1 00:00:02,360 --> 00:00:07,760 Speaker 1: Get a I'm Lola Berry, nutritionist, author, actor, TV presenter 2 00:00:08,039 --> 00:00:14,000 Speaker 1: and professional oversharer. This podcast is all about celebrating failure 3 00:00:14,520 --> 00:00:17,160 Speaker 1: because I believe it's a chance for us to learn, 4 00:00:17,720 --> 00:00:22,119 Speaker 1: grow and face our blind spots. Each week I'll interview 5 00:00:22,200 --> 00:00:26,080 Speaker 1: a different guest about their highs as well as their lows, 6 00:00:26,160 --> 00:00:29,760 Speaker 1: all in a bid to inspire us to fearlessly fail. 7 00:00:33,920 --> 00:00:34,800 Speaker 2: Hello their gang. 8 00:00:35,280 --> 00:00:38,840 Speaker 1: Today we have a wonderful actor jumping on the pod, 9 00:00:38,920 --> 00:00:41,720 Speaker 1: Damon Harryman. This is actually the second time he's been 10 00:00:41,760 --> 00:00:44,239 Speaker 1: on the pod, and you'll hear I've already held him to. 11 00:00:44,240 --> 00:00:46,800 Speaker 2: A third time on the pod. 12 00:00:47,520 --> 00:00:51,000 Speaker 1: Damon is such a sweet soul, so giving of his 13 00:00:51,600 --> 00:00:55,880 Speaker 1: not only time, but just he's so open and warm 14 00:00:56,000 --> 00:00:59,160 Speaker 1: and incredibly humble and he will share any part of 15 00:00:59,160 --> 00:01:03,360 Speaker 1: the acting journey. So for any creative or artist, this 16 00:01:03,400 --> 00:01:06,399 Speaker 1: episode is few. And if you're in Australia, he is 17 00:01:06,520 --> 00:01:09,760 Speaker 1: in a play. It's called Art Art the Play and 18 00:01:09,840 --> 00:01:13,959 Speaker 1: it's going Malves, Sydney, Brizzy and Adelaide and that's where 19 00:01:14,040 --> 00:01:17,280 Speaker 1: Damon's from. But if you're in Sydney, the opening night 20 00:01:17,360 --> 00:01:19,800 Speaker 1: is feb tenth, so just around the corner, so snap 21 00:01:19,920 --> 00:01:22,920 Speaker 1: up your tickets. It looks like such a hilarious play. 22 00:01:22,959 --> 00:01:25,560 Speaker 1: It's a quickie. It runs for ninety minutes, so do 23 00:01:25,600 --> 00:01:28,520 Speaker 1: yourself a favor. It's touring those cities. It's going to 24 00:01:28,560 --> 00:01:31,520 Speaker 1: be so funny. And Damon, thank you so much for 25 00:01:31,600 --> 00:01:34,280 Speaker 1: jumping back on the Potteroony. Can't wait for the next one. 26 00:01:35,400 --> 00:01:39,000 Speaker 1: Welcome back to the pot Damon Harryman, thank you for 27 00:01:39,080 --> 00:01:39,960 Speaker 1: saying yes again. 28 00:01:40,040 --> 00:01:42,319 Speaker 3: It's nice to be back. I'd feel like you're going 29 00:01:42,360 --> 00:01:43,400 Speaker 3: to be sick of me at this rate. 30 00:01:43,560 --> 00:01:46,160 Speaker 1: Never never, I was thinking as I was preparing for this, 31 00:01:46,200 --> 00:01:47,160 Speaker 1: I was like, we should have a rule. 32 00:01:47,200 --> 00:01:49,080 Speaker 2: Every eighteen months, you have to jump back on the. 33 00:01:49,080 --> 00:01:51,480 Speaker 3: Pot jump back on and fill you in. Okay, well 34 00:01:51,480 --> 00:01:53,920 Speaker 3: that gives me like an incentive to work in the meantime. 35 00:01:53,920 --> 00:01:55,040 Speaker 3: So I've got something to talk about. 36 00:01:55,120 --> 00:01:57,520 Speaker 1: Do you know You've been described as one of Australia's 37 00:01:57,600 --> 00:02:01,559 Speaker 1: most prolific actors. And I thought, well, hang on, since 38 00:02:01,800 --> 00:02:03,760 Speaker 1: last time we spoke it was around the release of 39 00:02:03,800 --> 00:02:06,440 Speaker 1: Bike Riders, and so I was like, well, I better 40 00:02:06,480 --> 00:02:10,760 Speaker 1: soak up all the content between then and now. So 41 00:02:10,800 --> 00:02:16,480 Speaker 1: we met on June eleventh, eighteen months ago, and now 42 00:02:16,600 --> 00:02:19,119 Speaker 1: so in the last kind of like chunk of time. 43 00:02:19,160 --> 00:02:20,960 Speaker 1: In the last week or two, I've watched all of 44 00:02:21,000 --> 00:02:25,120 Speaker 1: the Bondsmen. How fun, a lot of fun, great accents 45 00:02:26,000 --> 00:02:27,360 Speaker 1: and great cowboy hat. 46 00:02:27,880 --> 00:02:29,720 Speaker 4: It was a look, wasn't it. It was a hell 47 00:02:29,760 --> 00:02:30,160 Speaker 4: of a look. 48 00:02:30,720 --> 00:02:33,160 Speaker 2: Only your character had that esthetic. 49 00:02:33,320 --> 00:02:34,639 Speaker 4: Yes, wow, yes, yes. 50 00:02:34,960 --> 00:02:40,080 Speaker 1: And then on the plane I watched together, Oh my goodness, 51 00:02:40,080 --> 00:02:42,079 Speaker 1: and then better man, there's so much great stuff. You've 52 00:02:42,120 --> 00:02:45,160 Speaker 1: just finished sitting with kept Chris Emsworth that was on. 53 00:02:45,040 --> 00:02:47,600 Speaker 4: The That's a film called Subversion. 54 00:02:47,680 --> 00:02:50,280 Speaker 3: I actually don't work with Chris directly, and he's the lead, 55 00:02:50,280 --> 00:02:52,880 Speaker 3: but also Lily James is the lead, and Lily James 56 00:02:52,880 --> 00:02:53,880 Speaker 3: and I worked a lot together. 57 00:02:54,120 --> 00:02:54,800 Speaker 4: She's lovely. 58 00:02:56,120 --> 00:02:59,399 Speaker 3: And that's a big sort of action thrillery submarine movie 59 00:03:00,480 --> 00:03:02,960 Speaker 3: as well Greenland, but all set in America. So it's 60 00:03:02,960 --> 00:03:05,639 Speaker 3: one of those ones where the Americans come over here 61 00:03:05,680 --> 00:03:08,760 Speaker 3: and which is a good thing. Hopefully they keep doing 62 00:03:08,840 --> 00:03:11,200 Speaker 3: doing that because it's great for our industry. 63 00:03:12,440 --> 00:03:12,639 Speaker 4: Well. 64 00:03:12,680 --> 00:03:14,040 Speaker 1: And the cool thing is you've got a little bit 65 00:03:14,080 --> 00:03:16,960 Speaker 1: of locked in Australian time now because I do of 66 00:03:17,040 --> 00:03:20,920 Speaker 1: the play art. Okay, so I've done a little deep dive, funny, 67 00:03:21,120 --> 00:03:22,320 Speaker 1: snappy ninety minutes. 68 00:03:22,440 --> 00:03:23,800 Speaker 4: Yes, you play Surge. 69 00:03:24,680 --> 00:03:29,800 Speaker 1: So is the premise essentially you buy a white painting, 70 00:03:30,080 --> 00:03:30,919 Speaker 1: white piece of art. 71 00:03:31,000 --> 00:03:34,119 Speaker 3: Yes, So it's basically the setup is you meet these 72 00:03:34,200 --> 00:03:39,480 Speaker 3: three friends friends for fifteen years, type buddies, and one 73 00:03:39,520 --> 00:03:42,080 Speaker 3: of them, who I play Surge, is a bit of 74 00:03:42,120 --> 00:03:45,480 Speaker 3: a bit of a snob. He buys and is very 75 00:03:45,520 --> 00:03:50,000 Speaker 3: proud of the purchase of a large square painting that 76 00:03:50,120 --> 00:03:53,160 Speaker 3: is essentially just white. I mean, he's obsessed with it 77 00:03:53,200 --> 00:03:55,160 Speaker 3: not being white, and he keeps arguing it's not white. 78 00:03:55,160 --> 00:03:56,320 Speaker 4: But the audience, this is where a. 79 00:03:56,320 --> 00:03:58,240 Speaker 3: Lot of the human comes from, the audience can see 80 00:03:58,280 --> 00:04:00,640 Speaker 3: that it is white, but he's like, there is a 81 00:04:00,640 --> 00:04:03,560 Speaker 3: little red in there, there's some gray, there are some lines, 82 00:04:04,120 --> 00:04:05,400 Speaker 3: and basically it's that thing. 83 00:04:05,320 --> 00:04:07,080 Speaker 4: Of going you just don't get it, You just don't 84 00:04:07,120 --> 00:04:07,440 Speaker 4: get it. 85 00:04:07,880 --> 00:04:10,280 Speaker 3: And what's so clever about the play is you kind 86 00:04:10,280 --> 00:04:13,560 Speaker 3: of realize when you've read it a couple of times, 87 00:04:14,600 --> 00:04:17,200 Speaker 3: it's in this particular play, it's about a friendship falling 88 00:04:17,200 --> 00:04:20,599 Speaker 3: apart over this, over the egos and so forth around 89 00:04:21,600 --> 00:04:25,359 Speaker 3: you know, taste and someone's choice, someone's life choice. In 90 00:04:25,400 --> 00:04:27,400 Speaker 3: this case it's this white painting, but it could be 91 00:04:28,279 --> 00:04:29,839 Speaker 3: you know, a car someone bought like it. 92 00:04:29,880 --> 00:04:32,240 Speaker 4: Spent too much money on it. Could it could be 93 00:04:32,279 --> 00:04:32,880 Speaker 4: a new part. 94 00:04:33,040 --> 00:04:35,000 Speaker 3: They could be your mate's new girlfriend that you're like, 95 00:04:35,120 --> 00:04:38,240 Speaker 3: I just I don't I don't like her. I'm gonna 96 00:04:38,240 --> 00:04:39,920 Speaker 3: be hon I don't like And then what that can 97 00:04:39,960 --> 00:04:43,520 Speaker 3: do because it essentially no one likes to be told 98 00:04:43,560 --> 00:04:43,960 Speaker 3: that their. 99 00:04:43,839 --> 00:04:47,400 Speaker 4: Taste is bad, no matter what the taste. Yeah. 100 00:04:47,480 --> 00:04:52,679 Speaker 3: Yeah, So it's a really funny, clever play just watching 101 00:04:52,680 --> 00:04:53,839 Speaker 3: this friendship disintegrate. 102 00:04:54,400 --> 00:04:56,800 Speaker 1: And it's because we've seen you a lot on screens, 103 00:04:56,880 --> 00:04:59,600 Speaker 1: like whether it be film or tally ten years since 104 00:04:59,640 --> 00:05:01,159 Speaker 1: you've been in a theater. 105 00:05:01,360 --> 00:05:01,680 Speaker 4: It is. 106 00:05:01,720 --> 00:05:02,560 Speaker 2: How does that feel? 107 00:05:02,920 --> 00:05:07,520 Speaker 3: It's a little bit terrifying, but it's exciting. I mean, 108 00:05:07,720 --> 00:05:10,159 Speaker 3: I feel like I've been wanting to do a play 109 00:05:10,160 --> 00:05:12,440 Speaker 3: in the last ten years. It's just that either the 110 00:05:12,520 --> 00:05:15,080 Speaker 3: right thing hasn't come along or I've been busy. 111 00:05:15,720 --> 00:05:16,839 Speaker 4: And then when this came along. 112 00:05:16,920 --> 00:05:19,440 Speaker 3: I remember seeing this play when it first was done 113 00:05:19,480 --> 00:05:22,640 Speaker 3: in Australia about twenty five years ago, and I loved 114 00:05:22,680 --> 00:05:26,640 Speaker 3: it then, so immediately my interest was there. When they said, 115 00:05:26,680 --> 00:05:29,320 Speaker 3: you know it fits the playout, I was like, oh god, 116 00:05:29,400 --> 00:05:31,920 Speaker 3: I love that play. I remember laughing my head off 117 00:05:32,320 --> 00:05:35,080 Speaker 3: and then I read it and was reminded of how 118 00:05:35,160 --> 00:05:37,440 Speaker 3: good it is, how funny it is, how fun this 119 00:05:37,600 --> 00:05:38,080 Speaker 3: role is. 120 00:05:38,520 --> 00:05:40,360 Speaker 4: And then I hear that Richard Rocksbury's. 121 00:05:39,960 --> 00:05:42,640 Speaker 3: Going to be in it soon after that, Ryan Core, 122 00:05:42,800 --> 00:05:46,880 Speaker 3: I'm like, Okay, there's no excuse you can't say, you guys, 123 00:05:46,920 --> 00:05:47,800 Speaker 3: say no to this. 124 00:05:47,520 --> 00:05:48,760 Speaker 4: This is too good to be true. 125 00:05:48,960 --> 00:05:51,240 Speaker 1: Well, also, it feels like, because I've watched a lot 126 00:05:51,279 --> 00:05:52,880 Speaker 1: of the press that you've already done and I know 127 00:05:52,880 --> 00:05:55,760 Speaker 1: you're going into a photo shoot straight after this for it, 128 00:05:55,760 --> 00:05:58,400 Speaker 1: it feels like you're actually all genuinely mates and get 129 00:05:58,400 --> 00:06:01,640 Speaker 1: on really well in real life, which I imagine only 130 00:06:01,720 --> 00:06:03,240 Speaker 1: makes the job more joyful. One. 131 00:06:05,080 --> 00:06:06,880 Speaker 3: You know, ask me again, at the end of the tour, 132 00:06:07,040 --> 00:06:08,520 Speaker 3: We're going to be doing this for about six months, 133 00:06:08,560 --> 00:06:10,599 Speaker 3: so we may hate each other by then, but at 134 00:06:10,600 --> 00:06:14,360 Speaker 3: this point we do like each other a lot. And yeah, 135 00:06:14,640 --> 00:06:18,560 Speaker 3: we've all known each other to varying degrees over the 136 00:06:18,640 --> 00:06:23,120 Speaker 3: last ten or so years and or probably even longer actually, 137 00:06:23,160 --> 00:06:25,480 Speaker 3: And so yeah, I think that does help, especially when 138 00:06:25,480 --> 00:06:27,239 Speaker 3: you're playing three really tight friends. 139 00:06:27,360 --> 00:06:29,760 Speaker 4: Yeah, you just don't need. 140 00:06:29,600 --> 00:06:32,040 Speaker 3: To have that kind of you know, easing into it 141 00:06:32,080 --> 00:06:34,279 Speaker 3: period that you would normally have of getting to know someone, 142 00:06:34,320 --> 00:06:36,480 Speaker 3: We're going to be We're going to be completely comfortable 143 00:06:36,520 --> 00:06:37,040 Speaker 3: day one. 144 00:06:37,160 --> 00:06:37,679 Speaker 4: How good. 145 00:06:38,279 --> 00:06:40,080 Speaker 1: And I feel like all three of you have come 146 00:06:40,120 --> 00:06:42,679 Speaker 1: from different kind of like you've all have such great 147 00:06:42,839 --> 00:06:45,920 Speaker 1: career wins, and then to come together like three greats. 148 00:06:46,360 --> 00:06:48,279 Speaker 1: I feel like it'd be so well because at the 149 00:06:48,279 --> 00:06:50,719 Speaker 1: moment when I was researching, I saw it's on Broadway 150 00:06:50,800 --> 00:06:53,840 Speaker 1: right now and the cast is like super I think 151 00:06:53,920 --> 00:06:54,920 Speaker 1: James Corden's. 152 00:06:54,920 --> 00:06:57,560 Speaker 3: Cordon Bobby kind of and Neil Patrick Harris are in 153 00:06:57,600 --> 00:06:57,840 Speaker 3: that one. 154 00:06:57,920 --> 00:07:02,080 Speaker 1: Yeah, like strong, strong, This is pretty darn exciting. And 155 00:07:02,120 --> 00:07:03,839 Speaker 1: you get to go home as well. You'll be going 156 00:07:03,920 --> 00:07:04,960 Speaker 1: during Adelaide as well. 157 00:07:04,960 --> 00:07:05,320 Speaker 4: That's right. 158 00:07:05,320 --> 00:07:07,760 Speaker 3: That was another big That was another big incentive as well, 159 00:07:07,760 --> 00:07:08,840 Speaker 3: because I'm from Adelaide. 160 00:07:08,839 --> 00:07:10,800 Speaker 4: My mum and dad are there, a lot of. 161 00:07:10,720 --> 00:07:13,880 Speaker 3: My family and friends are still there, and so you know, 162 00:07:13,960 --> 00:07:15,960 Speaker 3: doing a play that tours who Adelaide, I haven't done 163 00:07:15,960 --> 00:07:18,960 Speaker 3: that since my twenties, So that that was, Yeah, it's 164 00:07:19,000 --> 00:07:22,440 Speaker 3: going to Melbourne's going to Brisbane, and just yeah, the 165 00:07:22,440 --> 00:07:25,000 Speaker 3: whole idea of doing a tour of a funny play 166 00:07:25,080 --> 00:07:27,080 Speaker 3: with that, with that, you know, the two actors who 167 00:07:27,160 --> 00:07:28,440 Speaker 3: I really respect. 168 00:07:28,040 --> 00:07:32,240 Speaker 4: And enjoy being around. Yeah, I'm genuinely excited. 169 00:07:32,480 --> 00:07:34,040 Speaker 2: I'm for you. 170 00:07:34,480 --> 00:07:37,840 Speaker 1: Okay, So I must admit before I watched together, I 171 00:07:37,880 --> 00:07:41,640 Speaker 1: was a little scared. I find horrors a little bit scary. 172 00:07:41,760 --> 00:07:43,680 Speaker 1: Like I'm that person that like has to watch it 173 00:07:43,760 --> 00:07:50,160 Speaker 1: through their hands. It's incredible you played Jamie yep, and 174 00:07:50,920 --> 00:07:54,240 Speaker 1: oh my goodness, your character arc at this as a 175 00:07:54,320 --> 00:07:56,960 Speaker 1: story unfolds. I was like, no, I did not beg 176 00:07:57,080 --> 00:07:59,520 Speaker 1: this when you're like such a sweetie pouring a teat 177 00:07:59,560 --> 00:08:00,440 Speaker 1: like poor your tea. 178 00:08:00,480 --> 00:08:03,040 Speaker 4: At the very I'm a sweetie the whole time. Spoiler at. 179 00:08:05,280 --> 00:08:07,880 Speaker 3: Jamie is a nice guy. He just made some interesting 180 00:08:07,920 --> 00:08:13,119 Speaker 3: life choice. Yeah, that was That was so much fun. 181 00:08:13,880 --> 00:08:14,160 Speaker 4: It was. 182 00:08:14,600 --> 00:08:16,760 Speaker 3: I mean, Allison Brie and Dave Franco are the leads 183 00:08:16,800 --> 00:08:18,840 Speaker 3: in it, and they were just the loveliest produced it 184 00:08:18,880 --> 00:08:21,840 Speaker 3: as well. They did, and Michael, I mean for a 185 00:08:21,920 --> 00:08:23,680 Speaker 3: lot of people that realized it's an Australian film, I 186 00:08:23,720 --> 00:08:26,480 Speaker 3: mean it's set in America and that's really because Dave 187 00:08:26,480 --> 00:08:30,480 Speaker 3: Franco and Alison Breed came on board. But it is 188 00:08:30,520 --> 00:08:33,040 Speaker 3: an Australian film in every other sense. Michael Shanks, writer 189 00:08:33,160 --> 00:08:37,679 Speaker 3: director from Melbourne. Yeah, it's it's so impressive. I think 190 00:08:37,679 --> 00:08:39,640 Speaker 3: it's such a great idea for a start, but also 191 00:08:39,840 --> 00:08:43,080 Speaker 3: just so brilliantly, brilliantly made. 192 00:08:43,480 --> 00:08:46,760 Speaker 4: The filmmaking is fa it's so good, and it was. 193 00:08:46,840 --> 00:08:47,760 Speaker 4: It was a lot of fun. It was. 194 00:08:47,800 --> 00:08:49,440 Speaker 3: It was one of those ones too as an actor 195 00:08:49,480 --> 00:08:52,600 Speaker 3: where you just you read it and you're like, I 196 00:08:52,600 --> 00:08:54,000 Speaker 3: really want to do this and it's going to work out. 197 00:08:54,000 --> 00:08:56,280 Speaker 3: And then the dates clashed with The Bondsman actually, and 198 00:08:56,559 --> 00:09:00,560 Speaker 3: I was I was going to be in Atlanta filming Bondsman, 199 00:09:01,040 --> 00:09:03,520 Speaker 3: and they were like, well, we didn't need five days 200 00:09:03,559 --> 00:09:05,120 Speaker 3: to shoot this thing, but it's going to be five 201 00:09:05,200 --> 00:09:06,520 Speaker 3: days over two and a half weeks. 202 00:09:06,800 --> 00:09:07,000 Speaker 1: Wow. 203 00:09:07,200 --> 00:09:10,640 Speaker 3: And amazingly, between the two productions they were able to 204 00:09:10,640 --> 00:09:13,400 Speaker 3: do five days in a row. So I was in Atlanta, 205 00:09:13,480 --> 00:09:16,040 Speaker 3: I flew back to Melbourne the next day I was filming, 206 00:09:16,080 --> 00:09:18,280 Speaker 3: and then five days straight filming and then back to Atlanta. 207 00:09:18,360 --> 00:09:22,360 Speaker 4: It was crazy. It was crazy, but so glad I 208 00:09:22,360 --> 00:09:22,840 Speaker 4: got to do it. 209 00:09:22,920 --> 00:09:26,040 Speaker 1: Oh my goodness, and it was such a joy to watch. 210 00:09:26,080 --> 00:09:28,040 Speaker 1: I have to say as well, like having seen it 211 00:09:28,200 --> 00:09:31,920 Speaker 1: and you play quite like you're in it, I would say. 212 00:09:31,960 --> 00:09:34,000 Speaker 1: One of lead cast and to say it's fight you 213 00:09:34,120 --> 00:09:37,040 Speaker 1: shot for five days over to Yeah, that's incredible, that's 214 00:09:37,200 --> 00:09:39,520 Speaker 1: very it feels very express. 215 00:09:39,760 --> 00:09:42,319 Speaker 4: It was express. Yeah, it was five days in a row. 216 00:09:42,360 --> 00:09:45,160 Speaker 3: So basically, yes, every day all they were shooting were 217 00:09:45,240 --> 00:09:48,200 Speaker 3: Jamie seen four or five days straight legends. 218 00:09:48,760 --> 00:09:50,160 Speaker 4: And yeah, it was. 219 00:09:50,240 --> 00:09:52,480 Speaker 3: I mean I remember beforehand thinking, gee, I get pretty 220 00:09:52,520 --> 00:09:55,080 Speaker 3: bad jet leg what if I'm just on set, you know, 221 00:09:55,400 --> 00:09:58,960 Speaker 3: like swimming sort of through a cloud of quicksand you 222 00:09:59,000 --> 00:10:04,120 Speaker 3: know that jet laggy feeling. But weirdly, I think the 223 00:10:04,200 --> 00:10:06,760 Speaker 3: jet lag sort of helped I was. I remember being 224 00:10:06,800 --> 00:10:09,680 Speaker 3: on set going, I think my body is so tired, 225 00:10:09,720 --> 00:10:12,360 Speaker 3: but my brain is so alert because it has to be. 226 00:10:13,160 --> 00:10:16,160 Speaker 3: But it was kind of put me into a sort 227 00:10:16,160 --> 00:10:19,360 Speaker 3: of a relaxed state that I was with it. Yeah, 228 00:10:19,440 --> 00:10:20,360 Speaker 3: I didn't mind. 229 00:10:20,120 --> 00:10:22,920 Speaker 2: It, which kind of suits Jamie's character does. It's like 230 00:10:23,000 --> 00:10:25,280 Speaker 2: a real relaxness to Jamie exactly. 231 00:10:25,280 --> 00:10:26,880 Speaker 3: If I had to do something like super hyper, it 232 00:10:26,920 --> 00:10:28,000 Speaker 3: might have been a bit tricky. 233 00:10:28,160 --> 00:10:32,840 Speaker 1: Yeah, I'm it's I'm on l a time. I arrived yesterday, 234 00:10:32,840 --> 00:10:34,719 Speaker 1: so it's like three pm in the afternoon right now. 235 00:10:34,720 --> 00:10:38,880 Speaker 2: But again, just with it, just for rolling. Here's here's 236 00:10:38,880 --> 00:10:39,319 Speaker 2: what I think. 237 00:10:39,360 --> 00:10:40,800 Speaker 1: And I wonder if you feel the same, because I 238 00:10:40,840 --> 00:10:43,280 Speaker 1: know you do a lot of Los Angeles and Sydney 239 00:10:43,360 --> 00:10:45,680 Speaker 1: is kind of the two homes and bases for you. Yep, 240 00:10:46,160 --> 00:10:48,640 Speaker 1: you got to say no to the booze before you fly. 241 00:10:48,920 --> 00:10:49,600 Speaker 1: That's the trick. 242 00:10:49,760 --> 00:10:51,760 Speaker 2: None of the lounge whiskeys or wines. 243 00:10:52,120 --> 00:10:55,040 Speaker 4: Yeah, ok, yes, no, of course I agree completely. 244 00:10:56,280 --> 00:10:58,360 Speaker 2: I think because I've made the mistake of being in 245 00:10:58,400 --> 00:10:58,880 Speaker 2: the lounge. 246 00:10:58,920 --> 00:11:04,240 Speaker 4: I mean like, oh, this is free. Look, you're correct, 247 00:11:04,640 --> 00:11:07,520 Speaker 4: you definitely correct. Do I do that? No? 248 00:11:07,520 --> 00:11:09,559 Speaker 2: No, because I get because I let you be like, no, 249 00:11:09,640 --> 00:11:10,240 Speaker 2: I'm locking in. 250 00:11:10,640 --> 00:11:13,520 Speaker 3: No, I succumb to the I'm like, oh, just a 251 00:11:13,520 --> 00:11:18,440 Speaker 3: little champagne. I love a champagne. Yeah, I agree. I 252 00:11:18,480 --> 00:11:20,839 Speaker 3: know it's the science says it's a bad idea, but 253 00:11:21,400 --> 00:11:21,880 Speaker 3: I don't get. 254 00:11:22,120 --> 00:11:23,720 Speaker 4: I definitely never get smashed on a plane. 255 00:11:24,000 --> 00:11:25,760 Speaker 3: I think that's about I think that's a really bad 256 00:11:25,800 --> 00:11:28,559 Speaker 3: idea in terms of recovering. 257 00:11:28,120 --> 00:11:29,680 Speaker 1: Because then you get hung over on it. It's the 258 00:11:29,679 --> 00:11:31,960 Speaker 1: flight so long that you wake up and feel terrible. 259 00:11:32,000 --> 00:11:32,920 Speaker 4: No, no, no, yeah. 260 00:11:33,000 --> 00:11:36,320 Speaker 3: I think what I've started doing recently, and it's actually 261 00:11:36,480 --> 00:11:38,520 Speaker 3: it kind of works, is two or three days before 262 00:11:38,600 --> 00:11:42,160 Speaker 3: leaving either place, is I start adjusting to the hours 263 00:11:42,200 --> 00:11:46,079 Speaker 3: of the other place. So if it's you know, if 264 00:11:46,080 --> 00:11:50,800 Speaker 3: it's uh at midnight in one place and seven pm 265 00:11:50,800 --> 00:11:52,679 Speaker 3: in the other, I go, okay, I'm going to be 266 00:11:52,720 --> 00:11:54,600 Speaker 3: there soon. I'll try and go to bed earlier tonight 267 00:11:54,679 --> 00:11:56,679 Speaker 3: so it's closer to their time, and then I'll get 268 00:11:56,720 --> 00:11:57,439 Speaker 3: up at whatever it. 269 00:11:57,360 --> 00:11:59,360 Speaker 4: Happens to be. And it does help. 270 00:11:59,400 --> 00:12:01,960 Speaker 3: It just just putting you in rather than it being 271 00:12:02,080 --> 00:12:03,959 Speaker 3: like a direct sudden change. 272 00:12:03,720 --> 00:12:04,400 Speaker 4: Of body clock. 273 00:12:05,400 --> 00:12:06,960 Speaker 1: I think that's a good little tip out there. You 274 00:12:06,960 --> 00:12:08,520 Speaker 1: know there's apps for that too, but you're doing it 275 00:12:08,559 --> 00:12:09,040 Speaker 1: on your own. 276 00:12:09,040 --> 00:12:11,839 Speaker 4: I love it. Don't waste time with the apps. I've 277 00:12:12,040 --> 00:12:13,800 Speaker 4: given you a brilliant advice. 278 00:12:14,480 --> 00:12:18,400 Speaker 1: Okay, So can we talk The Bondsman. What a fun show. 279 00:12:19,160 --> 00:12:20,800 Speaker 1: I have a theory and I could be wrong. When 280 00:12:20,800 --> 00:12:22,960 Speaker 1: we spoke we time. 281 00:12:23,080 --> 00:12:26,360 Speaker 2: I remember we recorded the Bike Riders. 282 00:12:26,040 --> 00:12:28,160 Speaker 1: Like right before the we had to hold it for 283 00:12:28,200 --> 00:12:32,160 Speaker 1: the Australian release, right, So, and you were and we 284 00:12:32,160 --> 00:12:34,000 Speaker 1: were talking about dialects in it, and You're like, oh, 285 00:12:34,000 --> 00:12:36,160 Speaker 1: I'm actually working on a dialect right now. And I 286 00:12:36,200 --> 00:12:39,320 Speaker 1: was like, now, watching The Bondsman, I wonder if that 287 00:12:39,440 --> 00:12:41,640 Speaker 1: was the dialect because it was about eighteen months ago. 288 00:12:41,760 --> 00:12:44,800 Speaker 2: It probably was because you have a really cool accent. 289 00:12:44,880 --> 00:12:48,600 Speaker 3: It's it's a it's a Boston accent. The character is 290 00:12:48,600 --> 00:12:51,840 Speaker 3: there is an ex mobster, gangster guy from Boston who's 291 00:12:51,880 --> 00:12:55,439 Speaker 3: now living Where was I living then? In somewhere in 292 00:12:55,440 --> 00:12:59,880 Speaker 3: the South, I can't remember, George, George. That was like, 293 00:13:00,160 --> 00:13:03,120 Speaker 3: I like doing accents, and I feel like it's one 294 00:13:03,120 --> 00:13:05,120 Speaker 3: thing I have a bit of an ear for. But 295 00:13:05,160 --> 00:13:06,640 Speaker 3: that was a hard one. That was a hard one 296 00:13:06,640 --> 00:13:10,120 Speaker 3: because it's it's not one. It's so to my ear, 297 00:13:10,200 --> 00:13:12,320 Speaker 3: it's so close to a New Yorky kind of sound 298 00:13:12,520 --> 00:13:14,720 Speaker 3: that you know, because you're thinking gangster and you goat 299 00:13:14,760 --> 00:13:17,280 Speaker 3: and your and to me, it's a real there's a 300 00:13:17,280 --> 00:13:21,200 Speaker 3: real crossover. So look, I think I got It's funny. 301 00:13:21,440 --> 00:13:24,160 Speaker 3: There were a couple of reviews that said that that 302 00:13:24,240 --> 00:13:26,760 Speaker 3: Damien Herriman's boss and accent is not good, except in 303 00:13:26,800 --> 00:13:29,600 Speaker 3: the Boston newspaper it got the accent got a good review. 304 00:13:30,520 --> 00:13:32,199 Speaker 3: I just wanted to grab that review and said it 305 00:13:32,280 --> 00:13:35,640 Speaker 3: to all the other ones going your Boston accent was terrible. 306 00:13:35,800 --> 00:13:38,600 Speaker 2: That if a true boss. 307 00:13:38,640 --> 00:13:39,640 Speaker 4: Now that's what I was going with. 308 00:13:39,720 --> 00:13:41,640 Speaker 1: Yet I also loved that your character was obsessed with 309 00:13:41,640 --> 00:13:43,520 Speaker 1: the Red Sox, and like there are all these fun 310 00:13:43,559 --> 00:13:47,320 Speaker 1: little like nuances as you know, a lot of like 311 00:13:47,400 --> 00:13:50,160 Speaker 1: actors listen to this part. Do you work with dialect 312 00:13:50,200 --> 00:13:52,559 Speaker 1: coaches when a job or an audition like that comes 313 00:13:52,559 --> 00:13:53,200 Speaker 1: across along? 314 00:13:53,360 --> 00:13:56,280 Speaker 3: Certainly for an accent that I don't know well, if 315 00:13:56,320 --> 00:13:57,640 Speaker 3: I don't know it at all, or if I don't 316 00:13:57,640 --> 00:13:58,720 Speaker 3: know it well one hundred percent. 317 00:13:58,760 --> 00:13:59,559 Speaker 4: I mean, on a show like. 318 00:13:59,520 --> 00:14:02,200 Speaker 3: That, they get you a dialect coach anyway, and they 319 00:14:02,240 --> 00:14:03,880 Speaker 3: had a dialect coach who was also there for the 320 00:14:03,880 --> 00:14:07,000 Speaker 3: other cast to do Southern, so they were actually working 321 00:14:07,000 --> 00:14:09,679 Speaker 3: with everybody. But if it's just a standard American job 322 00:14:09,760 --> 00:14:11,800 Speaker 3: or whatever, I've done that so many times now that 323 00:14:11,880 --> 00:14:14,959 Speaker 3: I don't need to or even even generally, you know, 324 00:14:15,080 --> 00:14:18,720 Speaker 3: unless it was a British year, or again, unless it 325 00:14:18,800 --> 00:14:23,680 Speaker 3: was like I did have a dialect coach on Better 326 00:14:23,680 --> 00:14:26,640 Speaker 3: Man because of that was a like a particular accent 327 00:14:27,080 --> 00:14:29,920 Speaker 3: that was kind of a Manchester mix with something else. 328 00:14:29,960 --> 00:14:32,920 Speaker 3: It was specific to that guy. So again I don't 329 00:14:32,920 --> 00:14:34,520 Speaker 3: want to try and guess that stuff. But if it's 330 00:14:34,520 --> 00:14:38,280 Speaker 3: stuff I've done before, then you know, and I feel 331 00:14:38,320 --> 00:14:41,120 Speaker 3: like it's still in my head, then yeah, I don't 332 00:14:41,120 --> 00:14:41,800 Speaker 3: worry about it. 333 00:14:42,040 --> 00:14:44,680 Speaker 1: I have a theory that an Aussie finds it easier 334 00:14:44,720 --> 00:14:47,480 Speaker 1: to do a Southern than say, like a Boston accent. 335 00:14:47,600 --> 00:14:48,960 Speaker 1: Like I feel like when you would have read all 336 00:14:49,000 --> 00:14:52,600 Speaker 1: the like the Southern draws on that show, which is 337 00:14:52,640 --> 00:14:54,560 Speaker 1: so fun for our ear to listen to, I feel 338 00:14:54,600 --> 00:14:56,720 Speaker 1: like it's easier for us to kind of like lean into. 339 00:14:56,960 --> 00:14:58,880 Speaker 4: I agree, And I don't know why that is. 340 00:14:59,120 --> 00:15:03,080 Speaker 3: I think maybe it's because some of the Southern words 341 00:15:03,120 --> 00:15:06,400 Speaker 3: sound like there are a few Southern words which you'll 342 00:15:06,400 --> 00:15:08,680 Speaker 3: hear and you go, that's pretty much how in Australian 343 00:15:08,720 --> 00:15:09,320 Speaker 3: would say that. 344 00:15:09,440 --> 00:15:12,240 Speaker 2: And it's so fun that so like the melody is so. 345 00:15:12,280 --> 00:15:16,560 Speaker 3: Much like I think meat, like meat, meat, Like a Southerner, 346 00:15:16,600 --> 00:15:20,200 Speaker 3: we go meat and that's like almost assi mete, you 347 00:15:20,200 --> 00:15:20,760 Speaker 3: know meat. 348 00:15:20,960 --> 00:15:22,720 Speaker 4: I like eating meat. I like eating meat. 349 00:15:22,960 --> 00:15:26,320 Speaker 2: It's so far is my favorite. Any time I did 350 00:15:26,360 --> 00:15:28,440 Speaker 2: like a Tennessee Williams player, I'm like, yes, yeah, here 351 00:15:28,520 --> 00:15:28,800 Speaker 2: we go. 352 00:15:29,520 --> 00:15:33,400 Speaker 1: Okay, So just one thing on Bondsman, because again I 353 00:15:33,440 --> 00:15:36,760 Speaker 1: wasn't ready for the gore or no spoiler alert it's 354 00:15:36,800 --> 00:15:40,280 Speaker 1: fully out, so I can give a spoiler your death 355 00:15:40,360 --> 00:15:46,880 Speaker 1: scene my friend like it was mental and the way 356 00:15:47,040 --> 00:15:50,840 Speaker 1: like when I say mental scary and like very demonic, 357 00:15:51,000 --> 00:15:52,800 Speaker 1: which fits the show vibes. 358 00:15:53,440 --> 00:15:54,320 Speaker 2: Obviously there would have. 359 00:15:54,240 --> 00:15:56,120 Speaker 1: Been a lot of like special effects and whatnot in there, 360 00:15:56,120 --> 00:16:00,119 Speaker 1: but to tell the audience, you literally rip your pretty. 361 00:15:59,880 --> 00:16:03,000 Speaker 4: Much ripped my face open from the jaw down. 362 00:16:03,120 --> 00:16:08,600 Speaker 3: Yeah, like just these these this curse kind of upon 363 00:16:08,640 --> 00:16:10,640 Speaker 3: people where they put their hands in their own jaw 364 00:16:10,680 --> 00:16:11,760 Speaker 3: and pull their own jaw. 365 00:16:12,360 --> 00:16:13,480 Speaker 4: Sorry if you're eating your breakfast. 366 00:16:13,600 --> 00:16:17,240 Speaker 1: Yeah, but that was like a pretty for a way 367 00:16:17,280 --> 00:16:17,800 Speaker 1: to go out. 368 00:16:17,920 --> 00:16:20,440 Speaker 4: I was like, okay, yes, like of course. 369 00:16:20,760 --> 00:16:22,760 Speaker 3: You know, because when you're shooting it, you just do 370 00:16:22,880 --> 00:16:25,080 Speaker 3: the sort of mind you're pulled down part you don't 371 00:16:25,120 --> 00:16:26,440 Speaker 3: know how it's going to look, and then when seeing 372 00:16:26,480 --> 00:16:28,880 Speaker 3: it afterwards, like oh wow, that looks amazing. 373 00:16:29,320 --> 00:16:32,880 Speaker 1: And you're working with like you know, I'm a millennial. 374 00:16:32,960 --> 00:16:36,120 Speaker 1: So like Kevin Bacon, what a great like what a 375 00:16:36,160 --> 00:16:37,200 Speaker 1: fun person to work with? 376 00:16:37,280 --> 00:16:43,600 Speaker 3: Was he like lovely, lovely guy? And yeah he is, 377 00:16:43,720 --> 00:16:46,800 Speaker 3: so he is such a down to worth, unaffected guy. 378 00:16:47,440 --> 00:16:50,680 Speaker 3: Like for example, I knew someone who was working on 379 00:16:51,080 --> 00:16:53,120 Speaker 3: Take five with Zan Row, which is for those who 380 00:16:53,160 --> 00:16:55,120 Speaker 3: don't know, is in a show in Australia, a great 381 00:16:55,160 --> 00:16:58,120 Speaker 3: show where they speak to various people for half an 382 00:16:58,120 --> 00:17:00,600 Speaker 3: hour about their five five songs that mean the most 383 00:17:00,600 --> 00:17:02,240 Speaker 3: of them and they play them and they go over 384 00:17:02,240 --> 00:17:05,080 Speaker 3: them whatever. And I heard that they through my friend 385 00:17:05,080 --> 00:17:06,959 Speaker 3: that they really wanted Kevin Bacon because he's got this 386 00:17:07,200 --> 00:17:08,880 Speaker 3: very public persona. 387 00:17:08,560 --> 00:17:11,080 Speaker 4: About being in a band and loving music. 388 00:17:11,359 --> 00:17:17,600 Speaker 3: And and they said, any chance you could ask him 389 00:17:17,720 --> 00:17:20,000 Speaker 3: if he would do our show. I'm like, look, I ask. 390 00:17:20,080 --> 00:17:21,520 Speaker 3: I mean, I'm a fan of that show. So I 391 00:17:21,560 --> 00:17:22,800 Speaker 3: was like I was able to talk it up to. 392 00:17:22,840 --> 00:17:25,280 Speaker 4: Him, and he did it, you know, and I was like, 393 00:17:25,560 --> 00:17:26,240 Speaker 4: that's awesome. 394 00:17:26,280 --> 00:17:28,359 Speaker 3: And they went to New York and he kind of 395 00:17:28,400 --> 00:17:30,359 Speaker 3: set aside half a day to go in there and 396 00:17:30,400 --> 00:17:32,560 Speaker 3: do it. And the episode is excellent and he had 397 00:17:32,600 --> 00:17:34,560 Speaker 3: a great time. But you know, there would be a 398 00:17:34,600 --> 00:17:36,520 Speaker 3: lot of American actors in his position whould be like, 399 00:17:36,600 --> 00:17:39,560 Speaker 3: what do you mean, I'm not doing some Australian TV show? 400 00:17:39,720 --> 00:17:39,919 Speaker 4: You know? 401 00:17:40,040 --> 00:17:40,640 Speaker 2: I love it. 402 00:17:40,760 --> 00:17:42,159 Speaker 4: Yeah, he's great. 403 00:17:42,600 --> 00:17:46,159 Speaker 1: Now, you mentioned that you had a dialect coach on 404 00:17:46,280 --> 00:17:49,359 Speaker 1: Better Man, So you play Nigel, right, who's kind of like, 405 00:17:49,680 --> 00:17:53,080 Speaker 1: can I be real? Not super likable, not superable from 406 00:17:53,119 --> 00:17:57,600 Speaker 1: the show, but I imagine that you sit so beautifully in 407 00:17:58,080 --> 00:18:01,000 Speaker 1: Obviously you play a lot of villains, right, and I 408 00:18:01,000 --> 00:18:02,800 Speaker 1: imagine it's fun to kind of be a little bit 409 00:18:02,840 --> 00:18:05,480 Speaker 1: mean or like have that means And obviously in your 410 00:18:05,480 --> 00:18:08,439 Speaker 1: brain is a character. You're not mean, You're focused on 411 00:18:08,480 --> 00:18:12,000 Speaker 1: whatever your objective is. But that show like that would 412 00:18:12,000 --> 00:18:13,720 Speaker 1: be because it was all shot in Melbs. 413 00:18:13,480 --> 00:18:15,280 Speaker 4: Right it was. Yes, they shot. 414 00:18:15,480 --> 00:18:19,280 Speaker 3: There's an amazing sequence shot on Regent Street in London 415 00:18:19,320 --> 00:18:22,240 Speaker 3: where they shut down Regent Street. Oh my god, the 416 00:18:23,640 --> 00:18:26,840 Speaker 3: logistics of doing that. They shut it down for four 417 00:18:26,960 --> 00:18:29,480 Speaker 3: nights in a row from like eight pm to five am, 418 00:18:29,720 --> 00:18:34,280 Speaker 3: one of the busiest streets in London, and to shoot 419 00:18:34,280 --> 00:18:36,920 Speaker 3: this incredible dance sequence, which by the way, they had 420 00:18:36,920 --> 00:18:39,280 Speaker 3: to do twice because the first time they went to 421 00:18:39,320 --> 00:18:41,159 Speaker 3: do it, we were all there ready to go about 422 00:18:41,200 --> 00:18:44,760 Speaker 3: five months earlier and the Queen died and all the 423 00:18:44,760 --> 00:18:49,080 Speaker 3: permissions to shoot and singing rock DJ down, Oh my goodness, 424 00:18:49,080 --> 00:18:52,560 Speaker 3: do Regent Street in a party mode with the in 425 00:18:52,600 --> 00:18:54,560 Speaker 3: the week of morning was not allowed understandably. 426 00:18:54,720 --> 00:18:57,600 Speaker 4: So anyway, other than that, yes, all shot in Melbourne 427 00:18:57,640 --> 00:19:01,080 Speaker 4: and you went an actor for this, right I did? Congrats, 428 00:19:01,160 --> 00:19:01,480 Speaker 4: thank you. 429 00:19:01,800 --> 00:19:05,399 Speaker 1: I feel like you were this incredible Aussie actor that 430 00:19:06,400 --> 00:19:08,960 Speaker 1: like has all these amazing and last time we talked 431 00:19:09,000 --> 00:19:11,399 Speaker 1: a lot about Charles Manson, like and I am one 432 00:19:11,440 --> 00:19:12,800 Speaker 1: of those people that was so I know I don't 433 00:19:12,840 --> 00:19:17,159 Speaker 1: like scary, but mind Hunter right obsessed. Also the score 434 00:19:17,200 --> 00:19:19,479 Speaker 1: for me, like their score just made it so eerie, 435 00:19:19,520 --> 00:19:21,640 Speaker 1: Like every time you heard that intro, I was like, right, 436 00:19:21,960 --> 00:19:27,119 Speaker 1: lock the doorsli. 437 00:19:25,520 --> 00:19:29,040 Speaker 2: Oh, brilliant And for you, like the is it prothetics? 438 00:19:29,080 --> 00:19:29,800 Speaker 2: Is that the right word? 439 00:19:31,119 --> 00:19:33,280 Speaker 1: And all of this you've done all these and then 440 00:19:33,320 --> 00:19:35,720 Speaker 1: you're doing Once upon a time in Hollywood Like you, 441 00:19:35,960 --> 00:19:39,080 Speaker 1: I feel like you're somebody that always and it would 442 00:19:39,119 --> 00:19:41,040 Speaker 1: be a testament to your personality. So either take this 443 00:19:41,080 --> 00:19:44,240 Speaker 1: as a compliment or tell me I'm wrong. It feels 444 00:19:44,280 --> 00:19:49,600 Speaker 1: like you're able to find momentum and like being that 445 00:19:49,800 --> 00:19:53,399 Speaker 1: energy of moving forward. Is it fair to say career 446 00:19:54,000 --> 00:19:55,880 Speaker 1: you're just like doing stuff that you love. 447 00:19:56,160 --> 00:19:59,480 Speaker 3: Yeah, I mean it's that's probably true, although I don't 448 00:19:59,480 --> 00:20:01,280 Speaker 3: know how much it's got to do with me. I'm 449 00:20:01,280 --> 00:20:04,360 Speaker 3: not sort of actively out there making things happen. 450 00:20:04,160 --> 00:20:04,879 Speaker 4: Really not. 451 00:20:05,080 --> 00:20:08,760 Speaker 3: Really the only thing that I did the only time 452 00:20:08,800 --> 00:20:11,000 Speaker 3: I was really doing that, I suppose, was when I 453 00:20:11,040 --> 00:20:12,720 Speaker 3: was in my thirties and and I did House of 454 00:20:12,760 --> 00:20:15,399 Speaker 3: Wax in Australia, and because I had an American credit, 455 00:20:15,440 --> 00:20:16,960 Speaker 3: I went, I'm going to go to America now and 456 00:20:16,960 --> 00:20:19,719 Speaker 3: see if I can get an agent. That was definitely 457 00:20:19,960 --> 00:20:23,080 Speaker 3: me trying to create something by going over there. 458 00:20:23,480 --> 00:20:25,280 Speaker 4: But you know, I've said this before. 459 00:20:25,320 --> 00:20:29,399 Speaker 3: I've never been a you know, I'm going to I'm 460 00:20:29,440 --> 00:20:31,600 Speaker 3: going to show them I'm going to go and I 461 00:20:31,680 --> 00:20:34,800 Speaker 3: never had I'm a little bit glass half empty guy. 462 00:20:35,480 --> 00:20:38,600 Speaker 3: And and so you know, me going over there wasn't 463 00:20:38,640 --> 00:20:40,600 Speaker 3: because I thought I was going to get work. It 464 00:20:40,640 --> 00:20:43,920 Speaker 3: was because I didn't want to regret trying to later, 465 00:20:44,640 --> 00:20:47,119 Speaker 3: and so I assumed it wouldn't happen and that would 466 00:20:47,119 --> 00:20:48,600 Speaker 3: just be like, well, at least I try it. But 467 00:20:48,880 --> 00:20:51,760 Speaker 3: so when it started happening, then it sort of became 468 00:20:51,960 --> 00:20:54,240 Speaker 3: it sort of self perpetuates, especially in Australia. I mean 469 00:20:54,240 --> 00:20:57,080 Speaker 3: that thing happens in a lot of industries where if 470 00:20:57,119 --> 00:21:00,000 Speaker 3: you're working in America and they see that, then suddenly 471 00:21:00,000 --> 00:21:02,760 Speaker 3: the perception of you here changes and you're getting Suddenly 472 00:21:02,800 --> 00:21:05,399 Speaker 3: I went from playing you know, three scenes in a 473 00:21:05,440 --> 00:21:09,320 Speaker 3: supporting role after auditioning, to playing you know, a big 474 00:21:09,400 --> 00:21:12,240 Speaker 3: role in something without having to audition, like all these 475 00:21:12,240 --> 00:21:15,720 Speaker 3: things changed even though I was the same guy because 476 00:21:15,720 --> 00:21:17,560 Speaker 3: of the perception of, oh, well, if he's working with 477 00:21:17,600 --> 00:21:19,680 Speaker 3: those people, maybe we can hire him now. 478 00:21:19,800 --> 00:21:25,480 Speaker 4: I think that's how subconsciously that's how it works. So interesting. Yeah, yeah, But. 479 00:21:27,119 --> 00:21:29,040 Speaker 3: In terms of looking like, oh, there's like a drive 480 00:21:29,119 --> 00:21:33,280 Speaker 3: or a I think that's just what can happen. Sometimes 481 00:21:33,359 --> 00:21:38,600 Speaker 3: if you get enough jobs that people like, you know, 482 00:21:39,040 --> 00:21:41,680 Speaker 3: or people respect the particular thing you were in, then 483 00:21:41,920 --> 00:21:43,840 Speaker 3: you become one of the people that they think of 484 00:21:43,960 --> 00:21:46,920 Speaker 3: next time. And I remember spending most of my career 485 00:21:46,960 --> 00:21:48,919 Speaker 3: wondering how you become one of those people that they 486 00:21:48,920 --> 00:21:52,719 Speaker 3: think of next time. But yeah, it's something like that. 487 00:21:52,760 --> 00:21:55,960 Speaker 3: It's not really anything I'm particularly doing. I'm just sort 488 00:21:55,960 --> 00:21:58,960 Speaker 3: of hanging out and then go, you know. And sometimes 489 00:21:59,000 --> 00:22:00,920 Speaker 3: you're like, wow, there's nothing coming up after this job. 490 00:22:00,960 --> 00:22:02,640 Speaker 3: I don't know what's going to happen, and a few 491 00:22:02,640 --> 00:22:06,520 Speaker 3: months can pass, and but then so far, you know, Touchwood, 492 00:22:06,680 --> 00:22:08,240 Speaker 3: it's something else has come along. 493 00:22:08,600 --> 00:22:09,160 Speaker 2: I love it. 494 00:22:09,720 --> 00:22:11,920 Speaker 1: Last time you came on, you talked about regret insurance 495 00:22:11,960 --> 00:22:13,520 Speaker 1: and you are like, that was what made you want it, 496 00:22:13,520 --> 00:22:15,200 Speaker 1: because I think it was your third time to America, 497 00:22:15,240 --> 00:22:18,320 Speaker 1: and you're like if this one doesn't work, okay, And 498 00:22:18,359 --> 00:22:21,040 Speaker 1: then that was when like things started to click in 499 00:22:21,680 --> 00:22:24,359 Speaker 1: America a little bit. But I don't know if you 500 00:22:24,400 --> 00:22:27,359 Speaker 1: remember this, but I was having after our chat because 501 00:22:27,400 --> 00:22:30,800 Speaker 1: you so warm and lovely, and we recorded in Los 502 00:22:30,840 --> 00:22:33,280 Speaker 1: Angeles the first time you came on the pod, and 503 00:22:33,320 --> 00:22:35,679 Speaker 1: I was having a really shitty day in LA and 504 00:22:35,720 --> 00:22:37,800 Speaker 1: a manager had just kind of digged me around, pretended 505 00:22:37,840 --> 00:22:39,480 Speaker 1: they wanted to hire me, kind of led me on 506 00:22:39,720 --> 00:22:43,120 Speaker 1: a bit, ye led me down the garden path, and 507 00:22:43,400 --> 00:22:46,359 Speaker 1: I was just I just felt completely defeated, and I 508 00:22:46,400 --> 00:22:49,400 Speaker 1: felt like I was in this like La grind, and 509 00:22:50,200 --> 00:22:52,159 Speaker 1: it felt like I was kind of like, and this 510 00:22:52,200 --> 00:22:53,840 Speaker 1: sounds very very fuln but like I just felt like 511 00:22:53,880 --> 00:22:55,639 Speaker 1: I was throwing my head against a brick wall. I 512 00:22:55,680 --> 00:22:57,560 Speaker 1: was just like, I don't know what I mean class, 513 00:22:57,600 --> 00:23:00,760 Speaker 1: I'm networking, I'm going all the place as everyone says 514 00:23:00,800 --> 00:23:03,160 Speaker 1: to go. And I wrote to you and I wrote 515 00:23:03,160 --> 00:23:06,000 Speaker 1: you an email, and I was like, any advice, and 516 00:23:06,080 --> 00:23:10,960 Speaker 1: you actually gave me great advice that was actually was unexpected, 517 00:23:11,000 --> 00:23:13,080 Speaker 1: different advice to what I have received in the past. 518 00:23:13,680 --> 00:23:14,240 Speaker 4: I've written it. 519 00:23:14,480 --> 00:23:15,600 Speaker 2: I was going to say, I've written it to it. 520 00:23:15,960 --> 00:23:17,800 Speaker 4: I hope I agree with it. I hope I agree 521 00:23:17,840 --> 00:23:18,720 Speaker 4: with this advice. 522 00:23:18,880 --> 00:23:20,600 Speaker 1: So a lot of people, and I think it is 523 00:23:21,240 --> 00:23:23,400 Speaker 1: really great because it's made like it's why we're here 524 00:23:23,480 --> 00:23:28,200 Speaker 1: recording in Australia today. But basically you were like, there's 525 00:23:28,359 --> 00:23:30,720 Speaker 1: nothing wrong with doing a bit of time in Australia, 526 00:23:30,800 --> 00:23:33,240 Speaker 1: bitter time in America and kind of like if if 527 00:23:33,240 --> 00:23:35,480 Speaker 1: it feels like things are slow in LA, like head 528 00:23:35,520 --> 00:23:37,520 Speaker 1: back to Australia for a little bit, and then if 529 00:23:37,560 --> 00:23:39,440 Speaker 1: it feels like you've had a good stint in Australia, 530 00:23:39,440 --> 00:23:41,679 Speaker 1: then head back to America. You were like, there's nothing 531 00:23:41,760 --> 00:23:46,200 Speaker 1: wrong with and you said it gives you fresh perspective. Also, 532 00:23:46,280 --> 00:23:49,119 Speaker 1: you and I both know Los Angeles is such a 533 00:23:49,160 --> 00:23:52,320 Speaker 1: financial like it's an like a coffee. 534 00:23:52,000 --> 00:23:52,880 Speaker 2: Is like eight dollars. 535 00:23:53,160 --> 00:23:56,320 Speaker 1: It's mental, right, and then you there's an ease to 536 00:23:56,359 --> 00:23:59,520 Speaker 1: Australia as well, just with living and security and all 537 00:23:59,560 --> 00:24:00,480 Speaker 1: those kind of things. 538 00:24:00,880 --> 00:24:03,080 Speaker 2: And so yeah, your advice was like do a. 539 00:24:03,000 --> 00:24:06,000 Speaker 1: Bit of split time, which I'd been given the opposite advice. 540 00:24:06,320 --> 00:24:07,520 Speaker 2: I'm like, stick it out. 541 00:24:07,600 --> 00:24:11,560 Speaker 3: Buckle in LA is hard, interesting, I know the pavements 542 00:24:11,680 --> 00:24:13,919 Speaker 3: and so you've so you've done that you've well, I'm. 543 00:24:13,960 --> 00:24:16,600 Speaker 1: I've this is my second time back in Australia this year, 544 00:24:16,760 --> 00:24:18,439 Speaker 1: and I've just followed the like I've been like, oh, 545 00:24:18,480 --> 00:24:21,080 Speaker 1: there's a really cool opportunity, let's go and do that thing. 546 00:24:21,320 --> 00:24:21,600 Speaker 4: Great. 547 00:24:21,760 --> 00:24:25,160 Speaker 1: And then you go back to America and I'm somebody 548 00:24:25,200 --> 00:24:27,679 Speaker 1: that holds on quite tight to things I care about, 549 00:24:27,920 --> 00:24:30,399 Speaker 1: and so you go back with a little bit less 550 00:24:30,480 --> 00:24:33,360 Speaker 1: like squeezing things and more just like letting them unfold 551 00:24:33,400 --> 00:24:34,440 Speaker 1: and open. 552 00:24:34,480 --> 00:24:36,480 Speaker 2: I feel like that that sounds all very hippie dippy. 553 00:24:36,560 --> 00:24:38,680 Speaker 3: I know, maybe you also just have a nice little 554 00:24:38,720 --> 00:24:42,480 Speaker 3: reset as well. It's like it's like you're not the grind. 555 00:24:42,600 --> 00:24:44,760 Speaker 3: Can't feel like a grind if you get a break 556 00:24:44,760 --> 00:24:47,119 Speaker 3: from it, you know, like if you're back in Australia, 557 00:24:47,359 --> 00:24:50,159 Speaker 3: it's like you know, it's it's it's a reset. And 558 00:24:50,160 --> 00:24:51,639 Speaker 3: then when you go back over there, you kind of 559 00:24:51,640 --> 00:24:53,240 Speaker 3: get a bit excited to again and go oh, I'm back, 560 00:24:53,480 --> 00:24:55,159 Speaker 3: rather than it just being like, oh, here's another day 561 00:24:55,200 --> 00:24:56,240 Speaker 3: one of what it's going to happen. 562 00:24:56,280 --> 00:24:59,159 Speaker 1: You know, LA can feel like a beast some days, 563 00:24:59,240 --> 00:25:04,399 Speaker 1: like it can feel like just little things like you'll 564 00:25:04,400 --> 00:25:06,959 Speaker 1: be parking somewhere and there's like six different versions of 565 00:25:06,960 --> 00:25:10,159 Speaker 1: parking signs, you know, like it's just all street sweepers, 566 00:25:10,240 --> 00:25:12,560 Speaker 1: or like there were just there are little things, or 567 00:25:12,560 --> 00:25:15,760 Speaker 1: you're always like hyper aware and I don't know, I 568 00:25:15,800 --> 00:25:19,480 Speaker 1: just find I love like LA is my home right now, 569 00:25:19,920 --> 00:25:22,720 Speaker 1: but it is. It was so refreshing the advice you gave, 570 00:25:22,760 --> 00:25:25,040 Speaker 1: which is like, never feel bad about like going home. 571 00:25:24,840 --> 00:25:29,520 Speaker 2: And doing some stuff in Australia. It's so thank you. 572 00:25:29,560 --> 00:25:31,960 Speaker 2: Actually when you wrote me, and you wrote a really. 573 00:25:31,720 --> 00:25:34,439 Speaker 1: Beautiful like it was a pretty long email, and I 574 00:25:34,760 --> 00:25:37,119 Speaker 1: cried in a good way, like I felt like less alone. 575 00:25:37,240 --> 00:25:39,680 Speaker 2: And I think that's one thing about LA. 576 00:25:39,760 --> 00:25:42,040 Speaker 1: It can feel a bit alone when you're auditioning and 577 00:25:42,080 --> 00:25:43,520 Speaker 1: you're not getting responses. 578 00:25:43,560 --> 00:25:43,960 Speaker 2: And I know. 579 00:25:45,400 --> 00:25:47,960 Speaker 1: It can, and I know other actors listen to this, 580 00:25:48,040 --> 00:25:50,359 Speaker 1: and I'm sure they would feel that way anywhere they're auditioning. 581 00:25:50,400 --> 00:25:52,960 Speaker 1: But it was just really nice to know that, Hey, 582 00:25:53,640 --> 00:25:55,560 Speaker 1: everyone feels that way every now and then, and you 583 00:25:55,640 --> 00:25:58,320 Speaker 1: kind of gave me the really nice, little sweet email. 584 00:25:58,359 --> 00:25:59,480 Speaker 2: So thank you for that, oh. 585 00:25:59,720 --> 00:26:03,280 Speaker 1: Pa, truly, and we are going to run out of 586 00:26:03,320 --> 00:26:05,880 Speaker 1: time if I keep biting your chatting your ear off. 587 00:26:05,960 --> 00:26:08,840 Speaker 2: But for actors that do listen to this. 588 00:26:09,560 --> 00:26:13,199 Speaker 1: If there's like a little tit bit of advice, Like 589 00:26:13,240 --> 00:26:14,879 Speaker 1: we're coming up to where recordings at the end of 590 00:26:14,880 --> 00:26:16,800 Speaker 1: the year is going to come out early next year though, 591 00:26:17,640 --> 00:26:20,440 Speaker 1: so start of the year, everyone's getting really excited about 592 00:26:20,480 --> 00:26:23,280 Speaker 1: what they want to achieve, you know, And I think actors, 593 00:26:23,800 --> 00:26:25,800 Speaker 1: you know, when you've got reps, sometimes they're like, let's 594 00:26:25,800 --> 00:26:28,240 Speaker 1: do freshead shots, let's do all this. Like, but as 595 00:26:28,240 --> 00:26:32,040 Speaker 1: an actor, if you're feeling a little stuck or you 596 00:26:32,080 --> 00:26:34,520 Speaker 1: want a freshness, Like, what advice would you have to 597 00:26:34,560 --> 00:26:37,960 Speaker 1: an actor that's like auditioning, doing the things but feels 598 00:26:38,000 --> 00:26:39,480 Speaker 1: a little stagnant or stuck. 599 00:26:40,760 --> 00:26:43,280 Speaker 3: Yeah. Look, I mean I think I can only speak 600 00:26:43,320 --> 00:26:45,920 Speaker 3: for myself and how I avoided that. I don't know 601 00:26:45,920 --> 00:26:48,840 Speaker 3: if I avoided that consciously or just the way that 602 00:26:48,920 --> 00:26:51,480 Speaker 3: kind of the circumstances went. But you know, as an 603 00:26:51,480 --> 00:26:54,080 Speaker 3: actor in my twenties, I was also working in an office. 604 00:26:54,160 --> 00:26:55,000 Speaker 4: And I'm not saying so. 605 00:26:55,080 --> 00:26:57,000 Speaker 3: As your advice, go out and work in an office, 606 00:26:56,800 --> 00:26:59,600 Speaker 3: but having it's a bit like the thing of splitting 607 00:26:59,600 --> 00:27:02,040 Speaker 3: the time tween La and Sydney. It's like, if your 608 00:27:02,080 --> 00:27:05,160 Speaker 3: mind isn't completely locked on it's all La all the time. 609 00:27:05,200 --> 00:27:08,000 Speaker 4: And if your mind isn't completely locked on it's acting 610 00:27:08,080 --> 00:27:09,359 Speaker 4: all day every day? What am I doing? 611 00:27:09,400 --> 00:27:13,359 Speaker 3: Why is the agent calling? It does make your you 612 00:27:13,440 --> 00:27:17,840 Speaker 3: can just relax a bit, and I think just your 613 00:27:17,840 --> 00:27:21,359 Speaker 3: mental health is just generally better because it's not an obsession. 614 00:27:21,720 --> 00:27:23,080 Speaker 4: It's just yeah, that's what I am. 615 00:27:23,119 --> 00:27:24,919 Speaker 3: I'm an actor, but you know, I also want to 616 00:27:24,920 --> 00:27:27,080 Speaker 3: pay the rent, and I also want to you know, 617 00:27:27,320 --> 00:27:29,479 Speaker 3: I would have. You know, in my twenties I had 618 00:27:29,480 --> 00:27:31,440 Speaker 3: actor friends, but I have I had at least half 619 00:27:31,440 --> 00:27:34,600 Speaker 3: of my friends weren't even in the industry. So I 620 00:27:34,600 --> 00:27:38,439 Speaker 3: don't know, I think I think to not it's probably 621 00:27:38,440 --> 00:27:40,840 Speaker 3: again the opposite of advice of what some people say. 622 00:27:40,840 --> 00:27:43,120 Speaker 3: You know, you hear some people say, you know, read a. 623 00:27:43,080 --> 00:27:44,640 Speaker 4: New play every day when you're an actor. 624 00:27:44,680 --> 00:27:47,680 Speaker 3: But I'm like, oh god, that sounds so much hard work. 625 00:27:47,720 --> 00:27:48,960 Speaker 4: Read did you play every day? 626 00:27:49,080 --> 00:27:50,160 Speaker 2: I've had that feedback. 627 00:27:50,320 --> 00:27:51,800 Speaker 4: Yeah, I can't. 628 00:27:52,359 --> 00:27:53,919 Speaker 3: That would make me hate acting if I had to 629 00:27:53,920 --> 00:27:54,879 Speaker 3: read a new play every day. 630 00:27:54,920 --> 00:27:55,560 Speaker 4: Yeah. 631 00:27:56,320 --> 00:27:59,040 Speaker 3: For me, I'm say, you know, try and not do 632 00:27:59,160 --> 00:28:01,760 Speaker 3: that and and have a life that's outside of that, 633 00:28:02,280 --> 00:28:08,199 Speaker 3: and you know, just just realize, also just remind yourself 634 00:28:08,200 --> 00:28:09,040 Speaker 3: it's very hard. 635 00:28:09,280 --> 00:28:12,040 Speaker 4: And I totally get that it's hard to take this in. 636 00:28:12,080 --> 00:28:15,800 Speaker 3: But when you're in your twenties and you've maybe just 637 00:28:15,800 --> 00:28:17,399 Speaker 3: come out of us an acting school, or you've just 638 00:28:17,480 --> 00:28:19,640 Speaker 3: decided to be an actor and that's what you want 639 00:28:19,680 --> 00:28:21,640 Speaker 3: to do, you want it to happen now. And you're 640 00:28:21,640 --> 00:28:24,240 Speaker 3: also being reminded of who it is happening for right now. 641 00:28:24,280 --> 00:28:25,200 Speaker 4: You're seeing them, you're. 642 00:28:25,040 --> 00:28:27,439 Speaker 3: Reading about their success, and every time you read it, 643 00:28:27,480 --> 00:28:29,640 Speaker 3: a small part of you dies because you think that's 644 00:28:29,640 --> 00:28:29,960 Speaker 3: not me. 645 00:28:30,840 --> 00:28:31,919 Speaker 4: Why isn't it happening to me? 646 00:28:33,000 --> 00:28:35,399 Speaker 3: But you know what I tend to say, because it 647 00:28:36,000 --> 00:28:39,120 Speaker 3: is how the kind of the journey of it all 648 00:28:39,160 --> 00:28:41,840 Speaker 3: went for me, is don't feel like it has to 649 00:28:41,880 --> 00:28:46,240 Speaker 3: happen this second. You know, I honestly didn't have the 650 00:28:46,280 --> 00:28:49,800 Speaker 3: career I have now started happening in about forty for me. 651 00:28:50,200 --> 00:28:53,280 Speaker 3: You know that doesn't mean I'm saying to someone who's 652 00:28:53,320 --> 00:28:56,600 Speaker 3: twenty three, you know, don't worry. You wait seventeen years 653 00:28:56,600 --> 00:28:57,960 Speaker 3: and it might kick in, because no one wants to 654 00:28:58,000 --> 00:29:00,000 Speaker 3: hear that, and it's probably going to kick in before 655 00:29:00,080 --> 00:29:04,440 Speaker 3: then anyway. But all I'm saying is, don't be obsessed 656 00:29:04,440 --> 00:29:06,160 Speaker 3: with it has to happen tomorrow. 657 00:29:06,400 --> 00:29:08,960 Speaker 4: You know, it's it can for some people. It's so 658 00:29:09,120 --> 00:29:09,880 Speaker 4: random this job. 659 00:29:09,920 --> 00:29:13,240 Speaker 3: It's like you know that the success, the success that 660 00:29:13,320 --> 00:29:18,280 Speaker 3: people have is mostly luck and timing, you know, and 661 00:29:18,360 --> 00:29:20,360 Speaker 3: if you you know it didn't happen to walk into 662 00:29:20,360 --> 00:29:22,600 Speaker 3: that room at that one time and meet that one 663 00:29:22,920 --> 00:29:25,840 Speaker 3: person who was making that one film and you looked 664 00:29:26,040 --> 00:29:28,600 Speaker 3: just like how they had imagined, you know, all these 665 00:29:28,600 --> 00:29:31,920 Speaker 3: things that you you know, there's so many sliding doors moments, 666 00:29:31,920 --> 00:29:35,040 Speaker 3: and it's a lot of luck and timing. But just 667 00:29:35,080 --> 00:29:38,680 Speaker 3: don't feel like it. Have a live a life outside 668 00:29:38,680 --> 00:29:39,360 Speaker 3: of being an actor. 669 00:29:39,360 --> 00:29:43,080 Speaker 2: Advice, Such good advice. Also, I've heard you say. 670 00:29:42,880 --> 00:29:45,440 Speaker 1: The career you had in your thirties and versus the 671 00:29:45,480 --> 00:29:47,080 Speaker 1: career you had in your forties, even though it's the 672 00:29:47,120 --> 00:29:50,440 Speaker 1: exact same actor, yes, exact same human, but like that's 673 00:29:50,480 --> 00:29:52,840 Speaker 1: when it just felt like it went up a whole 674 00:29:53,280 --> 00:29:54,960 Speaker 1: not and look at your body of what like it 675 00:29:55,000 --> 00:29:57,200 Speaker 1: is so much you are, honestly, and I say, with 676 00:29:57,320 --> 00:29:59,160 Speaker 1: my hand on my heart, like such a joy to 677 00:29:59,280 --> 00:30:03,560 Speaker 1: research because you like you've done all this incredible stuff. 678 00:30:03,560 --> 00:30:05,720 Speaker 2: But it's fun to watch you from like House. 679 00:30:05,480 --> 00:30:08,600 Speaker 1: Of Wax, right and then Dewey and like it's just yeah, 680 00:30:08,640 --> 00:30:12,720 Speaker 1: so congratulations to everything you've done. I have one more 681 00:30:13,760 --> 00:30:15,640 Speaker 1: thing I just wanted to say, and it's like, I 682 00:30:15,720 --> 00:30:18,440 Speaker 1: feel like you love what you do. And I saw 683 00:30:18,480 --> 00:30:20,920 Speaker 1: you get interviewed about working on Once upon a Time 684 00:30:20,920 --> 00:30:24,360 Speaker 1: in Hollywood, and often, apparently Quintin would say, and this 685 00:30:24,440 --> 00:30:27,040 Speaker 1: is what you said, Let's do one more take because 686 00:30:27,040 --> 00:30:29,960 Speaker 1: we love making movies. And I feel like that kind 687 00:30:29,960 --> 00:30:34,120 Speaker 1: of sums up why we like, why chase this creative 688 00:30:34,240 --> 00:30:36,520 Speaker 1: passionate thing, Like it's you love it? 689 00:30:37,160 --> 00:30:41,040 Speaker 3: Yeah, yeah, yeah, well it's it's you know, how lucky 690 00:30:41,080 --> 00:30:43,800 Speaker 3: to get to do this. You know, you basically get 691 00:30:43,840 --> 00:30:46,240 Speaker 3: to stay. You don't have to grow up to some degree. 692 00:30:46,280 --> 00:30:48,960 Speaker 3: You know, it's like you're playing. You're playing like you 693 00:30:49,000 --> 00:30:52,560 Speaker 3: were playing characters, putting your grandfather's clothes on when you 694 00:30:52,560 --> 00:30:54,520 Speaker 3: were six and trying to pretend to be an old man. 695 00:30:54,560 --> 00:30:58,120 Speaker 3: You know, you're still doing that and someone's paying you 696 00:30:58,160 --> 00:31:00,160 Speaker 3: for it, and you're meeting all these fun people, and 697 00:31:00,920 --> 00:31:03,840 Speaker 3: you know, is it hard sometimes? Yeah, it's really hard sometimes. 698 00:31:03,880 --> 00:31:06,479 Speaker 3: But overall, if you can make a career of this, 699 00:31:06,680 --> 00:31:08,200 Speaker 3: it doesn't it doesn't get much better. 700 00:31:08,320 --> 00:31:11,160 Speaker 1: I don't think what is for you as well, because 701 00:31:11,160 --> 00:31:13,840 Speaker 1: you're about to do theater, go into this big theater run, 702 00:31:14,200 --> 00:31:17,440 Speaker 1: and then you've got this body of film and television work. 703 00:31:17,520 --> 00:31:19,719 Speaker 2: They're different, very different experiences. 704 00:31:19,760 --> 00:31:23,080 Speaker 1: Like theater run, you're getting like these long like rehearsal 705 00:31:23,120 --> 00:31:24,960 Speaker 1: time tech runs, like. 706 00:31:24,960 --> 00:31:26,000 Speaker 2: You know, it's a different beast. 707 00:31:26,080 --> 00:31:30,160 Speaker 1: Whereas depending on who's directing, I'm sure you might get 708 00:31:30,160 --> 00:31:32,480 Speaker 1: like five takes of something versus I think mind Hunter, 709 00:31:32,560 --> 00:31:34,120 Speaker 1: didn't you do like one hundreds. 710 00:31:34,720 --> 00:31:35,880 Speaker 4: It wasn't one hundred takes. 711 00:31:35,960 --> 00:31:38,480 Speaker 3: It was I think it was about one hundred shots 712 00:31:38,560 --> 00:31:41,600 Speaker 3: or something, but it was about fifteen, you know, around 713 00:31:41,600 --> 00:31:43,520 Speaker 3: fifteen takes for every setup of a shot. 714 00:31:43,840 --> 00:31:46,400 Speaker 4: It was a lot. Yeah, so you can say, like 715 00:31:46,400 --> 00:31:48,440 Speaker 4: the difference between that and theater, Yeah. 716 00:31:48,320 --> 00:31:49,840 Speaker 2: They're different, completely different beasts. 717 00:31:49,920 --> 00:31:53,080 Speaker 3: Yeah, yeah, they are. They are, and they aren't. You know, 718 00:31:53,120 --> 00:31:55,800 Speaker 3: you get obviously weeks of rehearsal within in which you 719 00:31:55,800 --> 00:31:59,120 Speaker 3: don't ever do with really do with a film or TV. 720 00:32:00,520 --> 00:32:04,520 Speaker 3: And yeah, you essentially get a lot of takes, but 721 00:32:04,600 --> 00:32:07,600 Speaker 3: only one take per audience. You know, it's you're on 722 00:32:07,840 --> 00:32:10,760 Speaker 3: doing it the one time for each audience, and you 723 00:32:10,800 --> 00:32:13,400 Speaker 3: can't stop and start and say can we do that again? 724 00:32:14,560 --> 00:32:17,280 Speaker 3: That's all pretty terrifying. I find I think most actors 725 00:32:17,880 --> 00:32:20,080 Speaker 3: find that that did part of it that you know, 726 00:32:20,440 --> 00:32:22,800 Speaker 3: I hope I remember it. You know, I remember my 727 00:32:22,880 --> 00:32:25,360 Speaker 3: lines is a thing that is a much bigger deal 728 00:32:25,400 --> 00:32:27,640 Speaker 3: when you're doing theater, but otherwise, I don't know, I 729 00:32:28,040 --> 00:32:31,920 Speaker 3: tend to I think, you know, it's it's it's it's 730 00:32:31,960 --> 00:32:34,280 Speaker 3: film acting bit louder for me, you know, it's it's 731 00:32:34,800 --> 00:32:37,400 Speaker 3: that that's that's a simple way to put it. I think, yes, 732 00:32:37,720 --> 00:32:40,400 Speaker 3: you know, you can make bigger gestures on stage and 733 00:32:40,440 --> 00:32:43,760 Speaker 3: things of course that that that people will will buy 734 00:32:43,880 --> 00:32:46,560 Speaker 3: because they're not then you know, it's not a camera 735 00:32:46,640 --> 00:32:49,960 Speaker 3: right up close to your face. But essentially I don't 736 00:32:50,040 --> 00:32:53,520 Speaker 3: sort of do a huge make a huge difference in 737 00:32:53,600 --> 00:32:57,600 Speaker 3: adjusting the way I would play the character. It's just 738 00:32:57,760 --> 00:33:00,360 Speaker 3: you know, a little degree bigger, but it's essentially the 739 00:33:00,360 --> 00:33:01,120 Speaker 3: same thing for me. 740 00:33:02,400 --> 00:33:04,960 Speaker 1: Having a live audience though, and getting that constant you're 741 00:33:04,960 --> 00:33:09,520 Speaker 1: getting feedback, like at any moment, I imagine that would 742 00:33:09,560 --> 00:33:12,920 Speaker 1: change your experience though, because you're getting this live feedback, 743 00:33:13,680 --> 00:33:15,560 Speaker 1: you're connected to that energy well. 744 00:33:15,400 --> 00:33:18,280 Speaker 3: And especially with a comedy, I mean, you know, that's 745 00:33:18,480 --> 00:33:21,400 Speaker 3: that's the thing I'm super excited about. I know every 746 00:33:21,400 --> 00:33:23,800 Speaker 3: time I read this script, I'm reminded of how funny 747 00:33:23,840 --> 00:33:26,400 Speaker 3: it is and where they are just guaranteed last. You're 748 00:33:26,440 --> 00:33:28,200 Speaker 3: like that that's going to get a huge laugh that 749 00:33:28,320 --> 00:33:31,960 Speaker 3: is just hilarious, and that is that's like a drug, 750 00:33:32,040 --> 00:33:35,360 Speaker 3: you know, to get a massive audience laughing at something 751 00:33:35,400 --> 00:33:37,520 Speaker 3: that you've said, even though you didn't write it, but 752 00:33:37,560 --> 00:33:41,960 Speaker 3: you still get this joy is it's quite like a 753 00:33:41,960 --> 00:33:44,520 Speaker 3: dopamine hit that you just don't get in any other way. 754 00:33:45,400 --> 00:33:46,160 Speaker 2: I love it. 755 00:33:46,320 --> 00:33:49,640 Speaker 1: Oh my goodness, I could talk to you all, to 756 00:33:49,840 --> 00:33:55,440 Speaker 1: the listener, to anyone in Australia. Art is touring Sydney, Melbourne, Brisbane, Adelaide. Yep, 757 00:33:55,680 --> 00:33:58,640 Speaker 1: and your name is Surge in it. Your character's name 758 00:33:58,680 --> 00:34:03,120 Speaker 1: is Surge. It's about three really funny mates and with 759 00:34:03,160 --> 00:34:06,120 Speaker 1: this like and I've heard Richard describe this way old 760 00:34:06,200 --> 00:34:08,640 Speaker 1: boned friendship, right yes, yes, And I. 761 00:34:08,600 --> 00:34:11,440 Speaker 2: Was like, that is such a great I am friends. 762 00:34:11,120 --> 00:34:14,279 Speaker 1: That have been around yes, right, yes, exactly, And I 763 00:34:14,320 --> 00:34:16,520 Speaker 1: really hope I get to see it myself. I think 764 00:34:16,560 --> 00:34:19,560 Speaker 1: you are absolutely wonderful and as someone that admires you 765 00:34:19,600 --> 00:34:22,279 Speaker 1: from Afar, thank you so much for just being such 766 00:34:22,320 --> 00:34:24,279 Speaker 1: a awesome actor to. 767 00:34:24,239 --> 00:34:24,719 Speaker 2: Look up to. 768 00:34:24,920 --> 00:34:26,680 Speaker 1: And I know I'm not the only one that says that. 769 00:34:26,760 --> 00:34:28,560 Speaker 1: I'm sure so many people will be listening to this 770 00:34:28,640 --> 00:34:32,960 Speaker 1: being like you're honestly, they call you the actor's actor, 771 00:34:33,080 --> 00:34:34,240 Speaker 1: so I can see why. 772 00:34:34,560 --> 00:34:35,880 Speaker 2: Yeah, did you not know that? 773 00:34:36,000 --> 00:34:39,200 Speaker 4: I did not know that they normally just call me damon. 774 00:34:40,840 --> 00:34:42,400 Speaker 4: You can retitle your usshole. 775 00:34:44,360 --> 00:34:45,879 Speaker 2: Thank you so much for jumping on the pod. 776 00:34:45,920 --> 00:34:46,359 Speaker 4: You'll wonder. 777 00:34:50,000 --> 00:34:54,240 Speaker 1: That's a wrap on another episode of Fearlessly Failing. 778 00:34:54,960 --> 00:34:56,720 Speaker 2: As always, thank you to our. 779 00:34:56,640 --> 00:35:00,280 Speaker 1: Guests, and let's continue the conversation on Instagram. 780 00:35:00,719 --> 00:35:05,360 Speaker 2: I'm at Yamo Lollerberry. This potty my word. 781 00:35:05,160 --> 00:35:09,879 Speaker 1: For podcast is available on all streaming platforms. I'd love 782 00:35:09,920 --> 00:35:12,960 Speaker 1: it if you could subscribe, rape and comment, and of 783 00:35:13,040 --> 00:35:14,600 Speaker 1: course spread the love.