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Speaker 1: Yeah, we've Woody and I live from Woody's front porch

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Speaker 1: here and you guys listen to a special podcast we

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Speaker 1: are doing are called sidewalk Talk.

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Speaker 2: Got a little bit of extra time in Isolation Woods.

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Speaker 1: Ordinarily all of these guests wouldn't talk to us, but

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Speaker 1: they've got extra time as well.

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Speaker 2: So we are doing sidewalk.

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Speaker 1: Talk with some brilliant people, and one of those people

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Speaker 1: joins us right now.

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Speaker 2: Another guest for Sidewalk Talk is a Ryan Core.

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Speaker 3: This unbelievably talented Ozzie actor has started some of the

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Speaker 3: best hozzy and international dramas out there. Critics raved about

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Speaker 3: his performance in Russell Crow's The Water Diviner, and now

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Speaker 3: he's putting his voice behind the hashtag no Worker Left

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Speaker 3: Behind and want Schoema to help support the arts through

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Speaker 3: covid to discuss that and to talk about the brand

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Speaker 3: new show The Secret She Keeps.

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Speaker 4: It's Ryan Core.

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Speaker 1: Mate, welcome to the show, Super spicy show. Just saw

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Speaker 1: the trailer for The Secret She Keeps. It's going to

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Speaker 1: be the first episode ed last week. You guys can

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Speaker 1: get it on the catch up or stream it on

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Speaker 1: ten Play if you want to. But mate, can you

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Speaker 1: talk to us a little bit about that because it

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Speaker 1: looks riveting it is.

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Speaker 4: It's quite a spooky one, I mean, and that's a

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Speaker 4: huge amount to do with Laura Carmichael, who you might

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Speaker 4: know from Downtown Abbey, who's sort of turned her characters

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Speaker 4: on its head, and she's playing this really terrifying war

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Speaker 4: sociopath and other wonderful lead Jesster Gow And essentially Jesse

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Speaker 4: plays a pregnancy blog. She's blogging about her pregnancies, and

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Speaker 4: she has a husband, Jack, who has a best friend

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Speaker 4: who is me. And it's a psychological thriller that sort

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Speaker 4: of plays out episodically as the most outrageous of things,

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Speaker 4: the most unthinkable of things happen to see your family dynamic,

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Speaker 4: and it sort of praise upon that idea of, you know,

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Speaker 4: the fear associated with the paternal instinct and what if

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Speaker 4: something went wrong and what if they ran away in

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Speaker 4: the supermarket. And I think, you know, I've been saying,

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Speaker 4: I think it's wonderfully ironic and kind of fantastic that

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Speaker 4: families have to sit around the Talent Vision set and

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Speaker 4: watch this show about family has being terrifying. You know,

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Speaker 4: that gives me some sort of sick satisfaction.

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Speaker 2: I think, and I've known that for a while.

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Speaker 1: Last time we've had an interview with you, last two

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Speaker 1: times we've had an interview, you've made out with Woody.

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Speaker 4: I was going to say, I mean, this is safe.

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Speaker 4: This this social thing, I don't think kind of works.

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Speaker 4: I can't kiss you do at the computer.

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Speaker 2: Yeah.

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Speaker 4: I think we've done it twice now.

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Speaker 2: Have we?

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Speaker 1: Yeah?

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Speaker 5: Yeah, Yeah, it's sort of a shame we couldn't do

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Speaker 5: the third one than the Knockout Round, you know, the

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Speaker 5: best of the three?

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Speaker 4: Oh yeah, yeah, yeah. I mean the podcast is young.

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Speaker 2: Yeah, that's true. There's going to be a room in

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Speaker 2: the future, I think. Yeah.

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Speaker 4: I think The Secrets is sort of you know, and

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Speaker 4: exact we're seeing, especially being in I saw at the

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Speaker 4: moment and everyone sort of being inside and watching so

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Speaker 4: much content, consuming so much stuff. We're sort of seeing,

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Speaker 4: you know, people won't give it their attention unless it's

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Speaker 4: unless it's really interesting. Less the bars sort of raised.

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Speaker 4: And I think there's been sort of a movement in

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Speaker 4: Australia the last five ten years to really to make

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Speaker 4: really quality productions, and I think Secrets She Keeps really

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Speaker 4: sort of sits at the forefront of that and I think,

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Speaker 4: you know, Channel tenth and a wonderful job, you know,

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Speaker 4: putting Australian drama as a priority because you know, it's

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Speaker 4: our stories and they're our voices, and we can we

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Speaker 4: can play on the international stage. And particularly with Secrets,

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Speaker 4: We've seen that, you know, it's been brought by the

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Speaker 4: BBC and other international outlets, so you know, I think

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Speaker 4: we have to keep making more of it great stuff.

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Speaker 5: On the topic of Australian productions, mate, you've been doing

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Speaker 5: a fair bit of work. I think the hashtag I

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Speaker 5: hope I'm saying it right leave no one behind or

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Speaker 5: leave no worker behind?

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Speaker 4: Yeah, yeah, yeah, they leave no workers behind? Yeah yeah.

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Speaker 5: And basically, you know, again on the topic of great

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Speaker 5: Australian productions, we you know, as consumers want to keep

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Speaker 5: seeing these amazing Australian productions and and you're you've started

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Speaker 5: sort of lobbying a little bit on Instagram, taking photos

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Speaker 5: of the work you've been doing on set and whatnot

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Speaker 5: to try and you know, make sure the Australian actors

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Speaker 5: and people who work in that in that industry get

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Speaker 5: looked after. Can I ask you where is that all

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Speaker 5: at at the moment?

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Speaker 4: Look, I mean it's sort of unknown, it's quite it's

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Speaker 4: really concerning what's happened in the industry at the moment.

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Speaker 4: I'll say a few things. I mean, first of all,

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Speaker 4: I'm not the only one that's behind that that hashtag

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Speaker 4: or the movement. The great thing about this is artists

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Speaker 4: and creatives and people involved in the media and arts

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Speaker 4: everywhere have sort of banded together with not much support.

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Speaker 4: So ultimately the government rollout which supports us all through

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Speaker 4: this really strange time, basically overlooks a number of people

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Speaker 4: in my profession. So because we do jobs that are

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Speaker 4: three months long to six months long, and you know

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Speaker 4: that'd be we can shoot a whole series in that time.

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Speaker 4: I've just done a couple that you know, took two

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Speaker 4: and a half months, and my part, you know, only

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Speaker 4: a month to shoot, so the whole project is completed

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Speaker 4: in that time. And under the current job keeper and

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Speaker 4: seek out, you have to have held a job for

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Speaker 4: longer than three to six months, and it has to

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Speaker 4: be consistently. And the other thing part about our profession

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Speaker 4: is it's freelance work, contract based work, so you know,

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Speaker 4: I know, and on top of that, the industry was

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Speaker 4: one of the first to shut down because I mean,

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Speaker 4: I don't know how much your audience or yourselves know

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Speaker 4: about the workings of a film set, but it's really

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Speaker 4: contact based. You know, you have people wirre in your

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Speaker 4: mark every day, rehearse physically. Obviously, there's often on a

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Speaker 4: hundred people in a room and it's all reliant. We're

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Speaker 4: just a cog in that system, and it's a real

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Speaker 4: family dynamic, and you're close and you're in there for

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Speaker 4: six months. So it's not just the actors by any stretch,

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Speaker 4: you know, it's the crew who often have big families

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Speaker 4: and who I've known some of the crew that I've

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Speaker 4: just recently done a job with only a month, a

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Speaker 4: couple of months ago. I worked as when I was

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Speaker 4: twelve years old. So these are people that you sort

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Speaker 4: of keep revisiting, and they rely on the energy of

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Speaker 4: each other and each other's jobs to get productions done.

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Speaker 4: And it just seems that at the moment there is

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Speaker 4: no fine print that we can pick a box to say, well,

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Speaker 4: we work slightly outside of the lines. Now that's been

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Speaker 4: heard somewhat, you know, Iinberg addressed it with Goo addressed it.

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Speaker 4: But the more major problem to that is as a

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Speaker 4: result of this. As a result of this hiatus, let's

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Speaker 4: call it this isolation, there's been a couple of more

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Speaker 4: regulations put in place more recently which AA are all

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Speaker 4: over a number of other unions where they've lessened the

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Speaker 4: amount of Australian work, that the quota of Australian work,

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Speaker 4: the percentage of Australian work that we need to have

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Speaker 4: now at the moment, that's only until isolation. So the

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Speaker 4: government said we need to reduce costs. But my big

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Speaker 4: concern and my major worry is, you know, the Australian

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Speaker 4: content is Australia's voices. We are they, you know, I

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Speaker 4: think Roxburgh said, we're by no means, we're under no

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Speaker 4: illusion that we're saving lives here and we're under no

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Speaker 4: illusions that we're not the hospital works in the frontline

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Speaker 4: workers who are all doing such an incredible job. But

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Speaker 4: we are the voice of you, of of of the

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Speaker 4: people that you live with. We are the voice of

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Speaker 4: the community. And I think we're seeing now more than

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Speaker 4: ever the value in the work that artists doss the

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Speaker 4: place and it's our culture. So if we start to

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Speaker 4: lessen the amount of work that needs to be Australian

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Speaker 4: and we flooded with more and more American content. It's

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Speaker 4: you know, it's a question of identity, of national identity,

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Speaker 4: and of the stories. And you know, I got into

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Speaker 4: this job as a result of those stories. You know,

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Speaker 4: a lot of Australian children tell around the twist an

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Speaker 4: Ocean Girl and you know, Blue Hills and coming up,

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Speaker 4: you know, and I identified with it because they were

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Speaker 4: my people. And I'm really concerned that at the end

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Speaker 4: of this isolation and when it starts to get back

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Speaker 4: on normal one our industry, we be one of the

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Speaker 4: last to get back and with these new regulations in place,

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Speaker 4: you know, I just hope that the government really pushed

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Speaker 4: to get us back on track and change those quotas again,

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Speaker 4: because you know, it's becoming more and moral competitive and

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Speaker 4: you know, and I'd like to be a part of

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Speaker 4: the Australian narrative. And I know that the many are

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Speaker 4: still the same.

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Speaker 2: Yeah, It's interesting, isn't it, mate.

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Speaker 1: Like I mean, I'm going to be honest, like somebody

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Speaker 1: you know, jumping on Netflix or stan or wherever I'm

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Speaker 1: streaming a show. I you know, like for example, like

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Speaker 1: I've got a real penchant for British drama, like I

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Speaker 1: love it.

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Speaker 2: I fucking love it, and I you know, I think.

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Speaker 1: You know, I watched Brighton Prejudice for the sixth time. No,

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Speaker 1: probably more thriller, more crime, to be honest. But even then,

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Speaker 1: like if I look at the stuff that I watch,

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Speaker 1: I have to be told by someone who is Australian

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Speaker 1: that they watched an Aussie show and it was brilliant,

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Speaker 1: brilliant for me to go, you know what, I'm gonna

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Speaker 1: go and give that a run because I've got the

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Speaker 1: filter on and I know what the production values are

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Speaker 1: and I know that, you know, you know, more often

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Speaker 1: than not, if I watch a BBC show and I

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Speaker 1: have a look at the cast, the production company and

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Speaker 1: the director and stuff, and I know them, I'm across them,

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Speaker 1: the chances are the writers are going to be good,

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Speaker 1: and you know, like you know, you see its speaking

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Speaker 1: of it, You've spoken about everywhere you know, like or

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Speaker 1: even shows that as big as HBO shows like, it's

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Speaker 1: so hard for you guys to compete in and amongst

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Speaker 1: that noise that is that industry and try and have

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Speaker 1: an Australian a take on it and to be hamstrung

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Speaker 1: in any way on top of that is crazy.

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Speaker 4: Yeah, it's it's really difficult. I mean, you know, you

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Speaker 4: look at countries like in the UK for instance, in

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Speaker 4: German and a number of other European countries, they subsidize

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Speaker 4: their theater companies during this time. There's not in their

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Speaker 4: government roll out, there's a particular specified you know, we

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Speaker 4: value you and what you offer to culture and to society,

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Speaker 4: and I think that we haven't. You know, not only

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Speaker 4: have we not followed that norm while they're down, while

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Speaker 4: the industry is down, we're kicking it on the floor.

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Speaker 4: And what you know, the positive out of this is

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Speaker 4: the artists that are involved, the people they are banding together,

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Speaker 4: and I mean there's nothing sort of more dangerous and

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Speaker 4: sort of angry artists throughout sort of saying something. So

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Speaker 4: you know, there is some there is some positivity to it.

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Speaker 4: And I do get this feeling now speaking to my

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Speaker 4: friends and people in the industry and about jobs that

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Speaker 4: have become that when when we do get a chance

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Speaker 4: to get back where we're really going to come out

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Speaker 4: all at a gate and no screen. Australia have just

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Speaker 4: funded a number of different projects, a lot more projects

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Speaker 4: than usual, So that's a positive, but we need to

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Speaker 4: be supported in the meantime.

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Speaker 1: And I think just because so right, do you think

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Speaker 1: that we're a victim of the English language here? Like

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Speaker 1: you know, if you look at, you know, talking about

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Speaker 1: other countries, and you know, France, for example, has a

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Speaker 1: phenomenal film industry which really champions their people. But you know,

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Speaker 1: if I was a French speaker, I'd be much more

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Speaker 1: inclined to be watching French things. I mean, sure, I'd

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Speaker 1: watched some other stuff subtitled, but the pinnacle of the

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Speaker 1: film industry for those people a lot of the time

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Speaker 1: is making, you know, an epic French film for example,

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Speaker 1: And I feel like, you know, with a lot of

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Speaker 1: Ossie actors and stuff like, and I know you've you've

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Speaker 1: been in productions overseas as well, and that I feel

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Speaker 1: like that that that the kicker as well is that

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Speaker 1: when you look at like Chris Hemsworth for example, like

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Speaker 1: why you know, Hugh Jackman, these people, why have they

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Speaker 1: made it? Because they they're in Hollywood And you know,

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Speaker 1: there's a ceiling that's Australia. And then once you get

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Speaker 1: to that ceiling, it's like, okay, cool, now can I

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Speaker 1: break the next level? Rather than going like, oh cool,

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Speaker 1: I made the ceiling in Australia. I've got enough money.

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Speaker 1: I want to keep making productions here. I mean that

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Speaker 1: that never happens. No one goes, oh no thanks, I'm

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Speaker 1: not going to do Hollywood or I'm not going to

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Speaker 1: go and do something amazing for the BBC. I'm going

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Speaker 1: to stick around and do a cracking Aussie film for

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Speaker 1: the next you know, ten years. I mean, but I'm

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Speaker 1: joking obviously, but surely that's you know, it's almost like

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Speaker 1: a bit of a paradox where on the one hand

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Speaker 1: it's like, hey, look who want lots of support, et cetera,

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Speaker 1: and we want to try and champion in the Austraian

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Speaker 1: film industry. But on the other hand it's like, you know,

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Speaker 1: if any won, any Australian actor got a chance to

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Speaker 1: go and do work elsewhere, then they would.

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Speaker 4: Yeah. I think there's there's a few things to be

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Speaker 4: said there. I mean, I mean, first of all, there

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Speaker 4: are a number of different paths. So you cited Hemsworth

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Speaker 4: and yeah, you know, there's a number of them. There

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Speaker 4: are a number of people, particularly Australian artists, you know,

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Speaker 4: that are lesser known, particularly internationally, that have put their

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Speaker 4: art at the forefront and put the stories they're associated

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Speaker 4: with at the forefront of their decision making. So you know,

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Speaker 4: I mean, you go to America, I'm not I'm not

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Speaker 4: sure how I'm sure Richard Roster's name isn't totaled around

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Speaker 4: the same as as Chris Hanner's works. You know, then

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Speaker 4: Mendelssohn's our our Hugo weavings, our plate branches. Ye know

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Speaker 4: me what they are their artists first and foremost, and

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Speaker 4: of course you know the exceptions to that of the

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Speaker 4: absolute superstars being But what I do find with them, Yeah,

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Speaker 4: you're right, some of that stardom has been found internationally.

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Speaker 4: But what I particularly like about Hemsworth and Hugh Jackman

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Speaker 4: you mentioned and then is they come back here and

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Speaker 4: blanch it. You know, they come back here and invest

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Speaker 4: in Australian culture and stories and they use that international

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Speaker 4: acknowledgment that they have and they have to bring it

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Speaker 4: back because they too. And this is to the second thing. Yeah, French,

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Speaker 4: I think you know French particularly, you know, they're very

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Speaker 4: proud of their culture. They're very proud of their they're

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Speaker 4: passionate people. They speak about their arts. You concede in

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Speaker 4: their buildings, you can take in their food. You know,

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Speaker 4: they philosophy and conversations, and I think, you know, there

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Speaker 4: is a certain cautiousness to to Australians that we don't

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Speaker 4: we don't we don't get involved nearly as much in

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Speaker 4: discourse about those things or like like you were saying,

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Speaker 4: you know, I'm a friend that and we need we

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Speaker 4: need we need a lot of pride in what we

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Speaker 4: do here. And I think a big part of that

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Speaker 4: problem is too we don't know what's on you know,

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Speaker 4: you know, you know, you know Game of Thrones is

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Speaker 4: on the next episode, you know that goes off. And

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Speaker 4: I mean other than I think stan in Australia have

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Speaker 4: done a really good job at sort of a masters champaign.

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Speaker 4: You know, I remember we blom you know, we're all

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Speaker 4: over the bush shelters and so people watched it, and

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Speaker 4: I think so we sort of got to amalgamate those two.

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Speaker 4: We've got it. We've got to We've got to incentive

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Speaker 4: sense of pride in people and the stories that we

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Speaker 4: have to tell, and that they're not all dark and

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Speaker 4: they're not all about about our blacker history and that

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Speaker 4: you know, and I think we've we've got examples of that.

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Speaker 4: We've got multiple examples of that cross television and film,

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Speaker 4: particularly film, and and we saw going to lean into

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Speaker 4: that a little bit more and and you know it'd

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Speaker 4: be nicest from the top down, these systems that are

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Speaker 4: in place. You know, our Prime Minister, our you know

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Speaker 4: premier acknowledge that because you know. I think that's what

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Speaker 4: part of what makes France France. I think it's what

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Speaker 4: makes part of Italy, Italy and space cultures. It's you

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Speaker 4: can identify it and you want to be a part

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Speaker 4: of it. And I think where a much younger country,

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Speaker 4: we're learning what that is. But the arts and telling

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Speaker 4: narrative in our own stories is a really vital part.

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Speaker 1: Of what it manifests. It manifests there, doesn't it. Culture

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Speaker 1: is like what you see and what you experience in art.

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Speaker 2: It's like that. It typifies culture.

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Speaker 1: And I think that's a great point you made about

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Speaker 1: people coming back and doing shows and productions.

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Speaker 4: Here.

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Speaker 1: I saw Hugo Weaving in an MTC production in audience.

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Speaker 2: There's like one hundred and fifty people there. Wastous, outrageous.

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Speaker 1: I think that he came in did that because he's

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Speaker 1: just you know, wanted to give back to that because

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Speaker 1: he love maltase.

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Speaker 4: He loves he loves, he loves the words. You know,

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Speaker 4: I know, I know you go personally, and and and

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Speaker 4: opportunities to work with him, and friends that have worked

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Speaker 4: with him, and you know, you go every night, will

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Speaker 4: be behind he's doing a theater play. He will be

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Speaker 4: behind the he's well passed studying, but he will behind

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Speaker 4: writing notes on his text for the next night, for

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Speaker 4: the whole of the progress. And I remember seeing Weaving

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Speaker 4: on stage early days this. It was a play called

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Speaker 4: Rifle Mind. Philip Seamow Hoffman directed it actually, and I

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Speaker 4: was at school. Yeah, I got a story for you

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Speaker 4: about that too, and we'll come back to that.

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Speaker 5: We'll come back to that and give us the Weaving first,

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Speaker 5: then we'll take the Hoffman story.

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Speaker 4: It's slightly embarrassing because he's a god to me, amazing,

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Speaker 4: but I remember that, you know, it was this incredible

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Speaker 4: play and Susan Pryor was in it, and and and

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Speaker 4: Jeremy Simms. But anyway, I remember there was about two brothers,

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Speaker 4: Martin Chokus, who's this another example of an unknown actor

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Speaker 4: who just blows my mind And Hugo Weaving playing brothers,

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Speaker 4: I think, and it was in it. It was something

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Speaker 4: to do with them being in a band and it

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Speaker 4: breaking up and slowly going to disorder, and they were

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Speaker 4: in this rageful argument. I was sitting front row and

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Speaker 4: I had a couple of compulsivets. What first time when

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Speaker 4: Martin Chokers came high and doing this and I want

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Speaker 4: to it was doing this, this powerful gestum was sort

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Speaker 4: of like pressing towards Hugo and this thing with his voice.

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Speaker 4: I wanted to reach out and touch his leg. It

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Speaker 4: contained that much power, like I was like, what are

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Speaker 4: you doing? It was? It was truly transcendent and Hugo,

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Speaker 4: I'll never forget. I remember sitting there. He'd be quite

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Speaker 4: a big man, you know, quite a muscular man. He

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Speaker 4: was sitting there with his big chest out and on

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Speaker 4: his couch and I could see I was so close.

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Speaker 4: I could see his heartbeat going in his T shirt.

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Speaker 4: But every word that came at, every word, the resonance

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Speaker 4: of his voice, every word was finesse. Every idea, every

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Speaker 4: idea that he was trying to pursue was so focused

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Speaker 4: and still, and so you could see that underneath he

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Speaker 4: was working so hard and out like this this tran

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Speaker 4: transcendental experience. And so you know, the first half finishes

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Speaker 4: and the audience is silent, and and you know, I

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Speaker 4: was like, that's what I want to do. That's the power,

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Speaker 4: and that's ultimately what all of this is. Film, television,

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Speaker 4: it's all theater. It's all only if it has an audience.

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Speaker 4: And what we're talking about here is the audience and

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Speaker 4: what what what is the theater of Australia? What is

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Speaker 4: the theater of our voices? You know?

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Speaker 5: Yeah, oh man well said you've got a Hoffmann story

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Speaker 5: to flow into.

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Speaker 2: We weren't going to forget it.

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Speaker 4: Well, okay, so I'm at drama school and there was

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Speaker 4: a part of this at the Drama States, sorry, the States,

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Speaker 4: whereas at Sydney Theater Company. So so at neither there's

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Speaker 4: this little black book if you're a student there, and

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Speaker 4: all the theater companies across Sydney, if there's any spare

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Speaker 4: tickets for things going or previews, just quiet, quiet, and

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Speaker 4: you get your name in the book first when you

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Speaker 4: find out that death you can go to these places

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Speaker 4: because well is anything and living off been Yeah, so

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Speaker 4: we went to this rifle, you know, teachers like you

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Speaker 4: have to see what it is to see great act acting.

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Speaker 4: Of course it was Seema Hoffman. I watched what I

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Speaker 4: just told you about, and my mind was blown. And

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Speaker 4: I was out when I smoked, having a cigarette and

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Speaker 4: on the on the out sort of decking area across

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Speaker 4: the harbor at the Sydney Theater Company beautiful, and I

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Speaker 4: was by myself because you know, smoking is not good

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Speaker 4: for the voice in the theater's crowd. And Hoffman walked

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Speaker 4: out and and I just sort of remember thinking, you know,

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Speaker 4: if you see one of your heroes, you sort of

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Speaker 4: rehearse those lines in your head, or you know, you

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Speaker 4: think you've got to be cool. I've worked with Russell Krawwer,

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Speaker 4: with a couple of people, you know, but you know,

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Speaker 4: and see my Hoffman, and the only thing that.

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Speaker 1: I lead with is it Sorry, just just to check back,

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Speaker 1: you were going to lead with, Hey, Philip, I've worked

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Speaker 1: with Russia.

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Speaker 4: Because at this stage I certainly haven't. I'm just sometimes

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Speaker 4: I've tried to play my cool far better event that

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Speaker 4: I'm yeah, yeah, oh, no, no doubt at all. And

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Speaker 4: this is probably this is probably the catalyst and my

405
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Speaker 4: anxiety in meeting you know people, that I am now,

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Speaker 4: but I said, you know, he walked out and I

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Speaker 4: was like, okay, this is your moment. Halfman. He was

408
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Speaker 4: looking sort of like, you know, halfway through a sea

409
00:19:12,800 --> 00:19:15,159
Speaker 4: to play in which had like a bereton, and like

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00:19:15,200 --> 00:19:16,800
Speaker 4: he was very tired, and all I can tell I

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Speaker 4: was congratulations on the first half, Philip, and he just

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Speaker 4: looked at me like I was insane and was like, oh, yeah,

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Speaker 4: thank you and just sort of wandered off, you bugget.

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Speaker 5: Yeah, it's always a bad time when they physically walk away.

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Speaker 2: I'm not enjoying conversations.

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Speaker 4: The cast was I just met a weird dude out

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Speaker 4: in the smokers.

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Speaker 2: Area, you know, and he congratulated me.

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Speaker 5: Like you thought it was a game of footy or something.

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Speaker 5: But I won the first half.

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Speaker 4: Yeah, I wanted a half years the end. Congratulations on

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Speaker 4: the first half, Philip. I don't even see my breath,

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Speaker 4: continuedly finish the sentence. That's because of how much power

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Speaker 4: and how much I idolize what that man was capable of.

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Speaker 4: And it's the same as you go, It's the same

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Speaker 4: as Kate, It's it's the same as you know a

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Speaker 4: number of a number of performers and I think that

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Speaker 4: sits in a different place to this idea of celebrity

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Speaker 4: in Hollywood and what's known. And I think that's what

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Speaker 4: we're in pursuit of. You know, that's what our stories are.

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Speaker 4: It's things that move people. It's things that contact people

432
00:20:21,400 --> 00:20:23,719
Speaker 4: on an emotional level. It's not whether you recognize them

433
00:20:23,720 --> 00:20:25,280
Speaker 4: off a magazine cover or want to see them with

434
00:20:25,359 --> 00:20:28,960
Speaker 4: their shirt off. And that's that's sort of the that's

435
00:20:29,000 --> 00:20:30,680
Speaker 4: what we're dealing with. That's the undertone of what we're

436
00:20:30,680 --> 00:20:33,040
Speaker 4: dealing with, and we get to dictate. The great part

437
00:20:33,080 --> 00:20:34,920
Speaker 4: is we get to detect what the narrative is, who

438
00:20:34,920 --> 00:20:37,240
Speaker 4: we are, who we've been, who we are currently, and

439
00:20:37,240 --> 00:20:39,919
Speaker 4: where we want to go. And so now when I'm

440
00:20:39,960 --> 00:20:42,480
Speaker 4: focusing on projects, they're the sort of things that I'm

441
00:20:42,520 --> 00:20:46,000
Speaker 4: trying to, you know, juggle up in my mind before

442
00:20:46,119 --> 00:20:48,240
Speaker 4: before before doing it.

443
00:20:48,800 --> 00:20:50,800
Speaker 1: Well, Mate, we reckon you appreciate hot and I'm sure

444
00:20:50,800 --> 00:20:52,280
Speaker 1: a lot of us were choke on their words in

445
00:20:52,320 --> 00:20:58,560
Speaker 1: and around you because you are a real shining bacon

446
00:20:59,200 --> 00:21:01,000
Speaker 1: across film and TV.

447
00:21:01,480 --> 00:21:03,040
Speaker 2: Seriously, and as people that want to see you with

448
00:21:03,119 --> 00:21:03,920
Speaker 2: your shirt off as well.

449
00:21:04,000 --> 00:21:07,000
Speaker 5: Ryan as he's a spoiler of people, he's nude in

450
00:21:07,000 --> 00:21:09,800
Speaker 5: the first episode of Bloom So going blown stand.

451
00:21:11,720 --> 00:21:14,720
Speaker 4: A lot of shows. It seems to be a prerequisite.

452
00:21:14,760 --> 00:21:17,600
Speaker 4: It's sort of like, you know, without doubt, getting someone.

453
00:21:18,040 --> 00:21:23,840
Speaker 2: We're only getting care if we're getting minimum ass rhyme

454
00:21:23,920 --> 00:21:28,080
Speaker 2: core butt clause. If I get to show my ass,

455
00:21:28,119 --> 00:21:30,440
Speaker 2: that's right, that's what you're hiding, right, we know it.

456
00:21:31,160 --> 00:21:32,560
Speaker 5: I'll stop showing your ass rhyme.

457
00:21:32,720 --> 00:21:37,040
Speaker 1: Come on, that's amazing exact if you guys want to

458
00:21:37,040 --> 00:21:39,560
Speaker 1: go and see the secret she keeps the first episode

459
00:21:39,600 --> 00:21:41,119
Speaker 1: last week on Channel ten, but yeah, get it on

460
00:21:41,359 --> 00:21:43,480
Speaker 1: ten play that's the place to catch up on it.

461
00:21:43,520 --> 00:21:43,720
Speaker 4: There.

462
00:21:44,160 --> 00:21:45,560
Speaker 2: Star started cast.

463
00:21:46,320 --> 00:21:49,120
Speaker 1: Including of course Ryan himself. Mate, thank you so much

464
00:21:49,119 --> 00:21:51,000
Speaker 1: for joining us, and look all the best thing you're doing,

465
00:21:51,000 --> 00:21:54,040
Speaker 1: a wonderful thing. As what he mentioned before, the hashtag

466
00:21:54,320 --> 00:21:58,160
Speaker 1: no workers get left behind. Go and check that out online,

467
00:21:58,200 --> 00:22:00,520
Speaker 1: just to try and pump the right interest right, the

468
00:22:00,600 --> 00:22:02,840
Speaker 1: right intrigue and then hopefully the right culture into the

469
00:22:02,840 --> 00:22:05,920
Speaker 1: Aussie film and theater industry because it certainly deserves it.

470
00:22:05,960 --> 00:22:07,400
Speaker 1: And I hope that something you guys can take away

471
00:22:07,400 --> 00:22:09,920
Speaker 1: from this conversation with Ryan, Mate, it's a pleasure. I'm

472
00:22:09,920 --> 00:22:11,760
Speaker 1: sorry we don't get to kiss you this time, but

473
00:22:13,000 --> 00:22:13,400
Speaker 1: we'll see.

474
00:22:13,400 --> 00:22:17,440
Speaker 4: I feel thank you, Thank you all.

475
00:22:17,400 --> 00:22:19,280
Speaker 2: Man, it's been a treat. We'll speak to you soon.

476
00:22:20,840 --> 00:22:21,800
Speaker 2: Thanks so much, Matte