WEBVTT - Osher Günsberg: THE BACHELORS - TV PRESENTER

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<v Speaker 1>It's in the news today, but it was actually on

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<v Speaker 1>TV Reload the podcast last week that might welcome to

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<v Speaker 1>older new TV Reload listeners. My name is Benjamin Norris

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<v Speaker 1>and this is your podcast to get all the inside

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<v Speaker 1>goss on the popular TV shows that you may be

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<v Speaker 1>currently watching from around the world. I focus on reality shows,

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<v Speaker 1>scripted drama, comedy, and documentaries from Freeedoware channels, and our

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<v Speaker 1>most popular streaming services Underniably, our TV sets are a

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<v Speaker 1>major part of our home entertainment, and very little is

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<v Speaker 1>known about our favorite shows and how they get made.

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<v Speaker 1>Each episode, I will find guests that want to dive

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<v Speaker 1>just that little bit deeper into the shows they are

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<v Speaker 1>currently making so you can hear all their exclusive stories

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<v Speaker 1>and gain access to reality TV stars, network executives, actors, producers, writers,

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<v Speaker 1>and casting agents like never before. I'm grateful and very

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<v Speaker 1>lucky to have a working relationship with access to these

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<v Speaker 1>phenomenal content makers who are willing to share their stories.

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<v Speaker 1>I love a good chat, I love people who are

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<v Speaker 1>willing to share their stories, and hopefully you will walk

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<v Speaker 1>away feeling inspired and entertained. I want to thank you

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<v Speaker 1>for downloading all subscribing to the podcast I love hearing

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<v Speaker 1>your feedback, so make sure you leave a comment on

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<v Speaker 1>your chosen podcast platform and I'll make sure you feel

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<v Speaker 1>is included in the production of this show as possible.

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<v Speaker 1>Today on the episode though, I have the most recognizable

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<v Speaker 1>male TV presenter in Australia. He started off working on

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<v Speaker 1>Channel V in the nineties, became a household name on

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<v Speaker 1>Australian Idol and currently hosts Network ten's most celebrated reality

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<v Speaker 1>TV shows. It is the upcoming host of The Bachelor's

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<v Speaker 1>Osher Ginsberg.

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<v Speaker 2>I'm very lucky to in my career to worked with

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<v Speaker 2>some amazing people.

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<v Speaker 1>Osher joins me on this episode to talk about The

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<v Speaker 1>Bachelor and how it has changed.

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<v Speaker 2>Different seasons of The Bachelor have been produced by different people,

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<v Speaker 2>and each one of them has a different way of

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<v Speaker 2>telling this story.

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<v Speaker 1>We will talk about his dedication to his career and

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<v Speaker 1>what it takes to host live television and high pressure

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<v Speaker 1>hosting jobs.

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<v Speaker 2>I take it very very seriously that I am as

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<v Speaker 2>professional as possible.

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<v Speaker 1>In those moments, I'll ask him which one of the

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<v Speaker 1>three new bachelors he would most likely date.

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<v Speaker 2>Is stunning and his swagger is confident.

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<v Speaker 1>I will also find out exactly how he felt with

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<v Speaker 1>Australian idol returning to our screens and if he was asked.

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<v Speaker 2>To be involved, Jim and I were the undeniable choices

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<v Speaker 2>to host that show, all right. There's no one who

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<v Speaker 2>had more credibility in the live music scene than him

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<v Speaker 2>and now at.

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<v Speaker 1>The time, we will also get some pretty exclusive stories

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<v Speaker 1>that only Osher would know and be willing to tell. However,

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<v Speaker 1>we should really bring Osha into the podcast now, and

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<v Speaker 1>I hope you enjoyed this episode. Hi, Osha. You know

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<v Speaker 1>I've been so excited to have this chat with you

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<v Speaker 1>because we get to talk about the rebooted Bachelor, which

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<v Speaker 1>is what I call it, so reload to the Bachelor

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<v Speaker 1>now called the Bachelor's Real And there's nobody better to

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<v Speaker 1>tease wat's in stall for us this season than you.

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<v Speaker 2>Well, thank you, I'm grateful. Well, there are better people

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<v Speaker 2>to me, like the people that pay for it. We

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<v Speaker 2>want brothers in Network ten. But I hope I could

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<v Speaker 2>get you. I hope I can get you a lot

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<v Speaker 2>of what you're hoping to find today.

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<v Speaker 1>I've been speaking to Spence, who was producing from Warners,

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<v Speaker 1>and she's amazing. Obsessed with her.

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<v Speaker 2>I think she's so good people understand that, you know,

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<v Speaker 2>a Chili Peppers record that was produced by Rick Rubin

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<v Speaker 2>is very different from a Chili Pepper's record that was

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<v Speaker 2>not produced by Rick Rubin. Same band, different overall vision.

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<v Speaker 2>So different seasons of The Bachelor have been produced by

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<v Speaker 2>different people, and each one of them has a different

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<v Speaker 2>way of telling this story. And Spence is just something else.

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<v Speaker 3>Man.

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<v Speaker 2>She is like everybody I work with is incredible, but

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<v Speaker 2>Spence is really an extraordinary team captain. Because that's what

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<v Speaker 2>an executive producer on a TV show does. They set

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<v Speaker 2>the tone of everybody on set. They set the tone

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<v Speaker 2>of what it is we're trying to achieve. They set

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<v Speaker 2>the tone and basically draw the boundaries for or this

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<v Speaker 2>sort of stuff is okay, this sort of stuff is

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<v Speaker 2>not okay, and everything in between go and Spencer's vision

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<v Speaker 2>on how we're going to do this, how we're going

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<v Speaker 2>to wrangle the telling of three very very different essentially

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<v Speaker 2>core of three very different love stories. And because of

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<v Speaker 2>the amount of people involved, probably many, many more. The

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<v Speaker 2>overarching tone and language visual language, audio language, the way

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<v Speaker 2>it looks, the way it sounds, the way it feels,

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<v Speaker 2>how far it pushes into areas that we haven't pushed before.

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<v Speaker 2>How little of things we used to see all the time,

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<v Speaker 2>we don't see anymore. That's all her and she's incredible

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<v Speaker 2>to work with.

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<v Speaker 1>Mate.

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<v Speaker 2>You know, I'm very lucky to in my career. We've

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<v Speaker 2>worked with some amazing people, and you know there's some

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<v Speaker 2>people are like, Yep, I would follow you into battle, absolutely,

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<v Speaker 2>because I just believe in what she holds in her heart.

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<v Speaker 2>And I might not see the whole picture, but I

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<v Speaker 2>trust the picture that she has in her head and

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<v Speaker 2>I'll do what it takes, be honest. I dare say

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<v Speaker 2>every executive producer I've had nearly every EP I've had

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<v Speaker 2>on this franchise, at the final moment, whether it's down

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<v Speaker 2>on one knee or not, there's a tear in their eye.

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<v Speaker 2>They've been there every step of the journey with the

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<v Speaker 2>people that get to the end of Bachelor, Bachelorette, Batch

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<v Speaker 2>in Paradise and they cry. And when I see that,

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<v Speaker 2>you know, because I'm not there at the moment, I'm

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<v Speaker 2>hiding in a ten one hundred meters away looking at

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<v Speaker 2>a video feed. I turn around and I see my

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<v Speaker 2>boss getting on misty eyed, just in the romance and

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<v Speaker 2>the love I'm like, and I'm glad I work for you.

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<v Speaker 2>You know, you'd think that after I've been in reality

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<v Speaker 2>television nearly twenty years now, you'd think that deep within

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<v Speaker 2>me there is just like this giant, big lump of

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<v Speaker 2>Obsitian rattling around. There is no there's just like a rock.

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<v Speaker 2>You know, this is approaching zero degrees Calvin when all

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<v Speaker 2>entropy ceases. But no, you know, I get emotional too,

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<v Speaker 2>and it's nice to know that you know the people

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<v Speaker 2>who are leading the way and ultimately looking after the

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<v Speaker 2>welfare of the people come on our shows.

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<v Speaker 1>I think that the thing about Caroline Spence, as people

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<v Speaker 1>affectually know her in the industry, is that she gets

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<v Speaker 1>really good, real content out of the people she's putting

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<v Speaker 1>on screen. And with you, it's one of my favorite

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<v Speaker 1>things about you as a person is how authentically you

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<v Speaker 1>are yourself when you are on camera, which I think

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<v Speaker 1>is it gets rare and rare as time goes on.

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<v Speaker 1>That's something that you do so well.

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<v Speaker 2>I appreciate that you are seeing a level of that,

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<v Speaker 2>though you know only as much as the gig allows. Okay,

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<v Speaker 2>so it was something like when I worked on Australian

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<v Speaker 2>Idol the first time around it came I loved music.

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<v Speaker 2>I still love music. I love music incredibly. The guitars

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<v Speaker 2>behind me will be evidence of that. And so to

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<v Speaker 2>be on Telly every night, even on Channel V talking

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<v Speaker 2>about music, you know that part of me is the

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<v Speaker 2>part that is essentially that's what they're paying for. They're

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<v Speaker 2>paying for that part of me to come on the

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<v Speaker 2>camera and do the thing with a bit of traffic

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<v Speaker 2>direction in between, right and now here's a break or whatever.

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<v Speaker 1>But it's still though you have to I mean, you

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<v Speaker 1>can be loud, emotional, empathetic, intuitive and reactive. But I

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<v Speaker 1>think as an audience, we still always see you.

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<v Speaker 2>You see a version of me in a nice suit,

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<v Speaker 2>and you see a version of me. The job isn't

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<v Speaker 2>for me to be funny. The job is to not

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<v Speaker 2>insert my personal emotional or my personal opinion into a situation.

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<v Speaker 2>That's not the job, and so the never job is

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<v Speaker 2>never there. Like if I want to show like mask

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<v Speaker 2>singer or something, people don't watch for me. People watch

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<v Speaker 2>for the moment the head comes off, and people watch

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<v Speaker 2>for the reaction of my panel. So my job is

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<v Speaker 2>to make sure that both of those two things people

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<v Speaker 2>watch for are there. As much as possible, if I

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<v Speaker 2>get to be a little bit funny there, if I'd

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<v Speaker 2>get to maybe throw a slight political jab in there,

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<v Speaker 2>tickety boot. But that's not the gig. I've been lucky

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<v Speaker 2>enough to have been on Q and A once or twice.

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<v Speaker 2>If you ever watch on you ever watched me on

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<v Speaker 2>Q and A, that's pretty much closer to me. When

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<v Speaker 2>I'm not at work.

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<v Speaker 3>I do tend to talk about some pretty boring shit,

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<v Speaker 3>some pretty serious stuff, but with the same level of

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<v Speaker 3>enthusiasm and wild metaphors that I use at the other jobs.

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<v Speaker 1>I watched it today, so look, it's fine. I just

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<v Speaker 1>watched clips of that today. I didn't see the whole thing,

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<v Speaker 1>but we do see. I think you're right. We do

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<v Speaker 1>see versions of you on TV, and you know you

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<v Speaker 1>are at the top of your game. I watched a

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<v Speaker 1>live recording of the Master Singer this year, and I

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<v Speaker 1>couldn't believe how succinct and word perfect you are as

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<v Speaker 1>a presenter. But then there's still the warmth of you

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<v Speaker 1>in front of the camera. Watching you live is something

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<v Speaker 1>to be seen.

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<v Speaker 2>I appreciate that I work really, really hard at that.

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<v Speaker 2>I don't just accidentally do that. I take it very,

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<v Speaker 2>very seriously that I am as professional as possible in

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<v Speaker 2>those moments, and I bring as much as I can

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<v Speaker 2>to what my job is, especially on something like mask.

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<v Speaker 2>To have an audience again this year after making it

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<v Speaker 2>in a vacuum over it for a couple of years

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<v Speaker 2>was hard. It is extraordinary, and when that audience is great,

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<v Speaker 2>the show is great. Everything is even even greater, And

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<v Speaker 2>so part of my job is to make sure that

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<v Speaker 2>those people feel like this is fucking amazing, because it is.

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<v Speaker 2>It's amazing.

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<v Speaker 1>I've watched a lot of shows being filmed live, and

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<v Speaker 1>it always seems to me like you're reacting and feeling

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<v Speaker 1>things deeply. Does look like it would take an enormous amount.

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<v Speaker 1>I mean, people sit at home watching TV a lot

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<v Speaker 1>thinking that they could do it. What it is that

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<v Speaker 1>you do is not something I think most people could do.

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<v Speaker 2>To give myself the space to react and feel deeply,

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<v Speaker 2>there is a heap of work that makes everything else

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<v Speaker 2>in that situation almost semi automatic. In the same way

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<v Speaker 2>that when you first learned to drive, then you probably

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<v Speaker 2>the first time you reversed a manual car down a driveway,

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<v Speaker 2>you probably like I had to turn the radio off

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<v Speaker 2>you had to. Don't nobody saying anything, you know, and

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<v Speaker 2>you know it took you five minutes to drive five meters.

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<v Speaker 2>Now you probably do it while eating a sandwich, putting

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<v Speaker 2>on a podcast, putting on a sa belt with one hand,

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<v Speaker 2>and doing it with your knee. You're able to do

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<v Speaker 2>all those other things because the middle bits, the meat

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<v Speaker 2>and potatoes of what you're actually doing have become automatic

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<v Speaker 2>or semi automatic. Similarly, I put in heaps and heaps

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<v Speaker 2>and heaps of work to make sure that how many

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<v Speaker 2>steps is it from the front of the mouth to

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<v Speaker 2>the center of the stage. I can't see it, so

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<v Speaker 2>there's masks behind me. It actually walked out with I

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<v Speaker 2>can't see out of those things, all right, So I

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<v Speaker 2>rehearse in rehearsing and rehearsal, rehearsal to make sure that, okay,

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<v Speaker 2>it's exactly twelve steps. And there's a tiny little thing

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<v Speaker 2>I can see in the corner of my eye. It's

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<v Speaker 2>like the edge of a speaker. That's when I know

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<v Speaker 2>that I'm pointing in the right direction. You know, I

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<v Speaker 2>do that so many times that by the time you

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<v Speaker 2>see it on the telly, it's just like a thing

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<v Speaker 2>that I'm doing, but I had never did it before

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<v Speaker 2>that day.

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<v Speaker 1>Yeah, that's two decades doing live television.

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<v Speaker 2>It's something that I adore. And to be on a stage.

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<v Speaker 2>I love live so much because that's all I ever

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<v Speaker 2>did right was be live, whether it be on stage

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<v Speaker 2>with a band, or then on radio, or then on

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<v Speaker 2>Telly and then on Idol. The thing about The Bachelor, though,

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<v Speaker 2>it's as if it was live, because you can't ask

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<v Speaker 2>someone to have an authentic emotional response a second time

0:11:10.679 --> 0:11:13.440
<v Speaker 2>and expect it to be as good, expect it to

0:11:13.440 --> 0:11:16.640
<v Speaker 2>be as authentic. It never ever ever is. So the

0:11:16.720 --> 0:11:22.040
<v Speaker 2>ability to get out there and teg a champagne flut

0:11:22.080 --> 0:11:25.679
<v Speaker 2>with my ring finger like some really obscene flex. It's fun.

0:11:25.720 --> 0:11:30.880
<v Speaker 2>It's wrong, but it's fun, and to you know, drop

0:11:31.160 --> 0:11:36.160
<v Speaker 2>hundreds of words of exposition, knowing that I've got eight cameras,

0:11:36.559 --> 0:11:40.439
<v Speaker 2>sometimes seven, sometimes sorry I'm exaggerating, six cameras sometimes seven

0:11:40.480 --> 0:11:45.920
<v Speaker 2>cameras covering thirty three separate faces, knowing that I need

0:11:45.960 --> 0:11:49.600
<v Speaker 2>to give the cameras enough time to get on particular

0:11:49.640 --> 0:11:53.360
<v Speaker 2>faces during particular moments, to make sure that we cover

0:11:53.520 --> 0:11:56.640
<v Speaker 2>the reactions of those particular people the moment they discover

0:11:56.720 --> 0:11:58.960
<v Speaker 2>the thing that I'm saying out loud for the first time.

0:11:59.320 --> 0:12:02.320
<v Speaker 2>You can't do that twice. So having had live a

0:12:02.400 --> 0:12:05.400
<v Speaker 2>live background experience, I think went a long way first

0:12:05.440 --> 0:12:08.480
<v Speaker 2>getting the job on Bachelor, and now we just work

0:12:08.640 --> 0:12:13.560
<v Speaker 2>at a point where the producers and the directors trust

0:12:13.640 --> 0:12:16.280
<v Speaker 2>me enough to know that I will give them the

0:12:16.280 --> 0:12:18.959
<v Speaker 2>space they need and they will make sure they get

0:12:18.960 --> 0:12:21.560
<v Speaker 2>the reactions they need. I will wait and watch to

0:12:21.600 --> 0:12:24.480
<v Speaker 2>see that they've got everything covered before I keep going

0:12:24.520 --> 0:12:26.960
<v Speaker 2>because I can't do it and it feels weird. If

0:12:26.960 --> 0:12:28.720
<v Speaker 2>you're standing in the room and there's bloke you know

0:12:28.760 --> 0:12:31.000
<v Speaker 2>from teleywalks in a glass and this says the same

0:12:31.000 --> 0:12:32.839
<v Speaker 2>things four times and aw, You're like, well, okay, I've

0:12:32.840 --> 0:12:34.640
<v Speaker 2>got you the first three times, Like why are you

0:12:34.640 --> 0:12:35.160
<v Speaker 2>saying it again.

0:12:35.240 --> 0:12:37.640
<v Speaker 1>I've got a brand who's a TV producer, and it's funny.

0:12:38.200 --> 0:12:40.480
<v Speaker 1>I've quite often written to him while watching the shows

0:12:40.480 --> 0:12:42.880
<v Speaker 1>that he makes, and I'll say was that live? And

0:12:42.920 --> 0:12:44.600
<v Speaker 1>He'll be like, funny, you ask that we had to

0:12:44.600 --> 0:12:47.440
<v Speaker 1>reshoot that moment. You have to be so precise to

0:12:47.440 --> 0:12:50.520
<v Speaker 1>try and capture something like something on the Bachelor, because

0:12:50.520 --> 0:12:52.360
<v Speaker 1>if you have to try and do it again or

0:12:53.240 --> 0:12:55.800
<v Speaker 1>mimic it in any way. The authenticity I always feel

0:12:55.960 --> 0:12:57.760
<v Speaker 1>it dilutes fifty percent. I mean, you'd have to be

0:12:57.800 --> 0:12:59.480
<v Speaker 1>pretty s cool to watching TV to pick up.

0:12:59.360 --> 0:13:03.520
<v Speaker 2>On it, knowing how any sausages made ruined sausages forever.

0:13:05.960 --> 0:13:08.559
<v Speaker 2>You know, when I first started in radio, once I

0:13:08.640 --> 0:13:11.040
<v Speaker 2>knew how radio was made, I couldn't listen to radio properly.

0:13:11.080 --> 0:13:14.199
<v Speaker 2>Ever again, Okay, we're coming out of the eleven a m.

0:13:14.400 --> 0:13:18.640
<v Speaker 2>News and there's a Nickelback song. You know, once you

0:13:18.720 --> 0:13:21.080
<v Speaker 2>know how it works, you know, you know how it works,

0:13:21.280 --> 0:13:24.120
<v Speaker 2>and it kind of takes the magic away a little bit.

0:13:24.320 --> 0:13:27.600
<v Speaker 2>On this season of The Bachelor's we worked really really

0:13:27.679 --> 0:13:32.120
<v Speaker 2>hard on making sure it was as hands off as

0:13:32.120 --> 0:13:34.720
<v Speaker 2>we could be. We use very different you know. It's

0:13:34.720 --> 0:13:37.440
<v Speaker 2>interesting people may not realize that choices that you make

0:13:37.480 --> 0:13:41.480
<v Speaker 2>about which cameras you'll use, which lenses you'll choose, how

0:13:41.559 --> 0:13:47.319
<v Speaker 2>you light a situation will influence the way the people

0:13:47.320 --> 0:13:52.280
<v Speaker 2>in that situation will respond. An example would be have

0:13:52.400 --> 0:13:55.240
<v Speaker 2>you ever seen Drive to Survive? But is that what's

0:13:55.280 --> 0:13:57.280
<v Speaker 2>called the Netflix Formula one?

0:13:57.640 --> 0:13:57.800
<v Speaker 3>Yeah?

0:13:57.840 --> 0:13:59.320
<v Speaker 1>I think that's what it's called, But I know I

0:13:59.320 --> 0:14:02.280
<v Speaker 1>haven't watched it. I have to wait.

0:14:03.040 --> 0:14:05.040
<v Speaker 2>Yeah, formula one drives as VI. It's on Netflix. It's

0:14:05.080 --> 0:14:06.880
<v Speaker 2>if you never If you don't care about Formula one,

0:14:07.000 --> 0:14:08.920
<v Speaker 2>just I don't care, just watch it. It's one of

0:14:08.920 --> 0:14:13.240
<v Speaker 2>the most extraordinary documentary obdos observational documentary. It's one of

0:14:13.240 --> 0:14:16.200
<v Speaker 2>the most extraordinary obdocs ever ever made because they've just

0:14:16.200 --> 0:14:20.240
<v Speaker 2>got everyone micd the whole time, and so you'll know

0:14:20.240 --> 0:14:23.200
<v Speaker 2>there's a difference between sitting some seeing someone sit down,

0:14:23.440 --> 0:14:25.080
<v Speaker 2>you know, and they've got a soft box above them.

0:14:25.080 --> 0:14:27.320
<v Speaker 2>Sometimes they'll shoot them wide so you'll see all the hardware,

0:14:27.520 --> 0:14:29.160
<v Speaker 2>and they're looking a little to the left of the

0:14:29.240 --> 0:14:30.800
<v Speaker 2>lens or a little to the right of the lens,

0:14:30.840 --> 0:14:34.080
<v Speaker 2>going and they're putting the question in the answer, going, oh,

0:14:34.080 --> 0:14:36.080
<v Speaker 2>when we did that. When we did that, it was

0:14:36.160 --> 0:14:38.400
<v Speaker 2>that they've been asked a question. They're putting the question

0:14:38.440 --> 0:14:39.880
<v Speaker 2>of the answer to create it into a statement.

0:14:39.960 --> 0:14:40.080
<v Speaker 1>Right.

0:14:40.080 --> 0:14:42.200
<v Speaker 2>We know that's the language of reality television. There's a

0:14:42.240 --> 0:14:45.480
<v Speaker 2>big digs between that and when we see them shot

0:14:45.480 --> 0:14:48.200
<v Speaker 2>on a long lens across a field actually telling the

0:14:48.240 --> 0:14:50.520
<v Speaker 2>person what you know, they told them in the moment,

0:14:50.640 --> 0:14:52.680
<v Speaker 2>because they're in the moment. So that's a long way

0:14:52.720 --> 0:14:56.720
<v Speaker 2>of explaining that. Between fence and our director and you know,

0:14:56.880 --> 0:14:58.920
<v Speaker 2>a network who went along with it. And the way

0:14:58.960 --> 0:15:01.480
<v Speaker 2>we shot this season of the Bat actually, we lit

0:15:01.520 --> 0:15:03.560
<v Speaker 2>it in a way that it could be shot from

0:15:03.600 --> 0:15:07.120
<v Speaker 2>any angle. We're using particular cameras that are able to

0:15:07.160 --> 0:15:10.720
<v Speaker 2>shoot in very very very low light on quite long lenses.

0:15:10.800 --> 0:15:15.280
<v Speaker 2>So if two people are having a moment of emotional

0:15:15.640 --> 0:15:18.960
<v Speaker 2>even physical intimacy, they're being filmed, but the camera is

0:15:19.520 --> 0:15:22.800
<v Speaker 2>not standing next to them, whereas in the past the

0:15:22.880 --> 0:15:25.480
<v Speaker 2>camera had been sometimes standing next to them, And that's

0:15:25.480 --> 0:15:27.680
<v Speaker 2>going to change how you feel when you're pashing someone,

0:15:28.040 --> 0:15:29.960
<v Speaker 2>or how you feel when you're saying I'm not that

0:15:30.080 --> 0:15:33.600
<v Speaker 2>into you if there's a camera an arm's length away,

0:15:33.800 --> 0:15:36.880
<v Speaker 2>which sometimes happens on not necessarily our shows, but shows

0:15:36.960 --> 0:15:40.680
<v Speaker 2>like this. So we worked really hard to make this

0:15:41.200 --> 0:15:44.040
<v Speaker 2>be a very different experience for the people who participated

0:15:44.080 --> 0:15:47.360
<v Speaker 2>in it, and the results speak for themselves. The level

0:15:47.560 --> 0:15:52.760
<v Speaker 2>of authentic conversation, authentic connection, authentic how shall I put

0:15:52.800 --> 0:16:00.320
<v Speaker 2>this dialogue between people is extraordinary and really kind of

0:16:00.320 --> 0:16:06.120
<v Speaker 2>care I'm so proud of everyone involved in changing solistically

0:16:06.160 --> 0:16:09.760
<v Speaker 2>how that this season looks and feels, because it ultimately

0:16:09.880 --> 0:16:14.360
<v Speaker 2>changes the level of emotional expression you see on camera

0:16:14.680 --> 0:16:17.280
<v Speaker 2>in a very different way, and I'm so proud of it.

0:16:17.600 --> 0:16:19.600
<v Speaker 1>Did you get any creative control? Because I mean, this

0:16:19.640 --> 0:16:21.720
<v Speaker 1>is this is the first time they've really shaken up

0:16:21.760 --> 0:16:24.880
<v Speaker 1>the formula which has been a global success. And you know,

0:16:25.040 --> 0:16:27.520
<v Speaker 1>you're a producer in your own right and no television

0:16:27.520 --> 0:16:30.240
<v Speaker 1>extremely well I ever remember in your book, I think

0:16:30.280 --> 0:16:32.440
<v Speaker 1>you were working on a show called The Real Deal.

0:16:32.800 --> 0:16:35.280
<v Speaker 1>That's how I got the job of the pitch that

0:16:35.280 --> 0:16:37.360
<v Speaker 1>to Channel ten and Channel ten greenlit it and you

0:16:37.400 --> 0:16:39.120
<v Speaker 1>went back to La to work on it. And so

0:16:39.640 --> 0:16:41.160
<v Speaker 1>what I'm trying to get at is, you know you've

0:16:41.160 --> 0:16:44.400
<v Speaker 1>got the producer's mind, and when they decided to change

0:16:44.440 --> 0:16:46.720
<v Speaker 1>a very successful formula into what we're about to see

0:16:46.760 --> 0:16:49.400
<v Speaker 1>with the Bachelor's, were you able to have a contribution

0:16:49.520 --> 0:16:51.840
<v Speaker 1>into what needed to happen? And was it anything like

0:16:51.880 --> 0:16:53.960
<v Speaker 1>The Real Deal? Has anything ever been made like The

0:16:54.000 --> 0:16:54.480
<v Speaker 1>Real Deal?

0:16:55.200 --> 0:16:58.720
<v Speaker 2>Well, I've I've got to say that to their extraordinary credit,

0:16:58.960 --> 0:17:03.440
<v Speaker 2>both Spence and my network EP at the time at

0:17:03.440 --> 0:17:06.399
<v Speaker 2>Network Tan Hillary in US were actually quite open to

0:17:07.119 --> 0:17:10.080
<v Speaker 2>ideas because they were looking to rework it and they

0:17:10.080 --> 0:17:12.399
<v Speaker 2>were asking everyone. They asked a lot of people, and

0:17:12.440 --> 0:17:14.080
<v Speaker 2>I was one of the people. They asked, and I

0:17:14.119 --> 0:17:17.320
<v Speaker 2>was very grateful that they did. I would never expect

0:17:17.359 --> 0:17:19.679
<v Speaker 2>that they would have. I would never expect that my

0:17:20.640 --> 0:17:24.479
<v Speaker 2>ideas the host from the Australian version of the show,

0:17:25.480 --> 0:17:28.560
<v Speaker 2>which has been super successful in forty something territories and

0:17:28.560 --> 0:17:31.399
<v Speaker 2>there's been making networks all over the world lots of

0:17:31.400 --> 0:17:33.720
<v Speaker 2>money for decades, would have something to say that could

0:17:33.720 --> 0:17:37.680
<v Speaker 2>add to it. But they listened, and I'm really grateful,

0:17:37.720 --> 0:17:40.960
<v Speaker 2>And I also guess in the moment, there's a few

0:17:41.080 --> 0:17:44.440
<v Speaker 2>very different things about the way this season works, and

0:17:45.040 --> 0:17:48.480
<v Speaker 2>one of those is essentially when we were the first

0:17:49.280 --> 0:17:53.440
<v Speaker 2>territory in the world in so people are pretty. They're

0:17:53.480 --> 0:17:56.000
<v Speaker 2>pretty in TV people who listen to your show, right,

0:17:56.840 --> 0:17:59.280
<v Speaker 2>so they get that when you buy a TV franchise,

0:17:59.320 --> 0:18:01.800
<v Speaker 2>it's like buying fast food franchise. They pass you this

0:18:01.880 --> 0:18:04.679
<v Speaker 2>gigantic ring binder with the logo, with the graphics, with

0:18:04.760 --> 0:18:07.719
<v Speaker 2>the soundtrack, with the Okay, if you're going to if

0:18:07.720 --> 0:18:09.800
<v Speaker 2>it's a reality show, if you're going to cast it,

0:18:10.000 --> 0:18:11.960
<v Speaker 2>I'm just making this up, but you're going to need

0:18:12.119 --> 0:18:14.520
<v Speaker 2>the one that shouts, the one that whispers, the one

0:18:14.560 --> 0:18:17.119
<v Speaker 2>that cries, you know, the one who is kind of

0:18:17.160 --> 0:18:20.000
<v Speaker 2>kooky and you're gonna need the one who ultimately is

0:18:20.040 --> 0:18:21.840
<v Speaker 2>just full of heart. You've got those five people you've

0:18:21.840 --> 0:18:23.760
<v Speaker 2>got to show and then you know you go from it.

0:18:24.000 --> 0:18:26.320
<v Speaker 2>That's not our show, but that that document is called

0:18:26.640 --> 0:18:29.520
<v Speaker 2>a bible. So to be able to then go to

0:18:29.680 --> 0:18:32.080
<v Speaker 2>the franchise owners, like if you said to the fast

0:18:32.080 --> 0:18:34.800
<v Speaker 2>food franchise, hey, look it's asked you down. Yeah, it's

0:18:35.000 --> 0:18:37.480
<v Speaker 2>ulture and then yeah, we're thinking of reworking it. Yeah,

0:18:37.720 --> 0:18:41.600
<v Speaker 2>so we're thinking three all beef patties, just normal sauce,

0:18:42.480 --> 0:18:47.199
<v Speaker 2>no let us, but more cheese pickles, red onions on

0:18:47.200 --> 0:18:51.400
<v Speaker 2>above with those sssame seeds. They'd be like, you shut

0:18:51.440 --> 0:18:53.560
<v Speaker 2>your mouth and know your place, know your place, sorry

0:18:53.680 --> 0:18:56.000
<v Speaker 2>the rock, know your place. Shut your mouth. It's two

0:18:56.080 --> 0:18:57.960
<v Speaker 2>or beef patty specialists. Let us cheese pickles and your

0:18:57.960 --> 0:19:00.679
<v Speaker 2>sispecyed onun. I'm hanging up the phone right now, and

0:19:00.720 --> 0:19:02.919
<v Speaker 2>that would be it, all right, But we have been

0:19:02.960 --> 0:19:07.399
<v Speaker 2>given this extraordinary permission to kind of tweak the recipe.

0:19:07.880 --> 0:19:10.360
<v Speaker 2>That never happens in television. You never get that chance.

0:19:10.680 --> 0:19:13.040
<v Speaker 2>You never get that chance. Well, it rarely really happened.

0:19:13.040 --> 0:19:15.760
<v Speaker 2>So it happened with master Chief. Master Chief came to

0:19:15.800 --> 0:19:19.120
<v Speaker 2>Australia as kind of like it was like a mid

0:19:19.200 --> 0:19:21.040
<v Speaker 2>morning at best, the sort of thing you'd put on

0:19:21.080 --> 0:19:24.840
<v Speaker 2>instead of an infomercial, you know, kind of benign wallpaper

0:19:25.000 --> 0:19:30.320
<v Speaker 2>cooking show, and Australia turned it into this just behemoth,

0:19:30.560 --> 0:19:37.120
<v Speaker 2>kind of world beating monster of supermarket integration, like the

0:19:37.240 --> 0:19:39.719
<v Speaker 2>level of integration that they sales integration they put into it,

0:19:39.720 --> 0:19:43.480
<v Speaker 2>like it just and tension and drama made become this

0:19:43.600 --> 0:19:47.240
<v Speaker 2>huge show. So there has been some success in reworking

0:19:47.240 --> 0:19:50.920
<v Speaker 2>international formats. When we got about I don't know, three

0:19:51.000 --> 0:19:55.040
<v Speaker 2>or four weeks in, someone from someone from overseas from

0:19:55.800 --> 0:19:58.399
<v Speaker 2>Warner Brothers International showed up and it sped about a

0:19:58.400 --> 0:20:00.720
<v Speaker 2>week with this and they were like, can't believe this.

0:20:01.119 --> 0:20:03.280
<v Speaker 2>And when you get someone who's like a high level

0:20:03.600 --> 0:20:07.280
<v Speaker 2>TV executive, you know, in charge of making sure that

0:20:07.600 --> 0:20:11.439
<v Speaker 2>the international versions of the brand are aligned and you

0:20:11.440 --> 0:20:13.840
<v Speaker 2>know you haven't strayed, you know culturally you do need

0:20:13.840 --> 0:20:16.000
<v Speaker 2>to adjust in every territory, but that you're on board.

0:20:16.040 --> 0:20:18.080
<v Speaker 2>When you get that person who's probably been in television

0:20:18.119 --> 0:20:21.040
<v Speaker 2>for a while now slapping the table, going no way,

0:20:21.640 --> 0:20:23.320
<v Speaker 2>shouting and go, that's I might.

0:20:23.400 --> 0:20:25.439
<v Speaker 1>Like, you know you're on a good thing that's going

0:20:25.520 --> 0:20:27.360
<v Speaker 1>to be Australia that they're going to be like, Oh

0:20:27.400 --> 0:20:29.399
<v Speaker 1>my god, I can't believe what they're doing.

0:20:29.480 --> 0:20:31.080
<v Speaker 2>So I've got I've got I've got a long way.

0:20:31.119 --> 0:20:32.920
<v Speaker 2>I've got a long way to answering your question, which

0:20:32.960 --> 0:20:35.080
<v Speaker 2>is around it? If I have any input, there's a

0:20:35.119 --> 0:20:37.880
<v Speaker 2>there's a format point that's quite different in the past.

0:20:37.880 --> 0:20:39.880
<v Speaker 2>We were the first territory to have the thought track

0:20:39.920 --> 0:20:42.439
<v Speaker 2>going in the rose ceremony. Okay, it used to be

0:20:42.520 --> 0:20:44.920
<v Speaker 2>just here's our hero holding, you know, a rose in

0:20:44.960 --> 0:20:47.360
<v Speaker 2>their hand. Here's the lineup, whether it be boys or girls,

0:20:47.400 --> 0:20:49.320
<v Speaker 2>and we would never hear what they were thinking. We

0:20:49.320 --> 0:20:51.560
<v Speaker 2>were the first ones with the long, slow pans acrom

0:20:51.600 --> 0:20:55.719
<v Speaker 2>the across them, using grabs from their interviews, going oh,

0:20:55.760 --> 0:20:57.760
<v Speaker 2>I really hope Ben gives me a rose. I had

0:20:57.840 --> 0:20:59.960
<v Speaker 2>really such a good time with him on this podcast.

0:21:00.800 --> 0:21:02.920
<v Speaker 2>I don't know about her, She's got things. And when

0:21:02.920 --> 0:21:04.879
<v Speaker 2>I was on Ben's podcast, we talked about that, and

0:21:04.920 --> 0:21:07.119
<v Speaker 2>you know, then they call that one of their names,

0:21:07.119 --> 0:21:09.080
<v Speaker 2>and then you do the thing. We're the first people

0:21:09.080 --> 0:21:11.920
<v Speaker 2>to do that. Those moments now are in the room

0:21:12.400 --> 0:21:16.240
<v Speaker 2>and I'm very grateful that the network and the production

0:21:16.240 --> 0:21:19.560
<v Speaker 2>everybody trusted me to be able to hold that down

0:21:19.840 --> 0:21:24.520
<v Speaker 2>and hold down that conversation between who are in contention

0:21:24.960 --> 0:21:29.280
<v Speaker 2>for the roads. Sometimes it gets a bit sprightly, but

0:21:29.400 --> 0:21:32.000
<v Speaker 2>they trusted that they would do it. And in those moments,

0:21:32.200 --> 0:21:33.800
<v Speaker 2>whether they you know, whether you know it or not,

0:21:33.840 --> 0:21:37.560
<v Speaker 2>you're making on the fly. I'm making decisions, I guess

0:21:37.880 --> 0:21:40.560
<v Speaker 2>obviously in alignment with what my bosses want me to do.

0:21:40.760 --> 0:21:44.080
<v Speaker 2>But if I've kind of got the sense that I'm

0:21:44.200 --> 0:21:48.320
<v Speaker 2>so close to getting this person, give me the real reason,

0:21:48.680 --> 0:21:50.320
<v Speaker 2>because I kind of have an idea of what it

0:21:50.359 --> 0:21:53.800
<v Speaker 2>is they have going on, and they're kind of skirting

0:21:53.800 --> 0:21:56.240
<v Speaker 2>around it. So even though they might hear, they might

0:21:56.280 --> 0:22:00.200
<v Speaker 2>have gone, okay, you know, go that way, Okay, we're

0:22:00.200 --> 0:22:01.719
<v Speaker 2>not going to get it. If I go like, oh,

0:22:01.800 --> 0:22:04.440
<v Speaker 2>hang on, and I try another just one more time,

0:22:04.960 --> 0:22:07.800
<v Speaker 2>which I do sometimes, and then I get it, I'm like,

0:22:08.000 --> 0:22:10.040
<v Speaker 2>thank you for letting me spend an extra three minutes

0:22:10.080 --> 0:22:14.480
<v Speaker 2>of everyone's crew know hours on getting that moment, because

0:22:14.720 --> 0:22:16.720
<v Speaker 2>I guess I know enough to know we can't really

0:22:16.720 --> 0:22:19.320
<v Speaker 2>tell the story if we don't get this really key bit,

0:22:19.680 --> 0:22:22.600
<v Speaker 2>and they trust me enough to know that I can,

0:22:22.880 --> 0:22:25.760
<v Speaker 2>I can deliver that and that's extraordinary on it that

0:22:25.800 --> 0:22:28.320
<v Speaker 2>they would let me hold the wheel like that in

0:22:28.359 --> 0:22:32.440
<v Speaker 2>that moment. Because ultimately, with a show like Bachelor's everything

0:22:32.480 --> 0:22:35.000
<v Speaker 2>that you see in the cut, everything that you see

0:22:35.000 --> 0:22:37.240
<v Speaker 2>in the edit we shoot what let's just do a

0:22:37.280 --> 0:22:39.920
<v Speaker 2>quick like, say, we shot four cameras across a cocktail

0:22:39.960 --> 0:22:44.359
<v Speaker 2>party that went for two hours. That is the least

0:22:44.359 --> 0:22:47.120
<v Speaker 2>of it. That is eight hours of footage that we

0:22:47.200 --> 0:22:50.480
<v Speaker 2>have to make into maybe a sixty minute episode, which

0:22:50.520 --> 0:22:53.480
<v Speaker 2>after commercials is I don't know, forty eight forty nine

0:22:53.600 --> 0:22:54.080
<v Speaker 2>something minutes.

0:22:54.160 --> 0:22:55.560
<v Speaker 1>It's a tough mathematical equation.

0:22:55.600 --> 0:22:57.680
<v Speaker 2>Are you going to do that? That's a lot. There's

0:22:57.680 --> 0:22:59.240
<v Speaker 2>a lot that doesn't come and there's a lot. So

0:22:59.320 --> 0:23:02.600
<v Speaker 2>everything that makes it into that edit, everything has to

0:23:02.640 --> 0:23:07.280
<v Speaker 2>make the decision makes sense, has to make why they

0:23:07.280 --> 0:23:10.000
<v Speaker 2>do or do not give the rose make sense, all right?

0:23:10.440 --> 0:23:12.679
<v Speaker 2>And you know, as long as we're always kind of

0:23:12.800 --> 0:23:15.840
<v Speaker 2>pointing in that direction, we're gonna be okay. And I'm

0:23:16.480 --> 0:23:18.439
<v Speaker 2>just so grateful that you know, not only Spence, but

0:23:18.480 --> 0:23:23.159
<v Speaker 2>also you know, you know my other EPs Dean and

0:23:23.960 --> 0:23:27.960
<v Speaker 2>Jimmy just they're just the borst man. I'm really I'm

0:23:27.960 --> 0:23:28.800
<v Speaker 2>really liked well.

0:23:28.680 --> 0:23:31.320
<v Speaker 1>Spencer that in a really interesting way. She said, you know,

0:23:31.320 --> 0:23:33.520
<v Speaker 1>if it doesn't speak to clarity, then it doesn't work.

0:23:33.720 --> 0:23:36.320
<v Speaker 1>And so I thought that was a really interesting piece

0:23:36.359 --> 0:23:38.159
<v Speaker 1>of the pie when it comes to the content that

0:23:38.200 --> 0:23:41.040
<v Speaker 1>she makes, because that's true, that's absolutely true with the

0:23:41.040 --> 0:23:43.000
<v Speaker 1>work that she does. There's nothing in her shows that

0:23:43.040 --> 0:23:45.800
<v Speaker 1>doesn't speak to clarity. Yeah, you've probably shot a lot,

0:23:45.920 --> 0:23:49.160
<v Speaker 1>but what's left there is all about answering the simple

0:23:49.240 --> 0:23:51.679
<v Speaker 1>questions that the audience want. It was funny we were

0:23:51.680 --> 0:23:55.200
<v Speaker 1>talking about ev Jones who was on Snack Masters and

0:23:55.520 --> 0:23:58.359
<v Speaker 1>she was really disappointed that she wasn't in it as

0:23:58.440 --> 0:24:01.000
<v Speaker 1>much as she filmed and she was like, oh, I

0:24:01.080 --> 0:24:02.800
<v Speaker 1>thought I was going to be in a more spence

0:24:02.880 --> 0:24:06.840
<v Speaker 1>because I had both of them together, and Spence was like,

0:24:06.880 --> 0:24:09.400
<v Speaker 1>you know, at the same time, there was so much hilarity,

0:24:09.440 --> 0:24:11.280
<v Speaker 1>there were so many great moments that you had, but

0:24:11.320 --> 0:24:13.240
<v Speaker 1>if it didn't add to clarity of the story, were

0:24:13.240 --> 0:24:15.720
<v Speaker 1>so we're under a time constraint. And I just thought

0:24:15.760 --> 0:24:17.760
<v Speaker 1>that was an interesting thing to say at the end

0:24:17.760 --> 0:24:20.160
<v Speaker 1>of what you were talking about, you know, with the

0:24:20.200 --> 0:24:23.960
<v Speaker 1>eons of footage that's being made and the mathematical equation

0:24:24.080 --> 0:24:26.520
<v Speaker 1>of trying to get that down to forty five minutes,

0:24:26.560 --> 0:24:28.639
<v Speaker 1>which you're handing into the you know which warners have

0:24:28.680 --> 0:24:31.560
<v Speaker 1>to hand into the network. Yeah, I think it's fascinating.

0:24:31.960 --> 0:24:35.240
<v Speaker 2>Yeah so, but it's like, but it's no different from

0:24:35.240 --> 0:24:38.640
<v Speaker 2>any kind of visual storytelling that we see on a screen,

0:24:39.080 --> 0:24:42.200
<v Speaker 2>even in a even in a link later film. There's

0:24:42.600 --> 0:24:46.000
<v Speaker 2>nothing that is done or said or seen that is

0:24:46.040 --> 0:24:48.760
<v Speaker 2>by accident, even if it's to make you feel a

0:24:48.800 --> 0:24:50.879
<v Speaker 2>certain way, even if it's to prime you with a

0:24:50.920 --> 0:24:55.240
<v Speaker 2>feeling of oh, right before you know Jordan Peel, right

0:24:55.280 --> 0:24:59.280
<v Speaker 2>before Jordan Peele literally scares the shit out of your body,

0:24:59.640 --> 0:25:03.359
<v Speaker 2>nothing is there by accident in anything you ever watch.

0:25:03.880 --> 0:25:07.600
<v Speaker 2>And so it's similarly like with really good reality, nothing

0:25:07.680 --> 0:25:10.640
<v Speaker 2>is wasted, No frame is wasted, everything about the frame,

0:25:10.720 --> 0:25:13.399
<v Speaker 2>everything about the way it sounds. One thing I love

0:25:13.520 --> 0:25:15.879
<v Speaker 2>about this new season of Bachelors is the music is

0:25:16.040 --> 0:25:19.680
<v Speaker 2>so different. There's no simple crashes. I won't give it away,

0:25:19.800 --> 0:25:24.320
<v Speaker 2>but there's something so beautifully majestically different about the music

0:25:24.359 --> 0:25:27.359
<v Speaker 2>this year. Music on this season it's just the best.

0:25:27.800 --> 0:25:30.320
<v Speaker 2>And that's you know, that's Spence all over it. Man,

0:25:30.960 --> 0:25:34.160
<v Speaker 2>she's really quite a visionary, visionary person. It really understands

0:25:34.200 --> 0:25:36.439
<v Speaker 2>what it is to take a format that is so

0:25:37.280 --> 0:25:42.280
<v Speaker 2>loved around the world and loved in Australia for various reasons.

0:25:42.280 --> 0:25:45.520
<v Speaker 2>People love watching our show and understanding what people really

0:25:45.520 --> 0:25:48.080
<v Speaker 2>want out of it and what people are like, Look,

0:25:48.119 --> 0:25:50.840
<v Speaker 2>I like this, and look I might not have been

0:25:50.880 --> 0:25:52.800
<v Speaker 2>over there for a while because I kind of know

0:25:52.800 --> 0:25:54.879
<v Speaker 2>what I'm going to get and I kind of, you know,

0:25:54.920 --> 0:25:56.879
<v Speaker 2>I want to be a part of it. But I

0:25:56.920 --> 0:25:58.439
<v Speaker 2>mean a little more than what you've given me.

0:25:58.560 --> 0:26:00.960
<v Speaker 1>Everyone's been sitting at home for the last two seasons,

0:26:01.000 --> 0:26:03.040
<v Speaker 1>and let's be fair and say that's probably what it is,

0:26:03.280 --> 0:26:04.960
<v Speaker 1>you know, wanting it to be a little bit different.

0:26:05.000 --> 0:26:07.160
<v Speaker 1>They love this show and they own it as well.

0:26:07.160 --> 0:26:09.199
<v Speaker 1>Like if you talk to people about The Bachelor and

0:26:09.240 --> 0:26:12.680
<v Speaker 1>the Bachelorette, there shows that people really love. It's appointment

0:26:12.720 --> 0:26:15.840
<v Speaker 1>television the first episode where they watch it with their friends,

0:26:16.200 --> 0:26:18.200
<v Speaker 1>you know. And so when you've got a TV show

0:26:18.280 --> 0:26:21.840
<v Speaker 1>like Idol or Big Brother or Bachelor that that brand

0:26:21.920 --> 0:26:24.200
<v Speaker 1>is so important to people, you have to be a

0:26:24.200 --> 0:26:26.480
<v Speaker 1>little bit careful with it. But I did love that

0:26:26.600 --> 0:26:29.000
<v Speaker 1>when you announced the new Bachelor's I think you're on

0:26:29.040 --> 0:26:31.600
<v Speaker 1>the project and you said, oh, we're getting rid of

0:26:31.680 --> 0:26:33.960
<v Speaker 1>the We're getting rid of the tea lights or whatever.

0:26:34.119 --> 0:26:34.320
<v Speaker 1>You know.

0:26:34.480 --> 0:26:37.359
<v Speaker 2>Oh, there's no fairy lights. There's no fairy lights, there's

0:26:37.359 --> 0:26:38.840
<v Speaker 2>no fake flowers, there's nothing.

0:26:39.160 --> 0:26:41.600
<v Speaker 1>I'd been saying, and I said it on a podcast,

0:26:41.640 --> 0:26:43.400
<v Speaker 1>not this one, but I was a guest on another

0:26:43.440 --> 0:26:45.480
<v Speaker 1>podcast and they asked me about what I thought needed

0:26:45.480 --> 0:26:47.800
<v Speaker 1>to happen with the formula, and I said, I love

0:26:47.840 --> 0:26:50.720
<v Speaker 1>the red carpet ceremony, but I was hoping it would

0:26:50.720 --> 0:26:52.840
<v Speaker 1>be on the Gold Coast and she would be standing

0:26:52.880 --> 0:26:55.800
<v Speaker 1>outside of GC Nightclub and it all happens before they

0:26:55.800 --> 0:26:58.000
<v Speaker 1>go into the Gold Coast Nightclub.

0:26:58.200 --> 0:27:00.080
<v Speaker 2>I did take a jet ski to work every day

0:27:00.080 --> 0:27:04.399
<v Speaker 2>in a linen suit, you know, and it was like

0:27:04.480 --> 0:27:07.600
<v Speaker 2>Kenny Powers leopard skin as well, So that was pretty

0:27:07.880 --> 0:27:08.480
<v Speaker 2>pretty cool.

0:27:09.080 --> 0:27:11.240
<v Speaker 1>GZ is a good place for the I've always thought,

0:27:11.280 --> 0:27:12.520
<v Speaker 1>you know, we're going to change the Bachelor.

0:27:13.920 --> 0:27:16.280
<v Speaker 2>It's a pretty good spot for batch. It's an amazing

0:27:16.320 --> 0:27:18.800
<v Speaker 2>thing because it's like, you can't believe it. It's a

0:27:18.800 --> 0:27:21.200
<v Speaker 2>part of Australia that looks like nowhere else in Australia,

0:27:21.240 --> 0:27:24.600
<v Speaker 2>and it's a part of Australia where is it is

0:27:24.600 --> 0:27:27.400
<v Speaker 2>a part of Australia that is like nowhere else. Culturally,

0:27:27.440 --> 0:27:30.320
<v Speaker 2>it's a very different place to the rest of the country. Visually,

0:27:30.359 --> 0:27:32.480
<v Speaker 2>it's completely different to the rest of the country. And

0:27:32.520 --> 0:27:35.119
<v Speaker 2>that's where we were. The house that boys lived in

0:27:35.280 --> 0:27:37.800
<v Speaker 2>was so big you could literally, and you know I've

0:27:37.800 --> 0:27:40.280
<v Speaker 2>done it, ride a bicycle from your bedroom to the

0:27:40.280 --> 0:27:42.240
<v Speaker 2>swimming pool, which is also inside the apartment.

0:27:42.440 --> 0:27:45.800
<v Speaker 1>I have to ask a really annoying reality TV podcast

0:27:45.880 --> 0:27:47.800
<v Speaker 1>question and you have to come with me with a

0:27:47.840 --> 0:27:49.560
<v Speaker 1>sense of humor on this. But if you were going

0:27:49.600 --> 0:27:52.159
<v Speaker 1>to pick one of these men in a hypothetical world,

0:27:52.359 --> 0:27:55.040
<v Speaker 1>you know who out of these three men is your type?

0:27:55.200 --> 0:27:58.880
<v Speaker 2>Out of Thomas, Felix, and Jed oh easily, easily Jed.

0:27:59.080 --> 0:28:01.160
<v Speaker 2>There's no one that I I mean, they've all got

0:28:01.200 --> 0:28:03.520
<v Speaker 2>something about them that I really like. I could get

0:28:03.560 --> 0:28:09.000
<v Speaker 2>really nerdy talking about sport NBA with Felix, and you know,

0:28:09.080 --> 0:28:11.159
<v Speaker 2>I lived in America for about ten years, so we

0:28:11.280 --> 0:28:14.240
<v Speaker 2>got to talk about you know, college basketball and March Madness,

0:28:14.280 --> 0:28:16.560
<v Speaker 2>and you know, not many people in Australia understand how

0:28:16.760 --> 0:28:19.320
<v Speaker 2>intense it is, and so that was super cool. And

0:28:19.320 --> 0:28:22.119
<v Speaker 2>then Thomas is a very awakened man. He's done a

0:28:22.119 --> 0:28:27.280
<v Speaker 2>lot of work. He's a deep thinking human being and gorgeous.

0:28:27.600 --> 0:28:29.879
<v Speaker 2>My god, with his shirt off, he looks like an

0:28:30.119 --> 0:28:36.280
<v Speaker 2>RSL meat trade. Vertically, he's god unbelievable. It was true though.

0:28:36.280 --> 0:28:37.440
<v Speaker 2>It's like if you want the meat tr at the

0:28:37.560 --> 0:28:39.960
<v Speaker 2>RSL and you tip that inside and then you put

0:28:39.960 --> 0:28:42.280
<v Speaker 2>a shirt around it and a head on top, that's Thomas.

0:28:43.000 --> 0:28:49.240
<v Speaker 2>Like just and Jed, Well I could, I'd say Jed

0:28:49.320 --> 0:28:53.440
<v Speaker 2>because look, he's a muso, knows what it is to

0:28:53.480 --> 0:28:56.640
<v Speaker 2>be on stage. He knows a lot about music, and

0:28:56.680 --> 0:28:59.760
<v Speaker 2>he appreciates great you know, like a great chord change.

0:29:00.080 --> 0:29:03.240
<v Speaker 2>And most people will be like, yeah, what, but you

0:29:03.400 --> 0:29:05.479
<v Speaker 2>speak to the person who be like, hey, how's that

0:29:05.480 --> 0:29:07.920
<v Speaker 2>thing that has really good? Yes? Yeah, that's a good

0:29:07.960 --> 0:29:10.200
<v Speaker 2>mind of seventh sto with its attention. There's a brat nights.

0:29:10.280 --> 0:29:13.520
<v Speaker 2>Yes good, you know. So I really appreciate it. And

0:29:13.560 --> 0:29:17.640
<v Speaker 2>I think just Jed is just he's my kind of

0:29:17.640 --> 0:29:23.160
<v Speaker 2>guy because he just fearlessly wades into the world, just

0:29:23.680 --> 0:29:27.920
<v Speaker 2>the way that Jed carries himself. And just this is

0:29:27.960 --> 0:29:30.920
<v Speaker 2>what I'm going to wear today, Yes you can see

0:29:30.960 --> 0:29:35.760
<v Speaker 2>him nipples And am I happy about it? Yep? And

0:29:35.800 --> 0:29:38.520
<v Speaker 2>I'm just going to walk into this room and be

0:29:38.680 --> 0:29:41.440
<v Speaker 2>the most exciting man you've ever seen in a head

0:29:41.440 --> 0:29:44.480
<v Speaker 2>to toe fish that jumpsuit with an overcoat and he's

0:29:44.560 --> 0:29:46.920
<v Speaker 2>just hot.

0:29:47.000 --> 0:29:50.160
<v Speaker 1>I saw a bit of function like about three weeks ago,

0:29:50.240 --> 0:29:52.600
<v Speaker 1>and I'd seen the press photos, I'd seen some stuff

0:29:52.640 --> 0:29:54.920
<v Speaker 1>and you know, I'd seen your introduction and then I

0:29:54.960 --> 0:29:56.480
<v Speaker 1>met him in person. I spoke to him for like

0:29:56.520 --> 0:29:59.320
<v Speaker 1>half an hour and I was just It was at

0:29:59.320 --> 0:30:01.800
<v Speaker 1>a makeup lawaunch and they did his makeup and I

0:30:01.840 --> 0:30:03.720
<v Speaker 1>was like, you are you are a modern man.

0:30:04.000 --> 0:30:07.720
<v Speaker 2>It's stunning and his swagger is confidence I know. But

0:30:07.760 --> 0:30:09.280
<v Speaker 2>that's what does it for me, because it comes with

0:30:09.320 --> 0:30:12.640
<v Speaker 2>this kind of nerdy muso on the inside, whereas someone

0:30:12.680 --> 0:30:14.960
<v Speaker 2>else might be right up for you know, Felix, and

0:30:15.000 --> 0:30:16.840
<v Speaker 2>someone else might be right up for Thomas. Sorry if

0:30:16.880 --> 0:30:20.600
<v Speaker 2>you're listening, boys, but yeah.

0:30:19.880 --> 0:30:21.800
<v Speaker 1>The audience is going to switch though. I reckon that.

0:30:22.000 --> 0:30:24.160
<v Speaker 1>You know, they're the type of boys that you're going

0:30:24.200 --> 0:30:25.960
<v Speaker 1>to change your mind, which I guessing is going to

0:30:25.960 --> 0:30:28.680
<v Speaker 1>be some of the magic of the Bachelor's But and.

0:30:28.600 --> 0:30:30.600
<v Speaker 2>That's what it is for me, is that when we

0:30:30.640 --> 0:30:33.760
<v Speaker 2>started this format, well we in Australia started this format

0:30:34.560 --> 0:30:37.080
<v Speaker 2>swiping left and right in the straight world had only

0:30:37.200 --> 0:30:40.080
<v Speaker 2>just existed, all right. In the non straight world, people

0:30:40.160 --> 0:30:42.680
<v Speaker 2>had been dating online for quite some time, but in

0:30:42.760 --> 0:30:45.520
<v Speaker 2>the in the straight world, that had just shown up, really,

0:30:45.560 --> 0:30:51.240
<v Speaker 2>and so the idea of you know, scarcity was still

0:30:51.240 --> 0:30:55.680
<v Speaker 2>a factor in dating. You know, I'm going to have

0:30:55.720 --> 0:30:57.640
<v Speaker 2>to sort this out because I've just found this person.

0:30:57.680 --> 0:30:59.840
<v Speaker 2>They're pretty great. Fast forward a couple of years, when

0:31:00.280 --> 0:31:03.760
<v Speaker 2>you can swipe so much that you are you always thinking, oh,

0:31:03.760 --> 0:31:06.520
<v Speaker 2>I'm just one swipe away from meeting them, and what

0:31:06.560 --> 0:31:09.040
<v Speaker 2>if this person this little annoying thing I'm finding. Wow,

0:31:09.040 --> 0:31:10.560
<v Speaker 2>a couple more swipes, I might find the one that

0:31:10.680 --> 0:31:14.920
<v Speaker 2>is then and then I make people who, you know,

0:31:15.400 --> 0:31:18.360
<v Speaker 2>seven eight years, they haven't had a partner because they've

0:31:18.400 --> 0:31:21.200
<v Speaker 2>just been going from this transaction or relationship to transaction

0:31:21.280 --> 0:31:24.360
<v Speaker 2>or relationship. And that's really sad to not have that

0:31:24.440 --> 0:31:27.080
<v Speaker 2>ability to connect emotionally and share a moment with someone

0:31:27.080 --> 0:31:29.640
<v Speaker 2>that you can be there with your best friend. But

0:31:29.640 --> 0:31:32.920
<v Speaker 2>there's another thing to connect emotionally with someone and connect

0:31:32.920 --> 0:31:35.680
<v Speaker 2>intimately with someone and then share a moment in time

0:31:35.760 --> 0:31:38.120
<v Speaker 2>with that person knowing that you will be there for

0:31:38.160 --> 0:31:40.600
<v Speaker 2>each other. That is a truly beautiful thing, and that

0:31:40.760 --> 0:31:42.800
<v Speaker 2>was one of the most wonderful things about being human.

0:31:43.080 --> 0:31:46.760
<v Speaker 2>And that's kind of how modern dating now is, and

0:31:46.800 --> 0:31:49.640
<v Speaker 2>that scarcity is no longer a factor. The supply and

0:31:49.720 --> 0:31:52.360
<v Speaker 2>demand has been turned on its head. And you may

0:31:52.560 --> 0:31:55.960
<v Speaker 2>and I know this from my brief time on those

0:31:56.520 --> 0:31:58.640
<v Speaker 2>hell whole dating apps. I'd be on a date with

0:31:58.680 --> 0:32:00.920
<v Speaker 2>someone and I kind of had this clue, like, oh,

0:32:01.040 --> 0:32:06.600
<v Speaker 2>you're going to meet someone after this. Ah, So you're not,

0:32:07.520 --> 0:32:09.480
<v Speaker 2>even though I'm kind of being a little challenging in

0:32:09.520 --> 0:32:11.320
<v Speaker 2>the way we're speaking, or you're challenging me a little

0:32:11.320 --> 0:32:13.040
<v Speaker 2>bit in the way we're speaking, you don't want to

0:32:13.080 --> 0:32:14.880
<v Speaker 2>work through it or find some common ground because you're

0:32:14.920 --> 0:32:17.120
<v Speaker 2>just going to go after this and have a drink

0:32:17.120 --> 0:32:18.320
<v Speaker 2>with someone else that you made.

0:32:18.760 --> 0:32:20.560
<v Speaker 1>Ah. Ah.

0:32:21.760 --> 0:32:24.280
<v Speaker 2>But that's what we've brought into this show. We've brought this.

0:32:25.040 --> 0:32:28.240
<v Speaker 2>The level of the scarcity thing is gone because everyone's

0:32:28.240 --> 0:32:28.840
<v Speaker 2>got a choice.

0:32:28.840 --> 0:32:29.000
<v Speaker 3>Man.

0:32:29.280 --> 0:32:31.360
<v Speaker 2>The boys have a choice and the ladies have a choice.

0:32:31.720 --> 0:32:34.800
<v Speaker 2>So it's kind of all it's all air, it's all

0:32:34.800 --> 0:32:39.120
<v Speaker 2>to play for. It's very very, very interesting. I got

0:32:39.400 --> 0:32:41.640
<v Speaker 2>I wrote about this in the book that you mentioned earlier,

0:32:42.360 --> 0:32:44.120
<v Speaker 2>and I even share I shared it with the boys.

0:32:44.480 --> 0:32:48.000
<v Speaker 2>Uh sorry, I don't want to infantalize them. I shared

0:32:48.040 --> 0:32:50.880
<v Speaker 2>them with these men because there's moments in this season

0:32:51.280 --> 0:32:54.720
<v Speaker 2>that I've always had I'm not going to say a

0:32:54.720 --> 0:32:58.480
<v Speaker 2>constantly airy role, but like a sounding board for our hero,

0:32:58.680 --> 0:33:02.320
<v Speaker 2>whether it be Rook Blurton or you know, Sam Wood

0:33:02.400 --> 0:33:05.440
<v Speaker 2>or whoever. And there's been moments when you know, our

0:33:05.440 --> 0:33:07.480
<v Speaker 2>hero has wanted to figure out what is it to

0:33:07.720 --> 0:33:09.640
<v Speaker 2>date someone? For example, what is it to date someone

0:33:09.640 --> 0:33:11.960
<v Speaker 2>with a child? Which, face it, when you're in your

0:33:12.000 --> 0:33:13.640
<v Speaker 2>late thirties, early forties, you're going to be dating someone

0:33:13.680 --> 0:33:17.120
<v Speaker 2>with job and so come over have dinner, and so

0:33:17.320 --> 0:33:19.880
<v Speaker 2>you know, time to time, some other heroes have come

0:33:19.920 --> 0:33:21.720
<v Speaker 2>and had dinner with me and Audrey and g and

0:33:21.800 --> 0:33:24.000
<v Speaker 2>kind of gone, oh, okay, this works. I see how

0:33:24.040 --> 0:33:26.800
<v Speaker 2>this works. And that stuff's always been off camera. Those

0:33:26.880 --> 0:33:29.720
<v Speaker 2>kind of conversations we have and have always been off camera.

0:33:29.760 --> 0:33:33.080
<v Speaker 2>But one of the conversations that I had with Spence

0:33:33.320 --> 0:33:36.640
<v Speaker 2>and Hillary, which I mentioned earlier, was you know, let's

0:33:36.640 --> 0:33:38.680
<v Speaker 2>have those conversations on camera. Let's find a way that

0:33:38.720 --> 0:33:42.840
<v Speaker 2>we can make those conversations feel real. And they are

0:33:43.000 --> 0:33:45.200
<v Speaker 2>and they are real, And so I write about this

0:33:45.200 --> 0:33:47.640
<v Speaker 2>moment in my book, and you know, I got to

0:33:47.680 --> 0:33:50.080
<v Speaker 2>share it with the gentleman, one of these conjuring, one

0:33:50.080 --> 0:33:52.720
<v Speaker 2>of these conversations, whereas there there actually is no such

0:33:52.760 --> 0:33:56.160
<v Speaker 2>thing as the one there isn't. It's just finding the

0:33:56.200 --> 0:33:57.960
<v Speaker 2>one who's willing to work on it with you. It's

0:33:57.960 --> 0:34:01.000
<v Speaker 2>a fallacy, the idea that and now I've found you,

0:34:01.360 --> 0:34:06.560
<v Speaker 2>I no longer have to change anything about myself. That's it.

0:34:06.560 --> 0:34:07.720
<v Speaker 2>It's this is.

0:34:07.760 --> 0:34:10.800
<v Speaker 1>How you're getting all life.

0:34:10.960 --> 0:34:14.600
<v Speaker 2>No, no, mate, no no, no, you have just seriously,

0:34:14.960 --> 0:34:17.480
<v Speaker 2>you have that. You've just passed the startup screen. We

0:34:17.480 --> 0:34:19.800
<v Speaker 2>haven't even got to load the first cut scene before

0:34:19.840 --> 0:34:22.399
<v Speaker 2>we even get on to start to get into Vice

0:34:22.400 --> 0:34:25.560
<v Speaker 2>City and get rolling around like that's when we begin,

0:34:25.880 --> 0:34:28.840
<v Speaker 2>you know, That's when you start. That's when the change

0:34:28.880 --> 0:34:30.719
<v Speaker 2>has to happen. Is when you state till we want

0:34:30.719 --> 0:34:33.840
<v Speaker 2>to stay together, you need because we all change. We

0:34:33.880 --> 0:34:36.160
<v Speaker 2>all get older, things we want in life change, bits

0:34:36.160 --> 0:34:38.239
<v Speaker 2>of our bodies stop working as well as they used to,

0:34:38.680 --> 0:34:41.840
<v Speaker 2>you know, we don't. We sag more, we get crankier.

0:34:42.080 --> 0:34:43.840
<v Speaker 2>If you find the person who's willing to work on

0:34:43.840 --> 0:34:46.359
<v Speaker 2>it with you, then just hold on with both hands

0:34:46.400 --> 0:34:48.239
<v Speaker 2>and do whatever it takes and do the work on

0:34:48.280 --> 0:34:51.120
<v Speaker 2>your on your side, and that's what I tell these guys,

0:34:51.200 --> 0:34:54.280
<v Speaker 2>and what they do with that information is up to them.

0:34:54.360 --> 0:34:56.239
<v Speaker 2>But I was grateful that I had the opportunity to

0:34:56.280 --> 0:34:59.160
<v Speaker 2>share in those you know, have those kind of conversations

0:34:59.280 --> 0:35:03.200
<v Speaker 2>like that, because you really don't see men, Australian men

0:35:03.400 --> 0:35:06.799
<v Speaker 2>on Australian television talking to each other about anything other

0:35:06.880 --> 0:35:10.160
<v Speaker 2>than sport of politics. So I found that to be

0:35:11.040 --> 0:35:14.040
<v Speaker 2>kind of a first and that was really nice that

0:35:14.880 --> 0:35:19.200
<v Speaker 2>the team who make the show felt that these moments

0:35:19.719 --> 0:35:22.640
<v Speaker 2>were important enough to stay in the cut because they

0:35:22.680 --> 0:35:24.160
<v Speaker 2>made the moments at the very end of the show

0:35:24.200 --> 0:35:26.400
<v Speaker 2>makes sense. That's really really nice because you can't be

0:35:26.480 --> 0:35:29.520
<v Speaker 2>what you can't see, all right, And to see men

0:35:29.560 --> 0:35:32.120
<v Speaker 2>speaking and this is the relationship between the gentlemen as well,

0:35:32.120 --> 0:35:36.200
<v Speaker 2>between Thomas, Jedd and Felix, the relationship between them is

0:35:36.280 --> 0:35:40.359
<v Speaker 2>really something. It's quite lovely to witness these guys kind

0:35:40.360 --> 0:35:44.120
<v Speaker 2>of get to know each other and find support from

0:35:44.120 --> 0:35:47.840
<v Speaker 2>each other, and not in a punch you in the

0:35:47.960 --> 0:35:51.719
<v Speaker 2>arm kind of kind of way. It was actually quite

0:35:51.800 --> 0:35:55.400
<v Speaker 2>lovely and a version of masculinity, Australian masculinity that we

0:35:55.440 --> 0:35:58.680
<v Speaker 2>just don't really see on Australian television, but it's still hot.

0:35:59.080 --> 0:35:59.520
<v Speaker 2>Trust me.

0:36:00.680 --> 0:36:02.840
<v Speaker 1>I was lucky enough to talk to the boys the

0:36:02.880 --> 0:36:05.360
<v Speaker 1>other day, the three of them together, and it was

0:36:05.400 --> 0:36:07.760
<v Speaker 1>definitely the take home from me was that these guys

0:36:07.920 --> 0:36:11.520
<v Speaker 1>have obviously given each other their rows. Yeah, I mean

0:36:12.480 --> 0:36:14.480
<v Speaker 1>it was obvious to me that they was a genuine

0:36:14.480 --> 0:36:17.319
<v Speaker 1>friendship amongst them, and that was really good to see

0:36:17.360 --> 0:36:19.080
<v Speaker 1>as well, Like, it was good to see all three

0:36:19.080 --> 0:36:21.600
<v Speaker 1>of them being very different men and being supportive of

0:36:21.640 --> 0:36:23.319
<v Speaker 1>each other. And you're right, we don't get to see

0:36:23.360 --> 0:36:25.839
<v Speaker 1>a lot of that on television unless it's beensitive over

0:36:25.880 --> 0:36:28.600
<v Speaker 1>the years, you know, sensationalized or boxed into a very

0:36:28.640 --> 0:36:31.680
<v Speaker 1>certain way we should see men. And then here we

0:36:31.760 --> 0:36:35.520
<v Speaker 1>are in twenty twenty three with the Bachelor's and you're

0:36:35.560 --> 0:36:37.880
<v Speaker 1>answering some of that in a profound way, which is

0:36:37.920 --> 0:36:39.840
<v Speaker 1>probably one of the shows that you don't expect to

0:36:39.840 --> 0:36:41.120
<v Speaker 1>see that being discussed.

0:36:41.120 --> 0:36:43.400
<v Speaker 2>All. I think that's what that's the thing you know

0:36:43.440 --> 0:36:47.400
<v Speaker 2>with the show like Bachelor's or Bachelorette. I'm not going

0:36:47.440 --> 0:36:50.439
<v Speaker 2>to say we trojan horse things into people's living rooms,

0:36:50.480 --> 0:36:52.759
<v Speaker 2>but like, there's this moment that really sticks out for

0:36:52.840 --> 0:36:54.399
<v Speaker 2>me of all the versions of the show that we've

0:36:54.400 --> 0:36:59.040
<v Speaker 2>been lucky enough to make Brook blittin season of The Bachelorette,

0:36:59.360 --> 0:37:02.720
<v Speaker 2>where dr Ami Funich sat down and asked the final

0:37:02.760 --> 0:37:06.719
<v Speaker 2>two seventeen words. If I were to ask you whose

0:37:06.760 --> 0:37:09.480
<v Speaker 2>country you live on right now, would you be able

0:37:09.520 --> 0:37:12.960
<v Speaker 2>to tell me? And both of Brook's final two weren't

0:37:12.960 --> 0:37:15.960
<v Speaker 2>able to answer that question. Now, this is, obviously is

0:37:16.000 --> 0:37:20.359
<v Speaker 2>a conversation about colonialism. It's a conversation about, you know,

0:37:20.440 --> 0:37:22.680
<v Speaker 2>the fact that sovereignty was never seated. It's a conversation

0:37:22.800 --> 0:37:25.040
<v Speaker 2>about what it is to be a First nation's person

0:37:25.040 --> 0:37:26.759
<v Speaker 2>in Australia. It's about what it is to know a

0:37:26.840 --> 0:37:30.080
<v Speaker 2>First Nations person's Australia or be romantically involved with an

0:37:30.160 --> 0:37:34.200
<v Speaker 2>Aboriginal Australian person. And it wasn't on four Corners, it

0:37:34.280 --> 0:37:38.040
<v Speaker 2>wasn't on Insight on SBS. It wasn't like some person

0:37:38.120 --> 0:37:41.120
<v Speaker 2>in a T shirt screaming at you on a giant

0:37:41.120 --> 0:37:44.359
<v Speaker 2>street protest. It was in the context of this kind

0:37:44.400 --> 0:37:47.480
<v Speaker 2>of reality TV show about people falling in love. And

0:37:47.520 --> 0:37:49.840
<v Speaker 2>I remember, I know it cut through because one of

0:37:49.840 --> 0:37:52.319
<v Speaker 2>my neighbors came out the next day. I was wondering

0:37:52.360 --> 0:37:54.200
<v Speaker 2>my yard one of my neighbors came out and said, yeah,

0:37:54.360 --> 0:37:55.880
<v Speaker 2>I can't. I didn't know the answer to that. I

0:37:55.880 --> 0:37:58.360
<v Speaker 2>had to look it up. And that blew my mind

0:37:58.600 --> 0:38:03.360
<v Speaker 2>because we have this apportunity on this show to demonstrate

0:38:03.440 --> 0:38:06.359
<v Speaker 2>these things and not in an intense kind of like

0:38:06.840 --> 0:38:09.000
<v Speaker 2>ideological way, but just as a kind of kind of

0:38:09.040 --> 0:38:11.640
<v Speaker 2>matter of fact. And so there are some things that

0:38:11.880 --> 0:38:15.000
<v Speaker 2>you will find out by watching this show this season

0:38:15.200 --> 0:38:18.200
<v Speaker 2>that take what we started with Brooks season and we're

0:38:18.239 --> 0:38:20.080
<v Speaker 2>just to go to a whole new level man and

0:38:20.480 --> 0:38:25.080
<v Speaker 2>ways of has should I put this ways that relationships

0:38:25.760 --> 0:38:28.400
<v Speaker 2>and what is okay in relationships and what is not

0:38:28.440 --> 0:38:32.000
<v Speaker 2>okay in relationships that will make people of a certain

0:38:32.040 --> 0:38:34.440
<v Speaker 2>generation kind of turn to younger people in life and

0:38:34.480 --> 0:38:36.759
<v Speaker 2>go and you're cool with that, and the younger people

0:38:36.800 --> 0:38:39.799
<v Speaker 2>will look at them go, yeah, it's going to be

0:38:39.840 --> 0:38:40.480
<v Speaker 2>really interesting.

0:38:41.000 --> 0:38:43.160
<v Speaker 1>I think you're then talking to your audience as though

0:38:43.160 --> 0:38:46.520
<v Speaker 1>they're intelligent, and I think that's what means Australia.

0:38:46.520 --> 0:38:47.640
<v Speaker 2>We are intelligent people.

0:38:47.680 --> 0:38:49.840
<v Speaker 1>No, I know, but you'd be surprised at the community.

0:38:50.280 --> 0:38:52.839
<v Speaker 1>You know, you know, you've been on television for two

0:38:52.840 --> 0:38:55.160
<v Speaker 1>decades nearly, and you know we have seen plenty of

0:38:55.160 --> 0:38:59.760
<v Speaker 1>shows on television that discuss love and show people being people,

0:39:00.160 --> 0:39:02.960
<v Speaker 1>and we've escaped some of that intelligence of respecting that

0:39:02.960 --> 0:39:05.480
<v Speaker 1>the audience are intelligent, because you're right, they are. But

0:39:05.560 --> 0:39:07.319
<v Speaker 1>I don't think it's a given. I don't think it's

0:39:07.360 --> 0:39:08.839
<v Speaker 1>a given. With a lot of the shows that we've

0:39:08.840 --> 0:39:11.080
<v Speaker 1>seen that have even tried to be like The Bachelor

0:39:11.120 --> 0:39:12.759
<v Speaker 1>or The Bachelorette, you know, we've seen a lot of

0:39:12.760 --> 0:39:15.759
<v Speaker 1>love shows come along that aren't as recognizable, you know,

0:39:15.800 --> 0:39:18.879
<v Speaker 1>globally as this format is. So I think it's good

0:39:18.880 --> 0:39:20.560
<v Speaker 1>that it's evolving, and I think it's good that the

0:39:20.640 --> 0:39:23.520
<v Speaker 1>people who are making it, you know, respecting their audience.

0:39:23.840 --> 0:39:25.839
<v Speaker 2>You are going to see some stuff that will blow

0:39:25.880 --> 0:39:28.719
<v Speaker 2>your socks off, mate, But don't worry. Everything you want,

0:39:28.800 --> 0:39:31.920
<v Speaker 2>everything you want is there. There's love, there's you know,

0:39:32.239 --> 0:39:36.319
<v Speaker 2>there's conversations that you otherwise wouldn't expect. For me, one

0:39:36.360 --> 0:39:40.120
<v Speaker 2>of the most wonderful things is seeing the extraordinary emotional intelligence,

0:39:40.280 --> 0:39:45.480
<v Speaker 2>emotional intelligence and holding of boundaries between people who may

0:39:45.560 --> 0:39:49.319
<v Speaker 2>have a shall we say, discrepancy in how they view

0:39:49.360 --> 0:39:53.080
<v Speaker 2>the outcome of a situation, and just how the way

0:39:53.160 --> 0:39:58.719
<v Speaker 2>that these people just model what it is to have

0:39:58.800 --> 0:40:01.720
<v Speaker 2>a conversation that is holy charge and highly emotion without

0:40:01.719 --> 0:40:04.239
<v Speaker 2>calling someone names, without smashing a glass, or without throwing

0:40:04.239 --> 0:40:07.800
<v Speaker 2>wine in someone's face, like it can happen. It's amazing

0:40:07.840 --> 0:40:11.640
<v Speaker 2>to watch and it's incredible. I can't wait for.

0:40:11.600 --> 0:40:13.799
<v Speaker 1>You to see it. It would be remissive me not

0:40:13.880 --> 0:40:16.640
<v Speaker 1>to quickly ask you about something that's coming back next year,

0:40:16.680 --> 0:40:19.000
<v Speaker 1>and that's Australian Idol does come back to TVN next year.

0:40:19.239 --> 0:40:21.200
<v Speaker 1>Was there any fomo about not being involved with it

0:40:21.239 --> 0:40:23.880
<v Speaker 1>coming back? Considering that when you think of Australian Idol,

0:40:24.080 --> 0:40:26.120
<v Speaker 1>you are the first face that comes to mind.

0:40:26.560 --> 0:40:31.080
<v Speaker 2>I am one of them. There's many look the I

0:40:31.120 --> 0:40:33.600
<v Speaker 2>know behind the scenes, and a lot of people have

0:40:33.600 --> 0:40:35.200
<v Speaker 2>been trying to get it up, get it back up

0:40:36.239 --> 0:40:39.480
<v Speaker 2>in various forms for quite a while. When I heard

0:40:40.040 --> 0:40:43.319
<v Speaker 2>that it was happening the way it was happening, you know,

0:40:43.400 --> 0:40:47.000
<v Speaker 2>the first thing I did was I picked up my

0:40:47.040 --> 0:40:50.239
<v Speaker 2>phone and I had Scott Tweety's la number and I

0:40:50.320 --> 0:40:53.160
<v Speaker 2>texted him straight away and I said, mate, this is

0:40:53.239 --> 0:41:00.279
<v Speaker 2>it them doing it. This is you go time to start.

0:41:00.600 --> 0:41:02.719
<v Speaker 2>This is your gig. You must get this gig. This

0:41:02.840 --> 0:41:04.719
<v Speaker 2>has to happen. You have to do it. I haven't

0:41:04.719 --> 0:41:07.520
<v Speaker 2>seen anyone who works as hard on being as great

0:41:07.800 --> 0:41:10.719
<v Speaker 2>at what they do. It's been a long time since

0:41:10.719 --> 0:41:13.680
<v Speaker 2>I've seen anyone who commits to themselves, commits themselves to

0:41:13.880 --> 0:41:16.840
<v Speaker 2>being to excellence as Scott Tweety. Because it is a craft.

0:41:17.040 --> 0:41:19.560
<v Speaker 2>Is It's like, it's like being a great cricketer or

0:41:19.640 --> 0:41:23.480
<v Speaker 2>you know, being very good at I don't know, a

0:41:23.560 --> 0:41:26.560
<v Speaker 2>race car driving. I'm mentioned sport. I'll keep mentioning sports.

0:41:26.600 --> 0:41:28.400
<v Speaker 2>It's like being a good I'm saying I'm a surgeon.

0:41:28.600 --> 0:41:31.719
<v Speaker 2>But it's a skill. It's a skill that takes work

0:41:31.800 --> 0:41:34.720
<v Speaker 2>to not only start to be good at, but stay

0:41:34.920 --> 0:41:36.919
<v Speaker 2>to be good at. Tweety is one of those people.

0:41:36.960 --> 0:41:41.680
<v Speaker 2>And like additionally, like that, Ricky Lee is oh so

0:41:41.800 --> 0:41:46.000
<v Speaker 2>happy for her, so happy for her. She has worked really, really,

0:41:46.120 --> 0:41:49.600
<v Speaker 2>really hard. They don't accidentally give these jobs away, you know,

0:41:49.800 --> 0:41:52.160
<v Speaker 2>they don't give these jobs as a favor. They give

0:41:52.160 --> 0:41:54.279
<v Speaker 2>it to the person who's just the best at it.

0:41:54.800 --> 0:41:57.759
<v Speaker 2>And you know, I'm so proud of Ricky Lee for

0:41:58.239 --> 0:42:01.799
<v Speaker 2>working really hard to stay the best, to stay undeniable.

0:42:01.840 --> 0:42:04.279
<v Speaker 2>And if there's one thing that I know from television

0:42:04.400 --> 0:42:07.040
<v Speaker 2>is that if you make yourself undeniable, you will not

0:42:07.080 --> 0:42:10.200
<v Speaker 2>be denied. And that is what Tweety and Ricky have done.

0:42:10.360 --> 0:42:13.960
<v Speaker 2>They have continually put themselves through the ring to make

0:42:14.000 --> 0:42:16.480
<v Speaker 2>sure they are undeniable. So when the job shows up,

0:42:16.520 --> 0:42:19.080
<v Speaker 2>people go, well, I can't we can't pick anybody else.

0:42:19.200 --> 0:42:21.440
<v Speaker 2>We've got to pick those guys, and it's going to

0:42:21.480 --> 0:42:22.960
<v Speaker 2>be a great show. It's I mean, I mean, I

0:42:23.600 --> 0:42:25.080
<v Speaker 2>know a bunch of people who are working on it,

0:42:25.160 --> 0:42:26.640
<v Speaker 2>and I'm trying to figure out how I could sneak

0:42:26.640 --> 0:42:28.840
<v Speaker 2>into being the studio. I don't think I'm going to

0:42:28.840 --> 0:42:29.600
<v Speaker 2>be able to do it.

0:42:29.520 --> 0:42:31.600
<v Speaker 1>Because it's not in there, because you'll distract.

0:42:31.640 --> 0:42:33.880
<v Speaker 2>It's not a network. No, but it's not a network.

0:42:33.920 --> 0:42:35.239
<v Speaker 2>It's not going to happen. It's not going to have

0:42:35.320 --> 0:42:35.680
<v Speaker 2>no way.

0:42:36.080 --> 0:42:38.080
<v Speaker 1>Was there ever a real conversation about you doing the

0:42:38.120 --> 0:42:38.640
<v Speaker 1>show though?

0:42:39.400 --> 0:42:40.160
<v Speaker 2>On Channel seven?

0:42:41.120 --> 0:42:43.480
<v Speaker 1>Well, let's not. I mean, it's it's murky. I feel

0:42:43.480 --> 0:42:45.719
<v Speaker 1>like it's murky because you are very Channel ten. But

0:42:45.840 --> 0:42:48.600
<v Speaker 1>I mean, was there ever a possible were they do

0:42:48.640 --> 0:42:50.000
<v Speaker 1>they ever try and reach out and ask you to

0:42:50.000 --> 0:42:50.319
<v Speaker 1>do it?

0:42:50.840 --> 0:42:54.600
<v Speaker 2>Oh? Look, I you know you hear people going, oh,

0:42:54.640 --> 0:42:57.120
<v Speaker 2>we're going to try and bring it back like unreal. Well,

0:42:57.200 --> 0:42:59.040
<v Speaker 2>if I'm still the right guy at the time. I'd

0:42:59.040 --> 0:43:00.640
<v Speaker 2>love to do it. It's the best fu ever. It's

0:43:00.640 --> 0:43:03.680
<v Speaker 2>an extraordinary format. But you know, I understand that, you know,

0:43:03.880 --> 0:43:06.400
<v Speaker 2>market shift and change and people want different things. And

0:43:06.719 --> 0:43:10.120
<v Speaker 2>you know, in two thousand and three when we did Idle,

0:43:10.760 --> 0:43:14.279
<v Speaker 2>Jim and I were the undeniable choices to host that show.

0:43:14.680 --> 0:43:17.160
<v Speaker 2>All right, there's no one who had more credibility in

0:43:17.200 --> 0:43:19.359
<v Speaker 2>the live music scene than him. And now at the time,

0:43:20.280 --> 0:43:23.120
<v Speaker 2>I am not that person now, and that's fine because

0:43:23.160 --> 0:43:25.279
<v Speaker 2>what I am to the music industry and what I

0:43:25.320 --> 0:43:28.560
<v Speaker 2>am to the world of broadcast is very different now,

0:43:28.760 --> 0:43:32.880
<v Speaker 2>and that's totally cool. That's fine. My value proper is

0:43:32.960 --> 0:43:36.120
<v Speaker 2>by value prop has changed quite significantly, and that's fine.

0:43:36.320 --> 0:43:39.000
<v Speaker 1>Very last question I ask everybody is what is something

0:43:39.000 --> 0:43:42.719
<v Speaker 1>from behind the scenes of making The Bachelor, let's say

0:43:42.760 --> 0:43:46.480
<v Speaker 1>Bachelor's twenty twenty three, like a secret behind the scene secret,

0:43:46.520 --> 0:43:48.080
<v Speaker 1>something we won't see.

0:43:47.920 --> 0:43:50.240
<v Speaker 2>Because we shot on the goal course. Now, we shot

0:43:50.400 --> 0:43:53.200
<v Speaker 2>season two three of The Bachelor at a mansion in

0:43:53.320 --> 0:43:56.680
<v Speaker 2>Hunter's Hill in Sydney, which is we show at a

0:43:56.680 --> 0:43:59.320
<v Speaker 2>mansion in Hunters Hill in Sydney, which is directly below

0:43:59.520 --> 0:44:02.960
<v Speaker 2>the incoming flight path of Mascot Airport in Sydney, and

0:44:03.040 --> 0:44:05.319
<v Speaker 2>so if we were shooting ever on a Friday night

0:44:05.560 --> 0:44:07.920
<v Speaker 2>and the wind was blowing in a particular direction, the

0:44:07.960 --> 0:44:10.280
<v Speaker 2>amount of seven three, seven eight hundreds which were passing

0:44:10.960 --> 0:44:13.440
<v Speaker 2>two thousand feet over our heads meant we shot those

0:44:13.680 --> 0:44:17.799
<v Speaker 2>seasons in forty five second chunks in between plane noise.

0:44:19.440 --> 0:44:21.880
<v Speaker 2>Years went by. Let's not get a mansion in a

0:44:21.920 --> 0:44:24.680
<v Speaker 2>flight path, then we shoot on a mansion on a

0:44:24.719 --> 0:44:27.720
<v Speaker 2>canal on the Gold Coast. I'm not going to say

0:44:27.880 --> 0:44:32.160
<v Speaker 2>that the jet ski owners of broad Beach Waters did

0:44:32.200 --> 0:44:35.760
<v Speaker 2>their comrades any favors as far as the stereotypes around

0:44:35.760 --> 0:44:38.840
<v Speaker 2>safe boating and the relationship that has to jet ski ownership,

0:44:38.960 --> 0:44:42.480
<v Speaker 2>but let me tell you there was some Just hang on,

0:44:42.719 --> 0:44:47.719
<v Speaker 2>please wait a second. Wow, let me ask you that

0:44:47.760 --> 0:44:49.600
<v Speaker 2>again when you look at it, how do you feel

0:44:51.640 --> 0:44:53.879
<v Speaker 2>trying to stop people? Don't answer the question just yet.

0:44:54.280 --> 0:44:56.359
<v Speaker 2>You know, there's like five I think about it. Don't

0:44:56.360 --> 0:44:59.960
<v Speaker 2>say anything passed on a Yamaha.

0:45:00.440 --> 0:45:02.200
<v Speaker 1>Can I just say thank you so much for being

0:45:02.280 --> 0:45:04.719
<v Speaker 1>so generous and coming out podcast and talking today. I

0:45:04.760 --> 0:45:07.520
<v Speaker 1>absolutely have been in your audience from the minute you've

0:45:07.520 --> 0:45:11.040
<v Speaker 1>stepped into the Australian zeitgeist of television, and I'll be

0:45:11.080 --> 0:45:13.760
<v Speaker 1>there right to the end. I think you're an incredible performer.

0:45:13.800 --> 0:45:17.080
<v Speaker 1>I think you're a fascinating man. And just before you go,

0:45:17.640 --> 0:45:20.160
<v Speaker 1>I've read your book twice. I don't know, I'm not

0:45:20.239 --> 0:45:23.480
<v Speaker 1>holding it up correctly. Read it twice and got different

0:45:23.520 --> 0:45:25.399
<v Speaker 1>things out of it both times, so i'll probably read

0:45:25.440 --> 0:45:25.759
<v Speaker 1>it again.

0:45:26.760 --> 0:45:28.279
<v Speaker 2>That's very sweet of you. Thank you so much for

0:45:28.320 --> 0:45:30.359
<v Speaker 2>your time, and I really appreciate it. Thank you so much.