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Speaker 1: This is a podcast about failure with me Lolaberry, 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 Lolaberry. Hello,

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Speaker 1: I have an awesome creative ossie guest for you on

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Speaker 1: the pod today. His name is Sam Kennedy. He's a

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Speaker 1: creative director and producer. On top of that, he's a

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Speaker 1: voiceover artist. He's also done heaps of TV presenting this

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Speaker 1: Guy's unstoppable. Had a really successful career in Australia and

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Speaker 1: still does have, but has also been based in the

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Speaker 1: UK working on you know, humongous music video clips producing them.

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Speaker 1: I actually love what Sam had to say about being

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Speaker 1: a producer.

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Speaker 2: It's like you're kind of like the oracle.

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Speaker 1: If you're on a shoot, you're probably going to know

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Speaker 1: more than any other person on the shoot, and you

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Speaker 1: just have to. And he described like all the he

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Speaker 1: carries his thing around when he's a producer called the Bible,

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Speaker 1: which is kind of like going to have call times,

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Speaker 1: contact details, know exactly where people need to be at

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Speaker 1: certain times, shot.

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Speaker 2: Lists, all that kind of stuff. So it's really cool

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Speaker 2: to get that.

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Speaker 1: Kind of behind the scenes taste of a real like

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Speaker 1: producer's brain, which I loved. Sam is here in LA

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Speaker 1: focusing on producing films now, which is so exciting, and

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Speaker 1: it's so interesting to get an insight into the magical

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Speaker 1: land of film and TV. I don't know if you

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Speaker 1: know this, but it's really interesting when you watch a movie,

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Speaker 1: it's rarely is a shot chronologically. Like often you'll be

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Speaker 1: shooting like the romance scene at the very start, or

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Speaker 1: a really emotional scene in the start that may not

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Speaker 1: happen until like the very end of a movie or

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Speaker 1: the very end of a season on a TV show.

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Speaker 1: So I imagine being a producer on a film or

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Speaker 1: TV set one you're like juggling so many different things,

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Speaker 1: but also being aware that things aren't shot in like

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Speaker 1: that kind of chronological order. You know, So very very

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Speaker 1: very interesting. Sam super inspiring. He also added a ps

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Speaker 1: at the end of this podcast, so make sure you

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Speaker 1: listen to the very end because he really wanted to

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Speaker 1: share some kind of some stuff around failure and White

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Speaker 1: actually ended up being such a great gift for him,

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Speaker 1: and I encourage you to really soak that up because

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Speaker 1: It's an awesome lesson and just.

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Speaker 2: A really really cool story as well.

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Speaker 1: Thank you so much, Sam for sharing so much of yourself,

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Speaker 1: and it was a total honor to have you on

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Speaker 1: this podcast. I was so inspired by it, and I

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Speaker 1: really hope everybody that listens to it is as well.

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Speaker 1: Glove by Sam Kennedy. Welcome, my friend. You were just saying, Oh,

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Speaker 1: I hate talking about myself. We're about to talk about

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Speaker 1: you for the next forty five. So honored to have

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Speaker 1: you on the pod, my friend. I can't wait to

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Speaker 1: like uncover all the amazing things you've done producing but

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Speaker 1: also TV presenter voice. I've listened to your voice over

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Speaker 1: real very Australiana, much more Australiana than I'm used to

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Speaker 1: when I hang with you, but also like lived, traveled

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Speaker 1: all over the world, had your own production companies as well.

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Speaker 1: But also I guess I just want to start with

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Speaker 1: we were connected via Instagram about I want to say

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Speaker 1: about a month ago by mutual mate Tom and we

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Speaker 1: met the classic iconic lay way by being run in Canyon.

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Speaker 3: It was such la wankers, we are, we are, we are.

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Speaker 1: So from the moment I met you, I was like, oh,

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Speaker 1: good human and I feel like here as well. I

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Speaker 1: don't know, but I feel like my spidy senses have

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Speaker 1: become sharper of picking a dingo and picking a good human.

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Speaker 1: And as soon as I hang out with you, I

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Speaker 1: was like, I got to hang out with that human more.

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Speaker 3: You're a legend likewise likewise.

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Speaker 1: So thank you, thank you for being my friend, and

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Speaker 1: thank you for taking me under your wing, especially for

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Speaker 1: my birthday. Yeah, of course, let's start at the start.

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Speaker 1: Is it true?

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Speaker 3: We go like, what research? Have you done? Too much?

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Speaker 3: I'm a burger?

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Speaker 4: Yeah?

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Speaker 1: Is it true that your first giggles when you were

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Speaker 1: eight years old?

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Speaker 3: Yes?

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Speaker 1: Voiceover, yes, So Jesus, is that what kicked it up?

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Speaker 1: It kicked it all off? Or was it more like

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Speaker 1: I did this gig young? And then did you train

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Speaker 1: at school? Were you always into the entertainment style? Yeah?

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Speaker 3: Good question.

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Speaker 4: My dad was very instrumental in starting a charity in

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Speaker 4: Australia called the Starlight Children's Foundation.

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Speaker 1: Oh my god, I've done the I've worked.

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Speaker 3: For star Oh really? Yeah.

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Speaker 4: So there was a guy called Jeffrey Cousins who started

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Speaker 4: it and then Dad became involved with him. Anyway, the

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Speaker 4: point is that they were doing some ad and they

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Speaker 4: needed a kid's voiceover, and so they brought me into

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Speaker 4: the studio.

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Speaker 3: Dad worked in advertising at the time, and.

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Speaker 4: Yeah, I did this like little voiceover and I absolutely

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Speaker 4: loved it. And I think I was always My parents

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Speaker 4: were very outgoing, used to host like huge parties with

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Speaker 4: everyone address up and all that type of stuff. So

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Speaker 4: I think that kind of like entertainment type thing, whatever

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Speaker 4: that thing is, was always in the family. Neither of

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Speaker 4: my parents worked in entertainment, that was in advertising, but yeah,

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Speaker 4: so it's always kind of been around me, I guess.

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Speaker 1: And that makes mental sense. Oh, I love I know.

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Speaker 1: I think my mum's always been an entertainer as well

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Speaker 1: a nurse, so not in the industry, but like she

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Speaker 1: loves to put a show on yeap like and to

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Speaker 1: wine and dine, and so I can see the I'd

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Speaker 1: never drawn the parallels, but I can totally see it.

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Speaker 2: So I heard you say in another interview that at.

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Speaker 1: School, when you have to do an essay, you'd be like,

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Speaker 1: can I submit a video for this?

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Speaker 3: Is that true? I'd always try and do a video

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Speaker 3: as much as I.

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Speaker 1: Could, So I feel like you were already interested in

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Speaker 1: this kind of like intermedia kind of entertainment style. Is

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Speaker 1: that what led you to initially start studying media and

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Speaker 1: calm at UNI? Yeah?

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Speaker 3: Yeah, definitely.

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Speaker 4: I think I was heavily into it at school and

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Speaker 4: interacting and doing presentations on video, which was an amazing

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Speaker 4: learning experience for me because I've learned how to edit,

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Speaker 4: like properly edit. Before that was like a digital thing,

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Speaker 4: like where you do tape to tape editing for those

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Speaker 4: who know what that is.

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Speaker 3: And so when I was leaving school, I was like,

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Speaker 3: what do I do?

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Speaker 4: Like?

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Speaker 3: What do you do with this?

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Speaker 4: Like I felt that I was too young and inexperienced

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Speaker 4: to apply for afters. Whether that's true or not, I

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Speaker 4: don't know what's what's after Australian Film, Television Radio School

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Speaker 4: got it. So my career's advisor told me to that

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Speaker 4: there was this new course at Sydney UNI. Yeah, Sydney

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Speaker 4: Union called Median Communications and then that would be perfect

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Speaker 4: for me. So I applied for that, got in. When

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Speaker 4: did that didn't last?

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Speaker 1: Is it through three weeks? And you were like, so

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Speaker 1: when do I get to be on a film set?

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Speaker 3: Yeah?

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Speaker 1: They're like four years.

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Speaker 4: I don't want to mock the course, but for me,

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Speaker 4: it was so much theory. I've been used to like

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Speaker 4: making videos as projects for school, Like I made a

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Speaker 4: video for my art HC that got into art Express,

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Speaker 4: and like I just wanted to be making film content

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Speaker 4: and content. Yeah, And it was just very like we

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Speaker 4: were learning about just all this that I think for

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Speaker 4: a journalist would be fascinating. But I didn't want to

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Speaker 4: be a journalist. So I went up to the lecturer

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Speaker 4: and said, hey, you know, like when can I make

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Speaker 4: a film? And she was like, oh, well, in your

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Speaker 4: internship you could totally make a film. And I'm like, okay,

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Speaker 4: when's that? And she goes in year four and I'm

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Speaker 4: like this is week three, mate, Like I'm out of here.

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Speaker 1: Good on you for figuring that out so early on

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Speaker 1: in your degree. I had the same thing. I studied

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Speaker 1: Bachelor of Performing Arts at Monash and I remember the

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Speaker 1: day one orientation the teacher goes ninety eight percent of

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Speaker 1: you are going to be drama teachers and I was like,

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Speaker 1: do you want to put a dagger in my heart?

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Speaker 1: Because I just knew I didn't have the skill set.

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Speaker 1: I'm not patient at all.

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Speaker 3: But what a horrible thing to say.

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Speaker 1: Dampen the mood, right and so I think I lasted.

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Speaker 1: Oh no, I did half the course, so a year

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Speaker 1: and a half and pulled out my dad's like, please

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Speaker 1: get a degree one day. But I didn't too much

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Speaker 1: later on, and so I kudos to you for being

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Speaker 1: able to call it in three weeks.

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Speaker 3: That's I was just so bored. I didn't want to

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Speaker 3: get up and go to UNI.

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Speaker 4: And I was just like, I can't if this is

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Speaker 4: week three, I can't do this for four years, Like

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Speaker 4: there's no way.

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Speaker 3: There has to be an alternative.

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Speaker 2: And is that what then led you to film score?

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Speaker 3: Yeah?

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Speaker 1: Masters?

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Speaker 4: Yeah?

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Speaker 3: Yeah. So this girlfriend of mine.

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Speaker 4: Was at this film school which wasn't afters which you

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Speaker 4: could apply for, and I looked into it and I

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Speaker 4: was like, anything is better than doing this theory based

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Speaker 4: course at the moment. So I sat my midterm exams

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Speaker 4: but didn't actually go to any of the classes, just

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Speaker 4: in case I needed it.

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Speaker 3: And then I worked in a call center for six months,

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Speaker 3: which is really fun.

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Speaker 2: You would meet the most amazing people at call centers.

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Speaker 3: I reckond I was top like sales or whatever.

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Speaker 4: Oh wow, yeah, because the whole trick of being in

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Speaker 4: a call center is to act like you're not reading

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Speaker 4: a script like it's a natural conversation.

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Speaker 3: God. Anyway, that's a whole other story.

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Speaker 4: But then I, yeah, I applied for the film school

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Speaker 4: and got in and went there for two years, which

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Speaker 4: was just heaven.

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Speaker 2: So what were you learning like directing everything?

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Speaker 4: Oh wow, how to be a DP, how to direct,

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Speaker 4: how to produce, set design like everything, and you could

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Speaker 4: on each project like I can't remember how they set

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Speaker 4: it out, but I think there was like eight projects

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Speaker 4: a year you could rotate, so you could be a

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Speaker 4: director on one, you could be the producer on one,

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Speaker 4: and you've got your little crew, you know, your sound O,

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Speaker 4: a cameraman, whatever, and you'd go off and you'd shoot commercials, content,

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Speaker 4: short films.

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Speaker 1: So good.

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Speaker 4: Plus it was theory based, like there was a lot

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Speaker 4: of tests, which was great, but just to be able

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Speaker 4: to practice like that, I didn't understand the value of

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Speaker 4: it until I left.

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Speaker 1: Because you're trying on all these different skill sets that

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Speaker 1: when you're on a set, usually whatever your job is,

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Speaker 1: that's your your set, your that job. So you got

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Speaker 1: did you have a favorite thing like directing or producing?

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Speaker 2: Like what was your favor.

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Speaker 3: I love directing and producing.

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Speaker 4: I wish i'd actually explored more of the things that

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Speaker 4: I wasn't as interested in, just to get a better

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Speaker 4: understanding of it. But directing and producing, I think I did.

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Speaker 4: My main thing was directing and then my like sub

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Speaker 4: unit was producing.

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Speaker 1: Oh so cool. So how did then, Because I've watched

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Speaker 1: the show real too, with TV presenting so much, you

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Speaker 1: were a lot of fun out you're very getaway vibes. Yes, yeah,

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Speaker 1: how did that come into play? Was that when you

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Speaker 1: were studying? Was that after you were studying, Like, gosh,

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Speaker 1: did you study acting at some point?

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Speaker 3: No?

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Speaker 4: I acted a lot at school, like I was drama

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Speaker 4: captain and all that, and I loved acting and did

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Speaker 4: drama at school and all that. I didn't act so

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Speaker 4: much when I left. I was more into like the

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Speaker 4: behind the scenes thing. But then I ended up working

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Speaker 4: in casting before I left film school, and then I

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Speaker 4: was casting a TV commercial and some guy said to me, Oh,

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Speaker 4: you've got a great voice, and I'm like, whatever are

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Speaker 4: you do?

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Speaker 3: I don't he was just saying that.

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Speaker 4: I was still this day, I'm sure he was just

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Speaker 4: saying that, but I'd see him because he keep coming.

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Speaker 3: He'd be like, when are you going to do my course?

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Speaker 4: And at the end I just kind of gave in

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Speaker 4: and I'm like, I'll do this voiceover course, and I

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Speaker 4: loved it and it.

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Speaker 3: Was really fun.

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Speaker 4: And then he happened to be casting a cartoon which

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Speaker 4: was The Animated Bible. Cool, and so I went and

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Speaker 4: auditioned for this Animated Bible. And when they got me

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Speaker 4: they got me there, they told me that the accent

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Speaker 4: had to be North Atlantic American.

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Speaker 3: I still to this day don't know what that is.

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Speaker 1: When you got there, prep time, no, no, no, nothing,

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Speaker 1: and then they're like, just copy the director's accent.

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Speaker 4: He's North Atlantic American or whatever. And I'm like, okay,

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Speaker 4: So I do this like terrible, terrible job. And then

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Speaker 4: they booked me to play Caine or Able one of

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Speaker 4: them I can't remember, and I'm like they clearly like

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Speaker 4: have no one else?

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Speaker 3: Like I sounded terrible.

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Speaker 4: But then I got in there and they were like, hey,

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Speaker 4: could you also play Adam? Could you also play eyesac

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Speaker 4: could you also? And so I ended up doing like

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Speaker 4: eight characters in this cartoon with.

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Speaker 1: The same accent or different Yeah, pretty much, same accent,

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Speaker 1: just different characters, but they're all just like a version

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Speaker 1: of yeah yeah.

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Speaker 4: And then that's how that kicked off and then I

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Speaker 4: ended up getting a job as the voice of MTV Australia.

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Speaker 1: I heard that, Heard that, Saw that, heard that? Yeah

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Speaker 1: on your website.

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Speaker 3: Yeah.

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Speaker 4: So I did that for three years, which was such

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Speaker 4: amazing training. And when I was doing it, no one

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Speaker 4: was really doing voiceovers. It wasn't a thing that actors did.

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Speaker 4: It was kind of completely separate.

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Speaker 1: Yeah, they were two different skill sets.

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Speaker 4: Yeah, but I love that because just in terms of

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Speaker 4: like reading scripts cold you would literally turn up for

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Speaker 4: your session. You'd have an hour sometimes said be seven

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Speaker 4: producers who would be rotating in and out, and you'd

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Speaker 4: just be given twenty scripts and you'd never seen them before,

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Speaker 4: and they're like, and let's go, and you just cold

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Speaker 4: reading them and they're trying to add music to it

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Speaker 4: and you're trying to get it, and you do three

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Speaker 4: or four takes and you move on.

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Speaker 1: That's such good skill set to have, because they say

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Speaker 1: most Aussie actors that come here are really bad at

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Speaker 1: cold reading because we don't have experience in it. Oh,

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Speaker 1: that's interesting, You've got a like secret trick.

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Speaker 4: Well, yeah, I mean it's different obviously, like doing a commercial,

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Speaker 4: which is kind of what all the MTV stuff it

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Speaker 4: was like promos so their upcoming shows to actually like

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Speaker 4: cold reading, you know, like a drama script still but

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Speaker 4: the experience and just watching how it all works. And

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Speaker 4: I think that's kind of like then I was like,

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Speaker 4: I think they were like, oh, you could present, you know,

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Speaker 4: And then I kind of got into presenting a bit

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Speaker 4: and cut a reel and did a few pilots, and

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Speaker 4: then I actually booked a job.

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Speaker 3: I can't remember what it was.

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Speaker 4: I was thinking of it today just before I was

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Speaker 4: I decided to move to Paris for a year, which

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Speaker 4: is a whole other thing. And I was like, do

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Speaker 4: I take the job and cancel my flight and go

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Speaker 4: to Paris later? And I was like, no, no, no,

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Speaker 4: I'll always come back and be able to do it.

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Speaker 4: And I ended up going to Paris and then didn't

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Speaker 4: book the job. And it's kind of like I always

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Speaker 4: wonder what would have happened that sliding doors?

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Speaker 1: Yeah yeah, So so do you know when I was

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Speaker 1: watching your show Real, it gave me Tim Blackwell vibes.

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Speaker 2: So he's well, he's a.

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Speaker 1: Big noverb like radio. So there's a TV show called

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Speaker 1: it was It's like Kate, Tim and Marty. It was

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Speaker 1: like the most famous and now that's been replaced by Joel. Yeah,

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Speaker 1: but Tim runs the show like he's the one doing everything.

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Speaker 1: But you've got this when you were doing when I

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Speaker 1: was watching a show real you've definitely got Tim Blackwell

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Speaker 1: like that.

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Speaker 2: Aussie but very relaxed.

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Speaker 1: There's like a calmness to you when you're presenting as well,

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Speaker 1: and there's I think a sense of joy like you.

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Speaker 1: It seems like you're doing something you love. Yeah, yeah,

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Speaker 1: well I'll show you up. I've interviewed him in his legend.

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Speaker 1: He was actually really scary to interview though, because he's

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Speaker 1: worked in radio song he speaks in soundbites and quick.

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Speaker 3: But that's actually such a skill. Oh it's so fun,

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Speaker 3: Like it is such a skill.

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Speaker 1: Yeah right, okay, So I want to know where So

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Speaker 1: you're doing TV presenting all this amazing voice over work

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Speaker 1: in the pod that I listened to you on.

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Speaker 2: So you went to Paris, then London? How it went?

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Speaker 2: And then from London you went hardcore producing?

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Speaker 1: Right?

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Speaker 3: Yes?

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Speaker 1: How did that kind of all eventuate.

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Speaker 3: Moving to London or yeah? Yeah?

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Speaker 2: Okay, sorry very loaded with so many parts.

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Speaker 4: Well, I was I was working basically, so I started

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Speaker 4: off in casting which was really fascinating. I really enjoyed

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Speaker 4: it and worked for some amazing people like Christine King

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Speaker 4: Kirsty McGregor, who were just like the big guns now,

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Speaker 4: I mean, and they were you know, were at the

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Speaker 4: time too and learned so much. But I just wanted

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Speaker 4: to be on set. Yeah, I just really love being

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Speaker 4: on set. And so through that I was able to

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Speaker 4: meet producers and be like, hey, can I come and

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Speaker 4: work with you next time? You know, you've got a

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Speaker 4: job on and someone bought me on board as a PA,

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Speaker 4: and then I kind of like never looked.

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Speaker 3: Back in terms of casting.

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Speaker 4: So so then I was working in production, but then

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Speaker 4: I was also doing events on the side, and I

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Speaker 4: started my own little event company because again.

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Speaker 3: It's for me. It's all the same thing. It's creating

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Speaker 3: a world, you.

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Speaker 1: Know, and it's like what you're saying about your parents,

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Speaker 1: how they loved events and stuff like, it's all, yeah,

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Speaker 1: I love that.

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Speaker 3: So I was doing that.

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Speaker 4: But I was twenty one, you know, doing my little

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Speaker 4: event companies, working in production. All my friends were out

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Speaker 4: getting drunk and I just burnt out.

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Speaker 3: It was so I must have been a bit.

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Speaker 4: Older and then and anyway, long story, I decided that

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Speaker 4: I wanted to make them take the money I'd made

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Speaker 4: and go to Paris and live in Paris for a

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Speaker 4: year and just have a break bucket bucket list.

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Speaker 1: Right, Yeah, I love Paris.

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Speaker 4: So so I went and did that, and then I

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Speaker 4: was like, well, what do I do now? And I

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Speaker 4: found out my grandmother was English and I could move

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Speaker 4: to London, and so I moved to London and then

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Speaker 4: instantly was just trying to get in contact with people

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Speaker 4: that not that I knew, but that people from Sydney.

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Speaker 4: Was like contact this person, contact that person.

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Speaker 1: Speak.

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Speaker 2: You went in pretty cold, like yeah, without.

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Speaker 3: Having Oh wow, it was horrible.

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Speaker 4: It is such a sobering experience. I think everyone goes

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Speaker 4: through it. But sending for three months sending emails to

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Speaker 4: people saying, hey, this is me, please hire me, and

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Speaker 4: my personality.

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Speaker 3: I had a spreadsheet.

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Speaker 4: I knew everyone had emails when I emailed them, what

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Speaker 4: they'd said, if they'd responded, if I'd emailed back, you know.

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Speaker 3: But after the.

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Speaker 4: Three months, you're just like, oh my god. I didn't

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Speaker 4: think it would be this hard, like I've got experience.

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Speaker 4: But then anyway, I ended up getting a job, and

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Speaker 4: then that kind of like Snowball.

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Speaker 1: Yeah, and it took about three months of no's. Yeah,

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Speaker 1: that's so good to know though.

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Speaker 3: Yeah.

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Speaker 1: I think same goes for La You know, I've emailed

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Speaker 1: when he managers one responded yes, like it's a say

401
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Speaker 1: it's I think people think with the entertainment industry it's

402
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Speaker 1: like overnight success, whether it's on the.

403
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Speaker 2: Camera behind whatever it is, and it's not.

404
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Speaker 1: I think you've got to like literally pound the pavement,

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Speaker 1: like do the uncomfortable rejection. It's an industry of rejection

406
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Speaker 1: absolutely So once you kind of like broke in London

407
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Speaker 1: and then started to kind of like get on sets

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Speaker 1: and do what you love, you did you then move

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Speaker 1: into like music videos?

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Speaker 2: Did that happen there?

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Speaker 4: Oh?

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Speaker 3: Yeah, good questions.

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Speaker 4: So I was working for a very well known commercial

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Speaker 4: production company in London. I was really lucky that that

415
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Speaker 4: was my first foot in the door, right, And there

416
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Speaker 4: was a few people in there who were like up

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Speaker 4: and coming directors, And one of them was this guy

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Speaker 4: called Olie Murray and he said to me, Hey, listen,

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Speaker 4: I've been approached to do this music video. Would you

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Speaker 4: produce it for me? I'm not a music person. It's

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Speaker 4: for a band called the Horrors, who were apparently big

422
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Speaker 4: at the time. Yeah, like I still don't even know,

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Speaker 4: and we had no money, and I was like, sure,

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Speaker 4: like this will be fun, Like why not, you know,

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Speaker 4: it'll just be like a little challenge. And so we

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Speaker 4: did this little music video which was so much fun,

427
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Speaker 4: and then it blew up and it just went crazy,

428
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Speaker 4: and then all the commissioners from all the record labels

429
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Speaker 4: were wanting oli to direct videos for their artists, and

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Speaker 4: so that's how we kind of like ended up forming

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Speaker 4: this little like production company where we were just pumping out.

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Speaker 3: Music videos like it was crazy.

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Speaker 4: Like I think some weeks we would shoot a music

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Speaker 4: video on a Tuesday and then on the Wednesday we'd

435
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Speaker 4: have a completely different artist.

436
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Speaker 2: So how long would you shoot one?

437
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Speaker 1: I guess they're all different, but roughly how long would

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Speaker 1: you shoot one music video?

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Speaker 4: Oh?

440
00:20:45,000 --> 00:20:46,800
Speaker 3: Just a to day. They would only have budgets to

441
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Speaker 3: do a day shoot.

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Speaker 2: Yeah, but are we talking like eighteen hour days?

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Speaker 3: I yeah.

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Speaker 4: Look, I would always try as a producer not to

445
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Speaker 4: kill my crew because I feel like you've got to

446
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Speaker 4: feed them all, You've got to look after them, that's

447
00:20:59,320 --> 00:21:02,760
Speaker 4: how they come back. So I was very particular about

448
00:21:02,840 --> 00:21:06,960
Speaker 4: that because a lot of music videos, you the crew

449
00:21:07,000 --> 00:21:08,639
Speaker 4: gets killed and they never want to come back and

450
00:21:08,640 --> 00:21:11,200
Speaker 4: do another music video ever again. And I just didn't

451
00:21:11,200 --> 00:21:14,480
Speaker 4: think that was fair because you're paying everyone reduce rates,

452
00:21:14,480 --> 00:21:17,120
Speaker 4: like severely reduced rates, and it's like, okay, if they're

453
00:21:17,160 --> 00:21:19,119
Speaker 4: happy to come on board for a reduced rate. I

454
00:21:19,119 --> 00:21:20,879
Speaker 4: don't want to push these guys to the limits. So

455
00:21:20,960 --> 00:21:23,399
Speaker 4: I try and do twelve fourteen hour days if we could,

456
00:21:23,720 --> 00:21:26,040
Speaker 4: but it's still a long day, especially doing back to

457
00:21:26,119 --> 00:21:28,320
Speaker 4: back and different bands, you know, and all the rest

458
00:21:28,400 --> 00:21:28,640
Speaker 4: of it.

459
00:21:28,760 --> 00:21:33,040
Speaker 1: So how did the I've got to ask about Ali Golden?

460
00:21:33,560 --> 00:21:38,920
Speaker 1: How did this happen? Well, I've watched the video clip.

461
00:21:39,040 --> 00:21:40,920
Speaker 1: Oh yes, good discracious.

462
00:21:40,480 --> 00:21:41,360
Speaker 3: Shut here in La.

463
00:21:41,560 --> 00:21:45,880
Speaker 4: Yeah, yeah, that happened because I was working with an

464
00:21:45,920 --> 00:21:52,080
Speaker 4: Australian director, cooking a Bergser. She's also Polish, well half Polish,

465
00:21:52,600 --> 00:21:56,040
Speaker 4: and I while I was doing this thing with Olli Murray,

466
00:21:56,040 --> 00:21:58,800
Speaker 4: this production company that we had for music videos, one

467
00:21:58,840 --> 00:22:00,879
Speaker 4: of the commissioners, that's son who I got along with

468
00:22:00,960 --> 00:22:03,200
Speaker 4: really well, she got offered a job as head of

469
00:22:03,280 --> 00:22:05,320
Speaker 4: music videos at a company called Partisan.

470
00:22:06,480 --> 00:22:07,240
Speaker 3: So she then.

471
00:22:07,119 --> 00:22:10,480
Speaker 4: Got me in to do videos for her, which then

472
00:22:10,600 --> 00:22:13,240
Speaker 4: led to me having a job at Partisan working with

473
00:22:13,280 --> 00:22:17,680
Speaker 4: the managing director, which was amazing. Like I've always been freelance,

474
00:22:17,720 --> 00:22:19,399
Speaker 4: I've never taken an office job, and that was my

475
00:22:19,480 --> 00:22:23,320
Speaker 4: first full time office job and I just learned so much.

476
00:22:24,119 --> 00:22:26,200
Speaker 4: But King was one of their directors on their roster,

477
00:22:26,520 --> 00:22:31,280
Speaker 4: and this Ellie Goulding video came in and we pitched

478
00:22:31,320 --> 00:22:34,520
Speaker 4: on it and we won the bid, and yeah, that's

479
00:22:34,560 --> 00:22:35,440
Speaker 4: how that all came off.

480
00:22:35,480 --> 00:22:38,160
Speaker 1: And you were shooting here. Was it a pinch pinch

481
00:22:38,200 --> 00:22:39,480
Speaker 1: yourself moment like that?

482
00:22:39,600 --> 00:22:39,800
Speaker 4: Yeah?

483
00:22:39,880 --> 00:22:40,680
Speaker 3: I think it was.

484
00:22:42,119 --> 00:22:44,040
Speaker 4: It was all like Neon based, and we wanted to

485
00:22:44,040 --> 00:22:45,160
Speaker 4: shoot in Miami but.

486
00:22:45,960 --> 00:22:48,680
Speaker 1: Had total Miami and even Malibu.

487
00:22:48,800 --> 00:22:50,240
Speaker 3: Kind of yes, that was the idea.

488
00:22:50,359 --> 00:22:52,280
Speaker 4: But then I think she had a performance or something

489
00:22:52,320 --> 00:22:54,440
Speaker 4: happened and we couldn't get to Malibu in time.

490
00:22:54,520 --> 00:22:56,200
Speaker 3: So I'm into Miami in time.

491
00:22:56,240 --> 00:22:59,399
Speaker 4: So we ended up shooting in LA. But yeah, I

492
00:22:59,400 --> 00:23:04,000
Speaker 4: think so big because LA's always been like, I guess,

493
00:23:04,080 --> 00:23:07,399
Speaker 4: a dream, but I'd never I'd never really thought like,

494
00:23:07,400 --> 00:23:08,880
Speaker 4: I've never had a plan. You know how some people

495
00:23:08,920 --> 00:23:11,000
Speaker 4: are like I'm going to move to La. I've never

496
00:23:11,040 --> 00:23:12,879
Speaker 4: had that plan. I'd just be like, God, wouldn't it

497
00:23:12,920 --> 00:23:14,760
Speaker 4: be cool to be in La and then suddenly this

498
00:23:14,920 --> 00:23:17,560
Speaker 4: video comes up and next minute, you know, you're in

499
00:23:17,800 --> 00:23:20,760
Speaker 4: La shooting, you know, in all these locations and you

500
00:23:20,800 --> 00:23:22,320
Speaker 4: stuff and like this is cool.

501
00:23:22,800 --> 00:23:24,639
Speaker 2: Was that a longer shoot since it was like a

502
00:23:24,680 --> 00:23:25,240
Speaker 2: bigger star.

503
00:23:25,800 --> 00:23:30,280
Speaker 4: No. The thing with music videos is they used to

504
00:23:30,320 --> 00:23:34,800
Speaker 4: have huge shit budgets, and when I started doing them,

505
00:23:34,840 --> 00:23:39,679
Speaker 4: the budgets were severely cut. So that was that was

506
00:23:39,760 --> 00:23:43,560
Speaker 4: still a decent budget, but it wasn't huge, so we

507
00:23:43,600 --> 00:23:46,119
Speaker 4: could only afford a one day shoot. It was a

508
00:23:46,119 --> 00:23:48,440
Speaker 4: long day, like that was like a sixteen hour day,

509
00:23:48,480 --> 00:23:52,439
Speaker 4: I think. But yeah, but even like you know, a

510
00:23:52,480 --> 00:23:55,600
Speaker 4: big artist who I won't name, like their budgets were

511
00:23:55,640 --> 00:23:58,080
Speaker 4: like forty pounds to do a video and you just

512
00:23:58,080 --> 00:24:02,120
Speaker 4: would never expect that. Like boy bands, you know, they're

513
00:24:02,119 --> 00:24:04,080
Speaker 4: budgets for like one hundred and twenty thousand pounds, Like

514
00:24:04,119 --> 00:24:07,720
Speaker 4: you think that they'd be a million, Yeah, half a million.

515
00:24:07,520 --> 00:24:11,399
Speaker 1: Considering how many people watch video clips, Like video clips

516
00:24:11,400 --> 00:24:15,320
Speaker 1: are like I don't know, like I've been down the

517
00:24:15,440 --> 00:24:17,080
Speaker 1: rabbit hole of Harry Styles at the moment, because I

518
00:24:17,119 --> 00:24:19,399
Speaker 1: think he's amazing. He's on tour in Vegas and his

519
00:24:19,600 --> 00:24:23,159
Speaker 1: fashion is insane phenomenal and I'm like, I want to

520
00:24:23,200 --> 00:24:26,359
Speaker 1: pull off that look, you know, But I then I

521
00:24:26,400 --> 00:24:29,000
Speaker 1: go down the rabbit hole looking up video clips, like

522
00:24:29,040 --> 00:24:32,160
Speaker 1: I'm still I'm surprised that they don't have huge budgets

523
00:24:32,200 --> 00:24:35,520
Speaker 1: because video it's me like, and I can't like their

524
00:24:35,560 --> 00:24:37,879
Speaker 1: time stamps, you know, and you can go back to

525
00:24:37,960 --> 00:24:41,600
Speaker 1: that time and that moment and oh. It's so called

526
00:24:41,720 --> 00:24:44,160
Speaker 1: in music video kIPS because you're I know, you said

527
00:24:44,160 --> 00:24:46,639
Speaker 1: at the start, you're not a music person, but people

528
00:24:46,720 --> 00:24:49,320
Speaker 1: use it for escapism, like it's still such a form

529
00:24:49,359 --> 00:24:52,439
Speaker 1: of art, but the video element of it, it to me,

530
00:24:52,600 --> 00:24:55,760
Speaker 1: is just as important as the soundtrack.

531
00:24:55,400 --> 00:24:59,520
Speaker 4: Like ah, and it's the best training ground for your craft,

532
00:25:00,520 --> 00:25:04,000
Speaker 4: you know. And that's why Partisan has this music video department,

533
00:25:04,040 --> 00:25:06,879
Speaker 4: because music videos don't make money like commercials make money.

534
00:25:06,880 --> 00:25:09,040
Speaker 4: But it is such a good training ground for producers

535
00:25:09,040 --> 00:25:13,320
Speaker 4: and directors and even big directors to have creative freedom

536
00:25:13,359 --> 00:25:15,679
Speaker 4: that they don't get in the TV commercial world.

537
00:25:16,119 --> 00:25:18,399
Speaker 3: And you learn so much.

538
00:25:19,000 --> 00:25:21,439
Speaker 4: You know, you've got very limited amount of time, a

539
00:25:21,480 --> 00:25:24,040
Speaker 4: limited budget to try and pull off things that are

540
00:25:24,080 --> 00:25:25,360
Speaker 4: meant to look a million.

541
00:25:25,080 --> 00:25:28,200
Speaker 3: Dollars, So it's a really great learning.

542
00:25:29,640 --> 00:25:32,440
Speaker 1: I had this question for later on but would you

543
00:25:32,480 --> 00:25:35,520
Speaker 1: say you prefer like more the commercial side of things

544
00:25:35,560 --> 00:25:39,520
Speaker 1: when it comes to producing or mut or music or

545
00:25:40,200 --> 00:25:43,840
Speaker 1: even film, Like what where do you sit and go, oh,

546
00:25:43,920 --> 00:25:44,520
Speaker 1: I love.

547
00:25:44,400 --> 00:25:47,040
Speaker 3: This the most definitely at the moment film?

548
00:25:47,560 --> 00:25:47,760
Speaker 1: Yeah?

549
00:25:47,880 --> 00:25:49,160
Speaker 2: Is that because it's the magic?

550
00:25:49,600 --> 00:25:52,920
Speaker 3: Yeah? Yeah, you know, well I think it's all it's

551
00:25:52,960 --> 00:25:53,520
Speaker 3: all magic.

552
00:25:53,560 --> 00:25:55,679
Speaker 4: But I think I feel like I've done the music videos,

553
00:25:55,720 --> 00:25:56,920
Speaker 4: I've done the commercials.

554
00:25:57,240 --> 00:25:58,960
Speaker 3: They don't excite me like they used to.

555
00:25:59,840 --> 00:26:03,159
Speaker 4: And this is no disrespect to anyone in commercials, Like

556
00:26:03,800 --> 00:26:06,639
Speaker 4: you know, it's it's an amazing skill set to have

557
00:26:06,760 --> 00:26:08,280
Speaker 4: to do that, and at the end of the days,

558
00:26:08,359 --> 00:26:08,920
Speaker 4: it's bread and.

559
00:26:08,880 --> 00:26:10,000
Speaker 3: Butter for a lot of people.

560
00:26:10,359 --> 00:26:11,760
Speaker 4: But I just got to the point where I was

561
00:26:11,800 --> 00:26:14,560
Speaker 4: busting my ass, like, which is fine, you do that

562
00:26:14,640 --> 00:26:17,040
Speaker 4: in this industry no matter what you do. But you

563
00:26:17,080 --> 00:26:20,000
Speaker 4: wouldn't see your friends for three months, you know, you'd

564
00:26:20,080 --> 00:26:22,000
Speaker 4: like half office to be walking fun a cold source

565
00:26:22,040 --> 00:26:24,399
Speaker 4: because they're so run down. And at the end of it,

566
00:26:24,480 --> 00:26:28,360
Speaker 4: You've produced a thirty second Tampon commercial and I'm like,

567
00:26:28,520 --> 00:26:30,040
Speaker 4: what am I doing with my life?

568
00:26:30,080 --> 00:26:33,080
Speaker 3: You know? I mean that's you know, like I love it.

569
00:26:33,720 --> 00:26:36,760
Speaker 4: I'm exaggerating because of course you can do amazing commercials

570
00:26:36,800 --> 00:26:38,399
Speaker 4: for coke and all the rest of that, but it

571
00:26:38,520 --> 00:26:39,400
Speaker 4: just didn't.

572
00:26:39,680 --> 00:26:42,320
Speaker 3: Didn't give me the thrill that I think.

573
00:26:42,480 --> 00:26:44,679
Speaker 4: I think I always started off in this business to

574
00:26:44,720 --> 00:26:47,440
Speaker 4: be in film and just kind of like took a detour,

575
00:26:47,560 --> 00:26:51,600
Speaker 4: and now I think I'm trying to like start in film.

576
00:26:51,720 --> 00:26:54,359
Speaker 1: Yeah, I feel like I wouldn't even call that as

577
00:26:54,400 --> 00:26:56,200
Speaker 1: a detour. I would call that like you're just building

578
00:26:56,240 --> 00:26:59,600
Speaker 1: the skill set, like working on really quick timelines really

579
00:26:59,600 --> 00:27:00,880
Speaker 1: restrict budgets.

580
00:27:01,320 --> 00:27:03,600
Speaker 2: It's like you've probably learned this skill set.

581
00:27:03,640 --> 00:27:05,720
Speaker 1: It's going to be so handy when you transfer it

582
00:27:05,760 --> 00:27:09,480
Speaker 1: to film because I imagine, please correct me if I'm wrong,

583
00:27:09,520 --> 00:27:11,560
Speaker 1: but a films that you're probably gonna have a longer

584
00:27:11,600 --> 00:27:15,720
Speaker 1: time to shoot something because you're shooting a timeline, a storyline,

585
00:27:15,760 --> 00:27:18,840
Speaker 1: a plot, and you've got this skill set that you've

586
00:27:18,920 --> 00:27:22,199
Speaker 1: learned from not having a good time, like having a

587
00:27:22,320 --> 00:27:25,960
Speaker 1: very short timeline. And I imagine commercial but I've only

588
00:27:26,040 --> 00:27:29,800
Speaker 1: had like a few experiences with commercials. But often the

589
00:27:29,840 --> 00:27:32,240
Speaker 1: client will be on set and then you've got to

590
00:27:32,280 --> 00:27:35,159
Speaker 1: make and sometimes you have like the legal team editing

591
00:27:35,200 --> 00:27:38,600
Speaker 1: what you say in the moment, and you're like, I'll

592
00:27:38,640 --> 00:27:41,639
Speaker 1: be like sweating there, like byr fup this AUTOQ. You know,

593
00:27:42,600 --> 00:27:45,639
Speaker 1: but it feels like it's when you talk about like

594
00:27:45,720 --> 00:27:50,800
Speaker 1: loving the magic of film, I feel like that feels

595
00:27:50,880 --> 00:27:55,280
Speaker 1: very different. Like commercials are great, but it's not necessarily

596
00:27:55,280 --> 00:27:58,280
Speaker 1: about the magic. It's about selling something. So the value

597
00:27:58,320 --> 00:28:01,480
Speaker 1: systems are quite different. Whereas I think film and I

598
00:28:01,480 --> 00:28:05,040
Speaker 1: would say probably music is similar. You're giving the viewer,

599
00:28:05,440 --> 00:28:08,920
Speaker 1: You're like creating this experience for the viewer to feel

600
00:28:08,920 --> 00:28:11,960
Speaker 1: connected to something. Yeah, totally, you know, so I feel

601
00:28:11,960 --> 00:28:14,639
Speaker 1: like that's like this real art and I don't know,

602
00:28:14,680 --> 00:28:18,119
Speaker 1: I'm probably like hippifying it a little bit, but I

603
00:28:18,160 --> 00:28:22,480
Speaker 1: can see why you've kind of like tick done commercial

604
00:28:23,640 --> 00:28:26,000
Speaker 1: music tick done. And then it makes sense to want

605
00:28:26,040 --> 00:28:27,880
Speaker 1: to sit in the film space where people can watch

606
00:28:27,880 --> 00:28:30,679
Speaker 1: something that you've worked on and have an experience and

607
00:28:30,800 --> 00:28:33,120
Speaker 1: feel connected or escapism right.

608
00:28:33,040 --> 00:28:35,919
Speaker 4: Yeah totally, and to develop the narrative and to like

609
00:28:36,359 --> 00:28:39,280
Speaker 4: just have a bulk of work that's like someone can

610
00:28:39,440 --> 00:28:42,959
Speaker 4: escape for an hour and a half, two hours and

611
00:28:43,080 --> 00:28:45,480
Speaker 4: just be completely in another world.

612
00:28:46,560 --> 00:28:48,720
Speaker 3: Yeah. I just feel like I got a bit.

613
00:28:48,640 --> 00:28:50,840
Speaker 4: Burnt out doing music videos and TV commercials with a

614
00:28:50,840 --> 00:28:53,160
Speaker 4: lot of people do and a lot of film producers

615
00:28:53,200 --> 00:28:53,640
Speaker 4: do too.

616
00:28:53,960 --> 00:28:56,520
Speaker 2: Yeah, understandably from what you were saying.

617
00:28:56,840 --> 00:29:02,800
Speaker 1: Yeah, so there's a really there's a really cool quote

618
00:29:02,880 --> 00:29:04,560
Speaker 1: I heard you say, and I love it because I

619
00:29:04,600 --> 00:29:06,920
Speaker 1: think anyone could you know, you can apply this to

620
00:29:06,960 --> 00:29:11,680
Speaker 1: anybody's career goal aspiration. It's like, treat you with respect,

621
00:29:11,960 --> 00:29:13,520
Speaker 1: don't be an asshole.

622
00:29:13,120 --> 00:29:14,240
Speaker 2: And don't take the piss.

623
00:29:15,200 --> 00:29:17,120
Speaker 1: And is that kind of like as a producer, are

624
00:29:17,160 --> 00:29:19,160
Speaker 1: you referring to that as your crew, like you want

625
00:29:19,360 --> 00:29:21,200
Speaker 1: you want to treat everyone really well on set, because

626
00:29:21,280 --> 00:29:24,520
Speaker 1: I mean, if you're on a big gig, I imagine

627
00:29:24,520 --> 00:29:26,640
Speaker 1: there's a lot of people to look after and oversea.

628
00:29:27,080 --> 00:29:29,320
Speaker 1: And as a producer I've described I've heard you say

629
00:29:29,360 --> 00:29:33,520
Speaker 1: like I'm the mum to one hundred kids, right, is

630
00:29:33,520 --> 00:29:35,240
Speaker 1: that kind of like your motto, like you just want

631
00:29:35,280 --> 00:29:36,640
Speaker 1: to treat people with respect?

632
00:29:37,120 --> 00:29:40,080
Speaker 4: Yeah, But I don't think it applies to just producing.

633
00:29:40,160 --> 00:29:43,280
Speaker 4: I think it just applies well any career and just

634
00:29:43,360 --> 00:29:46,920
Speaker 4: life in general. But I learn a really good lesson,

635
00:29:46,960 --> 00:29:50,120
Speaker 4: which is this lesson. When I was casting, often we

636
00:29:50,160 --> 00:29:52,440
Speaker 4: wouldn't have the budgets to have a casting assistant.

637
00:29:52,520 --> 00:29:54,720
Speaker 3: So one of the studios that I.

638
00:29:54,680 --> 00:29:58,640
Speaker 4: Worked at, I would greet the actors as they would

639
00:29:58,680 --> 00:30:00,960
Speaker 4: come in and this is me twenty one, okay, and

640
00:30:01,000 --> 00:30:04,720
Speaker 4: I probably looked fourteen at the time, right, and I

641
00:30:04,720 --> 00:30:07,240
Speaker 4: would tick them off, and some of them would be

642
00:30:07,520 --> 00:30:11,120
Speaker 4: so rude to me, like so incredibly rude, and You're

643
00:30:11,160 --> 00:30:13,400
Speaker 4: just like, Okay, they're having a bad day or they're

644
00:30:13,440 --> 00:30:17,560
Speaker 4: nervous or whatever. And then I would go through another

645
00:30:17,640 --> 00:30:20,760
Speaker 4: door which they wouldn't see, into the studio and then

646
00:30:20,800 --> 00:30:23,040
Speaker 4: I would come out into the hallway where they're waiting,

647
00:30:23,120 --> 00:30:25,959
Speaker 4: and I would call them in and they would be

648
00:30:26,080 --> 00:30:28,040
Speaker 4: like okay, and then they'd walk in and you could

649
00:30:28,080 --> 00:30:31,280
Speaker 4: see their face drop when there's no casting director when

650
00:30:31,400 --> 00:30:35,080
Speaker 4: I'm I'm running the session, and they're just like, oh

651
00:30:35,120 --> 00:30:37,520
Speaker 4: my god, like I've just been so rude to this person.

652
00:30:37,560 --> 00:30:39,680
Speaker 4: And some of them be like, where's your boss? And

653
00:30:39,720 --> 00:30:43,920
Speaker 4: I'm like, no, no, no, sorry, mate, you're doing this

654
00:30:44,000 --> 00:30:47,680
Speaker 4: with me today. So that was a really good lesson

655
00:30:47,760 --> 00:30:48,040
Speaker 4: for me.

656
00:30:48,080 --> 00:30:51,000
Speaker 3: Because you just don't know who you're going to.

657
00:30:51,000 --> 00:30:55,520
Speaker 4: Meet or who passing across, and like, there's no reason

658
00:30:55,560 --> 00:30:58,000
Speaker 4: to be a dickare just be nice to everyone, you know?

659
00:30:58,280 --> 00:31:00,440
Speaker 3: Like so I just think that's like a lit life.

660
00:31:00,320 --> 00:31:03,440
Speaker 1: Lesson, has it happened where you've ever crossed paths as

661
00:31:03,480 --> 00:31:05,640
Speaker 1: people that have been like that at a stage and

662
00:31:05,680 --> 00:31:10,240
Speaker 1: then you get to i know, like, have any of

663
00:31:10,280 --> 00:31:12,120
Speaker 1: the people that were like a little bit shirty with

664
00:31:12,160 --> 00:31:13,840
Speaker 1: you are hard to work at one stage and then

665
00:31:13,880 --> 00:31:17,400
Speaker 1: come into your orbit and you've been like, no, thank you,

666
00:31:17,480 --> 00:31:18,440
Speaker 1: I'm going to step away.

667
00:31:18,600 --> 00:31:22,160
Speaker 4: Yeah. There's one that I remember really well. It was

668
00:31:22,200 --> 00:31:24,120
Speaker 4: actually he was a first D A D on a shoot

669
00:31:24,160 --> 00:31:27,719
Speaker 4: and I was a second a D or something and

670
00:31:27,760 --> 00:31:28,160
Speaker 4: he was.

671
00:31:28,120 --> 00:31:30,280
Speaker 3: So horrible to me the whole shoot.

672
00:31:31,000 --> 00:31:33,640
Speaker 4: And then later when I was producing, his name came

673
00:31:33,720 --> 00:31:35,280
Speaker 4: up to be booked as the first a D.

674
00:31:35,520 --> 00:31:37,240
Speaker 3: And I was like, we're not using this person.

675
00:31:38,000 --> 00:31:42,560
Speaker 1: Yeah, there you go. Right. Yeah, it's nice to hear that.

676
00:31:42,680 --> 00:31:42,920
Speaker 4: I know.

677
00:31:43,000 --> 00:31:45,480
Speaker 1: I've definitely had moments where people have been like really

678
00:31:45,560 --> 00:31:49,200
Speaker 1: rude to me, and then they've done an insta stork

679
00:31:49,320 --> 00:31:52,239
Speaker 1: or something like after the fact, and I'm like and

680
00:31:52,280 --> 00:31:54,600
Speaker 1: then they're nicest pie Like you're in an event or

681
00:31:54,640 --> 00:31:58,760
Speaker 1: something and you're like, this person like the tune with me,

682
00:31:58,880 --> 00:32:01,280
Speaker 1: and it's just that they're probably a little bit fake

683
00:32:01,560 --> 00:32:04,360
Speaker 1: and two faced. But I yeah, I wrote that down.

684
00:32:04,360 --> 00:32:05,560
Speaker 2: I really like that.

685
00:32:05,600 --> 00:32:09,160
Speaker 1: I want to talk to you about because you are

686
00:32:10,000 --> 00:32:13,480
Speaker 1: in an interesting boat where you've experienced both behind the

687
00:32:13,520 --> 00:32:15,640
Speaker 1: camera and in front of the camera, and to me,

688
00:32:15,720 --> 00:32:17,240
Speaker 1: they're two completely different beasts.

689
00:32:18,200 --> 00:32:20,800
Speaker 2: I think to be good.

690
00:32:20,640 --> 00:32:22,640
Speaker 1: In front of the camera, you've got to have a

691
00:32:22,680 --> 00:32:25,880
Speaker 1: brain that understands behind the camera for sure, like is

692
00:32:25,880 --> 00:32:26,480
Speaker 1: it a wide shot?

693
00:32:26,560 --> 00:32:27,080
Speaker 2: Is it closed?

694
00:32:27,160 --> 00:32:27,360
Speaker 1: Is that?

695
00:32:27,520 --> 00:32:27,640
Speaker 3: Like?

696
00:32:27,720 --> 00:32:32,280
Speaker 1: What's And then I think behind the camera as a producer,

697
00:32:32,320 --> 00:32:34,960
Speaker 1: having been in front of the camera, you have this

698
00:32:35,200 --> 00:32:39,840
Speaker 1: understanding and empathy for your actors, for your talent as

699
00:32:39,840 --> 00:32:43,000
Speaker 1: well because you've been in those shoes. Would you say

700
00:32:43,320 --> 00:32:45,560
Speaker 1: that it's helpful having both skill sets.

701
00:32:45,800 --> 00:32:50,680
Speaker 4: Definitely, Yeah, there's no doubt about it. I think, especially producing,

702
00:32:50,720 --> 00:32:55,120
Speaker 4: if you can understand more about everyone's department than anyone else,

703
00:32:55,640 --> 00:32:59,280
Speaker 4: you are able to understand their needs and what they

704
00:32:59,360 --> 00:33:01,320
Speaker 4: need to get there job done. And then you can

705
00:33:01,400 --> 00:33:04,200
Speaker 4: have that you know, prepared and waiting for them ahead

706
00:33:04,240 --> 00:33:07,720
Speaker 4: of time, and that makes everyone's job run more smoothly,

707
00:33:07,800 --> 00:33:09,880
Speaker 4: even if you're in front of the camera or behind

708
00:33:09,920 --> 00:33:13,240
Speaker 4: the camera. I just think that's such an important skill.

709
00:33:13,320 --> 00:33:17,080
Speaker 4: Like even my my casting knowledge now, just knowing how

710
00:33:17,080 --> 00:33:19,480
Speaker 4: it works and knowing what it takes to cast a

711
00:33:19,600 --> 00:33:24,040
Speaker 4: show helps so much with producing and knowing what they

712
00:33:24,080 --> 00:33:26,680
Speaker 4: need and timelines that you're negotiating things like that because

713
00:33:26,680 --> 00:33:29,320
Speaker 4: you understand the process that they're going through too. And

714
00:33:29,360 --> 00:33:33,360
Speaker 4: that's exactly the same for you know, someone on on screen,

715
00:33:33,840 --> 00:33:37,720
Speaker 4: knowing what they need, Knowing simple things like how best

716
00:33:37,720 --> 00:33:40,600
Speaker 4: to set an AUTOQ up, like you know, whether to

717
00:33:40,680 --> 00:33:43,000
Speaker 4: give them lines ahead of time or just to give

718
00:33:43,000 --> 00:33:44,720
Speaker 4: it to them on the day, and what will feel

719
00:33:44,800 --> 00:33:48,280
Speaker 4: more natural for them, and just simple things like having

720
00:33:48,280 --> 00:33:50,480
Speaker 4: a comfortable area for them to sit in and just

721
00:33:51,040 --> 00:33:53,880
Speaker 4: presenters get nervous too, you know, like and just making

722
00:33:53,920 --> 00:33:56,400
Speaker 4: them feel like they're looked after, like all those things.

723
00:33:56,440 --> 00:33:59,000
Speaker 4: Knowing what is going through their mind on the day

724
00:33:59,600 --> 00:34:01,720
Speaker 4: is so important to getting the job done.

725
00:34:02,240 --> 00:34:05,080
Speaker 1: I like you've spoken like a true productor like caring

726
00:34:05,160 --> 00:34:06,520
Speaker 1: about everybody's skill set.

727
00:34:06,600 --> 00:34:09,239
Speaker 4: And yeah, you're a mom, Like I really see it

728
00:34:09,320 --> 00:34:11,560
Speaker 4: like that, And I don't mean that in a derogatory way,

729
00:34:11,560 --> 00:34:15,120
Speaker 4: but you're literally like you are. You're this maternal figure

730
00:34:15,600 --> 00:34:18,719
Speaker 4: looking after everyone. And I say, it's like you're looking

731
00:34:18,760 --> 00:34:21,279
Speaker 4: after them in pre production, getting them ready for their

732
00:34:21,320 --> 00:34:23,399
Speaker 4: first day of school, and then when they arrive on set,

733
00:34:23,440 --> 00:34:24,720
Speaker 4: that's their first day of school.

734
00:34:24,920 --> 00:34:28,719
Speaker 1: I've got to say though, like I know, like I

735
00:34:28,760 --> 00:34:31,279
Speaker 1: take any time I do presenting really seriously, and I

736
00:34:31,280 --> 00:34:34,360
Speaker 1: almost treat it like an acting gig. And if you

737
00:34:34,480 --> 00:34:37,719
Speaker 1: work with someone that has empathy for actors or presenters

738
00:34:37,719 --> 00:34:39,799
Speaker 1: and have done it before, they're going to have so

739
00:34:39,880 --> 00:34:42,160
Speaker 1: much fun with you. The director, the producer are going

740
00:34:42,200 --> 00:34:44,359
Speaker 1: to like you're going to become this little team and

741
00:34:44,400 --> 00:34:46,160
Speaker 1: you're all going for the same goal and it's like

742
00:34:46,160 --> 00:34:48,719
Speaker 1: the most joyful experience. And we've talked a little bit

743
00:34:48,760 --> 00:34:51,560
Speaker 1: about that magic. You know, you can feel that, But

744
00:34:51,719 --> 00:34:55,000
Speaker 1: I've worked with directors and producers before that have just

745
00:34:55,040 --> 00:34:57,600
Speaker 1: like barked things at me and treated and I've felt

746
00:34:57,640 --> 00:35:01,439
Speaker 1: so like like I've all my self doubts have come

747
00:35:01,480 --> 00:35:03,560
Speaker 1: back because I've felt like I'm out of my comfort.

748
00:35:05,120 --> 00:35:08,600
Speaker 1: They'll like almost like enjoy my trip ups. And you

749
00:35:08,640 --> 00:35:10,880
Speaker 1: can feel that because there's so many egos in this

750
00:35:10,960 --> 00:35:14,200
Speaker 1: world as well, And so it's a testament to you

751
00:35:14,320 --> 00:35:16,680
Speaker 1: for like caring about other people, because I think that's

752
00:35:16,840 --> 00:35:17,799
Speaker 1: reasonably rare.

753
00:35:18,480 --> 00:35:22,160
Speaker 2: But ah, really, sometimes, yeah, I just don't know.

754
00:35:22,120 --> 00:35:25,400
Speaker 4: How you get the job done effectively if you're not

755
00:35:25,680 --> 00:35:28,759
Speaker 4: aware of those things. You know, like for example, the

756
00:35:28,800 --> 00:35:32,799
Speaker 4: film I just worked on it. Often we'd have six looks.

757
00:35:32,800 --> 00:35:34,400
Speaker 1: I don't know if you're allowed to talk about.

758
00:35:34,200 --> 00:35:35,440
Speaker 3: It, I can talk about it.

759
00:35:35,560 --> 00:35:38,000
Speaker 2: Yeah, you've been in America working on a film.

760
00:35:38,040 --> 00:35:38,200
Speaker 1: Yeah.

761
00:35:38,239 --> 00:35:40,520
Speaker 3: Yeah, I've been in America working on a film.

762
00:35:40,880 --> 00:35:44,240
Speaker 4: It's out in March. It's called Senior Year. It's Super

763
00:35:44,280 --> 00:35:48,720
Speaker 4: Super You shot, Yeah, we shot shot in Atlanta. But

764
00:35:48,800 --> 00:35:53,480
Speaker 4: for example, like the lead actress in that film, somedays

765
00:35:53,520 --> 00:35:59,080
Speaker 4: she'd have six looks good and that's a huge amount

766
00:35:59,080 --> 00:36:01,880
Speaker 4: of changes. So what you've got to think of with

767
00:36:02,000 --> 00:36:04,480
Speaker 4: those type of things is, one, you've got makeup and

768
00:36:04,560 --> 00:36:06,759
Speaker 4: hair that have got all these changes to do, which

769
00:36:06,800 --> 00:36:08,760
Speaker 4: sometimes can take an hour and a half two hours.

770
00:36:09,280 --> 00:36:12,080
Speaker 4: On top of that, you've got wardrobe changes, and you've

771
00:36:12,080 --> 00:36:15,440
Speaker 4: got to understand like can the prom dress, can we

772
00:36:15,480 --> 00:36:17,040
Speaker 4: get dressed in the trailer or it doesn't have to get

773
00:36:17,080 --> 00:36:19,040
Speaker 4: dressed on set because we don't want it to get crushed.

774
00:36:19,040 --> 00:36:21,600
Speaker 4: So all that's got to be incorporated into the timing

775
00:36:21,640 --> 00:36:23,799
Speaker 4: of the day. Then you've got to think about the

776
00:36:23,840 --> 00:36:28,360
Speaker 4: actor who has to put herself in six different frames

777
00:36:28,400 --> 00:36:31,040
Speaker 4: of mind because you're shooting a bit at the beginning

778
00:36:31,040 --> 00:36:31,560
Speaker 4: of the film.

779
00:36:31,400 --> 00:36:32,000
Speaker 3: And the end of the film.

780
00:36:32,000 --> 00:36:34,480
Speaker 1: And that's just going to say the timeline is skewed

781
00:36:34,520 --> 00:36:36,960
Speaker 1: with films, right yeah, because you can film like day

782
00:36:37,000 --> 00:36:39,520
Speaker 1: one might be like the most romantic scene ever and

783
00:36:39,560 --> 00:36:43,160
Speaker 1: you haven't built chemistry yet, right Yeah. That's so confronting

784
00:36:43,239 --> 00:36:43,480
Speaker 1: for me.

785
00:36:44,200 --> 00:36:46,920
Speaker 4: It's full on, and to watch it happening, it's like,

786
00:36:47,120 --> 00:36:49,759
Speaker 4: oh my god, you have to be so sharp and

787
00:36:49,880 --> 00:36:53,920
Speaker 4: on it really Ah yeah, but you've got to understand.

788
00:36:53,960 --> 00:36:55,880
Speaker 4: And then on top of that, you've got lighting setups

789
00:36:55,920 --> 00:36:58,359
Speaker 4: and everything, and so that's all got to come into

790
00:36:58,440 --> 00:37:01,399
Speaker 4: play when you're scheduling, you know, with the ad team

791
00:37:01,400 --> 00:37:02,520
Speaker 4: and all the rest of it. And if you can

792
00:37:02,640 --> 00:37:06,920
Speaker 4: understand all that and have everyone's needs met, which often

793
00:37:06,960 --> 00:37:10,560
Speaker 4: you can't and that's just part of you know, the machine,

794
00:37:11,400 --> 00:37:13,600
Speaker 4: then I feel like you get a much better production

795
00:37:13,920 --> 00:37:16,080
Speaker 4: and a much better morale on set two.

796
00:37:16,560 --> 00:37:18,480
Speaker 1: I love that you just shared that because I think

797
00:37:18,880 --> 00:37:21,879
Speaker 1: I didn't realize until I started training that films are

798
00:37:21,880 --> 00:37:25,560
Speaker 1: one shot out of sequence two. You might not have

799
00:37:25,640 --> 00:37:28,120
Speaker 1: as much time as you think to rehearse or prep

800
00:37:28,200 --> 00:37:30,680
Speaker 1: something as this is an actor, but you're coming at

801
00:37:30,719 --> 00:37:35,279
Speaker 1: it as a producer and you've got even more to

802
00:37:35,280 --> 00:37:37,319
Speaker 1: think about. And I think What I love that you

803
00:37:37,400 --> 00:37:39,759
Speaker 1: just mentioned is it's like you're kind of managing all

804
00:37:39,760 --> 00:37:44,880
Speaker 1: these different personalities as well. Like actors sometimes are super

805
00:37:44,880 --> 00:37:51,120
Speaker 1: confident and sharp and this amazing like mystical, mythical creature,

806
00:37:51,160 --> 00:37:52,680
Speaker 1: and you're like, how do you even do what you do?

807
00:37:52,760 --> 00:37:54,879
Speaker 1: And there's a lot of amazing people out there like that,

808
00:37:55,280 --> 00:37:59,200
Speaker 1: but sometimes having a bad day, they might feel anxious,

809
00:37:59,360 --> 00:38:02,480
Speaker 1: self confidt like this self confidence might be. And as

810
00:38:02,480 --> 00:38:04,319
Speaker 1: a producer, I feel like you'd have to read that

811
00:38:04,440 --> 00:38:07,640
Speaker 1: play almost ahead of time and be like, right, I

812
00:38:07,680 --> 00:38:09,479
Speaker 1: know what's going to make that person feel a little

813
00:38:09,480 --> 00:38:11,080
Speaker 1: bit calmer. I'm going to make sure I feel like

814
00:38:11,120 --> 00:38:13,080
Speaker 1: you'd be constantly troubleshooting little things.

815
00:38:13,200 --> 00:38:14,200
Speaker 3: Yeah, that's that's you.

816
00:38:14,520 --> 00:38:16,520
Speaker 4: Constantly troubleshooting is a bit or I was going to

817
00:38:16,560 --> 00:38:18,279
Speaker 4: say putting out fires, but troubles shootings a bit of

818
00:38:18,280 --> 00:38:21,360
Speaker 4: a way to put it. Listen, you're together for eleven

819
00:38:21,480 --> 00:38:24,120
Speaker 4: twelve weeks. Some of these Marvel films, you're together for

820
00:38:24,200 --> 00:38:27,520
Speaker 4: a year. Ozark's been in Atlanta for a year, shooting

821
00:38:27,560 --> 00:38:30,880
Speaker 4: back to back seasons. You become a dysfunctional family of sorts.

822
00:38:31,400 --> 00:38:32,960
Speaker 4: You're going to have a bad day, You're going to

823
00:38:33,040 --> 00:38:34,719
Speaker 4: have more than a bad day, and everyone's going to

824
00:38:34,760 --> 00:38:37,600
Speaker 4: have a bad day and it's trying to be ready

825
00:38:37,640 --> 00:38:37,960
Speaker 4: for that.

826
00:38:38,600 --> 00:38:41,680
Speaker 1: I love it. So can I ask, now that you've

827
00:38:41,800 --> 00:38:43,960
Speaker 1: said that you've recently been working on film, what was

828
00:38:44,000 --> 00:38:47,040
Speaker 1: your biggest takeaway from that, because now knowing that film

829
00:38:47,080 --> 00:38:49,920
Speaker 1: is where you're kind of moving towards career wise, at

830
00:38:49,920 --> 00:38:52,480
Speaker 1: the end of that show, you're like, oh, I like,

831
00:38:53,320 --> 00:38:55,239
Speaker 1: was there a moment that you were like, I loved

832
00:38:55,280 --> 00:38:57,640
Speaker 1: that or was there a lesson that you were like,

833
00:38:58,040 --> 00:38:59,160
Speaker 1: I've now learned that new thing.

834
00:39:01,200 --> 00:39:02,600
Speaker 3: Oh, that's such a good question.

835
00:39:04,440 --> 00:39:06,799
Speaker 4: This is gonna sound so corny, but every day it

836
00:39:06,840 --> 00:39:09,840
Speaker 4: was a moment because it's just like, as I said, like,

837
00:39:09,880 --> 00:39:12,719
Speaker 4: I just love being on set, and that film had

838
00:39:12,800 --> 00:39:18,200
Speaker 4: so many out It's got dance sequences, romance sequences, you know, drama, comedy,

839
00:39:18,200 --> 00:39:22,000
Speaker 4: the comedy. Like the cast is just amazing and a

840
00:39:22,040 --> 00:39:25,520
Speaker 4: cast of all ages. So every day I was like,

841
00:39:25,800 --> 00:39:28,759
Speaker 4: I just love this, Like this is just like it

842
00:39:28,920 --> 00:39:30,640
Speaker 4: just you know, and it just feels so good.

843
00:39:30,800 --> 00:39:31,880
Speaker 3: Yeah.

844
00:39:31,960 --> 00:39:36,280
Speaker 4: I think I surprised myself. I'm very hard on myself,

845
00:39:37,000 --> 00:39:39,080
Speaker 4: so I wasn't sure what to expect going into it.

846
00:39:39,120 --> 00:39:41,680
Speaker 4: But I think I surprised myself how ease I was

847
00:39:41,719 --> 00:39:44,759
Speaker 4: and how I completely There was not anything that I

848
00:39:44,800 --> 00:39:46,719
Speaker 4: was like, I don't understand this or what's going on.

849
00:39:46,800 --> 00:39:48,480
Speaker 3: It was like, yeah, I totally get this.

850
00:39:49,280 --> 00:39:51,680
Speaker 4: And I think that's just from years of experience which

851
00:39:51,719 --> 00:39:54,880
Speaker 4: I never had put much value on. But I feel

852
00:39:54,880 --> 00:39:56,719
Speaker 4: like I have now. I'm like, oh, I get it,

853
00:39:56,800 --> 00:39:58,799
Speaker 4: like this and this and this and this. Now knows

854
00:39:58,840 --> 00:40:00,839
Speaker 4: that I mean understand all this.

855
00:40:01,480 --> 00:40:03,680
Speaker 1: Yeah, you've done all the work, you've done the time,

856
00:40:03,840 --> 00:40:07,239
Speaker 1: you've done the skill set, and you're you're ready to

857
00:40:07,320 --> 00:40:10,640
Speaker 1: move into the big gap. This feels really you're in

858
00:40:10,840 --> 00:40:14,200
Speaker 1: la film. I feel like this is the big guns.

859
00:40:14,280 --> 00:40:14,799
Speaker 3: Well I didn't.

860
00:40:14,840 --> 00:40:17,120
Speaker 4: It was you that said to me the other week, Sam,

861
00:40:17,120 --> 00:40:19,719
Speaker 4: You've just done a Hollywood field and I'm like, oh shit,

862
00:40:19,840 --> 00:40:20,080
Speaker 4: I have.

863
00:40:21,640 --> 00:40:24,439
Speaker 3: It's just weird, I don't. I think it's my personality.

864
00:40:24,480 --> 00:40:28,560
Speaker 4: But even like when I think of milestones, I don't.

865
00:40:28,600 --> 00:40:29,560
Speaker 3: Ever it's only.

866
00:40:29,360 --> 00:40:30,960
Speaker 4: Because I knew I was doing this podcast with you

867
00:40:31,000 --> 00:40:33,200
Speaker 4: that I was actually like, oh, do I have milestones?

868
00:40:33,440 --> 00:40:35,800
Speaker 4: I kind of like, do something. Then I'm like, what's next.

869
00:40:36,400 --> 00:40:37,480
Speaker 2: Yeah, But you're a high achiever.

870
00:40:37,680 --> 00:40:41,759
Speaker 1: That's that and the fact you've got spreadsheets, and I

871
00:40:41,800 --> 00:40:43,919
Speaker 1: wanted to quickly ask you when you say you create

872
00:40:44,000 --> 00:40:46,680
Speaker 1: like an orange, like no, do you create the Bible?

873
00:40:46,719 --> 00:40:50,000
Speaker 1: But you call yourself the oracle? Like the mom is

874
00:40:50,000 --> 00:40:54,319
Speaker 1: the Bible? Literally like call sheets, contact numbers, what time

875
00:40:54,360 --> 00:40:55,479
Speaker 1: everyone needs to be there?

876
00:40:55,760 --> 00:40:57,120
Speaker 2: Is that what the Bible is?

877
00:40:57,280 --> 00:40:59,759
Speaker 4: Yeah? So I guess because lots of people were like

878
00:41:00,160 --> 00:41:02,520
Speaker 4: you do is to that producer And it's so different

879
00:41:02,560 --> 00:41:07,160
Speaker 4: depending on whether it's film, TV commercials, whatever, But yeah,

880
00:41:07,160 --> 00:41:08,759
Speaker 4: I used to always say the only way I can

881
00:41:08,760 --> 00:41:10,239
Speaker 4: explain is other like you're a mom of like one

882
00:41:10,280 --> 00:41:12,560
Speaker 4: hundred children. Everyone's got their needs and you're like trying

883
00:41:12,560 --> 00:41:15,040
Speaker 4: to look after them, or that you're like the oracle,

884
00:41:15,120 --> 00:41:18,320
Speaker 4: Like especially on TV commercials, you're the one person that

885
00:41:18,400 --> 00:41:20,640
Speaker 4: knows more about every single thing that's going on at

886
00:41:20,640 --> 00:41:23,319
Speaker 4: that point in time and about the production and about

887
00:41:23,360 --> 00:41:27,160
Speaker 4: every element of production than anyone else because often you

888
00:41:27,280 --> 00:41:30,640
Speaker 4: try and shield the director from all the dramas because

889
00:41:30,640 --> 00:41:33,440
Speaker 4: you want them just to focus on the creative. So

890
00:41:33,560 --> 00:41:35,919
Speaker 4: you're having all the conversations about things that are going

891
00:41:35,960 --> 00:41:36,799
Speaker 4: wrong and you know.

892
00:41:36,840 --> 00:41:39,240
Speaker 3: All the rest of it. So it's like the oracle.

893
00:41:39,320 --> 00:41:41,719
Speaker 4: And then I say that the call sheet is like

894
00:41:41,960 --> 00:41:45,040
Speaker 4: the Bible, so that you should be able to pick

895
00:41:45,040 --> 00:41:47,040
Speaker 4: that up and know exactly what you're doing and when

896
00:41:47,040 --> 00:41:49,000
Speaker 4: you're doing and when you need to do it, so

897
00:41:49,040 --> 00:41:50,800
Speaker 4: you don't ask production any questions.

898
00:41:50,800 --> 00:41:52,160
Speaker 3: But everyone always asks production.

899
00:41:52,840 --> 00:41:56,040
Speaker 4: It's like when you get on set, people's adult minds

900
00:41:56,120 --> 00:41:57,759
Speaker 4: just turn off and they know they're going to be

901
00:41:57,760 --> 00:42:00,640
Speaker 4: looked after. So like production is just like I've had

902
00:42:00,640 --> 00:42:03,719
Speaker 4: people call me at like four am on like overnight

903
00:42:03,719 --> 00:42:06,120
Speaker 4: shoots where we've all been like staying in some hotel

904
00:42:06,239 --> 00:42:08,799
Speaker 4: somewhere and they've been at the bar drinking and they've

905
00:42:08,800 --> 00:42:11,680
Speaker 4: lost their room key and they're like Sam, and it's

906
00:42:11,719 --> 00:42:14,400
Speaker 4: like fifty five year old man, and I'm like, go

907
00:42:14,480 --> 00:42:16,600
Speaker 4: to reception and tell them you've lost your key.

908
00:42:16,640 --> 00:42:18,480
Speaker 3: Why are you calling me at four in the morning.

909
00:42:19,320 --> 00:42:22,879
Speaker 1: Oh wow, You're like the helpline for I love it.

910
00:42:25,000 --> 00:42:27,600
Speaker 1: When we had lunch the other day, you spoiled me

911
00:42:27,640 --> 00:42:31,960
Speaker 1: and took me for a beautiful birthday. You talked about

912
00:42:32,200 --> 00:42:35,080
Speaker 1: beet because we've both were kind of on a similar timeline.

913
00:42:35,160 --> 00:42:38,560
Speaker 1: We've both come to La to kind of like fill

914
00:42:38,560 --> 00:42:42,680
Speaker 1: out this dream. And you said to me, I feel

915
00:42:42,719 --> 00:42:45,480
Speaker 1: like this feeling like I've met my people like people

916
00:42:45,520 --> 00:42:48,920
Speaker 1: that are creatives that are talking about wanting to write things,

917
00:42:49,360 --> 00:42:53,400
Speaker 1: produce things, shoot things, And I would agree, like, I

918
00:42:53,440 --> 00:42:55,920
Speaker 1: think it feels like you're in this melting pot of

919
00:42:55,960 --> 00:42:56,919
Speaker 1: creativity here.

920
00:42:57,719 --> 00:42:58,560
Speaker 2: Is that how it does?

921
00:42:58,680 --> 00:43:00,600
Speaker 1: Is that what it feels like to be here in

922
00:43:00,600 --> 00:43:00,960
Speaker 1: our ways?

923
00:43:01,080 --> 00:43:04,640
Speaker 4: Yeah, definitely. And look, I'm sure you have this conversation.

924
00:43:04,719 --> 00:43:06,840
Speaker 4: In six months, I'll be like everyone's driving me fucking

925
00:43:06,880 --> 00:43:09,120
Speaker 4: crazy all they want to talk about scripts and you know,

926
00:43:10,200 --> 00:43:14,640
Speaker 4: but yeah, like it's it's it's quite unusual to be

927
00:43:14,680 --> 00:43:17,759
Speaker 4: in this environment where literally, like everyone here is here

928
00:43:17,800 --> 00:43:19,400
Speaker 4: for the same purpose and I don't even mean the

929
00:43:19,400 --> 00:43:21,440
Speaker 4: same purpose of just making it. I just mean the

930
00:43:21,440 --> 00:43:25,480
Speaker 4: same purpose of like coming here with the goal to

931
00:43:25,960 --> 00:43:28,800
Speaker 4: make films, make TV, make whatever it is. And everyone's

932
00:43:28,800 --> 00:43:31,719
Speaker 4: got a script, everyone's doing classes, everyone's you know, interacting

933
00:43:31,719 --> 00:43:36,399
Speaker 4: with each other, and it's so nice to be able

934
00:43:36,440 --> 00:43:38,600
Speaker 4: to go out to dinner and people are talking about

935
00:43:38,600 --> 00:43:41,799
Speaker 4: their projects and you're hearing about what they're doing, and like, yeah,

936
00:43:41,840 --> 00:43:43,960
Speaker 4: it just for me, that doesn't happen that much in

937
00:43:43,960 --> 00:43:47,200
Speaker 4: Australia unless I hang out with those people, whereas I

938
00:43:47,200 --> 00:43:49,800
Speaker 4: feel like here that happens much more monally.

939
00:43:49,960 --> 00:43:54,560
Speaker 1: Yeah, when I was first coming over here, my amazing

940
00:43:54,600 --> 00:43:57,319
Speaker 1: publicist friend said, this is the one place where you

941
00:43:57,360 --> 00:44:00,720
Speaker 1: can be literally sitting down at your favorite coffee shop

942
00:44:00,800 --> 00:44:03,479
Speaker 1: having a coffee and a director will discover you. It's

943
00:44:03,480 --> 00:44:07,960
Speaker 1: just like that's actually not uncommon, and it's so funny,

944
00:44:08,000 --> 00:44:09,920
Speaker 1: Like you were just saying people are in classes, like

945
00:44:10,360 --> 00:44:12,600
Speaker 1: even in class, I've now I'm now in a writer's

946
00:44:12,680 --> 00:44:14,920
Speaker 1: group that has come from just being in class. Like

947
00:44:15,719 --> 00:44:19,160
Speaker 1: there is a real taste in the air here of

948
00:44:19,280 --> 00:44:23,759
Speaker 1: like opportunity but also hope, and it's very very positive.

949
00:44:23,840 --> 00:44:27,719
Speaker 1: Whereas and you and I like you love Malbs which

950
00:44:27,719 --> 00:44:30,560
Speaker 1: is where you know, and I live, got a home

951
00:44:30,600 --> 00:44:33,680
Speaker 1: and buyer and like I love Australia. It's amazing. But

952
00:44:33,880 --> 00:44:38,560
Speaker 1: this is the attitude here is like, oh, let's just

953
00:44:38,600 --> 00:44:40,959
Speaker 1: write that thing, let's just try that thing, and it's

954
00:44:41,000 --> 00:44:45,719
Speaker 1: all around creativity, and it's all around like there's a

955
00:44:45,960 --> 00:44:48,800
Speaker 1: I feel like for creatives there's a lot of support.

956
00:44:49,000 --> 00:44:51,200
Speaker 1: Like I was in acting school. You're saying, people cheer

957
00:44:51,520 --> 00:44:54,600
Speaker 1: when you're seeing ends and it's just like in Australia

958
00:44:54,680 --> 00:44:57,960
Speaker 1: when I've been acting school, everyone is sizing each other

959
00:44:58,040 --> 00:45:02,440
Speaker 1: up because they're competition and so the attitude around creative

960
00:45:02,640 --> 00:45:08,040
Speaker 1: work feels very opposite ends of the scale, would you agree.

961
00:45:08,080 --> 00:45:09,960
Speaker 3: Yes, it's one hundred percent.

962
00:45:09,960 --> 00:45:13,680
Speaker 4: And I'm really glad you said that, because it's I

963
00:45:13,760 --> 00:45:17,080
Speaker 4: love Australia. I love working in Australia. I love Australians.

964
00:45:18,680 --> 00:45:21,240
Speaker 4: I love working with Australians, you know, and it's funny

965
00:45:21,239 --> 00:45:22,920
Speaker 4: that there's so many of them over here.

966
00:45:23,040 --> 00:45:23,239
Speaker 3: Yeah.

967
00:45:24,440 --> 00:45:26,640
Speaker 4: But a friend of mine said something to me which

968
00:45:26,680 --> 00:45:29,440
Speaker 4: I've thought was a really interesting comment. He's an actor,

969
00:45:29,960 --> 00:45:32,439
Speaker 4: and he said, you know, in Australia, I tell people

970
00:45:32,480 --> 00:45:35,080
Speaker 4: I'm an actor and they say to me, oh, yeah,

971
00:45:35,080 --> 00:45:38,239
Speaker 4: what's your real job? Here I say to people I'm

972
00:45:38,280 --> 00:45:40,200
Speaker 4: an actor and they go, oh my god, amazing, what

973
00:45:40,280 --> 00:45:40,839
Speaker 4: have you done?

974
00:45:41,040 --> 00:45:43,120
Speaker 3: Have I seen it? What are you doing next?

975
00:45:43,680 --> 00:45:45,600
Speaker 4: And that was such a good little thing for me

976
00:45:45,640 --> 00:45:48,239
Speaker 4: because I'm not acting, but I was like, oh my god,

977
00:45:48,280 --> 00:45:52,120
Speaker 4: it's so true, like you almost feel a bit ashamed

978
00:45:52,120 --> 00:45:56,200
Speaker 4: in Australia, you know, unless you're like really well know it, yeah,

979
00:45:56,440 --> 00:45:59,600
Speaker 4: Whereas here it's like everyone supporting each other and you know,

980
00:45:59,680 --> 00:46:02,279
Speaker 4: and I know some of my friends who who are

981
00:46:02,360 --> 00:46:06,239
Speaker 4: like have made it still feel that sometimes in Australia,

982
00:46:06,360 --> 00:46:09,320
Speaker 4: you know, it's that tall poppy syndrome, which is so unfortunate.

983
00:46:09,360 --> 00:46:11,480
Speaker 4: I wish we could be more supportive.

984
00:46:11,960 --> 00:46:13,360
Speaker 3: And I don't know why. I don't know what that

985
00:46:13,560 --> 00:46:15,920
Speaker 3: is about our culture that were like that.

986
00:46:16,640 --> 00:46:20,400
Speaker 1: Yeah, I'm so glad you shared that, because that's the

987
00:46:20,440 --> 00:46:22,840
Speaker 1: main difference for me as a student. And also, like

988
00:46:22,880 --> 00:46:25,080
Speaker 1: in Australia, I got told like my age is a

989
00:46:25,120 --> 00:46:27,799
Speaker 1: barrier as an actor. I turned thirty six a couple

990
00:46:27,840 --> 00:46:31,960
Speaker 1: of days ago, and here not one person has ever

991
00:46:32,520 --> 00:46:36,000
Speaker 1: said that to me. Like, I'm putting scenes up every

992
00:46:36,000 --> 00:46:38,960
Speaker 1: week at school and I've never felt like my age

993
00:46:39,000 --> 00:46:41,400
Speaker 1: is a barrier at all. In fact, I think my

994
00:46:41,480 --> 00:46:43,080
Speaker 1: age is probably a great thing for me to be

995
00:46:43,160 --> 00:46:46,960
Speaker 1: entering the industry at this age. It's so interesting. I

996
00:46:46,960 --> 00:46:49,239
Speaker 1: don't know if it's like a fear thing or is

997
00:46:49,280 --> 00:46:51,760
Speaker 1: it that the pool is so much smaller in Australia

998
00:46:51,800 --> 00:46:54,160
Speaker 1: and therefore, you know, like there's less TV networks, therefore

999
00:46:54,200 --> 00:46:57,240
Speaker 1: there's less work, there's less gigs, there's less budget, whereas

1000
00:46:57,280 --> 00:47:01,400
Speaker 1: here there are so many endless I mean, always something

1001
00:47:01,440 --> 00:47:01,759
Speaker 1: going on.

1002
00:47:01,960 --> 00:47:06,080
Speaker 4: I have anxiety watching TV here because there's twelve hundred

1003
00:47:06,200 --> 00:47:07,960
Speaker 4: I spent an hour just trying to work out while

1004
00:47:07,960 --> 00:47:10,520
Speaker 4: I'm going to pick, and then the show's ended. I'm like, God,

1005
00:47:10,600 --> 00:47:12,279
Speaker 4: damn it. Now I'm going to go through that whole

1006
00:47:12,280 --> 00:47:13,920
Speaker 4: process again, right.

1007
00:47:14,000 --> 00:47:16,320
Speaker 1: I went to a comedy show just in Venice last

1008
00:47:16,320 --> 00:47:18,479
Speaker 1: week and one of the actors is on a show

1009
00:47:18,520 --> 00:47:20,520
Speaker 1: that I love. But I just went to see him

1010
00:47:20,520 --> 00:47:22,560
Speaker 1: do stand up and hadn't put two and two together.

1011
00:47:23,280 --> 00:47:25,560
Speaker 1: DMed him straight after and was like, can I interview

1012
00:47:25,640 --> 00:47:27,480
Speaker 1: on the podcast? Didn't think anything of it, is like

1013
00:47:27,520 --> 00:47:31,839
Speaker 1: I love OSSI's, Yes, of course, yeah, Versus I've asked

1014
00:47:31,880 --> 00:47:33,719
Speaker 1: a few actors in Australia to come on the pod

1015
00:47:33,719 --> 00:47:38,279
Speaker 1: and they're like, oh no, and I'm like, god, Like,

1016
00:47:38,400 --> 00:47:40,000
Speaker 1: it's just a different energy.

1017
00:47:40,040 --> 00:47:42,279
Speaker 4: It is a totally different energy, and I wish I

1018
00:47:42,320 --> 00:47:43,719
Speaker 4: could put my finger on it.

1019
00:47:43,760 --> 00:47:46,400
Speaker 3: And I just have never been able to work out

1020
00:47:47,120 --> 00:47:47,839
Speaker 3: why that is.

1021
00:47:49,080 --> 00:47:51,919
Speaker 1: Well, I feel like one thing that I do love,

1022
00:47:52,239 --> 00:47:55,959
Speaker 1: really love about Ossie's is the Aussies that are here

1023
00:47:56,400 --> 00:48:02,759
Speaker 1: in America. It's this wonderful camaraderie, Like Aussie's know how

1024
00:48:02,840 --> 00:48:05,400
Speaker 1: hard it is to be an Australian living and working

1025
00:48:05,440 --> 00:48:09,600
Speaker 1: in America, and so it's like this weird unspoken love

1026
00:48:09,840 --> 00:48:13,080
Speaker 1: that they're just like you're an AUSSI let's grab coffee,

1027
00:48:13,239 --> 00:48:14,440
Speaker 1: let's connect. Do you feel that.

1028
00:48:14,440 --> 00:48:17,399
Speaker 4: Too, Yeah, definitely. Well it's beautiful one of the reasons I.

1029
00:48:17,360 --> 00:48:19,760
Speaker 3: Met you, you know, Yeah, no, totally.

1030
00:48:19,760 --> 00:48:22,319
Speaker 4: I feel like there's that you definitely that we got

1031
00:48:22,360 --> 00:48:24,839
Speaker 4: invited to Ossie's in La thing and it's like again,

1032
00:48:24,920 --> 00:48:27,600
Speaker 4: it's like a whole group of like Ossies that are

1033
00:48:27,640 --> 00:48:28,480
Speaker 4: just tiered together.

1034
00:48:28,600 --> 00:48:31,680
Speaker 3: And there's so many of them. But not even in entertainment.

1035
00:48:31,239 --> 00:48:34,319
Speaker 4: Like there's you know, a friend of a friend who

1036
00:48:34,400 --> 00:48:36,680
Speaker 4: owns a cafe and he's just open a restaurant who's

1037
00:48:36,760 --> 00:48:39,040
Speaker 4: absolutely killing you know.

1038
00:48:39,160 --> 00:48:41,600
Speaker 1: There's a few Aussies in the hospital world here that

1039
00:48:41,680 --> 00:48:48,200
Speaker 1: are just like a game things. What do I want

1040
00:48:48,200 --> 00:48:48,560
Speaker 1: to end on?

1041
00:48:48,600 --> 00:48:49,279
Speaker 2: Okay, here we go.

1042
00:48:49,320 --> 00:48:52,480
Speaker 1: I've got it. This is your final question, my friend.

1043
00:48:53,160 --> 00:48:55,839
Speaker 1: So if we were like look into the future, look

1044
00:48:55,880 --> 00:48:58,719
Speaker 1: into a crystal ball, what would you be doing in

1045
00:48:58,760 --> 00:49:00,560
Speaker 1: two years from now career wise?

1046
00:49:01,040 --> 00:49:01,239
Speaker 4: Ah?

1047
00:49:02,200 --> 00:49:03,760
Speaker 1: I love asking people this question.

1048
00:49:05,200 --> 00:49:09,600
Speaker 3: Look. Ideally I'd be producing more films or TV. That's

1049
00:49:09,680 --> 00:49:10,319
Speaker 3: that's the goal.

1050
00:49:11,080 --> 00:49:13,440
Speaker 4: And I don't know, I'm still working out if I'd

1051
00:49:13,440 --> 00:49:15,239
Speaker 4: be living here or if I'd be splitting my time

1052
00:49:15,280 --> 00:49:16,520
Speaker 4: between here and Australia.

1053
00:49:17,640 --> 00:49:19,240
Speaker 3: But yeah, in two years.

1054
00:49:19,080 --> 00:49:21,120
Speaker 4: Time that would be that would be my dream to

1055
00:49:21,200 --> 00:49:23,040
Speaker 4: be doing more in that world.

1056
00:49:23,440 --> 00:49:25,960
Speaker 1: And TV is much faster than film, isn't it shoot wise?

1057
00:49:26,120 --> 00:49:28,320
Speaker 1: Isn't the turnarounds like you'll shoot really quick?

1058
00:49:29,000 --> 00:49:29,320
Speaker 3: Yeah?

1059
00:49:29,400 --> 00:49:31,719
Speaker 4: It is in some respects, But it just depends, like

1060
00:49:31,760 --> 00:49:34,560
Speaker 4: as I said, like Ozark has been shooting for every year.

1061
00:49:34,719 --> 00:49:36,680
Speaker 4: Like the film I just did was eleven weeks.

1062
00:49:37,640 --> 00:49:38,719
Speaker 3: Yeah, yeah, so.

1063
00:49:38,719 --> 00:49:42,000
Speaker 1: It depends on the project. But you love the magic

1064
00:49:42,080 --> 00:49:43,240
Speaker 1: of like film and TV.

1065
00:49:43,760 --> 00:49:47,080
Speaker 4: Yeah, like it just it does something to me. I

1066
00:49:47,080 --> 00:49:48,680
Speaker 4: don't know what it is, but yeah.

1067
00:49:48,480 --> 00:49:51,399
Speaker 1: I totally feel you and that is exactly why I'm

1068
00:49:51,440 --> 00:49:54,000
Speaker 1: training here and just soaking up as much as I can.

1069
00:49:54,719 --> 00:49:56,800
Speaker 2: It has been an honored to have you in this podcast,

1070
00:49:56,880 --> 00:49:57,560
Speaker 2: my friends.

1071
00:49:57,760 --> 00:49:58,560
Speaker 3: Thank you.

1072
00:49:58,560 --> 00:49:59,640
Speaker 1: You've inspired me.

1073
00:50:01,080 --> 00:50:05,560
Speaker 2: As always. You said to me on the weekend.

1074
00:50:06,840 --> 00:50:08,520
Speaker 1: You had to give a speech, and you said you

1075
00:50:08,600 --> 00:50:12,239
Speaker 1: knew with this person, it wasn't a matter of if,

1076
00:50:12,239 --> 00:50:13,200
Speaker 1: it was a matter of when.

1077
00:50:13,320 --> 00:50:14,680
Speaker 2: And I want you to know that.

1078
00:50:14,719 --> 00:50:16,480
Speaker 1: That's that applies to you as well.

1079
00:50:16,560 --> 00:50:16,960
Speaker 3: Thanks.

1080
00:50:17,160 --> 00:50:21,920
Speaker 1: So yeah, just trust Chase the tread big love, my friend.

1081
00:50:24,120 --> 00:50:26,440
Speaker 1: We are jumping in here with little ps.

1082
00:50:26,480 --> 00:50:29,799
Speaker 3: We're still here. We like, get out of my fucking.

1083
00:50:29,560 --> 00:50:36,239
Speaker 1: Kitchen this as Sam was just saying, like we talked

1084
00:50:36,239 --> 00:50:39,520
Speaker 1: about so many highlights just then and dreaming big and

1085
00:50:39,560 --> 00:50:43,239
Speaker 1: being in LA and obviously there's also going to be

1086
00:50:43,360 --> 00:50:47,839
Speaker 1: times where sometimes our expectations aren't met or you work

1087
00:50:47,920 --> 00:50:50,400
Speaker 1: really hard at this thing and then it feels like

1088
00:50:50,440 --> 00:50:54,000
Speaker 1: it blows up in your face. And I know I've

1089
00:50:54,000 --> 00:50:56,360
Speaker 1: had a lot of those times. Can you share anything

1090
00:50:56,400 --> 00:50:59,960
Speaker 1: around failing or something not churning out the way you

1091
00:51:00,080 --> 00:51:00,520
Speaker 1: wanted it to?

1092
00:51:01,000 --> 00:51:01,200
Speaker 3: Yeah?

1093
00:51:01,239 --> 00:51:03,759
Speaker 4: Absolutely, I just I kind of feel like they need

1094
00:51:03,800 --> 00:51:08,880
Speaker 4: to teach failure as a subject in school, Like, and

1095
00:51:08,920 --> 00:51:10,920
Speaker 4: I don't even like the word failure because I think

1096
00:51:10,960 --> 00:51:12,600
Speaker 4: you learn so much more from.

1097
00:51:12,440 --> 00:51:14,480
Speaker 3: Failing than you do succeeding.

1098
00:51:14,960 --> 00:51:18,920
Speaker 4: Agree, And like I always like to look for the

1099
00:51:19,000 --> 00:51:21,319
Speaker 4: lesson in things, but sometimes I just think there is

1100
00:51:21,360 --> 00:51:24,920
Speaker 4: no lesson, Like sometimes shit just happens. And what I've

1101
00:51:24,960 --> 00:51:28,719
Speaker 4: really learned being here is that it doesn't matter if

1102
00:51:28,760 --> 00:51:32,120
Speaker 4: you're an A list celebrity or or you're not a celebrity,

1103
00:51:32,360 --> 00:51:34,000
Speaker 4: or you're you know, whatever you're doing.

1104
00:51:34,719 --> 00:51:35,760
Speaker 3: Everyone fails.

1105
00:51:35,760 --> 00:51:38,520
Speaker 4: It's not that suddenly you make it and your life's

1106
00:51:38,520 --> 00:51:42,000
Speaker 4: perfect and you don't have failures. You still pitch things

1107
00:51:42,040 --> 00:51:44,600
Speaker 4: and that you don't get. You still got for auditions,

1108
00:51:44,640 --> 00:51:47,720
Speaker 4: you don't get. You still you know, overlook for things

1109
00:51:47,800 --> 00:51:50,840
Speaker 4: like that's going to happen constantly all through your life,

1110
00:51:50,880 --> 00:51:54,360
Speaker 4: whether you're a producer, director, actor, or you know, running

1111
00:51:54,400 --> 00:51:55,160
Speaker 4: a coffee shop.

1112
00:51:55,480 --> 00:51:58,400
Speaker 3: Failure is just it's a part of life.

1113
00:51:58,480 --> 00:52:02,200
Speaker 4: And when I look back on things where I failed,

1114
00:52:02,200 --> 00:52:06,600
Speaker 4: where I've been completely disappointed, I remember I wanted to

1115
00:52:06,880 --> 00:52:10,360
Speaker 4: put this play on called the Eight Reindeer Monologues.

1116
00:52:11,239 --> 00:52:14,480
Speaker 1: Oh yes, do you know? No, No, but I've seen

1117
00:52:14,920 --> 00:52:18,760
Speaker 1: on your anyway. I researched a deep dive your resume

1118
00:52:18,840 --> 00:52:20,520
Speaker 1: and I saw you did a lot of Christmas things.

1119
00:52:20,760 --> 00:52:22,200
Speaker 2: That's just what made my brain.

1120
00:52:22,920 --> 00:52:23,080
Speaker 4: Yes.

1121
00:52:23,080 --> 00:52:24,399
Speaker 3: So it's a Christmas play.

1122
00:52:24,440 --> 00:52:28,120
Speaker 4: It's about the eight Reindeers, you know, and one of

1123
00:52:28,120 --> 00:52:33,319
Speaker 4: them gets molested by Santa. And it's eight really amazing monologues.

1124
00:52:33,880 --> 00:52:36,239
Speaker 4: Actually in Sinclair was one of the Reindeers?

1125
00:52:36,440 --> 00:52:37,040
Speaker 1: Was he really?

1126
00:52:38,719 --> 00:52:41,040
Speaker 3: He was brilliant. I think this is before he started directing.

1127
00:52:41,280 --> 00:52:42,840
Speaker 1: Was this comedy or dark?

1128
00:52:43,080 --> 00:52:44,400
Speaker 3: It's like dark comedy.

1129
00:52:44,440 --> 00:52:45,080
Speaker 1: Yeah, amazing.

1130
00:52:45,640 --> 00:52:47,960
Speaker 4: But I wanted to get the rights of this play

1131
00:52:48,120 --> 00:52:51,120
Speaker 4: and someone else owned them in Australia and I had

1132
00:52:51,120 --> 00:52:54,360
Speaker 4: the old fits lined up, which you know, it's perfect

1133
00:52:54,440 --> 00:52:58,680
Speaker 4: for it, and I just couldn't get the rights and

1134
00:52:59,760 --> 00:53:04,839
Speaker 4: I was really, really, really devastated. And I ended up

1135
00:53:05,000 --> 00:53:09,240
Speaker 4: doing years later an atyp course called Directing the Actor.

1136
00:53:09,680 --> 00:53:12,279
Speaker 2: So you're telling me for this, what does ATYP stand?

1137
00:53:12,360 --> 00:53:15,000
Speaker 4: Oh? Okay, strange it for young people in Sydney. In

1138
00:53:15,040 --> 00:53:19,160
Speaker 4: Sydney yet. And the course was I think six actors

1139
00:53:19,160 --> 00:53:23,120
Speaker 4: and six directors, and the directors were keep learning how

1140
00:53:23,160 --> 00:53:25,200
Speaker 4: to direct actors and the actors were.

1141
00:53:25,160 --> 00:53:26,280
Speaker 3: Learning how to take direction.

1142
00:53:27,160 --> 00:53:30,480
Speaker 4: And part of the course for the directors was at

1143
00:53:30,480 --> 00:53:33,920
Speaker 4: the end of the course they had to pitch an

1144
00:53:33,920 --> 00:53:36,360
Speaker 4: idea of something they wanted to put on. So I

1145
00:53:36,440 --> 00:53:39,040
Speaker 4: pitched this reindeer idea because I wanted to put it

1146
00:53:39,080 --> 00:53:43,640
Speaker 4: on and had formed through One of the actors who

1147
00:53:43,719 --> 00:53:47,759
Speaker 4: was training was a young Rebel Wilson, and she came

1148
00:53:47,880 --> 00:53:51,120
Speaker 4: up to me after the course and she said, Hey,

1149
00:53:51,160 --> 00:53:54,799
Speaker 4: I really like that idea. We should do it, we

1150
00:53:54,840 --> 00:53:57,400
Speaker 4: should put it on. I'm like, I can't get the rights.

1151
00:53:57,880 --> 00:54:00,000
Speaker 4: And it just so happened that the rights had lapped,

1152
00:54:00,440 --> 00:54:05,560
Speaker 4: and I tried again and I got them, and we

1153
00:54:05,920 --> 00:54:08,040
Speaker 4: ended up getting a slot at Belvoir They had a

1154
00:54:08,080 --> 00:54:11,279
Speaker 4: six week free slot at Belvoe Street in Sydney just

1155
00:54:11,320 --> 00:54:14,560
Speaker 4: before Christmas, and we put this little show on together.

1156
00:54:14,640 --> 00:54:17,279
Speaker 4: We turned it into a musical. It was better than

1157
00:54:17,680 --> 00:54:20,799
Speaker 4: I could have ever imagined. I directed it, she was

1158
00:54:20,840 --> 00:54:23,680
Speaker 4: in it, we both produced it, and it was just

1159
00:54:23,719 --> 00:54:26,200
Speaker 4: one of those we sold out every night. It's just

1160
00:54:26,200 --> 00:54:27,960
Speaker 4: one of those moments where you're like, gosh, I was

1161
00:54:28,080 --> 00:54:30,640
Speaker 4: so like I was devastated for months that I couldn't

1162
00:54:30,640 --> 00:54:32,960
Speaker 4: get the rights, and it's like, as it turned out,

1163
00:54:33,480 --> 00:54:36,000
Speaker 4: it was actually a good thing because it led to

1164
00:54:36,000 --> 00:54:37,960
Speaker 4: so much more and I was probably much more experienced

1165
00:54:38,000 --> 00:54:39,200
Speaker 4: by the time I did that too.

1166
00:54:39,800 --> 00:54:42,920
Speaker 1: I love it now. I really want to see the

1167
00:54:42,960 --> 00:54:43,720
Speaker 1: play as.

1168
00:54:43,640 --> 00:54:44,600
Speaker 3: Wow, so fun.

1169
00:54:44,600 --> 00:54:46,840
Speaker 4: But what I love is like lots of the people

1170
00:54:46,880 --> 00:54:49,960
Speaker 4: in it, like Ian and Alice Babbage to do the costumes,

1171
00:54:49,960 --> 00:54:54,160
Speaker 4: who now is in Canada, you know, doing costumes on

1172
00:54:54,200 --> 00:54:56,600
Speaker 4: a huge film. I don't know if I'm allowed to

1173
00:54:56,600 --> 00:55:00,560
Speaker 4: talk about it, but it's like huge actors like and

1174
00:55:00,600 --> 00:55:05,759
Speaker 4: everyone's kind of gone on to do. Celeste Barbo actually auditioned.

1175
00:55:06,000 --> 00:55:08,719
Speaker 4: Really yeah, I love She's just the best. This is

1176
00:55:08,760 --> 00:55:12,239
Speaker 4: like fifteen years ago, you know, and she didn't get it,

1177
00:55:12,280 --> 00:55:15,239
Speaker 4: which she's still shitty with the I think that I

1178
00:55:15,280 --> 00:55:17,320
Speaker 4: heard on one of her podcasts she was like ratting

1179
00:55:17,400 --> 00:55:20,960
Speaker 4: me out. I'm sorry, Celeste, you would have been great,

1180
00:55:21,000 --> 00:55:24,239
Speaker 4: but it's just it's just one of those things, you know, Like,

1181
00:55:24,760 --> 00:55:25,120
Speaker 4: so was.

1182
00:55:25,120 --> 00:55:26,160
Speaker 1: I in that version?

1183
00:55:26,239 --> 00:55:27,320
Speaker 3: Yeah, he was in it.

1184
00:55:27,520 --> 00:55:29,520
Speaker 1: Amazing. I'm totally going to ask him.

1185
00:55:29,360 --> 00:55:33,960
Speaker 4: About Tom Campbell, who's like Celeste's right hand man. And

1186
00:55:33,960 --> 00:55:36,120
Speaker 4: then Rebel was in it, and oh, we had such

1187
00:55:36,160 --> 00:55:38,360
Speaker 4: a beautiful cast and was such.

1188
00:55:38,160 --> 00:55:39,319
Speaker 3: A fun thing to do.

1189
00:55:39,400 --> 00:55:42,160
Speaker 4: We're all like twenty three, twenty four, But it's just

1190
00:55:42,560 --> 00:55:43,880
Speaker 4: talking about failing.

1191
00:55:44,520 --> 00:55:44,719
Speaker 3: You know.

1192
00:55:44,760 --> 00:55:46,920
Speaker 4: This is one of those things where I was just like,

1193
00:55:47,000 --> 00:55:50,000
Speaker 4: oh my God, like I cannot believe that. I was

1194
00:55:50,120 --> 00:55:53,799
Speaker 4: so devastated that this is now what has come from that?

1195
00:55:54,640 --> 00:55:58,160
Speaker 4: And that's that formed a beautiful relationship with me, with Rebel,

1196
00:55:58,320 --> 00:56:01,200
Speaker 4: with Alice, with you know, lots of people in that cast,

1197
00:56:01,280 --> 00:56:03,720
Speaker 4: which has continued on till today.

1198
00:56:04,200 --> 00:56:05,040
Speaker 1: Ah.

1199
00:56:05,120 --> 00:56:05,600
Speaker 4: I love it.

1200
00:56:06,440 --> 00:56:10,000
Speaker 1: There's a saying in acting school where I trained with Ian,

1201
00:56:10,320 --> 00:56:13,719
Speaker 1: which is like, you work so hard like you're in

1202
00:56:13,719 --> 00:56:16,600
Speaker 1: the Olympics, Like treat this training like the Olympics, but

1203
00:56:16,680 --> 00:56:19,799
Speaker 1: it's like this idea of like working really hard, but

1204
00:56:19,840 --> 00:56:24,440
Speaker 1: then letting go of needing to be perfect, need to

1205
00:56:24,520 --> 00:56:27,920
Speaker 1: win or have that thing, and then it's like there's you. Ultimately,

1206
00:56:27,960 --> 00:56:29,799
Speaker 1: I think the last piece that puzzle is you kind

1207
00:56:29,840 --> 00:56:31,879
Speaker 1: of need to trust. And so it's like you did

1208
00:56:31,920 --> 00:56:34,240
Speaker 1: all this work early on when you tried so hard

1209
00:56:34,320 --> 00:56:36,240
Speaker 1: you want to buy the riots, you had it already

1210
00:56:36,239 --> 00:56:38,759
Speaker 1: to go, and then you know, you had all fits line,

1211
00:56:38,800 --> 00:56:41,040
Speaker 1: you had all this like exciting stuff lined up. You've

1212
00:56:41,080 --> 00:56:43,480
Speaker 1: done all the work on it, and it's not like

1213
00:56:43,520 --> 00:56:45,759
Speaker 1: that work ever went to waste, but you had to

1214
00:56:45,840 --> 00:56:49,719
Speaker 1: fully let go and like practice non attachment and then

1215
00:56:49,760 --> 00:56:52,960
Speaker 1: it came back to you. It's like it's this it's

1216
00:56:53,000 --> 00:56:56,040
Speaker 1: almost a lesson in like working hard but trusting as

1217
00:56:56,040 --> 00:56:57,520
Speaker 1: well that things will work out.

1218
00:56:57,560 --> 00:56:59,080
Speaker 2: And like, look where you are now.

1219
00:56:59,120 --> 00:57:02,319
Speaker 1: You literally we met, I think a week or two

1220
00:57:02,360 --> 00:57:08,080
Speaker 1: after you'd finished being filming that massive film in America.

1221
00:57:08,320 --> 00:57:11,160
Speaker 1: And you know, it's also like at a time when

1222
00:57:11,200 --> 00:57:13,959
Speaker 1: Australia is in a really tricky spot right now and

1223
00:57:14,040 --> 00:57:18,520
Speaker 1: in lockdown, and you're fortunate enough to be here and

1224
00:57:18,600 --> 00:57:21,760
Speaker 1: to be doing something that you absolutely love with every

1225
00:57:21,760 --> 00:57:24,120
Speaker 1: fiber of your being. And I remember I think you

1226
00:57:24,160 --> 00:57:27,720
Speaker 1: and I were working around it a flea market and

1227
00:57:27,720 --> 00:57:30,040
Speaker 1: you're like, I just stay on set extra to soak

1228
00:57:30,160 --> 00:57:33,160
Speaker 1: up the energy right and to be around it, like

1229
00:57:33,200 --> 00:57:37,120
Speaker 1: you're literally doing what you love. And I think it's

1230
00:57:37,120 --> 00:57:41,200
Speaker 1: a testament like those lessons and awesome failures.

1231
00:57:42,400 --> 00:57:43,600
Speaker 2: You know how to work hard.

1232
00:57:43,640 --> 00:57:46,560
Speaker 1: You've got that in your whole being announced just a

1233
00:57:46,600 --> 00:57:49,560
Speaker 1: matter of like trusting, because that's a really great example

1234
00:57:49,600 --> 00:57:50,960
Speaker 1: of like do the work, let it go.

1235
00:57:50,960 --> 00:57:53,720
Speaker 4: Trust and you're still going to fail and shit happens

1236
00:57:53,760 --> 00:57:56,120
Speaker 4: every day. I was again, I was desperate to get

1237
00:57:56,160 --> 00:57:59,160
Speaker 4: the rights of this book and a different book to

1238
00:57:59,200 --> 00:58:01,080
Speaker 4: turn into a film, and I didn't get it, and

1239
00:58:01,120 --> 00:58:02,880
Speaker 4: I was devastated, and I'm still you know, this is

1240
00:58:02,920 --> 00:58:05,200
Speaker 4: three years late. I still think about it. But for me,

1241
00:58:05,280 --> 00:58:07,680
Speaker 4: the important thing with that is that it's actually being made.

1242
00:58:07,760 --> 00:58:09,960
Speaker 4: It's got funding, and it's going to be a beautiful film.

1243
00:58:10,040 --> 00:58:12,320
Speaker 4: But that happens, That's what I mean. Doesn't matter what

1244
00:58:12,400 --> 00:58:14,360
Speaker 4: level you're at. So it's about getting used to it

1245
00:58:14,640 --> 00:58:17,520
Speaker 4: and an understanding failure, I think, And I think that

1246
00:58:17,720 --> 00:58:21,920
Speaker 4: helps you move forward and helps you succeed in other areas.

1247
00:58:22,240 --> 00:58:25,960
Speaker 1: Because you're forced to skill up and grow. And I

1248
00:58:26,000 --> 00:58:28,160
Speaker 1: love I always say I love failure because I get

1249
00:58:28,240 --> 00:58:31,400
Speaker 1: to face my blind spots. Like if you put that

1250
00:58:31,760 --> 00:58:35,400
Speaker 1: the eight reindeer monologue thing on earlier, Like like you said,

1251
00:58:35,440 --> 00:58:37,720
Speaker 1: you wouldn't have done all that extra training as a director,

1252
00:58:37,920 --> 00:58:41,440
Speaker 1: You wouldn't have major connections and like got to work

1253
00:58:41,480 --> 00:58:44,560
Speaker 1: with actors that you had in natural affinity and bond with.

1254
00:58:44,960 --> 00:58:48,520
Speaker 1: It would have been a very different, very different experience

1255
00:58:48,600 --> 00:58:51,120
Speaker 1: for you. So I think, Oh, I'm so glad we

1256
00:58:51,200 --> 00:58:55,520
Speaker 1: did our ps. Thank you, my friend. You are absolutely

1257
00:58:55,600 --> 00:58:59,360
Speaker 1: wonderful Sam Kennedy. I am honored to have you on

1258
00:58:59,400 --> 00:59:06,640
Speaker 1: the podcast. That's a wrap on another episode of Fearlessly Failing.

1259
00:59:07,280 --> 00:59:10,800
Speaker 1: As always, thank you to our guests, and let's continue

1260
00:59:10,800 --> 00:59:16,680
Speaker 1: the conversation on Instagram. I'm at Yamo lollaberry. This potty

1261
00:59:17,120 --> 00:59:21,360
Speaker 1: my word for podcast is available on all streaming platforms.

1262
00:59:21,800 --> 00:59:24,840
Speaker 1: I'd love it if you could subscribe, rate and comment

1263
00:59:25,040 --> 00:59:26,960
Speaker 1: and of course spread the love.