480 Speaker 3: I was definitely imposing photographs on people, you know, like 1082 00:54:35,960 --> 00:54:39,680 Speaker 3: a in that space of magazines, and you know it 1083 00:54:39,719 --> 00:54:42,799 Speaker 3: is you do a prtua for Vogue, They dress you, 1084 00:54:42,880 --> 00:54:44,880 Speaker 3: they do your makeup, and you're like, is that really 1085 00:54:44,920 --> 00:54:46,000 Speaker 3: the person who walks through. 1086 00:54:45,840 --> 00:54:47,920 Speaker 1: The doors and you've got a million different dress. 1087 00:54:48,320 --> 00:54:51,200 Speaker 3: People watching and hands coming into the picture. Whereas this 1088 00:54:51,480 --> 00:54:55,240 Speaker 3: it's just two people in a very safe environment, you know, and. 1089 00:54:55,440 --> 00:54:56,320 Speaker 1: They can be themselves. 1090 00:54:56,320 --> 00:55:00,680 Speaker 3: It can be yourself and I can be myself. Yeah. Yeah. 1091 00:55:00,719 --> 00:55:03,280 Speaker 2: In the show notes, I'm going to put down all 1092 00:55:03,320 --> 00:55:06,719 Speaker 2: three with your pop up studios. So Sydney is your 1093 00:55:06,760 --> 00:55:09,040 Speaker 2: actually your studio studio your main base. 1094 00:55:08,840 --> 00:55:09,359 Speaker 1: Right yeah? 1095 00:55:09,400 --> 00:55:09,920 Speaker 3: Yeah? 1096 00:55:09,960 --> 00:55:11,920 Speaker 1: And then and I think it's well, Lara, is that right? 1097 00:55:12,160 --> 00:55:14,040 Speaker 3: Yes, So I've got a little studio there. And then 1098 00:55:14,160 --> 00:55:16,680 Speaker 3: I started, well I didn't it was a long story, 1099 00:55:16,760 --> 00:55:19,360 Speaker 3: how it came about. But I share a space in 1100 00:55:19,440 --> 00:55:22,960 Speaker 3: Bangalow with an artist called Caitlin Riley. So she's a 1101 00:55:23,000 --> 00:55:26,160 Speaker 3: painter and I came up and did a sort of 1102 00:55:26,200 --> 00:55:29,040 Speaker 3: pop up studio and her one of her galleries up 1103 00:55:29,080 --> 00:55:32,520 Speaker 3: here and is now that and that that kind of 1104 00:55:32,560 --> 00:55:34,279 Speaker 3: encouraged me to think, oh, if I had a space 1105 00:55:34,360 --> 00:55:36,120 Speaker 3: up here, I could get enough people through to make 1106 00:55:36,160 --> 00:55:40,400 Speaker 3: it viable. And then the space came up in Station 1107 00:55:40,520 --> 00:55:43,200 Speaker 3: Street in Bangalow and she was looking to move her 1108 00:55:43,239 --> 00:55:45,480 Speaker 3: gallery and then so she gave me a ring and said, look, 1109 00:55:45,760 --> 00:55:48,280 Speaker 3: you know, would you be interested in sharing the space? 1110 00:55:48,840 --> 00:55:51,640 Speaker 3: So we leased it and then we've sublet rooms out 1111 00:55:51,640 --> 00:55:54,080 Speaker 3: to other people. And now my plan is that I 1112 00:55:54,160 --> 00:55:57,560 Speaker 3: sell my prints through there. I'm beautiful pictures of flowers 1113 00:55:57,560 --> 00:55:59,359 Speaker 3: that I do when I don't want to talk to people, 1114 00:55:59,520 --> 00:56:03,000 Speaker 3: and then I just my plan is to just come 1115 00:56:03,080 --> 00:56:05,480 Speaker 3: up a few times. I've just finished a little stint. 1116 00:56:05,400 --> 00:56:06,680 Speaker 1: And then Melbourne you do as well. 1117 00:56:06,920 --> 00:56:09,520 Speaker 3: Melbourne has said, well that's what I want. Like Melbourne, 1118 00:56:09,520 --> 00:56:11,880 Speaker 3: I'd really love to open something down there this year, 1119 00:56:11,960 --> 00:56:15,719 Speaker 3: beautiful and find somebody a bit like what we've done there, 1120 00:56:15,800 --> 00:56:18,600 Speaker 3: like find somebody like a florist or somebody who wants 1121 00:56:18,640 --> 00:56:20,640 Speaker 3: to be in the space all the time, and then 1122 00:56:20,640 --> 00:56:21,040 Speaker 3: I just. 1123 00:56:20,960 --> 00:56:23,719 Speaker 1: Come and go great Floris in Melbourne. Well yeah, there's 1124 00:56:23,719 --> 00:56:24,440 Speaker 1: a whole gang of that. 1125 00:56:24,520 --> 00:56:28,239 Speaker 3: But it just, you know, it's just it's just, you know, 1126 00:56:28,560 --> 00:56:30,480 Speaker 3: these are all commitments that you have to do, and 1127 00:56:30,560 --> 00:56:33,319 Speaker 3: you know, like this is January the whatever, and at 1128 00:56:33,360 --> 00:56:35,640 Speaker 3: the beginning of the year, I'm never that enthusiastic. 1129 00:56:36,160 --> 00:56:39,279 Speaker 1: You have, you are a good self motivator. 1130 00:56:39,640 --> 00:56:41,600 Speaker 3: My final question is you've got a lot of people 1131 00:56:41,600 --> 00:56:45,160 Speaker 3: with their hands out like I've got kids and stuff. Yeah, yeah, 1132 00:56:45,320 --> 00:56:47,319 Speaker 3: but I'm good. Look if you've got to I'll tell 1133 00:56:47,320 --> 00:56:50,080 Speaker 3: you a really good story. Right, So, my eldest daughter, 1134 00:56:50,400 --> 00:56:55,960 Speaker 3: Lily went to film school and she sorry to acting, 1135 00:56:56,560 --> 00:56:58,799 Speaker 3: wants to be an actress, and was and you know, 1136 00:56:58,800 --> 00:57:00,400 Speaker 3: I was doing really well and all the rest of it. 1137 00:57:00,440 --> 00:57:02,160 Speaker 3: And then COVID came along and I think she didn't 1138 00:57:02,200 --> 00:57:04,120 Speaker 3: reassess it, but you know, it sort of changed the 1139 00:57:04,719 --> 00:57:06,799 Speaker 3: change the trajectory of where she was. She was an 1140 00:57:06,880 --> 00:57:09,759 Speaker 3: LA when that started, and then so she came back 1141 00:57:09,840 --> 00:57:13,640 Speaker 3: and then she and met a boy so that she 1142 00:57:13,719 --> 00:57:16,680 Speaker 3: now has a boyfriend. And anyway, what they just recently 1143 00:57:16,720 --> 00:57:19,000 Speaker 3: did and I think maybe she got a little bit 1144 00:57:19,000 --> 00:57:21,680 Speaker 3: of this from me. Is that Shannon. They decided they 1145 00:57:21,680 --> 00:57:24,680 Speaker 3: wanted to make a film. So instead of running around 1146 00:57:24,680 --> 00:57:27,200 Speaker 3: trying to get grants or whatever the usual routers or 1147 00:57:27,240 --> 00:57:31,440 Speaker 3: just talking about it and doing nothing, she and Monty 1148 00:57:31,960 --> 00:57:35,480 Speaker 3: they put on a drum and bass music festival and 1149 00:57:36,080 --> 00:57:39,800 Speaker 3: Burmacurie recently they invested. They'd say like it could have 1150 00:57:39,920 --> 00:57:42,000 Speaker 3: cost them a lot of money, but they didn't because 1151 00:57:42,000 --> 00:57:44,080 Speaker 3: they did it properly. They hired DJ's, they did all 1152 00:57:44,080 --> 00:57:47,440 Speaker 3: this stuff. They had people camping there. Anyway, they did it. 1153 00:57:47,440 --> 00:57:50,880 Speaker 3: It was successful and they made enough money to shoot 1154 00:57:50,920 --> 00:57:55,840 Speaker 3: their short film and they sold t shirts and merchant 1155 00:57:55,840 --> 00:57:58,360 Speaker 3: and stuff and then they just I spoke to her 1156 00:57:58,440 --> 00:58:01,440 Speaker 3: yesterday they shot it. Because that then she does have 1157 00:58:01,520 --> 00:58:03,919 Speaker 3: some quite good contexts, not through me, through her own 1158 00:58:04,200 --> 00:58:08,560 Speaker 3: motivating herself, through through being an actor. So she got 1159 00:58:09,040 --> 00:58:10,880 Speaker 3: she got the cast for seven, two of them are 1160 00:58:10,920 --> 00:58:14,800 Speaker 3: quite well known. They shot it the other day and 1161 00:58:14,840 --> 00:58:17,360 Speaker 3: she said it was extraordinary, like on the last day 1162 00:58:17,440 --> 00:58:19,320 Speaker 3: they had a big I don't know, maybe I don't know. 1163 00:58:19,360 --> 00:58:21,560 Speaker 3: I haven't even read the script, but the last scene 1164 00:58:21,600 --> 00:58:25,040 Speaker 3: that they did, she said, provoked tears as everyone they 1165 00:58:25,040 --> 00:58:29,000 Speaker 3: were all in floods of tears, you know, including working 1166 00:58:29,040 --> 00:58:31,840 Speaker 3: actors that they had in it, and they actually made 1167 00:58:32,000 --> 00:58:35,360 Speaker 3: this film, you know. So yeah, it is difficult to 1168 00:58:35,400 --> 00:58:37,960 Speaker 3: get stuff done, but equally, you just have to look 1169 00:58:37,960 --> 00:58:40,320 Speaker 3: at things in a different way. I know, my little 1170 00:58:40,320 --> 00:58:42,720 Speaker 3: portrait studio, a lot of photographers would go, that's so 1171 00:58:42,880 --> 00:58:47,520 Speaker 3: uncol photographing, you know, families or actors or doing headshot 1172 00:58:47,560 --> 00:58:49,200 Speaker 3: or whatever you want to do. And I'm a bit 1173 00:58:49,280 --> 00:58:53,040 Speaker 3: oblivious to that. I'm like, no, you do you getting it? 1174 00:58:53,160 --> 00:58:55,360 Speaker 3: If you don't understand, well. 1175 00:58:55,360 --> 00:58:57,560 Speaker 2: Well, my question was for someone that had if they 1176 00:58:57,600 --> 00:59:00,120 Speaker 2: had a dream and they were starting out, like the 1177 00:59:00,120 --> 00:59:02,840 Speaker 2: Lily story is a really nice just start creating. 1178 00:59:03,000 --> 00:59:05,720 Speaker 3: Well, she's young and they you know, yeah, it's not 1179 00:59:05,800 --> 00:59:10,280 Speaker 3: an impediment to be in twenty twenty four. Yeah, it's tough, 1180 00:59:10,360 --> 00:59:13,080 Speaker 3: but it's always been tough. Yeah, yeah, and you just 1181 00:59:13,120 --> 00:59:14,840 Speaker 3: got to look at stuff from a different. 1182 00:59:14,520 --> 00:59:15,080 Speaker 1: Point of view. 1183 00:59:16,600 --> 00:59:19,240 Speaker 3: You know what, Let's put on a music festival and 1184 00:59:19,240 --> 00:59:21,560 Speaker 3: we'll make like she's not I don't even think she's 1185 00:59:21,600 --> 00:59:23,760 Speaker 3: ever listened to any drumm and base. I don't know 1186 00:59:23,800 --> 00:59:26,080 Speaker 3: how that came about the actual drum and bass bit 1187 00:59:26,080 --> 00:59:29,560 Speaker 3: of it, but you know, and now they've got to 1188 00:59:29,560 --> 00:59:31,680 Speaker 3: obviously edit it and get it into festivals and stuff, 1189 00:59:31,680 --> 00:59:35,720 Speaker 3: but they've actually made it good on them. Yeah, so anyway, 1190 00:59:35,880 --> 00:59:37,040 Speaker 3: that's creative bad. 1191 00:59:37,240 --> 00:59:40,680 Speaker 2: Yeah, that's the creative because you just yeah, it's I 1192 00:59:40,720 --> 00:59:42,840 Speaker 2: always say when I go back to because I go 1193 00:59:42,880 --> 00:59:45,640 Speaker 2: back to Melbourne and train with my favorite acting teacher, 1194 00:59:45,760 --> 00:59:49,200 Speaker 2: and I'm like, no one teaches the actors the drive 1195 00:59:49,320 --> 00:59:51,960 Speaker 2: part of it. Like you can have all the talent 1196 00:59:52,080 --> 00:59:55,080 Speaker 2: and the you know, talk about it in the world. 1197 00:59:55,160 --> 00:59:57,120 Speaker 2: I'm like, but if you don't have the drive and 1198 00:59:57,120 --> 01:00:01,560 Speaker 2: that like resilience and tenacity to actually go out raise 1199 01:00:01,600 --> 01:00:04,680 Speaker 2: the funds, film it, do it on your own. That's 1200 01:00:04,720 --> 01:00:08,560 Speaker 2: a huge part of the puzzle of being a creative 1201 01:00:08,560 --> 01:00:10,920 Speaker 2: that can then live and work in that field. 1202 01:00:11,200 --> 01:00:12,240 Speaker 1: That is often missing. 1203 01:00:12,440 --> 01:00:16,080 Speaker 2: Yeah, and so like having that drive is with the creativity. 1204 01:00:16,120 --> 01:00:18,680 Speaker 2: It's like a pretty magic mix. And I believe she's 1205 01:00:18,720 --> 01:00:20,360 Speaker 2: probably inherited it from death. 1206 01:00:20,440 --> 01:00:22,600 Speaker 3: Well maybe her mum works for herself as well. Yeah, 1207 01:00:23,160 --> 01:00:26,640 Speaker 3: it's both. But equally, like even you're doing this podcast, 1208 01:00:26,720 --> 01:00:28,240 Speaker 3: you know, like you don't know where these things are 1209 01:00:28,280 --> 01:00:30,360 Speaker 3: going to up, You don't know who you're going to meet. 1210 01:00:30,360 --> 01:00:32,600 Speaker 3: You The thing with my important thing. I've met the 1211 01:00:32,600 --> 01:00:35,720 Speaker 3: most extraordinary people that has gone off to me doing 1212 01:00:36,120 --> 01:00:39,280 Speaker 3: jobs for Chanel and people like you know, like it's 1213 01:00:39,400 --> 01:00:43,240 Speaker 3: provoked other things. So cool. So I think that it's important. 1214 01:00:43,520 --> 01:00:45,800 Speaker 3: But you know what I find at my age, you know, 1215 01:00:45,960 --> 01:00:48,120 Speaker 3: is that you've just got to try and maintain that 1216 01:00:48,200 --> 01:00:51,320 Speaker 3: sort of enthusiasm which you know, like I'm trying to 1217 01:00:51,320 --> 01:00:54,640 Speaker 3: conjure up my twenty five year old enthusiasm constantly. 1218 01:00:54,800 --> 01:00:57,960 Speaker 1: Well, I've always every time I've seen you. 1219 01:00:57,760 --> 01:00:59,880 Speaker 3: But I'd go nuts if I had nothing to do. 1220 01:01:00,680 --> 01:01:03,640 Speaker 2: Yeah, I feel you on Well, I can't wait till 1221 01:01:03,640 --> 01:01:05,200 Speaker 2: the next time I crossbars with you. 1222 01:01:05,440 --> 01:01:07,720 Speaker 1: It has been a joy today. Thank you so much. 1223 01:01:07,960 --> 01:01:11,640 Speaker 3: Thank you. Sorry, I probably no, You're perfect, carried on 1224 01:01:11,720 --> 01:01:13,440 Speaker 3: a lot. Thank you. 1225 01:01:15,840 --> 01:01:21,480 Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always, 1226 01:01:21,640 --> 01:01:25,000 Speaker 2: thank you to our guests, and let's continue the conversation 1227 01:01:25,160 --> 01:01:26,000 Speaker 2: on Instagram. 1228 01:01:26,560 --> 01:01:31,720 Speaker 1: I'm at Yamo Lollerberry. This potty my word for podcast 1229 01:01:32,240 --> 01:01:34,800 Speaker 1: is available on all streaming platforms. 1230 01:01:35,280 --> 01:01:38,280 Speaker 2: I'd love it if you could subscribe, rate and comment, 1231 01:01:38,520 --> 01:01:40,400 Speaker 2: and of course spread the love.