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Speaker 1: This is a podcast about failure with me. Lola Berry, author, nutritionist,

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Speaker 1: and yoga teacher, join me as we get to know

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Speaker 1: these guests and learn about how their failures have ultimately

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Speaker 1: shaped their dreams. Welcome to Fearlessly Failing with Lola Berry. Hello,

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Speaker 1: Happy Monday, right o. Today's guest is voice and dialect

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Speaker 1: coach and actor Matt Fulani. Matt Fulani and I met

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Speaker 1: oh I did a three day acting workshop and the

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Speaker 1: teacher said to me. I was like, what can I

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Speaker 1: work on? And he said, Lola, you're a head actor.

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Speaker 1: You need vocal work and you need to figure out

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Speaker 1: how to be grounded when you speak. So I sought

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Speaker 1: out Matt Fulani. He came highly recommended, and honestly, I've

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Speaker 1: been training with him now, I think for about two

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Speaker 1: years straight. So I started offering privates with him, and

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Speaker 1: then he was the dialect coach of sixteenth Street, where

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Speaker 1: I studied for the last year and a half or

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Speaker 1: so before I moved to Byron, and now I continue

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Speaker 1: working with him via zoom. He's unreal. I work with

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Speaker 1: him mainly on American dialect and at school I was

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Speaker 1: doing Southern dialect with him. But what I love about

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Speaker 1: this interview is we talk about voice in general, so

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Speaker 1: don't worry if you're not into acting. He'll talk to

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Speaker 1: you about how the voice is really powerful and how

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Speaker 1: an Australian voice works. It's really really fascinating. He's trained

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Speaker 1: all over the world, He's worked at the Melbourne Theater Company.

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Speaker 1: He's such a little go getter. I really hope you

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Speaker 1: enjoy this chat with Matt Falani. Welcome to the podcast.

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Speaker 1: Matt Felani, actor voice coach. You're my voice teacher, that

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Speaker 1: is true. Yes, we've been talking about this podcast for

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Speaker 1: I feel like I've been trying to get you on

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Speaker 1: this for a few months now.

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Speaker 2: Yeah, April I think was the first time we floated

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Speaker 2: the idea.

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Speaker 1: So good though, to finally be here in real life

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Speaker 1: as well.

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Speaker 2: Absolutely.

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Speaker 1: Okay, So I want to talk about your your career

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Speaker 1: and your journey to do what you do, and then

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Speaker 1: I want to talk a little bit about voice in depth,

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Speaker 1: because you have completely changed not only the way I

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Speaker 1: use my voice as an actor, but you've changed the

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Speaker 1: way I use my voice as a human being great

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Speaker 1: in like everyday life, if that makes sense. So, first

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Speaker 1: of all, you studied at VCA. Is that right, So

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Speaker 1: you did The Bachelor of Dramatic Art.

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Speaker 2: Yeah, the three Year Bachelor in two thousand and seven.

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Speaker 1: Was that brutal? Was it hard?

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Speaker 2: It was? It was at the time, it was the

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Speaker 2: hardest thing I've ever done. Really, nine to five, five

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Speaker 2: days a week, most weekends you'd spend at least one

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Speaker 2: day in there, you know, rehearsing, preparing for whatever you

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Speaker 2: had to do next week. And it was, Yeah, you

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Speaker 2: were constantly hammered from all directions to be broken down

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Speaker 2: and then built back up into, yeah, the best performer

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Speaker 2: that you could be. It was very, very tough.

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Speaker 1: That's an element of drama school. I wasn't expecting the

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Speaker 1: whole like, we're going to break you down so you're

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Speaker 1: vulnerable and open and then we can kind of like

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Speaker 1: build you back up. I didn't realize there was that

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Speaker 1: element to drama school.

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Speaker 2: Absolutely, we come with so many habits, don't we. Totally

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Speaker 2: They've got to be empty before a new, more positive

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Speaker 2: habit can can be put in place.

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Speaker 1: So after VCA did, then you do postgrade in voice

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Speaker 1: then yeah.

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Speaker 2: I A couple of years went by and I was

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Speaker 2: working on a play as an actor and one of

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Speaker 2: my mentors, the great Geraldine Cook, who was the head

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Speaker 2: of voice at VCA and later the head of the

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Speaker 2: whole performance you know, the whole school, the acting school.

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Speaker 2: She was the voice coach and she said, well, we're

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Speaker 2: doing a one year certificate next year in a voice.

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Speaker 2: It would be good if you looked into it. So

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Speaker 2: I went along and sure enough, it was what I

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Speaker 2: was into. I did that one year. A couple of

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Speaker 2: years went by and I was working on another plane.

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Speaker 2: Again Geraldine's the voice coach, and she says, well, now

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Speaker 2: we're going to do a postgraduate diploma, you know, a

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Speaker 2: dip ed in this stuff. So you should come and

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Speaker 2: use the year that you've already done, and you do

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Speaker 2: another year and then you can do something with this.

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Speaker 2: So I went right back and it was a no brainer.

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Speaker 1: What's made you so I feel like, yes, you're passionate,

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Speaker 1: so passionate about acting because you're an actor, of course,

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Speaker 1: but you definitely have this kind of like purpose around voice.

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Speaker 1: And you've got such a clear command of your own voice.

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Speaker 1: And I mean that as a compliment, like you know,

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Speaker 1: when Matt's in the room right right this, and not

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Speaker 1: in a like a loud way, just in like it

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Speaker 1: feels like, you understand your voice to its core.

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Speaker 2: Well, I don't know about to its core. But we've

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Speaker 2: been working alongside each other for a while now, so

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Speaker 2: we've made friends.

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Speaker 1: Yeah, what made you want to go down the voice path?

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Speaker 1: Did you get feedback or well?

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Speaker 2: I think to begin with, I've always been fascinated by

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Speaker 2: voices and mimicry and imitation was a big part of

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Speaker 2: like growing up. I also have memories of like holding

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Speaker 2: cassette recorders to the TV, like taping the audio of

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Speaker 2: whatever it was, and then like listening having like cassette

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Speaker 2: tame of a TV show. So I was sort of

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Speaker 2: fascinated by, yeah, the voice, And then I actually got

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Speaker 2: to drama school and they said, yeah, listen, your voice

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Speaker 2: is a disgrace. You know, you've got all these issues.

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Speaker 2: You've got tension, you've got you know, laziness, you're working

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Speaker 2: too hard, you're pushing. We can't understand you. The meaning

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Speaker 2: of the text is completely lost. And that was like

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Speaker 2: a pretty you know, daunting moment as of like a

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Speaker 2: nineteen year old guy from Tazzy living in Melbourne being

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Speaker 2: told in first year, Yeah, it's just it's not working.

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Speaker 2: It's holding you back. So I sort of became from

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Speaker 2: that point very obsessive with shaking that offe and I

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Speaker 2: worked very hard in diving deep into that area and

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Speaker 2: that led me to the works of Kristin Link later. Yeh,

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Speaker 2: Patsy Rodenberg sis Berry, did.

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Speaker 1: You get a scholarship to go and study?

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Speaker 2: Yeah, So that it was all sort of you know,

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Speaker 2: good timing with some of this stuff where I had

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Speaker 2: just finished my postgraduate certificate in twenty fifteen and I

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Speaker 2: applied for the mic Wall Traveling Fellowship, which.

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Speaker 1: Is that what that was? What's the Christian.

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Speaker 2: Yeah, exactly, So that that's quite a generous sum of

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Speaker 2: money that Mike Walsh, who you know, you might remember

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Speaker 2: from like he was Burt Newton's offsider back in the

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Speaker 2: day on TV, and he owns a bunch of theaters

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Speaker 2: around the world and he pretty generously distributes you know,

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Speaker 2: tens of thousands of dollars every year for Australian artists

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Speaker 2: to fund some training that they have to do overseas.

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Speaker 2: So the prerequisite is you've been to drama school in

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Speaker 2: the last ten years and this training has to be

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Speaker 2: done somewhere other than Australia. So it was good time

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Speaker 2: in coming right off the back of my new degree

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Speaker 2: being able to say I want to work as a

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Speaker 2: voice coach, you know in Australia, and I think that's

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Speaker 2: one area where Australian actors could really do with a

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Speaker 2: little more craft totally. And it happened that he agreed.

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Speaker 2: It was a pet hate of his as well, apparently,

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Speaker 2: so it sort of lined up and that I was

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Speaker 2: lucky enough to go over and work with Kristen linklater

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Speaker 2: in person in Orkney, North of Scotland and stay with

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Speaker 2: her for three weeks. And yeah, that was a massive

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Speaker 2: turning point in solidifying this choice that I had made.

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Speaker 2: It was like, yeah, I want to do this absolutely.

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Speaker 1: She's at like a retreat up almost, hasn't she where

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Speaker 1: you can go and study with it.

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Speaker 2: It was very it was very sort of Lord of

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Speaker 2: the Rings, you know, going to see the Wizard and

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Speaker 2: you're out on this this windblown island in the middle

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Speaker 2: of the North Sea. You know, Norway is in one

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Speaker 2: direction and the north coast of Scotland's in the other direction,

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Speaker 2: and you stay on site. She's got this giant, you know,

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Speaker 2: old Manor house and you just got she's got a

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Speaker 2: voice like studio built and you just go in there

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Speaker 2: and work every day with a group. It's amazing. Yeah,

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Speaker 2: no TV, no internet, nothing. Yeah, it's just you and

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Speaker 2: the Orkney you know, nature and landscape. It's really beautiful.

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Speaker 1: I'm pretty sure, like class one, term one, I'm pretty

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Speaker 1: sure you were quoting her book and you and you

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Speaker 1: can tell because I've researching you. I kind of went

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Speaker 1: down the rabbit hole of researching her as well. And

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Speaker 1: her book is freeing the natural Voice, and I just

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Speaker 1: love the concept of that because that means anybody listening

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Speaker 1: to this. This doesn't apply just to an actor or

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Speaker 1: a singer or somebody that needs to use their voice

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Speaker 1: for their work. It literally comes down to like communicating

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Speaker 1: who you really.

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Speaker 2: Are, communicating who you really are, and rediscovering something that

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Speaker 2: is your birthright. You will. The greatest thing about her work,

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Speaker 2: just to quickly encapsulate that is link latter suggests that

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Speaker 2: you are born with a free, connected, organic, intuitive voice

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Speaker 2: that serves your needs as a little defenseless baby perfectly.

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Speaker 2: And as we know, babies screen the house down for

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Speaker 2: months on end and never lose their voice and never

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Speaker 2: get cro key. And yeah, it's all that stuff gets

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Speaker 2: learned later. So really, all the work that you know,

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Speaker 2: I'm doing both as a student and then now teaching.

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Speaker 2: It is to help students whatever they do with their voice.

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Speaker 2: Maybe it's on the phone at a telemarketer job eight

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Speaker 2: hours a day, maybe it's a teacher in a classroom,

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Speaker 2: maybe it's a lawyer. All I'm teaching those people to

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Speaker 2: do or helping them discover is that natural voice that's

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Speaker 2: buried deep down under years of habit and in security, anxiety.

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Speaker 2: You know you were laughed at in grade three when

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Speaker 2: you stood up and did your presentation. This stuff stays

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Speaker 2: with us and we feel that and we hear that

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Speaker 2: in the voice.

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Speaker 1: I love that you just explained all that much more

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Speaker 1: eloquently than I ever could. So thank you. I want

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Speaker 1: to kind of come back. I'm going to come back

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Speaker 1: to voice one hundred percent, but I want to like

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Speaker 1: discover you. You have been so much fun to research,

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Speaker 1: and because you've been in both TV staff film but

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Speaker 1: also theater, there's a lot on YouTube. So you, my friend,

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Speaker 1: were a lot of fun to go down the rabbit hole.

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Speaker 1: So the first thing that I saw of you was

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Speaker 1: Melbourne thea to Come the Boy at the Edge of Everything.

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Speaker 2: Yeah, yeah, amazing play was that so much fun. That

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Speaker 2: was the best fellow Tasmanian wrote it. Finnigan Krochnameier, he's

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Speaker 2: actually Australia's most prolific playwright. He's got something like eighty

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Speaker 2: This was five years ago. It's probably got more now,

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Speaker 2: eighty plays published. He's an incredibly prolific guys. That was.

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Speaker 2: That was amazing And to work with, you know, Peter Houghton,

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Speaker 2: the director and all you know, the rest of the

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Speaker 2: cast and all the team at MTC incredible.

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Speaker 1: A few nights ago you were helping us with our

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Speaker 1: scene study in class where we were doing Southern accents

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Speaker 1: and whatnot, and you explained that when you were working

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Speaker 1: at Melbourne Theater Company you would go in like an

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Speaker 1: hour or two before your call time, warm your voice up.

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Speaker 1: This is before your call time, is that right?

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Speaker 2: Yeah? So my thought was, I want to come to

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Speaker 2: the floor. The problem with the rehearsal is you never

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Speaker 2: have enough time. It's always ticking. Yeah, before you know it,

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Speaker 2: it's the eleven o'clock break, before you know it's lunchtime,

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Speaker 2: before you know it, we've got to go home. Yeah,

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Speaker 2: and we've got about typically four to five weeks at

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Speaker 2: most to rehearse anything before we have to start getting

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Speaker 2: on the stage and performing. So that's really tough. So

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Speaker 2: my thought was, I want to come to the floor

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Speaker 2: as prepared as I can for that day's work. So

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Speaker 2: great thing about somewhere like MTC is they've got the facilities.

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Speaker 2: They have a dedicated soundproof voice room that you can

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Speaker 2: book out. So I would come in, you know, an

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Speaker 2: hour or so before the day started, and I would

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Speaker 2: work the text and warm up and really just get

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Speaker 2: as robust and familiar with it as I could. So

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Speaker 2: the minute I step on stage and the director says, okay,

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Speaker 2: let's take it from the top of scene five, Well,

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Speaker 2: everything that I'm offering, he can do something with, Yeah,

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Speaker 2: you're ready, Yeah, rather than going, oh now I'm into it.

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Speaker 2: Forty minutes into the session, now I'm really warmed up. Yeah,

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Speaker 2: we don't have time for that.

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Speaker 1: Can you see the difference? Also being an actor, can

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Speaker 1: you see the difference in the people that do take

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Speaker 1: the time to prepare and be ready and go that

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Speaker 1: extra mile versus people that I'm sure there would be

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Speaker 1: like in my Tea famously says like a lot of

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Speaker 1: actors are lazy.

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Speaker 2: Yes, it can, or at least the discipline and the

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Speaker 2: repetition that some of this stuff requires. It's not exciting

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Speaker 2: after a couple of weeks, got it. It's like eating

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Speaker 2: your vegetables and taking your vitamins. It's just sort of

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Speaker 2: got to become habit.

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Speaker 1: But I've found all the vocal stuff that you've taught me.

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Speaker 1: You can do it driving, you can do it in

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Speaker 1: the shower, you can do it when you're making dinner

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Speaker 1: if you want to. Like it's quite it's not like

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Speaker 1: it's super strenuous or extra hard. It just means you

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Speaker 1: need to kind of like tick it off your list

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Speaker 1: and do it daily, just like you would be brushing

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Speaker 1: your teeth.

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Speaker 2: Basically, absolutely, And I think the biggest difference both in

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Speaker 2: a situation like that, and the difference between an actor

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Speaker 2: who is prepared or warmed up and isn't is consciousness.

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Speaker 2: Are you conscious in what you're doing or are you

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Speaker 2: unconscious in it? And if you come in unconsciously warm up, unconsciously,

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Speaker 2: are distracted and thinking about other things, well you're just

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Speaker 2: not able to bring as much as you could if

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Speaker 2: you weren't like that. So I think that consciousness versus

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Speaker 2: unconsciousness is the big difference. And as you say you

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Speaker 2: can unsetck the dishwasher. Yeah, and practice a vocal exercise

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Speaker 2: that's just as effective as doing it in the studio

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Speaker 2: if you're conscious.

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Speaker 1: Yeah, totally. And it's like that presence as well, like

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Speaker 1: you're there, you know, you're ready, You're in the moment

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Speaker 1: and you've done and you know the thing is, like

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Speaker 1: what do all the work so that you can let

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Speaker 1: it go and just be there in the scene doing

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Speaker 1: a thing.

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Speaker 2: Absolutely, you know, prepare for the performance you have to give.

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Speaker 2: And if part of your performance in the world of

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Speaker 2: acting is being present, being in the moment, being sensitive,

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Speaker 2: you're warm up, you would sharpen you towards that.

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Speaker 1: Yeah. And I think knowing that, like I think a

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Speaker 1: lot of people think actors hardest job is remembering lines,

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Speaker 1: But I think knowing that that's probably maybe one of

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Speaker 1: the simplest things versus all the other prep that, like,

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Speaker 1: as you just said, like sharpens you towards being ready.

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Speaker 1: In that I think it's nice to like bust that myth.

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Speaker 1: Like it isn't just learning your lines, it's understanding you're blocking.

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Speaker 1: It's knowing you know, even like having a relationship to

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Speaker 1: the shoes that your character is going to be wearing

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Speaker 1: and understanding what that means for you in that era

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Speaker 1: of that time. And I think it's a lot more

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Speaker 1: work and research than.

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Speaker 2: People realize, absolutely, but because it primarily takes place within, yes,

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Speaker 2: in the mind, you know, in the heart and the soul.

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Speaker 2: So that and when we see a great actor, just

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Speaker 2: soare it looks like he or she is doing nothing

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Speaker 2: at all? Yeah, it looks like, you know, a bird flying.

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Speaker 2: So that that can lead us to think, okay, well,

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Speaker 2: you know, it's just some people have got it and

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Speaker 2: some people don't. And that's just the way it is totally.

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Speaker 2: But it's not because it's like any craft, you can

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Speaker 2: learn it.

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Speaker 1: Yeah, but that's I remember my first ever vocal class

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Speaker 1: with you. So I wasn't even enrolled at sixteenth Street,

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Speaker 1: which is where you teach and I study, But I

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Speaker 1: remember I had done a three day little workshop with Ian,

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Speaker 1: who you and I both love, and I said to

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Speaker 1: him at the end, oh, what would you recommend that

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Speaker 1: I work on? And he goes, you're a head actor.

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Speaker 1: You need to work with Matt on your voice. And

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Speaker 1: so the first household, I was like, yo, I'm a

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Speaker 1: head actor. I need I don't know what that means. Really,

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Speaker 1: I need to work with you on my voice. I

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Speaker 1: also want to learn a general American accent. And I

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Speaker 1: remember I said to you, but I don't want to

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Speaker 1: lose my Aussie accent, and you kind of smirked and

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Speaker 1: you're like, okay, and then you expe.

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Speaker 2: Losing it.

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Speaker 1: But also you said, you know, what makes you so

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Speaker 1: Australian is also like they're lazy tendencies like the jaw,

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Speaker 1: and you can you explain what the Australian how the

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Speaker 1: Australian accent can be a little lazier than say a

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Speaker 1: general American accent.

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Speaker 2: Sure well, Primarily the way anyone sounds from whatever country,

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Speaker 2: whatever language, whatever accent they have, is a product of

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Speaker 2: the physical processes that are going on in the body.

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Speaker 2: So it's easy to forget that the voice is just

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Speaker 2: the sound the body makes and everything you hear, whether

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Speaker 2: it's singing or speaking or whatever, crying, you're laughing, it's

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Speaker 2: just a byproduct of this very complicated machine we call

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Speaker 2: the human body and the voice. So definitely with Aussies,

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Speaker 2: there's a tendency for very little movement in the lips,

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Speaker 2: in the tongue, in the jaw, in the skin like

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Speaker 2: on your cheeks and your sinuses, and this can have

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Speaker 2: the effect of creating a very sort of flat, thin

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Speaker 2: sound that's quite nasal here in the mouth. You know,

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Speaker 2: now you're getting me to do my sort of tazzy

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Speaker 2: voice here. This is sort of how I use to sound,

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Speaker 2: and you know, nothing really would sort of move and

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Speaker 2: it would just all kind of become like that. Now,

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Speaker 2: there's nothing wrong with that. I actually have like a

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Speaker 2: huge affection for really strong Australian accents, and I always

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Speaker 2: sort of light up and feel a bit cozy when

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Speaker 2: I hear them, especially overseas. Nothing better than hearing a

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Speaker 2: Aussie twang in you know, international airport terminal. But we

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Speaker 2: absolutely you know, for an Australian actor who has to

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Speaker 2: do accent work, and obviously the general American accent is

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Speaker 2: the one that you want to start with first if

342
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Speaker 2: you want to work overseas. That requires, you know, an

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Speaker 2: Olympic level engagement, and that's something that some Australian actors

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Speaker 2: just aren't used to, and it's like you've got to

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Speaker 2: go to the gym in order to do something as

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Speaker 2: naturally as your own accent, which obviously we never get

347
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Speaker 2: up and think I must sound ausy today, or I

348
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Speaker 2: must sound however I sound today. You open your mouth

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Speaker 2: from there it is yeah, So it's a bit again.

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Speaker 2: There's that illusion. All that work that you can attest

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Speaker 2: to this, all the hours you've put in of practice

352
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Speaker 2: has to really just support you and cradle you in performance.

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Speaker 2: But we don't want to be distracted by the technical stuff.

354
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Speaker 2: We just want to go, oh wow, I thought she

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Speaker 2: was American, but now I'm hearing an Australian accent come

356
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Speaker 2: out of her mouth. This is so weird. That's the

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Speaker 2: highest compliment you can be paid, totally.

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Speaker 1: I remember as well when we first ot gen M

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Speaker 1: class together, Like, Lola, you're at the bottom of the mountain,

360
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Speaker 1: and that's okay because you can get to the top

361
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Speaker 1: of the mountain. It just takes time. And you and

362
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Speaker 1: you actually said to me, You're like, the more you

363
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Speaker 1: put in, the more you get out with the voice always,

364
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Speaker 1: and so that's why I've always been like daily, Lola

365
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Speaker 1: practice And do you remember you gave me that vow

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Speaker 1: list of like she was seen to be eager.

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Speaker 2: Definitely daily.

368
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Speaker 1: I've got them placid in my room, I've got them

369
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Speaker 1: on the fridge. And then I've got them in my

370
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Speaker 1: little acting handout kind of thing, and I don't go

371
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Speaker 1: a day without running at least even like four or

372
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Speaker 1: five of those sentences, because I'm like, this is something

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Speaker 1: I don't want to lose either.

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Speaker 2: Sure, and if you're just on that, that's great because

375
00:19:37,840 --> 00:19:40,680
Speaker 2: that shows you how that was a year ago when

376
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Speaker 2: we started that process. Right, So in a year of

377
00:19:43,560 --> 00:19:47,040
Speaker 2: you know, semi regular practice with me and ongoing practice

378
00:19:47,040 --> 00:19:49,880
Speaker 2: with yourself, you've come so far and now we're getting

379
00:19:49,880 --> 00:19:53,600
Speaker 2: into dialects, Southern dialects and New York stuff. So that

380
00:19:53,640 --> 00:19:55,439
Speaker 2: to me tells, Okay, it took what you know, a

381
00:19:55,440 --> 00:19:57,440
Speaker 2: couple of years for you, for most of us as

382
00:19:57,520 --> 00:20:00,280
Speaker 2: babies to go from not speaking to being able to yeah,

383
00:20:00,320 --> 00:20:04,160
Speaker 2: speak a coherent sentence. Well, we're just taking that process

384
00:20:04,160 --> 00:20:06,919
Speaker 2: and squeezing it down with consciousness. Yeah, we're not just

385
00:20:06,960 --> 00:20:11,760
Speaker 2: letting it soak in over those formative years where actively

386
00:20:11,800 --> 00:20:13,560
Speaker 2: chasing after it every day, and what do you know

387
00:20:14,080 --> 00:20:17,200
Speaker 2: the body adapts, Yeah, because the voice is so elastic

388
00:20:17,240 --> 00:20:17,800
Speaker 2: in that way.

389
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Speaker 1: Another thing, I keep going back to this first ever

390
00:20:20,320 --> 00:20:22,320
Speaker 1: class that I had with you. I don't know why

391
00:20:22,400 --> 00:20:25,639
Speaker 1: I am because it's funny. I think what I do

392
00:20:25,680 --> 00:20:27,520
Speaker 1: when I interview people is I'm like, oh my god,

393
00:20:27,560 --> 00:20:32,320
Speaker 1: that was my first I guess not judgment called my

394
00:20:32,400 --> 00:20:35,159
Speaker 1: first time of like really experiencing. And I remember in

395
00:20:35,160 --> 00:20:38,280
Speaker 1: that first session you counted to ten in like four

396
00:20:38,280 --> 00:20:40,240
Speaker 1: different accents, like on the fly, and I was like,

397
00:20:40,320 --> 00:20:44,399
Speaker 1: oh my god, what a great party trick. Yeah, So

398
00:20:44,560 --> 00:20:46,880
Speaker 1: do you have a favorite accent? I've never asked you this.

399
00:20:47,400 --> 00:20:51,520
Speaker 2: I've no. I'm always interested in the next one that

400
00:20:51,600 --> 00:20:54,840
Speaker 2: I have to research or look into. And it's been great. Actually,

401
00:20:54,880 --> 00:20:57,240
Speaker 2: during the last couple of months, there's been some really

402
00:20:57,600 --> 00:21:02,000
Speaker 2: obscure demand's place, you know, actors having certain auditions that

403
00:21:02,040 --> 00:21:03,359
Speaker 2: need us very specific sound.

404
00:21:03,520 --> 00:21:05,480
Speaker 1: You have to do Russian or something recently, or.

405
00:21:05,840 --> 00:21:08,879
Speaker 2: Yeah, we did some Russian recently, I did. I had

406
00:21:08,920 --> 00:21:12,000
Speaker 2: to coach a student with a Baltimore accent. So the

407
00:21:12,040 --> 00:21:15,160
Speaker 2: city of Baltimore and Maryland in the US, which again

408
00:21:15,200 --> 00:21:16,359
Speaker 2: is just so obscure.

409
00:21:16,400 --> 00:21:20,080
Speaker 1: And so what makes Baltimore different to other parts of America.

410
00:21:20,160 --> 00:21:23,680
Speaker 2: Well, the one key sound for me is the oh

411
00:21:23,720 --> 00:21:26,639
Speaker 2: sound in words like goat or hope that becomes you know,

412
00:21:26,640 --> 00:21:31,280
Speaker 2: in general American oh, yeah, hope, goat, something like that.

413
00:21:32,080 --> 00:21:35,240
Speaker 2: In Baltimore, it gets really really tight and narrow, and

414
00:21:35,240 --> 00:21:41,959
Speaker 2: we get oh no, really, Joe DiMaggio, really, yeah, And

415
00:21:42,000 --> 00:21:45,399
Speaker 2: so that's like that, you can that's where you start

416
00:21:45,440 --> 00:21:48,240
Speaker 2: to sink your teeth into. When you're approaching a new accent,

417
00:21:48,240 --> 00:21:52,200
Speaker 2: you go, Okay, that's a distinctive feature right there. Let's

418
00:21:52,240 --> 00:21:53,880
Speaker 2: now build upon.

419
00:21:53,680 --> 00:21:56,080
Speaker 1: That, because I've heard you do that goat set before

420
00:21:56,080 --> 00:21:58,800
Speaker 1: with the New York accent, and it changes dramatically from

421
00:21:58,840 --> 00:22:00,480
Speaker 1: the general American Yeah.

422
00:22:00,600 --> 00:22:03,080
Speaker 2: And that's really we're sort of talking about what makes

423
00:22:03,160 --> 00:22:05,080
Speaker 2: up an accent. And these are just building blocks. And

424
00:22:05,080 --> 00:22:06,879
Speaker 2: if you think about them as like lego, you know,

425
00:22:06,920 --> 00:22:09,200
Speaker 2: you can take a box, you know, a bucket full

426
00:22:09,240 --> 00:22:14,240
Speaker 2: of lego and construct many different shapes from that. Accent

427
00:22:14,280 --> 00:22:16,520
Speaker 2: work is just a process of taking those lego blocks

428
00:22:16,520 --> 00:22:19,000
Speaker 2: and rearranging them into a new shape, still using all

429
00:22:19,040 --> 00:22:23,720
Speaker 2: the same blocks, but creating something totally different. So that's

430
00:22:23,800 --> 00:22:26,160
Speaker 2: what I love about this work in that it is

431
00:22:26,600 --> 00:22:30,560
Speaker 2: very scientific in a sense. It's also like cooking, so

432
00:22:30,600 --> 00:22:32,520
Speaker 2: there's a bit of taste that's involved, but it's very

433
00:22:32,560 --> 00:22:35,639
Speaker 2: scientific in that you're making these changes and it's very fair.

434
00:22:36,520 --> 00:22:39,720
Speaker 2: As you said, it's very very fair, and that can

435
00:22:39,960 --> 00:22:43,479
Speaker 2: turn off some people because it's like, well, in this

436
00:22:43,560 --> 00:22:45,119
Speaker 2: day and age, we want a quick fix and I

437
00:22:45,160 --> 00:22:47,439
Speaker 2: want the shortcut, but this is the hard way up

438
00:22:47,480 --> 00:22:50,960
Speaker 2: the mountain. But it will be It will absolutely repay

439
00:22:51,680 --> 00:22:54,000
Speaker 2: every second of investment you put in.

440
00:22:54,400 --> 00:22:56,399
Speaker 1: Is it like riding a bike. Once you've kind of

441
00:22:56,440 --> 00:22:59,879
Speaker 1: got that in your body and in your psyche, it

442
00:23:00,119 --> 00:23:01,160
Speaker 1: kind of stays with you.

443
00:23:01,320 --> 00:23:07,960
Speaker 2: Yes, it is. But like any sports person, if you

444
00:23:08,000 --> 00:23:10,040
Speaker 2: compete at the Olympics and then let yourself go for

445
00:23:10,080 --> 00:23:13,320
Speaker 2: two years, you can't go to the next Olympics without

446
00:23:13,680 --> 00:23:17,080
Speaker 2: a massive undertaking. So that's kind of the deal that

447
00:23:17,119 --> 00:23:18,840
Speaker 2: we get. We sort of David Mammont says, you know,

448
00:23:19,680 --> 00:23:23,119
Speaker 2: we acquire our skill and our techniques so slowly that

449
00:23:23,160 --> 00:23:25,560
Speaker 2: it feels like we're not making any progress at all.

450
00:23:25,920 --> 00:23:28,240
Speaker 2: But then by the same token, we also lose our

451
00:23:28,320 --> 00:23:31,280
Speaker 2: technique and craft so slowly that we don't realize it's

452
00:23:31,280 --> 00:23:34,600
Speaker 2: slipping away. And that leads to a lot of anxiety

453
00:23:34,760 --> 00:23:38,000
Speaker 2: among actors and performers where it's like I haven't got

454
00:23:38,040 --> 00:23:41,360
Speaker 2: up there and done it in a year. Let's say, yeah,

455
00:23:41,440 --> 00:23:43,280
Speaker 2: you second guess everything, and then you bring all this

456
00:23:43,359 --> 00:23:45,119
Speaker 2: tension and anxiety to it, and what do you know

457
00:23:45,280 --> 00:23:47,439
Speaker 2: you walk out of there going, oh, it's terrible tonight.

458
00:23:47,520 --> 00:23:50,720
Speaker 2: It didn't happen in the audience, didn't They felt that

459
00:23:50,800 --> 00:23:52,560
Speaker 2: I didn't believe in it?

460
00:23:52,680 --> 00:23:55,960
Speaker 1: So interesting. It also tells me, like you see actors

461
00:23:56,000 --> 00:23:59,280
Speaker 1: that love keep like love to keep learning. I give

462
00:23:59,280 --> 00:24:01,960
Speaker 1: you an actress lived in la and she was like, Oh,

463
00:24:02,000 --> 00:24:03,679
Speaker 1: I just love that I'm back at school in my

464
00:24:03,720 --> 00:24:05,880
Speaker 1: spare time. And I was like, oh, yeah, I want

465
00:24:05,880 --> 00:24:07,560
Speaker 1: to be one of them. I want to keep working

466
00:24:07,640 --> 00:24:12,160
Speaker 1: but studying and learning and flexing these muscles and building

467
00:24:12,200 --> 00:24:15,520
Speaker 1: these muscles. Because what you've just said, like it totally

468
00:24:15,760 --> 00:24:19,520
Speaker 1: is a it's kind of like a lifestyle like I have.

469
00:24:19,640 --> 00:24:21,560
Speaker 1: The same way health is. You can need to be healthy,

470
00:24:21,800 --> 00:24:23,560
Speaker 1: like you know ninety percent of the time, and your

471
00:24:23,560 --> 00:24:26,119
Speaker 1: body is going to be like I got this, Yes absolutely,

472
00:24:26,160 --> 00:24:27,920
Speaker 1: But you can't just go I'm going to work really

473
00:24:27,960 --> 00:24:30,200
Speaker 1: hard and then just drop the ball because it doesn't

474
00:24:30,240 --> 00:24:30,760
Speaker 1: pay off.

475
00:24:30,680 --> 00:24:33,120
Speaker 2: It'll slip away. And that I love what you're saying about.

476
00:24:33,119 --> 00:24:35,960
Speaker 2: It's got to be a lifestyle. That the voice is

477
00:24:36,000 --> 00:24:38,959
Speaker 2: so subtle and it's so ubiquitous, and we use it

478
00:24:39,080 --> 00:24:42,240
Speaker 2: every day in so many different ways, both to communicate

479
00:24:42,280 --> 00:24:47,119
Speaker 2: and also to conceal, to hide, to be defensive. You

480
00:24:47,200 --> 00:24:49,159
Speaker 2: can't have a free voice for the hour and a

481
00:24:49,160 --> 00:24:51,679
Speaker 2: half you're on stage and then a trapped voice for

482
00:24:51,720 --> 00:24:55,199
Speaker 2: the other twenty three hours of the day. Totally, it

483
00:24:55,240 --> 00:24:57,119
Speaker 2: has to be how you live in the world. And

484
00:24:57,160 --> 00:24:59,639
Speaker 2: I think that's one of the biggest surprises to any

485
00:24:59,720 --> 00:25:02,760
Speaker 2: speed who comes and works with on their voice. It's like, oh,

486
00:25:02,800 --> 00:25:07,000
Speaker 2: it's changed how I am in the world. My emotional responses,

487
00:25:08,200 --> 00:25:11,480
Speaker 2: you know, how I deal with stress and tension have changed.

488
00:25:11,840 --> 00:25:15,560
Speaker 2: How I interact with people has changed, because obviously you've

489
00:25:15,560 --> 00:25:19,520
Speaker 2: addressed something that's not just going to be refined or

490
00:25:21,560 --> 00:25:24,680
Speaker 2: purely acting based. It's everything I think.

491
00:25:25,359 --> 00:25:27,919
Speaker 1: I think I told you about six months ago. I

492
00:25:27,960 --> 00:25:30,600
Speaker 1: just did a drop in class at this open night

493
00:25:30,640 --> 00:25:32,639
Speaker 1: and an acting school, and to get us out of

494
00:25:32,680 --> 00:25:35,440
Speaker 1: our comfort zone, everyone had to get up and share

495
00:25:35,480 --> 00:25:37,919
Speaker 1: something only personal about themselves. When it got to me,

496
00:25:38,400 --> 00:25:39,920
Speaker 1: the teacher's like, no, no, I want you to sing,

497
00:25:39,960 --> 00:25:42,640
Speaker 1: and I was like, pardon, never sung in my life

498
00:25:42,720 --> 00:25:45,080
Speaker 1: audition for musical theaters right out of school, got told

499
00:25:45,080 --> 00:25:47,360
Speaker 1: I had a pitching problem, so I've never been into

500
00:25:47,400 --> 00:25:52,800
Speaker 1: singing ever, And I was like, what would you like

501
00:25:52,840 --> 00:25:54,720
Speaker 1: me to do and he said, I just sing. He goes,

502
00:25:54,720 --> 00:25:56,879
Speaker 1: I don't keep you sing Happy Birthday? And because you

503
00:25:56,880 --> 00:25:58,600
Speaker 1: and I had done all this voice work, I was like,

504
00:25:58,720 --> 00:26:01,720
Speaker 1: who cares? Like, just just be real and vulnerable and

505
00:26:01,800 --> 00:26:04,920
Speaker 1: keep your voice open. And I literally sung Happy Birthday.

506
00:26:05,680 --> 00:26:08,199
Speaker 1: It was very uncomfortable, and I would never want to

507
00:26:08,280 --> 00:26:11,359
Speaker 1: I would never willingly jump into the singing pool. But

508
00:26:11,680 --> 00:26:14,920
Speaker 1: I was very comfortable being myself with my voice, if

509
00:26:14,920 --> 00:26:15,600
Speaker 1: that makes sense.

510
00:26:16,240 --> 00:26:18,880
Speaker 2: Absolutely the hardest things to do. Yeah.

511
00:26:18,880 --> 00:26:20,800
Speaker 1: And I sat down and my friend goes, why were

512
00:26:20,840 --> 00:26:22,920
Speaker 1: you worried? You can actually sing? And I'm like, I can't.

513
00:26:22,920 --> 00:26:25,840
Speaker 1: I just understand my voice now like I've got and

514
00:26:25,880 --> 00:26:29,679
Speaker 1: I'm more connected to my voice that it's almost like

515
00:26:30,359 --> 00:26:32,640
Speaker 1: my voice and I aren't fighting against one another. We're

516
00:26:32,680 --> 00:26:34,920
Speaker 1: working together on the same thing. That's how it feels

517
00:26:34,960 --> 00:26:36,280
Speaker 1: when I communicate.

518
00:26:35,800 --> 00:26:40,480
Speaker 2: Now, absolutely, And that's the power. The voice is so

519
00:26:40,600 --> 00:26:42,560
Speaker 2: subtle and adaptable.

520
00:26:42,760 --> 00:26:43,119
Speaker 1: Ah.

521
00:26:43,160 --> 00:26:46,280
Speaker 2: And if you you know, I remember, you know, yeah,

522
00:26:46,280 --> 00:26:48,360
Speaker 2: in singing classes and working with people you know as

523
00:26:48,359 --> 00:26:53,800
Speaker 2: a student and dealing with people who who were convinced

524
00:26:53,840 --> 00:26:56,800
Speaker 2: they couldn't sing. But then if you said do an

525
00:26:56,800 --> 00:26:59,600
Speaker 2: impression of a singer? Suddenly there's their voices that you

526
00:26:59,640 --> 00:27:02,520
Speaker 2: can see. It's just how do you program the brain

527
00:27:02,600 --> 00:27:04,159
Speaker 2: to get that result? And you have to be a

528
00:27:04,200 --> 00:27:07,040
Speaker 2: bit creative sometimes totally in getting there.

529
00:27:07,280 --> 00:27:11,080
Speaker 1: Yeah one, okay, I keep driving off track because you've

530
00:27:11,080 --> 00:27:14,479
Speaker 1: got such a wonderful brain. But your TV work has

531
00:27:14,520 --> 00:27:17,480
Speaker 1: been really fun to explore as well. I got to

532
00:27:17,480 --> 00:27:22,040
Speaker 1: see a clip of you on is It Trip for Biscuits? Yeah,

533
00:27:22,119 --> 00:27:23,639
Speaker 1: and you were like super nerdy.

534
00:27:23,920 --> 00:27:26,679
Speaker 2: Yeah. I think I was an alien in that. Yeah.

535
00:27:27,640 --> 00:27:29,920
Speaker 1: So, and there was something else I saw you and

536
00:27:29,920 --> 00:27:33,640
Speaker 1: we were just talking about it before. You're great at comedy.

537
00:27:33,920 --> 00:27:35,359
Speaker 2: Thanks very much. I love it. Yeah.

538
00:27:35,440 --> 00:27:38,760
Speaker 1: But when you're in class, because Matt teaches.

539
00:27:38,359 --> 00:27:40,080
Speaker 2: Me, but you're so unfunny in class.

540
00:27:40,160 --> 00:27:43,119
Speaker 1: No, No, you take it seriously as any teacher should

541
00:27:43,160 --> 00:27:45,879
Speaker 1: and would. So when I was researching you and seeing

542
00:27:45,880 --> 00:27:48,959
Speaker 1: these quite funny kind of like Alarican almost roles, I

543
00:27:49,000 --> 00:27:50,720
Speaker 1: was like, oh my god, I'm seeing this whole other

544
00:27:50,760 --> 00:27:52,560
Speaker 1: side that I used to see.

545
00:27:52,800 --> 00:27:55,919
Speaker 2: Sure, but if anything, and that's that's funny to hear that.

546
00:27:56,280 --> 00:28:02,000
Speaker 2: But if anything, though, I'm even more serious and straight

547
00:28:02,080 --> 00:28:04,600
Speaker 2: faced when I'm working on a character like that, and

548
00:28:04,640 --> 00:28:07,119
Speaker 2: the process of making a film and the huge logistical

549
00:28:07,200 --> 00:28:10,400
Speaker 2: task that is involved in that. Yeah, so it's it's

550
00:28:10,440 --> 00:28:12,439
Speaker 2: a lot of fun to do, but it's just as

551
00:28:12,480 --> 00:28:13,800
Speaker 2: serious as a voice class.

552
00:28:13,840 --> 00:28:17,000
Speaker 1: So I Ian Sinkle, who I keep referring to. He said,

553
00:28:17,080 --> 00:28:19,840
Speaker 1: if he's doing a play that's really serious, the rehearsals

554
00:28:19,840 --> 00:28:22,480
Speaker 1: are light and funny. If he's doing a play that

555
00:28:22,600 --> 00:28:25,200
Speaker 1: is light and funny, the rehearsals are really serious.

556
00:28:25,800 --> 00:28:31,720
Speaker 2: I think that is that's a pretty widespread phenomena. Yeah,

557
00:28:31,760 --> 00:28:33,639
Speaker 2: I think you have to counter it in some way.

558
00:28:34,600 --> 00:28:36,679
Speaker 1: So what we were just talking about was can't win

559
00:28:36,800 --> 00:28:42,160
Speaker 1: do try as well? Now you play like an Aussie laric.

560
00:28:42,200 --> 00:28:45,240
Speaker 2: Sort of chaotic you know, deviant?

561
00:28:45,720 --> 00:28:47,320
Speaker 1: Was that so much fun? It?

562
00:28:47,360 --> 00:28:50,000
Speaker 2: Actually, that one actually really was because we were there

563
00:28:50,040 --> 00:28:52,520
Speaker 2: in Perth shooting you know, on Coddslow Beach for like

564
00:28:52,560 --> 00:28:54,480
Speaker 2: a month and a half. It was you know, hot

565
00:28:54,520 --> 00:28:57,240
Speaker 2: a summer. It really was like a holiday. Yeah, and

566
00:28:57,480 --> 00:29:01,160
Speaker 2: you know, very fun ensemble comedy. But I like that

567
00:29:01,240 --> 00:29:03,200
Speaker 2: because once I realized that my job was just to

568
00:29:03,240 --> 00:29:05,280
Speaker 2: be like a tornado in every scene. My job was

569
00:29:05,320 --> 00:29:09,080
Speaker 2: to disrupt everything about these other characters lies, it was

570
00:29:09,120 --> 00:29:12,400
Speaker 2: really fun to go, how can I balance you at

571
00:29:12,440 --> 00:29:13,160
Speaker 2: every turn?

572
00:29:13,680 --> 00:29:14,160
Speaker 1: So good?

573
00:29:14,240 --> 00:29:16,840
Speaker 2: Yeah, it was. It was kind of therapeutic.

574
00:29:16,920 --> 00:29:19,920
Speaker 1: Strangely enough, totally did you and you won an award

575
00:29:19,920 --> 00:29:23,719
Speaker 1: for that Best Actor for Underground Film Festival.

576
00:29:23,880 --> 00:29:28,320
Speaker 2: Yes, yeah, yeah, which was which was great. Yeah.

577
00:29:28,320 --> 00:29:30,720
Speaker 1: Plus, this is what's so called to read in your

578
00:29:30,720 --> 00:29:35,760
Speaker 1: bio voiceovers for Masda Reno Spirit of Tazzy.

579
00:29:35,920 --> 00:29:36,240
Speaker 2: Sure.

580
00:29:36,440 --> 00:29:38,120
Speaker 1: I need to look at these. I need to hear

581
00:29:38,200 --> 00:29:42,240
Speaker 1: your voice like your is it voice acting?

582
00:29:42,320 --> 00:29:43,840
Speaker 2: Is that what they would call your voiceover?

583
00:29:44,360 --> 00:29:46,600
Speaker 1: Because I feel like that's a whole other beast, quite

584
00:29:46,640 --> 00:29:48,400
Speaker 1: separate to acting in many ways.

585
00:29:48,440 --> 00:29:50,360
Speaker 2: And that was also I guess, you know, just looping

586
00:29:50,400 --> 00:29:53,560
Speaker 2: back to what kind of sent me down this vocal pathway.

587
00:29:54,360 --> 00:29:56,480
Speaker 2: I was doing a lot of voiceover work, and obviously

588
00:29:56,560 --> 00:29:59,880
Speaker 2: that's incredibly high pressure. You turn up the scripts put

589
00:29:59,880 --> 00:30:01,440
Speaker 2: in in front of you, you're expected to get it

590
00:30:01,440 --> 00:30:03,120
Speaker 2: within the hour because then they have to pay you

591
00:30:03,200 --> 00:30:06,040
Speaker 2: for another hour if you're still there. That's a lot

592
00:30:06,040 --> 00:30:08,880
Speaker 2: of high pressure, and it's incredibly technical because they're dry

593
00:30:08,920 --> 00:30:11,760
Speaker 2: information and we only have usually thirty seconds to get

594
00:30:11,800 --> 00:30:15,440
Speaker 2: it out. So that was another interest of mine, although

595
00:30:15,440 --> 00:30:18,280
Speaker 2: my favorite stuff with that is I worked for Person

596
00:30:18,320 --> 00:30:23,160
Speaker 2: Publishing and we did about eighty digital kids books that

597
00:30:23,200 --> 00:30:25,280
Speaker 2: to be read on iPads and saving class and you

598
00:30:25,320 --> 00:30:28,000
Speaker 2: had to do all these voices. So that was just

599
00:30:28,040 --> 00:30:29,880
Speaker 2: all day. You're in front of a microphone and I said, okay,

600
00:30:29,920 --> 00:30:31,760
Speaker 2: we need a frog and a robot and a five

601
00:30:31,840 --> 00:30:34,840
Speaker 2: year old boy. Go and you just go with it

602
00:30:34,880 --> 00:30:36,960
Speaker 2: and see the moment well and you know, they shape

603
00:30:36,960 --> 00:30:39,160
Speaker 2: it a little bit, but it's just like a giant

604
00:30:39,400 --> 00:30:43,280
Speaker 2: you know, improv game or some ah. So that's that's

605
00:30:43,320 --> 00:30:45,360
Speaker 2: really the juice, you know, that's the great stuff.

606
00:30:46,240 --> 00:30:48,280
Speaker 1: Oh I could I feel like I could ask so

607
00:30:48,280 --> 00:30:53,000
Speaker 1: many questions about that because I think being thrown in

608
00:30:53,040 --> 00:30:54,920
Speaker 1: the deep end like that, but being able to like

609
00:30:55,120 --> 00:30:58,320
Speaker 1: wrap your because your skill set is so specific and

610
00:30:58,960 --> 00:31:03,800
Speaker 1: so you're you've finally tuned your voice. That I imagine if

611
00:31:03,800 --> 00:31:05,960
Speaker 1: someone gave you like something to play with, like three

612
00:31:05,960 --> 00:31:08,680
Speaker 1: things in one go, you're just like, yes, please let me.

613
00:31:08,960 --> 00:31:11,560
Speaker 2: It's so much fun. Yeah, because then you're just your

614
00:31:12,040 --> 00:31:17,160
Speaker 2: instrument is not getting in the way of your imagination.

615
00:31:17,520 --> 00:31:22,240
Speaker 2: And that now all that hard, potentially demoralizing, slightly boring

616
00:31:22,360 --> 00:31:26,680
Speaker 2: work by yourself doing vocal exercises pays off because now

617
00:31:26,720 --> 00:31:29,200
Speaker 2: you're able to translate what it is you feel and

618
00:31:29,280 --> 00:31:31,160
Speaker 2: imagine out into the world.

619
00:31:31,000 --> 00:31:34,320
Speaker 1: With no blockages, and it's like you're running free. I imagine.

620
00:31:34,360 --> 00:31:36,200
Speaker 2: Well, then it gets really fun because now it's like

621
00:31:36,600 --> 00:31:40,480
Speaker 2: fueling itself. Yeah, so you actually feel energized after a

622
00:31:40,520 --> 00:31:42,280
Speaker 2: session rather than tired.

623
00:31:42,960 --> 00:31:44,360
Speaker 1: I love it. And you're making me want to do

624
00:31:44,440 --> 00:31:47,240
Speaker 1: voice work. Now, that's a lot of I like when

625
00:31:47,280 --> 00:31:49,600
Speaker 1: I was really young, Like I'm talking in primary school,

626
00:31:49,600 --> 00:31:53,000
Speaker 1: I had to record my voice on a kid's audiobook, right,

627
00:31:53,120 --> 00:31:56,280
Speaker 1: and I remember you're being yourself really like innocence, and

628
00:31:56,320 --> 00:31:58,440
Speaker 1: I remember thinking, oh my god, this is so much

629
00:31:58,520 --> 00:32:05,560
Speaker 1: fun back there. Okay, so for not just actors listening,

630
00:32:05,600 --> 00:32:08,480
Speaker 1: but like anybody that gets nervous, we all get nervous, right,

631
00:32:08,560 --> 00:32:12,160
Speaker 1: we all feel a little pinch of anxiety. I recorded

632
00:32:12,160 --> 00:32:15,880
Speaker 1: a podcast before you a few hours ago, and I

633
00:32:15,920 --> 00:32:17,920
Speaker 1: could see and feel my voice. I could feel I

634
00:32:17,960 --> 00:32:20,280
Speaker 1: was like, oh, I'm a bit anxious right now. It

635
00:32:20,320 --> 00:32:21,959
Speaker 1: took about a minute or so to kind of like

636
00:32:22,200 --> 00:32:26,320
Speaker 1: just connect my breath and kind of chill the f out.

637
00:32:27,320 --> 00:32:29,280
Speaker 1: And I'm so chill with you because we've got this

638
00:32:29,360 --> 00:32:32,520
Speaker 1: long standing friendship for ages now, so I didn't get

639
00:32:32,520 --> 00:32:35,360
Speaker 1: any of that before this one. But what happens if

640
00:32:35,400 --> 00:32:38,479
Speaker 1: you're an actor or anybody going into say an audition,

641
00:32:38,600 --> 00:32:39,880
Speaker 1: or any situation where you're like.

642
00:32:40,040 --> 00:32:43,240
Speaker 2: Meeting a presentation at Yeah, I'm nervous.

643
00:32:42,800 --> 00:32:45,640
Speaker 1: Speech right, Yeah.

644
00:32:45,200 --> 00:32:47,080
Speaker 2: Plenty of opportunities where we have to use the voice

645
00:32:47,480 --> 00:32:50,160
Speaker 2: right in a formal, semi formal situation.

646
00:32:50,320 --> 00:32:52,680
Speaker 1: And you get nervous, like I know for me, like

647
00:32:53,000 --> 00:32:56,200
Speaker 1: I lose my breath in a heart beat. What a

648
00:32:56,480 --> 00:32:58,280
Speaker 1: few things we can do to if you're just like, Okay,

649
00:32:58,280 --> 00:33:00,720
Speaker 1: I'm nervous, I don't want to lose my voice. Even

650
00:33:00,720 --> 00:33:02,280
Speaker 1: if you're sitting in the car, you're about to go

651
00:33:02,360 --> 00:33:04,520
Speaker 1: into that casting call, or you're about to go in

652
00:33:04,600 --> 00:33:07,480
Speaker 1: for a meeting or a job interview. Is there anything

653
00:33:07,520 --> 00:33:10,480
Speaker 1: we can kind of do to kind of like reground.

654
00:33:10,000 --> 00:33:15,280
Speaker 2: Two things, one internal, one external. The first is realize

655
00:33:15,320 --> 00:33:19,480
Speaker 2: that the anxiety and the insecurity and all those feelings

656
00:33:19,520 --> 00:33:22,800
Speaker 2: are coming from thoughts R and that's probably fueled from

657
00:33:22,800 --> 00:33:25,320
Speaker 2: the subconscious and going oh, you're not good enough that

658
00:33:25,400 --> 00:33:29,280
Speaker 2: the inner critic. Well, instead of identifying with those thoughts

659
00:33:29,320 --> 00:33:35,120
Speaker 2: too much and then letting them strangle the voice, I

660
00:33:35,160 --> 00:33:38,160
Speaker 2: think it's good to observe them. And I always sort

661
00:33:38,160 --> 00:33:39,959
Speaker 2: of you know, when I thought like that pops in,

662
00:33:40,040 --> 00:33:41,960
Speaker 2: Oh my voice doesn't feel good, or I'm not ready,

663
00:33:42,040 --> 00:33:43,680
Speaker 2: or I'm out of time, or I don't feel good today.

664
00:33:44,160 --> 00:33:47,680
Speaker 2: I sort of go, how interesting, that's interesting? And what

665
00:33:47,680 --> 00:33:49,800
Speaker 2: do you know what? That thought goes away. The more

666
00:33:49,840 --> 00:33:52,200
Speaker 2: you try and banish it and sweep it under the carpet,

667
00:33:52,400 --> 00:33:54,600
Speaker 2: the stronger it gets. But when you know those sorts

668
00:33:54,600 --> 00:33:59,120
Speaker 2: of insecurities pop in, it's more about acknowledging them and

669
00:33:59,160 --> 00:34:01,840
Speaker 2: saying how I'm feeling like that?

670
00:34:02,080 --> 00:34:05,040
Speaker 1: You sound like a yogi. Yogi is a yoga. There's

671
00:34:05,080 --> 00:34:07,720
Speaker 1: a movement called well not movement, a lesson called shuck shin,

672
00:34:07,800 --> 00:34:10,080
Speaker 1: and it means to stand witness when you're in the fire.

673
00:34:10,719 --> 00:34:14,080
Speaker 1: So you notice this bit of fiery staff, but you

674
00:34:14,120 --> 00:34:16,480
Speaker 1: don't react to it. You just like, okay, I can

675
00:34:16,480 --> 00:34:20,160
Speaker 1: see you, you're there, I'm still me. That's a thought.

676
00:34:20,360 --> 00:34:22,440
Speaker 1: That's not who I am. That's just a.

677
00:34:22,400 --> 00:34:26,440
Speaker 2: Thought, absolutely, And the harder you resist that thought, the

678
00:34:26,520 --> 00:34:28,960
Speaker 2: heavier it gets. It's actually, it's like a paradox to

679
00:34:30,560 --> 00:34:35,040
Speaker 2: take off that boulder around your neck. You've got to relax,

680
00:34:35,760 --> 00:34:38,799
Speaker 2: not yeah. So I think that that's a big thing

681
00:34:38,880 --> 00:34:42,719
Speaker 2: right there. Don't let those thoughts control you and We

682
00:34:42,800 --> 00:34:46,239
Speaker 2: do that by acknowledging them how interesting The second thing

683
00:34:46,320 --> 00:34:50,080
Speaker 2: is in terms of practicality, it's the breath, isn't it.

684
00:34:50,360 --> 00:34:54,000
Speaker 2: And obviously saying to an actor breathe can provoke a

685
00:34:54,040 --> 00:34:56,680
Speaker 2: strange response because obviously we're all breathing all the time.

686
00:34:56,719 --> 00:34:59,680
Speaker 2: We do it unconsciously eight hours a night, pretty successfully.

687
00:35:01,200 --> 00:35:04,640
Speaker 2: But what I mean is, don't don't allow the natural

688
00:35:04,719 --> 00:35:07,200
Speaker 2: rhythm of your breath, which changes moment to moment depending

689
00:35:07,239 --> 00:35:10,239
Speaker 2: on what you're doing. Don't let that natural rhythm be

690
00:35:10,960 --> 00:35:16,960
Speaker 2: suffocated and strangled by tension. And by tension I mean

691
00:35:17,000 --> 00:35:20,360
Speaker 2: physical tension, emotional tension, or mental tension. So if you

692
00:35:20,400 --> 00:35:22,799
Speaker 2: hold your breath, you lose your breath. And one good

693
00:35:23,080 --> 00:35:25,600
Speaker 2: you know little exercise is to take the thumb of

694
00:35:25,680 --> 00:35:29,080
Speaker 2: your non dominant hand. So for me, I'm right handed,

695
00:35:29,080 --> 00:35:32,200
Speaker 2: so I'll take my left thumb and I'll gently press

696
00:35:32,280 --> 00:35:36,600
Speaker 2: that left thumb into the palm of my right hand.

697
00:35:36,640 --> 00:35:40,000
Speaker 2: And if you do that right, then immediately you start

698
00:35:40,040 --> 00:35:43,880
Speaker 2: to feel you're more aware of your back ribs.

699
00:35:44,360 --> 00:35:47,080
Speaker 1: Really, I'm going to try give it a go. That's

700
00:35:47,080 --> 00:35:48,520
Speaker 1: doing this in the moment I'm sitting here.

701
00:35:48,480 --> 00:35:53,800
Speaker 2: With Let's see, So you take your non dominant hand,

702
00:35:54,520 --> 00:35:57,319
Speaker 2: non non dominant thumb. Press that into your dominant hand

703
00:35:57,440 --> 00:36:00,200
Speaker 2: just lightly and just breathing through the mouth.

704
00:36:03,400 --> 00:36:06,400
Speaker 1: On mouth. I forget your mouth breathing again. I've been

705
00:36:06,400 --> 00:36:07,400
Speaker 1: doing heaps of yo.

706
00:36:07,680 --> 00:36:07,879
Speaker 2: Sure.

707
00:36:10,160 --> 00:36:13,320
Speaker 1: Yeah, you feel automatically a bit more grounded or grounded.

708
00:36:13,360 --> 00:36:15,359
Speaker 2: I get a sense of that the breath is going

709
00:36:15,400 --> 00:36:16,640
Speaker 2: deeper into my lower back.

710
00:36:17,120 --> 00:36:18,640
Speaker 1: What is that? What's that activating?

711
00:36:18,800 --> 00:36:24,560
Speaker 2: Or we're activating you know, a pressure point of course. Yeah,

712
00:36:24,600 --> 00:36:27,520
Speaker 2: so right there, I think as well, you know, you

713
00:36:27,520 --> 00:36:30,200
Speaker 2: know in that And finally, when you're there in front

714
00:36:30,239 --> 00:36:33,560
Speaker 2: of the board, in front of the wedding party, whatever

715
00:36:33,640 --> 00:36:40,040
Speaker 2: it is, that desire to communicate to someone, yeah, really

716
00:36:40,080 --> 00:36:43,440
Speaker 2: makes a big difference. And the difference between a boring

717
00:36:43,480 --> 00:36:45,399
Speaker 2: speaker who you just fall asleep to and you can't

718
00:36:45,400 --> 00:36:47,239
Speaker 2: wait until they get off the stage, and someone who's

719
00:36:47,280 --> 00:36:51,600
Speaker 2: so engaging and captivating, I think is that connection between

720
00:36:51,600 --> 00:36:53,839
Speaker 2: a speaker and a listener. So if you can put

721
00:36:53,840 --> 00:36:55,680
Speaker 2: your attention on what's going on out in front of you,

722
00:36:55,760 --> 00:36:57,600
Speaker 2: the other people that are supposed to be receiving it,

723
00:36:57,840 --> 00:37:01,320
Speaker 2: that's always a much more interesting thing than focusing on ourselves.

724
00:37:01,640 --> 00:37:03,239
Speaker 1: It's a good way to get out of your head too,

725
00:37:03,280 --> 00:37:08,000
Speaker 1: because you're where as human beings, we're so self orientated,

726
00:37:08,040 --> 00:37:10,880
Speaker 1: and so by flicking the perception a little bit and

727
00:37:10,920 --> 00:37:13,600
Speaker 1: your focus point, it can kind of get you out

728
00:37:13,640 --> 00:37:14,239
Speaker 1: of the way a bit.

729
00:37:14,320 --> 00:37:17,440
Speaker 2: It's an outwardly directed focus now, rather than an inwardly

730
00:37:17,440 --> 00:37:20,120
Speaker 2: directed focus, which always leads us to sort of go

731
00:37:20,200 --> 00:37:22,840
Speaker 2: round and round in our head with a negative litany

732
00:37:23,080 --> 00:37:24,880
Speaker 2: total of negative thoughts.

733
00:37:25,840 --> 00:37:29,000
Speaker 1: I asked you this question last time we were on

734
00:37:29,160 --> 00:37:31,719
Speaker 1: Zoom and it was because I had a guest on

735
00:37:31,760 --> 00:37:36,319
Speaker 1: this podcast who has been working radio over twenty one

736
00:37:36,400 --> 00:37:40,799
Speaker 1: years before that, did sixteen years of hosting the Channel

737
00:37:40,880 --> 00:37:44,360
Speaker 1: nine news and singer, baritone singer, and his name is

738
00:37:44,400 --> 00:37:48,160
Speaker 1: Dennis Walter. For any Melbournians listening and watch the carols,

739
00:37:48,200 --> 00:37:50,840
Speaker 1: he's like the King of the Melbourne Carols by candlelight.

740
00:37:50,960 --> 00:37:54,720
Speaker 1: Beautiful voice, but he has this presence when he speaks

741
00:37:54,719 --> 00:37:56,920
Speaker 1: and says very powerful. And I remember I said you,

742
00:37:57,160 --> 00:38:02,279
Speaker 1: it's like that old school news voice that is just

743
00:38:02,440 --> 00:38:05,440
Speaker 1: like honest, it's commanding.

744
00:38:05,120 --> 00:38:07,560
Speaker 2: It's powerful, reassuring.

745
00:38:07,760 --> 00:38:09,799
Speaker 1: Yeah, it's not ego at all. It's more like, yeah,

746
00:38:09,840 --> 00:38:12,360
Speaker 1: you can you feel like you can really trust the voice.

747
00:38:12,760 --> 00:38:14,560
Speaker 1: And then we talked about other actors that have kind

748
00:38:14,560 --> 00:38:17,879
Speaker 1: of got that, like Sir Patrick Stewart's kind of got

749
00:38:17,880 --> 00:38:21,200
Speaker 1: that vibe and that whole era is a Iam mccabey.

750
00:38:20,920 --> 00:38:24,160
Speaker 2: M from the Royal Shakespeare Company in the seventies.

751
00:38:24,719 --> 00:38:27,920
Speaker 1: And your response was, chess resonance is kind of what

752
00:38:28,360 --> 00:38:31,759
Speaker 1: gives people that real that it sounds like a theater voice.

753
00:38:31,800 --> 00:38:32,960
Speaker 1: That's something why I can describe it.

754
00:38:33,040 --> 00:38:35,440
Speaker 2: I'd say, that's absolutely, that's one part of the puzzle.

755
00:38:35,480 --> 00:38:38,920
Speaker 2: And certainly when you do think of those low, deep

756
00:38:39,080 --> 00:38:43,000
Speaker 2: baritone voices, you're hearing a lot of the vibrations in

757
00:38:43,360 --> 00:38:47,960
Speaker 2: their chest. Obviously, the bones are the perfect conducting surface

758
00:38:48,000 --> 00:38:51,440
Speaker 2: for vibrations, and vibrations are that's the voice, yeah, sound waves,

759
00:38:52,040 --> 00:38:55,799
Speaker 2: So when those vibrations are gathered and intensified in a

760
00:38:55,800 --> 00:38:59,440
Speaker 2: certain area, you're going to hear a different tamba totally

761
00:38:59,719 --> 00:39:03,000
Speaker 2: to the voice. Yeah. I would say though that coming

762
00:39:03,040 --> 00:39:05,760
Speaker 2: back to sort of Kristin Linklater's work and many others,

763
00:39:05,840 --> 00:39:10,440
Speaker 2: because obviously all voice teachers and acting teachers are just

764
00:39:10,640 --> 00:39:15,320
Speaker 2: describing the same state totally different language, different methods, but

765
00:39:15,360 --> 00:39:20,640
Speaker 2: it's the same goal. When all of the voice is

766
00:39:20,800 --> 00:39:27,800
Speaker 2: free physically and emotionally, then, however, the voice escapes wherever

767
00:39:27,960 --> 00:39:30,759
Speaker 2: it resonates, how high or low the pitch of that

768
00:39:30,960 --> 00:39:34,799
Speaker 2: note is, it will connect to the listener. And as

769
00:39:34,880 --> 00:39:38,080
Speaker 2: we know both if we've been in a situation of

770
00:39:38,160 --> 00:39:40,799
Speaker 2: heightened emotions or if we've witnessed it in someone else,

771
00:39:41,400 --> 00:39:45,239
Speaker 2: it's very unpredictable as to how someone will vocally manifest

772
00:39:45,480 --> 00:39:48,200
Speaker 2: a strong emotion. You hear stories about people saying, oh,

773
00:39:48,239 --> 00:39:51,320
Speaker 2: you know, my father died and I had the biggest

774
00:39:51,480 --> 00:39:55,759
Speaker 2: laugh of my life. Now, why should those two things coincide?

775
00:39:55,800 --> 00:39:57,960
Speaker 2: And yet obviously they did, and they are connected. So

776
00:39:58,560 --> 00:40:01,800
Speaker 2: I think that that's as long as we're trying to

777
00:40:01,840 --> 00:40:06,719
Speaker 2: be out of control in a healthy way, that's the

778
00:40:06,920 --> 00:40:09,360
Speaker 2: ultimate power, because that will connect with someone no matter.

779
00:40:09,239 --> 00:40:12,440
Speaker 1: What big time. And for me as well, I think

780
00:40:12,520 --> 00:40:15,799
Speaker 1: because you and I have studied a lot together over

781
00:40:15,880 --> 00:40:19,000
Speaker 1: the last year, I noticed voices now too, like I

782
00:40:19,080 --> 00:40:23,720
Speaker 1: can ordit. I ordered some other classes at sixteenth Street,

783
00:40:24,080 --> 00:40:27,120
Speaker 1: and if someone comes on with a really boomer of

784
00:40:27,160 --> 00:40:30,320
Speaker 1: a voice, I'm like, how can I get more of that?

785
00:40:30,760 --> 00:40:30,960
Speaker 2: Sure?

786
00:40:32,200 --> 00:40:34,200
Speaker 1: How can I? Because I'll look at that and be like,

787
00:40:34,239 --> 00:40:36,879
Speaker 1: how can I implement that? Because I and I said

788
00:40:36,960 --> 00:40:39,000
Speaker 1: this even to Dennis, I was like, how can I

789
00:40:39,040 --> 00:40:41,520
Speaker 1: get more of what you're doing? Because I love that

790
00:40:42,040 --> 00:40:44,279
Speaker 1: that voice is trusting, and that voice is deep, and

791
00:40:44,360 --> 00:40:47,040
Speaker 1: that voice is connected, and that voice is honest, and

792
00:40:47,160 --> 00:40:49,160
Speaker 1: as you just said, like, it's the natural, it's the free,

793
00:40:49,440 --> 00:40:52,239
Speaker 1: it's who you really are. Yes, And I think that

794
00:40:52,840 --> 00:40:55,920
Speaker 1: underneath all that we've talked like technically about things day,

795
00:40:55,960 --> 00:40:57,960
Speaker 1: but underneath it all, it sounds like it really comes

796
00:40:58,040 --> 00:40:59,279
Speaker 1: back to just connecting to.

797
00:40:59,320 --> 00:41:04,520
Speaker 2: Yourself absolutely, because if that's not there, then what is

798
00:41:04,560 --> 00:41:07,200
Speaker 2: the voice revealing? It's just an empty musical instrument. And

799
00:41:07,239 --> 00:41:09,440
Speaker 2: the voice is so much more than a musical instrument.

800
00:41:10,400 --> 00:41:15,000
Speaker 2: I think when we cooperate with our design, good things happen,

801
00:41:15,880 --> 00:41:19,600
Speaker 2: and human beings come from the factory pretty well wired up.

802
00:41:20,080 --> 00:41:22,880
Speaker 2: We don't have to make too many changes vocally, we

803
00:41:23,040 --> 00:41:25,560
Speaker 2: actually learn all the bad habits and you know, sitting

804
00:41:25,600 --> 00:41:29,240
Speaker 2: on chairs and being told you know, you just referenced

805
00:41:29,280 --> 00:41:31,560
Speaker 2: you're singing, teacher saying you were a bit pitchy, and

806
00:41:31,640 --> 00:41:34,000
Speaker 2: that's something that's obviously stuck. But you know these words

807
00:41:34,160 --> 00:41:38,800
Speaker 2: leave their impact. Yeah, Yeah, good things happen when we

808
00:41:38,920 --> 00:41:40,240
Speaker 2: cooperate with that design.

809
00:41:42,360 --> 00:41:45,800
Speaker 1: And I think also so many acting teachers have said this,

810
00:41:45,920 --> 00:41:48,320
Speaker 1: and they were like, if you want to, you know,

811
00:41:48,840 --> 00:41:51,600
Speaker 1: be a good actor, so to speak, understand your body,

812
00:41:51,800 --> 00:41:55,600
Speaker 1: connect to your voice, understand it, understand in psychology, and really,

813
00:41:55,640 --> 00:41:57,760
Speaker 1: if you think about it, these things can be applied

814
00:41:57,840 --> 00:41:59,839
Speaker 1: to any human being that wants to live a whole life.

815
00:42:00,120 --> 00:42:06,000
Speaker 2: Really absolutely, they will foresure increase the quality of your life.

816
00:42:06,560 --> 00:42:07,279
Speaker 1: How cool is that?

817
00:42:08,000 --> 00:42:11,800
Speaker 2: That's just a bonus, right, better life as a side effect,

818
00:42:12,120 --> 00:42:14,960
Speaker 2: I think as well, it's really important to say in

819
00:42:15,000 --> 00:42:18,880
Speaker 2: a conversation like this that all voices are valid. We

820
00:42:18,960 --> 00:42:22,759
Speaker 2: have certainly moved beyond the my fair ladies school of

821
00:42:22,880 --> 00:42:25,360
Speaker 2: vocal training, where we were trying to go for a

822
00:42:25,520 --> 00:42:29,520
Speaker 2: very particular model. You were trying you were actually binding

823
00:42:29,600 --> 00:42:32,880
Speaker 2: your voice up to sound more like some gold standard

824
00:42:33,400 --> 00:42:36,440
Speaker 2: than to sound like yourself. Yeah, that's not the idea anymore,

825
00:42:36,520 --> 00:42:40,000
Speaker 2: thank goodness. And so for anyone who's kind of maybe

826
00:42:40,040 --> 00:42:42,239
Speaker 2: listening to this or has done voice, you know, has

827
00:42:42,320 --> 00:42:46,319
Speaker 2: used their voice in a slightly pressure filled context before,

828
00:42:46,320 --> 00:42:47,880
Speaker 2: they might be thinking, yeah, but I don't have a

829
00:42:47,960 --> 00:42:51,040
Speaker 2: good voice. See that's my problem, Matt, I don't have

830
00:42:51,160 --> 00:42:55,160
Speaker 2: a good voice. So unscrewed. Actually, the qualities that we're

831
00:42:55,200 --> 00:43:00,560
Speaker 2: discussing the connection the resonance when someone's voice really cut

832
00:43:00,960 --> 00:43:04,640
Speaker 2: you to the core and you hear everything they're feeling

833
00:43:04,760 --> 00:43:09,080
Speaker 2: in the voice. These are not again, these are not tambas.

834
00:43:09,120 --> 00:43:11,200
Speaker 2: These's not the sound. It has to be boomy, it

835
00:43:11,280 --> 00:43:13,080
Speaker 2: has to be loud, it has to be sharp, it

836
00:43:13,160 --> 00:43:16,960
Speaker 2: has to be crisp a human Nothing is more powerful

837
00:43:17,000 --> 00:43:21,439
Speaker 2: or potent or cleansing than witnessing your fellow human beings

838
00:43:21,520 --> 00:43:24,120
Speaker 2: stand up and speak the truth. And that's truth with

839
00:43:24,160 --> 00:43:27,719
Speaker 2: a capital T. Yeah, not necessarily two plus two weeks four.

840
00:43:27,880 --> 00:43:30,759
Speaker 2: That's the truth of how I feel right now. And

841
00:43:31,080 --> 00:43:33,359
Speaker 2: it's no surprise that we've been gathering in the dark

842
00:43:33,480 --> 00:43:36,560
Speaker 2: in groups for at least one hundred thousand years to

843
00:43:36,640 --> 00:43:40,239
Speaker 2: witness stories. Yes, and that instinct in human beings is

844
00:43:40,280 --> 00:43:43,160
Speaker 2: not going to go away anytime soon. So I think

845
00:43:43,239 --> 00:43:50,440
Speaker 2: that anyone can develop more connection, truth, and ownership of

846
00:43:50,520 --> 00:43:53,040
Speaker 2: their voice, no matter where you're coming from. And it

847
00:43:53,120 --> 00:43:55,399
Speaker 2: doesn't mean that you have to sound like someone else.

848
00:43:56,040 --> 00:44:01,719
Speaker 2: If anything, the greatest actors sound like themselves big time.

849
00:44:02,000 --> 00:44:04,279
Speaker 2: That's why it stays with us long after we've left

850
00:44:04,760 --> 00:44:07,520
Speaker 2: the movie theater or you know what, of the play,

851
00:44:08,160 --> 00:44:11,680
Speaker 2: because we heard them up there. That's a courageous act

852
00:44:12,480 --> 00:44:14,040
Speaker 2: to allow yourself to be seen like that.

853
00:44:14,280 --> 00:44:17,200
Speaker 1: Yeah, I love it. I found this this chat. This

854
00:44:17,320 --> 00:44:18,719
Speaker 1: is going so fast, by the way, So I've only

855
00:44:18,719 --> 00:44:20,359
Speaker 1: got two more questions for you, and only at time.

856
00:44:20,440 --> 00:44:21,040
Speaker 1: Can you believe it?

857
00:44:21,160 --> 00:44:22,799
Speaker 2: Oh? Well, it just flies, doesn't it does?

858
00:44:23,000 --> 00:44:27,520
Speaker 1: It really does? Okay, So you've described all these different

859
00:44:27,920 --> 00:44:31,840
Speaker 1: kind of facets of your life. You know, you're an actor,

860
00:44:32,360 --> 00:44:36,480
Speaker 1: you dialect coach, you're very passionate about voice. You know,

861
00:44:36,560 --> 00:44:38,560
Speaker 1: you play the guitar, we know. I know you're a musician.

862
00:44:38,640 --> 00:44:39,920
Speaker 1: And I'm going to say it on here.

863
00:44:40,280 --> 00:44:41,400
Speaker 2: I'm blushing excitlently.

864
00:44:41,480 --> 00:44:45,080
Speaker 1: First, So when does time stop for you? Like if

865
00:44:45,120 --> 00:44:47,000
Speaker 1: you were like you were describing when you were doing

866
00:44:47,040 --> 00:44:50,600
Speaker 1: the characters and you had so much fun, and you know,

867
00:44:50,719 --> 00:44:52,640
Speaker 1: we learn a lot about flow and finding that moment

868
00:44:52,640 --> 00:44:54,759
Speaker 1: where time kind of falls away and you're just in

869
00:44:54,920 --> 00:44:57,759
Speaker 1: that thing that you love. Is it for you more

870
00:44:57,880 --> 00:45:00,680
Speaker 1: theater or is it being on TV so or film

871
00:45:00,920 --> 00:45:02,360
Speaker 1: or what would it be for you?

872
00:45:02,680 --> 00:45:06,320
Speaker 2: I think it's it's it's in all those things. For me.

873
00:45:06,440 --> 00:45:08,800
Speaker 2: I've realized that I'm not going to be happy in

874
00:45:08,880 --> 00:45:13,719
Speaker 2: my life unless i'm creative. Yes, and that can is

875
00:45:13,760 --> 00:45:18,360
Speaker 2: a pretty broad definition. So for me, my hobbies and

876
00:45:18,400 --> 00:45:20,400
Speaker 2: the things that I do for enjoyment are all about

877
00:45:20,480 --> 00:45:24,760
Speaker 2: trying to express that creativity and tap into that flow state,

878
00:45:24,880 --> 00:45:27,680
Speaker 2: which you know, especially in the lockdown that we've been

879
00:45:27,760 --> 00:45:31,319
Speaker 2: in in Melbourne, there's so much time to feel. If

880
00:45:31,360 --> 00:45:33,799
Speaker 2: you can feel that with a creative task where you're

881
00:45:33,920 --> 00:45:37,920
Speaker 2: really the times is flying by and you're flowing, that's ideal.

882
00:45:38,080 --> 00:45:41,040
Speaker 2: So everything you just described gives me that. I think

883
00:45:41,080 --> 00:45:44,080
Speaker 2: that I'm happy doing anything as long as it's creative.

884
00:45:45,080 --> 00:45:46,919
Speaker 2: That's the thing, that's the thing I need to feed.

885
00:45:47,400 --> 00:45:50,399
Speaker 1: Yeah, I agree, and I think that choosing to live

886
00:45:50,440 --> 00:45:53,680
Speaker 1: that way is actually very courageous because like creativity is,

887
00:45:54,960 --> 00:45:58,200
Speaker 1: you know, it's such a rich way to live in

888
00:45:58,320 --> 00:45:59,640
Speaker 1: so many ways, but it comes with a lot of

889
00:45:59,719 --> 00:46:01,879
Speaker 1: unser because you don't know when your next job's coming,

890
00:46:01,960 --> 00:46:03,440
Speaker 1: you don't know what the next thing is going to be.

891
00:46:03,560 --> 00:46:05,600
Speaker 1: But you've kind of got to take these creative risks

892
00:46:05,640 --> 00:46:08,120
Speaker 1: and forge forward and be like like even the way

893
00:46:08,160 --> 00:46:10,520
Speaker 1: you said at the beginning, you know, you had feedback

894
00:46:10,560 --> 00:46:12,800
Speaker 1: that your voice wasn't strong enough, and you know, and

895
00:46:12,880 --> 00:46:14,920
Speaker 1: then be like okay, well game on, I'm going to

896
00:46:15,000 --> 00:46:18,480
Speaker 1: dive into the voice, and I think, yeah, I think

897
00:46:18,560 --> 00:46:21,360
Speaker 1: that creativity is king, but it also is with courage

898
00:46:21,400 --> 00:46:24,440
Speaker 1: that gives you that kind of like driving force to

899
00:46:24,560 --> 00:46:26,120
Speaker 1: just forge for and be like, I'm going to do

900
00:46:26,200 --> 00:46:29,640
Speaker 1: whatever I do. But as long as it's creative.

901
00:46:29,880 --> 00:46:33,440
Speaker 2: I agree, Yeah, it is. The trick is living off

902
00:46:33,480 --> 00:46:37,719
Speaker 2: it totally. But I think that whether you earn one

903
00:46:37,800 --> 00:46:41,239
Speaker 2: dollar or a million from it, if you don't want

904
00:46:41,320 --> 00:46:46,640
Speaker 2: to create for its own sake because it makes you happy,

905
00:46:46,680 --> 00:46:52,320
Speaker 2: because you would be unhappier if you weren't, I question

906
00:46:52,560 --> 00:46:55,719
Speaker 2: whether or not. I question whether or not you're going

907
00:46:55,760 --> 00:46:58,960
Speaker 2: to stick it out because it's a long road and

908
00:46:59,400 --> 00:47:03,399
Speaker 2: unless you you know, I feel lucky sometimes because it's

909
00:47:03,480 --> 00:47:08,480
Speaker 2: all within myself. I don't need anyone's permission to be creative.

910
00:47:08,840 --> 00:47:11,680
Speaker 2: I just need the courage of my own insecurities or

911
00:47:11,680 --> 00:47:13,279
Speaker 2: whatever to not let them get in the way and say, well,

912
00:47:13,280 --> 00:47:17,719
Speaker 2: I'm going to put something out there that's that's that's

913
00:47:17,760 --> 00:47:20,800
Speaker 2: a big part that'll keep you warm in the cold

914
00:47:21,320 --> 00:47:24,640
Speaker 2: years or decades of a career in the arts.

915
00:47:24,680 --> 00:47:27,000
Speaker 1: Absolutely, I'm glad you mentioned that, though, because I think

916
00:47:27,080 --> 00:47:30,160
Speaker 1: that there is like this romanticism of the arts and

917
00:47:30,239 --> 00:47:33,160
Speaker 1: then there's you know, the struggling artist as well, and

918
00:47:33,239 --> 00:47:37,760
Speaker 1: I think that there and one thing, like my background

919
00:47:37,800 --> 00:47:40,240
Speaker 1: as comes from more like running my businesses and stuff.

920
00:47:40,239 --> 00:47:42,040
Speaker 1: So now coming to I feel like I've almost come

921
00:47:42,080 --> 00:47:44,920
Speaker 1: into it the back the back way, having done the

922
00:47:44,960 --> 00:47:47,560
Speaker 1: business stuff, and I'm like, oh wow, like, oh, I

923
00:47:47,640 --> 00:47:51,280
Speaker 1: can implement that bit of creativity over here in this business.

924
00:47:51,360 --> 00:47:54,040
Speaker 1: But I still did more business things. And I think

925
00:47:54,120 --> 00:47:57,360
Speaker 1: that even being in class, I'm like, oh wow, Like,

926
00:47:57,600 --> 00:47:59,560
Speaker 1: oh chat someone. They're like, well, I'm a singer in

927
00:47:59,600 --> 00:48:01,560
Speaker 1: an act and that's all I know and that's all

928
00:48:01,640 --> 00:48:04,080
Speaker 1: I've ever done. I'm like, oh my god, well I'm

929
00:48:04,080 --> 00:48:06,840
Speaker 1: a nutritionist. How weird do I feel right now? But

930
00:48:07,360 --> 00:48:11,000
Speaker 1: it is interesting and it's really important, I think, to

931
00:48:11,239 --> 00:48:13,960
Speaker 1: have conversations about arts and business and getting the tutor

932
00:48:14,520 --> 00:48:18,600
Speaker 1: come together because there are lean months, lean years and

933
00:48:18,920 --> 00:48:22,920
Speaker 1: years that you've kind of got to keep fanning that

934
00:48:23,040 --> 00:48:26,200
Speaker 1: little fire within you, you know, absolutely, because it is

935
00:48:26,320 --> 00:48:30,440
Speaker 1: worth sticking out because those magic and there's a million

936
00:48:30,760 --> 00:48:32,920
Speaker 1: sayings about like right at the point you want to

937
00:48:32,920 --> 00:48:34,920
Speaker 1: give up, you get the big gig, get all that

938
00:48:35,120 --> 00:48:37,960
Speaker 1: stuff too. So sure, yeah, I think that would be

939
00:48:37,960 --> 00:48:40,880
Speaker 1: a whole nother podcast conversation about like the business of

940
00:48:40,920 --> 00:48:42,920
Speaker 1: the arts, because I think there is a way to

941
00:48:43,040 --> 00:48:46,279
Speaker 1: make it work for you for me, for example, like

942
00:48:46,440 --> 00:48:49,959
Speaker 1: doing the podcast how cool. Okay, this is a funny question.

943
00:48:50,160 --> 00:48:52,520
Speaker 2: Okay, but I know that I can ask you, right.

944
00:48:52,880 --> 00:48:55,200
Speaker 1: I love hearing you do a New York accent. Can

945
00:48:55,280 --> 00:48:57,920
Speaker 1: you please do a little bit of a New York accent? Well?

946
00:48:57,960 --> 00:49:01,120
Speaker 2: See the thing about New York is you to squeeze

947
00:49:01,120 --> 00:49:03,440
Speaker 2: your way into a conversation. Okay, no one's gonna no

948
00:49:03,520 --> 00:49:05,880
Speaker 2: one's gonna make way for you. Okay, So you might

949
00:49:05,920 --> 00:49:08,799
Speaker 2: be waiting a long time if you're waiting for someone

950
00:49:08,880 --> 00:49:12,320
Speaker 2: to invite you to talk. So you've got to say, hey, listen, gad, gad,

951
00:49:12,640 --> 00:49:13,799
Speaker 2: I want to finish what I'm saying.

952
00:49:13,960 --> 00:49:19,560
Speaker 1: Okay, thank you so much, go Jets, thank you so

953
00:49:19,719 --> 00:49:21,759
Speaker 1: so much. And you've helped me so much with both

954
00:49:21,840 --> 00:49:25,920
Speaker 1: my general American accent, my Southern accent, and with lockdown.

955
00:49:26,040 --> 00:49:29,320
Speaker 1: I have realized how great doing zoom classes with you

956
00:49:29,560 --> 00:49:30,000
Speaker 1: has been.

957
00:49:30,280 --> 00:49:31,320
Speaker 2: It's worked out well, hasn't it?

958
00:49:31,440 --> 00:49:35,360
Speaker 1: And you Yeah, And so I'm surprised how well vocal

959
00:49:35,520 --> 00:49:39,920
Speaker 1: work and dialect has converted online, like I'm so me too.

960
00:49:41,000 --> 00:49:44,160
Speaker 1: It was such a pleasant surprise of lockdown, and I

961
00:49:44,280 --> 00:49:48,040
Speaker 1: intend on working with you for many, many future years

962
00:49:48,120 --> 00:49:51,239
Speaker 1: to come. If people want to know more about you

963
00:49:51,400 --> 00:49:53,520
Speaker 1: and get involved with what you're doing. You do do

964
00:49:53,719 --> 00:49:54,840
Speaker 1: zoom consults, don't you?

965
00:49:55,040 --> 00:49:59,520
Speaker 2: Basically yeah, yeah, one on one private online and if

966
00:49:59,520 --> 00:50:02,440
Speaker 2: you're not in you know, Melbourne or within driving distance

967
00:50:02,520 --> 00:50:03,280
Speaker 2: of where.

968
00:50:03,120 --> 00:50:06,880
Speaker 1: I am, and if those are actors or you know, creatives,

969
00:50:06,920 --> 00:50:08,279
Speaker 1: are like, oh, I don't know what to work on,

970
00:50:08,360 --> 00:50:09,840
Speaker 1: but I want to work on my voice.

971
00:50:10,040 --> 00:50:11,040
Speaker 2: Like all that.

972
00:50:11,120 --> 00:50:13,759
Speaker 1: I Sometimes I'll just find a monologue. I'll be like, hey, Matt,

973
00:50:13,800 --> 00:50:15,040
Speaker 1: can we work on this monologue?

974
00:50:15,680 --> 00:50:20,319
Speaker 2: There's no shortage of material or write something yourself, you know. Yeah,

975
00:50:20,600 --> 00:50:24,080
Speaker 2: there's no shortage of material out there. That's not an

976
00:50:24,120 --> 00:50:27,320
Speaker 2: impediment these days with the internet. Ah, I love it,

977
00:50:27,360 --> 00:50:29,880
Speaker 2: all these subscription services and scrib you know, and all

978
00:50:29,920 --> 00:50:30,440
Speaker 2: that sort of thing.

979
00:50:30,800 --> 00:50:34,920
Speaker 1: If finally, if anyone could do one thing to help

980
00:50:35,000 --> 00:50:39,120
Speaker 1: their voice from listening to this today, what would you say?

981
00:50:41,560 --> 00:50:43,680
Speaker 1: It's a loaded not loaded, But it's a big question.

982
00:50:45,760 --> 00:50:53,120
Speaker 2: I think have the courage to release how you feel,

983
00:50:54,239 --> 00:51:01,279
Speaker 2: what you think, and to claim your voice and your

984
00:51:01,360 --> 00:51:04,640
Speaker 2: identity because they're so wrapped up every time you speak.

985
00:51:06,040 --> 00:51:09,760
Speaker 2: Look out for how often your voice is used defensively

986
00:51:10,480 --> 00:51:16,400
Speaker 2: to hide, to barricade, to protect. What if you chose

987
00:51:16,560 --> 00:51:19,600
Speaker 2: to do something different next time? I think you don't?

988
00:51:19,680 --> 00:51:19,800
Speaker 1: You know?

989
00:51:19,880 --> 00:51:21,239
Speaker 2: Good piece of advice is you don't have to do

990
00:51:21,320 --> 00:51:24,200
Speaker 2: it perfect every time. Just do it perfect this time

991
00:51:25,360 --> 00:51:26,760
Speaker 2: and the rest will take care of itself.

992
00:51:27,880 --> 00:51:31,640
Speaker 1: So good. You are a legend. On that note, it's

993
00:51:31,680 --> 00:51:35,320
Speaker 1: been a total honor, my friend. Yeah, thank you for

994
00:51:36,400 --> 00:51:38,960
Speaker 1: being such a wonderful voice and dialect coach for me,

995
00:51:39,120 --> 00:51:42,360
Speaker 1: because you've completely changed the way I use my voice.

996
00:51:42,840 --> 00:51:45,640
Speaker 1: I cannot speak highly enough anyone listening that may want

997
00:51:45,680 --> 00:51:47,880
Speaker 1: to check that out. I'll put all your details in

998
00:51:47,960 --> 00:51:51,000
Speaker 1: the show notes so people can check you out. Matt Flani,

999
00:51:51,160 --> 00:51:53,799
Speaker 1: thank you very much. You're amazing, pleasure to be here.

1000
00:51:53,840 --> 00:51:57,400
Speaker 2: Thanks very much, Lola, that's.

1001
00:51:57,239 --> 00:52:02,520
Speaker 1: A rap on another episode of feeling leave failing. As always,

1002
00:52:02,680 --> 00:52:06,040
Speaker 1: Thank you to our guests, and let's continue the conversation

1003
00:52:06,239 --> 00:52:11,960
Speaker 1: on Instagram. I'm at Yamo lollaberry. This potty my word

1004
00:52:12,040 --> 00:52:16,759
Speaker 1: for podcast is available on all streaming platforms. I'd love

1005
00:52:16,800 --> 00:52:19,800
Speaker 1: it if you could subscribe, rate and comment, and of

1006
00:52:19,960 --> 00:52:21,480
Speaker 1: course spread the love