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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: Welcome to the pod. I'm going to get straight into

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Speaker 1: this guest because he is our legend. I could have

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Speaker 1: spent literally all days speaking to Joel Jackson. Amazing actor, producer, writer, musician, ripper,

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Speaker 1: singing voice, and he's taught himself to dance as well.

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Speaker 1: For a part he was cast as Peter Allen, and

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Speaker 1: he taught himself to tap dance for two hours every

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Speaker 1: day in his garard. This guy is super open, such

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Speaker 1: a legend, obviously very very talented. He's won a LOGI

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Speaker 1: and an Actor Award, trained at NIER, worked in theater,

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Speaker 1: worked in TV, worked in mega movies. He's already lived

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Speaker 1: the actor's dream and he's still super super young. He's

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Speaker 1: currently shooting season two of Miss Fisher's Modern Mysteries, and

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Speaker 1: he's one of those guys that I was like, just

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Speaker 1: one more question, just one more question, and by the

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Speaker 1: end of it, I was like, can we please be friends.

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Speaker 1: Even at the very end, Boss, my boyfriend Matt was like,

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Speaker 1: oh gee, he's pretty handsome. So you are in for

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Speaker 1: such a treat with Joel Jackson, actor extraordinary and just

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Speaker 1: downright Ozzie legend as well, big love. I am so

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Speaker 1: tough to have you here today, Joel Jackson. I don't

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Speaker 1: even know how to introduce you, because you have done

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Speaker 1: so many things. You're an actor, you're a singer, songwriter,

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Speaker 1: you're a writer, you're a producer. Holy mackerel, you've done

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Speaker 1: so much. I should we just start with Nider.

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Speaker 2: Yeah, you can start with Nider. Yeah. I mean, and

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Speaker 2: thank you, ps and thank you for having me. It's

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Speaker 2: great to be here. I often have that thing when

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Speaker 2: people like so what are you, You're like, well, I'm

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Speaker 2: kind of yeah. When we refer to like slashes and artists,

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Speaker 2: and I mean, especially with yourself too, when people try

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Speaker 2: to make you define yourself, You're like, well, I'm just

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Speaker 2: I'm kind of me and I can fit the boxes,

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Speaker 2: you know that, which is I don't know. It's strange

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Speaker 2: within these days too to try to be like like

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Speaker 2: what box do you fit to something else? Or get?

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Speaker 2: But it's like, well, you're creative, yeah, and creator and creative,

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Speaker 2: and I like to be learning and challenge myself. So

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Speaker 2: sometimes I'll pick up one mantle and I'll drop the

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Speaker 2: other and yeah, I think, yeah, but I get confused sometimes.

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Speaker 1: No, It's like I mentioned this right before we hit record.

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Speaker 1: It's been such a dream to research because you've done.

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Speaker 1: Your plethora of work for such a young person is incredible,

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Speaker 1: and I have so many questions. But the thing that

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Speaker 1: kind of really warmed my heart I saw in an

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Speaker 1: interview your mom picked your monologue for the audition to

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Speaker 1: night or is that true?

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Speaker 2: And literally before we started, she was the first person Yeah,

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Speaker 2: she called, yes, Yeah, that's true. My mom has been

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Speaker 2: very pivotal behind all of this stuff. I did a

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Speaker 2: little bit of like one or two little community theater

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Speaker 2: things back in the day, but really kind of minuscule.

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Speaker 2: If if you asked anybody back then, it was like, no,

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Speaker 2: Joel was a singer, Joel was at a musician. But

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Speaker 2: my mom before we'd even moved up to Kratha, when

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Speaker 2: we were living in Albany, she worked as a projectionist

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Speaker 2: at a local cinema of an evening and every time

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Speaker 2: she kind of came home from one of the bigger

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Speaker 2: movies when they released, she would bring a poster or

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Speaker 2: oh awesome, you know, so we had unforgiven up on

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Speaker 2: the walls or land before time, the glowing, the dark

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Speaker 2: stickers of the footprint, you know, and I think that

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Speaker 2: stuff kind of sunk in. And then we've got a

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Speaker 2: blockbuster or video easy and pick up a couple of things,

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Speaker 2: you know, most weekends or whatever, and she would go, he,

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Speaker 2: maybe you watch that, or maybe watch this, or maybe

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Speaker 2: we get this foreign film or maybe you know, maybe

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Speaker 2: watch SBS for a weekend or you know. So that

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Speaker 2: her kind of drive and artistic mindset really kind of

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Speaker 2: influenced me early on. And then yeah, she picked the

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Speaker 2: monologues that would be the ones that we did for

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Speaker 2: Nider because I had no idea. I'd never Yeah, I didn't.

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Speaker 2: I didn't read the plays and she sorry banged the mic.

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Speaker 2: But she was also working in a library at that time,

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Speaker 2: so it was kind of had all the resources.

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Speaker 1: The resources my I auditioned for Nider, and I remember

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Speaker 1: I walked into the audition and they're like, you are

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Speaker 1: an alligator and you walk into the room. Yeah, I

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Speaker 1: had to walk in the room and be an alligator

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Speaker 1: straight out of the gate.

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Speaker 2: I saw you and like, you're an alligator. It's like, what.

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Speaker 1: Straight out of the gate. And I was like probably

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Speaker 1: like seventeen years old, and I was like like, and

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Speaker 1: I'd just been straight out of like Catholic girls' school,

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Speaker 1: like done theater at school, but had no experience with

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Speaker 1: the audition process. From what I've read about you, it

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Speaker 1: sounds like you might have got in first go with

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Speaker 1: yeah annoyingly yeah, which is pretty rare, like a lot

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Speaker 1: of people go back four, five, six times. Right.

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Speaker 2: My best friend who was the year below me, went

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Speaker 2: seven years in a row. Wow. And the year that

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Speaker 2: he got in he was going to give up, and

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Speaker 2: one of the teachers emailed him and said are you

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Speaker 2: auditioning this year? And he went ah, no, and they said, yeah,

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Speaker 2: come back an audition and he'd done like two degrees

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Speaker 2: in that time. I was like wow, you know, and

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Speaker 2: was teaching full time and had a full time job

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Speaker 2: and was like, no, I've given up and yeah got in.

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Speaker 2: We met and I'm like, yeah, how did you like?

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Speaker 2: What was your stories? Like? Seven years? What about you?

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Speaker 2: I'm like, ah, never really read a play and just

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Speaker 2: kind of thought i'd do it.

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Speaker 1: Wow, because your background was pretty athletic, like you had

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Speaker 1: your bronze medallion, You're into like all the sports from

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Speaker 1: when I can gather and then you've just I don't know,

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Speaker 1: it seems like you've kind of just like maybe your

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Speaker 1: mum's influence and you've gone, let's just give this a crack.

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Speaker 1: It obviously let you up in some way.

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Speaker 2: Yeah, it was. It was kind of strange. I mean,

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Speaker 2: I was playing state country representative for WA in European Football,

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Speaker 2: so I was left winger for the WA team and

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Speaker 2: was training down south in Perth trying to get on

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Speaker 2: the colts team of Swan Districts, which is the Waffle team.

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Speaker 2: And okay, you know it was. Yeah, it didn't. It

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Speaker 2: was that annoying thing even now, like when you talk

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Speaker 2: about those titles. Even back then, I really didn't know.

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Speaker 2: I had passion for so many things and it wasn't

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Speaker 2: like whatever I put my hand to it just worked.

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Speaker 2: I worked hard on lots of things where I didn't

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Speaker 2: know what I wanted to do, and the acting stuff,

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Speaker 2: Sure it lit a fire, but it was something that

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Speaker 2: it was also very new to me and it still

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Speaker 2: remained new. It wasn't something where you'd get out of

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Speaker 2: the field, and you had to play a position, and

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Speaker 2: you had to play that thing. This is what you

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Speaker 2: were in acting. It seemed as though it could be effervescent,

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Speaker 2: It could be there for the first time and then

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Speaker 2: never exist again. There wasn't a scoreboard, there wasn't hard

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Speaker 2: and fast rules you could It was really malleable. And

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Speaker 2: so that first experience with it made me go, Okay,

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Speaker 2: there's something here. I got into Wappaa night and then

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Speaker 2: I made the decision to actually go to night it

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Speaker 2: because I wanted to be further in that deep end

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Speaker 2: and really discover what it was. Then I think I

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Speaker 2: didn't take for granted that thing of being a kid

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Speaker 2: from a very small town who never had access to

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Speaker 2: those kind of teachers or mentors or indeed like libraries

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Speaker 2: and all those plays and all those philosophical books or

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Speaker 2: like theater. You know, I remember going to theater for

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Speaker 2: the first time and going once a week or twice

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Speaker 2: a week, that kind of stuff. It really just drew

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Speaker 2: me in. And now I think I still think I'm

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Speaker 2: an apprentice, Like I still think I'm that guy. Ah.

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Speaker 1: But that's such a beautiful place to live from too,

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Speaker 1: because because I think it keeps you. So I've heard

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Speaker 1: you say in a few interviews like super open and

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Speaker 1: being open is kind of like a bit of a

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Speaker 1: superpower to have. Is it true that you went pretty

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Speaker 1: much from Nider into Deadline Gallipoli.

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Speaker 2: Yeah, it would have been. I came out and had

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Speaker 2: about I went back home and worked on the mines

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Speaker 2: again for over that Christmas period of three months, and

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Speaker 2: I came back and got a landscaping job at UNSW

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Speaker 2: and that was probably, yeah, because in that period in December,

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Speaker 2: I did the audition with mum and dad did this

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Speaker 2: self test?

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Speaker 1: Is this like on lobstercrates or something?

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Speaker 2: That's the one?

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Speaker 1: Yeah?

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Speaker 2: Yeah, you have done Jesus Christ, you have done your research.

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Speaker 2: Like tip of the cap to you. That's amazing.

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Speaker 1: Oh yeah, I just one I feel having any creative

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Speaker 1: on having your kind of body of work. There's so

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Speaker 1: many things in here. And I'm training in acting at

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Speaker 1: the moment too, so I'm just like, whoa.

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Speaker 2: Accent work too?

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Speaker 1: I've actually watched I've just watched your stage milk on

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Speaker 1: mastering an accent, and I cannot wait to talk about

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Speaker 1: it with Jungle with you in a sec Yeah, true, true,

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Speaker 1: because yeah, I just think one thing that I've learned

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Speaker 1: at drama school is the kind of the line in

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Speaker 1: the corridor is pretend you're at the Olympics. Train like

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Speaker 1: you're at the Olympics. Yeah, so the work ethic thing,

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Speaker 1: and I think, why not put it into every part

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Speaker 1: of your life.

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Speaker 2: Yeah, and in that way of understanding too that there

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Speaker 2: will be massive setbacks. Yeah, Like even before COVID happened,

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Speaker 2: there has been enormous setbacks You've been in, you know,

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Speaker 2: and you think about it in the Olympics. That's a

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Speaker 2: really beautiful way to think about it, just jumping on

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Speaker 2: that metaphor, like four years of training, maybe one or

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Speaker 2: two competitions or you know, you've got your trial competitions

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Speaker 2: before you get to the Olympics, and your nationals in

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Speaker 2: your states. Yeah, but then you've got your Olympics and

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Speaker 2: the only come around every four years.

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Speaker 1: Yeah.

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Speaker 2: You might have an injury that takes you out of it.

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Speaker 2: There might be an accident, you might you can never

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Speaker 2: plan for those things. But the chance to kind of

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Speaker 2: get that run on the board and to represent, Like

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Speaker 2: at the moment I had something that was to me

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Speaker 2: my Olympic and then because of COVID and the way

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Speaker 2: schedules have worked out, I've had to pull out and

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Speaker 2: it's devastating, but you go, okay, well I've been doing

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Speaker 2: this a long time. Not a long long time, but

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Speaker 2: been doing it long enough that the Olympics will come

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Speaker 2: around again.

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Speaker 1: Totally totally like that.

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Speaker 2: That's really good.

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Speaker 1: And I really want to talk a bit about Deadline

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Speaker 1: GLIPI because you were playing Charles Bean, right, a character

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Speaker 1: who we're talking real life here, like real life hero

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Speaker 1: in many ways. And I was lucky enough to see

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Speaker 1: a fair few clips online and there's this one clip

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Speaker 1: that just sticks with me and I think, is it

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Speaker 1: called the Battle of the Net Yeah, yep, and your

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Speaker 1: character is It's so devastating to watch, dude, it's so

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Speaker 1: heartbreaking because these men are just kind of like giving

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Speaker 1: themselves over and to just be slaughtered pretty much.

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Speaker 2: And like i'd known about Charles Been, I remember writing

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Speaker 2: a see this is the weird thing of my timeline.

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Speaker 2: Some of the things just really work out too well. Yeah,

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Speaker 2: Like I wrote an essay on Charles Been at school

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Speaker 2: when I was think fifteen or something, and it was

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Speaker 2: for a state competition that would then fund you to

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Speaker 2: go to Gallipoli for the Anzac day Service for the

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Speaker 2: Dawn Service, and I won it and written about Charles

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Speaker 2: been in the way that he wrote poetry and drew

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Speaker 2: there on Gallipoli and what materials he used and how

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Speaker 2: he crafted the kind of mythology of the ANZACs. And

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Speaker 2: then that funding for that thing fell through, so I

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Speaker 2: never got to do it. Really yeah, And then you

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Speaker 2: know the story of my audition process for Deadline Gallipoli

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Speaker 2: was a tiny role of a doctor that had two pages,

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Speaker 2: and then over a five month period that was going

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Speaker 2: back in for different characters and Greg App's amazing casting director,

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Speaker 2: going there's something here, but we don't know where you are,

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Speaker 2: so let's just find out where you go. And then

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Speaker 2: you know, you do your best and you get okay,

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Speaker 2: well I've done enough, Let's walk away, and you go

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Speaker 2: and have a weekend away with a mate and go

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Speaker 2: watch Queens of This Dye Age or something, and you

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Speaker 2: wake up to an email from your agent going, hey,

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Speaker 2: where are you? Can you learn this thing for tomorrow?

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Speaker 2: You've got to come in and it's you know, reading

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Speaker 2: alongside Sam Worthington for the lead rong, going awesome. So

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Speaker 2: but that story in itself, like knowing so much about

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Speaker 2: Gallipoli and having had family members on Gallipoli, and yeah,

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Speaker 2: and then later at the salmon stuff, you just the scale,

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Speaker 2: the magnitude, and then you're there actually in person with

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Speaker 2: two hundred men all dressed up as diggers and stunt

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Speaker 2: is doing stunts. You've got replica machine guns on the

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Speaker 2: other side firing blanks so that there is a visual

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Speaker 2: and oral kind of thing there and you're doing it

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Speaker 2: all for real, and you're actually in trenches that are

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Speaker 2: higher than those kind of productions don't come around often.

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Speaker 2: And that if you do the work, it's kind of minimal.

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Speaker 2: If you do the work prior, there's kind of minimal

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Speaker 2: work on the day. Does that make sense totally?

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Speaker 1: Totally? Now they say a lot in acting, like do

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Speaker 1: the work, do the work, and then let it go

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Speaker 1: and just be present in the moment totally.

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Speaker 2: And you've got to trust that. You've got Jeff Hall,

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Speaker 2: who was one of our best cinematographers. You've got Michael

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Speaker 2: Ramer who created Battlestar Galactica and shot had like did

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Speaker 2: Hannibal with Hugh Dancy, and you just got to go,

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Speaker 2: I'm in amazing hands. And I think that as being

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Speaker 2: my first thing that I did was a really good

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Speaker 2: experience because I had no idea what was happening. Let's

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Speaker 2: be honest, like I didn't have a technique.

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Speaker 1: But if you look at it, I mean you nailed it,

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Speaker 1: my friend, Like it was Yeah, it looked like a

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Speaker 1: beautiful but heartbreaking thing to be a part of and

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Speaker 1: so important in our history. Is well. But I have

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Speaker 1: to ask being a massive Game of Thrones fan, oh yeah,

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Speaker 1: and working with Taiwan Lanister Child's dads, is he as

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Speaker 1: amazing in real life because he seems quite funny, Like

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Speaker 1: I've watched a few entries with him and he is

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Speaker 1: pretty hilarious.

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Speaker 2: He's a crack up. I remember I had my twenty

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Speaker 2: third birthday on set and we went out for a

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Speaker 2: bit of a dinner. We were out in the middle

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Speaker 2: of nowhere and he rocks up and he's wearing the

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Speaker 2: Babylon Tour the Rolling Stone shirt and just like super

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Speaker 2: rad dude sitting down next to me and he's like, well,

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Speaker 2: what's your story. We had a bit of a chat

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Speaker 2: and he's like, okay, so go and get a bottle

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Speaker 2: from the cellar or something. We're in Adelaide, so there's

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Speaker 2: all these beautiful wineries around. I'm like, oh, yeah, okay,

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Speaker 2: and yeah it's on the birthday's on me sure, So

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Speaker 2: I go down with similar Aaron. We're walking through and

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Speaker 2: I'm like, oh, maybe just that one and it's like

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Speaker 2: a hundred dollars bottle of wine or something, and that

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Speaker 2: to me was like, well that's you know, pretty exy

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Speaker 2: still is, you know. And come back up. He's like

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Speaker 2: on and turns into like how much it's one hundred?

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Speaker 2: So no, no, no, go back downstairs and you're like fuck okay,

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Speaker 2: Like and then I came back and he was talking

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Speaker 2: to people at the bar who was trying to get

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Speaker 2: people my age to come and hang out at the

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Speaker 2: table to hang out with me on my birthday. Like.

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Speaker 2: He was the sweetest dude. Yeah, And I'd never seen

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Speaker 2: Game of Thrones, so he was getting hounded by people

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Speaker 2: and he just sat there. Yeah, I've just seen it now,

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Speaker 2: and he's insane. But even when I was going over

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Speaker 2: to London and trying to do that, and before I

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Speaker 2: went over and got my agent there, I was emailing

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Speaker 2: him and asking for advice or where to stay or

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Speaker 2: what to do. And he found like a little place

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Speaker 2: with a friend and he's not only you know, they're

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Speaker 2: phenomenal people. It doesn't happen often that you meet people

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Speaker 2: like I'd known him from the Last Action Hero with

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Speaker 2: anold schwartznagger and he plays the bad guy. Yeah yeah, yeah,

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Speaker 2: And that to me was like my geek out moment.

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Speaker 2: But it's not often that you meet your heroes in

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Speaker 2: this industry and they are you know, exceptional human beings.

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Speaker 2: And he's hilarious, Like he's cheeky, so cheeky.

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Speaker 1: Yeah, he's got that British charm, doesn't he So.

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Speaker 2: Good, so good, and so just intelligent. I think I'm

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Speaker 2: really thankful. And I'm not talking about a lot, but

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Speaker 2: that experience. A lot of people talk about other things,

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Speaker 2: but that, to me is my favorite because you're working

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Speaker 2: with you Dancy and Charles Dance and I had a

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Speaker 2: couple of a lot of scenes with those guys. But

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Speaker 2: because of that, you're learning that English sensibility of acting

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Speaker 2: where there's not much being said. Everything is really internal,

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Speaker 2: really subtle, really like the most intelligent choices because it's

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Speaker 2: you know, they're thinking about the smartest person in the

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Speaker 2: room rather than just kind of doing what they want

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Speaker 2: to do. It's a really big awareness, and he would dance.

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Speaker 2: He had studied I think he studied English and philosophy

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Speaker 2: at Oxford and his father was an on campus philosopher. Like,

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Speaker 2: oh wow, remarkably intelligent. You know that was a blessing.

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Speaker 1: I could talk about that, just that project for you

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Speaker 1: did this entire podcast. But I am going to try

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Speaker 1: and like stick to my notes here.

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Speaker 2: Okay, good, I'll try to shut up to I'll try to.

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Speaker 1: No, I'd love it. I love it. You just keep going,

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Speaker 1: Peter Allen, not the boy next door you for that

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Speaker 1: had to become a triple threat. So I know that

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Speaker 1: you can sing. I think you taught yourself to dance.

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Speaker 1: You brought yourself tap dance.

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Speaker 2: Yeah, I got I got tap dance shoes and taught

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Speaker 2: myself how to dance with a metronome and a shed,

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Speaker 2: just kind of going over steps and getting it fast

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Speaker 2: every day and like a chalkboard on the wall, being like, okay,

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Speaker 2: yesterday you did it at this bpm. You've got to

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Speaker 2: get to that bpm at the end. So where are you?

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Speaker 2: And we did have a dance instructor on but a

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Speaker 2: lot of that stuff was like to me, it was

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Speaker 2: whenever you do those things. Yeah, you can step through

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Speaker 2: rhythms and step through the movements, but you can't not

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Speaker 2: think about it in an bottoment, in an embodiment thing.

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Speaker 2: It's not you doing those step it's him doing those steps.

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Speaker 2: So same thing, do it all by wrote and then

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Speaker 2: kind of throw it out the door so that you

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Speaker 2: can throw on the Peter suit and moves him.

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Speaker 1: Is it true you had to fight to sing the

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Speaker 1: songs like as yourself? Can you share that?

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Speaker 2: Yeah? That was interesting and say I even had to

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Speaker 2: fight to get in the room. I mean the audition

355
00:18:18,640 --> 00:18:21,040
Speaker 2: process was I put down my own self test and

356
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Speaker 2: sent it to my agent to then push through the door,

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Speaker 2: which was me lip syncing to a two and a

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Speaker 2: half minute thing of Peter at the Sydney Opera House

359
00:18:31,840 --> 00:18:35,760
Speaker 2: and then doing a verse and a chorus one of

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Speaker 2: his songs and sending that in and being like, hey,

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Speaker 2: could I I know where this is getting funding and

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Speaker 2: I know this is going ahead, so can we push

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Speaker 2: for this? And sean seat the director Lader said, I'm like,

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Speaker 2: don't ever stop doing that stuff because that made me

365
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Speaker 2: cast you in that ah because he'd seen it and goes,

366
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Speaker 2: I want to see that guy and everyone else was like, well, no,

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Speaker 2: hang on, we've got these ten people, and he goes not,

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Speaker 2: I want to see can we at least get that

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Speaker 2: guy and give him a chance. That led to me

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Speaker 2: getting more and more opportunities and in that thing just

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Speaker 2: because we are speaking to acting and what is it

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Speaker 2: as like the process of winning those things. I knew

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Speaker 2: that everybody because they said come in with one of

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Speaker 2: his songs. I knew that everybody would be doing when

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Speaker 2: I go to Rear or still call Australia harm So

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Speaker 2: I found one of the obscure song writing ones I heard.

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Speaker 1: Yeah, your stuff was all B side? Was it?

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Speaker 2: Yeah? It was all B sides? Because I'm going I'm

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Speaker 2: not going to give you what you want. I'm going

380
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Speaker 2: to give you what I want to do with Peter,

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Speaker 2: and if it doesn't work out, that's okay. But the

382
00:19:35,880 --> 00:19:38,760
Speaker 2: goal with that kind of stuff is to then make

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Speaker 2: them like they go, oh, we're seeing a different side

384
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Speaker 2: of Peter that we didn't know about other than what

385
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Speaker 2: the kind of stock standard interpretation is. I think there's

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Speaker 2: a beautiful thing as actor to choose that choice that

387
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Speaker 2: isn't necessarily going to be the first choice, which I

388
00:19:53,840 --> 00:19:58,280
Speaker 2: think is always going to get you recognized. Now, this

389
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Speaker 2: is fighting for the.

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Speaker 1: Song one you an actor award and a LOGI Is

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Speaker 1: that correct?

392
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Speaker 2: True? Yeah?

393
00:20:06,040 --> 00:20:06,800
Speaker 1: Pretty impressive?

394
00:20:07,359 --> 00:20:12,720
Speaker 2: Yeah, insane. And then Charles Been from Deadline Gallipoli was

395
00:20:12,760 --> 00:20:17,359
Speaker 2: nominated in the same categories for the same things. So yeah,

396
00:20:17,520 --> 00:20:19,359
Speaker 2: a lot of a lot of stick being thrown at

397
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Speaker 2: me from my household?

398
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Speaker 1: Is there both because both characters obviously being and the

399
00:20:24,720 --> 00:20:27,439
Speaker 1: next project I want to ask about Jungle They're all

400
00:20:27,480 --> 00:20:32,200
Speaker 1: real life characters. Is there some sense of oh shit,

401
00:20:32,280 --> 00:20:33,840
Speaker 1: like I've got a lot to hold up to here,

402
00:20:33,880 --> 00:20:36,639
Speaker 1: like I want to do these humans justice.

403
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Speaker 2: One hundred and fifty percent. And even the thing I

404
00:20:39,800 --> 00:20:41,240
Speaker 2: was talking about where I had to pull out that

405
00:20:41,280 --> 00:20:46,920
Speaker 2: was another real human being. And I think majority I've

406
00:20:46,920 --> 00:20:50,600
Speaker 2: actually kind of only just last project, did Mystery Road

407
00:20:50,680 --> 00:20:52,679
Speaker 2: kind of carry over the statistics of me playing more

408
00:20:52,760 --> 00:20:56,680
Speaker 2: real people than I've played make believe people. Wow, which

409
00:20:56,760 --> 00:20:59,080
Speaker 2: is insane. But there is a responsibility and there is

410
00:20:59,800 --> 00:21:05,280
Speaker 2: a respect that you want to pay. There is an

411
00:21:05,320 --> 00:21:09,280
Speaker 2: annoying thing in your mind as ultruistic human being who

412
00:21:09,320 --> 00:21:12,119
Speaker 2: wants to do everything right by that character and do

413
00:21:12,160 --> 00:21:14,480
Speaker 2: them exactly as they are, but knowing that you actually

414
00:21:14,480 --> 00:21:16,119
Speaker 2: have to stick to a script and knowing that it's

415
00:21:16,160 --> 00:21:19,439
Speaker 2: a dramatization, not a documentary. And that is a really

416
00:21:19,560 --> 00:21:22,960
Speaker 2: really interesting conversation that you have with people after the fact.

417
00:21:23,000 --> 00:21:25,679
Speaker 2: You know, like Charles Bean wasn't at the landing in

418
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Speaker 2: Gallipoli when when it was being bombed or shot shot it,

419
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Speaker 2: but for dramatic reasons, it's it's too eventful if he's there.

420
00:21:34,480 --> 00:21:36,360
Speaker 1: Yeah.

421
00:21:36,440 --> 00:21:38,960
Speaker 2: Yeah, And certain things with Peter where I'm going as

422
00:21:39,000 --> 00:21:41,600
Speaker 2: the study geek and going that never happened and the

423
00:21:41,720 --> 00:21:47,000
Speaker 2: conduction's going, yeah, but we need it for the story. Okay, sure,

424
00:21:48,600 --> 00:21:51,080
Speaker 2: but in that too. It's a wonderful thing when you're

425
00:21:51,119 --> 00:21:53,800
Speaker 2: collaborating with other actors. You've got SIGRed Thornton, who also

426
00:21:53,920 --> 00:21:56,719
Speaker 2: I think yeah, Sigarede won the Actor for her portrayal

427
00:21:56,760 --> 00:22:00,560
Speaker 2: of Judy galand ah, so wonderful. Nelly, Yeah, Rebecca give

428
00:22:00,600 --> 00:22:01,200
Speaker 2: me is my Mother?

429
00:22:02,280 --> 00:22:04,320
Speaker 1: What a cast?

430
00:22:04,000 --> 00:22:07,600
Speaker 2: A huge and even you know Rob Mills, and you've

431
00:22:07,600 --> 00:22:09,920
Speaker 2: got Christi Willim Brown and the list can go on

432
00:22:09,880 --> 00:22:13,920
Speaker 2: and on about all these people that are incredible artists

433
00:22:13,960 --> 00:22:16,879
Speaker 2: in their own right. That's a really beautiful thing of

434
00:22:16,960 --> 00:22:20,120
Speaker 2: letting them craft their own characters too. And you can't

435
00:22:20,160 --> 00:22:21,600
Speaker 2: get in your own head of when you see that

436
00:22:21,720 --> 00:22:24,320
Speaker 2: character and go not how I expected her to be

437
00:22:24,440 --> 00:22:26,800
Speaker 2: or not how I expected him to be. Totally got

438
00:22:26,840 --> 00:22:31,600
Speaker 2: to respect everyone's portrayal totally. With Siggy on set, like

439
00:22:31,640 --> 00:22:34,399
Speaker 2: I had to not be around her because she was

440
00:22:34,440 --> 00:22:35,560
Speaker 2: so real to me.

441
00:22:35,720 --> 00:22:40,600
Speaker 1: Oh, but you could feel that even as someone consuming it.

442
00:22:40,680 --> 00:22:43,239
Speaker 2: I was like, wow, it made me feel like I

443
00:22:43,280 --> 00:22:45,040
Speaker 2: was an impost. So I had to be away from

444
00:22:45,040 --> 00:22:47,320
Speaker 2: her until they called action, and then it was like, okay,

445
00:22:47,400 --> 00:22:49,080
Speaker 2: let's play it, because then I'd walk back and you'd

446
00:22:49,080 --> 00:22:51,320
Speaker 2: look at her and go, man, I'm not even on

447
00:22:51,320 --> 00:22:52,960
Speaker 2: that level. She's just phenomenal.

448
00:22:54,119 --> 00:22:56,400
Speaker 1: Think you are. But that's a very nice, humble thing

449
00:22:56,640 --> 00:22:59,199
Speaker 1: to say. But do you get imposter syndrome as an

450
00:22:59,200 --> 00:23:00,560
Speaker 1: actor a young.

451
00:23:00,440 --> 00:23:04,520
Speaker 2: All the time? And I think I even get it

452
00:23:04,520 --> 00:23:09,320
Speaker 2: because I'm hyper aware of the industry in my eyes

453
00:23:09,400 --> 00:23:13,480
Speaker 2: sometimes is like a rich person's game, and I'm hyper

454
00:23:13,520 --> 00:23:16,639
Speaker 2: aware of where I came from and that being the

455
00:23:16,680 --> 00:23:20,960
Speaker 2: complete opposite, and also what my ideals are and kind

456
00:23:20,960 --> 00:23:28,120
Speaker 2: of yeah, sometimes you especially in Los Angeles, and that

457
00:23:28,200 --> 00:23:30,199
Speaker 2: kind of rumor being the biggest thing in the room,

458
00:23:30,640 --> 00:23:32,199
Speaker 2: I'm like, well, I don't want to be that. Like

459
00:23:32,240 --> 00:23:33,680
Speaker 2: I'm a tall guy and I'm a big human, but

460
00:23:33,760 --> 00:23:35,840
Speaker 2: I don't necessarily want to be that. I just want

461
00:23:35,840 --> 00:23:40,200
Speaker 2: to be a storyteller and a compassionate human. So sometimes

462
00:23:40,280 --> 00:23:42,239
Speaker 2: you feel like you're trying to feel the thing of

463
00:23:43,000 --> 00:23:45,720
Speaker 2: or did you know, as a younger guy, trying to

464
00:23:45,720 --> 00:23:47,639
Speaker 2: feel that thing to get ahead with your career, but

465
00:23:48,640 --> 00:23:50,400
Speaker 2: you've got to then go back to yourself. So it's

466
00:23:50,400 --> 00:23:53,320
Speaker 2: a constant struggle. But I like that struggle. It helps

467
00:23:53,359 --> 00:23:54,600
Speaker 2: the art form in a way.

468
00:23:54,960 --> 00:23:58,480
Speaker 1: I actually heard you on another podcast say in Hollywood

469
00:23:58,520 --> 00:24:01,960
Speaker 1: it is like this charm and the first two goes,

470
00:24:02,000 --> 00:24:04,080
Speaker 1: You're like, I didn't get it right, Like I was

471
00:24:04,440 --> 00:24:06,720
Speaker 1: caught up, not caught up, but like feeling like I

472
00:24:06,760 --> 00:24:10,960
Speaker 1: needed to be this persona or charm. And I think

473
00:24:11,040 --> 00:24:13,440
Speaker 1: that from what you said in this interview, like eventually

474
00:24:13,520 --> 00:24:15,359
Speaker 1: it's just like you rock up and you've done the

475
00:24:15,359 --> 00:24:17,080
Speaker 1: work and you just give it your best shot and

476
00:24:17,119 --> 00:24:18,879
Speaker 1: you kind of let go of all that. Is that

477
00:24:19,000 --> 00:24:19,960
Speaker 1: right and.

478
00:24:19,880 --> 00:24:22,800
Speaker 2: Totally And I think that's even the same as here

479
00:24:23,280 --> 00:24:25,639
Speaker 2: yeah too, you know, like and I've slowly begun to

480
00:24:25,720 --> 00:24:29,479
Speaker 2: learn that thing of There is no better portrayal than

481
00:24:29,480 --> 00:24:33,080
Speaker 2: the portrayal of just being you. Don't try to. I

482
00:24:33,119 --> 00:24:35,320
Speaker 2: still think that there's a lot of me being a

483
00:24:35,400 --> 00:24:38,720
Speaker 2: very country kid trying to do certain things here, and

484
00:24:40,680 --> 00:24:43,360
Speaker 2: you know, being on the road for almost a decade now,

485
00:24:43,520 --> 00:24:46,679
Speaker 2: there's a certain thing that you try to give assurances

486
00:24:46,240 --> 00:24:50,400
Speaker 2: of certain things or of what you're doing or what's

487
00:24:50,440 --> 00:24:53,480
Speaker 2: going on. But at the end of the day, just

488
00:24:53,520 --> 00:24:55,080
Speaker 2: being you is going to be the best thing for

489
00:24:55,200 --> 00:24:55,600
Speaker 2: that thing.

490
00:24:56,400 --> 00:24:59,920
Speaker 1: Totally. Oh, it's like a superpower. Be real.

491
00:25:00,119 --> 00:25:02,199
Speaker 2: And I've been saying it for years or like, you know,

492
00:25:02,240 --> 00:25:05,040
Speaker 2: backing it for years, and it's then you start going, ah,

493
00:25:05,240 --> 00:25:08,480
Speaker 2: you're not listening, man. It's interesting.

494
00:25:09,080 --> 00:25:13,200
Speaker 1: It's I feel like you're in a very lucky spot

495
00:25:13,320 --> 00:25:16,159
Speaker 1: to be at such a young age, to have felt

496
00:25:16,200 --> 00:25:19,159
Speaker 1: such a success and worked on such amazing projects. It's

497
00:25:19,160 --> 00:25:21,640
Speaker 1: almost like you're growing up. Like you're that wonderful age

498
00:25:21,680 --> 00:25:25,720
Speaker 1: where you're not like a child. You're not in your

499
00:25:25,720 --> 00:25:27,720
Speaker 1: teens or you know, you kind of did it in

500
00:25:27,720 --> 00:25:30,359
Speaker 1: that early twenties where you're kind of figuring stuff out.

501
00:25:30,720 --> 00:25:33,119
Speaker 1: You're smart enough to know a bit of who you are,

502
00:25:33,280 --> 00:25:34,439
Speaker 1: do you know what I mean? Like you grew at

503
00:25:34,440 --> 00:25:40,439
Speaker 1: this magic age. I really I feel really excited for

504
00:25:40,480 --> 00:25:45,000
Speaker 1: you seeing everything you've done and then what's to come back? Jungle.

505
00:25:45,040 --> 00:25:46,360
Speaker 1: So I watched Jungle last night.

506
00:25:46,920 --> 00:25:47,760
Speaker 2: Oh how did you go?

507
00:25:48,640 --> 00:25:54,760
Speaker 1: I did not expect the fate for Marcus. But I

508
00:25:54,800 --> 00:25:58,000
Speaker 1: also watched, as I mentioned on stage, milk your like

509
00:25:58,200 --> 00:26:03,800
Speaker 1: accent advice, because Marcus's your characters. Marcus had a Swiss

510
00:26:03,840 --> 00:26:05,560
Speaker 1: Swiss German accent, is that right?

511
00:26:05,640 --> 00:26:06,560
Speaker 2: Yeah? Swiss German?

512
00:26:06,640 --> 00:26:10,679
Speaker 1: Yeah, And so for you to get it, I watched

513
00:26:10,720 --> 00:26:13,360
Speaker 1: the for you to get into this accent. Two things.

514
00:26:13,480 --> 00:26:16,840
Speaker 1: One you read Swiss fairy tales out loud? Is that right?

515
00:26:17,000 --> 00:26:19,120
Speaker 1: Because you're also a teacher, so that kind of gave

516
00:26:19,160 --> 00:26:20,359
Speaker 1: you that softness.

517
00:26:20,560 --> 00:26:23,120
Speaker 2: Yeah. His role in real life in back in Switzerland

518
00:26:23,200 --> 00:26:24,200
Speaker 2: was a primar school teacher.

519
00:26:25,200 --> 00:26:30,520
Speaker 1: And the other thing, you had a trigger phrase, Am

520
00:26:30,520 --> 00:26:31,000
Speaker 1: I right?

521
00:26:31,320 --> 00:26:32,240
Speaker 2: Yeah? You're dead right?

522
00:26:33,240 --> 00:26:33,280
Speaker 1: That?

523
00:26:34,359 --> 00:26:38,159
Speaker 2: Yeah? I was doing that. I'm full of chocolate from

524
00:26:38,200 --> 00:26:42,520
Speaker 2: from Guntera from Simpson's Yes, I remember. I remember telling

525
00:26:42,520 --> 00:26:44,760
Speaker 2: Thomas Cretchman that who's a real German in real life

526
00:26:44,760 --> 00:26:48,199
Speaker 2: who plays Karl Ruprecta in the thing. And he was

527
00:26:48,240 --> 00:26:51,760
Speaker 2: like saying, what saying I'm saying? And I don't be

528
00:26:51,920 --> 00:26:54,280
Speaker 2: full of chocolate. He's like don't don't say that again,

529
00:26:55,240 --> 00:26:59,280
Speaker 2: but it's true like those kind of that And I

530
00:26:59,280 --> 00:27:01,520
Speaker 2: remember one of the biggest influences was listening to like

531
00:27:01,600 --> 00:27:05,879
Speaker 2: Roger Federer, of course, you know, and picking things that

532
00:27:05,920 --> 00:27:11,320
Speaker 2: are interesting, kind of picking interesting jumping off points. So

533
00:27:12,480 --> 00:27:14,720
Speaker 2: same as Peter Allen. Peter Allen had three different accents

534
00:27:14,760 --> 00:27:18,360
Speaker 2: for the whole entire thing. It was Australian, Peter Broadway

535
00:27:18,400 --> 00:27:20,960
Speaker 2: and then Peter once he'd met his partner who was

536
00:27:21,000 --> 00:27:25,760
Speaker 2: a Texan, and that was Peter Broadway, Texan. So you're going, Okay, well,

537
00:27:25,800 --> 00:27:27,280
Speaker 2: how do I get that have fun with it. I'll

538
00:27:27,359 --> 00:27:31,080
Speaker 2: use Sam Shephard and the way that he talks and

539
00:27:31,080 --> 00:27:37,000
Speaker 2: his kind of drawl with someone like Bob Fosse, and

540
00:27:37,040 --> 00:27:40,439
Speaker 2: then Peter and you're kind of linking those things together

541
00:27:40,480 --> 00:27:43,560
Speaker 2: to find interesting ways where you'll still be inspired because

542
00:27:43,560 --> 00:27:46,159
Speaker 2: it's a lot of work. It will still be inspired

543
00:27:46,200 --> 00:27:48,119
Speaker 2: every day to go, yeah, I'll find that thing or

544
00:27:49,800 --> 00:27:51,240
Speaker 2: But a lot of us stayed an accent for the

545
00:27:51,240 --> 00:27:53,600
Speaker 2: whole entire film. I know that Daniel and I did

546
00:27:53,960 --> 00:27:57,679
Speaker 2: because he was doing an Israeli which was remarkable.

547
00:27:58,400 --> 00:28:00,680
Speaker 1: So two questions of the accenting. One of my teachers

548
00:28:00,680 --> 00:28:04,960
Speaker 1: at school Ian Sinclair, who's like big in the theatery. Yeah,

549
00:28:05,119 --> 00:28:08,720
Speaker 1: and he says to my and we're doing Tennessee Williams' terms,

550
00:28:08,720 --> 00:28:11,080
Speaker 1: we've all got to have Southern accents.

551
00:28:11,240 --> 00:28:11,920
Speaker 2: How nice.

552
00:28:12,160 --> 00:28:14,760
Speaker 1: And he says it takes about six weeks to master

553
00:28:14,840 --> 00:28:15,400
Speaker 1: an accent.

554
00:28:16,440 --> 00:28:19,280
Speaker 2: Yeah, properly, properly, And I mean I still get up

555
00:28:19,280 --> 00:28:22,040
Speaker 2: every day. I did this morning because I'm I'm waiting

556
00:28:22,080 --> 00:28:24,119
Speaker 2: for my car to come across from Melbourne. I'm in Perth,

557
00:28:24,240 --> 00:28:27,280
Speaker 2: so I'm on buses to get to the gym and stuff.

558
00:28:27,280 --> 00:28:30,720
Speaker 2: So that is just like a drag because it's you know,

559
00:28:30,760 --> 00:28:31,600
Speaker 2: forty minutes down there.

560
00:28:31,960 --> 00:28:35,159
Speaker 1: Not in lockdown though, Man, I'm in Victoria and it's oh,

561
00:28:35,200 --> 00:28:39,640
Speaker 1: are you crazy? I mean TALKI though, So yes, I'm

562
00:28:39,720 --> 00:28:42,240
Speaker 1: half in lockdown. We're kind of in this weird pseudo

563
00:28:42,560 --> 00:28:46,760
Speaker 1: stage three lockdowns. We're a lot luckier than Melbournians. But yeah,

564
00:28:46,960 --> 00:28:50,880
Speaker 1: smart move getting out. But my question about the accent is,

565
00:28:51,080 --> 00:28:53,600
Speaker 1: did you when you say you stayed in it, did

566
00:28:53,640 --> 00:28:56,240
Speaker 1: you stay in your accent so like you'd wake up

567
00:28:56,240 --> 00:28:58,440
Speaker 1: in the morning, you'd you'd do your vocal warm up

568
00:28:58,440 --> 00:29:02,240
Speaker 1: and you just stay in accent, even like on lunch breaks.

569
00:29:02,160 --> 00:29:04,840
Speaker 2: Yeah, pretty much. And I mean the great thing was there,

570
00:29:04,880 --> 00:29:07,200
Speaker 2: You're not in Australia, You're not surrounded by friends, we're

571
00:29:07,240 --> 00:29:11,560
Speaker 2: not having to go necessarily interact with you. You're in Colombia,

572
00:29:11,680 --> 00:29:14,240
Speaker 2: and so the majority of your crew and people that

573
00:29:14,280 --> 00:29:17,320
Speaker 2: you're around on a day to day basis were Colombian. Right.

574
00:29:17,600 --> 00:29:19,600
Speaker 2: They don't know what you sound like. Yeah, they've never

575
00:29:19,640 --> 00:29:22,560
Speaker 2: met you. And so you roll in after doing you know,

576
00:29:22,680 --> 00:29:25,800
Speaker 2: four weeks or six weeks of work by yourself, and

577
00:29:25,920 --> 00:29:27,520
Speaker 2: you get there and they're like, oh, that's kind of

578
00:29:27,560 --> 00:29:31,520
Speaker 2: just what Joel does now, cool, whatever, because there's a

579
00:29:31,560 --> 00:29:33,720
Speaker 2: lot of that weird stigma thing if I mean, even

580
00:29:33,720 --> 00:29:36,080
Speaker 2: on the last thing myself, when a couple of other

581
00:29:36,120 --> 00:29:39,160
Speaker 2: guys were staying in accent and there were others who weren't,

582
00:29:39,160 --> 00:29:40,840
Speaker 2: and the comments were like what are you doing, Like

583
00:29:40,920 --> 00:29:43,600
Speaker 2: stop being stop trying to be the teacher's pet, and

584
00:29:43,600 --> 00:29:45,160
Speaker 2: you're like, I'm not trying to be the teacher's pet.

585
00:29:45,240 --> 00:29:48,040
Speaker 2: I'm literally just doing this for me totally.

586
00:29:48,600 --> 00:29:51,600
Speaker 1: I have another teacher at this school at I trained

587
00:29:51,600 --> 00:29:53,840
Speaker 1: at sixteenth Street, and he's Cody Fern, and he has

588
00:29:53,880 --> 00:29:57,920
Speaker 1: to have American accent for what assassination of Gianni Bisaci

589
00:29:57,960 --> 00:30:00,360
Speaker 1: American horror stories. And he's like, I get up two

590
00:30:00,440 --> 00:30:01,920
Speaker 1: hours before I need to be on set, I do

591
00:30:02,040 --> 00:30:04,600
Speaker 1: all my vocal warm ups, I rock up on set

592
00:30:04,720 --> 00:30:07,680
Speaker 1: and I am one hundred percent in my American accent totally.

593
00:30:07,720 --> 00:30:09,520
Speaker 2: And same goes even if you're doing like a two

594
00:30:09,520 --> 00:30:12,640
Speaker 2: page self test, you're doing it. And I want to

595
00:30:12,680 --> 00:30:14,480
Speaker 2: work in the UK. I've got my UK visa and

596
00:30:14,480 --> 00:30:16,280
Speaker 2: a UK agent, so I'll get up every day and

597
00:30:16,320 --> 00:30:18,120
Speaker 2: it's a half hour vocal warm up, and then you're

598
00:30:18,120 --> 00:30:22,280
Speaker 2: reading you know, some beautiful Beckett, or you're reading some

599
00:30:22,360 --> 00:30:25,000
Speaker 2: other stuff, or you're reading the Sonnets and you're reading

600
00:30:25,200 --> 00:30:29,280
Speaker 2: you know, Shakespeare's Sonnets, and you're doing regional accents. So

601
00:30:29,280 --> 00:30:31,440
Speaker 2: you go for a week, I'll do South for a week,

602
00:30:31,440 --> 00:30:33,280
Speaker 2: I'll do North, then I'll do London Earth and I'll

603
00:30:33,280 --> 00:30:35,960
Speaker 2: do RP. But it's that thing. If it's a tool,

604
00:30:36,000 --> 00:30:39,720
Speaker 2: it's a toolkit, and same as stretching, same as working out,

605
00:30:39,800 --> 00:30:42,360
Speaker 2: same as anything. If you're just kind of doing it mindlessly,

606
00:30:43,080 --> 00:30:46,440
Speaker 2: you won't make an improvement. But if you are stepping

607
00:30:46,560 --> 00:30:50,040
Speaker 2: up and one percent every day, I've got a massive

608
00:30:50,680 --> 00:30:53,800
Speaker 2: love affair with a military mindset, not with what militaries do,

609
00:30:53,920 --> 00:30:57,560
Speaker 2: but more with what they're capable of doing for people.

610
00:30:57,720 --> 00:31:02,680
Speaker 2: I think there was a Green Corp veteran, one of

611
00:31:02,720 --> 00:31:06,080
Speaker 2: the generals. He spoke at the Harvard Conclusion speeches or

612
00:31:06,080 --> 00:31:08,520
Speaker 2: whatever they are, and he began with, if you want

613
00:31:08,520 --> 00:31:10,960
Speaker 2: to change the world, start by doing one thing every day,

614
00:31:11,040 --> 00:31:14,760
Speaker 2: and that one thing is making your bed, because if

615
00:31:14,760 --> 00:31:17,000
Speaker 2: you do that task, it then adds on to the

616
00:31:17,000 --> 00:31:18,960
Speaker 2: rest of your day. And it's not about improving one

617
00:31:19,000 --> 00:31:22,520
Speaker 2: hundred percent every day, it's one percent, and that over

618
00:31:22,520 --> 00:31:26,200
Speaker 2: a lifetime is in the crawel of all these all

619
00:31:26,280 --> 00:31:30,000
Speaker 2: these techniques and all this awareness and all this learning.

620
00:31:30,120 --> 00:31:34,200
Speaker 2: So yeah, I think it's important to as an actor

621
00:31:34,200 --> 00:31:36,560
Speaker 2: to realize that that stuff only works if you do.

622
00:31:38,160 --> 00:31:41,280
Speaker 1: Totally totally. Can I ask one more question? I saw

623
00:31:41,320 --> 00:31:44,800
Speaker 1: her behind the scenes of Jungle and it was like

624
00:31:44,920 --> 00:31:48,400
Speaker 1: a scene where Daniel Raudcliffe had finished shooting for the

625
00:31:48,480 --> 00:31:50,000
Speaker 1: day or was on a shooting break, and he's just

626
00:31:50,000 --> 00:31:52,600
Speaker 1: sitting there signing autographs for local kids.

627
00:31:52,920 --> 00:31:54,640
Speaker 2: Yeah, man, was it?

628
00:31:54,720 --> 00:31:54,880
Speaker 1: That?

629
00:31:55,080 --> 00:31:55,320
Speaker 2: Was? There?

630
00:31:55,360 --> 00:31:59,920
Speaker 1: A lot of that, Like Harry Potter love so much.

631
00:32:00,080 --> 00:32:04,400
Speaker 2: And I'd give him I had so much respect for

632
00:32:04,440 --> 00:32:06,920
Speaker 2: that man because I didn't know what to expect. You

633
00:32:07,040 --> 00:32:09,040
Speaker 2: walk into the room and he's the first person who

634
00:32:09,040 --> 00:32:10,840
Speaker 2: greets you for the script read and so, hi, Joel,

635
00:32:10,840 --> 00:32:13,400
Speaker 2: how are you? I just saw this, And he'd made

636
00:32:13,400 --> 00:32:15,200
Speaker 2: a point of watching something of all of ours to

637
00:32:15,560 --> 00:32:17,800
Speaker 2: then make it easier for us to become for him

638
00:32:17,840 --> 00:32:22,280
Speaker 2: to like wash that off a massive respect and again,

639
00:32:22,600 --> 00:32:25,040
Speaker 2: you know, remarkably intelligent human being. The people that were

640
00:32:25,080 --> 00:32:28,040
Speaker 2: tutoring on set for Harry Potter, you know, were Oxford

641
00:32:28,080 --> 00:32:30,760
Speaker 2: scholars and stuff, and you know, so he'd read everything

642
00:32:30,840 --> 00:32:34,640
Speaker 2: and we had massive philosophy kind of chats because I'm

643
00:32:34,680 --> 00:32:37,400
Speaker 2: a geek with the stoics and he loved that. But

644
00:32:37,600 --> 00:32:42,240
Speaker 2: you'd be rolling into town in remote communities, we'd shoot somewhere,

645
00:32:42,400 --> 00:32:44,480
Speaker 2: then we'd sleep for three hours, get in the buses,

646
00:32:44,560 --> 00:32:46,680
Speaker 2: drive all night to somewhere else, sleep in the bus,

647
00:32:47,200 --> 00:32:52,680
Speaker 2: get off, get makeup on shoot, and at five o'clock

648
00:32:52,680 --> 00:32:55,240
Speaker 2: in the morning or whatever, there's kids wearing like a

649
00:32:55,360 --> 00:32:58,160
Speaker 2: carpet as a cape and granddad's glasses and a stick

650
00:32:58,200 --> 00:33:00,560
Speaker 2: as a wand and like a hand drawn Harry Potter thing.

651
00:33:00,760 --> 00:33:03,040
Speaker 2: And he'd make the time and the effort to go

652
00:33:03,080 --> 00:33:05,920
Speaker 2: and visit every single one of them, and it kind

653
00:33:05,960 --> 00:33:08,760
Speaker 2: of blew me away because it could have been so

654
00:33:08,800 --> 00:33:09,920
Speaker 2: easy to go and I'm just busy.

655
00:33:10,480 --> 00:33:12,640
Speaker 1: What a legend, Yeah, but what a.

656
00:33:12,640 --> 00:33:17,240
Speaker 2: Guy like sincerely. We shot one scene in a really

657
00:33:17,280 --> 00:33:22,560
Speaker 2: beautiful town called Rio Preto, like Black River, and there

658
00:33:22,640 --> 00:33:25,320
Speaker 2: was this beautiful old courtyard and church that had been

659
00:33:25,360 --> 00:33:28,080
Speaker 2: there forever and we were just sat up on this

660
00:33:28,160 --> 00:33:29,400
Speaker 2: shot and it was just the three of us where

661
00:33:29,440 --> 00:33:32,200
Speaker 2: we're eating the icy poles. Yes, he made the decision

662
00:33:32,200 --> 00:33:34,800
Speaker 2: to go, but if you turn the camera around, there's

663
00:33:34,800 --> 00:33:38,240
Speaker 2: probably about eight hundred locals and all this police trying

664
00:33:38,240 --> 00:33:41,520
Speaker 2: to keep everybody quiet and everybody in like, but he

665
00:33:41,600 --> 00:33:45,000
Speaker 2: made this massive lap around the whole thing and finished

666
00:33:45,040 --> 00:33:46,800
Speaker 2: it up at the end of the day. And you know, meanwhile,

667
00:33:47,160 --> 00:33:49,400
Speaker 2: I'm able to go in costume, sitting at the end

668
00:33:49,440 --> 00:33:51,240
Speaker 2: of the day and have a beer in the same

669
00:33:51,240 --> 00:33:53,920
Speaker 2: courtyard with all these you know, young guys that just

670
00:33:53,920 --> 00:33:57,720
Speaker 2: wanted to chat and hang out because I spoke a

671
00:33:57,720 --> 00:34:02,560
Speaker 2: bit of Spanish, kind of Portuguese. But you're watching somebody

672
00:34:02,560 --> 00:34:06,400
Speaker 2: else make you know this? Yeah, that was beyond special.

673
00:34:07,360 --> 00:34:09,160
Speaker 1: Can I ask one question as well? And I keep

674
00:34:09,200 --> 00:34:12,160
Speaker 1: saying one more question, but is it true. When you

675
00:34:12,239 --> 00:34:16,319
Speaker 1: guys shot the rafter scene that they're like, you've done

676
00:34:16,320 --> 00:34:19,799
Speaker 1: your bronze medellion, right, if Daniel falls in, are you

677
00:34:19,920 --> 00:34:20,640
Speaker 1: right to jump in?

678
00:34:20,680 --> 00:34:25,000
Speaker 2: And yeah, a stunt coordinator who will name unnamed, who's

679
00:34:25,000 --> 00:34:27,000
Speaker 2: like one of my best mates now because he's been

680
00:34:27,040 --> 00:34:31,200
Speaker 2: on a couple of things with me now, And yeah,

681
00:34:31,360 --> 00:34:33,439
Speaker 2: we were hyper aware of it the whole entire time.

682
00:34:33,600 --> 00:34:36,560
Speaker 2: It's like, if anything happens, you're the point guy, like

683
00:34:36,640 --> 00:34:41,520
Speaker 2: grab him, just because without him movie doesn't happen, of course,

684
00:34:41,880 --> 00:34:42,080
Speaker 2: you know.

685
00:34:42,200 --> 00:34:46,160
Speaker 1: And also he went through a massive physical transformation. But

686
00:34:46,680 --> 00:34:49,480
Speaker 1: I heard you did as well. Did you have to

687
00:34:49,520 --> 00:34:51,759
Speaker 1: like cut down quite a bit for that role? And

688
00:34:51,760 --> 00:34:54,080
Speaker 1: I imagine you would Charles Bean as well.

689
00:34:54,200 --> 00:34:56,080
Speaker 2: I did for Charles, I did for Peter. I've done

690
00:34:56,080 --> 00:34:59,440
Speaker 2: it annoyingly for so many things. But it's that thing

691
00:34:59,480 --> 00:35:01,239
Speaker 2: of like you're six foot three, so you put on

692
00:35:01,280 --> 00:35:02,480
Speaker 2: heaps of weight and you get to like ninety eight

693
00:35:02,560 --> 00:35:04,560
Speaker 2: kilos of muscle. So you walk into rooms and people

694
00:35:04,600 --> 00:35:06,279
Speaker 2: are like, whow you could be the next supper hero.

695
00:35:06,400 --> 00:35:09,480
Speaker 2: You're like, yeah, yeah, let me do that. But then

696
00:35:09,520 --> 00:35:11,279
Speaker 2: you've also got this part of you that is really

697
00:35:11,360 --> 00:35:14,960
Speaker 2: malleable to go and do those other things, and more

698
00:35:14,960 --> 00:35:18,279
Speaker 2: often than not there well, you know, Peter was one

699
00:35:18,280 --> 00:35:21,600
Speaker 2: where we used you know, my sister is a nutritionist,

700
00:35:22,840 --> 00:35:25,399
Speaker 2: so we use that and we diet healthily, so you're

701
00:35:25,440 --> 00:35:29,000
Speaker 2: not losing weight totally. But I remember rocking up to

702
00:35:29,040 --> 00:35:32,520
Speaker 2: the shoot in Gallipoli in Adelaide, and Penny Chapman, the producer,

703
00:35:32,600 --> 00:35:34,520
Speaker 2: was like, when was the last time you ate, sweetheart?

704
00:35:35,600 --> 00:35:38,160
Speaker 2: Because we did. But the thing is, I'm so self

705
00:35:38,200 --> 00:35:42,880
Speaker 2: conscious about being a tall broad man that I know

706
00:35:43,000 --> 00:35:46,120
Speaker 2: that even you know, five kilos of muscle on camera

707
00:35:46,160 --> 00:35:49,080
Speaker 2: will be massive compared to you know, I don't mean

708
00:35:49,080 --> 00:35:51,520
Speaker 2: to when you say next to Hugh Dancy or like

709
00:35:51,560 --> 00:35:54,360
Speaker 2: the scene in Jungle when we're when we're in the

710
00:35:54,440 --> 00:35:55,880
Speaker 2: river bathing.

711
00:35:58,000 --> 00:35:59,560
Speaker 1: You speaking about the neody bit wherever.

712
00:36:00,400 --> 00:36:03,560
Speaker 2: Yeah, yeah, you still look absolutely kind of really you

713
00:36:03,600 --> 00:36:07,080
Speaker 2: look a bit jacked because you're so just kind of lean, lean,

714
00:36:07,440 --> 00:36:10,080
Speaker 2: and you're also sending next to guys who are shorter

715
00:36:10,120 --> 00:36:12,840
Speaker 2: than you, and it really so I'm super conscious of

716
00:36:12,880 --> 00:36:15,920
Speaker 2: that and I try to make sure that in the

717
00:36:16,000 --> 00:36:19,960
Speaker 2: picture of the thing, one person doesn't stand out. Gotcha, Yeah,

718
00:36:20,000 --> 00:36:21,480
Speaker 2: if that makes sense, and a lot of people like

719
00:36:21,520 --> 00:36:23,600
Speaker 2: that doesn't matter, But to me, that's really important.

720
00:36:24,440 --> 00:36:26,880
Speaker 1: Yeah, of course, there's so much more to it. Like

721
00:36:27,360 --> 00:36:30,120
Speaker 1: I think one thing that Ian Sinclair says as well,

722
00:36:30,200 --> 00:36:31,640
Speaker 1: and I do want to get onto I know you've

723
00:36:31,680 --> 00:36:34,520
Speaker 1: done theater too, and he said, the most common question

724
00:36:34,600 --> 00:36:37,120
Speaker 1: you get asked to the Q and A thing at

725
00:36:37,120 --> 00:36:40,279
Speaker 1: the end of like the is it the premiere kind

726
00:36:40,280 --> 00:36:42,400
Speaker 1: of performance that, you know, the performance where people can

727
00:36:42,400 --> 00:36:43,960
Speaker 1: have a Q and A with the cast and director.

728
00:36:44,000 --> 00:36:46,239
Speaker 1: He goes, the most common question we get asked is

729
00:36:46,320 --> 00:36:49,400
Speaker 1: how to actors remember their lines? And he's like, that

730
00:36:49,520 --> 00:36:52,279
Speaker 1: is literally what people think. They don't realize. There's all

731
00:36:52,360 --> 00:36:56,360
Speaker 1: this plethora of work, you know, like you tap dancing

732
00:36:56,400 --> 00:36:59,800
Speaker 1: for two hours every day or you know, like, yeah,

733
00:37:00,920 --> 00:37:03,920
Speaker 1: it's so amazing. And that's why I'm so grateful to

734
00:37:03,960 --> 00:37:05,759
Speaker 1: have you here because I just love learning all this

735
00:37:05,920 --> 00:37:09,399
Speaker 1: kind of like behind the scenes kind of snippet. I

736
00:37:09,520 --> 00:37:14,000
Speaker 1: love the character rich Uncle Brian from h My Happiness.

737
00:37:15,040 --> 00:37:17,880
Speaker 1: Did you have fun in that? That looked like a

738
00:37:17,920 --> 00:37:18,560
Speaker 1: lot of fun.

739
00:37:19,000 --> 00:37:22,440
Speaker 2: Yeah, And to me that was the first time that

740
00:37:22,480 --> 00:37:25,840
Speaker 2: I could then when that movie would come out, I

741
00:37:25,840 --> 00:37:27,880
Speaker 2: could watch it with my nieces and nephews, you know,

742
00:37:28,040 --> 00:37:31,560
Speaker 2: like that would be and like a lot of my

743
00:37:31,880 --> 00:37:33,840
Speaker 2: time in family, We've got a massive family. Dad's the

744
00:37:33,880 --> 00:37:38,799
Speaker 2: oldest of nine and they've all got kids, and they've

745
00:37:38,840 --> 00:37:42,040
Speaker 2: all had kids, so there's just like our family is massive,

746
00:37:42,960 --> 00:37:46,360
Speaker 2: and we've always spent Christmas at caravan parks and stuff

747
00:37:46,400 --> 00:37:48,239
Speaker 2: like that, you know. And so for me, in the

748
00:37:48,280 --> 00:37:49,560
Speaker 2: back of my mind of like, you find do a

749
00:37:49,600 --> 00:37:52,080
Speaker 2: good job with this, the funny thing will be I'll

750
00:37:52,080 --> 00:37:54,480
Speaker 2: be hanging around with my niece and nephews and some

751
00:37:54,520 --> 00:37:57,640
Speaker 2: other kid will be like, that's rich uncle Brian. Yeah,

752
00:37:58,400 --> 00:38:01,000
Speaker 2: And that was kind of my goal, my god and

753
00:38:01,040 --> 00:38:02,880
Speaker 2: I thought about it in that thing of having a

754
00:38:02,880 --> 00:38:06,800
Speaker 2: fun time with it. Go and just be the blast,

755
00:38:06,880 --> 00:38:09,160
Speaker 2: be the blast of fresh air and warmth that every

756
00:38:09,239 --> 00:38:13,200
Speaker 2: kid wants and every kid kind of just wants to have.

757
00:38:13,480 --> 00:38:16,759
Speaker 2: And knowing what it feels like when I see my

758
00:38:16,840 --> 00:38:20,400
Speaker 2: uncles or aunties or my godparents and that joy, and

759
00:38:20,440 --> 00:38:22,000
Speaker 2: knowing that you're playing in a world that it's almost

760
00:38:22,080 --> 00:38:28,520
Speaker 2: Wes Anderson meets Australiana, you know, knowing that I'd kind

761
00:38:28,560 --> 00:38:29,880
Speaker 2: of done a lot of serious things and a lot

762
00:38:29,880 --> 00:38:32,760
Speaker 2: of dramatic portrayals of stuff, and this was my first

763
00:38:32,880 --> 00:38:35,560
Speaker 2: chance to be the kookie goofy guy that I know

764
00:38:35,600 --> 00:38:39,320
Speaker 2: that I am, And that was a joy and talking

765
00:38:39,360 --> 00:38:41,960
Speaker 2: to John Sheety, the director about it, and Barrett Johnsburg

766
00:38:41,960 --> 00:38:45,600
Speaker 2: who wrote the book, and adapting those little things like

767
00:38:45,640 --> 00:38:48,520
Speaker 2: his head twitch and the quirk and you know, at

768
00:38:48,520 --> 00:38:50,120
Speaker 2: one point in the book he has a mustache and

769
00:38:50,160 --> 00:38:51,960
Speaker 2: I was like, can we get him like a pencil mustache,

770
00:38:53,000 --> 00:38:55,480
Speaker 2: like a super awkward drawn on one, you know, like,

771
00:38:56,360 --> 00:38:58,120
Speaker 2: and they're like no. I was like, okay, well what

772
00:38:58,200 --> 00:39:01,640
Speaker 2: about weird sideburns? And like no, what about a walking stick?

773
00:39:01,800 --> 00:39:04,879
Speaker 2: Like no, I was like, what about a coin? And

774
00:39:04,920 --> 00:39:06,680
Speaker 2: behind the scenes there's all this stuff of me flicking

775
00:39:06,680 --> 00:39:10,080
Speaker 2: a coin, but like you never see it. There wasn't included.

776
00:39:10,120 --> 00:39:12,000
Speaker 2: But John loved it. And it was that thing of

777
00:39:12,080 --> 00:39:15,000
Speaker 2: going if it works, we'll use it. If not, you'll

778
00:39:15,000 --> 00:39:16,799
Speaker 2: never see it. And I was like, okay, and you

779
00:39:16,880 --> 00:39:21,120
Speaker 2: know that stuff going into some productions where directors have

780
00:39:21,160 --> 00:39:23,760
Speaker 2: an idea, producers have a big idea, and the actor

781
00:39:23,840 --> 00:39:29,720
Speaker 2: wants to add their flavor. Yeah, And on on Deadline Gliperity,

782
00:39:29,760 --> 00:39:33,000
Speaker 2: they let me do that because everything was meticulous and

783
00:39:33,000 --> 00:39:34,800
Speaker 2: accounted for. There was no prop that I couldn't just

784
00:39:34,840 --> 00:39:36,960
Speaker 2: walk over and grab and use, and that was a

785
00:39:37,000 --> 00:39:38,960
Speaker 2: big thing for me. It was like, I don't want

786
00:39:39,000 --> 00:39:41,040
Speaker 2: to have a backpack and then open it up and

787
00:39:41,040 --> 00:39:44,480
Speaker 2: there'd be foam inside. Yeah, of course, as kind of

788
00:39:44,960 --> 00:39:48,279
Speaker 2: normally happens. And then same thing with Peter Allen. You know,

789
00:39:48,320 --> 00:39:51,640
Speaker 2: there'd be lunch breaks where everyone would have their lunch

790
00:39:51,640 --> 00:39:54,480
Speaker 2: break and Sean's seat and Bruiser and I Bruiser was

791
00:39:54,480 --> 00:39:58,400
Speaker 2: a dop. We'd have, you know, a snack because I

792
00:39:58,400 --> 00:40:00,560
Speaker 2: wasn't eating much. We'd have a ten sit down in

793
00:40:00,600 --> 00:40:02,239
Speaker 2: a coffee and then be like, do you want to

794
00:40:02,239 --> 00:40:04,040
Speaker 2: go shoot some stuff in the change room and we'd

795
00:40:04,040 --> 00:40:07,080
Speaker 2: go and shoot, you know, because they're going, we want

796
00:40:07,080 --> 00:40:09,000
Speaker 2: to know what kind of your portrayal of this guy

797
00:40:09,160 --> 00:40:12,040
Speaker 2: is and you're and then there were moments with Jungle

798
00:40:12,040 --> 00:40:13,279
Speaker 2: where you're going, I want to do this and I

799
00:40:13,280 --> 00:40:16,080
Speaker 2: want to do that, and people going don't don't open

800
00:40:16,120 --> 00:40:19,160
Speaker 2: your bag, like, don't do that, don't do this, just

801
00:40:19,880 --> 00:40:23,640
Speaker 2: stand there. You know, You're like, oh, okay.

802
00:40:24,760 --> 00:40:28,080
Speaker 1: So cool, Like I'm wrap, you're sharing all this. I

803
00:40:28,200 --> 00:40:31,200
Speaker 1: watched the interview yesterday with John Sheedy and he described

804
00:40:31,239 --> 00:40:35,319
Speaker 1: your character as the anchor of the show because you

805
00:40:36,840 --> 00:40:41,560
Speaker 1: the movie should I say, because you were almost like

806
00:40:42,160 --> 00:40:45,239
Speaker 1: the happy place for what was the little girl's character's name,

807
00:40:45,280 --> 00:40:48,040
Speaker 1: And yeah, you're kind of the anchor for her because

808
00:40:48,040 --> 00:40:52,479
Speaker 1: you were like the comfort happy and whereas her parents

809
00:40:52,520 --> 00:40:55,319
Speaker 1: obviously facing grief and so you as were you. But

810
00:40:56,160 --> 00:40:59,160
Speaker 1: he described your character really nicely and it was almost

811
00:40:59,200 --> 00:41:02,160
Speaker 1: like you were there you would relieve the pressure, I

812
00:41:02,160 --> 00:41:03,800
Speaker 1: guess in some way totally.

813
00:41:03,840 --> 00:41:07,080
Speaker 2: And I love that thought too, because I try did

814
00:41:07,080 --> 00:41:10,759
Speaker 2: a lot of work with with like Australian Children's Music

815
00:41:10,760 --> 00:41:14,280
Speaker 2: Foundation or Red Kite Charity or was doing work with kids,

816
00:41:14,280 --> 00:41:16,920
Speaker 2: because I think that is a really important relationship. And

817
00:41:16,960 --> 00:41:19,480
Speaker 2: I know how much people gave me when I was

818
00:41:19,520 --> 00:41:21,719
Speaker 2: a kid, and I was really lucky to have those

819
00:41:21,800 --> 00:41:26,160
Speaker 2: things and that warmth. And my dad's a primary school principle,

820
00:41:26,280 --> 00:41:28,880
Speaker 2: My mum's always been in teaching or around kids. My

821
00:41:28,920 --> 00:41:33,200
Speaker 2: whole family has been around teachers, and that sense of like,

822
00:41:33,680 --> 00:41:37,160
Speaker 2: you know, seeing my dad, who's this huge built dude,

823
00:41:37,160 --> 00:41:39,000
Speaker 2: like he's sixty three and he's still got abs, like

824
00:41:39,040 --> 00:41:42,120
Speaker 2: he's jacked and he's a huge guy, rides like a

825
00:41:42,160 --> 00:41:44,880
Speaker 2: massive Harley into his primary school every day and gets

826
00:41:44,920 --> 00:41:47,480
Speaker 2: off and it's like okay, kids Hawaiians a massive bed

827
00:41:47,560 --> 00:41:50,279
Speaker 2: and kids love him and he's just this big ball

828
00:41:50,320 --> 00:41:53,160
Speaker 2: of warmth and life goes on underneath it all. But

829
00:41:53,200 --> 00:41:56,239
Speaker 2: there's a safe place there, and that to me was

830
00:41:56,280 --> 00:41:59,120
Speaker 2: really fun to play as a guy now kind of

831
00:41:59,160 --> 00:42:04,040
Speaker 2: with family. Yeah, I still we still chat with Daisy

832
00:42:04,120 --> 00:42:06,600
Speaker 2: Daisy Accent who played Candice, and she still goes me

833
00:42:06,680 --> 00:42:10,320
Speaker 2: Uncle Brian and like hang out. And I had a

834
00:42:10,360 --> 00:42:12,279
Speaker 2: lot of joy playing that, a lot of joy.

835
00:42:12,560 --> 00:42:15,240
Speaker 1: Yeah, And now to flick to something a little bit heavier,

836
00:42:15,400 --> 00:42:16,840
Speaker 1: h Safe Harbor.

837
00:42:17,600 --> 00:42:18,080
Speaker 2: Oh. Yeah.

838
00:42:19,160 --> 00:42:21,759
Speaker 1: I watched a fair few chunks of it because there's

839
00:42:21,760 --> 00:42:23,960
Speaker 1: so much great stuff on YouTube and I was like, WHOA,

840
00:42:24,040 --> 00:42:27,480
Speaker 1: this would have been really confronting to be in.

841
00:42:28,080 --> 00:42:32,160
Speaker 2: Yeah, it was full on, And I think the joy

842
00:42:32,800 --> 00:42:36,320
Speaker 2: was confronting your ignorance too with a project, like confronting

843
00:42:36,360 --> 00:42:38,440
Speaker 2: something you think like, yeah, I'm not a lefty, but

844
00:42:39,000 --> 00:42:41,759
Speaker 2: like I like to stay educated and I would think

845
00:42:41,800 --> 00:42:45,320
Speaker 2: that I'd know about certain things within our recent history

846
00:42:45,320 --> 00:42:49,680
Speaker 2: of migrants to Australia totally and what's going on in

847
00:42:49,680 --> 00:42:52,280
Speaker 2: the bigger picture, and then you kind of get slapped

848
00:42:52,320 --> 00:42:55,000
Speaker 2: with the reality and your ignorance when you're working with

849
00:42:55,000 --> 00:42:57,120
Speaker 2: people whose families would have been in the same shit

850
00:42:57,200 --> 00:42:59,640
Speaker 2: or have been in the exact same situation, and they're

851
00:42:59,640 --> 00:43:02,000
Speaker 2: bringing their parents to set to watch this stuff, and

852
00:43:02,040 --> 00:43:07,400
Speaker 2: you're going, wh WHOA, Okay, cool, and you're confronted with

853
00:43:07,480 --> 00:43:09,879
Speaker 2: privilege and you're confronted with your own sense of kind

854
00:43:09,920 --> 00:43:14,640
Speaker 2: of what you've been told. So it was as much

855
00:43:14,680 --> 00:43:20,799
Speaker 2: as a really great education as much as it was

856
00:43:20,840 --> 00:43:22,680
Speaker 2: when you're shoot in those moments out in the middle

857
00:43:22,680 --> 00:43:25,840
Speaker 2: of nowhere and you're towing a boat that's full with

858
00:43:25,920 --> 00:43:30,560
Speaker 2: extras who are like, you know, the majority of people.

859
00:43:30,600 --> 00:43:32,360
Speaker 2: There was a brilliant actor who comes on board the

860
00:43:32,360 --> 00:43:37,440
Speaker 2: boat God which his last name David. Sorry, mate. He

861
00:43:37,480 --> 00:43:40,799
Speaker 2: comes on board the boat and like begs for water

862
00:43:41,040 --> 00:43:44,640
Speaker 2: or begs for food, and he only had just come

863
00:43:44,680 --> 00:43:48,560
Speaker 2: across He only had just been led into Australia and

864
00:43:48,880 --> 00:43:50,719
Speaker 2: had been here and wanted to become an actor and

865
00:43:50,800 --> 00:43:55,080
Speaker 2: had been an actor, and you're going, my god, my god,

866
00:43:55,280 --> 00:43:58,560
Speaker 2: like that was wonderful. And then also to speak with

867
00:44:00,120 --> 00:44:04,160
Speaker 2: Cole and Robert Revert and Nasm like, you're speaking to

868
00:44:04,520 --> 00:44:09,240
Speaker 2: beautiful actors who without this kind of storytelling or content

869
00:44:09,280 --> 00:44:12,879
Speaker 2: wouldn't have jobs. Yeah, and that was a big slap

870
00:44:12,920 --> 00:44:15,719
Speaker 2: in the face too, being like, if you're great actor,

871
00:44:15,760 --> 00:44:18,799
Speaker 2: you'll find work, and it's like, no, these things have

872
00:44:18,840 --> 00:44:22,719
Speaker 2: to exist for that person to have work. Oh my god. Okay,

873
00:44:22,719 --> 00:44:27,640
Speaker 2: well this is why representation needs to change. But the

874
00:44:28,040 --> 00:44:32,360
Speaker 2: content itself and getting a chance to be in that

875
00:44:33,360 --> 00:44:38,280
Speaker 2: gamut of actor who is you know, ten years older, Yeah,

876
00:44:38,600 --> 00:44:40,400
Speaker 2: was beautiful. And again I think this is why I

877
00:44:40,440 --> 00:44:42,160
Speaker 2: feel like an apprentice a lot of the times, because

878
00:44:42,160 --> 00:44:43,759
Speaker 2: I'm working with older actors.

879
00:44:44,600 --> 00:44:47,680
Speaker 1: Well, even like Phoebe Tolkien's was on that show and

880
00:44:47,719 --> 00:44:51,520
Speaker 1: she's massive in She's in the Originals, like she's a

881
00:44:51,880 --> 00:44:52,600
Speaker 1: our house.

882
00:44:53,000 --> 00:44:55,040
Speaker 2: Yeah, And to me, I'm like, oh yeah, Phoebe, hey young,

883
00:44:55,160 --> 00:44:56,120
Speaker 2: Like I don't have.

884
00:44:56,120 --> 00:44:59,240
Speaker 1: Any really, I was like wow, yeah.

885
00:44:59,239 --> 00:45:02,760
Speaker 2: No like you. And Lee to me was like because

886
00:45:02,760 --> 00:45:04,359
Speaker 2: I'd seen him in my very first play that i'd

887
00:45:04,400 --> 00:45:06,720
Speaker 2: seen when I moved his city and that's my second

888
00:45:06,719 --> 00:45:09,360
Speaker 2: time working with him, and in the because he was

889
00:45:09,360 --> 00:45:11,560
Speaker 2: in Deadline and I was the lead, and that he

890
00:45:11,640 --> 00:45:17,440
Speaker 2: was young Murdock and then in this I was kind

891
00:45:17,480 --> 00:45:20,000
Speaker 2: of his support to his story, you know, and to

892
00:45:20,040 --> 00:45:22,040
Speaker 2: watch him every day and to go to set my

893
00:45:22,160 --> 00:45:24,000
Speaker 2: game with glend and Ivan was I dress up all

894
00:45:24,040 --> 00:45:26,320
Speaker 2: in black and go to set as like a grip

895
00:45:26,560 --> 00:45:28,799
Speaker 2: and help out the Alexi just kind of do bits

896
00:45:28,800 --> 00:45:31,680
Speaker 2: and pieces, but where earphone so that I could listen

897
00:45:31,719 --> 00:45:34,240
Speaker 2: to what was happening on the set and what actors

898
00:45:34,239 --> 00:45:36,799
Speaker 2: were being told, and then just so I could learn

899
00:45:36,840 --> 00:45:39,440
Speaker 2: what's happening, because Glendon's direction and the way that he

900
00:45:39,520 --> 00:45:44,120
Speaker 2: works was really interesting and I just felt like that

901
00:45:44,239 --> 00:45:46,279
Speaker 2: was also a very modern way of working and I

902
00:45:46,320 --> 00:45:50,600
Speaker 2: wanted to learn more about it. Was very subtle. Yeah,

903
00:45:50,640 --> 00:45:52,680
Speaker 2: and then at lunchtime you just kind of get into

904
00:45:52,719 --> 00:45:56,200
Speaker 2: his eyeline and be like, Hey the fuck you're here again?

905
00:45:56,960 --> 00:45:57,600
Speaker 2: What are you doing?

906
00:45:58,800 --> 00:46:03,000
Speaker 1: Can I ask a question about I saw from Safe Harbor?

907
00:46:03,200 --> 00:46:07,600
Speaker 1: Your character gets like pretty brutally bashed up? Oh yeah,

908
00:46:07,600 --> 00:46:10,319
Speaker 1: how so is that like this might sound like a

909
00:46:10,400 --> 00:46:12,759
Speaker 1: really naive question, but do you but is it like

910
00:46:13,400 --> 00:46:17,600
Speaker 1: good choreography and then great makeup? How does that go down? Yes?

911
00:46:17,960 --> 00:46:22,279
Speaker 2: Pretty much? Yeah. So Jimmy, he's a New Zealander boy.

912
00:46:22,360 --> 00:46:23,960
Speaker 2: Jimmy lives in the Gold Coast. There's lots of those

913
00:46:23,960 --> 00:46:27,080
Speaker 2: bigger films that shoot in Brisbane and stuff. He was

914
00:46:27,120 --> 00:46:32,000
Speaker 2: our stunty, amazingly talented guy and basically the brutality we

915
00:46:32,000 --> 00:46:34,319
Speaker 2: wanted to get for Roberts character was that he was

916
00:46:34,360 --> 00:46:37,720
Speaker 2: ex Special Forces in Afghanistan, so we wanted to see

917
00:46:37,800 --> 00:46:42,040
Speaker 2: that kind of like just choreography of just brutality, just

918
00:46:43,120 --> 00:46:48,000
Speaker 2: sheer force. And Cora Montablanc who is a Canadian woman

919
00:46:48,000 --> 00:46:53,040
Speaker 2: who's amazing. She was makeup and it's just really good

920
00:46:53,040 --> 00:46:56,799
Speaker 2: makeup mixed with great choreography. And Sam Chippy, who was

921
00:46:56,800 --> 00:46:59,080
Speaker 2: the cinematographer, going for angles where you're going to get

922
00:46:59,120 --> 00:47:02,080
Speaker 2: confronted by so when he rolls over and he spits

923
00:47:02,120 --> 00:47:04,680
Speaker 2: out of the blood on the floor, you know, a

924
00:47:04,680 --> 00:47:06,279
Speaker 2: lot of this, a lot of Safe Harbor was never

925
00:47:06,320 --> 00:47:09,480
Speaker 2: shot on sticks. So you've got Sam awkwardly behind a

926
00:47:09,520 --> 00:47:12,040
Speaker 2: couch next to a wall in a position that you

927
00:47:12,040 --> 00:47:13,759
Speaker 2: couldn't scrap anything out of the way, you didn't have

928
00:47:13,800 --> 00:47:15,640
Speaker 2: time to. He just kind of like stunk in and

929
00:47:15,800 --> 00:47:18,960
Speaker 2: like put his back in a really awkward place and

930
00:47:19,000 --> 00:47:22,560
Speaker 2: got the shot. So yeah, and then also being trusted

931
00:47:22,880 --> 00:47:25,000
Speaker 2: even though there is the possibility of having a stunty

932
00:47:25,320 --> 00:47:29,600
Speaker 2: that you can that you can get that story from it,

933
00:47:29,760 --> 00:47:31,879
Speaker 2: that you can do it, you know, because the ending,

934
00:47:32,760 --> 00:47:34,680
Speaker 2: like I watched that scene round on me just the

935
00:47:34,760 --> 00:47:36,680
Speaker 2: other day when I was cutting show real stuff, I

936
00:47:36,719 --> 00:47:40,319
Speaker 2: saw that when he stumbles down the staircase and walks away. Yeah,

937
00:47:40,480 --> 00:47:41,840
Speaker 2: and I got in my head. I'm like, why are

938
00:47:41,880 --> 00:47:44,080
Speaker 2: you stumbling? Like it's you just got punched in the head.

939
00:47:44,080 --> 00:47:46,719
Speaker 2: You didn't get kicked in the legs or anything. I'm like,

940
00:47:46,800 --> 00:47:48,000
Speaker 2: what are you so?

941
00:47:48,840 --> 00:47:52,279
Speaker 1: I love that you that you analyzed yourself after the fact, though,

942
00:47:52,360 --> 00:47:52,719
Speaker 1: like I.

943
00:47:52,640 --> 00:47:55,919
Speaker 2: Love the worst, oh the worst. I hate watching myself now,

944
00:47:55,960 --> 00:47:59,080
Speaker 2: but newsed to I didn't. I didn't mind it normally,

945
00:47:59,120 --> 00:48:02,120
Speaker 2: but now I'm like, hmmm, why are you doing that

946
00:48:02,320 --> 00:48:03,279
Speaker 2: you got hit in the head.

947
00:48:04,880 --> 00:48:07,920
Speaker 1: Can I ask a really technical question? And the reason

948
00:48:07,960 --> 00:48:10,080
Speaker 1: I want to ask is this is I've heard you

949
00:48:10,120 --> 00:48:12,400
Speaker 1: speak to it, and Cody Fern as well speaks to it,

950
00:48:12,440 --> 00:48:17,640
Speaker 1: and you've talked about learning when on set, like on

951
00:48:17,719 --> 00:48:20,880
Speaker 1: set mid kind of like shoot when lenses get changed,

952
00:48:21,160 --> 00:48:24,279
Speaker 1: and understanding okay, I can move a little bit more

953
00:48:24,320 --> 00:48:27,080
Speaker 1: this way when that lenses on, like and Cody Oasis

954
00:48:27,160 --> 00:48:29,560
Speaker 1: is like, no, your lenses, understand what lens they're using.

955
00:48:29,560 --> 00:48:31,640
Speaker 1: And I was like, holy Mac, there is so much

956
00:48:31,719 --> 00:48:34,960
Speaker 1: more to this. And you think, and I think you

957
00:48:35,080 --> 00:48:37,680
Speaker 1: mentioned in the joy I heard was what you were learning.

958
00:48:37,840 --> 00:48:40,759
Speaker 1: You really were aware of that on Deadline Gallipoli and

959
00:48:40,800 --> 00:48:43,360
Speaker 1: there was an actor that you just watched go just

960
00:48:43,400 --> 00:48:46,200
Speaker 1: they turned a little bit more one angle when the

961
00:48:46,800 --> 00:48:47,680
Speaker 1: lenses got changing.

962
00:48:48,840 --> 00:48:50,480
Speaker 2: Sam Worthington would do it. And I think and I

963
00:48:50,520 --> 00:48:56,920
Speaker 2: watched Avatar again during Quarantine and because he's so insanely good. Yeah,

964
00:48:56,960 --> 00:48:58,920
Speaker 2: I think it's because of working with guys like James

965
00:48:58,920 --> 00:49:03,920
Speaker 2: Cameron and and knowing that there is a massive difference,

966
00:49:04,320 --> 00:49:06,319
Speaker 2: a beautiful difference, when it's then going to be played

967
00:49:06,320 --> 00:49:08,799
Speaker 2: on a screen that's you know, five times there's the

968
00:49:08,840 --> 00:49:11,440
Speaker 2: height of your house right, because you've got a headlant

969
00:49:11,440 --> 00:49:13,520
Speaker 2: it that way. It's like if you're doing film. I

970
00:49:13,520 --> 00:49:16,600
Speaker 2: remember talking to Thomas Kretschman and he's like, stop blinking.

971
00:49:17,280 --> 00:49:19,640
Speaker 2: What it's like, you're blinking a lot. I'm like, yeah,

972
00:49:19,680 --> 00:49:21,880
Speaker 2: because it's dusty, and he's like, yeah, just try not

973
00:49:21,960 --> 00:49:25,320
Speaker 2: to because when you blink it feels like it's nothing

974
00:49:25,320 --> 00:49:27,000
Speaker 2: for us. But your eye is going to be three

975
00:49:27,000 --> 00:49:30,200
Speaker 2: foot ah of course, so it's going to be really

976
00:49:30,200 --> 00:49:32,560
Speaker 2: disturbing to see. It's kind of like this war going

977
00:49:32,600 --> 00:49:34,319
Speaker 2: up and down. It's like, just hold your eye open.

978
00:49:34,400 --> 00:49:38,640
Speaker 2: It's going to be more more picturesque. Who would have.

979
00:49:38,560 --> 00:49:40,319
Speaker 1: Thought that though, do you know what I mean? Like,

980
00:49:40,360 --> 00:49:43,400
Speaker 1: that's what's so fascinating and about Yeah, the lenses and

981
00:49:43,440 --> 00:49:46,920
Speaker 1: what I guess it sounds like you're working with different people,

982
00:49:46,960 --> 00:49:50,640
Speaker 1: different directors, different they called doo bort are the people

983
00:49:50,640 --> 00:49:52,040
Speaker 1: that are in chargeps.

984
00:49:52,120 --> 00:49:54,600
Speaker 2: You've got your dops and your sinning, so there you

985
00:49:54,719 --> 00:49:56,719
Speaker 2: kind of go to. But then the same thing you've

986
00:49:56,719 --> 00:50:00,400
Speaker 2: picked apart guys like your gaffs and picking apart talking

987
00:50:00,520 --> 00:50:05,080
Speaker 2: to My favorite is talking to those people behind the

988
00:50:05,160 --> 00:50:08,520
Speaker 2: mechanism of the camera so that I know that I'm

989
00:50:08,560 --> 00:50:11,920
Speaker 2: servicing my grip. If Grip has to do a move

990
00:50:11,960 --> 00:50:14,719
Speaker 2: on a dolly and get the timing right, I'm going

991
00:50:14,800 --> 00:50:16,759
Speaker 2: to be when everybody else is setting up and they're

992
00:50:16,760 --> 00:50:18,560
Speaker 2: going jog, we just get this. I'm like, yeah, I've

993
00:50:18,560 --> 00:50:20,479
Speaker 2: just got to mark with this with Mark, So Mark,

994
00:50:20,880 --> 00:50:22,520
Speaker 2: you want to walk with me? And he'll just walk

995
00:50:23,360 --> 00:50:25,200
Speaker 2: and we'll do it once or twice and be like okay, cool,

996
00:50:25,239 --> 00:50:26,799
Speaker 2: Now we're going to get it and people are going

997
00:50:27,680 --> 00:50:29,680
Speaker 2: You know that, people might think you're wasting time, but

998
00:50:29,719 --> 00:50:32,160
Speaker 2: to me, that's like if we know what we're doing together,

999
00:50:32,200 --> 00:50:34,520
Speaker 2: the SHOT's never going to be a failure and the

1000
00:50:34,600 --> 00:50:37,480
Speaker 2: shot is what is happening in this Like that's the

1001
00:50:37,520 --> 00:50:41,080
Speaker 2: difficult part of this move is that rather than me

1002
00:50:41,160 --> 00:50:43,280
Speaker 2: picking up a prop or saying a line that's easy,

1003
00:50:43,800 --> 00:50:46,719
Speaker 2: but that technical move is difficult. So let's rehearse that

1004
00:50:47,480 --> 00:50:49,680
Speaker 2: rather than just jump in because otherwise we're doing it

1005
00:50:49,760 --> 00:50:55,040
Speaker 2: five times before. Yeah, there's there's definitely different things and

1006
00:50:55,080 --> 00:50:59,560
Speaker 2: different stuff to focus on for different productions and some things.

1007
00:51:00,320 --> 00:51:03,279
Speaker 2: You know, with Miss Fish's season one, there was a

1008
00:51:03,320 --> 00:51:05,960
Speaker 2: moment in episode two where I wanted no episode three

1009
00:51:05,960 --> 00:51:08,480
Speaker 2: where I wanted to know something and the director felt

1010
00:51:08,520 --> 00:51:10,319
Speaker 2: like I was asking too many questions and that that

1011
00:51:10,360 --> 00:51:12,920
Speaker 2: would get in the way of my acting, and you

1012
00:51:13,160 --> 00:51:13,880
Speaker 2: kind of got to go.

1013
00:51:13,960 --> 00:51:18,080
Speaker 1: Then we'll you've heard you've heard those stories though, like

1014
00:51:19,600 --> 00:51:23,840
Speaker 1: Blue Jasmine with Woody Allen and Kate Blanchett, and she

1015
00:51:24,000 --> 00:51:26,040
Speaker 1: was like, should I go to the vodka? Like she

1016
00:51:26,080 --> 00:51:29,040
Speaker 1: was asking about going to the vodka class like, because

1017
00:51:29,040 --> 00:51:30,960
Speaker 1: she's got that Blanche esque. I don't know if you've

1018
00:51:30,960 --> 00:51:33,040
Speaker 1: seen it, but there's a blanche neess about her character

1019
00:51:33,719 --> 00:51:36,480
Speaker 1: and she just finished playing Blanche from the Street Car

1020
00:51:36,680 --> 00:51:39,560
Speaker 1: and so she was like, oh, with she'd asked a

1021
00:51:39,640 --> 00:51:42,799
Speaker 1: very specific question about the vodka glass, and he turned

1022
00:51:42,800 --> 00:51:44,879
Speaker 1: around and said something like, stop asking me questions. You're

1023
00:51:44,880 --> 00:51:48,359
Speaker 1: being insecure. You know is a big thing.

1024
00:51:48,600 --> 00:51:50,200
Speaker 2: Yeah, there's a there's a and that's the thing with

1025
00:51:50,239 --> 00:51:53,360
Speaker 2: the lenses. I'm all for knowing and understanding it. But

1026
00:51:54,080 --> 00:51:57,120
Speaker 2: even the same as who was I listening to the

1027
00:51:57,200 --> 00:52:00,759
Speaker 2: other day, filmmaker who then went on set was going

1028
00:52:00,840 --> 00:52:05,040
Speaker 2: to be like, oh god, a director who was an

1029
00:52:05,040 --> 00:52:08,080
Speaker 2: actor who then active director went on set started doing

1030
00:52:08,080 --> 00:52:10,359
Speaker 2: stuff and never wanted to be the guy who was like, Oh,

1031
00:52:10,400 --> 00:52:11,920
Speaker 2: that's what you're shooting it on. That's Oh, that's an

1032
00:52:11,920 --> 00:52:14,960
Speaker 2: interesting to take. That's what you're gonna do. Because once

1033
00:52:15,000 --> 00:52:16,680
Speaker 2: you know, and once you've like I've made two short

1034
00:52:16,719 --> 00:52:19,160
Speaker 2: films now and made other things, and you know that

1035
00:52:19,200 --> 00:52:22,239
Speaker 2: when there's a certain thing but you don't in that realm,

1036
00:52:22,239 --> 00:52:23,919
Speaker 2: you got to go, well, I'm acted today. I don't

1037
00:52:23,960 --> 00:52:26,120
Speaker 2: ask them. Yeah yeah, but to shut my mouth. It's

1038
00:52:26,160 --> 00:52:28,400
Speaker 2: not my place. This is my role where a team

1039
00:52:28,560 --> 00:52:31,200
Speaker 2: they will understand, will get that done. It's not my problem.

1040
00:52:31,400 --> 00:52:32,160
Speaker 2: My problem is this.

1041
00:52:32,680 --> 00:52:34,799
Speaker 1: I think it's about reading the play too. Like I've

1042
00:52:34,840 --> 00:52:37,040
Speaker 1: done ad campaigns and I'm like, oh, what are you

1043
00:52:37,040 --> 00:52:39,480
Speaker 1: shooting on? And they're like, she wants to know, okay,

1044
00:52:39,520 --> 00:52:41,560
Speaker 1: And it'll often be a bit of fun on set.

1045
00:52:41,960 --> 00:52:44,760
Speaker 1: But I guess it also depends on reading the play,

1046
00:52:44,800 --> 00:52:47,840
Speaker 1: like is it really is there space and time for that,

1047
00:52:47,880 --> 00:52:51,000
Speaker 1: because obviously, like time is money, especially with all.

1048
00:52:50,920 --> 00:52:52,919
Speaker 2: This time and space, that's such a good way where

1049
00:52:53,680 --> 00:52:56,759
Speaker 2: I fight. Choreographer who taught me a nither and a

1050
00:52:56,800 --> 00:52:59,520
Speaker 2: clown teacher. It's one of my favorite things at time

1051
00:52:59,520 --> 00:53:01,640
Speaker 2: and space. He's like, what is it that makes a

1052
00:53:01,719 --> 00:53:05,239
Speaker 2: fight or how do you fight? Like what do you

1053
00:53:05,320 --> 00:53:07,440
Speaker 2: use when you're fighting? I'm like, well your body and

1054
00:53:07,480 --> 00:53:12,360
Speaker 2: he's like no, Like okay, your mind. He's like no,

1055
00:53:12,920 --> 00:53:16,320
Speaker 2: Like okay, well what it goes time and space because

1056
00:53:16,320 --> 00:53:18,239
Speaker 2: you're trying to either take time away from them or

1057
00:53:18,280 --> 00:53:21,560
Speaker 2: give them time, or give yourself time, or take space

1058
00:53:21,960 --> 00:53:24,239
Speaker 2: or give yourself space, Like you're backing up to give

1059
00:53:24,280 --> 00:53:26,920
Speaker 2: yourself space and time to react, or you're coming in

1060
00:53:26,960 --> 00:53:29,200
Speaker 2: to remove space from them and take time from them

1061
00:53:29,200 --> 00:53:34,080
Speaker 2: so that you can inact. Yeah, it's such a big

1062
00:53:34,120 --> 00:53:36,000
Speaker 2: thing to think about. You're like, oh, it's only that

1063
00:53:36,320 --> 00:53:38,799
Speaker 2: you know, And the same thing is when time and

1064
00:53:38,840 --> 00:53:41,200
Speaker 2: space if you're being rushed as an actor, know that

1065
00:53:41,239 --> 00:53:43,640
Speaker 2: you can ask for that time and the space, or

1066
00:53:43,719 --> 00:53:45,919
Speaker 2: know that on your call sheet. If you've got eight

1067
00:53:45,960 --> 00:53:47,879
Speaker 2: scenes that day and you're doing it in the first

1068
00:53:47,920 --> 00:53:50,160
Speaker 2: scene of the day, maybe you're doing it because you're

1069
00:53:50,160 --> 00:53:52,680
Speaker 2: trying to find rhythm. Maybe you're doing it because you're

1070
00:53:52,680 --> 00:53:54,400
Speaker 2: nervous about something at the end of the day. So

1071
00:53:54,440 --> 00:53:56,799
Speaker 2: if you just jump into this one by the end

1072
00:53:56,840 --> 00:53:58,640
Speaker 2: of the day, you're to have that time and space

1073
00:53:58,680 --> 00:54:02,840
Speaker 2: to go. I just need two minutes. Yeah, and everyone

1074
00:54:02,840 --> 00:54:04,799
Speaker 2: on set will go, Okay, cool, because you've been at

1075
00:54:04,800 --> 00:54:08,040
Speaker 2: it for twelve hours, So let's give you this chance.

1076
00:54:09,760 --> 00:54:11,279
Speaker 1: Do you know we've been going for only an hour

1077
00:54:11,320 --> 00:54:13,560
Speaker 1: and I could totally keep talking to you. I quickly

1078
00:54:13,560 --> 00:54:17,279
Speaker 1: want to ask about we have the theater because you

1079
00:54:17,440 --> 00:54:24,520
Speaker 1: were in the MTC production of Yesterday. Yeah, so I

1080
00:54:24,600 --> 00:54:26,879
Speaker 1: got to say, there's some really great stuff online about

1081
00:54:26,880 --> 00:54:29,480
Speaker 1: the costumes. Was it so much fun doing like a

1082
00:54:29,560 --> 00:54:32,799
Speaker 1: post war a place at post war like that? And

1083
00:54:33,400 --> 00:54:35,240
Speaker 1: is it America as well as in Washington?

1084
00:54:35,560 --> 00:54:38,480
Speaker 2: It's in Washington. Yeah, And a lot of what I've

1085
00:54:38,520 --> 00:54:42,080
Speaker 2: done is really beautifully made. Do you know what I mean?

1086
00:54:42,120 --> 00:54:45,960
Speaker 2: I think Safe Harbor and Mystery road with a first

1087
00:54:46,320 --> 00:54:48,080
Speaker 2: or probably like one of the only ones where it's

1088
00:54:48,120 --> 00:54:50,480
Speaker 2: much more modern and just kind of get him a

1089
00:54:50,480 --> 00:54:52,840
Speaker 2: good blazer and a nice great T shirt and you know,

1090
00:54:53,000 --> 00:54:55,600
Speaker 2: not that there's not a thought in that, but when

1091
00:54:55,640 --> 00:54:58,360
Speaker 2: you're doing these beautiful pieces, even with rich uncle Brian.

1092
00:54:58,080 --> 00:55:00,960
Speaker 1: Where they are oh yeah, fund.

1093
00:55:01,080 --> 00:55:03,480
Speaker 2: Luscious and you have and you have a lot of input,

1094
00:55:03,520 --> 00:55:07,840
Speaker 2: you know, and same as the suits and the makers

1095
00:55:07,840 --> 00:55:11,200
Speaker 2: at EMPTC are amazing, you know, some incredibly talented people.

1096
00:55:11,239 --> 00:55:13,759
Speaker 2: And what they made for Christy will and Brown and

1097
00:55:13,840 --> 00:55:17,680
Speaker 2: her set pieces and nighttime gowns and you know, the

1098
00:55:17,760 --> 00:55:21,160
Speaker 2: made costumes and the suits were amazing and beautiful. So

1099
00:55:21,200 --> 00:55:23,440
Speaker 2: that was a ton of fun. And I really want

1100
00:55:23,440 --> 00:55:25,400
Speaker 2: to do more theater, you know, I'd really love to,

1101
00:55:25,480 --> 00:55:28,000
Speaker 2: and I think I'm lucky and that my agents, both

1102
00:55:28,000 --> 00:55:30,319
Speaker 2: here and overseas, are all for that. They get it,

1103
00:55:30,640 --> 00:55:32,520
Speaker 2: they get that it fuels me and that it's something

1104
00:55:32,560 --> 00:55:34,759
Speaker 2: I really want to do. You know, the dream job

1105
00:55:34,880 --> 00:55:39,120
Speaker 2: is to do. Daniel Craig was shooting Double seven with

1106
00:55:39,200 --> 00:55:43,160
Speaker 2: Judy denj the Dame and in the evenings was doing

1107
00:55:43,200 --> 00:55:44,359
Speaker 2: a play with her on the West End.

1108
00:55:44,600 --> 00:55:46,520
Speaker 1: Oh wow, that's a pretty good dream.

1109
00:55:46,760 --> 00:55:49,959
Speaker 2: That's like, man, you're busy as hell. But that's that's

1110
00:55:50,040 --> 00:55:51,759
Speaker 2: kind of the level I want to get to and

1111
00:55:52,040 --> 00:55:55,359
Speaker 2: to be able to do that here in Australia when

1112
00:55:55,560 --> 00:55:58,879
Speaker 2: when production starts up again in our studios are full

1113
00:55:58,920 --> 00:56:01,880
Speaker 2: flight and really big. You know, that'd be a dream

1114
00:56:01,920 --> 00:56:03,920
Speaker 2: come true. But it was a beautiful thing to be

1115
00:56:04,000 --> 00:56:05,640
Speaker 2: back in therecause I've.

1116
00:56:05,520 --> 00:56:08,080
Speaker 1: Heard your dream. I've heard your dream is to be

1117
00:56:08,120 --> 00:56:12,359
Speaker 1: in a Western and play is it Magneto's son the.

1118
00:56:13,000 --> 00:56:17,160
Speaker 2: Michael fastb Yeah, man, I think we get along really well.

1119
00:56:17,800 --> 00:56:20,680
Speaker 2: I can't see that, like, you know, that's a dream,

1120
00:56:20,760 --> 00:56:24,879
Speaker 2: that's a dream. That's like I'm all for that manifestation thing.

1121
00:56:25,080 --> 00:56:29,239
Speaker 2: Like really, you know, to be Hugh Jackman's son in

1122
00:56:29,280 --> 00:56:30,880
Speaker 2: something would be insane.

1123
00:56:30,800 --> 00:56:33,600
Speaker 1: But well you've already got the Peter Allen thing in

1124
00:56:33,680 --> 00:56:34,360
Speaker 1: common there.

1125
00:56:34,719 --> 00:56:39,360
Speaker 2: Yeah yeah, and those yeah, Western would be amazing Western

1126
00:56:39,400 --> 00:56:42,680
Speaker 2: set in Pilbra, you know. Instead in Australia that's all

1127
00:56:42,680 --> 00:56:44,920
Speaker 2: other world lands, a little bit of Apocalypto.

1128
00:56:44,440 --> 00:56:45,719
Speaker 1: Or oh yeah.

1129
00:56:45,800 --> 00:56:47,879
Speaker 2: George Miller is another big ticket item that I really

1130
00:56:47,880 --> 00:56:50,320
Speaker 2: want to really want to get in just because the

1131
00:56:50,400 --> 00:56:54,440
Speaker 2: same thing. He's so detailed, he's so expansive, you just

1132
00:56:54,520 --> 00:56:56,520
Speaker 2: kind of feel like you're actually there's no acting required

1133
00:56:56,520 --> 00:56:57,800
Speaker 2: because you're in his world.

1134
00:56:58,200 --> 00:57:02,040
Speaker 1: Yeah, fully immersed, do you? And you said earlier you

1135
00:57:02,120 --> 00:57:04,240
Speaker 1: kind of want to go. I know we're in COVID

1136
00:57:04,320 --> 00:57:07,959
Speaker 1: kind of lockdown globally at the moment, but the plan

1137
00:57:08,120 --> 00:57:10,560
Speaker 1: is probably a bit of a UK after this.

1138
00:57:11,200 --> 00:57:14,399
Speaker 2: Yeah, once it all kind of settles a bit. Yeah,

1139
00:57:14,440 --> 00:57:16,720
Speaker 2: maybe go back there because I've got my visa and

1140
00:57:17,120 --> 00:57:20,160
Speaker 2: my team is amazing there, so good And I think

1141
00:57:20,200 --> 00:57:22,160
Speaker 2: to you, as much as you can test from anywhere

1142
00:57:22,160 --> 00:57:24,400
Speaker 2: in the world now because it's flat because of technology,

1143
00:57:26,000 --> 00:57:28,439
Speaker 2: you still there. Still is a massive thing that comes

1144
00:57:28,440 --> 00:57:30,280
Speaker 2: from being on the ground and showing up.

1145
00:57:30,480 --> 00:57:33,600
Speaker 1: And your mate Charles dancers there. So I think it's

1146
00:57:33,600 --> 00:57:37,320
Speaker 1: a no brainer. I saw on your Instagram yesterday the

1147
00:57:37,400 --> 00:57:40,320
Speaker 1: trailer for I Met a Girl. So is that by

1148
00:57:40,360 --> 00:57:42,360
Speaker 1: the time this comes out, it will already be out

1149
00:57:42,360 --> 00:57:45,160
Speaker 1: in America, but Australia will be next year? Is that right?

1150
00:57:45,280 --> 00:57:48,680
Speaker 2: Australia will be next year? And that is something I'm

1151
00:57:48,680 --> 00:57:50,320
Speaker 2: really proud of too. I mean that was, yeah, that

1152
00:57:50,400 --> 00:57:53,800
Speaker 2: was hard work because I'd never thought of acting as

1153
00:57:53,840 --> 00:57:57,920
Speaker 2: therapy ever. Ever, I thought it was a really selfish

1154
00:57:57,920 --> 00:58:00,560
Speaker 2: way to view an art form because not for you

1155
00:58:00,640 --> 00:58:04,280
Speaker 2: with other people. And during that shoot, I lost my

1156
00:58:04,520 --> 00:58:07,000
Speaker 2: mom's mum and my dad's dads and my granddad and

1157
00:58:07,080 --> 00:58:11,360
Speaker 2: my man within the space of like three weeks. And

1158
00:58:11,400 --> 00:58:15,520
Speaker 2: it was remarkably tough, you know, like I'd never Yeah,

1159
00:58:15,640 --> 00:58:21,240
Speaker 2: it was huge to see the kind of cornerstones of

1160
00:58:21,280 --> 00:58:25,000
Speaker 2: both families. Yeah, and see the fallat from that and

1161
00:58:25,040 --> 00:58:26,720
Speaker 2: be there on the ground and then actually have to

1162
00:58:26,760 --> 00:58:30,240
Speaker 2: be this strong character for this other story.

1163
00:58:32,040 --> 00:58:34,880
Speaker 1: Did it change what you did? Did it change? It

1164
00:58:34,920 --> 00:58:37,160
Speaker 1: would have changed your experience, But do you think it

1165
00:58:37,240 --> 00:58:38,680
Speaker 1: changed your portrayal of the character?

1166
00:58:39,480 --> 00:58:42,320
Speaker 2: Yeah, definitely. And I think what was great about it

1167
00:58:42,360 --> 00:58:45,200
Speaker 2: is that if there's a great thing about that, like

1168
00:58:45,280 --> 00:58:48,040
Speaker 2: what it did is that I'm normally quite an energetic,

1169
00:58:48,960 --> 00:58:52,280
Speaker 2: up and go kind of guy. I'm quite but I

1170
00:58:52,320 --> 00:58:54,360
Speaker 2: contame that and put it into a portrayal of something

1171
00:58:54,360 --> 00:58:57,880
Speaker 2: that's more relaxed and subtle and calm. But in this instance,

1172
00:58:57,920 --> 00:59:02,479
Speaker 2: like life just hit me and it really slowed me down,

1173
00:59:03,040 --> 00:59:04,800
Speaker 2: and it really opened me up to the script and

1174
00:59:04,840 --> 00:59:07,320
Speaker 2: it really opened me up to what was happening in

1175
00:59:07,400 --> 00:59:10,160
Speaker 2: the moment. And talking to Luke Eve, the director, and

1176
00:59:10,200 --> 00:59:13,360
Speaker 2: to the brothers the Dolman Brothers writer and producer Adam

1177
00:59:13,400 --> 00:59:18,200
Speaker 2: and Glenn and seeing the bigger picture and talking to

1178
00:59:18,240 --> 00:59:22,200
Speaker 2: people who have been cares for their family members who

1179
00:59:22,200 --> 00:59:25,400
Speaker 2: were schizophrenic and dealing with mental health issues, and yeah,

1180
00:59:25,480 --> 00:59:28,640
Speaker 2: it was like, oh wow, there's a lot more outside

1181
00:59:28,680 --> 00:59:30,640
Speaker 2: of what you kind of want to do as acted

1182
00:59:30,680 --> 00:59:34,520
Speaker 2: with character and slowing down and going, oh, life isn't

1183
00:59:34,520 --> 00:59:38,360
Speaker 2: always easy or life isn't always pretty made me then

1184
00:59:39,600 --> 00:59:41,560
Speaker 2: open it up to other people's I know that sounds

1185
00:59:41,600 --> 00:59:44,040
Speaker 2: really silly, but it made me slow down and go, oh,

1186
00:59:44,120 --> 00:59:45,280
Speaker 2: other people are in pain too.

1187
00:59:46,640 --> 00:59:50,520
Speaker 1: And I think one thing that I'm thirty four, and

1188
00:59:50,560 --> 00:59:52,640
Speaker 1: I think that one thing you learn around that, like

1189
00:59:52,880 --> 00:59:56,960
Speaker 1: late twenties, early thirties, is you learn a lot about mortality.

1190
00:59:57,720 --> 01:00:00,800
Speaker 1: And you know, in your early twenties you're like, I'm immortal,

1191
01:00:00,840 --> 01:00:02,920
Speaker 1: I've got all this time, I'm going to do everything,

1192
01:00:03,000 --> 01:00:07,760
Speaker 1: and because of these dreams, and I think when you

1193
01:00:07,840 --> 01:00:13,240
Speaker 1: get really real about whoa and it's there's a famous

1194
01:00:13,360 --> 01:00:20,960
Speaker 1: quote and it's by Sir Patrick Stewart, one of the Ogs,

1195
01:00:21,120 --> 01:00:23,920
Speaker 1: and he said he realized at sixty he was like,

1196
01:00:24,000 --> 01:00:26,480
Speaker 1: I'm not going to live long enough to read everything

1197
01:00:26,480 --> 01:00:29,400
Speaker 1: that I want to read, and so he said, Now

1198
01:00:29,480 --> 01:00:31,800
Speaker 1: I get up every day and I read for an

1199
01:00:31,840 --> 01:00:33,360
Speaker 1: hour before I do anything else.

1200
01:00:33,680 --> 01:00:33,919
Speaker 2: Wow.

1201
01:00:34,040 --> 01:00:35,960
Speaker 1: And he if you follow him on Instagram, he does

1202
01:00:35,960 --> 01:00:36,760
Speaker 1: a sonic a day.

1203
01:00:37,080 --> 01:00:38,440
Speaker 2: Yeah, he's my favorite.

1204
01:00:39,200 --> 01:00:42,280
Speaker 1: And he'll be like, I'm I'm just. He'll be like,

1205
01:00:42,320 --> 01:00:46,080
Speaker 1: I'm just. He was making dinner prep and he was

1206
01:00:46,480 --> 01:00:51,080
Speaker 1: de shulling these beans while doing a sonet on his Instagram. Phenomenal.

1207
01:00:51,160 --> 01:00:54,160
Speaker 1: But I think when I heard that, I was like, oh, Wow,

1208
01:00:54,360 --> 01:00:57,800
Speaker 1: Like I we're so lucky to still be young enough

1209
01:00:57,880 --> 01:01:00,760
Speaker 1: to kind of like grab all these opportunity. And I

1210
01:01:00,800 --> 01:01:05,200
Speaker 1: think as shit as understanding and being very aware of

1211
01:01:05,240 --> 01:01:09,240
Speaker 1: your own mortality, it's also a really big gift to

1212
01:01:09,640 --> 01:01:12,640
Speaker 1: really grab life and go for it, which I believe

1213
01:01:12,680 --> 01:01:13,000
Speaker 1: you do.

1214
01:01:13,600 --> 01:01:17,840
Speaker 2: Oh thanks, and I'm with you. There's this amazing thing

1215
01:01:17,960 --> 01:01:20,080
Speaker 2: that I was just at a youth mental health forum

1216
01:01:20,240 --> 01:01:24,280
Speaker 2: a couple of weeks ago, and there was a man

1217
01:01:24,320 --> 01:01:27,320
Speaker 2: who was a psychologist, a children's psychologist, who was talking

1218
01:01:27,320 --> 01:01:29,760
Speaker 2: one of the opening speeches, and he goes change that

1219
01:01:29,840 --> 01:01:32,960
Speaker 2: mindset from I have to to I get to like,

1220
01:01:33,000 --> 01:01:34,800
Speaker 2: I get to wake up every day and even though

1221
01:01:34,800 --> 01:01:36,480
Speaker 2: this is a really shit time at the moment, for

1222
01:01:36,520 --> 01:01:39,800
Speaker 2: so many artists like I get to read this or

1223
01:01:39,800 --> 01:01:43,040
Speaker 2: I get to watch this show, I get to think

1224
01:01:43,040 --> 01:01:45,120
Speaker 2: about what I want to do next. I get to

1225
01:01:45,160 --> 01:01:47,680
Speaker 2: have time to plan rather than be forced to move.

1226
01:01:48,160 --> 01:01:51,800
Speaker 2: I get to that's a wonderful thing. And you're dead

1227
01:01:51,840 --> 01:01:54,240
Speaker 2: right like that awareness. It doesn't take away from it.

1228
01:01:54,240 --> 01:01:57,840
Speaker 2: It really adds to it. It doesn't. It shouldn't cripple you.

1229
01:01:57,960 --> 01:02:00,280
Speaker 2: It should make you like in awe of life. It

1230
01:02:00,360 --> 01:02:05,720
Speaker 2: should totally hopefully. I mean, there's some moments where I'm like, oh.

1231
01:02:04,920 --> 01:02:09,160
Speaker 1: Yeah, I have a green card, and I was on

1232
01:02:09,200 --> 01:02:12,880
Speaker 1: a flight on the thirteenth of March to activate my

1233
01:02:12,960 --> 01:02:16,240
Speaker 1: green card, and I'm like, it's literally sitting in this

1234
01:02:16,400 --> 01:02:20,320
Speaker 1: like waiting limbo game now, and I feel very grateful

1235
01:02:20,360 --> 01:02:23,400
Speaker 1: to be in Australia, but it's also very frustrating when

1236
01:02:23,400 --> 01:02:25,560
Speaker 1: you've worked three years to get a green card.

1237
01:02:25,800 --> 01:02:29,960
Speaker 2: Totally totally. I had a friend exact same thing. She'd

1238
01:02:29,960 --> 01:02:33,040
Speaker 2: just spent ten grand on a renewal of visa and

1239
01:02:33,080 --> 01:02:35,720
Speaker 2: then it was like next week bang yes.

1240
01:02:36,480 --> 01:02:39,000
Speaker 1: But at the same time, so many and you will

1241
01:02:39,000 --> 01:02:41,400
Speaker 1: know this is a creative So much beautiful stuff has

1242
01:02:41,400 --> 01:02:43,800
Speaker 1: come out of this time, and I think often it's

1243
01:02:43,800 --> 01:02:46,200
Speaker 1: not until you look back and go wow, like, look

1244
01:02:46,240 --> 01:02:48,960
Speaker 1: what happened. Look at all that epic stuff I was

1245
01:02:49,000 --> 01:02:51,640
Speaker 1: able to create. Right, you're a writer as well. I

1246
01:02:51,680 --> 01:02:53,880
Speaker 1: didn't even talk about your music career.

1247
01:02:54,160 --> 01:02:54,440
Speaker 2: Aha.

1248
01:02:55,280 --> 01:02:57,280
Speaker 1: Do you know I saw on your Instagram you did

1249
01:02:57,320 --> 01:03:00,800
Speaker 1: some stuff with Little Green Amy Nelson.

1250
01:03:00,920 --> 01:03:02,720
Speaker 2: Yeah, super talented.

1251
01:03:02,360 --> 01:03:05,240
Speaker 1: Musician Bosso who you met earlier. Matt has produced me

1252
01:03:05,320 --> 01:03:09,200
Speaker 1: there and I really yeah, and she pulls the flute out.

1253
01:03:09,320 --> 01:03:10,000
Speaker 1: She's wonderful.

1254
01:03:10,200 --> 01:03:12,760
Speaker 2: I remember seeing how we did a gig randomly through

1255
01:03:12,760 --> 01:03:14,760
Speaker 2: a booking agent where she was in the first half,

1256
01:03:14,840 --> 01:03:17,080
Speaker 2: eight of the second half, and I normally get there

1257
01:03:17,080 --> 01:03:19,200
Speaker 2: early just to watch the act and kind of support

1258
01:03:19,600 --> 01:03:22,840
Speaker 2: because often doing a pub gig, you know, people aren't

1259
01:03:22,880 --> 01:03:25,320
Speaker 2: there's a pub gig, you know, it depends on what

1260
01:03:25,760 --> 01:03:28,880
Speaker 2: it is. But I rocked up and she blew me away.

1261
01:03:29,080 --> 01:03:29,560
Speaker 1: Ah.

1262
01:03:29,640 --> 01:03:30,160
Speaker 2: She was so.

1263
01:03:30,120 --> 01:03:32,640
Speaker 1: Phenomenal, so young, she's so young.

1264
01:03:32,840 --> 01:03:34,480
Speaker 2: And I got her on board for my EP launch

1265
01:03:34,480 --> 01:03:36,480
Speaker 2: in Sydney and she was great. Everyone left kind of

1266
01:03:36,480 --> 01:03:38,480
Speaker 2: being like hey, Amy, I was like, no, it was

1267
01:03:38,520 --> 01:03:43,240
Speaker 2: my EP launch, you fuck like, but no, she's so talented,

1268
01:03:43,280 --> 01:03:46,560
Speaker 2: she's got such an amazing future. Yeah, that's the same

1269
01:03:46,560 --> 01:03:48,480
Speaker 2: thing as doing accent work. You know, she wakes up

1270
01:03:48,480 --> 01:03:50,480
Speaker 2: every day and she produces. She wakes up every day

1271
01:03:50,560 --> 01:03:53,080
Speaker 2: she makes music. Yeah, it's a myriad of instruments. She

1272
01:03:53,160 --> 01:03:53,720
Speaker 2: keeps learning.

1273
01:03:53,880 --> 01:03:58,200
Speaker 1: She's That's what I've kind of picked up about you.

1274
01:03:58,200 --> 01:03:59,880
Speaker 1: Your and I promise I won't keep you for much,

1275
01:04:00,280 --> 01:04:02,520
Speaker 1: but your work ethic is because I was like, how

1276
01:04:02,560 --> 01:04:06,440
Speaker 1: does this guy he's got podcasts music actor write a

1277
01:04:06,880 --> 01:04:10,479
Speaker 1: like how? I'm like how? And I saw an interview

1278
01:04:10,520 --> 01:04:13,720
Speaker 1: where you said at night, are you kind of evoked

1279
01:04:13,760 --> 01:04:15,600
Speaker 1: this monk like discipline?

1280
01:04:16,240 --> 01:04:18,160
Speaker 2: You have done your reason. I'm kind of blown away

1281
01:04:18,160 --> 01:04:19,400
Speaker 2: about how much you've dug up.

1282
01:04:20,000 --> 01:04:21,640
Speaker 1: But I mean, I feel like you probably need that

1283
01:04:21,680 --> 01:04:22,320
Speaker 1: as an actor.

1284
01:04:22,800 --> 01:04:24,720
Speaker 2: Yeah, and I still try to I still try to

1285
01:04:25,160 --> 01:04:27,520
Speaker 2: inhabit it in some way. I'm a bit of an

1286
01:04:27,560 --> 01:04:32,280
Speaker 2: introvert intro Yeah, what is an introverted extrovert? No? Yeah, yeah, yeah,

1287
01:04:32,320 --> 01:04:34,000
Speaker 2: where I like to be quiet, but I can be

1288
01:04:35,000 --> 01:04:36,760
Speaker 2: I get that. I do take a lot of time

1289
01:04:36,760 --> 01:04:37,960
Speaker 2: where I'm like, I just want to sit. I just

1290
01:04:38,000 --> 01:04:40,160
Speaker 2: want to sit and read this thing or contemplate this thing,

1291
01:04:40,280 --> 01:04:43,320
Speaker 2: or like sit and watch that or go and be

1292
01:04:43,440 --> 01:04:45,760
Speaker 2: here for four days.

1293
01:04:46,360 --> 01:04:48,440
Speaker 1: How much would you put down to work, like because

1294
01:04:48,960 --> 01:04:52,440
Speaker 1: to work ethic, yeah all of itt or yeah yeah, yeah, yeah.

1295
01:04:52,320 --> 01:04:53,960
Speaker 2: All of it. And there is a moment people are

1296
01:04:53,960 --> 01:04:56,000
Speaker 2: like yeah, when people go like, oh, it must be nice,

1297
01:04:56,040 --> 01:04:58,919
Speaker 2: I'm like, dude, you have no idea and and work

1298
01:04:58,920 --> 01:05:02,320
Speaker 2: ethic and sacrifice and risk. There's a lot of risk,

1299
01:05:02,400 --> 01:05:06,200
Speaker 2: you know. I remember getting the phone call from Cathleavelle,

1300
01:05:06,200 --> 01:05:09,200
Speaker 2: who was my publiciste and more of like my not

1301
01:05:09,280 --> 01:05:12,600
Speaker 2: my show mom, but she was I was all very

1302
01:05:12,640 --> 01:05:15,200
Speaker 2: new to this stuff, and she was kind of holding

1303
01:05:15,240 --> 01:05:17,240
Speaker 2: my hand through all these events and stuff that I

1304
01:05:17,320 --> 01:05:20,040
Speaker 2: had no idea about or was getting my first introduction to.

1305
01:05:21,040 --> 01:05:23,280
Speaker 2: And I'm open about this stuff because I feel like

1306
01:05:23,480 --> 01:05:26,520
Speaker 2: when we sugarcoat it and make it weird is when

1307
01:05:26,560 --> 01:05:29,400
Speaker 2: people kind of have these grand illusions about it all.

1308
01:05:29,440 --> 01:05:34,040
Speaker 2: But I remember getting the phone call to say, you've

1309
01:05:34,080 --> 01:05:37,960
Speaker 2: won an actor. Can you come home? You know you're

1310
01:05:37,960 --> 01:05:39,400
Speaker 2: going to be here because I was in LA and

1311
01:05:39,440 --> 01:05:40,680
Speaker 2: I didn't want to come back, and they're like, well

1312
01:05:40,720 --> 01:05:41,920
Speaker 2: you need to come back because you have to pick

1313
01:05:41,960 --> 01:05:44,840
Speaker 2: it up. I'm like, Okay, we'll come back. But I

1314
01:05:44,880 --> 01:05:48,600
Speaker 2: was in a really tiny apartment in East Hollywood and

1315
01:05:48,640 --> 01:05:50,000
Speaker 2: there was like just been a shooting out on the

1316
01:05:50,000 --> 01:05:52,320
Speaker 2: street or something, and I've never felt more alone, And

1317
01:05:52,960 --> 01:05:56,040
Speaker 2: you know, was just at the bottom of my wits,

1318
01:05:56,080 --> 01:05:57,520
Speaker 2: going what am I doing? What am I doing? Am

1319
01:05:57,520 --> 01:05:59,800
Speaker 2: I doing what I want to do? Or I I'm

1320
01:05:59,840 --> 01:06:02,000
Speaker 2: really learne. I don't know anyone here. It was my

1321
01:06:02,080 --> 01:06:04,840
Speaker 2: first time in LA and it was very strange. And

1322
01:06:05,040 --> 01:06:08,280
Speaker 2: you've got to calculate that risk, whether it be like

1323
01:06:08,320 --> 01:06:10,840
Speaker 2: a personal sacrifice to take yourself out of a comfort

1324
01:06:10,920 --> 01:06:14,040
Speaker 2: zone to expand or to learn, or to experience something

1325
01:06:14,040 --> 01:06:17,480
Speaker 2: that pushes you in another way. If you're not willing

1326
01:06:17,520 --> 01:06:19,800
Speaker 2: to do that stuff, you're just going to be kind

1327
01:06:19,800 --> 01:06:24,280
Speaker 2: of But in saying that too, there is a massive

1328
01:06:24,320 --> 01:06:27,240
Speaker 2: wealth of being in one place for an extended period

1329
01:06:27,280 --> 01:06:31,760
Speaker 2: of time, growing your communication, growing your toolst growing your

1330
01:06:31,760 --> 01:06:35,160
Speaker 2: core group of creators. Because I definitely can feel like

1331
01:06:35,240 --> 01:06:38,480
Speaker 2: I've done a lot of risk and sacrifice again and

1332
01:06:38,560 --> 01:06:40,320
Speaker 2: hard work on the road and making stuff up as

1333
01:06:40,320 --> 01:06:43,040
Speaker 2: you go along. But then I look at other creators

1334
01:06:43,080 --> 01:06:46,320
Speaker 2: who are have gone the other way and have stayed

1335
01:06:46,360 --> 01:06:49,680
Speaker 2: and grown this group of friends who are now creators

1336
01:06:49,720 --> 01:06:52,160
Speaker 2: that make amazing stuff, and you're like, oh, well, that's

1337
01:06:52,440 --> 01:06:55,520
Speaker 2: really valuable. That is really valuable too, but it comes

1338
01:06:55,800 --> 01:06:58,560
Speaker 2: both share that bloodline of work.

1339
01:06:58,400 --> 01:07:01,720
Speaker 1: Ethic totally with you. Though I like gypsy life. I

1340
01:07:01,840 --> 01:07:03,680
Speaker 1: like feeling like I'll be here for a bit, Oh,

1341
01:07:03,720 --> 01:07:06,000
Speaker 1: be here for a bit, and learning from as many

1342
01:07:06,000 --> 01:07:09,280
Speaker 1: people as you can. Okay, I have for the fiftieth time,

1343
01:07:09,280 --> 01:07:11,360
Speaker 1: I've stolen so much of your time. I have to

1344
01:07:11,440 --> 01:07:13,520
Speaker 1: quickly to a shout out for Polish Man because we're

1345
01:07:13,560 --> 01:07:16,240
Speaker 1: both ambassadors, which is why I got to have you

1346
01:07:16,280 --> 01:07:17,280
Speaker 1: on this podcast.

1347
01:07:17,720 --> 01:07:18,720
Speaker 2: Yeah, no, totally.

1348
01:07:19,160 --> 01:07:22,200
Speaker 1: So that's all about ending violence against children. It's an

1349
01:07:22,200 --> 01:07:26,000
Speaker 1: incredible campaign. Is this your first year doing polish Man or.

1350
01:07:25,960 --> 01:07:28,160
Speaker 2: If you first year, me too.

1351
01:07:28,920 --> 01:07:32,600
Speaker 1: Hey, I know. So they're wonderful. I've seen you've got

1352
01:07:32,600 --> 01:07:35,720
Speaker 1: a link in your instabio to jump on board and support.

1353
01:07:35,840 --> 01:07:40,160
Speaker 1: I do as well. Wonderful, wonderful charity. Please get involved.

1354
01:07:40,240 --> 01:07:42,919
Speaker 1: And is there anything else you want to share, because

1355
01:07:42,960 --> 01:07:44,680
Speaker 1: I know there's still more we could have covered. So

1356
01:07:45,080 --> 01:07:47,920
Speaker 1: I know that this is coming out on the twelfth

1357
01:07:47,960 --> 01:07:50,440
Speaker 1: of November or around about that, So if there's anything

1358
01:07:50,480 --> 01:07:53,880
Speaker 1: you want to share, you know because of the time last.

1359
01:07:53,680 --> 01:07:58,560
Speaker 2: No, no, totally, we there's those things won't be able

1360
01:07:58,560 --> 01:08:01,400
Speaker 2: to be watched yet. Won't be coming out in Australia,

1361
01:08:01,480 --> 01:08:03,320
Speaker 2: but if you if you do want to find out

1362
01:08:03,360 --> 01:08:06,760
Speaker 2: any more about the music or find that other part

1363
01:08:06,800 --> 01:08:10,240
Speaker 2: of me. It's a very Paul Kelly Neil Young Jack Johnson,

1364
01:08:10,240 --> 01:08:10,960
Speaker 2: your kind of trip.

1365
01:08:11,080 --> 01:08:11,560
Speaker 1: It is.

1366
01:08:12,000 --> 01:08:14,280
Speaker 2: That's called Boy on a Wire. That's on Spotify and

1367
01:08:14,320 --> 01:08:17,320
Speaker 2: Apple Music and other platforms wherever you find your music.

1368
01:08:18,720 --> 01:08:20,040
Speaker 2: So What Do You Reckon is a bit of a

1369
01:08:20,040 --> 01:08:23,960
Speaker 2: comedy podcast COVID with where it's just a bit of

1370
01:08:24,000 --> 01:08:26,599
Speaker 2: a laugh, Like it's two friends who debate and discuss

1371
01:08:26,640 --> 01:08:31,599
Speaker 2: a topic that means absolutely nothing, but with like a

1372
01:08:31,600 --> 01:08:33,639
Speaker 2: ton of banter and a ton of really good puns

1373
01:08:33,680 --> 01:08:35,760
Speaker 2: and jokes that I think just give us a little

1374
01:08:35,760 --> 01:08:36,800
Speaker 2: bit of something light.

1375
01:08:37,040 --> 01:08:37,880
Speaker 1: It's nice and light.

1376
01:08:38,439 --> 01:08:42,640
Speaker 2: It's a take which is really fun. And yeah, I

1377
01:08:42,680 --> 01:08:45,000
Speaker 2: suppose check out Polish Demand and if you do have

1378
01:08:45,040 --> 01:08:47,519
Speaker 2: the time, or if you are in a position where

1379
01:08:47,560 --> 01:08:49,519
Speaker 2: you might be working with a bunch of men or

1380
01:08:50,320 --> 01:08:53,000
Speaker 2: you know workspace or your family, to just bring that

1381
01:08:53,160 --> 01:08:55,479
Speaker 2: up and ask them if they wanted to be a

1382
01:08:55,520 --> 01:08:56,920
Speaker 2: part of it. All you have to do is you

1383
01:08:56,920 --> 01:08:59,840
Speaker 2: know Polish one nail, I've got it, I've got my

1384
01:09:00,240 --> 01:09:01,240
Speaker 2: I know I had to take it off because I

1385
01:09:01,280 --> 01:09:03,040
Speaker 2: had to do an audition yesterday and had my hands,

1386
01:09:03,080 --> 01:09:06,760
Speaker 2: so I can't do that. But it is something that

1387
01:09:06,960 --> 01:09:10,120
Speaker 2: is I'm sure it's with you. But when you not

1388
01:09:10,200 --> 01:09:12,200
Speaker 2: only look at the statistics, but even just think about

1389
01:09:14,800 --> 01:09:17,599
Speaker 2: the possibility and potential of domestic violence during a time

1390
01:09:17,640 --> 01:09:23,240
Speaker 2: like this, and especially on fragile families, and you know,

1391
01:09:23,400 --> 01:09:27,639
Speaker 2: the most fragile members of our communities being children, it's

1392
01:09:27,680 --> 01:09:30,840
Speaker 2: a really wonderful thing that why Gap and Polished Man

1393
01:09:31,040 --> 01:09:33,719
Speaker 2: are raising this awareness and raising funds to put towards

1394
01:09:33,880 --> 01:09:36,600
Speaker 2: great initiatives. So if you can support, please go and

1395
01:09:36,640 --> 01:09:37,320
Speaker 2: check it out.

1396
01:09:38,160 --> 01:09:42,960
Speaker 1: Joel Jackson, you are wonderful. You've made my day. I

1397
01:09:43,000 --> 01:09:46,639
Speaker 1: was actually really nervous to this podcast, really because because

1398
01:09:46,680 --> 01:09:49,280
Speaker 1: you've done your you've done so much incredible stuff and

1399
01:09:49,360 --> 01:09:54,040
Speaker 1: I was consuming or going, oh my goodness, what a legend.

1400
01:09:54,120 --> 01:09:57,519
Speaker 1: So yeah, total honor my friend.

1401
01:09:58,160 --> 01:10:01,240
Speaker 2: Thanks for having me and thanks for that conversation. I

1402
01:10:01,240 --> 01:10:03,599
Speaker 2: think it's really great and thanks for the research and

1403
01:10:03,640 --> 01:10:06,680
Speaker 2: that kind of that respect is really felt. So thank you.

1404
01:10:06,720 --> 01:10:09,040
Speaker 2: I think any chance we have to kind of hear

1405
01:10:09,040 --> 01:10:11,240
Speaker 2: someone else's story in and realize that there's no one

1406
01:10:11,320 --> 01:10:13,760
Speaker 2: kind of trodden path with anything in this acting world

1407
01:10:13,880 --> 01:10:16,920
Speaker 2: is like, oh cool. Steal some inspiration from someone and

1408
01:10:17,360 --> 01:10:21,320
Speaker 2: use it in your own kind of craft or discovery

1409
01:10:21,320 --> 01:10:21,840
Speaker 2: of your craft.

1410
01:10:21,920 --> 01:10:25,800
Speaker 1: For sure, Absolutely, you are wonderful. I cannot wait to

1411
01:10:25,800 --> 01:10:28,439
Speaker 1: see what's next for you. Please stay in touch.

1412
01:10:28,640 --> 01:10:30,800
Speaker 2: Thank you, Lola, We'll do you too.

1413
01:10:31,960 --> 01:10:37,599
Speaker 1: That's a wrap on another episode of Fearlessly Failing. As always,

1414
01:10:37,760 --> 01:10:41,120
Speaker 1: thank you to our guests, and let's continue the conversation

1415
01:10:41,280 --> 01:10:46,760
Speaker 1: on Instagram. I'm at Yamo Lola Berry. This potty my

1416
01:10:46,840 --> 01:10:51,599
Speaker 1: word for podcast is available on all streaming platforms. I'd

1417
01:10:51,680 --> 01:10:54,720
Speaker 1: love it if you could subscribe, rate and comment, and

1418
01:10:54,840 --> 01:10:56,559
Speaker 1: of course spread the love.