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Speaker 1: You're listening to Samon Lola in La La Land.

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Speaker 2: A podcast that gives you an inside look into the

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Speaker 2: entertainment industry from two homegrown Aussies.

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Speaker 1: Hey, I'm Sam, I'm a producer, and.

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Speaker 2: I'm Lola, an actor and TV host.

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Speaker 3: Each week, we're going to share with you our honest

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Speaker 3: and real experiences of working in Hollywood, from the BAFTAs

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Speaker 3: to casting rooms, talk shows, red carpet events, and all

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Speaker 3: the little bits are crazy in between.

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Speaker 2: Our hope is that through sharing these stories, the good

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Speaker 2: and the ugly, you'll be encouraged to get outside your

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Speaker 2: comfort zone and chase your dreams.

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Speaker 1: Welcome to Samon Lola in La La Land.

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Speaker 2: Hello, Welcome Boncoise, Good evening.

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Speaker 1: We're doing multiple languages today.

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Speaker 2: We are Sam, we are.

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Speaker 3: Okay, I should have brushed off Japanese.

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Speaker 1: Hey everyone, Hi Lola Berry. Hello.

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Speaker 3: Hey. Firstly, just at the top of the show, we

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Speaker 3: just wanted to say thank you so much to everyone

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Speaker 3: that's been listening to this pod.

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Speaker 1: We are overwhelmed with the response.

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Speaker 3: We love doing the show and we're just so happy

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Speaker 3: that everyone seems to enjoy listening to it as well.

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Speaker 2: To think this was born from a little hike.

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Speaker 3: I know. Okay, So if you haven't listened to our

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Speaker 3: pitching episode, we recommend that you have a little listen

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Speaker 3: to that because what we're talking about today is what

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Speaker 3: kind of comes after you win the pitch, and that

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Speaker 3: is producing and production. And my quarters old just raised

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Speaker 3: about one hundred points when I said that, because I

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Speaker 3: just get these PTSD flashbacks of all the stress of

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Speaker 3: every job I've ever done.

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Speaker 2: I also think, and this is what I'm so excited

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Speaker 2: to talk about today. So much more goes into something

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Speaker 2: than what you actually see or hear or like the

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Speaker 2: finished product of something. Oh yeah, and this is what

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Speaker 2: today is really all about, right.

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Speaker 3: I don't think people understand like how many people work

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Speaker 3: on a project and what actually goes into it. Even

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Speaker 3: like a little short film, there can be thirty crew

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Speaker 3: on it.

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Speaker 2: Oh totally. I'm one of those goobers that sits in

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Speaker 2: the cinema until the final credits have gone. But even

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Speaker 2: like locations, right, something can be shot in fifteen different locations,

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Speaker 2: even though it's set somewhere completely different.

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Speaker 3: Yeah, you could have a film set in Mexico and

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Speaker 3: it's been shot in La Sydney anywhere, but Mexico The

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Speaker 3: one thing that I've learned about producing over the years

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Speaker 3: is that anything that can go wrong will go So

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Speaker 3: it's actually a really great test of your ability to

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Speaker 3: handle stress.

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Speaker 2: Totally, totally, that makes absolute sense.

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Speaker 3: And the other thing is I think a lot of

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Speaker 3: people always ask me, like, what does a producer do?

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Speaker 3: And a producer does so many different things depending on

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Speaker 3: the medium, Like a TV producer is different to a

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Speaker 3: TV commercial producer is different to a film producer. But

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Speaker 3: the best way I can kind of explain it, which

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Speaker 3: I think we talked about in my interview on Fearlessly

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Speaker 3: Failing your podcast, is that you're kind of like a mum,

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Speaker 3: oh yes, right to like one hundred and one hundred

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Speaker 3: and fifty children who are the crew, And every child

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Speaker 3: has a different need and needs to be fed, and

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Speaker 3: needs to be clothed, and needs different money for different things,

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Speaker 3: and has different extra curricular activities, and you're constantly trying

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Speaker 3: to balance that all the time to produce the end product.

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Speaker 3: That's kind of like the best way that I can No.

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Speaker 2: I love that.

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Speaker 3: I love that, And you've got to pay them, find

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Speaker 3: the money to pay the kids and to bring them

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Speaker 3: up and to you.

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Speaker 2: Know, so the responsibility. And this is where you and

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Speaker 2: I have talked a lot about producers kind of being

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Speaker 2: like problems solvers as well.

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Speaker 1: Yeah. Absolutely, you're constantly solving problems.

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Speaker 3: There are problems every minute that are coming up with

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Speaker 3: everyone you're dealing with, just like if you've got one

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Speaker 3: hundred and fifty kids, every kid's going to have a

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Speaker 3: different problem at one point in time.

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Speaker 2: Oh I love it. I no, I love it. I

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Speaker 2: find it really interesting. I think for me, and I

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Speaker 2: was saying this to you before we hit record, I

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Speaker 2: come at it through the lens of talent as opposed

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Speaker 2: to production. But then I think I've learned how to

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Speaker 2: self produce along the way, just from being on sets

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Speaker 2: and stuff.

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Speaker 3: I think, oh, you have absolutely and even doing podcasts

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Speaker 3: and everything that you do producing books, even that's still

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Speaker 3: producing of course, but I think you know you have

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Speaker 3: a very successful podcast fearlessly failing.

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Speaker 2: Also, what about the past number one food podcast in

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Speaker 2: Australia which you produce.

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Speaker 3: Yes at the time, yep, So we've got a lot

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Speaker 3: of experience in podcasting.

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Speaker 1: Yes, So we thought we would kick off.

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Speaker 3: This producing episode and talk a bit about producing podcasts

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Speaker 3: because people ask both of us a lot like, how

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Speaker 3: do you do it?

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Speaker 1: How do you produce a podcast?

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Speaker 2: It's one of the most common things I get DMed

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Speaker 2: and like, what gear do you use? How do you

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Speaker 2: do it? What headphones do you have? You know, like,

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Speaker 2: and I don't really hide to that stuff because I'm

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Speaker 2: always doing behind the scenes insteads. I love it, but

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Speaker 2: it's really interesting I think as well. Podcast is a

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Speaker 2: medium that has really exploded over the last couple of

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Speaker 2: years and is continuing to explode, especially in Australia. Like

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Speaker 2: we're a little bit behind the American pod market, but

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Speaker 2: it's really exciting to think that this is a new

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Speaker 2: medium that so many people can dive into.

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Speaker 1: So many idiots can have a voice?

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Speaker 2: Are you talking about us?

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Speaker 3: We'll let the listeners decide. So we thought it would

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Speaker 3: be kind of cute. Today we've both gone away and

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Speaker 3: we thought of what our top three tips are for

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Speaker 3: producing podcasts, and we're going to discuss them. I have

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Speaker 3: no idea what Lola is put down, and she doesn't

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Speaker 3: know what I'm going to say.

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Speaker 1: So do you want to kick us off?

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Speaker 2: I'm too nervous, I'm scared, minor too like hippie one

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Speaker 2: week and so I just can.

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Speaker 1: You go first if you do.

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Speaker 3: Know the best thing about this is is that it

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Speaker 3: actually shows that you're a very successful producer. And as

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Speaker 3: you said, I produced a podcast too. There's no real

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Speaker 3: right way to do this. So okay, so top three producing.

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Speaker 2: These are going to be so good. I know they are.

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Speaker 3: Well no, no, no, no, no, let's just I'm taking my

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Speaker 3: notes calmed out. My number one tip this is they're

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Speaker 3: not necessarily in any order. I think is work out

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Speaker 3: what you want to say and make sure you have

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Speaker 3: a point of difference. Because if you're going to do

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Speaker 3: a food podcast, look at the market, what's out there.

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Speaker 3: Don't do another food podcast like all the other food podcasts,

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Speaker 3: because why people are going to listen to you over

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Speaker 3: Jamie Oliver or Nigella or someone else that has a

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Speaker 3: food podcast out. So that would be my number one

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Speaker 3: tip would be work out what you want to say

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Speaker 3: and have a nice point of difference.

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Speaker 1: Yeah. I think that's really important, totally.

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Speaker 2: I like that.

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Speaker 3: My second tip is planned. Yeah, this is what Sam

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Speaker 3: is amazing, no, because I think time is valuable. Yeah,

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Speaker 3: and if you don't plan, it's very easy to sit there,

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Speaker 3: as you and I know, and talk for three four

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Speaker 3: hours and at the end of the day, no one

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Speaker 3: wants to listen to that. So I think, you know,

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Speaker 3: try and have a plan. It's okay if you go

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Speaker 3: off plan, but I think that's really important so that

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Speaker 3: you and I think that forty five minutes is kind

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Speaker 3: of a sweet spot for podcasting.

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Speaker 2: Yeah, but I that totally. But you and I also

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Speaker 2: both consume a lot of health podcasts and sometimes they

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Speaker 2: go for like hour and a half, two hours, true,

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Speaker 2: that's true, three out or they're two parties.

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Speaker 1: But I find I don't listen to that straight through.

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Speaker 2: Of course not so I think I fully agree this.

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Speaker 2: So I think if you're going to go not to

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Speaker 2: sand to Americana, but like on a hike, or you're

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Speaker 2: driving or commuting somewhere, I think, okay, or you're on

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Speaker 2: the tram or train, you know, one way is going

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Speaker 2: to be at least twenty minutes and the other way

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Speaker 2: is probably going to be at least roughly Like I

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Speaker 2: find if I'm in Melbourne or Sid's like it's that

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Speaker 2: kind of half an hour spot. So you've got to

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Speaker 2: get wherever you go, you've got to get back. Yeah,

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Speaker 2: And so that's what I think I'll try and keep

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Speaker 2: it to a commute both ways.

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Speaker 1: Yeah, exactly, or a workout.

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Speaker 3: You know, people usually work out forty five minutes to

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Speaker 3: an hour ago, as you said, for a hike call

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Speaker 3: things like that. And there's also something else that I

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Speaker 3: read which we actually don't.

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Speaker 1: Do, but this is what I mean.

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Speaker 3: There's no right or wrong way. They say that a

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Speaker 3: listener's attention span usually drops off after about fifteen to

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Speaker 3: twenty minutes. So if you can break up the podcast,

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Speaker 3: even if it's an ad it's a little bit of

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Speaker 3: a sting from music, it's something that just breaks it up,

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Speaker 3: even if it's for fifteen seconds. It takes the listener

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Speaker 3: out of everything and then they kind of reset their

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Speaker 3: mind automatically. And my third tip, which is a really

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Speaker 3: obvious one, is just have good equipment. And what I

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Speaker 3: mean by that is make sure that you can hear

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Speaker 3: what you're recording. There's so many things that can disrupt noise,

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Speaker 3: like background noise and trucks and.

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Speaker 2: We had weeper snippers yes, yea, yeah, oh my god.

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Speaker 3: And we used to record on location in kitchens for

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Speaker 3: the past and that was a nightmare, but it also

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Speaker 3: can add to the ambience. But we had to make

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Speaker 3: sure that we got the levels right, because if you're

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Speaker 3: straining to hear what's being said, you will lose your audience.

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Speaker 2: I have a rule with felcelely Failing that a lot

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Speaker 2: of people do not agree with and do not apply.

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Speaker 2: And I only record in real life, and so like

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Speaker 2: I'll record real life, so like the way you and

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Speaker 2: I are recording right now, I won't do a zoom

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Speaker 2: interview unless it's like a guess that's on the other

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Speaker 2: side of the world that I cannot get any other way.

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Speaker 2: And I know they wouldn't do it with me in

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Speaker 2: real life. I just don't. For me, it's about connection

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Speaker 2: more than it. But it speaks to your point about

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Speaker 2: the equipment and sound quality. I know, as a listener,

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Speaker 2: I want to feel like I can connect to the

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Speaker 2: people talking, and as a host, I can connect with

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Speaker 2: the guests better if I'm in real life.

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Speaker 1: I agree.

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Speaker 2: I love real life, I know. And you get that

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Speaker 2: weird delay and then oh the delay, and if the

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Speaker 2: internet drops out, you get people go. Do you know

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Speaker 2: I interviewed someone on Pheelesly Failing and I said something

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Speaker 2: that was embargoed so they weren't allowed to talk about

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Speaker 2: and I didn't know, I just kind of like researched

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Speaker 2: really well basically that I knew too much basically, and

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Speaker 2: they stopped the interview and they were like, I cannot

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Speaker 2: talk about this. You must pull that out of the

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Speaker 2: interview right now in the middle of the recording. And

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Speaker 2: this is also all via zoom, and so it just

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Speaker 2: changed the whole time. Yeah, and then I was like

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Speaker 2: backpedaling for ages and worry the whole time that I'd

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Speaker 2: freaked out this guest. Of course it was edited out,

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Speaker 2: so you the listener never knew that. But that's where

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Speaker 2: I think like being in real life is really good

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Speaker 2: because you get this like prelude where you create this

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Speaker 2: kind of like safe space, like anything off limits, anything

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Speaker 2: you don't want to talk about. You've gotta have a

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Speaker 2: cup of tea or coffee together, which is what you

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Speaker 2: always and I do. We have a coffee and then

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Speaker 2: we record. Yeah, but it also builds our camaraderie up

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Speaker 2: to where we're on the same team.

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Speaker 1: But you're very good at that. You're very good at

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Speaker 1: making the guests feel comfortable.

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Speaker 3: It's my number one and it's so important. I don't

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Speaker 3: want to am I stealing one of your tubes, not

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Speaker 3: at all. But I think that's another one that obviously

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Speaker 3: you and I don't have them put down. It's really

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Speaker 3: important if you're interviewing someone to make them feel as

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Speaker 3: comfortable as possible, because you want them to feel open

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Speaker 3: and connected and one wanting to share as much as

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Speaker 3: they can with you.

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Speaker 1: And what I love about what you.

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Speaker 3: Do also is you always say to your guests, I

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Speaker 3: want you to feel that this is a safe space.

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Speaker 3: And if there is anything that you say that you

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Speaker 3: don't want, we will edit it out. And then you

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Speaker 3: immediately are not worried about oh God, if I've said

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Speaker 3: something and so I make a mistake, you know that

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Speaker 3: you've got the interview ease back.

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Speaker 2: I must say thank you for that. By the way,

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Speaker 2: I do pride myself on like creating a safe space.

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Speaker 2: But as I know both you and I have been

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Speaker 2: interviewed before, so sat on the other side and I

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Speaker 2: went into this interview where I was being interviewed, and

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Speaker 2: the person interviewing me said, don't worry, this won't be

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Speaker 2: a gotcha moment. And the first or second question was like, yeah,

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Speaker 2: why did you bring out the diet plan with this

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Speaker 2: same nasty and like I'm so comfortable, like I've done

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Speaker 2: so much work on myself to be comfortable talking about

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Speaker 2: uncomfortable things. But I thought, oh, that's not very It

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Speaker 2: just didn't feel very kind as far as like a host,

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Speaker 2: because the host, I think you're responsible for your guests,

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Speaker 2: like welfare for that hour. And I was just like, wow,

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Speaker 2: this this host doesn't have my back and that's okay,

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Speaker 2: but I would feel for someone that wasn't prepared for that.

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Speaker 1: Yeah.

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Speaker 3: But the thing is is, then I imagine what happens

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Speaker 3: that's five minutes into the interview.

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Speaker 1: You then close up, that's set the time.

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Speaker 2: Well totally, yes, I knew I could have done that,

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Speaker 2: but I really tried. I read the play pretty quick

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Speaker 2: and I was like, okay, no worries. But because I

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Speaker 2: don't really care if someone throws me under the bus,

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Speaker 2: I was all right. But usually that would be the

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Speaker 2: risk that the host would be running. And I imagine

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Speaker 2: they've made that mistake for sure.

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Speaker 1: Yeah that makes sense. Yeah, yeah, absolutely.

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Speaker 2: Oh I like your list. I also like our joint

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Speaker 2: being safe space.

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Speaker 3: Our collaboration. Okay, I'm super interested.

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Speaker 2: Oh, mining gonna sound so hippy in comparison to yours. Okay,

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Speaker 2: So the first one is just be real. I think

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Speaker 2: if you're putting on a persona or a lot of people,

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Speaker 2: like I'll chat to people in real life and then

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Speaker 2: I'll go and they'll be like, I really want you

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Speaker 2: on my podcast, and I'll go on their podcasts and

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Speaker 2: they'll just change a whole persona on their pod and

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Speaker 2: I'll be like, what's going on here? And it makes

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Speaker 2: me feel like I'm in a fake world. And so

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Speaker 2: I just think, just be real, like drop your filter,

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Speaker 2: just be who you are, and like speak from that space.

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Speaker 2: If you're too caught up about judgment of the listener

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Speaker 2: or of the guest, or of like someone you're trying

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Speaker 2: to impress, it's not going to fly. So like that's

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Speaker 2: my rule for any time I do TV auditions, step

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Speaker 2: for into a castroom, which I know is not today's topic.

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Speaker 2: It will be soon though, is just be real because

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Speaker 2: I think what you've got to offer is not the

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Speaker 2: same as what I've got to offer or anybody else.

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Speaker 2: It's hippie, but yeah, just.

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Speaker 1: No, I love that.

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Speaker 3: I think that's fantastic and I think it really as

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Speaker 3: a listener, I mean everyone listening. You know you've listened

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Speaker 3: to podcasts where you just can tell that someone's not

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Speaker 3: being themselves and not being authentic and it just reeks.

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Speaker 2: It greats on you. Yeah, it'll feel weird to listen

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Speaker 2: to because you I think like there were number one thing.

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Speaker 2: As well as a podcast, you want to build trust

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Speaker 2: with your audience, which comes through my next point, which

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Speaker 2: is like to be present and connected to your guest.

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Speaker 2: So you touched on the creating a safe space, but

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Speaker 2: I think being present is like being in the moment

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Speaker 2: here and now and being here with you, Sam, and

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Speaker 2: creating this pod for you the listener and hoping that

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Speaker 2: you love it, but like being here and now so

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Speaker 2: that we can give the most honest and helpful podcast

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Speaker 2: that we can create, and then being connected like you

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Speaker 2: and I actually have this little ritual we go get

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Speaker 2: our favorite coffee together and connect catch up on our

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Speaker 2: day and then and I think that that makes for

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Speaker 2: a better podcast as well, even though it might feel

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Speaker 2: like we're just having a chin wag.

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Speaker 1: Yeah.

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Speaker 2: Absolutely, And then this is so just on the present thing.

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Speaker 2: I had one thing every time I go on TV,

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Speaker 2: and it was three P's posture. Because I've got really

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Speaker 2: big boobs and I hunch over on TV. I am

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Speaker 2: like I've completely and it affects your voice, it affects

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Speaker 2: like your confidence, posture, presence, which we've touched on and

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Speaker 2: passion and passion is one of my favorite that's great

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Speaker 2: things as a host to like really tap into what

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Speaker 2: makes you tick, which we always talk about without realizing it.

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Speaker 2: And then one of my favorite all time commentators who's

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Speaker 2: an Australian icon. His name is Bruce McAvaney. Yes, he

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Speaker 2: has a saying and he's like, so if anyone listening,

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Speaker 2: it's probably more our parents generation. But he is just

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Speaker 2: like so passionate and he can covers all the sports,

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Speaker 2: so like it can be AFL forty, it can be

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Speaker 2: the cricket, it can be the Melbourne Spring racing kind

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Speaker 2: of or whatever it is. He knows everything about everyone

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Speaker 2: and every person, like he's got this wealth of knowledge

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Speaker 2: and I've always been like, how does this guy know

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Speaker 2: so much? And he has a theory and he says,

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Speaker 2: you do all of the prep and then you just

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Speaker 2: let it go. And I love that. I try to

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Speaker 2: apply that to an interview. I'll do as much prep

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Speaker 2: as I can, I have less structure than you do,

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Speaker 2: but then I will just let it go and let

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Speaker 2: the guests like, take me on a ride, but I

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Speaker 2: know they've done all the preps so that I can

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Speaker 2: dive down any rabbit hole that they want to dive down.

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Speaker 1: And you are excellent at that, do you reckon? Yeah?

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Speaker 3: And you're also excellent at having it all planned and

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Speaker 3: prepped and researched and learning to let go if you

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Speaker 3: only talk about ten percent of what you wanted to

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Speaker 3: talk about.

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Speaker 2: Well, because I think as well, you remember know, on

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Speaker 2: the day when you're interviewing someone, they might have just

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Speaker 2: done a deal that you don't even know about yet,

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Speaker 2: they might've just something might have happened in their life

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Speaker 2: that's affecting the way they are that day, And so

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Speaker 2: I just think, let the guests kind of like go

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Speaker 2: where they want to go, but have done all of

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Speaker 2: your due diligence as a host to be able to

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Speaker 2: like let them steer the ship if they want.

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Speaker 3: Yeah. It's so clever, and you get a much more

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Speaker 3: authentic interview that way, because if you're trying to steal

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Speaker 3: ship into a direction that you want to go and

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Speaker 3: they're not going with you, it makes such a messy interview.

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Speaker 2: Right, and it's grating again for the listener to listen

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Speaker 2: to like you and I both love listening to podcasts

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Speaker 2: and send them to each other on the REGs. So

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Speaker 2: the trick usually is that it's this, it's like a

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Speaker 2: culmination of all the things we've just spoken about. It's

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Speaker 2: this like beautiful, sweet little potion that is like connection,

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Speaker 2: safe space, well researched pod do we we fleashed app?

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Speaker 1: Yeah?

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Speaker 3: Yeah, I think that's really important too, because I think

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Speaker 3: you can tell the podcast that they haven't planned. They're

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Speaker 3: just like we're going to sit down and chat and

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Speaker 3: then you're like, oh my god, can you shut up

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Speaker 3: because we didn't need to hear that story or that story.

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Speaker 2: That story, Yeah, totally cool Pod one I want.

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Speaker 3: So I think just to summarize, so we've got six

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Speaker 3: top tips. Now, really it is to work out what

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Speaker 3: you want to say, Slash, have a point of difference,

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Speaker 3: to plan, and I think we'll bring in your research prep.

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Speaker 3: That's really fundamental and that's something that both you and

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Speaker 3: we both love that there we go have a good

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Speaker 3: QUI have good equipment in the sense that make sure

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Speaker 3: that it's audible.

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Speaker 2: Yeah.

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Speaker 3: And then your other tips are to be real, they're

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Speaker 3: no bullshit, and to be present and connected.

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Speaker 2: Yeah.

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Speaker 1: And there's one little thing that I like to do.

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Speaker 3: It's not a top three tip because everyone's different and

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Speaker 3: everyone's got their little quirks. But Lola will know from

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Speaker 3: working with you on this, I love to get the

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Speaker 3: show intro right. And I feel if you get the

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Speaker 3: music right and you get the script right, you set

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Speaker 3: the tone for what the series is going to be.

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Speaker 3: And I that gives me so much joy.

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Speaker 2: Can I say? I had a meeting with my agents

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Speaker 2: and I was like, guys, you've got to hear the intro.

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Speaker 2: Sam has nailed it. I'm like he has produced, like

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Speaker 2: got it perfect and like whereas like I kind of

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Speaker 2: like I'm a bit of a not winger, but like

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Speaker 2: I'll have my if I over do an intro, I'll

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Speaker 2: have like three notes that I want to hit. And

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Speaker 2: but you know what, I learned that from through radio

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Speaker 2: production when I would do segments and when it was

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Speaker 2: scripted word for word, I would trip too much because

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Speaker 2: I'd get nervous and get in my head, which happened

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Speaker 2: a little bit yesterday when we were recording the teaser.

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Speaker 1: Do you remember, yes, yeah, yeah.

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Speaker 2: Whereas if you're like Nola, you just need to hit

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Speaker 2: these three points and I can enjoy the musicality and

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Speaker 2: whatnot between it. I do much better. It's so interesting

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Speaker 2: figuring out your strengths and weaknesses.

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Speaker 1: Absolutely, and I.

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Speaker 3: Think that goes to the point of you will work

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Speaker 3: out what works for you, especially if you're the person

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Speaker 3: who's hosting the podcast. There's no right or wrong way.

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Speaker 3: And I love your intro to fearlessly failing. Ah, there

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Speaker 3: you go, And that's been approaching a completely different way

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Speaker 3: to the intro to this show.

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Speaker 2: But I have learned so much from you guys. Honestly,

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Speaker 2: You've got Sam on this podcast. Here is an epic producer.

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Speaker 2: He's going to try and get this cut out as well.

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Speaker 2: I will fight for this.

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Speaker 3: It's going to be like, can you stop blowing smoke

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Speaker 3: up each other's asses.

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Speaker 1: We're going to lose business now.

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Speaker 3: But I think you've just hit on something that we

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Speaker 3: probably haven't even discussed, and I think it's really important

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Speaker 3: and it kind of comes down into talking about intros,

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Speaker 3: but it's that know what you want to say, like

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Speaker 3: have you your log line or your pitch line or

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Speaker 3: your elevator pitch, which is what are we? What is

441
00:20:11,160 --> 00:20:15,800
Speaker 3: this podcast? And then everything can feed from that perfect.

442
00:20:15,680 --> 00:20:17,439
Speaker 2: And it means you're just checking in with your purpose

443
00:20:17,520 --> 00:20:20,600
Speaker 2: or your why. Really yeah, exactly, which can be applied

444
00:20:20,640 --> 00:20:21,639
Speaker 2: to any part of life.

445
00:20:21,800 --> 00:20:23,600
Speaker 1: Really Okay. Cool.

446
00:20:23,600 --> 00:20:27,120
Speaker 3: So that was like a basic overview of producing podcasts,

447
00:20:27,160 --> 00:20:29,280
Speaker 3: and we'll put our top tips in the show notes.

448
00:20:29,440 --> 00:20:31,480
Speaker 2: Absolutely, it was kind of like our value system.

449
00:20:31,640 --> 00:20:33,440
Speaker 1: Yeah, I kind of like it. Yeah it was.

450
00:20:34,680 --> 00:20:38,280
Speaker 3: Now I am super excited to talk to you about

451
00:20:38,280 --> 00:20:41,760
Speaker 3: this because you have a lot of experience on doing

452
00:20:41,800 --> 00:20:46,440
Speaker 3: morning shows in both Australia and America, and I really

453
00:20:46,440 --> 00:20:49,600
Speaker 3: want to understand how they different and what your experience

454
00:20:49,680 --> 00:20:51,040
Speaker 3: is from a production side.

455
00:20:52,359 --> 00:20:53,920
Speaker 1: Oh, take it away.

456
00:20:54,520 --> 00:20:57,480
Speaker 2: So I figured out I've been I started morning TV

457
00:20:57,560 --> 00:20:59,200
Speaker 2: when I was twenty two and I'm thirty six.

458
00:20:59,280 --> 00:20:59,560
Speaker 1: That's for.

459
00:21:02,240 --> 00:21:07,720
Speaker 2: Too kind. So I love it. So I watched I

460
00:21:07,760 --> 00:21:10,200
Speaker 2: do a little. I used to do logs, like YouTube logs.

461
00:21:10,200 --> 00:21:13,320
Speaker 2: I can throw a few in the show notes. I

462
00:21:13,359 --> 00:21:17,520
Speaker 2: love the magic of being on a set, especially. The

463
00:21:17,560 --> 00:21:20,280
Speaker 2: thing that I love about morning TV is that well,

464
00:21:20,280 --> 00:21:24,120
Speaker 2: definitely in Australia, the ones that I did were they're

465
00:21:24,160 --> 00:21:26,960
Speaker 2: live to tape, so you'll do it the day that

466
00:21:27,000 --> 00:21:31,360
Speaker 2: it's going to air usually, and if there's a blunder,

467
00:21:32,240 --> 00:21:34,119
Speaker 2: you got to roll with it, so it feels like

468
00:21:34,119 --> 00:21:36,080
Speaker 2: it's live to air, even though there's that little delay.

469
00:21:36,160 --> 00:21:39,280
Speaker 2: I don't know exactly what the delay is, but it

470
00:21:39,480 --> 00:21:45,400
Speaker 2: feels like a live show and before COVID live studio audience,

471
00:21:45,880 --> 00:21:50,440
Speaker 2: which is always fun, and it was felt like quite

472
00:21:50,440 --> 00:21:53,280
Speaker 2: a big production. You know, you'd rock up two hours before,

473
00:21:53,320 --> 00:21:55,199
Speaker 2: you'd get your hair and makeup done. Then you'd be

474
00:21:55,240 --> 00:21:58,680
Speaker 2: working with the props team. Your producer would usually meet

475
00:21:58,720 --> 00:22:01,800
Speaker 2: you pretty early on and they'll have your show notes

476
00:22:01,840 --> 00:22:04,919
Speaker 2: printed off, so your talk points. Then you'll meet with

477
00:22:04,960 --> 00:22:07,600
Speaker 2: like a props person and we'll be making brownies and

478
00:22:07,840 --> 00:22:11,600
Speaker 2: they'll often have a chef on site that'll be making

479
00:22:11,600 --> 00:22:14,320
Speaker 2: it for you. And then you'll bring in some extra

480
00:22:14,359 --> 00:22:17,000
Speaker 2: props if you want. But it depends on the show

481
00:22:17,080 --> 00:22:21,800
Speaker 2: and the budget. So I've also done shows where you

482
00:22:21,880 --> 00:22:24,679
Speaker 2: bring everything you have the final product, you know, and

483
00:22:25,119 --> 00:22:27,640
Speaker 2: if in the past, I figured out how to get

484
00:22:27,640 --> 00:22:29,080
Speaker 2: help with this because I was like, oh my god,

485
00:22:29,080 --> 00:22:30,639
Speaker 2: this is so stressful because you've got to cook it

486
00:22:30,640 --> 00:22:34,320
Speaker 2: all the night before for a morning show, right o god, yeah, yeah,

487
00:22:34,320 --> 00:22:36,480
Speaker 2: because the call time is like two before you're on air.

488
00:22:37,040 --> 00:22:39,080
Speaker 2: And I figured when I was promoting books, I was like,

489
00:22:39,119 --> 00:22:41,760
Speaker 2: hang on, I have a book publicist that is working

490
00:22:41,760 --> 00:22:45,119
Speaker 2: with me. So I'd usually like butter up my book

491
00:22:45,160 --> 00:22:48,280
Speaker 2: publisher and we'd do it together. Like they'd make one recipe,

492
00:22:48,359 --> 00:22:51,359
Speaker 2: I'd make another recipe and then we'd rock up with

493
00:22:51,400 --> 00:22:54,960
Speaker 2: it done, and then I'd bring all the props as well.

494
00:22:55,040 --> 00:22:56,600
Speaker 2: Kind of thing. So to be like a team effort.

495
00:22:56,600 --> 00:22:59,200
Speaker 2: That was a trick always like delegate and get people

496
00:22:59,240 --> 00:23:03,639
Speaker 2: to help you. But in America it's a beast.

497
00:23:04,080 --> 00:23:04,720
Speaker 1: Yeah.

498
00:23:04,840 --> 00:23:07,399
Speaker 2: I know you've worked on American productions as well, so

499
00:23:08,200 --> 00:23:10,719
Speaker 2: and you touched on when we were kind of like

500
00:23:10,760 --> 00:23:13,439
Speaker 2: brainstorming this. The budgets are a lot bigger because the

501
00:23:13,480 --> 00:23:14,399
Speaker 2: audience is bigger.

502
00:23:14,560 --> 00:23:16,720
Speaker 1: Yeah, so you know you.

503
00:23:16,800 --> 00:23:20,359
Speaker 2: Literally I remember I shot an American TV show and

504
00:23:20,400 --> 00:23:24,120
Speaker 2: I got picked up in this big black suv and

505
00:23:24,240 --> 00:23:27,960
Speaker 2: taken to Universal lot. So you do all these security

506
00:23:28,000 --> 00:23:30,080
Speaker 2: checks at the start and you're literally driving past like

507
00:23:30,119 --> 00:23:32,960
Speaker 2: where the Westerns are shot. I got put in my

508
00:23:33,000 --> 00:23:38,680
Speaker 2: own trailer with snack sam Snackscalore. Have you been you've

509
00:23:38,720 --> 00:23:40,399
Speaker 2: been on America? This is so much snack.

510
00:23:40,520 --> 00:23:42,840
Speaker 3: Yeah, and I steal them every time. Literally was at

511
00:23:42,880 --> 00:23:45,520
Speaker 3: Kimmel yesterday was and I was like Okay, they're all

512
00:23:45,520 --> 00:23:46,360
Speaker 3: going in my bag.

513
00:23:46,640 --> 00:23:49,840
Speaker 2: Sam present, I'll take this for later.

514
00:23:50,080 --> 00:23:51,520
Speaker 3: But I love that so that you like have a

515
00:23:51,600 --> 00:23:53,800
Speaker 3: Jlo moment even if you're just coming on and like

516
00:23:53,840 --> 00:23:54,880
Speaker 3: cooking brownies.

517
00:23:54,920 --> 00:23:59,920
Speaker 2: In America, you bring on like two different outfit eyed

518
00:24:00,320 --> 00:24:02,080
Speaker 2: and they'll tell you which one's going to fit with

519
00:24:02,119 --> 00:24:04,920
Speaker 2: what the hosts are wearing. And then there's someone that's

520
00:24:04,920 --> 00:24:07,080
Speaker 2: got a steamer, so they'll steam your dress for you.

521
00:24:07,080 --> 00:24:09,520
Speaker 2: You've got full hair and makeup team. The interesting thing

522
00:24:09,560 --> 00:24:11,960
Speaker 2: about the American show that I did, which is called

523
00:24:12,000 --> 00:24:14,920
Speaker 2: Home and Family, I think I don't think it exists

524
00:24:14,960 --> 00:24:18,720
Speaker 2: anymore post COVID, but it was literally shot in a house.

525
00:24:19,320 --> 00:24:22,240
Speaker 2: So yes, it was a studio house, but basically they

526
00:24:22,320 --> 00:24:25,000
Speaker 2: shot different segments in different rooms of the house.

527
00:24:25,080 --> 00:24:27,560
Speaker 1: It's this on the Universal lot. Correct, Yeah, I know

528
00:24:27,600 --> 00:24:29,160
Speaker 1: the location. Do you see you've.

529
00:24:29,080 --> 00:24:33,439
Speaker 2: Got like Wisteria Lane above it from Desperate Housewives. And

530
00:24:33,480 --> 00:24:35,320
Speaker 2: I remember the first time I ever went on the show,

531
00:24:35,320 --> 00:24:37,160
Speaker 2: because I think I've done the show like six times,

532
00:24:37,200 --> 00:24:39,280
Speaker 2: because every time I come to a Merrick or I'd

533
00:24:39,600 --> 00:24:42,360
Speaker 2: be like, can I come on? Just so fun and

534
00:24:42,640 --> 00:24:45,480
Speaker 2: they were so much fun. But I remember the first

535
00:24:45,560 --> 00:24:47,200
Speaker 2: time I went on. They're like, Oh, if you hear

536
00:24:47,240 --> 00:24:50,159
Speaker 2: that sound, don't worry, it's just the earthquake soundstage. And

537
00:24:50,200 --> 00:24:52,560
Speaker 2: I'm like, what, Yes.

538
00:24:52,800 --> 00:24:54,600
Speaker 3: So for those of listening, if you haven't been in

539
00:24:54,680 --> 00:24:57,040
Speaker 3: Universal Studios, you can do this thing called the backlot

540
00:24:57,080 --> 00:24:59,480
Speaker 3: to it, Yes, and the Backlot Tour. It takes you

541
00:24:59,480 --> 00:25:02,040
Speaker 3: around the back plot and you go through different experiences

542
00:25:02,080 --> 00:25:04,480
Speaker 3: like the George Experience, I can't remember what, Jurassic Park,

543
00:25:04,600 --> 00:25:07,160
Speaker 3: Jurassic Park, and there's an earthquake one where you feel

544
00:25:07,160 --> 00:25:08,160
Speaker 3: like you're in an earthquake.

545
00:25:08,480 --> 00:25:10,520
Speaker 2: See, I've never done it. I've never never done it.

546
00:25:10,680 --> 00:25:11,520
Speaker 2: We have to do it.

547
00:25:11,600 --> 00:25:14,199
Speaker 1: Oh my god, it's so much fun. We have to

548
00:25:14,240 --> 00:25:14,520
Speaker 1: do it.

549
00:25:14,640 --> 00:25:16,159
Speaker 2: I've never in my life done it.

550
00:25:16,440 --> 00:25:18,280
Speaker 3: And also just to explain what you're talking about, So

551
00:25:18,320 --> 00:25:21,119
Speaker 3: what Lola's saying is they have built on the Universal

552
00:25:21,160 --> 00:25:26,560
Speaker 3: backlot a all American like house exterior, interior. It is

553
00:25:26,600 --> 00:25:28,760
Speaker 3: a proper house that is built on the back lot

554
00:25:28,920 --> 00:25:31,600
Speaker 3: on a piece of grass with like a white picket fans,

555
00:25:31,640 --> 00:25:33,560
Speaker 3: and they use it for other things for other movies,

556
00:25:33,600 --> 00:25:35,480
Speaker 3: other TV shows, but this is where this.

557
00:25:35,480 --> 00:25:36,280
Speaker 1: Show was filmed.

558
00:25:36,320 --> 00:25:38,280
Speaker 3: So you would turn up to the Universal lot and

559
00:25:38,400 --> 00:25:40,800
Speaker 3: go to this location, which is a full on house.

560
00:25:41,040 --> 00:25:44,240
Speaker 2: Yeah, it was so much fun. Sam, I'm so glad

561
00:25:44,280 --> 00:25:45,960
Speaker 2: you I didn't we hadn't talked about this.

562
00:25:46,480 --> 00:25:47,560
Speaker 1: Yeah, no, no, I know it. Yeah.

563
00:25:47,760 --> 00:25:49,639
Speaker 2: But you'd get there a lot earlier than say you

564
00:25:49,640 --> 00:25:51,560
Speaker 2: would for a NAUSI show. So for an Aussie show,

565
00:25:51,600 --> 00:25:53,760
Speaker 2: you get there like a couple of hours before if

566
00:25:53,760 --> 00:25:57,040
Speaker 2: you're getting hair and makeup done on site post COVID

567
00:25:57,040 --> 00:25:59,240
Speaker 2: I had to do all of that not on site

568
00:25:59,600 --> 00:26:01,879
Speaker 2: and kind of rock up ready to go. But here

569
00:26:01,920 --> 00:26:04,400
Speaker 2: in America you'd get there so say your set, your

570
00:26:04,440 --> 00:26:07,520
Speaker 2: shooting time was two pm, they'd call you in at

571
00:26:07,600 --> 00:26:11,600
Speaker 2: like eight and it would be because you'd get there,

572
00:26:12,040 --> 00:26:14,720
Speaker 2: get your j Lo moment in your in your trailer.

573
00:26:14,720 --> 00:26:16,800
Speaker 1: And in your suv that picks you up with a

574
00:26:16,840 --> 00:26:19,320
Speaker 1: tinted window, and.

575
00:26:19,200 --> 00:26:22,119
Speaker 2: Then you're getting But you have to go into a rehearsal.

576
00:26:22,359 --> 00:26:24,639
Speaker 2: So you'll go on the set, you'll see the hosts.

577
00:26:24,640 --> 00:26:27,240
Speaker 2: They'll be in their sweats, you know, not in there

578
00:26:27,280 --> 00:26:30,480
Speaker 2: like glam or anything. You do a rehearsal, you'll also

579
00:26:30,560 --> 00:26:34,440
Speaker 2: meet a full blown chef team and they'll be like, okay,

580
00:26:34,560 --> 00:26:37,639
Speaker 2: you're doing paleo burgers today. These are the ingredients and

581
00:26:37,680 --> 00:26:40,239
Speaker 2: you're happy with all of these, and you're also going

582
00:26:40,320 --> 00:26:44,359
Speaker 2: to make it on the fly on the show, and

583
00:26:44,400 --> 00:26:47,280
Speaker 2: so they're like, okay, when you've made your patty mixture,

584
00:26:47,119 --> 00:26:49,159
Speaker 2: we've actually got a camera overhead, so you need to

585
00:26:49,200 --> 00:26:51,680
Speaker 2: make sure you open the oven and pull it out

586
00:26:51,680 --> 00:26:54,080
Speaker 2: really slow so the overhead camera can get a bird's

587
00:26:54,080 --> 00:26:56,320
Speaker 2: eye view of that. And then when you pull away

588
00:26:56,320 --> 00:26:58,000
Speaker 2: and make sure you show it to this because it's

589
00:26:58,040 --> 00:27:01,760
Speaker 2: multiicam set, so presuming they'd be like between three and

590
00:27:01,840 --> 00:27:05,480
Speaker 2: five cams on this set. So you do your rehearsal.

591
00:27:06,520 --> 00:27:08,600
Speaker 2: I did not know this, but the rehearsal is also

592
00:27:08,720 --> 00:27:11,879
Speaker 2: like a little audition. And so then when you're getting

593
00:27:11,880 --> 00:27:14,119
Speaker 2: your hair and makeup done and your call time is

594
00:27:14,119 --> 00:27:17,200
Speaker 2: getting closer and closer, your producer will come up to

595
00:27:17,240 --> 00:27:20,119
Speaker 2: you and go, look, they loved your rehearsal. We actually

596
00:27:20,119 --> 00:27:22,080
Speaker 2: want you to co host the rest of the show

597
00:27:22,200 --> 00:27:25,639
Speaker 2: after your segment. So you go from doing a food

598
00:27:25,720 --> 00:27:28,560
Speaker 2: segment right and you've got and the thing is as well,

599
00:27:28,600 --> 00:27:31,240
Speaker 2: you're making it for not just the host, but like

600
00:27:31,400 --> 00:27:35,560
Speaker 2: the guests of the segment previous your segment, and then

601
00:27:35,600 --> 00:27:38,840
Speaker 2: they're like, stay miked up. Next minute, I'm doing arts

602
00:27:38,840 --> 00:27:42,679
Speaker 2: and crafts segments. I was doing a financial segment and

603
00:27:42,760 --> 00:27:44,320
Speaker 2: at the time I owned a smoothie bar, so they

604
00:27:44,320 --> 00:27:46,080
Speaker 2: were like, can you please talk about owning a smoothie

605
00:27:46,119 --> 00:27:48,760
Speaker 2: bar in Australia And I was like sure, I've got

606
00:27:48,760 --> 00:27:51,000
Speaker 2: no idea about P and L or like the back

607
00:27:51,040 --> 00:27:53,520
Speaker 2: of the financial stub, I was like no, happy to

608
00:27:53,680 --> 00:27:56,600
Speaker 2: no props and they would keep you up until like

609
00:27:56,680 --> 00:27:59,400
Speaker 2: the very end, until the show totally wrapped. Was that

610
00:27:59,600 --> 00:28:03,359
Speaker 2: nerve loved it, realized it. I was like, this is

611
00:28:03,359 --> 00:28:05,480
Speaker 2: my calling. I'm mid to the host.

612
00:28:05,359 --> 00:28:08,800
Speaker 3: Javia, because you're quite a type and you like knowing,

613
00:28:09,119 --> 00:28:11,560
Speaker 3: you know, like what's coming up and what's going to happen,

614
00:28:11,600 --> 00:28:12,640
Speaker 3: and then to be on the fly.

615
00:28:13,560 --> 00:28:15,040
Speaker 1: I actually loved it great.

616
00:28:15,520 --> 00:28:19,639
Speaker 2: I absolutely loved it. I actually think I was probably

617
00:28:19,680 --> 00:28:24,000
Speaker 2: more nervous in rehearsals because you know, like it feels

618
00:28:24,040 --> 00:28:25,679
Speaker 2: like there's a bit more pressure and not stuff up,

619
00:28:25,680 --> 00:28:29,000
Speaker 2: whereas once the cameras are rolling, there's no turning back. Yes,

620
00:28:29,160 --> 00:28:30,520
Speaker 2: so you kind of got to be in it and

621
00:28:30,560 --> 00:28:33,000
Speaker 2: be super present and just kind of like go with

622
00:28:33,119 --> 00:28:33,600
Speaker 2: the flow.

623
00:28:33,800 --> 00:28:35,760
Speaker 1: And is there an audience.

624
00:28:36,840 --> 00:28:41,160
Speaker 2: For that show? No, there was no audience in Australia. Yeah,

625
00:28:41,200 --> 00:28:43,360
Speaker 2: nearly every morning show that I did there were quite

626
00:28:43,400 --> 00:28:46,960
Speaker 2: big audiences like fifty people, which felt big for me,

627
00:28:47,080 --> 00:28:49,640
Speaker 2: and then they got smaller and smaller from when I

628
00:28:49,680 --> 00:28:52,200
Speaker 2: was in Sydney doing morning shows to kind of like

629
00:28:52,280 --> 00:28:56,200
Speaker 2: twenty and then I haven't seen this to the audience since.

630
00:28:56,080 --> 00:28:58,600
Speaker 1: COVID Well, COVID fuck the world.

631
00:28:59,160 --> 00:29:02,600
Speaker 2: Yeah, yeah, and interesting as well when I do. Like

632
00:29:02,640 --> 00:29:06,720
Speaker 2: the last segment I did was actually for my book

633
00:29:06,880 --> 00:29:10,480
Speaker 2: in Australia last year, okay, yeah, and I had to

634
00:29:10,600 --> 00:29:12,840
Speaker 2: I flew to Sydney to do the segment on set,

635
00:29:13,160 --> 00:29:15,200
Speaker 2: got there, did the COVID test on site, so you

636
00:29:15,880 --> 00:29:18,200
Speaker 2: sit in this other whole level of the same building

637
00:29:18,240 --> 00:29:21,400
Speaker 2: for fifteen minutes get your result, and they literally walked

638
00:29:21,400 --> 00:29:24,719
Speaker 2: me downstairs to a basement with a green screen and

639
00:29:24,800 --> 00:29:27,760
Speaker 2: I did a live cross from this same building that

640
00:29:27,840 --> 00:29:30,600
Speaker 2: the show was in because they wanted to protect the hosts.

641
00:29:30,320 --> 00:29:32,920
Speaker 1: So you keep distance from everyone and.

642
00:29:32,800 --> 00:29:35,720
Speaker 2: You're working with inner ear, like it's a very different.

643
00:29:35,720 --> 00:29:38,520
Speaker 3: So in ear, just to explain to everyone's listening, is

644
00:29:38,680 --> 00:29:41,280
Speaker 3: basically like a little headphone almost like if you watch

645
00:29:41,320 --> 00:29:43,920
Speaker 3: a James Bond film and you know the little earpiece

646
00:29:44,480 --> 00:29:47,880
Speaker 3: that they put in your ear and then the producers

647
00:29:47,920 --> 00:29:50,520
Speaker 3: and the director can communicate with you while you're live

648
00:29:50,600 --> 00:29:52,440
Speaker 3: on TV. So if you're not used to it can

649
00:29:52,520 --> 00:29:53,920
Speaker 3: actually be really distracting.

650
00:29:54,280 --> 00:29:57,880
Speaker 2: Also, you've got to where I was. I had two

651
00:29:57,960 --> 00:30:01,560
Speaker 2: different monitors. Monitors, that's what I was looking for. I

652
00:30:01,560 --> 00:30:04,400
Speaker 2: was going to say TV screens, but and one had

653
00:30:04,440 --> 00:30:07,440
Speaker 2: definitely had a delay, definitely definitely, And I don't know

654
00:30:07,440 --> 00:30:10,640
Speaker 2: if one was just showing me the hosts, like the

655
00:30:10,680 --> 00:30:13,280
Speaker 2: point of view of the host. But I quickly learned

656
00:30:13,760 --> 00:30:16,080
Speaker 2: because they test you like thirty seconds or a minute

657
00:30:16,080 --> 00:30:18,520
Speaker 2: before and you're just say hi to your host and stuff,

658
00:30:19,120 --> 00:30:22,360
Speaker 2: and I remember thinking, oh shit, I cannot look at

659
00:30:22,360 --> 00:30:24,800
Speaker 2: the monitor. There is like a half a second delay

660
00:30:24,840 --> 00:30:27,520
Speaker 2: and it's going to throw me. So I just found

661
00:30:27,520 --> 00:30:31,120
Speaker 2: the red dot little light and I just delivered everything

662
00:30:31,200 --> 00:30:33,920
Speaker 2: there and my mum freaking called me up, like you

663
00:30:34,000 --> 00:30:36,440
Speaker 2: kept touching your hair because my inner earpiece fell out

664
00:30:37,080 --> 00:30:38,360
Speaker 2: and I had to get it back in.

665
00:30:38,480 --> 00:30:41,640
Speaker 3: Well, you're a pro them because what Laul was talking

666
00:30:41,640 --> 00:30:44,800
Speaker 3: about is the red light record light on top of

667
00:30:44,840 --> 00:30:47,640
Speaker 3: the camera, because that's one of the biggest mistakes is

668
00:30:47,680 --> 00:30:50,800
Speaker 3: it's very confronting when you're in that environment because you're

669
00:30:50,920 --> 00:30:52,960
Speaker 3: not interacting with the host live.

670
00:30:53,160 --> 00:30:54,320
Speaker 1: They're in another studio.

671
00:30:54,400 --> 00:30:56,560
Speaker 3: So you're literally sitting in a chair with a green

672
00:30:56,600 --> 00:30:57,840
Speaker 3: screen behind you.

673
00:30:57,840 --> 00:30:59,680
Speaker 1: You've got one or two cameras on you.

674
00:30:59,680 --> 00:31:02,800
Speaker 3: You've got monitors that show you who you're talking to,

675
00:31:03,160 --> 00:31:05,600
Speaker 3: but that's not your eye line. So if you look

676
00:31:05,640 --> 00:31:07,880
Speaker 3: at the monitors when you talk to the host, you

677
00:31:07,960 --> 00:31:10,520
Speaker 3: look like your cross eye. So you have to look

678
00:31:10,560 --> 00:31:12,920
Speaker 3: directly into the barrel of the lens or the red

679
00:31:12,960 --> 00:31:14,320
Speaker 3: light which is directly above us.

680
00:31:14,400 --> 00:31:16,320
Speaker 1: That's really clever that you just did that.

681
00:31:16,720 --> 00:31:18,360
Speaker 2: But no one tells you like I was on my

682
00:31:18,440 --> 00:31:20,840
Speaker 2: own for that one. I just got myself there. I

683
00:31:20,880 --> 00:31:23,160
Speaker 2: didn't have like you sometimes have minders, like for that

684
00:31:23,200 --> 00:31:26,000
Speaker 2: American show, I had a publicist with me the whole time,

685
00:31:26,600 --> 00:31:28,240
Speaker 2: and so you've kind of got people to kind of

686
00:31:28,800 --> 00:31:31,120
Speaker 2: just kind of be your safety net and help you

687
00:31:31,160 --> 00:31:34,440
Speaker 2: out along. But I had no I was fully on

688
00:31:34,440 --> 00:31:36,080
Speaker 2: my own, to the point that I then got off

689
00:31:36,080 --> 00:31:38,640
Speaker 2: and accidentally walked on the Lego sound stage to get

690
00:31:38,680 --> 00:31:40,760
Speaker 2: out had and they were like, what are you doing here?

691
00:31:40,760 --> 00:31:42,520
Speaker 2: You can't walk through here, and they were shooting like

692
00:31:42,560 --> 00:31:44,520
Speaker 2: heymish and stuff, and I was like I don't know,

693
00:31:44,600 --> 00:31:49,480
Speaker 2: this is freaking Kolberll. I'll just have a squizz, right, yeah.

694
00:31:49,520 --> 00:31:52,000
Speaker 3: Because also they're talking to you in your ear, so

695
00:31:52,160 --> 00:31:55,440
Speaker 3: the host responses are coming through in your ear, so

696
00:31:55,480 --> 00:31:57,400
Speaker 3: you're looking at them on screen, but you're hearing them

697
00:31:57,400 --> 00:31:58,720
Speaker 3: in the ear, but they're not in the room.

698
00:31:58,760 --> 00:32:00,240
Speaker 1: And then you've got to look at the camp as

699
00:32:00,280 --> 00:32:01,000
Speaker 1: if you're looking at them.

700
00:32:01,000 --> 00:32:02,720
Speaker 3: And then on top of that, you've got a producer

701
00:32:02,760 --> 00:32:06,080
Speaker 3: and or director that's also saying talking to you, more

702
00:32:06,120 --> 00:32:08,400
Speaker 3: so when you're the host than when you're being interviewed.

703
00:32:08,600 --> 00:32:10,640
Speaker 3: But if anything goes wrong or you were meant to

704
00:32:10,680 --> 00:32:13,320
Speaker 3: say something that you haven't said, they will literally chime

705
00:32:13,360 --> 00:32:15,720
Speaker 3: in and be like, you haven't mentioned the release date

706
00:32:15,720 --> 00:32:18,920
Speaker 3: of the book, Lola, And you're mid sentence.

707
00:32:18,560 --> 00:32:22,520
Speaker 2: Talking Yes, what a skill? What a skill set to have?

708
00:32:22,720 --> 00:32:24,520
Speaker 2: I don't think I've nailed it yet. No way.

709
00:32:24,680 --> 00:32:27,800
Speaker 3: Well, there's a really good way to practice that, but

710
00:32:27,920 --> 00:32:29,840
Speaker 3: we will talk about that when we do our hosting.

711
00:32:30,080 --> 00:32:32,000
Speaker 2: Well, please can you make a note of that because

712
00:32:32,040 --> 00:32:34,640
Speaker 2: I need to learn that, Sam like I really need

713
00:32:34,640 --> 00:32:37,160
Speaker 2: to learn that. But so fun and I've done the

714
00:32:37,160 --> 00:32:40,080
Speaker 2: project that exact Sammy gone to set of the project

715
00:32:40,200 --> 00:32:43,560
Speaker 2: in Melbourne, hair and makeup done, and they're like, thanks,

716
00:32:43,600 --> 00:32:45,320
Speaker 2: You're just going to go to this green room this

717
00:32:45,440 --> 00:32:48,760
Speaker 2: green screen, should I say, which is literally literally a

718
00:32:48,800 --> 00:32:52,719
Speaker 2: bright green screen and they've got the Melbourne City skyline

719
00:32:52,800 --> 00:32:55,000
Speaker 2: behind you or the Sydney one, depending on where you're

720
00:32:55,000 --> 00:32:59,200
Speaker 2: recording from. And I'm like, literally two rooms away is

721
00:32:59,240 --> 00:33:02,720
Speaker 2: the cast and panel recording. Please let me onto a set.

722
00:33:02,960 --> 00:33:06,280
Speaker 2: But no, And it's way less glamorous, I think than

723
00:33:06,320 --> 00:33:08,560
Speaker 2: what on a real set.

724
00:33:09,080 --> 00:33:11,160
Speaker 1: Yeah, as part of the path, you feel like you're.

725
00:33:11,000 --> 00:33:13,840
Speaker 3: In the janitor's closet half the time. You're like, where

726
00:33:13,880 --> 00:33:14,680
Speaker 3: have they put me?

727
00:33:15,200 --> 00:33:16,760
Speaker 2: It is not glamorous at all.

728
00:33:16,800 --> 00:33:19,280
Speaker 3: Like and also talking about when we were talking about

729
00:33:19,320 --> 00:33:21,960
Speaker 3: doing zoom calls via podcast, it's the same thing. You

730
00:33:22,000 --> 00:33:23,280
Speaker 3: want to be in the room with the people that

731
00:33:23,280 --> 00:33:25,400
Speaker 3: you're talking to and you can react to them and

732
00:33:25,440 --> 00:33:28,240
Speaker 3: relate to them, and it makes it much harder for

733
00:33:28,280 --> 00:33:30,000
Speaker 3: a guest to do it that way.

734
00:33:29,920 --> 00:33:33,080
Speaker 2: Way harder, way harder, way harder. And I'd flown to

735
00:33:33,120 --> 00:33:35,680
Speaker 2: Sydney thinking that I was going to be recorded in

736
00:33:35,720 --> 00:33:39,000
Speaker 2: real life. I did not know until literally ten minutes

737
00:33:39,040 --> 00:33:41,080
Speaker 2: before the segment when I'm going to walk down to

738
00:33:41,120 --> 00:33:44,600
Speaker 2: this little basement. So I think you've almost got to

739
00:33:44,640 --> 00:33:47,320
Speaker 2: be able to like self produced in a way and

740
00:33:47,360 --> 00:33:50,800
Speaker 2: be like, Okay, my situation has changed on a dime,

741
00:33:50,920 --> 00:33:53,560
Speaker 2: and that's okay. I've just got a My goal is

742
00:33:53,600 --> 00:33:55,080
Speaker 2: I need to tell them about this book and have

743
00:33:55,120 --> 00:33:57,760
Speaker 2: a good rapport with the people that are interviewing me.

744
00:33:57,840 --> 00:33:59,360
Speaker 2: And that became my only goal.

745
00:33:59,520 --> 00:34:02,080
Speaker 3: Yeah, and the rapport is with the camera because you're

746
00:34:02,080 --> 00:34:04,680
Speaker 3: not in the room with them, see, and you've got.

747
00:34:04,600 --> 00:34:07,160
Speaker 1: To build a rapport with a piece of equipment.

748
00:34:07,520 --> 00:34:10,160
Speaker 2: I will say, for anyone that ever goes on TV

749
00:34:10,480 --> 00:34:14,359
Speaker 2: regular regularly, should I say like David Campbell is kind

750
00:34:14,360 --> 00:34:16,120
Speaker 2: of someone that I regularly talked to and he'll always

751
00:34:16,160 --> 00:34:18,680
Speaker 2: be like, Lola, good to see you again, mate, And

752
00:34:18,680 --> 00:34:21,200
Speaker 2: that always like if you can have a regular like

753
00:34:21,239 --> 00:34:25,000
Speaker 2: connection with one or two people. David rain took me

754
00:34:25,280 --> 00:34:27,879
Speaker 2: fully under his wing with Night Am with David and Kim.

755
00:34:27,920 --> 00:34:29,960
Speaker 2: I was so green. That was the first morning SOO

756
00:34:30,000 --> 00:34:33,120
Speaker 2: I ever did, and I was so nervous, and I'd

757
00:34:33,120 --> 00:34:35,120
Speaker 2: always get off topic, like I would have learned all

758
00:34:35,160 --> 00:34:37,359
Speaker 2: my content to a tee. But if we were doing

759
00:34:37,400 --> 00:34:41,000
Speaker 2: like detox T's or something like that, David Rain would

760
00:34:41,040 --> 00:34:43,439
Speaker 2: literally be like, and Lola, can we just talk about

761
00:34:43,480 --> 00:34:46,160
Speaker 2: that liquorice tea that's sitting right here. And he'd always

762
00:34:46,280 --> 00:34:48,880
Speaker 2: navigate me back and take me under his wing, to

763
00:34:48,920 --> 00:34:50,560
Speaker 2: the point that his co host Kim would be like,

764
00:34:50,600 --> 00:34:54,160
Speaker 2: your favorites back on today, David, because he really cared

765
00:34:54,160 --> 00:34:56,440
Speaker 2: about like bringing and he taught me so much without

766
00:34:56,480 --> 00:34:58,200
Speaker 2: me even realizing what.

767
00:34:58,200 --> 00:35:01,239
Speaker 1: A pro and a a that he didn't just leave

768
00:35:01,280 --> 00:35:02,800
Speaker 1: you out on the line to dry.

769
00:35:02,840 --> 00:35:05,360
Speaker 2: Which has happened to me before for other people. And

770
00:35:05,440 --> 00:35:08,680
Speaker 2: so I would always say, like, take notice of the pros.

771
00:35:08,840 --> 00:35:11,919
Speaker 2: But also I to this day have said that David

772
00:35:12,000 --> 00:35:13,600
Speaker 2: Raine took me under his wing because he was just

773
00:35:13,600 --> 00:35:15,520
Speaker 2: such a legend. And that's how I cut my teeth

774
00:35:15,560 --> 00:35:19,880
Speaker 2: in Morning TV. I was on that show until it ended. Amazing,

775
00:35:20,080 --> 00:35:21,120
Speaker 2: there's my weekly gear.

776
00:35:21,280 --> 00:35:22,640
Speaker 1: How cool? I bet you miss it?

777
00:35:23,000 --> 00:35:26,000
Speaker 2: Yeah? Like, I love I love like. That's the whole

778
00:35:26,000 --> 00:35:27,920
Speaker 2: reason why I'm in America. I want to be able

779
00:35:27,960 --> 00:35:31,160
Speaker 2: to be doing that as a job and being on shows.

780
00:35:31,160 --> 00:35:33,520
Speaker 2: It's just not the opportunity hasn't come for me in

781
00:35:33,520 --> 00:35:34,400
Speaker 2: Australia yet.

782
00:35:34,800 --> 00:35:38,160
Speaker 3: Well it's a much limited audio, more limited audience, and

783
00:35:38,239 --> 00:35:40,600
Speaker 3: all those things that we were discussing that the opportunities

784
00:35:40,640 --> 00:35:42,880
Speaker 3: are just not as great for hosting and acting in

785
00:35:42,880 --> 00:35:44,160
Speaker 3: Australia doesn't mean they're not there.

786
00:35:44,200 --> 00:35:45,760
Speaker 1: There's great opportunities in Australia.

787
00:35:46,600 --> 00:35:48,880
Speaker 2: My theory is I've always said I think I'll be

788
00:35:49,000 --> 00:35:51,560
Speaker 2: the Steve birl In effect, which is when America falls

789
00:35:51,560 --> 00:35:55,480
Speaker 2: in love with you, then Australia is like, actually we've

790
00:35:55,480 --> 00:35:56,560
Speaker 2: got an idea for you.

791
00:35:58,040 --> 00:36:01,120
Speaker 3: God is so interesting how much goes into something like that,

792
00:36:01,160 --> 00:36:03,960
Speaker 3: like how much goes into a morning show. Yeah, it

793
00:36:04,000 --> 00:36:06,840
Speaker 3: makes me super excited to do We're going to be

794
00:36:06,840 --> 00:36:10,160
Speaker 3: doing a TV hosting and talk show, Sam.

795
00:36:10,200 --> 00:36:12,200
Speaker 2: I've already got a list of questions for you. You're

796
00:36:12,239 --> 00:36:13,960
Speaker 2: way ahead than way more ahead of it.

797
00:36:14,000 --> 00:36:15,960
Speaker 3: There's so much cool stuff we can talk about, so

798
00:36:15,960 --> 00:36:17,600
Speaker 3: thank you for sharing that with us today.

799
00:36:18,200 --> 00:36:20,480
Speaker 2: I'm excited to get onto TV commercials because I know

800
00:36:20,719 --> 00:36:24,200
Speaker 2: that's something I've got no experience with, but you have

801
00:36:24,400 --> 00:36:27,520
Speaker 2: got so much experience with. And I imagine it's completely

802
00:36:27,520 --> 00:36:31,120
Speaker 2: different recording a TV commercial versus a live to take

803
00:36:31,600 --> 00:36:35,160
Speaker 2: morning show or something. They'd be completely different sets.

804
00:36:34,719 --> 00:36:38,960
Speaker 3: Right, Yeah, completely different. And TV commercials are a beast

805
00:36:39,080 --> 00:36:39,800
Speaker 3: of their own.

806
00:36:40,080 --> 00:36:43,120
Speaker 2: Can I imagine they're like, the budget's going to affect them,

807
00:36:43,400 --> 00:36:48,280
Speaker 2: the team, the location. Have you got any random funny

808
00:36:48,320 --> 00:36:49,520
Speaker 2: story that you're just like.

809
00:36:49,960 --> 00:36:50,440
Speaker 1: Yeah, I do.

810
00:36:50,560 --> 00:36:55,560
Speaker 3: Actually I've got one that's really random.

811
00:36:55,800 --> 00:36:57,480
Speaker 1: Well, let me just start.

812
00:36:57,239 --> 00:36:59,839
Speaker 3: Off by saying, basically, once you win the pitch, so

813
00:37:00,200 --> 00:37:04,360
Speaker 3: say that the agency has chosen your director to direct

814
00:37:04,400 --> 00:37:08,000
Speaker 3: this TV commercial, then you have to bring his treatment

815
00:37:08,040 --> 00:37:10,360
Speaker 3: in their script to life, which means you've got to

816
00:37:10,360 --> 00:37:11,399
Speaker 3: find the locations.

817
00:37:11,400 --> 00:37:13,000
Speaker 1: You've got to cast the commercial.

818
00:37:13,040 --> 00:37:15,800
Speaker 3: You've got to get the wardrobe sorted, the production designer

819
00:37:15,880 --> 00:37:18,719
Speaker 3: on board. You've got to think of everything, the equipment

820
00:37:18,719 --> 00:37:22,319
Speaker 3: you're using, even down to catering. Like it's a big

821
00:37:22,320 --> 00:37:25,040
Speaker 3: thing in production is everyone wants the best caterer because

822
00:37:25,120 --> 00:37:27,160
Speaker 3: you're working long hours. You want to get fed properly.

823
00:37:27,200 --> 00:37:29,319
Speaker 3: If your crew doesn't get faged properly or the food shit,

824
00:37:29,360 --> 00:37:30,080
Speaker 3: they're not happy.

825
00:37:30,280 --> 00:37:31,040
Speaker 2: Is that really a thing?

826
00:37:31,160 --> 00:37:33,800
Speaker 3: Yeah, So there's always like the top caterers that everyone's

827
00:37:33,800 --> 00:37:35,479
Speaker 3: trying to like bag on their set.

828
00:37:35,840 --> 00:37:38,680
Speaker 2: That's so funny, I know. So I'm being a nutrition

829
00:37:39,040 --> 00:37:42,919
Speaker 2: I've always dreamt that I would pack my own food. No,

830
00:37:43,880 --> 00:37:45,800
Speaker 2: not only because I would want to stay healthy.

831
00:37:45,960 --> 00:37:47,080
Speaker 1: Oh okay, I understand.

832
00:37:47,120 --> 00:37:50,560
Speaker 3: No, no, no, no, no, like like it's literally like it seems excessive,

833
00:37:50,600 --> 00:37:52,520
Speaker 3: but you get like a small gas board of like

834
00:37:52,800 --> 00:37:55,719
Speaker 3: salads and sometimes you'd have prawns and beef wellington, and

835
00:37:55,800 --> 00:37:58,399
Speaker 3: like if you get the good caterers, you know, that's

836
00:37:58,400 --> 00:37:59,800
Speaker 3: why everyone wants the good caterers.

837
00:38:00,320 --> 00:38:01,560
Speaker 1: It makes such a difference to the day.

838
00:38:01,600 --> 00:38:04,560
Speaker 3: It sounds so stupid and so extravagant, but it actually

839
00:38:05,120 --> 00:38:07,640
Speaker 3: gives everyone a moment to stop, pause, feel like they've

840
00:38:07,680 --> 00:38:09,839
Speaker 3: been well looked after, well fed, and then care.

841
00:38:10,640 --> 00:38:13,520
Speaker 2: I've heard of actors bringing on food trucks onto sets.

842
00:38:13,680 --> 00:38:16,040
Speaker 1: Yes, yeah, that happens a lot on film sets. Actually,

843
00:38:16,160 --> 00:38:17,040
Speaker 1: oh that's so cool.

844
00:38:17,120 --> 00:38:18,759
Speaker 3: Yeah, like at the end of the week, you know,

845
00:38:18,960 --> 00:38:21,520
Speaker 3: like the lead actor or actress will be like, hey,

846
00:38:21,560 --> 00:38:24,120
Speaker 3: here's an ice cream truck or we've got a crape

847
00:38:24,120 --> 00:38:24,720
Speaker 3: truck today.

848
00:38:24,719 --> 00:38:26,360
Speaker 1: It's kind of like a gift that they give.

849
00:38:26,160 --> 00:38:27,680
Speaker 2: Back, and that's the actors doing that.

850
00:38:27,880 --> 00:38:28,040
Speaker 1: Yeah.

851
00:38:28,120 --> 00:38:30,120
Speaker 3: Yeah, well the producers do it too, but it often,

852
00:38:30,239 --> 00:38:31,719
Speaker 3: you know, you hear of actors doing it.

853
00:38:31,920 --> 00:38:32,680
Speaker 1: I love that.

854
00:38:32,960 --> 00:38:34,919
Speaker 3: Super cute, but it keeps everyone happy. As I said,

855
00:38:34,920 --> 00:38:37,040
Speaker 3: it seems like such a small thing, but that's a

856
00:38:37,040 --> 00:38:39,160
Speaker 3: big part of production is making sure everyone's fired and

857
00:38:39,200 --> 00:38:41,960
Speaker 3: happy and oh good tonight. So I do have an

858
00:38:41,960 --> 00:38:45,680
Speaker 3: example of a TV commercial which is just crazy on

859
00:38:45,719 --> 00:38:49,440
Speaker 3: so many levels. Because okay, so the commercial that I

860
00:38:49,520 --> 00:38:51,600
Speaker 3: produced was for Orbit.

861
00:38:51,440 --> 00:38:53,800
Speaker 1: Chewing gum, which I think comes under the Wrigley banner.

862
00:38:54,040 --> 00:38:57,200
Speaker 2: Yes, I know, I can see it in my Okay, yeah, okay.

863
00:38:58,400 --> 00:39:03,560
Speaker 3: So I was working with a directing couple called Augustus Punch.

864
00:39:03,600 --> 00:39:07,439
Speaker 3: You were just amazing. There's stuff so visual. You can

865
00:39:07,520 --> 00:39:09,640
Speaker 3: have a look at them online or Gusta'spunch dot com.

866
00:39:10,000 --> 00:39:11,080
Speaker 3: Put them in the show.

867
00:39:10,880 --> 00:39:13,759
Speaker 1: Notes and they'rey great.

868
00:39:13,800 --> 00:39:17,000
Speaker 3: They're actually married in real life and they're super wonderful

869
00:39:17,040 --> 00:39:19,640
Speaker 3: to work with. They used to work with Baslerrman and

870
00:39:19,680 --> 00:39:22,719
Speaker 3: CM his wife, so they've been trained under that kind

871
00:39:22,800 --> 00:39:27,680
Speaker 3: of visual aesthetic. And we won this pitch which was

872
00:39:27,719 --> 00:39:33,640
Speaker 3: for Albert but it was with a Russian TV agency

873
00:39:33,760 --> 00:39:38,400
Speaker 3: commercial agency, so I think it was TVWA Russia Moscow.

874
00:39:38,840 --> 00:39:41,080
Speaker 2: Oh wow, I've done so of a TVWA. I didn't

875
00:39:41,120 --> 00:39:42,080
Speaker 2: know they were global.

876
00:39:42,360 --> 00:39:44,440
Speaker 3: Yeah, yeah, I'm pretty sure it was TVWA, but I

877
00:39:44,920 --> 00:39:45,680
Speaker 3: can't quite remember.

878
00:39:45,719 --> 00:39:47,000
Speaker 1: But anyway, it was they were based in.

879
00:39:47,040 --> 00:39:50,960
Speaker 3: Russia, but we were shooting in the Ukraine and I

880
00:39:51,000 --> 00:39:54,280
Speaker 3: am in London at this time with the directing couple.

881
00:39:54,880 --> 00:39:57,160
Speaker 1: Okay, so we had to produce.

882
00:39:57,160 --> 00:40:00,680
Speaker 3: So I had to produce a shoot for a Russian

883
00:40:00,960 --> 00:40:03,799
Speaker 3: TV commercial being shot in the Ukraine.

884
00:40:04,239 --> 00:40:05,800
Speaker 2: Oh my, what is there a reason why I was

885
00:40:05,800 --> 00:40:07,520
Speaker 2: shot in Ukraine and not in Russia.

886
00:40:08,000 --> 00:40:11,360
Speaker 3: I think budget reasons and you know it was cheaper

887
00:40:11,440 --> 00:40:13,600
Speaker 3: and all the rest of it. So what happens in

888
00:40:13,640 --> 00:40:16,920
Speaker 3: that situation is you have to employ a production company

889
00:40:17,080 --> 00:40:20,719
Speaker 3: in the Ukraine to then help you, and the producer

890
00:40:20,920 --> 00:40:23,680
Speaker 3: is quind of call a fixer yep, because they know

891
00:40:23,760 --> 00:40:26,000
Speaker 3: all the crew, they know the studios. You may never

892
00:40:26,040 --> 00:40:28,799
Speaker 3: have shot in the Ukraine before, so you kind of

893
00:40:28,840 --> 00:40:31,400
Speaker 3: work with this fixer and make sure that your director's

894
00:40:31,480 --> 00:40:34,960
Speaker 3: vision is realized by saying to the fixer, we need this,

895
00:40:35,000 --> 00:40:36,120
Speaker 3: we need that, we need what.

896
00:40:36,080 --> 00:40:38,920
Speaker 2: Kind of camera translator? I don't think he's not Ukraine.

897
00:40:39,000 --> 00:40:42,759
Speaker 3: No, don't unlike you and your five languages at the

898
00:40:42,760 --> 00:40:43,439
Speaker 3: top of the show.

899
00:40:43,840 --> 00:40:46,080
Speaker 1: No, they all speak well. All the production people that

900
00:40:46,120 --> 00:40:50,799
Speaker 1: I dealt with space spoke English. Thing God. But then

901
00:40:50,840 --> 00:40:54,799
Speaker 1: to make matters even more complicated, they thought that we

902
00:40:54,840 --> 00:40:57,440
Speaker 1: would get a better range of casts if we cast

903
00:40:57,480 --> 00:41:02,360
Speaker 1: in London, so this person had to ants and mime

904
00:41:02,680 --> 00:41:03,240
Speaker 1: in Russian.

905
00:41:03,360 --> 00:41:04,120
Speaker 2: That's so funny.

906
00:41:04,160 --> 00:41:07,000
Speaker 3: So we ended up casting We did actually think we

907
00:41:07,040 --> 00:41:09,760
Speaker 3: did do a casting call in the Ukraine as well,

908
00:41:10,280 --> 00:41:14,240
Speaker 3: but we ended up casting this tall, handsome English guy

909
00:41:14,400 --> 00:41:17,520
Speaker 3: who could dance, who then had to learn the script

910
00:41:17,560 --> 00:41:20,399
Speaker 3: in Russian so he could min it because he wasn't

911
00:41:20,400 --> 00:41:21,840
Speaker 3: actually speaking it because he's not Russian.

912
00:41:21,840 --> 00:41:24,239
Speaker 1: So then it was dubbed with a Russian voice.

913
00:41:24,440 --> 00:41:27,400
Speaker 3: Over the top of it, and it was just this

914
00:41:27,600 --> 00:41:30,640
Speaker 3: crazy We turn up in the Ukraine. None of us

915
00:41:30,640 --> 00:41:33,680
Speaker 3: had ever been there before. It is gorgeous, by the way,

916
00:41:33,840 --> 00:41:37,040
Speaker 3: like we were in Kiev and it was absolutely stunning.

917
00:41:37,560 --> 00:41:40,759
Speaker 3: But the studio is like some shared in the back

918
00:41:40,800 --> 00:41:44,400
Speaker 3: of nowhere, and we have to build. The commercial was

919
00:41:44,440 --> 00:41:48,960
Speaker 3: set in like a really luxurious, rich kind of like

920
00:41:49,320 --> 00:41:50,120
Speaker 3: hotel suite.

921
00:41:50,239 --> 00:41:53,200
Speaker 2: Oh my god, so you hire like the final location

922
00:41:53,400 --> 00:41:54,040
Speaker 2: that was a hotel.

923
00:41:54,120 --> 00:41:58,080
Speaker 1: No, no, no, we built it because the directing.

924
00:41:57,719 --> 00:42:00,759
Speaker 3: Duo are very visual and they almost well they had

925
00:42:00,880 --> 00:42:03,520
Speaker 3: drawn a complete render of exactly what they wanted this

926
00:42:03,560 --> 00:42:05,319
Speaker 3: set to look like, and that was given to the

927
00:42:05,320 --> 00:42:07,400
Speaker 3: production designer to recreate.

928
00:42:07,080 --> 00:42:09,560
Speaker 2: Like Basluman vibes, like super theatric Yeah.

929
00:42:09,640 --> 00:42:13,520
Speaker 3: Yeah, yeah, and we've got to like do dance lessons

930
00:42:13,560 --> 00:42:16,120
Speaker 3: for the lead car so they can learn to dance.

931
00:42:16,160 --> 00:42:19,080
Speaker 3: And then on top of that, Orbit have this thing

932
00:42:19,120 --> 00:42:22,960
Speaker 3: in their commercials where the characters are cartoons, so then

933
00:42:23,040 --> 00:42:25,279
Speaker 3: they had to the lead actor had to dance and

934
00:42:25,440 --> 00:42:27,479
Speaker 3: interact with a cartoon, which is not there.

935
00:42:28,760 --> 00:42:30,120
Speaker 2: I have a fear of that. I feel like that

936
00:42:30,160 --> 00:42:31,359
Speaker 2: would be so hard, Like.

937
00:42:31,680 --> 00:42:34,160
Speaker 1: There's just there was just so many moving pieces.

938
00:42:34,360 --> 00:42:38,160
Speaker 3: But one of the funniest things is when we got there,

939
00:42:39,440 --> 00:42:43,280
Speaker 3: the production designer is Ukrainian and they have wonderful production

940
00:42:43,320 --> 00:42:47,600
Speaker 3: designers there by the way, but the aesthetic he just

941
00:42:47,680 --> 00:42:50,000
Speaker 3: couldn't seem to get the aesthetic right of what we wanted.

942
00:42:50,040 --> 00:42:52,160
Speaker 3: It was more kind of Easter Europe and then like

943
00:42:52,360 --> 00:42:54,160
Speaker 3: flashy American hotel room.

944
00:42:54,280 --> 00:42:54,960
Speaker 2: Yeah.

945
00:42:55,000 --> 00:42:59,800
Speaker 3: And as a producer, you're responsible for the end product. Yeah,

946
00:43:00,160 --> 00:43:03,480
Speaker 3: even in films. That's why film producers collect the OSCAR

947
00:43:03,520 --> 00:43:06,560
Speaker 3: for Best Picture. Yeah, so it's still my responsibility, even

948
00:43:06,560 --> 00:43:08,799
Speaker 3: though that's the production designers problem. So what we ended

949
00:43:08,840 --> 00:43:12,520
Speaker 3: up doing, Alexander, the female director and I ended up

950
00:43:12,600 --> 00:43:16,439
Speaker 3: going to the local Ukrainian mall and buying our own

951
00:43:16,520 --> 00:43:20,280
Speaker 3: props and furniture for the set because this poor production

952
00:43:20,360 --> 00:43:22,440
Speaker 3: is I kept showing us options and they just weren't

953
00:43:22,440 --> 00:43:25,120
Speaker 3: getting it right. And that's just something that you've got

954
00:43:25,160 --> 00:43:27,520
Speaker 3: to do. I mean, it was just this mad like

955
00:43:28,080 --> 00:43:30,319
Speaker 3: and you're only there for like I think we're there

956
00:43:30,320 --> 00:43:32,040
Speaker 3: for ten days because we also did the edit in

957
00:43:32,080 --> 00:43:32,720
Speaker 3: the Ukraine.

958
00:43:32,840 --> 00:43:35,960
Speaker 2: Oh wow, Oh my goodness. This might sound like a

959
00:43:36,000 --> 00:43:38,600
Speaker 2: really weird question, but you know how you and Alexandra

960
00:43:38,680 --> 00:43:40,520
Speaker 2: had to go out and pull fresh props that fit

961
00:43:40,560 --> 00:43:44,200
Speaker 2: the brief better. Who pays for that? And like, because

962
00:43:44,200 --> 00:43:46,400
Speaker 2: that would have been a budget that you wouldn't have thought, Like,

963
00:43:46,440 --> 00:43:47,880
Speaker 2: you wouldn't have thought you needed to do that.

964
00:43:48,040 --> 00:43:50,279
Speaker 3: Yeah, so production pays for it, Like we don't pay

965
00:43:50,280 --> 00:43:51,719
Speaker 3: for it out of our own pockets. But that's something

966
00:43:51,719 --> 00:43:53,799
Speaker 3: I've got to negotiate. And look, we'd rather do this now.

967
00:43:53,840 --> 00:43:56,040
Speaker 3: And those props aren't working, they need to go back.

968
00:43:56,120 --> 00:43:57,719
Speaker 3: And you know, I think it was like a three

969
00:43:57,800 --> 00:43:59,960
Speaker 3: four day build because it was like this huge sweet

970
00:44:00,000 --> 00:44:00,719
Speaker 3: that we built on this.

971
00:44:00,719 --> 00:44:01,960
Speaker 2: Sound side, Oh my goodness.

972
00:44:02,440 --> 00:44:04,719
Speaker 3: And we were there like living basically on the sound

973
00:44:04,760 --> 00:44:08,200
Speaker 3: stage every day to make sure every detail was spot on.

974
00:44:08,640 --> 00:44:11,080
Speaker 3: And that's also what happens when you work with people

975
00:44:11,120 --> 00:44:13,320
Speaker 3: you're not used to working with either, because that trust

976
00:44:13,360 --> 00:44:15,960
Speaker 3: level isn't there, because you know, if we're working with

977
00:44:15,960 --> 00:44:17,560
Speaker 3: the production design we work with all the time, we

978
00:44:17,640 --> 00:44:18,319
Speaker 3: might have checked on.

979
00:44:18,239 --> 00:44:18,960
Speaker 1: The set twice.

980
00:44:19,400 --> 00:44:25,000
Speaker 2: Yeah yeah, yeah, that's great. So interesting, Like there is

981
00:44:25,080 --> 00:44:27,920
Speaker 2: the ad available?

982
00:44:28,200 --> 00:44:34,719
Speaker 3: Oh yeah, it's terrible. Yeah, I'll try and find it.

983
00:44:34,719 --> 00:44:37,200
Speaker 3: It's actually hilarious. And when you know the backstory and

984
00:44:37,239 --> 00:44:39,479
Speaker 3: you know that this guy is actually English and he's

985
00:44:39,560 --> 00:44:44,320
Speaker 3: dancing and minding in Russian and interacting with cartoon coffee cups,

986
00:44:45,000 --> 00:44:46,319
Speaker 3: and you can have a look at what the set

987
00:44:46,360 --> 00:44:49,040
Speaker 3: looks like, it actually looks beautiful. But it's just I mean,

988
00:44:49,080 --> 00:44:51,719
Speaker 3: it did added really really well. You know, it did

989
00:44:51,760 --> 00:44:53,799
Speaker 3: really well in Russia. But I just think knowing what

990
00:44:53,840 --> 00:44:54,960
Speaker 3: went on, it's just do you look at it and

991
00:44:55,000 --> 00:44:56,800
Speaker 3: you're like, this is hilarious.

992
00:44:56,840 --> 00:44:57,319
Speaker 1: So fair.

993
00:44:57,640 --> 00:44:59,680
Speaker 2: Okay, I've got a production question for you.

994
00:45:00,200 --> 00:45:01,359
Speaker 1: Yeah.

995
00:45:01,719 --> 00:45:07,080
Speaker 2: I've wandered this for quite some time. What is a gaffer?

996
00:45:08,760 --> 00:45:10,799
Speaker 1: That's funny, isn't it. There's like all these crew names.

997
00:45:10,880 --> 00:45:12,440
Speaker 1: You're like, what the hell is that? What is a

998
00:45:12,480 --> 00:45:13,360
Speaker 1: foli artist?

999
00:45:13,520 --> 00:45:15,120
Speaker 2: You know, I don't know what's a foliot?

1000
00:45:15,239 --> 00:45:16,360
Speaker 1: Okay, So a folly artist.

1001
00:45:16,440 --> 00:45:19,840
Speaker 3: They record the sounds in post production. So actually, I

1002
00:45:19,840 --> 00:45:22,760
Speaker 3: think if you go to the Warner Brothers lot, definitely

1003
00:45:22,760 --> 00:45:25,120
Speaker 3: in Queensland, I think maybe here, I'm not sure, I

1004
00:45:25,120 --> 00:45:27,080
Speaker 3: haven't done it. Here they take you onto a Foley

1005
00:45:27,120 --> 00:45:29,600
Speaker 3: stage and they show you how they make all the

1006
00:45:29,600 --> 00:45:30,280
Speaker 3: sound effects.

1007
00:45:30,760 --> 00:45:32,080
Speaker 2: Oh, oh amazing.

1008
00:45:32,160 --> 00:45:36,560
Speaker 3: So people like doing papers and opening doors and walking

1009
00:45:36,600 --> 00:45:39,280
Speaker 3: on pebble and it's literally like a person there walking

1010
00:45:39,320 --> 00:45:40,560
Speaker 3: on pebbles.

1011
00:45:40,239 --> 00:45:42,640
Speaker 2: And is this true? Is this true? I promise I

1012
00:45:42,719 --> 00:45:45,000
Speaker 2: will get back to what a gaffer is. Is it

1013
00:45:45,040 --> 00:45:48,719
Speaker 2: true that most actors record so many of their lines

1014
00:45:48,800 --> 00:45:50,319
Speaker 2: in post Oh?

1015
00:45:50,360 --> 00:45:55,200
Speaker 3: Okay, no, yes, so there's ADR EIGHTR so yeah, So

1016
00:45:55,239 --> 00:45:57,640
Speaker 3: what happens is is there's a lot of ADR lines.

1017
00:45:57,680 --> 00:45:59,640
Speaker 3: It's not I wouldn't say the majority or most of

1018
00:45:59,760 --> 00:46:01,680
Speaker 3: but you will always as an actor go in and

1019
00:46:01,719 --> 00:46:03,680
Speaker 3: have to do ADR on a film, like if.

1020
00:46:03,640 --> 00:46:05,920
Speaker 2: You were recording say a scene outside or near a

1021
00:46:06,000 --> 00:46:08,640
Speaker 2: car or where there's other most kind of stuff that

1022
00:46:08,680 --> 00:46:10,400
Speaker 2: could take away from your voice correct.

1023
00:46:10,440 --> 00:46:13,399
Speaker 3: But also they will when watching the film they might

1024
00:46:13,400 --> 00:46:15,960
Speaker 3: be like, oh, it would be really good if Lola's

1025
00:46:16,000 --> 00:46:18,560
Speaker 3: character said this in this moment, and they'll just have

1026
00:46:18,719 --> 00:46:20,920
Speaker 3: the back of you and you record a line that

1027
00:46:21,000 --> 00:46:23,440
Speaker 3: wasn't recorded on the day, but then it changes the

1028
00:46:23,520 --> 00:46:25,400
Speaker 3: narrative of the story. Or it might be a line

1029
00:46:25,440 --> 00:46:28,440
Speaker 3: that's like from off screen, like a mum screaming something

1030
00:46:28,560 --> 00:46:30,680
Speaker 3: that wasn't in the film, wasn't scripted.

1031
00:46:31,400 --> 00:46:33,280
Speaker 2: I love this, Okay.

1032
00:46:34,719 --> 00:46:38,279
Speaker 3: So a gaffer is just a really weird term for

1033
00:46:38,320 --> 00:46:41,800
Speaker 3: an electrician. Basically, so the gaffa is responsible for the lights.

1034
00:46:41,800 --> 00:46:43,759
Speaker 3: He works with the DP and he makes sure all

1035
00:46:43,760 --> 00:46:45,359
Speaker 3: the lights are rigged the way they meant to be

1036
00:46:45,600 --> 00:46:46,319
Speaker 3: rigged DP.

1037
00:46:46,480 --> 00:46:48,080
Speaker 2: Director of photography, Oh yes.

1038
00:46:48,120 --> 00:46:51,040
Speaker 1: Or dop. It's that they call DP doop depending on

1039
00:46:51,040 --> 00:46:52,400
Speaker 1: where you work and is it?

1040
00:46:52,520 --> 00:46:55,399
Speaker 2: So the director is like, who's the boss on set?

1041
00:46:55,520 --> 00:46:56,319
Speaker 2: The EP, the.

1042
00:46:56,360 --> 00:47:01,560
Speaker 3: Executive producer, It depends the boss of what well, it depends.

1043
00:47:01,600 --> 00:47:03,880
Speaker 3: It depends if you're doing a commercial film, what you do?

1044
00:47:04,120 --> 00:47:07,239
Speaker 3: You know, Ultimately, the producer is the boss. The producer

1045
00:47:07,360 --> 00:47:11,400
Speaker 3: is responsible for the end product, got it? And anything

1046
00:47:11,400 --> 00:47:14,040
Speaker 3: that happens on that set. And that's why I don't

1047
00:47:14,040 --> 00:47:15,560
Speaker 3: want to get into the details of it. But that's

1048
00:47:15,600 --> 00:47:19,080
Speaker 3: why there's this no But that's why poor Alec Baldwin.

1049
00:47:19,200 --> 00:47:21,560
Speaker 3: He is listed as a producer on that film, and

1050
00:47:21,800 --> 00:47:25,760
Speaker 3: ultimately that makes it his responsibility that all the safety

1051
00:47:25,880 --> 00:47:28,200
Speaker 3: checks have gone through. And I don't know the details

1052
00:47:28,239 --> 00:47:30,440
Speaker 3: of what actually happened, but as.

1053
00:47:30,320 --> 00:47:31,400
Speaker 1: A producer you're responsible.

1054
00:47:31,440 --> 00:47:33,000
Speaker 3: And that's very difficult when you're an actor and a

1055
00:47:33,000 --> 00:47:35,640
Speaker 3: producer because he was probably just focusing on his acting

1056
00:47:35,680 --> 00:47:36,000
Speaker 3: that day.

1057
00:47:36,200 --> 00:47:39,240
Speaker 2: Oh of course. So for people listening, that's you're referring

1058
00:47:39,280 --> 00:47:42,040
Speaker 2: to the shot, the gunshot that killed somebody.

1059
00:47:42,120 --> 00:47:45,280
Speaker 3: Yeah, yeah, female DP was shot on an Alec Baldwood

1060
00:47:45,280 --> 00:47:47,880
Speaker 3: film and he fired the trigger because the shot was

1061
00:47:47,920 --> 00:47:50,239
Speaker 3: towards camera, so.

1062
00:47:50,239 --> 00:47:51,240
Speaker 2: She's staying in the camera.

1063
00:47:51,400 --> 00:47:52,400
Speaker 1: Yeah, and there should never.

1064
00:47:52,280 --> 00:47:55,200
Speaker 3: Been real bullets in the goal anyway, so that there's

1065
00:47:55,200 --> 00:47:56,440
Speaker 3: a whole court case about it.

1066
00:47:56,480 --> 00:47:57,720
Speaker 1: And you know, I've.

1067
00:47:57,560 --> 00:48:00,439
Speaker 2: Had an actor on here that's on a a Sons

1068
00:48:00,440 --> 00:48:02,680
Speaker 2: of Anaki spin off called or Sorry. An actor on

1069
00:48:02,719 --> 00:48:06,000
Speaker 2: Pheels Failing called Mine's MC and you have to do

1070
00:48:06,120 --> 00:48:09,880
Speaker 2: full blown gun training and there's a scene that he

1071
00:48:09,920 --> 00:48:12,520
Speaker 2: had to do where he kills him shoots himself, and

1072
00:48:12,560 --> 00:48:14,839
Speaker 2: he said, there's three different guns. You have, like your

1073
00:48:14,840 --> 00:48:17,960
Speaker 2: prop gun. You have a rubber gun, which is but

1074
00:48:18,000 --> 00:48:19,759
Speaker 2: with a light in it so that a light goes

1075
00:48:19,800 --> 00:48:22,440
Speaker 2: off in your like because he killed himself and went

1076
00:48:22,480 --> 00:48:25,200
Speaker 2: off in his mouth. And then he said, but then

1077
00:48:25,239 --> 00:48:30,520
Speaker 2: you actually hold a real weighted gun, so that as

1078
00:48:30,560 --> 00:48:34,040
Speaker 2: an actor, you can feel what your character would be

1079
00:48:34,080 --> 00:48:35,799
Speaker 2: feeling if they were doing that.

1080
00:48:35,880 --> 00:48:37,080
Speaker 1: How full on, full on.

1081
00:48:37,239 --> 00:48:41,640
Speaker 3: And we also have a crew member called an armorer,

1082
00:48:41,880 --> 00:48:43,880
Speaker 3: and they're responsible for the weapons and the guns.

1083
00:48:44,480 --> 00:48:45,799
Speaker 1: That's actually someone's job.

1084
00:48:46,040 --> 00:48:49,200
Speaker 2: Sam, you've taught me what a gaffer is? That cool

1085
00:48:49,360 --> 00:48:55,120
Speaker 2: adr situation a foliot, thank you to give me my

1086
00:48:55,320 --> 00:48:58,040
Speaker 2: production one O one here and hopefully the listener you

1087
00:48:58,160 --> 00:49:02,520
Speaker 2: as well. So I have no experience in TV commercials

1088
00:49:02,520 --> 00:49:06,160
Speaker 2: where you've got like twenty years experience of TV commercials,

1089
00:49:06,160 --> 00:49:07,200
Speaker 2: like most of your dollar.

1090
00:49:07,360 --> 00:49:10,399
Speaker 1: He's rolling his eyes, but can I tell you why?

1091
00:49:10,840 --> 00:49:13,799
Speaker 3: And people like some people do it and love it

1092
00:49:13,840 --> 00:49:15,720
Speaker 3: and I used to love it, but you would bust

1093
00:49:15,760 --> 00:49:18,799
Speaker 3: your ass. You often have no sleep, You're working on

1094
00:49:18,840 --> 00:49:21,279
Speaker 3: a project for two three months and you don't see

1095
00:49:21,280 --> 00:49:23,680
Speaker 3: your friends, and at the end of it, you've produced

1096
00:49:23,719 --> 00:49:27,160
Speaker 3: a thirty second Tampon commercial and you're like, is this

1097
00:49:27,320 --> 00:49:28,920
Speaker 3: really what I'm doing with my life?

1098
00:49:29,160 --> 00:49:31,880
Speaker 2: Yeah? That's great. And also now in the climate of

1099
00:49:31,920 --> 00:49:37,640
Speaker 2: Instagram and socials and more digital content, because sometimes the

1100
00:49:37,960 --> 00:49:41,279
Speaker 2: clients go straight to the source or straight to the influencer.

1101
00:49:41,440 --> 00:49:44,040
Speaker 2: They can shoot something in twenty minutes and that be

1102
00:49:44,080 --> 00:49:48,120
Speaker 2: part of it their new ad campaign. If it's digital, this.

1103
00:49:48,000 --> 00:49:50,600
Speaker 3: Is what you have, like a plethora of experience, which

1104
00:49:50,640 --> 00:49:53,680
Speaker 3: is just the whole other Like I imagine it could have

1105
00:49:53,719 --> 00:49:55,880
Speaker 3: like ten podcasts on digital content.

1106
00:49:56,239 --> 00:49:59,440
Speaker 2: If you're creating your own content, you kind of have

1107
00:49:59,480 --> 00:50:00,800
Speaker 2: to become your own producer.

1108
00:50:01,040 --> 00:50:03,279
Speaker 3: Yeah, absolutely, And I think this gets back to what

1109
00:50:03,280 --> 00:50:06,719
Speaker 3: we were talking about podcasting, but also, like every type

1110
00:50:06,719 --> 00:50:07,840
Speaker 3: of production, it's.

1111
00:50:07,840 --> 00:50:09,160
Speaker 1: All about planning.

1112
00:50:10,320 --> 00:50:13,000
Speaker 3: But also you can plan to the nth degree and

1113
00:50:13,040 --> 00:50:16,040
Speaker 3: then get there on the day and everything still goes wrong.

1114
00:50:17,160 --> 00:50:17,879
Speaker 1: But if you're not.

1115
00:50:17,880 --> 00:50:21,359
Speaker 3: Planned, it's just you've got a limited amount of time,

1116
00:50:21,400 --> 00:50:23,759
Speaker 3: a limited amount of money, and you've got to get

1117
00:50:23,800 --> 00:50:27,040
Speaker 3: everything done in that time frame. And if you don't

1118
00:50:27,040 --> 00:50:29,200
Speaker 3: have your shot scheduled, you don't. If people don't know

1119
00:50:29,200 --> 00:50:30,680
Speaker 3: where they're meant to be when, which is the whole

1120
00:50:30,719 --> 00:50:34,680
Speaker 3: point of a call sheet, you can waste hours.

1121
00:50:34,239 --> 00:50:35,799
Speaker 2: And can I add something? And this is why I

1122
00:50:35,920 --> 00:50:39,320
Speaker 2: really am excited to do like a health and self

1123
00:50:39,360 --> 00:50:42,680
Speaker 2: care episode with you, because like if you cannot afford

1124
00:50:42,719 --> 00:50:44,959
Speaker 2: to get in your own way, because if you're having

1125
00:50:44,960 --> 00:50:46,960
Speaker 2: an off day or you've just gone through a breakup

1126
00:50:47,000 --> 00:50:48,960
Speaker 2: and you've got to film this, like you've put all

1127
00:50:49,000 --> 00:50:51,080
Speaker 2: your money, Like for me, I'd throw like five grand

1128
00:50:51,160 --> 00:50:54,040
Speaker 2: into a shoot day. And if you've had a bad

1129
00:50:54,160 --> 00:50:56,640
Speaker 2: day the day before, or something hasn't gone right, or

1130
00:50:56,680 --> 00:50:59,240
Speaker 2: I've lost a book deal or I've got fired from radio.

1131
00:50:59,320 --> 00:51:01,160
Speaker 2: Once you know, and then you've got to be on

1132
00:51:01,440 --> 00:51:03,880
Speaker 2: and you want to be inspiring people, empowering them and

1133
00:51:03,920 --> 00:51:06,520
Speaker 2: teach them how to be healthy. You need to be

1134
00:51:06,640 --> 00:51:11,319
Speaker 2: able to compartmentalize and look after your mental health and

1135
00:51:11,360 --> 00:51:14,000
Speaker 2: your physical and emotional health as well, so that in

1136
00:51:14,040 --> 00:51:17,520
Speaker 2: the moment, if you're self producing, do whatever you need

1137
00:51:17,600 --> 00:51:20,160
Speaker 2: to do in the lead up to feel like I'm

1138
00:51:20,160 --> 00:51:23,480
Speaker 2: on point today, I'm clear today, I'm giving this my.

1139
00:51:23,480 --> 00:51:26,560
Speaker 3: Best absolutely, and I think also and we'll talk about

1140
00:51:26,600 --> 00:51:29,200
Speaker 3: this much more in the hosting episode, but it's such

1141
00:51:29,360 --> 00:51:32,200
Speaker 3: a huge skill if you can self produce because and

1142
00:51:32,200 --> 00:51:35,000
Speaker 3: this is a producing tip, if you can know what

1143
00:51:35,080 --> 00:51:37,000
Speaker 3: every person on st is meant to be doing and

1144
00:51:37,040 --> 00:51:40,320
Speaker 3: when they're meant to be doing it, you're laughing because

1145
00:51:40,400 --> 00:51:43,640
Speaker 3: you can be a totally across every element and as

1146
00:51:43,680 --> 00:51:46,240
Speaker 3: a producer, you have to be Also.

1147
00:51:46,440 --> 00:51:48,680
Speaker 2: One other thing I've said, I'm going really off, but

1148
00:51:48,719 --> 00:51:51,279
Speaker 2: I get so passionate about this. One other thing as

1149
00:51:51,320 --> 00:51:54,880
Speaker 2: well is like if you're on a big crew, like

1150
00:51:54,920 --> 00:51:57,600
Speaker 2: some morning TV's usually have big crews, but digital stuff

1151
00:51:57,600 --> 00:52:00,239
Speaker 2: as usually if you're doing yourself as smaller cruise, like,

1152
00:52:00,440 --> 00:52:06,560
Speaker 2: always be kind. I have watched hosts be very unkind

1153
00:52:06,800 --> 00:52:09,759
Speaker 2: to people that have a lower status job than them

1154
00:52:09,880 --> 00:52:12,880
Speaker 2: in that moment, and I was more. I was like

1155
00:52:12,960 --> 00:52:16,439
Speaker 2: sitting there watching a host yell at a makeup artist

1156
00:52:16,480 --> 00:52:21,000
Speaker 2: and I was like, you're you're burning a bridge at

1157
00:52:21,040 --> 00:52:25,920
Speaker 2: the start, like it exists, right, We've going to be

1158
00:52:25,920 --> 00:52:26,879
Speaker 2: honest about.

1159
00:52:26,800 --> 00:52:29,520
Speaker 3: But nothing can be made without every single person there.

1160
00:52:29,520 --> 00:52:31,400
Speaker 3: And that's why every single person is there.

1161
00:52:31,719 --> 00:52:33,400
Speaker 2: But I think that's why you and I love this

1162
00:52:33,480 --> 00:52:36,839
Speaker 2: industry so much. It's so collaborative. What do you want

1163
00:52:36,880 --> 00:52:37,879
Speaker 2: to do? I was like, I want to be part

1164
00:52:37,880 --> 00:52:39,799
Speaker 2: of an ensemble. I want to be part of a

1165
00:52:39,920 --> 00:52:43,160
Speaker 2: gang where you're creating. You've got this same goal and

1166
00:52:43,400 --> 00:52:44,440
Speaker 2: you all come together.

1167
00:52:44,840 --> 00:52:46,080
Speaker 1: But do you know what's really interesting?

1168
00:52:46,080 --> 00:52:48,080
Speaker 3: And I learned this very early on when I was

1169
00:52:48,120 --> 00:52:51,439
Speaker 3: like a production assistant, is everyone has a role you've

1170
00:52:51,440 --> 00:52:55,120
Speaker 3: got the wardrobe department, the production designer, the props person whatever.

1171
00:52:56,080 --> 00:52:58,640
Speaker 3: It's a huge no no to help anyone else in

1172
00:52:58,680 --> 00:53:02,840
Speaker 3: their role. So, for instance, we were shooting a commercial

1173
00:53:03,000 --> 00:53:05,200
Speaker 3: and from memory, there was an envelope that had to

1174
00:53:05,280 --> 00:53:07,319
Speaker 3: be put through a slot and we kept doing it

1175
00:53:07,320 --> 00:53:10,000
Speaker 3: over and over and they wanted to quickly hurry up

1176
00:53:10,040 --> 00:53:11,919
Speaker 3: and go and do it again, and the prop sky

1177
00:53:11,960 --> 00:53:14,040
Speaker 3: are gone somewhere, and so I just picked the envelope

1178
00:53:14,080 --> 00:53:16,719
Speaker 3: up and handed it to and I got in so

1179
00:53:17,040 --> 00:53:19,839
Speaker 3: much trouble. Yeah, and it was because there was something

1180
00:53:19,880 --> 00:53:21,600
Speaker 3: wrong with that envelope and the props guy gone to

1181
00:53:21,600 --> 00:53:22,880
Speaker 3: get a new envelope, so didn't do it.

1182
00:53:22,880 --> 00:53:24,160
Speaker 1: But I didn't know any of this.

1183
00:53:24,520 --> 00:53:27,080
Speaker 3: And it's like a big thing like if you're doing

1184
00:53:27,080 --> 00:53:30,239
Speaker 3: a scene in your button, pops, I don't as the

1185
00:53:30,280 --> 00:53:32,440
Speaker 3: gaffer come in and try and fix your button just

1186
00:53:32,440 --> 00:53:35,400
Speaker 3: to help. You've got a core wardrobe and only wardrobe touches.

1187
00:53:35,440 --> 00:53:36,080
Speaker 1: The wardrobe.

1188
00:53:36,440 --> 00:53:39,759
Speaker 2: Really it like a continuity thing because everyone is so

1189
00:53:39,880 --> 00:53:43,560
Speaker 2: well briefed on what they're in, like what their skill

1190
00:53:43,600 --> 00:53:45,640
Speaker 2: set and what they're in charge of for that day

1191
00:53:45,640 --> 00:53:47,359
Speaker 2: and that shoot. Yeah, I just.

1192
00:53:47,280 --> 00:53:49,960
Speaker 1: Think it's if we look at it in different terms.

1193
00:53:49,960 --> 00:53:50,840
Speaker 1: What's a good example.

1194
00:53:50,920 --> 00:53:56,080
Speaker 3: You're not gonna ask a electrician to design the plans

1195
00:53:56,080 --> 00:53:59,120
Speaker 3: for your house, got it? So you just let everyone

1196
00:53:59,400 --> 00:54:01,399
Speaker 3: do that. And that's why a lot of the time,

1197
00:54:01,680 --> 00:54:03,600
Speaker 3: all of the time, if you look at a film set,

1198
00:54:03,600 --> 00:54:05,600
Speaker 3: it looks like eighty percent of the people are sitting

1199
00:54:05,640 --> 00:54:09,000
Speaker 3: around doing nothing. But they may have just done, like makeup,

1200
00:54:09,040 --> 00:54:11,359
Speaker 3: may have just gone in and done last looks and

1201
00:54:11,360 --> 00:54:11,919
Speaker 3: no one else.

1202
00:54:12,160 --> 00:54:14,280
Speaker 2: Can you explain what last looks are because that happens

1203
00:54:14,280 --> 00:54:15,319
Speaker 2: in morning TV as well.

1204
00:54:15,400 --> 00:54:18,000
Speaker 3: Yeah, sure, so last looks are. You get into glam

1205
00:54:18,040 --> 00:54:20,880
Speaker 3: as a talent, So glam is makeup hair. They do

1206
00:54:20,920 --> 00:54:23,080
Speaker 3: you up so much fun by the way, it look stunning.

1207
00:54:23,400 --> 00:54:26,080
Speaker 3: And then you go on set and just before they're

1208
00:54:26,120 --> 00:54:28,640
Speaker 3: about to turn over, they will call last looks, and

1209
00:54:28,680 --> 00:54:31,120
Speaker 3: that means that make up, hair and wardrobe will have

1210
00:54:31,160 --> 00:54:34,080
Speaker 3: one last look at you on the monitor.

1211
00:54:33,760 --> 00:54:34,680
Speaker 1: To see what you look like.

1212
00:54:34,800 --> 00:54:37,200
Speaker 3: And then if you're a bit shiny, or there's a

1213
00:54:37,200 --> 00:54:39,640
Speaker 3: button out of place or whatever, yeah, they'll run in

1214
00:54:39,680 --> 00:54:40,799
Speaker 3: and they'll quickly fix it.

1215
00:54:40,840 --> 00:54:43,040
Speaker 1: And then as soon as the last looks have been checked,

1216
00:54:43,560 --> 00:54:44,480
Speaker 1: we're off on a roll.

1217
00:54:44,680 --> 00:54:47,799
Speaker 2: Oh I love this, Oh this is so much fun.

1218
00:54:47,920 --> 00:54:49,640
Speaker 2: I've got so many questions, but I know you and

1219
00:54:49,719 --> 00:54:53,600
Speaker 2: I like, we're determined to make this not not too long.

1220
00:54:53,719 --> 00:54:56,319
Speaker 3: We've just said forty five minutes, then we have like

1221
00:54:56,320 --> 00:54:57,520
Speaker 3: a two hour podcast.

1222
00:54:57,719 --> 00:55:01,200
Speaker 2: Can we talk music videos because you've had some experiences

1223
00:55:01,680 --> 00:55:02,880
Speaker 2: working on music videos?

1224
00:55:03,000 --> 00:55:05,879
Speaker 1: Yes, amazing is one word, but.

1225
00:55:05,800 --> 00:55:08,120
Speaker 2: You've said it is such a great way to cut

1226
00:55:08,120 --> 00:55:10,360
Speaker 2: your teeth, and yeah, the skill set.

1227
00:55:10,280 --> 00:55:12,359
Speaker 3: And look, we don't need to go into detail because

1228
00:55:12,400 --> 00:55:14,400
Speaker 3: I talk about it a bit on my interview on

1229
00:55:14,480 --> 00:55:16,520
Speaker 3: Fearlessly Failing, and I think we talk about it a

1230
00:55:16,560 --> 00:55:18,400
Speaker 3: little bit in the pitching episode.

1231
00:55:18,680 --> 00:55:20,359
Speaker 1: But music videos is.

1232
00:55:20,320 --> 00:55:23,479
Speaker 3: Such a great training ground because you have hardly any

1233
00:55:23,480 --> 00:55:25,560
Speaker 3: money most of the time, and you've got to create

1234
00:55:25,600 --> 00:55:29,960
Speaker 3: these amazing finished products with no money. So you have

1235
00:55:30,040 --> 00:55:34,760
Speaker 3: to constantly think creatively and use your brains in different ways,

1236
00:55:34,840 --> 00:55:37,520
Speaker 3: and not even creatively practically, you have to think, well,

1237
00:55:37,520 --> 00:55:39,160
Speaker 3: how am I going to do this for this money?

1238
00:55:40,680 --> 00:55:43,720
Speaker 3: And so it really is really stressful. It really puts

1239
00:55:43,719 --> 00:55:46,120
Speaker 3: you to the test, but it is such a great

1240
00:55:46,760 --> 00:55:50,600
Speaker 3: training ground for training your mind to think in different ways.

1241
00:55:50,920 --> 00:55:52,759
Speaker 2: Do you have any examples. I know I've talked about

1242
00:55:52,800 --> 00:55:57,840
Speaker 2: Ali Goulding in the pitching app. I think, yeah, do

1243
00:55:57,880 --> 00:56:00,640
Speaker 2: you have any other examples where you've really had to like,

1244
00:56:01,680 --> 00:56:04,560
Speaker 2: is it like, i know, like a producing story, or

1245
00:56:04,600 --> 00:56:07,920
Speaker 2: where you're like, oh my goodness, I ended up instead

1246
00:56:07,920 --> 00:56:09,680
Speaker 2: of producing, I was doing this other thing that I

1247
00:56:09,719 --> 00:56:11,000
Speaker 2: never thought i'd be doing that day.

1248
00:56:12,080 --> 00:56:13,360
Speaker 1: I mean that's like every shoot.

1249
00:56:15,080 --> 00:56:17,920
Speaker 3: No, But I mean, look, Ellie is interesting because again

1250
00:56:17,960 --> 00:56:20,960
Speaker 3: we're shooting in la We're based in London, and we

1251
00:56:21,080 --> 00:56:22,920
Speaker 3: only had six days preps. So you get here and

1252
00:56:22,960 --> 00:56:24,960
Speaker 3: in that time you have to cast all the extras.

1253
00:56:24,960 --> 00:56:26,799
Speaker 3: You've got to get the stylist in, you've got to

1254
00:56:26,880 --> 00:56:29,560
Speaker 3: dress Ellie, you've got to fit the extras. You've got

1255
00:56:29,600 --> 00:56:32,560
Speaker 3: to find locations. I mean we're finding locations up until

1256
00:56:32,560 --> 00:56:33,040
Speaker 3: the night.

1257
00:56:32,960 --> 00:56:36,560
Speaker 2: Before, so no run in hikes for you, right.

1258
00:56:37,080 --> 00:56:40,759
Speaker 3: But also, because it's a professional business, you can't just

1259
00:56:40,880 --> 00:56:41,760
Speaker 3: rock up at a location.

1260
00:56:42,000 --> 00:56:43,799
Speaker 1: They've got to be wreckied. You've got to know that

1261
00:56:43,840 --> 00:56:44,240
Speaker 1: you can.

1262
00:56:44,120 --> 00:56:47,560
Speaker 3: Get power, you permits, permits, the owners have to sign

1263
00:56:47,600 --> 00:56:52,960
Speaker 3: off on. So it's like this move moving pieces constantly

1264
00:56:53,080 --> 00:56:56,880
Speaker 3: to try and get get things right, and then you

1265
00:56:56,920 --> 00:56:59,359
Speaker 3: know you've got the other end of the scale. We

1266
00:56:59,480 --> 00:57:02,200
Speaker 3: did a video for a band called the horrors When

1267
00:57:02,200 --> 00:57:06,239
Speaker 3: I was starting out, I guess producing music videos, I

1268
00:57:06,239 --> 00:57:08,400
Speaker 3: think we have four thousand pounds to do that or

1269
00:57:08,400 --> 00:57:10,959
Speaker 3: three and a half thousand pounds, and it's the visual

1270
00:57:11,000 --> 00:57:13,279
Speaker 3: effects on a loan are about twenty thousand pounds. But

1271
00:57:13,320 --> 00:57:16,720
Speaker 3: that's me having to build relationships and call the post

1272
00:57:16,760 --> 00:57:18,800
Speaker 3: houses and say, hey, this is a really cool idea.

1273
00:57:18,920 --> 00:57:21,440
Speaker 3: Can you do it for us for basically nothing? And

1274
00:57:21,480 --> 00:57:23,080
Speaker 3: the same with the crew. So what I would do

1275
00:57:23,120 --> 00:57:25,520
Speaker 3: with the crew instead of them being on a day

1276
00:57:25,640 --> 00:57:27,560
Speaker 3: rate where they go into overtime, I would do what's

1277
00:57:27,600 --> 00:57:29,560
Speaker 3: called the buyout. So I would say, look, I know

1278
00:57:29,640 --> 00:57:31,880
Speaker 3: you normally get fifteen hundred dollars a day to be

1279
00:57:31,920 --> 00:57:35,280
Speaker 3: a DP. I've only got four hundred dollars. But if

1280
00:57:35,280 --> 00:57:38,040
Speaker 3: you like the concept and you like the director, we'll

1281
00:57:38,080 --> 00:57:41,000
Speaker 3: look after you come on board. It's only twelve hour day.

1282
00:57:41,080 --> 00:57:43,080
Speaker 3: I'll make sure you get an hour for lunch, and

1283
00:57:43,120 --> 00:57:45,280
Speaker 3: you've got to treat them properly because they're doing your favors.

1284
00:57:45,280 --> 00:57:47,920
Speaker 3: And then the hope is that then the next job

1285
00:57:47,960 --> 00:57:50,400
Speaker 3: where we have money, like a commercial, will bring that person.

1286
00:57:51,080 --> 00:57:54,280
Speaker 2: Is that something that happens in production to like say,

1287
00:57:54,320 --> 00:57:56,560
Speaker 2: you've got a really good team, or you're on a

1288
00:57:56,800 --> 00:57:59,240
Speaker 2: say film or something, and it feels like because I

1289
00:57:59,240 --> 00:58:01,240
Speaker 2: imagine it feels like a do a family because you're

1290
00:58:01,280 --> 00:58:05,240
Speaker 2: all on this weird and wonderful location together, working weird

1291
00:58:05,280 --> 00:58:08,439
Speaker 2: and wonderful hours together. So I imagine you bond does

1292
00:58:08,480 --> 00:58:11,000
Speaker 2: sometimes like if it's a really positive experience, is that

1293
00:58:12,160 --> 00:58:15,200
Speaker 2: crew or production team sometimes like get booked again?

1294
00:58:15,440 --> 00:58:17,240
Speaker 3: No, absolutely, And I think you and I discussed this

1295
00:58:17,280 --> 00:58:18,960
Speaker 3: a lot. It's all about trust and who you know,

1296
00:58:19,040 --> 00:58:21,920
Speaker 3: and if you continually working with people that you know,

1297
00:58:22,000 --> 00:58:24,960
Speaker 3: you build a shorthand with them. But also I think

1298
00:58:25,000 --> 00:58:28,120
Speaker 3: it's really interesting not to be deterred by having a

1299
00:58:28,160 --> 00:58:30,800
Speaker 3: small budget or by how difficult the process can be,

1300
00:58:30,800 --> 00:58:32,960
Speaker 3: because often something that can be a nightmare of a

1301
00:58:32,960 --> 00:58:37,000
Speaker 3: shoot can turn out wonderfully. I mean this horrors video

1302
00:58:37,200 --> 00:58:41,640
Speaker 3: that we did for no money went game busters, so

1303
00:58:41,800 --> 00:58:43,040
Speaker 3: like millions.

1304
00:58:42,600 --> 00:58:43,520
Speaker 1: And millions of views.

1305
00:58:43,520 --> 00:58:45,760
Speaker 3: And again the early video, I mean there was probably

1306
00:58:46,680 --> 00:58:48,000
Speaker 3: as I said, we were on the ground for six

1307
00:58:48,080 --> 00:58:49,760
Speaker 3: days and we probably did I don't know how much

1308
00:58:49,800 --> 00:58:51,960
Speaker 3: prep before that, maybe a month prep before that. I

1309
00:58:51,960 --> 00:58:54,280
Speaker 3: mean that had over I think three million views overnight,

1310
00:58:54,320 --> 00:58:56,520
Speaker 3: and I think it's got over thirty three million views. Now,

1311
00:58:56,600 --> 00:58:58,880
Speaker 3: that's amazing, and that's all shot in one day in

1312
00:58:58,960 --> 00:59:01,400
Speaker 3: multiple locations outfits like it.

1313
00:59:01,520 --> 00:59:03,200
Speaker 2: Was meant to be where was meant to be in

1314
00:59:03,240 --> 00:59:07,479
Speaker 2: Miami or Flora. Yeah, so interesting. It's so cool though,

1315
00:59:07,640 --> 00:59:10,160
Speaker 2: Like I imagine that's like some of the magic of being

1316
00:59:10,160 --> 00:59:12,960
Speaker 2: a producer, Like you never know what how it's going

1317
00:59:13,000 --> 00:59:14,440
Speaker 2: to be received, right.

1318
00:59:14,520 --> 00:59:15,080
Speaker 1: You never know.

1319
00:59:15,160 --> 00:59:17,400
Speaker 3: I mean you can even sometimes you can think it's

1320
00:59:17,400 --> 00:59:19,040
Speaker 3: going to be amazing and it turns out to be.

1321
00:59:19,280 --> 00:59:23,640
Speaker 2: Terrible, and I love that you share it.

1322
00:59:23,840 --> 00:59:27,560
Speaker 3: But you know, also it's always the way the one

1323
00:59:27,720 --> 00:59:30,360
Speaker 3: job that you get, even in commercials or whatever, where

1324
00:59:30,360 --> 00:59:32,400
Speaker 3: you're like, this is easy, it's a one day shoot,

1325
00:59:32,600 --> 00:59:35,920
Speaker 3: it's a fifteen second script. Oh my god, what this

1326
00:59:36,000 --> 00:59:38,600
Speaker 3: is the dream? Everyone's on full rates. They're always the

1327
00:59:38,640 --> 00:59:39,720
Speaker 3: one that are a nightmare.

1328
00:59:40,000 --> 00:59:42,360
Speaker 1: Really, I don't know why. It's this Murphy's law.

1329
00:59:42,560 --> 00:59:44,840
Speaker 2: That's so funny. That's so funny.

1330
00:59:45,160 --> 00:59:45,320
Speaker 1: Yeah.

1331
00:59:45,360 --> 00:59:48,520
Speaker 3: So look, that's like just a little brief look at

1332
00:59:48,600 --> 00:59:50,880
Speaker 3: kind of making music videos and how you're kind of

1333
00:59:50,960 --> 00:59:53,120
Speaker 3: like living on the edge of your pants all the time.

1334
00:59:54,640 --> 00:59:57,240
Speaker 3: And I think we haven't really spoken about films in

1335
00:59:57,280 --> 00:59:59,760
Speaker 3: this episode, but that's because if you haven't listened to

1336
00:59:59,840 --> 01:00:01,040
Speaker 3: us in a year episode yet.

1337
01:00:01,160 --> 01:00:03,320
Speaker 1: Listen to that. It's the first episode that we did.

1338
01:00:03,360 --> 01:00:06,400
Speaker 1: And there's a lot of stuff about filmmaking in that.

1339
01:00:06,600 --> 01:00:09,320
Speaker 2: So good, so good, And if you're a film nerd

1340
01:00:09,440 --> 01:00:11,040
Speaker 2: like me, you're just gonna like eat.

1341
01:00:14,120 --> 01:00:18,240
Speaker 1: So have you prepared some production facts?

1342
01:00:19,040 --> 01:00:19,440
Speaker 2: You know me?

1343
01:00:19,520 --> 01:00:19,720
Speaker 1: Wow?

1344
01:00:20,480 --> 01:00:28,520
Speaker 2: You know me? Wow? Oh okay, let's start with a

1345
01:00:28,640 --> 01:00:32,960
Speaker 2: nineteen seventy five classic. Oh okay, hang on, I want

1346
01:00:32,960 --> 01:00:36,320
Speaker 2: to see if I can do this sound dirder dirder.

1347
01:00:36,840 --> 01:00:39,439
Speaker 1: Fuck. I knew this is the same one I've got.

1348
01:00:39,840 --> 01:00:45,960
Speaker 3: We always do this, but it's such a classic. We're

1349
01:00:46,000 --> 01:00:47,240
Speaker 3: talking about Star Wars.

1350
01:00:47,160 --> 01:00:49,440
Speaker 1: Right, okay.

1351
01:00:49,520 --> 01:00:52,960
Speaker 3: So if anyone didn't pick up on Lola's what's your name?

1352
01:00:53,040 --> 01:00:57,360
Speaker 3: Lola's beautiful tune? There, it was the tune to Jaws

1353
01:00:57,440 --> 01:00:57,920
Speaker 3: the movie.

1354
01:00:58,440 --> 01:01:00,000
Speaker 2: Oh my goodness, I'm so happy with you.

1355
01:00:59,920 --> 01:01:02,520
Speaker 1: It's goat go for it.

1356
01:01:02,640 --> 01:01:03,520
Speaker 2: No, you go for it?

1357
01:01:04,440 --> 01:01:06,400
Speaker 1: No, it's yours, your fact.

1358
01:01:07,040 --> 01:01:12,440
Speaker 2: Well, it's so Steven Sebelberg nineteen seventy five classic shot

1359
01:01:12,440 --> 01:01:15,120
Speaker 2: in the Atlantic Ocean. So there's this. I didn't know this,

1360
01:01:15,240 --> 01:01:18,640
Speaker 2: you probably do. There's this golden rule. Never shoot in

1361
01:01:18,680 --> 01:01:22,480
Speaker 2: the water, Never shoot in the ocean. Cost things go wrong.

1362
01:01:23,240 --> 01:01:26,440
Speaker 2: You know, it always goes over over time and over budget,

1363
01:01:27,480 --> 01:01:29,680
Speaker 2: which was the case for Jaws. So they named the

1364
01:01:29,720 --> 01:01:33,520
Speaker 2: mechanical shark Bruce. But it kept sinking to the bottom

1365
01:01:33,520 --> 01:01:35,520
Speaker 2: of the ocean. You know this, Sam's nodding, and now

1366
01:01:35,560 --> 01:01:37,320
Speaker 2: so they lost two I think, to the bottom of

1367
01:01:37,360 --> 01:01:40,080
Speaker 2: the ocean. Didn't they finish the shoot, and then all

1368
01:01:40,120 --> 01:01:42,560
Speaker 2: of a sudden the mechanical sharks started working again.

1369
01:01:42,680 --> 01:01:45,960
Speaker 1: Oh, I don't know that. I just know that this animatronic.

1370
01:01:45,320 --> 01:01:51,000
Speaker 3: Shark was an absolute nightmare, so much so that well, firstly,

1371
01:01:51,040 --> 01:01:52,480
Speaker 3: one of the other issues with it, and this is

1372
01:01:52,520 --> 01:01:53,520
Speaker 3: a great story.

1373
01:01:53,560 --> 01:01:55,560
Speaker 1: I'm really glad that we've both got it, because this is.

1374
01:01:55,560 --> 01:01:58,520
Speaker 3: A great story about how things can go wrong constantly

1375
01:01:58,680 --> 01:02:02,200
Speaker 3: but yet produce this amazing film. And one of the

1376
01:02:02,280 --> 01:02:04,919
Speaker 3: other things that happened is that the studio was so

1377
01:02:05,000 --> 01:02:07,640
Speaker 3: excited that this book, because it's a book originally was

1378
01:02:07,640 --> 01:02:09,920
Speaker 3: being adapted into a film, that they green lit the project,

1379
01:02:09,920 --> 01:02:11,760
Speaker 3: which means they gave them the money for the project

1380
01:02:11,760 --> 01:02:13,080
Speaker 3: without a script being in place.

1381
01:02:13,800 --> 01:02:15,080
Speaker 1: So the script was being.

1382
01:02:15,000 --> 01:02:17,640
Speaker 3: Written on the fly, which, as you know, because we

1383
01:02:17,720 --> 01:02:20,360
Speaker 3: talked about it today, plan plan, plan, plan, plan, that's

1384
01:02:20,400 --> 01:02:21,960
Speaker 3: all part of producing, So how the hell do you

1385
01:02:21,960 --> 01:02:24,560
Speaker 3: plan something that you don't have a script for? But also,

1386
01:02:24,680 --> 01:02:28,320
Speaker 3: this animatronic shark kept breaking down, so actually, this wasn't

1387
01:02:28,320 --> 01:02:30,360
Speaker 3: meant to happen. But in the first twenty minutes of

1388
01:02:30,360 --> 01:02:31,800
Speaker 3: the film, you don't see the.

1389
01:02:31,720 --> 01:02:33,720
Speaker 2: Shark because it wasn't working.

1390
01:02:33,840 --> 01:02:34,840
Speaker 1: Because it wasn't working.

1391
01:02:34,960 --> 01:02:35,960
Speaker 2: And do you know it was meant to be a

1392
01:02:36,000 --> 01:02:38,680
Speaker 2: fifty five day shoot and what it ended up being.

1393
01:02:38,480 --> 01:02:40,320
Speaker 1: One hundred and sixty five days or something.

1394
01:02:40,520 --> 01:02:43,120
Speaker 2: Yeah, mental, But I didn't know that Jaws is the

1395
01:02:43,200 --> 01:02:47,240
Speaker 2: reason why they're saying is the summer blockbuster, Like that

1396
01:02:47,440 --> 01:02:49,680
Speaker 2: was the beginning of a summer movie that became a

1397
01:02:49,720 --> 01:02:53,360
Speaker 2: blockbuster buster. Yeah, and so that was all thanks to Jaws.

1398
01:02:53,400 --> 01:02:56,280
Speaker 1: Thanks to Jaws. And I mean the films are classic too.

1399
01:02:56,680 --> 01:02:59,440
Speaker 3: But it's really interesting because, you know, Spielberg was quoted

1400
01:02:59,480 --> 01:03:03,080
Speaker 3: as saying, because the Jaws wasn't featured in the first

1401
01:03:03,080 --> 01:03:04,640
Speaker 3: twenty minutes when it was meant to be, and everyone

1402
01:03:04,640 --> 01:03:05,800
Speaker 3: thought this is going to be terrible.

1403
01:03:05,840 --> 01:03:06,880
Speaker 1: No one's going to see the shark.

1404
01:03:06,920 --> 01:03:09,400
Speaker 3: But what happened is is everyone created the imagination of

1405
01:03:09,440 --> 01:03:12,000
Speaker 3: it in their own mind, which is greater than seeing

1406
01:03:12,040 --> 01:03:15,640
Speaker 3: an animatronic shark on screen, and so Spielberg later said

1407
01:03:15,640 --> 01:03:18,640
Speaker 3: that the film went from a Japanese Saturday matinee horror

1408
01:03:18,720 --> 01:03:20,760
Speaker 3: flick to more of a hitchcock.

1409
01:03:20,960 --> 01:03:22,600
Speaker 1: The less you see, the more you get.

1410
01:03:22,440 --> 01:03:25,240
Speaker 2: Thriller one hundred percent. Did you know about the budget

1411
01:03:25,280 --> 01:03:26,040
Speaker 2: getting blown out?

1412
01:03:26,200 --> 01:03:26,439
Speaker 1: Yes?

1413
01:03:26,560 --> 01:03:30,080
Speaker 2: Yeah, four million and they end up spending nine million.

1414
01:03:30,160 --> 01:03:30,640
Speaker 1: I think.

1415
01:03:30,920 --> 01:03:33,080
Speaker 3: I can't Yeah, I don't have the facts of that,

1416
01:03:33,120 --> 01:03:35,120
Speaker 3: but I know that it got completely blown out. But

1417
01:03:35,200 --> 01:03:39,200
Speaker 3: everything went wrong. They nearly lost three cast members drowning

1418
01:03:39,600 --> 01:03:41,560
Speaker 3: the ship that the whole thing set on them. Well

1419
01:03:41,600 --> 01:03:43,320
Speaker 3: not the whole thing, but there's a big fisherman ship.

1420
01:03:43,360 --> 01:03:45,800
Speaker 3: It was like a piece of shit that kept sinking.

1421
01:03:45,800 --> 01:03:49,960
Speaker 2: And apparently someone said get the actors off, save the actors,

1422
01:03:50,080 --> 01:03:55,080
Speaker 2: and famously, like the sound guy was like, save the equipment,

1423
01:03:55,360 --> 01:03:58,480
Speaker 2: save the sound because it's so expensive and it was

1424
01:03:58,520 --> 01:04:00,000
Speaker 2: all going to go to the bottom of the ocean.

1425
01:04:00,080 --> 01:04:01,320
Speaker 1: Yeah, so human lives.

1426
01:04:01,360 --> 01:04:05,920
Speaker 3: But also what's also interesting about this is that Spielberg,

1427
01:04:06,000 --> 01:04:07,760
Speaker 3: he was unknown at the time, he could not get

1428
01:04:08,000 --> 01:04:11,440
Speaker 3: anyone to be in the film, Like he was literally

1429
01:04:11,480 --> 01:04:13,080
Speaker 3: begging actors to be in the film.

1430
01:04:13,600 --> 01:04:16,040
Speaker 2: There was also an actor that was an alcoholic, which

1431
01:04:16,120 --> 01:04:18,520
Speaker 2: I think really Robert Shaw.

1432
01:04:18,600 --> 01:04:21,320
Speaker 3: He was drunk throughout the whole of principal photography, and

1433
01:04:21,400 --> 01:04:25,040
Speaker 3: he had huge issues going on at the time in

1434
01:04:25,080 --> 01:04:26,720
Speaker 3: his personal life. And this is what we're talking about

1435
01:04:26,720 --> 01:04:29,200
Speaker 3: before being able to compartmentalize because he had issues with

1436
01:04:29,240 --> 01:04:34,920
Speaker 3: the irs and that affected his relationship with cha Drefush

1437
01:04:34,960 --> 01:04:36,640
Speaker 3: is also in the film.

1438
01:04:36,360 --> 01:04:39,080
Speaker 2: As in his romantic relationship.

1439
01:04:38,560 --> 01:04:41,640
Speaker 3: No no, no, his relationship on screen, so play opposite

1440
01:04:41,640 --> 01:04:44,560
Speaker 3: each other. So like literally everything that could go wrong

1441
01:04:44,600 --> 01:04:46,800
Speaker 3: in this film went wrong, and.

1442
01:04:46,760 --> 01:04:48,680
Speaker 2: It still turned out to be a blockbuster.

1443
01:04:48,320 --> 01:04:50,880
Speaker 3: And it's still turns so Conventionally, what you would do

1444
01:04:51,040 --> 01:04:54,200
Speaker 3: if a film is shot on the ocean is again

1445
01:04:54,240 --> 01:04:55,800
Speaker 3: what we talked about before, is you would have a

1446
01:04:55,840 --> 01:05:00,520
Speaker 3: second unit usually shoot ocean stuff. You would some of them,

1447
01:05:00,520 --> 01:05:03,160
Speaker 3: principal photography would be on the ocean, but it would

1448
01:05:03,200 --> 01:05:05,840
Speaker 3: be very planned and calculated about how much of that

1449
01:05:05,840 --> 01:05:07,440
Speaker 3: you're going to shoot, and then the rest would all

1450
01:05:07,440 --> 01:05:11,080
Speaker 3: be in water tanks or in really controlled environments of

1451
01:05:11,520 --> 01:05:14,480
Speaker 3: open air water. That the whole thing about film is

1452
01:05:14,520 --> 01:05:16,000
Speaker 3: you want to be able to have control, because then

1453
01:05:16,040 --> 01:05:18,360
Speaker 3: you can control what it looks like, how you shoot it,

1454
01:05:19,160 --> 01:05:22,560
Speaker 3: what the lighting's like and as soon as you lose control,

1455
01:05:23,040 --> 01:05:24,080
Speaker 3: it's mayhem.

1456
01:05:24,360 --> 01:05:27,920
Speaker 2: Fun fact for Aussie's We have some of the best

1457
01:05:28,280 --> 01:05:31,120
Speaker 2: water tanks in the world at Warner Brothers.

1458
01:05:31,200 --> 01:05:32,040
Speaker 1: Yeah, in Queensland.

1459
01:05:32,160 --> 01:05:34,640
Speaker 2: Yeah, there's like six or something. The parts of the

1460
01:05:34,680 --> 01:05:38,280
Speaker 2: Caribbean was done there, I know, and if I'm going

1461
01:05:38,320 --> 01:05:40,840
Speaker 2: to find them for the show notes, but there's photos

1462
01:05:40,880 --> 01:05:44,840
Speaker 2: of them and they look insanely amazing, like so cool.

1463
01:05:45,040 --> 01:05:45,840
Speaker 1: Yeah, they're awesome.

1464
01:05:45,880 --> 01:05:49,960
Speaker 3: Yeah we should definitely yeah, making okay, but also you

1465
01:05:49,960 --> 01:05:53,760
Speaker 3: know that Spielberg actually got PTSD from this, like legit

1466
01:05:54,080 --> 01:05:55,120
Speaker 3: had to go to therapy.

1467
01:05:56,680 --> 01:05:58,560
Speaker 2: See, this is where the mental health. I'm so excited

1468
01:05:58,560 --> 01:05:59,800
Speaker 2: that we're doing a self care one.

1469
01:06:00,080 --> 01:06:00,920
Speaker 1: It made his career.

1470
01:06:01,360 --> 01:06:04,040
Speaker 3: Yeah, and that's why it's like, don't you know, don't

1471
01:06:04,080 --> 01:06:08,360
Speaker 3: get deterred, like life's hard, you know, productions hard, but

1472
01:06:08,400 --> 01:06:10,520
Speaker 3: you can still have amazing things come from it.

1473
01:06:10,960 --> 01:06:15,960
Speaker 2: Can I ask what your other thing was? We we're

1474
01:06:15,960 --> 01:06:16,600
Speaker 2: gonna have crossover.

1475
01:06:16,840 --> 01:06:18,120
Speaker 1: Is it another one set on the water?

1476
01:06:18,280 --> 01:06:18,560
Speaker 3: Yes?

1477
01:06:18,760 --> 01:06:20,160
Speaker 1: Is it water World? No?

1478
01:06:20,240 --> 01:06:23,280
Speaker 2: But I've read about water World yes.

1479
01:06:24,240 --> 01:06:25,240
Speaker 1: So similar thing.

1480
01:06:25,240 --> 01:06:28,800
Speaker 3: But what's interesting is Spielberg pleaded with Costner and said,

1481
01:06:29,320 --> 01:06:32,960
Speaker 3: do not shoot water World on the open ocean, and

1482
01:06:33,040 --> 01:06:35,160
Speaker 3: Costner was huge at the time because of the Bodyguard,

1483
01:06:35,200 --> 01:06:38,920
Speaker 3: and he was like the biggest robin Hood and so

1484
01:06:39,360 --> 01:06:41,160
Speaker 3: he was like, nuh, this is what I want to do.

1485
01:06:41,280 --> 01:06:43,240
Speaker 1: And of course it was an absolute desire.

1486
01:06:43,240 --> 01:06:45,760
Speaker 2: What happened because I didn't research. I saw it, but

1487
01:06:45,800 --> 01:06:46,800
Speaker 2: I didn't research it was.

1488
01:06:46,880 --> 01:06:51,280
Speaker 3: So again they nearly lost our cast to drowning. Costner

1489
01:06:51,360 --> 01:06:54,040
Speaker 3: himself had to be rescued. But Costner was also going

1490
01:06:54,040 --> 01:06:56,040
Speaker 3: through a divorce at the time, so that kind of

1491
01:06:56,080 --> 01:06:58,160
Speaker 3: like bled out into production, which often happens.

1492
01:06:58,160 --> 01:07:00,400
Speaker 1: You're with these people all day, every.

1493
01:07:00,240 --> 01:07:04,240
Speaker 3: Day for three four months, but in this case, it

1494
01:07:04,360 --> 01:07:06,440
Speaker 3: wasn't three four months. It was one hundred and fifty

1495
01:07:06,480 --> 01:07:07,480
Speaker 3: seven days.

1496
01:07:07,720 --> 01:07:10,520
Speaker 2: Oh that's like what halfy is at our country.

1497
01:07:10,280 --> 01:07:11,959
Speaker 3: So that the shooting schedule was meant to be ninety

1498
01:07:12,000 --> 01:07:13,880
Speaker 3: six days, and so it ended up at one hundred

1499
01:07:13,880 --> 01:07:15,600
Speaker 3: and fifty seven. But not only that, this is the

1500
01:07:15,720 --> 01:07:19,919
Speaker 3: mind blowing thing. The budget was sixty five million dollars.

1501
01:07:20,320 --> 01:07:23,960
Speaker 3: Universal approved sixty five million dollars for this film. It

1502
01:07:24,000 --> 01:07:28,320
Speaker 3: then blew out to one hundred million dollars. That's which

1503
01:07:28,360 --> 01:07:30,760
Speaker 3: then blew out to one hundred and thirty five million,

1504
01:07:31,080 --> 01:07:34,320
Speaker 3: which then finally settled on one hundred and seventy five million.

1505
01:07:35,320 --> 01:07:38,240
Speaker 3: So just to put that into perspective this day and age,

1506
01:07:38,320 --> 01:07:42,080
Speaker 3: that's like three hundred million dollars pretty much on this film,

1507
01:07:42,160 --> 01:07:44,560
Speaker 3: which was a flop at the box office. It's actually

1508
01:07:44,560 --> 01:07:47,080
Speaker 3: made its money back now through DVDs and all the

1509
01:07:47,080 --> 01:07:49,320
Speaker 3: rest of it. It became quite a cult classic, but

1510
01:07:49,320 --> 01:07:51,040
Speaker 3: at the time it was panned by critics.

1511
01:07:51,080 --> 01:07:52,000
Speaker 1: No one went to watch it.

1512
01:07:52,120 --> 01:07:53,840
Speaker 2: I've never seen it. Have you seen it?

1513
01:07:54,080 --> 01:07:54,280
Speaker 1: Yeah?

1514
01:07:54,320 --> 01:07:54,840
Speaker 2: I have, I have.

1515
01:07:54,960 --> 01:07:56,160
Speaker 1: Oh, it's pretty terrible.

1516
01:07:56,280 --> 01:07:58,520
Speaker 2: I've got to say. For any Kevin Costner fans, though,

1517
01:07:58,720 --> 01:08:02,680
Speaker 2: get yourself around Yellowstone. He's the star and it's amazing.

1518
01:08:03,400 --> 01:08:06,320
Speaker 2: It's out now, it's Taylor Sheridan, it's I'm obsessed with

1519
01:08:06,360 --> 01:08:08,520
Speaker 2: stuff based in Montana.

1520
01:08:08,760 --> 01:08:11,280
Speaker 3: But that's like, that is crazy for a film of

1521
01:08:11,360 --> 01:08:14,400
Speaker 3: this nature, like the Harry Potter films. I think the

1522
01:08:15,800 --> 01:08:18,320
Speaker 3: most expensive Harry Potter film is even only two hundred

1523
01:08:18,320 --> 01:08:20,680
Speaker 3: and fifty million, So that's super seded.

1524
01:08:20,360 --> 01:08:24,760
Speaker 2: That Wizard of Oz nineteen thirty eight classic, one of

1525
01:08:24,840 --> 01:08:30,439
Speaker 2: the biggest movies in all time. So oh, first of all,

1526
01:08:30,600 --> 01:08:33,360
Speaker 2: tin Man, the makeup that they put on his face

1527
01:08:33,400 --> 01:08:35,040
Speaker 2: had aluminium. He ended up in hospital.

1528
01:08:35,120 --> 01:08:37,200
Speaker 3: Yeah, lost the It wasn't just his face, he was

1529
01:08:37,800 --> 01:08:41,000
Speaker 3: over his Oh no, because he's in the tin, isn't it. No?

1530
01:08:41,680 --> 01:08:44,519
Speaker 3: You know what I'm thinking of Goldfinger. I think there's

1531
01:08:45,120 --> 01:08:48,559
Speaker 3: a model and they sprayed her in actual gold spray paint,

1532
01:08:48,600 --> 01:08:51,479
Speaker 3: not body paint, and she had the same problem ended

1533
01:08:51,560 --> 01:08:52,200
Speaker 3: up in hospital.

1534
01:08:52,320 --> 01:08:54,519
Speaker 1: Yeah, yeah, really bad, like got poisoning yet.

1535
01:08:54,600 --> 01:08:57,360
Speaker 2: Yeah, so that tim Man never got to play. They

1536
01:08:57,400 --> 01:08:59,160
Speaker 2: bought in a new tim Man for that one.

1537
01:08:59,320 --> 01:08:59,920
Speaker 1: Oh my god.

1538
01:09:01,000 --> 01:09:04,120
Speaker 2: You know when they're in the Poppies, they're walking through

1539
01:09:04,160 --> 01:09:06,519
Speaker 2: the poppies and it starts snowing because the wikuld Witch

1540
01:09:06,560 --> 01:09:11,599
Speaker 2: of the West puts that's asbestos. It's like, it's beautiful,

1541
01:09:11,640 --> 01:09:13,720
Speaker 2: it's snowing, and they're falling asleep in a bed of

1542
01:09:13,720 --> 01:09:19,880
Speaker 2: a spestos dying. Mental interesting as well, like when you say,

1543
01:09:20,040 --> 01:09:22,920
Speaker 2: like how if people have got like drama at home

1544
01:09:23,040 --> 01:09:28,280
Speaker 2: or whatnot? This this movie had five different directors sub

1545
01:09:28,320 --> 01:09:31,680
Speaker 2: in and out. So someone would leave someone to be

1546
01:09:31,720 --> 01:09:34,840
Speaker 2: replaced because of personal issues, didn't know the reasons. So

1547
01:09:34,920 --> 01:09:39,920
Speaker 2: people get fired and hired and seventeen writers. How incredible

1548
01:09:40,040 --> 01:09:40,360
Speaker 2: is that?

1549
01:09:40,600 --> 01:09:43,679
Speaker 1: But how disjointed for the production. But then look it's

1550
01:09:43,760 --> 01:09:46,040
Speaker 1: i mean classic, the greatest films ever.

1551
01:09:46,120 --> 01:09:47,519
Speaker 2: And I'm just going to make a little nod to

1552
01:09:47,560 --> 01:09:49,400
Speaker 2: one more water one which is Titanic.

1553
01:09:49,840 --> 01:09:51,479
Speaker 1: Ah god, yeah, so.

1554
01:09:51,640 --> 01:09:56,040
Speaker 2: Again shooting in water. We know it went one hundred

1555
01:09:56,040 --> 01:10:01,280
Speaker 2: and thirty eight days over schedule, meant so this is

1556
01:10:01,280 --> 01:10:05,799
Speaker 2: obviously like James Cameron. But one of the crew members

1557
01:10:05,920 --> 01:10:09,160
Speaker 2: was so disgruntled because it was grueling, like you're on water,

1558
01:10:09,360 --> 01:10:14,400
Speaker 2: really long days. We had so disgruntled that a crew

1559
01:10:14,439 --> 01:10:18,719
Speaker 2: member basically laced some of the food that they were having,

1560
01:10:18,760 --> 01:10:22,599
Speaker 2: so like the food that was catered for and it

1561
01:10:22,640 --> 01:10:26,479
Speaker 2: was a lobster soup with a hallucinogenic what and everyone

1562
01:10:26,560 --> 01:10:29,720
Speaker 2: ended up in hospital, including James Cameron. Fifty people were

1563
01:10:29,800 --> 01:10:34,439
Speaker 2: rushed say, oh my god, so disgruntled. How interesting? It

1564
01:10:34,520 --> 01:10:40,720
Speaker 2: went two hundred and ten million dollars over budget, but

1565
01:10:40,840 --> 01:10:45,200
Speaker 2: it made over two billion dollars, so he was forgiven

1566
01:10:46,000 --> 01:10:48,200
Speaker 2: one hundred percent. What else have I got?

1567
01:10:48,280 --> 01:10:49,160
Speaker 1: This is still common.

1568
01:10:49,200 --> 01:10:51,880
Speaker 3: This stuff happens Bazz's Elvis, which is about to be

1569
01:10:51,880 --> 01:10:54,599
Speaker 3: really Yes, I don't know the stats, but it was

1570
01:10:54,640 --> 01:10:57,080
Speaker 3: like over one hundred days over schedule, and but COVID

1571
01:10:57,080 --> 01:10:58,240
Speaker 3: had a lot to play with that too.

1572
01:10:58,439 --> 01:11:03,000
Speaker 2: Fun fact, I auditioned for that. How did you know

1573
01:11:04,640 --> 01:11:05,479
Speaker 2: was shot in Australia.

1574
01:11:05,640 --> 01:11:06,000
Speaker 1: Yeah, it was.

1575
01:11:06,800 --> 01:11:09,439
Speaker 2: I auditioned for a featured extra, which means you get

1576
01:11:09,439 --> 01:11:11,720
Speaker 2: like one line right all the camera pans.

1577
01:11:11,479 --> 01:11:12,520
Speaker 1: On you for a set.

1578
01:11:12,600 --> 01:11:14,519
Speaker 2: Yeah, and it means as an extra you get paid

1579
01:11:14,520 --> 01:11:15,759
Speaker 2: a little bit, a little.

1580
01:11:15,520 --> 01:11:17,960
Speaker 3: Bit more because your face, you're recognizable. That's how you

1581
01:11:17,960 --> 01:11:19,880
Speaker 3: distinguish a featured extra from an extra.

1582
01:11:20,479 --> 01:11:23,200
Speaker 2: Well, don't worry, a gang won't be recognizable. Didn't get

1583
01:11:23,200 --> 01:11:29,360
Speaker 2: the wrong but Titanic nominated for fourteen oscars, one eleven

1584
01:11:29,400 --> 01:11:32,479
Speaker 2: oscars and three went to James. So there you have it.

1585
01:11:32,560 --> 01:11:34,880
Speaker 2: Moral of the story, don't chune on water unless you

1586
01:11:34,960 --> 01:11:35,840
Speaker 2: absolutely have to.

1587
01:11:36,600 --> 01:11:39,120
Speaker 1: Don't do anything on water. That's the nightmare.

1588
01:11:39,680 --> 01:11:41,920
Speaker 2: Thank you so much so, Sam, I learned so much

1589
01:11:42,240 --> 01:11:44,840
Speaker 2: from you and me loads.

1590
01:11:44,880 --> 01:11:46,680
Speaker 1: Lightly just scratched the surface, but.

1591
01:11:47,320 --> 01:11:50,439
Speaker 2: One hundred percent like I feel like we could do

1592
01:11:50,479 --> 01:11:55,760
Speaker 2: a whole series just on like production production. Thank you, Hope, Hope,

1593
01:11:55,800 --> 01:11:58,920
Speaker 2: you the listener are enjoying this, Please share, like, tell

1594
01:11:58,960 --> 01:12:02,200
Speaker 2: your mates, because it means that we can record more episodes.

1595
01:12:02,840 --> 01:12:05,920
Speaker 2: And in the show notes, we'll make sure you've got

1596
01:12:06,160 --> 01:12:09,000
Speaker 2: cool pictures of water tanks. You've got our top tips

1597
01:12:09,040 --> 01:12:12,679
Speaker 2: for podcasting, all our Insta handles. But yeah, big love

1598
01:12:12,680 --> 01:12:13,200
Speaker 2: and thank you.

1599
01:12:13,280 --> 01:12:16,559
Speaker 3: And if you've got any questions, because we've been having

1600
01:12:16,640 --> 01:12:19,960
Speaker 3: loads of questions come in about different episodes, things about production,

1601
01:12:20,120 --> 01:12:24,400
Speaker 3: living in La Hollywood, send them in DM, Lola dar

1602
01:12:24,520 --> 01:12:27,600
Speaker 3: myself put them.

1603
01:12:26,640 --> 01:12:28,559
Speaker 2: In the comment section of the pod as.

1604
01:12:28,439 --> 01:12:30,519
Speaker 3: Well, and we're going to do a whole episode where

1605
01:12:30,520 --> 01:12:32,439
Speaker 3: we just answer everyone's questions.

1606
01:12:32,680 --> 01:12:35,800
Speaker 1: Ask Sam and Loma. Oh my god, it sounds like

1607
01:12:35,840 --> 01:12:37,080
Speaker 1: a time.

1608
01:12:38,120 --> 01:12:41,560
Speaker 3: Can we just like preface that with that is production questions.

1609
01:12:41,680 --> 01:12:44,280
Speaker 3: I don't like, we're not going to be helping anyone in.

1610
01:12:44,240 --> 01:12:48,400
Speaker 1: Relationships or sexual dysfunction or anything like that. Okay, we'll

1611
01:12:48,439 --> 01:12:49,120
Speaker 1: just make that clear.

1612
01:12:49,320 --> 01:12:52,040
Speaker 2: Oh my goodness, what a way to end Mega love

1613
01:12:52,280 --> 01:12:56,599
Speaker 3: From Lola Las see you guys, see next time.