Ep 2: Drama School, Delusion & Death of Ego with Connor Pullinger

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
My name is Connor Pullinger and you should go
pluck yourself.

Speaker 2 (00:15):
Hello, welcome to Go Pluck Yourself the Actor's
Pursuit.
My name is Chris Gunn.
Thanks for being here.
Episode 2.
Oh my God, we're doing it.
I don't know if you guys haveheard of this concept of doing
one thing every day that getsyou closer to your goal.
I don't necessarily think Ibelieve in that or anything.
I'm not like a hustle cultureguy.
But if you are trying to followthat rule, why don't you make

(00:37):
Thursday the day that you listento this podcast?
I'm going to be releasing anepisode every single Thursday at
the same time every week.
So make sure that you hitsubscribe or follow on whatever
platform you're listening orwatching on, so that you get
that notification every Thursdaymorning so you can start the
day with some creativeinspiration.
By the way, where are youlistening?
Are you having the day off?
Are you tying your shoes foryour morning run?

(00:59):
Are you rotting in bed?
Are you on your way to anaudition?
Screenshot your podcast playerand tag me in your story at
gopluckyourselfpod and let meknow where you'd like to listen.
You know, I honestly think thatso much of my acting education
has come from listening topodcasts.
You know, I started a cleaningbusiness about four years ago,
so I would literally spend everysingle day with my headphones
on just listening to actingpodcasts, all day, every day.

(01:21):
I think I've listened to like280 episodes of In the Envelope
by Backstage and 300 episodes ofSmartless.
I also listen to Blind Boy.
It's not an acting podcast, butit sure gets you thinking.
But I love it and it's part ofthe reason why I wanted to start
this podcast.
You know there's like a millionand one interviews out there of
the big stars which are just sogreat and so useful and have

(01:43):
been great resources for me andmy learning.
But I wanted to speak to thepeople that are still on their
way up.
You know what I mean, like theunknowns.
You know those that are stilltrying to claw their way out of
obscurity.
And, yes, it's extremelyhelpful to listen to those that
have already made it big, and Idefinitely want to be spotting
this podcast with some biggernames if I can, but I really
want to be talking to the actorsthat are going through it right

(02:04):
now.
You know what's it really liketo be pursuing this extremely
uncertain career in 2025?
So yeah that's what this podcastis for.
What are you going throughright now as an actor?
So I hope this helps.
I hope it opens you up to somedifferent perspectives and I
hope you feel welcome in thiscommunity, because you are.
This is a space where we canall connect and all hear from
each other.
Well, okay, I'm ranting.
We are going to get to myguests in just a minute.

(02:27):
If you want to skip ahead pastall this patter and get straight
to the chat, go for it.
I don't mind, but I just wantedto say the biggest thank you for
all the love you guys haveshared for episode one, because
you know what it's really scaryputting something like this out
into the world.
It's bloody terrifying.
And I know that you guys canrelate to that because I've seen
some of you guys posting someof your own stuff and we have

(02:52):
this kind of tendency, ascreatives, to preface everything
that we put online with thislittle message of like hey, by
the way, I feel very awkwarddoing this and, yes, it always
feels awkward, it always feelsselfish and self-indulgent and
you can't help but think thesethings like nobody cares, or
people think you're annoying.
You can't help but think thesethings like nobody cares or
people think you're annoying.
But I think these feelings justinherently come with the act of
putting yourself out into theworld like that and look.
That kind of negative self-talkis real, it's there, it's heavy

(03:15):
, but it's not helpful to me andit's irrelevant.
And I know that because therehave been so many beautiful
messages from so many of you.
You know who you are, have beenso many beautiful messages from
so many of you.
You know who you are.
So thank you so much for anyonethat's reached out and just
sent me messages of supporttelling me that they really
enjoyed episode one and tellingme to keep going.
It absolutely means the worldto me to hear from you guys.

(03:35):
Thank you everyone that'slistened to the first episode.
I think we've got to like 230views on YouTube, which is
pretty good for a first episodefor a channel that didn't exist
a week ago.
You know, all right, here we go.
Guys, my guest this week is alocal treasure.
He's extremely prolific.
If you're a local actor orfilmmaker, you've definitely
seen his face or seen some ofhis work, and if you haven't,

(03:56):
it's truly an honor to introducehim to you.
He completed his Bachelor ofFine Arts honors in acting back
in 2023.
And since since then, he's notonly been working consistently,
but he's been absolutelycleaning up with awards with any
film that he's associated with.
In fact, two of his recentfilms are nominated for Best
Short in next year's ActorAwards, and that's for the Bear
Hunt, directed by Lily Drummond,and for Great Deliverance,

(04:19):
directed by Guy Henderson Twoabsolutely stunning looking
films that I cannot wait to see.
He's also just finishedshooting another short called Be
Seen Not Heard, directed byLouis Dawson, so keep an eye out
for that one.
Oh, and his short film Bulldogapparently it's just hit 80,000
views on YouTube, so make sureyou check that one out.
I'll put a link to that film inthe show notes.
But yeah, have I said his nameyet?

(04:40):
No, guys, it's Connor Pullinger, and it's a really great chat.
It was recorded at 9.30 am on aSaturday morning.
I'd forgotten that I'drescheduled a cleaning client
for that exact same time, but Imade it work.
Also, I think my stomach keptgrumbling through this chat.
I don't think you can hear iton the microphones, but it was a

(05:00):
bit distracting.
Give Connor a follow.
You can follow him on Instagramat Connor Pullinger, or on
TikTok at Connor Pulley.
And look, I usually like togive a little advice disclaimer
at the start of an episode, andthat certainly applies for me
for any of the bullshit that Iproject onto you guys, but it
definitely does not apply forConnor, because Connor is a very
talented and very insightfultrained actor.

(05:23):
So you know, listen up guys.
You know the drill guys.
Subscribe to the YouTubechannel, follow on whatever
platform you're using to listenand share this episode.
Any and all engagement reallyhelps this podcast reach the
right audience.
So thank you so much for doingthat.
Okay, that is enough rambling.
Please enjoy my delightful chatwith the marvellous Connor

(05:45):
Pullinger.
I raced back here.
Yeah double booked, so I wascleaning a house like two
minutes away Today, today.

Speaker 1 (05:59):
Nice.

Speaker 2 (06:00):
And then I, so I went there, I did one hour of
cleaning and I'm like I'm goingto come back and finish the job
because I wanted to do this.

Speaker 1 (06:07):
Yeah, good, yeah.
So here I am.
So here we are with Coffee Dark.
Post-holiday blues have kickedin.
Well, they've been kicking in.

Speaker 2 (06:15):
Oh, tell me about France.
What are we doing in France,Connor?
Well, Chris, I went to CannesFilm.

Speaker 1 (06:20):
Festival, which was Cannes Film Festival.
Yeah, everyone says itdifferently.
I'm just going to say Cannes.
Sorry if you don't like that.

Speaker 2 (06:29):
How do they say it?

Speaker 1 (06:29):
over there, cannes, they're like Cannes, careful.
It was like famous peopleeverywhere.
Oh yeah, turn to your left.
I didn't see Tom Cruise, butlike Tom Cruise was there, do
you know what I mean?

Speaker 2 (06:42):
Yeah, Tom Cruise.
But like Tom Cruise was there,do you know what I mean?
Yeah, and that's kind ofridiculous.
You could feel his vibe.
He was there, you could feel it, tom.

Speaker 1 (06:48):
Cruise is nearby.
Yeah, something's not right,but it's so cool, like it's just
like amazing and you can'treally fathom it.
Being in Australia, you feel sofar away from that sort of
stuff.
And then when I was in France,I was walking past those people
and I was like, oh my.

Speaker 2 (07:03):
God, you're shorter than I thought.
Yeah, yeah, we're the sameheight.

Speaker 1 (07:06):
That's weird.

Speaker 2 (07:07):
Oh, we do have hope.

Speaker 1 (07:08):
Yeah.

Speaker 2 (07:09):
We don't have to be six foot.

Speaker 1 (07:10):
No, although we are both six foot, we just don't
have to be.
We are so tall.

Speaker 2 (07:13):
Yeah, we're both very tall.
Yeah, turn the cameras off,right now so sweet man Good,
I've been busy, I've been acting.
We love to hear it so good.

Speaker 1 (07:25):
Thank God.
Yeah, you know, like that'swhat it's all about.

Speaker 2 (07:27):
Yeah, I've been in Melbourne shooting a commercial.

Speaker 1 (07:29):
How was it?

Speaker 2 (07:30):
So fun.

Speaker 1 (07:31):
Yeah, was it long.

Speaker 2 (07:33):
It was a two-day shoot, very ambitious.
Oh For a 60-second onlinecommercial it was.
It was great.
There were a lot of shots Like.
I played two characters and soI played like the main
protagonist.
Sure, I play his dad when I'm ababy.

Speaker 1 (07:51):
Okay, yeah.

Speaker 2 (07:55):
And then I play his dad.
When I'm grown up, I play likethe dad as an old man and a
middle-aged man.

Speaker 1 (07:59):
Did you get aged up?
Yeah, like prosthetics, butit's just for one shot.

Speaker 2 (08:03):
They were going to do the latex and stuff.
They're like oh, is this just awide?
Because I had to do a plate, solike I was sitting at the
sitting at a dinner table andI'm in the same frame as my
young self, and so they theyframed it up and I'm sitting
there with all the the old soman makeup like facing yeah and
so I'd like do that shot and I'dhave like a stand in to play

(08:23):
young me.

Speaker 1 (08:24):
Oh, my God.

Speaker 2 (08:25):
And then I would like it was just a 60 second ad.
So it's a quick, quick moment,sure, and I'm like applauding
myself, cool.
And then I would jump up, runto hair and makeup.
They're like scrub all the allthe lines and wrinkles out of my
lines and wrinkles.
Oh, come on, I put a wig on mebecause I had like a curly

(08:45):
little wig Like these kind ofcurls or like a mullet vibe, no,
like kind of like that, but alittle more volume, uh-huh.

Speaker 1 (08:53):
Yeah.

Speaker 2 (08:54):
And so I chucked on my wig and then I was like clean
.
I ripped off the moustachebecause the old man had a big
bushy moustache.

Speaker 1 (09:01):
That's so sick.
So fun, and then I'd jump backinto the frame and sit where my
stand-in was and he goes andsits where old man me was, and
then a couple of takes Movingmagic, boom, wow, that's so fun,
so fun.
Is it going to be out soon, dowe know?

Speaker 2 (09:16):
I don't know, maybe a couple months.

Speaker 1 (09:18):
Hopefully Sounds like a pretty edit yeah, see it's
like it's, it's annoying, wecan't just do that.
I mean, we want to be doingthat every day, I know, but when
it?

Speaker 2 (09:30):
comes.
It's so good, I know.
And then when they, when yourealize it's the last shot of
the shoot, oh, you're like isthis, is this the last shot?
Could this be the last shot?
I'm just gonna do a few reallybad takes yeah, let me stumble
yeah can I just do that again.
A shot for me, can I do?
Can.

Speaker 1 (09:44):
I do a silly one yeah .

Speaker 2 (09:46):
It's so sad when they wrap.

Speaker 1 (09:48):
Yeah, and then it's just like I'll see you on the
next one.
Yeah, see you never If you wantto hire me again.

Speaker 2 (09:54):
And then we all hug.
Yes, everyone's best friends,you know.

Speaker 1 (09:57):
Yeah, yeah, yeah.

Speaker 2 (10:06):
Did you know any of the director is from New Zealand
and I worked with him 13 yearsago, so he um, he called me two
months ago and was like you'reacting.
I'm like I've always beenacting.
He's like oh, I didn't know,but you've been posting.
See, he's like can you come toMelbourne?
I want you for an ad?
Cool, there you go.
So you never know, 13, every 13years you might get hired, okay
, there you go, so you neverknow Every 13 years, you might

(10:26):
get hired, okay.

Speaker 1 (10:27):
I can live with that.
It's not bad, I'll wait, okay,so I've got like 11 more years.
Yeah, yeah, cool, nah, cool.
You know I've spoken aboutsocial media like heaps with
friends, like other actors,random people, because they're
like, oh my God, you're so busy.

Speaker 2 (10:40):
Yeah, why I'm so busy ?
Yeah, why do you think you'reso busy?
Because you are Like.
You sent me a list of yourcredits.

Speaker 1 (10:45):
I was like fuck man.
Some of those were done in like2022, but they just kept going.
That's not that long ago.
Well, I sort of I'm a bit of aworkaholic and I think it's my

(11:06):
if I'm not doing anything.
I have to go and see somethingthat will like stimulate my
brain in terms of like going tosee theater or totally watch a
ton of films and stuff.
Yeah, I feel creative juicesleaking and I'm like I just need
to start doing something or orputting my eyes on something
that's going to make me feelsomething.
Yeah, because otherwisecomplacency is crazy.
You can just like get a littletoo comfortable.
Luckily, I've been kind ofgoing from job to job or like
thing to thing.

(11:26):
That's kept my brain active,it's been cool.
Like I when did we meet?

Speaker 2 (11:30):
When did we meet?
I don't know, god, I don't know.
Did you do like a workshop,teresa Palmer, the Teresa Palmer
one?
I was going to say yes, did wemeet at?

Speaker 1 (11:37):
that I think we did oh shit, and I probably knew of
you through the Adelaide.
You know the community, but Ithink we properly met then,
which was 2023?
Four Fuck, how did I know?

Speaker 2 (11:50):
Was that last year?
I don't even know Not last yearI was like yeah, maybe, but I
only just sort of startedgetting back into that world
around then.
Oh, did you have a break?
Well, not a break, just took myfoot off the gas, just
circumstance.
Yeah, wasn't in the rightheadspace to do that kind of
stuff?

Speaker 1 (12:07):
Was it hard to get back into it?

Speaker 2 (12:09):
No, I realized that I loved it, yeah, and before that
I didn't realize what I loved.
Yeah, yeah yeah, you knowpost-COVID.
Yeah, everyone was kind of lost.

Speaker 1 (12:20):
Weird.

Speaker 2 (12:21):
No one knew who they were anymore.
Covid was a weird time, justkind of recovering from that
period and being like I need toget back into it.
What is it that I like doingagain?

Speaker 1 (12:29):
Reconnect.
How do I be creative Self?

Speaker 2 (12:32):
Yeah, that's how I like Looked out for workshops
and stuff and they Cool.

Speaker 1 (12:37):
And then it Picked up like majorly.
I didn't realise you even had abreak.
I thought you were just like.

Speaker 2 (12:43):
Well, I mean, I've been doing it Gunning for it,
gunning for it, doing it, sinceI was like a teenager.

Speaker 1 (12:49):
Yeah, yeah.
When did you?

Speaker 2 (12:50):
start, maybe 14.
Yeah, well, no, I meanperforming since I was a child.
Yeah, baby, baby, baby on stage.
I did a piano recital when Iwas four.
Oh, okay, true, so I was alwayson stage.
Yeah, but never called myselfan actor until maybe five years
ago.
What about you?
Where?

Speaker 1 (13:10):
did it all begin?
Where did it all begin?
It was the same.
I was like a child dancer,singer, actor.
Yeah, nice Like I couldn't stopand I loved watching TV.
Yeah, like that, I watcheddoctor who and I was like I want
to be in that.
I bought the action figures sothat I could be that.

(13:31):
Do you know what I mean?
Yeah, I was always trying tocreate my own stories and, like
insert myself in that.
And then I did all the primaryschool high school performances
and then I did, like the youthdrama classes outside of high
school because I wasn't gettingenough.
Where was that?
It was, say, arts.
At the time, south australianyouth arts is in unley, close by

(13:54):
my school, was great and I wasso supportive of creative arts.
Yeah, but my school was a bitmore like mathematic and musical
focused.
So a lot of the students were,they were interested in drama,
but they weren't from like dramafamilies or creative households
, right, whereas this youth artseveryone was from creative

(14:16):
households and that's whythey're at these extracurricular
.

Speaker 2 (14:21):
What about your household?
Was it like a?

Speaker 1 (14:23):
Well, my sister's an actor and I saw her have to
fight loads of people to be likeno, this is what I want to do.
No, this is what I want to do.
This is what I want to do yeahspecifically teachers.
Teachers are just weird aboutit they're like but maths
methods like I don't enjoy thatyeah, if I, if I'm in that class
, I'm not going to do well.

Speaker 2 (14:43):
Yeah.

Speaker 1 (14:43):
And so she sort of paved the way that when it came
to my turn I was like well, youlet her in, so I'm not going to
do anything else.
I remember in year 12, I waslike I guess I could be a
psychologist.

Speaker 2 (15:00):
Yes.

Speaker 1 (15:00):
But you know, it just wasn't my calling and I was
like it's the only thing I wantto do, Yep, so I'm just going to
have to try and I'm just goingto have to be a bit delusional
and just keep trying.

Speaker 2 (15:14):
Where would we be without delusion?

Speaker 1 (15:16):
That's what yeah, that's a great point.
Where would we be?
Sometimes you need to be alittle bit crazy.
Yeah, and like if you're notconvinced no one else is going
to be convinced Absolutely,which is a whole thing.

Speaker 2 (15:28):
Yes, it's kind of that fake it till you make it
kind of thing, but also yeah,with the knowledge and the skill
to back it up.
Absolutely.
Yeah, you can't just lie.
No, like that's psychopathic.
Yeah, if you sort of know whatyou're talking about, awesome,
and you only sort of need toknow Like a little bit, just a

(15:48):
little bit.

Speaker 1 (15:49):
Sometimes you just have to be in the right place,
right time, and it's all goingto work out Well?

Speaker 2 (15:55):
there is that, but you create your own
opportunities.
You know, you set that up foryourself, right?

Speaker 1 (16:00):
Yeah, and so it all sort of fell into place just
naturally, like I did this youtharts class and then randomly
casting directors came in.
Oh, this is at, say Arts.

Speaker 2 (16:13):
Wow, randomly so how old were you?
Oh really, how old were youaround this time?

Speaker 1 (16:18):
I was like 17, 16.
Nice, but I like knew I wantedto be an actor, but I was like
well, I don't know how you do it.

Speaker 2 (16:24):
Yeah, I'm just going to like study.

Speaker 1 (16:27):
Yeah, yeah, yeah.
And so well, not at that pointI knew I wanted to do it after
school, but I was like I don'teven know the schools, yeah.
But then I got like a actualjob and I worked with people who
were doing it for a living andI was like what, what kind of
job?
Uh, it was a living.
And I was like what, what kindof job?
as a supporting character on thehunting nice and it was like we

(16:47):
were literally scouted fromlike little drama classes.
Wow, if now I started gettingthose auditions, I would have
freaked out and been like thisis like really cool.
But back then, I was like oh mygod, what the hell.
I just got this like groupaudition.
How fun is that?
Let me try it.

Speaker 2 (17:06):
Yeah, it was just fun .
Back then it was fun.
It's still fun now it's fun.

Speaker 1 (17:09):
But now there's just so much pressure because it's my
, it's what I want to do as ajob.
Yeah, and it is what I wantedto do as a job.
But it's just a silly thoughtthat suddenly I was like, okay,
well, now I've done it, I can doit, so I just started going.

Speaker 2 (17:34):
But how lucky you are to have had that experience.
That sort of landed you withthe mindset of like I can do it
now.
Yeah, because I think thenumber one thing that stops
people from pursuing it is likeI'm not able to do that.
There's like a block.
Yeah, there's some kind ofblock.
Like I, I'm not able to do that.
There's like a block.
Yeah, there's some kind ofblock.

Speaker 1 (17:46):
Like I'm just not going to get over that fence.
But I was like I somehow gotaround the fence.

Speaker 2 (17:50):
Yeah, and I was like well, why, why not?

Speaker 1 (17:52):
Why not?
Yeah, yeah.
And so you know, you get theagent and you just start.
You'd start doing it, but I waslike, well, let's learn how to
act while I'm auditioning forstuff.
If I happen to book somethingcool, we'll make it work what

(18:16):
you?

Speaker 2 (18:16):
you would leave drama school.
Yeah, that was I never booked,so, so obviously you didn't book
.

Speaker 1 (18:22):
Congrats, I'm a flop, yeah, but no, it was just like
a good little backup plan of ablack woman.

Speaker 2 (18:31):
What is Like if you don't book a job?

Speaker 1 (18:35):
at least I'm at drama school and I'm learning to be a
better actor.
Absolutely.
That's kind of the backup planfor acting was acting.
Yeah, you've got to fall backyeah.

Speaker 2 (18:44):
You're not wasting your time.

Speaker 1 (18:45):
No, I don't know.

Speaker 2 (18:46):
Like just sitting around waiting to be cast in
something or waiting to suddenlyknow how to, how to act or
whatever.
You are actively learning.

Speaker 1 (18:55):
So I was, I, yeah, I went to drama school and did
that whole thing and then didfour years of that, yeah, yeah,
and graduated in 2023.

Speaker 2 (19:02):
And then here, we are , here you are.
And how was drama school?
Tell me about that.

Speaker 1 (19:07):
It was like it was so good, it was so rewarding.
Where'd you go?
I went to Flinders Drama Centerat Flinders University and it
was like it truly taught me howto act.
But more than that, it sort ofdeveloped me as a person which I

(19:29):
don't think you can unless yougo to therapy.
It was therapy it was kind oftherapy.

Speaker 2 (19:31):
Yeah, what was the?
If you could like summarize themain, the main developmental
takeaway from drama school, likewhat?
Was it that got you over thatline, from you being just
another actor or actuallybuilding some kind of
individuality in what you dolike.
What was it?
What was the key moment ingrowth for you?

Speaker 1 (19:51):
um, I became like super aware of myself just in
everything, um my identity, mybody, the way I present myself,
establishing myself as acreative.
And you, it was just like youget so in drama school.
You'll do three shows a yearright Three theatre shows, which

(20:13):
is insane.

Speaker 2 (20:15):
Yeah.

Speaker 1 (20:15):
You're in three shows that you get to do for five
weeks each.
That's a big chunk of the year.
Yeah, just acting, that'samazing.
Yeah, it's unreal that's whatwe all want, and so in drama
school you get that every yearlike fuck that's.
That's so sick yeah so theteachers, they, they, and the

(20:35):
directors, they look at you andthey say this person needs to
access this.
Okay, well, there's a part ofthemselves that they're going to
get a lot out of this character, and so they sort of do this
mind map and then you get thischaracter and you're like, oh
God.

Speaker 2 (20:48):
Yeah.

Speaker 1 (20:49):
And it was like third year when that all sort of
started for me, because aftertwo years I was like first year
was weird because of COVID, youknow, but then two years, you
sort of it's all about theestablishing yourself and like
breathing exercises and walkingaround the room, you know.
Yeah.

Speaker 2 (21:09):
That's real.
It's real yeah.

Speaker 1 (21:11):
But it's actually so helpful.

Speaker 2 (21:13):
What's the benefit of all that?
What did you get out of thatGrounding?

Speaker 1 (21:17):
yourself and sort of stripping the ego because,
everyone goes oh my God, I gotinto drama school.
I'm top shit.

Speaker 2 (21:25):
Yeah.

Speaker 1 (21:26):
And you're not.

Speaker 2 (21:27):
You're not top shit and you need to relearn that
every now and then.

Speaker 1 (21:32):
Like I could do breathing exercises all year
round.

Speaker 2 (21:35):
Yeah.

Speaker 1 (21:36):
I should do breathing exercises all year, just to
like.

Speaker 2 (21:39):
Just so you don't pass out.
Yeah Right, physiologically.

Speaker 1 (21:44):
Just to reconnect with like what, where, who,
everything, you know.

Speaker 2 (21:55):
Yeah, it is.

Speaker 1 (21:55):
I mean, I find getting into like a meditative
state is is what it is, you know.
Yeah, how do you even teach,being present and aware.
I don't know, it just happensand it's like.
That's why it's a fouryearcourse.
It's a long time, but by theend of it you're a different
person.

Speaker 2 (22:07):
Yeah, that's really interesting because I didn't
study, but that's interestingthat that's the takeaway you got
out of four years of study.
I mean, I would assume thatit's something really analytical
and I'm sure you learned allthe different styles and craft
and all that other stuff.
But the key thing that you tookaway from it is this, like

(22:28):
personal insight and strippingof the ego and grounding
yourself and breathing.

Speaker 1 (22:33):
Yeah, Well, you're like you totally do learn the
analysis side of it.
But you work.
You and the methodologies, youlearn them all.
But the point is, you learnthem all so you can pick what
one works for you.
But if you don't know who youare, how are you going to pick?
How are you going to pick whatworks best for you If you're

(22:55):
like I guess I'm this kind ofperson?

Speaker 2 (22:58):
You don't even know yourself.
Yeah, but also with, like,different styles and different
forms of craft.
Yeah, you know, they talk aboutthe toolbox.
You know the toolbox.
We're definitely going to getinto cliches here, cool yeah.
Like I don't know what I'musing and maybe I should have
studied.
It's not the path I took.

Speaker 1 (23:16):
I just didn't have time or whatever.

Speaker 2 (23:18):
Now, I'm 33.
I'm like I'm not doing that,you're good.
I couldn't not be in theindustry for four years, right
now but I still feel like thetools that I do use.
I don't know what they are,necessarily, I couldn't, I
couldn't articulate them or putmy finger on them, but I'm sure
I'm picking from different,different tools.
You know picking and choosingas, yeah, you know ad hoc, you

(23:40):
know, depending on what, whatthe character or the scene or
the project calls for.

Speaker 1 (23:44):
So yeah, reliant on context, yeah, it's not like.
One style is for this kind ofperson?
No.

Speaker 2 (23:52):
It's like this might work for you today but, it might
not work for you this other day.

Speaker 1 (23:56):
And also, like a director might be like what is
that that you're using?
Whatever it is, it's working.

Speaker 2 (24:02):
Do you know what I mean?

Speaker 1 (24:03):
Or they'll be like no , I want you to use this and
you're like, hey, I'll try, andthat's flexibility, is
everything.

Speaker 2 (24:10):
Have you had directors like direct you from
that angle, like in terms oflike?
Can you approach it throughthis craft or this style?

Speaker 1 (24:19):
not really, not really like I've had.
Most of my theater work hasbeen with people that trained at
flinders drama center, so weall have the same kind of basis
of training.

Speaker 2 (24:33):
So it's like I see, so you're speaking the same
language totally, which isawesome.

Speaker 1 (24:38):
It's so helpful, yeah , but in film work I've done a
lot that's and like they're theystudy through different means
or they just picked up a cameraand started yeah, being
successful.
So that's great.

Speaker 2 (24:49):
But then they're speaking different language
because they're.
I mean, this is part of thereason why I wanted to start
this podcast is because I wantedto open up the conversation
between different likefilmmakers and actors, like how
do we actually speak to eachother and where's the disconnect
there?
Because I have experienced thatdisconnect with directors or
people that have studied likecinematography and they want to

(25:11):
try their hand in directing butthey have no idea what language
we speak, and vice versa.

Speaker 1 (25:16):
Yeah, and that's so hard, like if you have not
spoken to an actor about, like,what works for you before the
project starts, I don't know,like if you've not done a course
with just working with actorsor even for an actor to, we
should ideally be able totranslate whatever we're told

(25:39):
yeah to what works for us, butthat's not always the case.
Sometimes you do, you are lefta bit in the dark and you just
have to be like okay, break itdown.
You want me to look left, lookright, look up, look down and
cry, yeah I'll try because youyou will get that type of
direction.

Speaker 2 (25:56):
That's very practical direction.
It's up to us to justify thatin terms like through our
character.

Speaker 1 (26:03):
Yeah.

Speaker 2 (26:03):
Yeah, yeah, yeah, exactly, you know, and that is
part of the job.
Like, not every director isgoing to speak that language.

Speaker 1 (26:10):
And the job is to make it look like a real person
just did that?

Speaker 2 (26:13):
Yeah, because I would get, like, I guess, kind of
defensive or something.
But like, what do you mean?
You want me to just be angry?
What am I angry about?
Yeah, like I need to know whyExactly.
But you know it's my job totranslate that to okay, you want
it louder?
I'm like I'm not just going todo it louder, like there's a
reason why this character isbeing louder and that's up to me

(26:37):
to figure that out yeah and Idon't have to necessarily have
that conversation with thedirector.
You know like especially if thetime constraints, whatever,
sometimes you just got toknuckle down and get it done and
also sometimes the director isgetting getting feedback from
the dp saying I just need him tohit this light on this line.

(26:58):
So I need him to lean over onthis line or look up on this
line and you're like, okay, sothis is literally just a
blocking thing.

Speaker 1 (27:06):
Yeah.

Speaker 2 (27:07):
But I have to make it look real.

Speaker 1 (27:08):
Totally and make it look natural.
That is the thing.
Just make it look natural, sellit.
I remember there was one thatwas like can you just like
ruffle your hair it?
I remember there was one thatwas like can you just like
ruffle your hair?
You just like, ruffle your hair.
I'm like, but why like, okay,yes, I can do that yeah like the
act of just like pulling myhand out of nowhere and just
ruffling my hair, but it's like,yeah, it's like I guess we can,

(27:31):
but I yeah, things like thatthat are hard.
And then you, and then you it'son film, so you watch it
forever and you're like but onlyyou know Exactly, only you know
, how unnatural that felt.
Yeah, and if everyone elseknows, fuck, nah, no one's
noticing that shit.
This flows sort of greatly intolike the watching of our work.

(27:53):
Like and sometimes a moment canfeel clunky in the moment, but
somehow it works and you're justlike I need to just like trust.
These people are on the otherend of the camera.
They're seeing it.

Speaker 2 (28:04):
I'm not, they're not gonna let you look stupid.

Speaker 1 (28:07):
No, exactly they've edited it, you know they've
looked yeah but sometimes youwatch it and you're like that
was not my best work, and nowit's in a movie.

Speaker 2 (28:16):
It it's immortalized yeah.

Speaker 1 (28:18):
You're like well, after festivals it goes and
you're going to sit there andtake it.

Speaker 2 (28:23):
But that's when it's hard to watch.
But in terms of, like, learningfrom your own work at this
stage in our, in our careers,it's important, right, yeah, and
there are people that don'twatch their work and they think
they're Christian Bale.

Speaker 1 (28:41):
Yeah, or I don't even know what they think, but it's
just like a weird it might justbe too cringe.

Speaker 2 (28:47):
Yeah, I can understand that, sure, but what
about, like watching playback?

Speaker 1 (28:54):
as we go.

Speaker 2 (28:55):
Because that's a different story.

Speaker 1 (28:56):
Yeah, that's different, because sometimes
that's yeah, that's different,cause sometimes like I would
watch it from afar you know, notlike getting close up and
that's not going to help me.

Speaker 2 (29:04):
Cause.
Then you're too concerned withlike oh, I'm just trying to like
, I just want my eyebrows tolook good on this shot, and then
that's, that's where your wayout of it, then what's going?

Speaker 1 (29:12):
But if you're like, let me just look at it from afar
, oh, they walk off that way.
I just need to like stare thatway a bit more.

Speaker 2 (29:20):
So this is like a blocking thing.

Speaker 1 (29:22):
Yeah, yeah, and it's like I can easily do that.
Yeah, that's an easy fix, butif I'm right up and like, yes, I
think watch it back for thesake of the film.

Speaker 2 (29:33):
Yeah.

Speaker 1 (29:35):
Not for the sake of Trying to get it right yeah.

Speaker 2 (29:37):
In the moment.
Yeah, that's a mistake.
Like even this commercial therewas like Did you watch?
I watched when I needed to.
Like you were saying like therewas a shot where I'm running
through the crowd and I've gotthree beats that I needed to hit
, like three different extrasthat I needed to sort of
interact with.
Yeah and they're crossingcamera and so I needed to time
it properly.
We're doing multiple takes so wecan figure out the timing of it

(29:59):
.
So that's when I watch it backand be like okay, when he gets
to here, I need to be here.

Speaker 1 (30:05):
That's blocking right , yeah, okay.

Speaker 2 (30:08):
So, but in terms of watching a finished project back
, do it.

Speaker 1 (30:13):
Yeah, I agree, yeah, I'm like come on, on what are we
doing?
You're running out the roomwhen your film's on.

Speaker 2 (30:19):
I love watching my films.

Speaker 1 (30:21):
I'm like I did it man .
Yeah, I made a movie, hopefullymade friends with the
filmmakers so be proud of theirwork.

Speaker 2 (30:26):
I know proud of your own.
How arrogant, literally.

Speaker 1 (30:30):
I'm not watching it, though they're like oh what,
okay what, why did you come?
Yeah?
We all put in a lot of efforthere, yeah like a lot of people
are just going to be like, oh,fuck me, I guess.

Speaker 2 (30:41):
Yeah, yeah, you don't want to see the work, weird.
So true, but like sometimes, ifyou've seen it a lot of times,
you're like, okay, I don't needto watch again.
Yeah, and it's not it might bebecause of the filmmakers, but
it's definitely.

Speaker 1 (31:02):
I'm a big part in that.

Speaker 2 (31:03):
I'm like I was still figuring it out, you know.

Speaker 1 (31:07):
Yeah, and there are some films that look on the
converse side.
You're like I don't think Iwant to watch this, as you're
like sort of as you're drivinghome yeah, from say you're like,
I think I did terrible worktoday.
I don't think I want to watchthat, but you, you got it and
sometimes it works yeah,sometimes, and sometimes that's
the motivation you need.

Speaker 2 (31:26):
It's like that's a big learning thing as well, like
I was convinced this was badwork and it worked and somehow,
like within the whole context ofit all, it just fits in.
You're like I want to shut up.
It kind of makes you trustyourself a little bit more that,
like you're not as terrible asyou think you are.

Speaker 1 (31:46):
Yeah, self-doubt.

Speaker 2 (31:47):
Yeah.

Speaker 1 (31:48):
How do you cope?

Speaker 2 (31:49):
Self-doubt.

Speaker 1 (31:50):
Yeah, about it all.

Speaker 2 (31:51):
I'm in much more of a fuck it.
Let's just have some funattitude these days, cool, and
I'm much more comfortable than Iused to be.
Yeah, because I'm not.
I understand that.
The key is not trying to get itright.

Speaker 1 (32:07):
Yeah, and.

Speaker 2 (32:07):
I used to really put a lot of pressure on myself to
get it right and I realized thatit's a process.

Speaker 1 (32:13):
Yeah.

Speaker 2 (32:13):
The takes are there because we are figuring it out,
we're working it and we'replaying and we're having a
collaborative conversation.

Speaker 1 (32:21):
Yeah.

Speaker 2 (32:22):
And it's okay to fail , you know.
Yeah, the cliche, but there itis.

Speaker 1 (32:27):
It's true, it is it's true.
Yeah, you've got to just sortof get over it.
You do Sometimes.
You just have to get over it.

Speaker 2 (32:40):
Swallow it and be like, yeah, you have a job to do
, yeah, and they've hired youand they've auditioned a lot of
people and they've gone.
We trust you.
And that's kind of scary, butyou have to take something out
of that and be like they trustme because they know I can do it
and I think I can do it too,now you know yeah.
Delusion.

Speaker 1 (32:54):
It's delusion at first, but then people, people
believe you with good reasonbecause you've gone through the
process, you've auditioned,showed the fuck you know yeah
yeah, it's true.

Speaker 2 (33:04):
What about you man like, do you, do you suffer from
this imposter syndrome?
Or the self-doubt thing likeyes?

Speaker 1 (33:12):
yeah, sometimes when you, when you, sometimes the
imposter syndrome can be a thing, but also realistically, you
know, sometimes you just got tobe like, look, we made a film
and everyone put their A gameinto it, and if it goes far,
it's gone far.
You can't be like as if this ishappening to me.

Speaker 2 (33:34):
It didn't win the festival.
Yeah, exactly this is happeningto me, just fucking deal with
it.

Speaker 1 (33:37):
It didn't win the festival.
Yeah, exactly Like.
Just go with it, yes, and Turnup, let it wash, let it wash
over and soak it in, becauseit's not.
These moments are not going tolast forever, so just enjoy it,
absolutely, for Christ's sake.

Speaker 2 (33:52):
Yeah, we're so we are so lucky to be able to do this,
even even if, yeah, we're solucky to be able to do this,
even if whatever you callsuccess, you know we are so
privileged to have the life thatwe live, where we, in our free
time, we can choose to be actorsand strive to be an actor, like

(34:13):
how fucking lucky we are youknow, we might as well, it would
be rude not to.
We might as well.
It'd be rude not to.

Speaker 1 (34:18):
We might as well just like enjoy it, since we've
chosen it as a career.
I agree, you know it can behard, and drama school was hard
because it was every day.
But at the end of the day youget to do what you love and you
chose it for a reason, so justdo it.
Yeah, you chose it for a reason, so just do it.

(34:41):
Yeah, yeah, I'm with you, man.
And then now the the bursts ofwhen we get work.
I love it so much because it'slike it's not every day.

Speaker 2 (34:46):
No, you know, I know it's special because there's so
much time between jobs, so muchtime, yeah, but I was thinking
about this today, I think,because, you know, you kind of
have this idea that people aremiserable between jobs and all
the auditions and the rejectionand all that.
And I just love it all.
Yeah, I think it's so exciting.

(35:07):
I love going for auditions, Ilove sending them off and be
like great, I hope I get it.
But you know, moving on, yeahyeah.
And then getting the phone callsand being like you've got to
call back and be like cool, allright, I still haven't got it,
but like it's so exciting.
And then losing it and beinglike, yeah, it's all right, I've
already moved on to the nextthing, it's fine, but it's all
such a privilege.
And then when you do get to doa job, it's like, okay, I've got

(35:32):
two days, I've got two dayshere.
It's all happening right now.
I bet I'm going to put my phoneaway and I'm going to fucking
be present.
I'm going to be here, you know,and just talk to everyone I can
and smile because I just love it.
I love it so much, man, yeah.

Speaker 1 (35:49):
I'm with friends.
Yeah, it's the best.
It's true, because everyone cango oh, I got an audition.
You know, I got an audition,I've got three days to do it.
It's like, yeah, but thefeeling when I get email
notification new request I'mlike yes, and I'm like reading

(36:10):
everything about it.
And I'm like on all thearticles reading because give me
the information.

Speaker 2 (36:17):
Let me read it.

Speaker 1 (36:17):
And then you do it and you're like I really thought
I nailed that.

Speaker 2 (36:21):
And you don't hear anything.
No, of course.

Speaker 1 (36:23):
You're like oh, okay whatever you know.

Speaker 2 (36:25):
But there's another one.

Speaker 1 (36:26):
Into the vacuum and then you get another one and it
can be like it can go a littlecrazy if you're like, oh my God,
I just learned so many pages ofdialogue for nothing.
But it wasn't for nothing,because someone watched it,
hopefully.
Or they saw your thumbnail andthought oh, he looks like

(36:46):
so-and-so, we could maybe gethim in for it.

Speaker 2 (36:48):
I don't think there's any wasted opportunity.

Speaker 1 (36:50):
No, I don't think there's any wasted audition.
I've landed auditions.

Speaker 2 (36:55):
I've landed roles based on auditions.
I did like 10 projects back.
Yeah, how cool is that.
And I didn't have to auditionfor the one I got how cool is
that.
Because it's the same castingdirector.
I'm like I've seen, I've seenit.

Speaker 1 (37:05):
I've seen this character in something else,
yeah.

Speaker 2 (37:07):
Let's get him.

Speaker 1 (37:08):
So there's no wasted.
And when you just see the samecasting directors pop up, you're
like, look, they don't hate meyeah, so you're on their radar
eventually they're gonna likethey're trying to get you,
they're trying to get yousomething, and so you, just, you
just keep chipping away.

Speaker 2 (37:23):
Yeah, it's really kind of weird.

Speaker 1 (37:25):
And then there's the whole like with self-tapes.
There's a whole like my scriptanalysis is I've got a method,
I've got a.
This is the way I do it, butsometimes you get it like the
day after that due the next day,like okay.

Speaker 2 (37:38):
You've got to streamline that shit.

Speaker 1 (37:39):
I'm doing one today Might as well, just do this one
that I just got in as well.
I don't know the lines yet,let's just do it on the go.

Speaker 2 (37:48):
Yeah.

Speaker 1 (37:48):
And sometimes those are the ones that I get
callbacks for.
Why do you?

Speaker 2 (37:52):
think that is what is that?

Speaker 1 (37:54):
Well, it's because I'm obviously like fluid with it
, or you know, I'm notoverthinking the choices, I'm
just doing them.
Yeah.

Speaker 2 (38:03):
Or literally relying on your instinct Cooking them up
.

Speaker 1 (38:06):
Yeah, being like this line means this, because it's
all analysis, right, like Ifirmly believe that reading
comprehension is everything.
It's understanding what thehell is going on.
Yeah, I don't know.

Speaker 2 (38:16):
I believe that reading comprehension is
everything, absolutely it'sunderstanding what the hell is
going on?

Speaker 1 (38:20):
Yeah, I don't know, like sentence structure is
important and like these writersare, they're smart, so like
just do what it says.
But like sometimes analyzingtoo much can be a whole trap.
Yeah, I don't know, it's soweird.
Yeah, like, how do you evenquantify what's a good audition?
It's all vibes, isn't it?

(38:42):
It's vibes.
I hate that it's all vibes.
I've got a vibe meter in mystudio oh shit, I broke it Damn,
damn, oh, I'm booking that onein.
Yeah, do you find that likewhen?

(39:04):
You don't have the time tooverthink it, like, do you find
that you have more success inthose auditions?
Um, well, I kind of feel like,oh, let's just throw this one in
, let's just hope for the best.
Yeah, maybe that's the feeling.
That kind of uncertainty is iswhy I need to be chasing it,
which is a weird thing in itself.
Well, I think you probably.

Speaker 2 (39:16):
You're probably so good at the process now that you
can streamline it.

Speaker 1 (39:21):
Yeah.

Speaker 2 (39:22):
And you should trust that you can do it very quickly.

Speaker 1 (39:25):
Yeah.

Speaker 2 (39:26):
It doesn't always have to be a long drawn out
process.
It can just be like I know howto analyze a script.
I don't even like.
I don't write any notes.

Speaker 1 (39:33):
Yeah.

Speaker 2 (39:33):
I'm just like you, just turn up.
Turn up write any notes, yeahI'm just like you, just turn up,
turn up, turn up.
Sometimes I wear shoes.
Oh yeah, you know, sometimeslike, yeah, I don't know, but I
but learning that process andand being able to streamline it
is and trusting that you can.
You can do that on the on thego yeah is.
I think we should giveourselves much more credit than
than we do, you know it's so umroutine at this point.

Speaker 1 (39:54):
Yeah, I've got this set up and I'm like I need this,
this, this, this.
I'm going to need a chair, so Iguess I'll just pull the chair
over.
I've got like an hour beforework.
Yeah, let's just smash it outand send it in.
Yeah, that's kind of crazy thatyou know that's the process
auditioning for huge jobs, likejobs that you'd be, like God,

(40:14):
I'd kill to be in that.

Speaker 2 (40:15):
Yeah.

Speaker 1 (40:16):
And and you've just sent in like a one and a half
minute video that you've done inmy dad's bedroom.
I use my dad's bedroom becausehe's got the best light set up.
Sorry, dad, I'm just going to.
Yeah, can you just wake up?
I've got to.
No, stay there.
Stay there, it's fine.
No, he's always out the house.
God, I'm not afraid.

Speaker 2 (40:35):
Sorry Dad, I'll leave you to it, I'm not afraid.

Speaker 1 (40:40):
And so you know, I call up a friend from drama
school or something.
I'm like can we just like dothis weird tape really quick?

Speaker 2 (40:47):
What a weird.
But not wanting it too much isgoing to work in your favor,
right.

Speaker 1 (40:52):
Because everyone's like we can see the desperation.

Speaker 2 (40:54):
Yeah, they can, they can smell it.

Speaker 1 (41:02):
Oh my god, yeah god forbid.

Speaker 2 (41:03):
Actors want to act, but also, yeah, of course we
want it.
Everyone wants the gig.
Yeah, but if you give yourselfthe the time to build it up in
your head, you're like I really,really, I need this gig.
Then that and that's what'sgoing through your head when
you're performing the scene.

Speaker 1 (41:15):
Yeah, like that's not what the character's thinking
about.

Speaker 2 (41:18):
The character's not going.
I hope I get this movie.
I hope so yeah.
No, yeah, so you know, I don'tthink we allow, we should not
allow ourselves time to get tothat point where we're like.
I really need this.
No, you're right, just be like.
I got an audition, I I got anaudition, I'm going to jump in.

Speaker 1 (41:34):
What does this?

Speaker 2 (41:34):
character want Go.
Let's do it quick Becauserealistically I guess it's.

Speaker 1 (41:39):
they'll just open the tape and be like oh he doesn't
quite look what we thought.
Next, well, that's it.

Speaker 2 (41:49):
And also we go through so many auditions,
hopefully.
I know you do.

Speaker 1 (41:54):
I shouldn't be here now.
I shouldn't be auditioning.

Speaker 2 (41:58):
Okay, so you landed the job?
Yeah, because you've done areally last minute audition.
You didn't have time tooverthink it, you just like
nailed it Because I did it inlike 15 minutes.
Yeah, but how do you preparefor jobs?

Speaker 1 (42:11):
Yeah, I loved the research component at uni and I
loved writing essays and stuff.
So if I can make like a masterdoc of all the things I need to
know, that's what I'm going todo and I want to.
I'll make a playlist, I'll makea mood board.

Speaker 2 (42:29):
Yeah, nice.

Speaker 1 (42:30):
But it's cringy, but it just helps me get in the
world.
I'll try and talk to thedirector and be like what movies
should I be watching to get avibe?
It's just all and then justconversations.
You know, it's kind of, butit's also case by case.

Speaker 2 (42:48):
Sometimes all I have to do is listen to a song a
couple times and like, cut myhair and suddenly how do you
know you're ready to play acharacter Like how do you feel,
how do you know when you'reconnected to a character?

Speaker 1 (43:06):
Costume helps.
Yeah, being on set yeah, I knowit's just part of the thing,
but if we're like filming in ahouse and I don't know what the
house looks like, I'm like Iwon't know till I get there.
I need to know, I want to knowwhat this house looks like.
Yeah, but that's just part oflike I'm a bit of a troll freak,

(43:26):
I guess, and I just need tolike I'll become familiar when I
get there, that like trustingthat it'll, it'll happen, oh
yeah.
When you get there, yeah, it'sall the homework, yeah, and your
brain is like loaded up withthe words and the meanings and
the objectives and the.
You know what the purpose ofthe film is, or the whatever the

(43:50):
video like.
You need to know sort of where.
Where are we placing this interms of everything that's ever
been made?
Yeah, what's the point?
And then, once you get in theshoes, like go for broke, yeah,
and just be free, be free.

Speaker 2 (44:06):
And just don't overthink it, because part of
the preparation it should not bepre-loading.

Speaker 1 (44:12):
I know how you're gonna do it no, and like you,
haven't heard how the otheractor is going to say their
words, unless there's arehearsal process, in which case
there's a fight scene orsomething that's very different.

Speaker 2 (44:23):
Yeah, but again there's like choreography or
blocking or something or just adance, you know.
Or in terms of like evengetting dialogue and not
speaking over each other andmaking sure you know there's all
that sort of practical stuffthat you have to keep in the
back of your mind if you need it, if it comes up.

Speaker 1 (44:40):
Yeah.

Speaker 2 (44:41):
But in terms of, yeah , like getting onto set,
trusting that in the build up tothis, this shoot or this day,
it's been sitting in my head.
I can't exactly put my fingeron what it was it's been sitting
in my head.
I can't exactly put my fingeron what it was.
I don't even have my notes,which it might help you or some

(45:01):
people like purge their ideasand just get them down, because
you know again like it's goingto work differently for
different people.
I'm not really a rote learner,you know.
Yeah okay, I'm more of anaudible learner, you know.
I have to listen to lines.

Speaker 1 (45:15):
I'll record them oh yeah, do you know what I mean?
Line learning yeah, we can getinto that.

Speaker 2 (45:19):
How do you learn lines?
It's repetition.

Speaker 1 (45:27):
It's different for each thing.
There's, like this, one methodwhere you write out the first
letter of each word and thenit's like Morse code.

Speaker 2 (45:32):
Yeah, do you do that?

Speaker 1 (45:34):
I have for big paragraphs.

Speaker 2 (45:36):
See, I've never tried that, but then I did.
I just assumed it wouldn't workfor me.

Speaker 1 (45:40):
Sure, I don't know why.
Like no, yeah, I was alwayslike no, that's not my style,
but then I did it because therewas this one paragraph I just
couldn't learn Because it hadlike when it's good writing,
it's sometimes good writing isreally hard to learn.
Sometimes bad writing is reallyhard to learn.
Actually, cut that out, I don'tknow what I'm saying.

Speaker 2 (46:00):
No, I know, I know what you mean.
I don't know what I mean bythat but, like I, I have heard
that, like you know, it's goodwriting if the lines are easy to
learn.

Speaker 1 (46:10):
Yeah.
Because they make sense, causethey make sense and there's like
logic you can justify it.
But if a line you're like whatdoes that even mean?
Why are they saying thatthey're just filling in?
Then your brain like rejectsthat.
Yeah, I find that sometimes I'mlike I just have to change that
yeah for this self-tape.
I just can't say that line, doyou?

Speaker 2 (46:28):
ever just discard a line just because you're like it
doesn't make sense.

Speaker 1 (46:33):
Um, I don't think a, a honey or a, a baby or a or a,
um, a darling or a, one of thosekind of words that are so sort
of um, maybe their characterspecific yeah, it's not.

Speaker 2 (46:50):
It's not necessarily a line or a word that's going to
drive the story, but it mightsay something about the
character, yeah, and theirrelationship, the other person.

Speaker 1 (46:56):
But you're like, yeah , it's true, yeah, but it might
say something about thecharacter.

Speaker 2 (46:58):
Yeah, and their relationship to the other person
yeah, that's true, yeah.

Speaker 1 (47:00):
But that's kind of just repetition.
You just say it, I'll say itthrough the day and it just
sounds normal.

Speaker 2 (47:05):
I find like doing sort of mundane activities.

Speaker 1 (47:10):
Yeah.
Those are really good places tolearn lines yeah, I'm always in
the kitchen and I'm justplaying it.
I did a play last year that wasjust paragraphs.
It was like a monologue likethis yeah, and myself and the
other actor.

Speaker 2 (47:23):
Oh, I know, this play fags dag.
Yeah, that's amazing.
It was so much dialogue withhenry cooper.

Speaker 1 (47:30):
Henry cooper he's the best king, isn't he the best?
Are you out there?

Speaker 2 (47:34):
we love you henry, we love you hen, we love you,
henry.

Speaker 1 (47:36):
Yeah, that was just like A really mammoth task
Directed by Conner Reedy, thealso king.
It's so much dialogue.
Well it's storytelling and itwas easy to learn.
Because, it's well writtenstorytelling.
Who wrote that?
It was written by Geoffrey JFowler and Chris Isaacs, and we
actually got to meet Geoffrey,wow.

Speaker 2 (47:57):
Did he see the show?

Speaker 1 (47:58):
No, I wish, I wish, I wish.
Well, actually, that would havebeen terrifying, but it would
have been cool.
Maybe he found out afterwards.
Yeah, yeah, that was a reallyrewarding.

Speaker 2 (48:06):
I was just beaming, I was like you guys are so funny.

Speaker 1 (48:10):
Because all the thoughts flow on from one
another.

Speaker 2 (48:12):
So you, talk about one thing.
It's going to come up later,yeah you've just got to sow the
seed.

Speaker 1 (48:26):
It's hard if you miss a line and then you're like I
didn't set that up, yeah, andyou've just thrown henry under
the bus.
Yeah, sorry, mate.
Which was that happened inrehearsals once we like we were
doing like three runs a day,yeah, of the show, and then we
were like, oh, that moment's abit weak, let's just redo that,
yeah section every single time Ido a play.

Speaker 2 (48:38):
I think there is no way I can learn this.
And then by the time we'reperforming.
I'm like I could rattle thisoff like it's a song I've known
for 30 years.
How crazy, just trusting thatit's going to work.

Speaker 1 (48:53):
It's going to go in, it's going to go in there was
this one monologue I did in aplay called Whore.
It was this guy having thisfull freakout in the supermarket
and he was talking about likewashing powder and detergent,
and the monologue didn't makesense.
Well, it makes sense in thecontext of the story, but as a
piece of writing.

Speaker 2 (49:11):
Just shit writing.
Definitely not, it's veryboring, but it was so hard to
learn.
Yeah.

Speaker 1 (49:18):
And I had to make the walls of my bedroom the
supermarket.
Yeah, that was.
I was cracked out for thatprocess.
Yeah, like how fun yeah.

Speaker 2 (49:30):
That's the kind of brain training anyone should do,
and just such a rewardingchallenge as well when you are
able to do it.

Speaker 1 (49:34):
And you're like.

Speaker 2 (49:35):
I got this Like this.
I cannot believe I can do this.

Speaker 1 (49:38):
Yeah, and you're like not even thinking about knowing
the lines anymore, becauseyou're thinking about what the
character's thinking andsuddenly you're at the end of it
and you're just like we alljust went on that together.

Speaker 2 (49:50):
Yeah, yeah, and they become your thoughts.

Speaker 1 (49:52):
So cool, it's so cool , it is just repetition eh,
pretty much Putting it in mybody really helps.
Do repetition a pretty muchputting it in my body really
helps.
Do you move around when yourehearse?
Yeah, yeah, and like, ifthere's one line that I don't, I
can't get, I'll like make alittle dance move interesting,
and then I'm, and then it'sthere that's really.

Speaker 2 (50:08):
Do you like connecting it to?

Speaker 1 (50:09):
your body.
I'm like actually putting itthere yeah yeah, that's so
interesting, which is not thathelpful for self-tapes because
there's such a quick turnaround,but it's great for longer form
stuff If there's a physicalityto it.
I think I just heard yourstomach growl there.

Speaker 2 (50:25):
That was you, that was me I was like wow.
But, yeah, knowing that it'sbeen in your head, yeah, and
trusting that on the day, once Iget into the room, yeah, then
it's going to happen.
Trusting myself and trustingthat I am able to free myself
from myself and it's going towork.

Speaker 1 (50:45):
It's so fun it's so fun.
I'm just thinking about all thetimes I've been driving to set
on the first day.

Speaker 2 (50:53):
Yeah.

Speaker 1 (50:53):
That's fucking scary, so scary.

Speaker 2 (50:55):
But it's so fun, it's so rewarding.

Speaker 1 (50:57):
And then afterwards you're like exhausted, but
you're so tired and you haven'teven.
I haven't even got on my phonebecause I've just been so
present Like the day's gone.
And here we are.

Speaker 2 (51:10):
Yeah.

Speaker 1 (51:11):
I love that feeling.

Speaker 2 (51:12):
Yeah, and I don't get it.
And people are happy and I made.
I had great conversations withpeople.

Speaker 1 (51:18):
Yeah, I giggled.
I cracked some silly jokes andwe made a bit of a film.

Speaker 2 (51:25):
What about like being a day player?

Speaker 1 (51:29):
right.

Speaker 2 (51:30):
That's hard eh.
Yeah, because you don't get theopportunity to get to know
everyone and you're usuallythere like three weeks into a
shoot and everyone's besties.
Yeah, and you're usually therelike three weeks into a shoot
and everyone's besties.

Speaker 1 (51:41):
Yeah, and you're like hey, but I remember like what's
the vibe here?
Yeah, like should I be.
Is that joke an inside joke?

Speaker 2 (51:47):
Yeah, yeah, what's that inside joke mean?
Yeah, it's like for a just time.

Speaker 1 (51:51):
Sometimes you just need to turn up.

Speaker 2 (51:54):
Yeah.

Speaker 1 (51:55):
And it's not about you.
You're just a cog in themachine, that's it.
And that's okay, that's reallyokay.

Speaker 2 (52:00):
And it's not just okay, it is, it has to be the
mindset.

Speaker 1 (52:04):
Yeah, you're not the center of attention, yeah you're
a day player.

Speaker 2 (52:07):
You're not.
You're not going to steal thescene.
You have to understand whereyou fit in the context of that
moment and how you fit aroundthe protagonist's story.
What's your purpose for them?

Speaker 1 (52:19):
Yeah, and just do that, yeah, because it ain't
about you bro.

Speaker 2 (52:22):
It's not about you, yeah.

Speaker 1 (52:27):
I remember we heard about it like through uni.
My teacher was like mostworking actors are just those
people They'll come in, becauseshe was working in Vancouver,
yeah, and so she was in likeSupernatural and like those kind
of Vancouver shows that justpump out episodes.
She'd just turn up die for anepisode and that was the job
Like you'd just turn up andyou'd just die, and no one cares

(52:49):
if you're bringing in anOscar-worthy performance, you
just need to die.

Speaker 2 (52:53):
Like that's the start , make sure the story's being
sold and you're, that're thatlittle.

Speaker 1 (52:58):
yeah, cog and it's like do all your prep but like
shut up and die yeah, but that'sreally funny like yeah and it's
funny that we do like.
I've done four years oftraining and I would like I
would die to die.

Speaker 2 (53:10):
I want to die in supernatural, yes I'll turn up
and just like hit a wall andblood splashes but if I don't
leave a set covered in blood andsweat, what was the point?
Was I even acting?

Speaker 1 (53:20):
Like if I don't have dirt under my nails there's not
real dirt, it's like painteddirt.

Speaker 2 (53:24):
If I can still speak without like, if my throat isn't
killing me, was I even?

Speaker 1 (53:29):
acting yeah.

Speaker 2 (53:30):
When you're on a set.
Okay, obviously you're there todo the job.
Yeah, have you noticed thisflow and effect from job to job?

Speaker 1 (53:39):
Well, like I've been so lucky in that it's, you meet
someone on a job and thensuddenly they're on the next
three jobs and you become greatfriends.
Because you're spending so muchtime together and film sets are
weird because it's like instantbestie mode.
You start sharing weird thingsabout each other and that's just

(54:02):
the nature.

Speaker 2 (54:03):
Because there's so much time waiting, and also
you're all in the same game.
You're all part of the samestruggle and you all have the
same dream.
You're all just as delusionalas each other.
So you know you have somethingin common.
Yeah, you don't even need thatweird like are we compatible?

Speaker 1 (54:21):
because of course we're going to be compatible as
friends, because we consume thesame types of things.
Yeah, ever since, I think likefirst year at uni, I did some
random short films that I sawthrough Facebook and they were
like Maps, the school I went toMaps Get out 15 years ago.

(54:42):
Whoa, oh my God.
Well, I'm talking your languageright now.
There was a Maps film.
I'm quite old, this boomer.
It was a Maps film directed byAndrea Rizos, and on that set I
was meeting all these people andthey were so nice and I was
like, oh my God, these peoplewere so fun.
This was just like a hangoutSwitch to now they're working on

(55:02):
every film since, isn't that?

Speaker 2 (55:04):
crazy when I did this show the other day.
Yes, I knew the whole crew.
I know and they're all like andI was like.
These guys were at Flinderslike two years ago.

Speaker 1 (55:12):
How beautiful.
Yeah, there's no better feelingthan getting to a set and being
like we're doing it, guys,we're doing it, it's so fun.

Speaker 2 (55:23):
It feels like we're rising with the tide you know
together.

Speaker 1 (55:26):
Silly little reunions .
And then you make something andyou're like, okay, I won't see
you for a couple of weeks, but Iwill see you soon.

Speaker 2 (55:39):
Yeah, and when I do we, I love that stuff.

Speaker 1 (55:40):
Yeah, that is how the flow on effect works.
I guess on paper that isnetworking, but it's not
networking because it's friendshanging out making stuff.

Speaker 2 (55:46):
Well, that's a much healthier way to look at it,
yeah, which is what it should be.
It should be genuinelyinterested in what they're doing
and make genuine connections.
I love what I do.

Speaker 1 (55:56):
Yeah.

Speaker 2 (55:56):
And I genuinely want you to also achieve what you
want to achieve.

Speaker 1 (56:01):
And if that means we work together, let's enjoy that
together.
Yeah, whoa, whoa Together.

Speaker 2 (56:05):
I'm your co-creator.
That was a beautiful moment.
That was that's got to be.

Speaker 1 (56:11):
You're welcome for that.

Speaker 2 (56:13):
I'm sure that sounded good.
I'm sure it did.
We'll have that on stereotogether, together.

Speaker 1 (56:17):
Yeah you can't like fake that stuff because it's
just kind of.
If I didn't do that first filmin first year drama school,
which was separate to dramaschool, I would have met them
eventually, but isn't it crazyyeah, well it is.

Speaker 2 (56:36):
Isn't it weird looking back on the steps that
you took?
Yeah, I love thinking aboutthat.
It's so weird, even the jobsthat I've had outside of acting
Everything or like COVID andbeing trapped in that apartment
and being like I need tosocialize Because I did a play
you did.
I did a play in 2020.

(56:57):
Was that for the French?
Oh, yeah, yeah, that one thatwas french.
Yeah, that was like two yearsago.
That was two years that wasrecent.

Speaker 1 (57:03):
It was your 2020.
Play laramie project.

Speaker 2 (57:06):
Oh my god, yeah, I'm familiar I hadn't done a play in
10 years, and that that's I.
I was not involved in actingokay, I was out of it, I was
just drinking myself.
Silly bold choice.
Well, I didn't know anythingabout it.
I Googled amateur theatre.

Speaker 1 (57:21):
Adelaide.

Speaker 2 (57:22):
Cool and Red Phoenix came up.

Speaker 1 (57:25):
But it was like the best thing I've ever done,
because that is, they're likerecreating real people.
Verbatim theatre, that's theword.

Speaker 2 (57:33):
So it's based on the interviews that they did back in
1998, whenever it was Heavy,it's heavy.
So heavy.
And we're playing 10 characterseach.

Speaker 1 (57:44):
What a welcome back.
No seven or 10.
Yeah, unreal, Welcome back toacting.

Speaker 2 (57:47):
But we had such a tight-knit ensemble.
Like we all loved each other somuch and we cared so deeply
about the story and it was thefirst time that I was like I got
it, like I understood why wewere doing this Cool, because I
was like, oh, I wasn't justperforming, I wasn't just like
feeding my ego and being likelook at me, mum, you know, I was

(58:07):
like understanding a script andanalysing it and workshopping.
So fun it was.
So, yeah, it was reallymeaningful and, yeah, we sold
out every show.

Speaker 1 (58:19):
Sick.
I fell in love with TV and film, first as a kid, you know.
And then I fell in love withacting myself through theatre.
Yeah, and like being on stagein front of an audience.
And then you find, oh wait, youcan do the TV thing as well.
And then that became a passion.

Speaker 2 (58:38):
But it was like theatre is just where it starts
you can use the skills that youlearn in theatre to actually
amplify your skills in TV andfilm.

Speaker 1 (58:47):
It's all connected.
It is, and they make you abetter actor.
I think you've got to do bothyou have to, man, you should do
both.

Speaker 2 (58:54):
I think you have to Because there, because there was
a big thing, at least here inAdelaide for a long time, where
people would say are you film ortheatre?
I reject, I reject that, yeah,because it's like what do you
mean?
I'm an actor.

Speaker 1 (59:10):
I have to do both.
I remember I did a workshop andit was like an audition
workshop for drama schools andeveryone was like, what do you
want to be when you're older?
And I was like I want to be anactor who works on stage and
screen.
Yeah, and the whole room wentyou can't do both yeah.
And I was like whoa, I can'tbelieve this is a thing though.

(59:33):
Yeah, I was like, but that wasthe same, like.
It was the naive brain where Iwas like but I want to do it, so
I'm gonna try and do it.
Yeah, what do you mean?
The lady that was teaching theworkshop was a stage and screen
actor, so I don't know why shewas shocked, because I was like
diva, you do this, this is mything.
Yeah, I was like I know you dothis, yeah.
Yeah, I've seen your cv.

(59:53):
It's kind of strange and I I'dstand by it.
I'm a stage and screen actorand I want to do both If they'll
both have me.
You know, like they're verydifferent.

Speaker 2 (01:00:03):
They're different and they're the same in other ways
and you obviously nail both andthey feed my soul thank you, I
need to see you on stage.
I haven't done a play in ages.
Do another I would love to Do.
I Got a good script that theywant me for.
Um, I do love it because, well,you get to sit with the project

(01:00:26):
for a lot longer yeah, and youfall in love with it.
You know, um, but you.
That's where I learned how toact, because you have, you know,
with amateur theater, you gotmore time than a professional
You've got three months withthis script.

Speaker 1 (01:00:40):
I know that's a luxury.
I know Maybe not you know.

Speaker 2 (01:00:45):
Well, it was good for me, because that's where I
learnt how to act, sure and likeI could probably streamline
that into like a five-weekrehearsal now.
Yeah, oh, now.

Speaker 1 (01:00:53):
Yeah.

Speaker 2 (01:00:53):
Sure but three months to have a script and to get to
know your ensemble and all thattime to understand, to analyze
your character and their storyand build this world, and then
being able to apply the skillsthat you've learned through that
process and streamline theminto a five-week rehearsal or a

(01:01:15):
day you know, when you have tojump onto set tomorrow and be
like all right, I know exactlywhat the process is and I can I
can streamline that, likethere's no linear way of like
training or like you actuallyyou don't have to go to drama
school.

Speaker 1 (01:01:30):
You're proof of it, you don't.
You could find your trainingthrough those amateur theater,
things Like if you, it's allabout experience.
If you don't do anything,that's like why you're not an
actor, because you're notpracticing.
But if you apply yourself, yeah, there is not one pathway.
No, no, or you can be reallylucky and walk the street and

(01:01:51):
get scouted and then you've set.
But you know, yeah, good luck.

Speaker 2 (01:01:56):
Yeah, good luck with that, if that's, if that's your
um yeah, I don't think there isone pathway in.
Obviously, yeah, because I Ididn't.
But I, I sometimes I thinkabout like, oh, should I have,
but at the time, like during my20s I was, I was just
preoccupied yeah, I had done Ihad done some acting like I've

(01:02:16):
done some good commercials andcertainly done some theatre, but
then I just got distracted withlife and relationships and
Classic Alcohol and shit youknow.

Speaker 1 (01:02:27):
Yeah, that guy oh and music.

Speaker 2 (01:02:30):
You know, I was playing music full time and then
by the time I was like I fellin love with acting again.
I was like I can't afford tonot be in the industry.
I can't be studying right nowbecause I'm getting old.

Speaker 1 (01:02:43):
It's scary Like.
I'm putting your life on holdfor that long.

Speaker 2 (01:02:46):
Yeah.

Speaker 1 (01:02:47):
Even though you're like, you're developing yourself
as a person and a creativeactor, it does feel like, oh my
God, I'm so far away from whereeverything's happening.

Speaker 2 (01:02:56):
But what you do get out of drama school is you have
a community.

Speaker 1 (01:03:01):
Yeah, every single day what you're saying and that
must be.

Speaker 2 (01:03:03):
I mean, that's what I get out of theatre.

Speaker 1 (01:03:05):
Yeah, Going to rehearsal every day with my
ensemble and you know who yourcollaborators are, you know who
like juxtaposes your skills andwe just knew that, whatever,
when we were on stage together,it was just like a fun
experience for everyone.
And like we fed each othercreatively, and so it was

(01:03:28):
because we spent that longtogether.
Four years is a long time andit's like if I was working a
part-time job for four years I'dbe like get me out of here.
And by the end of drama school Iwas like get me out of here.
But I'd be like get me out ofhere, and by the end of drama
school I was like get me out ofhere.

Speaker 2 (01:03:40):
But for I want to, I want to act, I want to do the
thing.

Speaker 1 (01:03:43):
We've been talking about it and doing it in these
walls for so long.
But the good thing is, thefourth year was like they know
that and they expect that, sothey sort of allowed industry
people to come watch us.

Speaker 2 (01:03:55):
Yeah, so you were exposed to the people that you
needed to sort of take you on tothe next step totally so.

Speaker 1 (01:04:03):
It's like opening doors that would have been
locked really hard to find ifyou're not.
Yeah, part of that process, youknow, yeah it can be kind of
everyone else is like what goeson at flinders, because it's
like a fortress but it's likethey want to facilitate good
actors and so and it seems tohave worked really well for you,
hopefully yeah, but I want totry.

Speaker 2 (01:04:24):
You're getting in rooms and people know your rooms
what's in the door and thenit's.

Speaker 1 (01:04:28):
It's funny when people are like well, I thought
you were so much older, thanks.
They're like.

Speaker 2 (01:04:34):
I thought you graduated years ago and I was
like well, so do you thinkthat's a perception that you
sort of put out in the world.

Speaker 1 (01:04:44):
Yeah, kind of I think it goes back to the how people
see you and I was like I wasmaking stuff and doing stuff and
telling the world about it.
So, people thought I was like afunctioning part of the
industry, from whatever day.
They thought that.

Speaker 2 (01:05:01):
It's wild, isn't it?
It's so essential.

Speaker 1 (01:05:03):
Yeah, it's honestly.
It feels like a cheat code.
I was posting all of that Likebeing myself and being proud of
the stuff I do, because thenpeople were becoming aware of it
.

Speaker 2 (01:05:12):
Yeah, I feel people are not making the most of this
thing that we have in our hands.

Speaker 1 (01:05:21):
It's so.
Who gives a fuck?
Just post it.
I don't know.
Is it that deep?
No, no.

Speaker 2 (01:05:27):
No one's watching it anyway.

Speaker 1 (01:05:28):
No one fucking cares.

Speaker 2 (01:05:29):
But the right people are.
Yeah, it's hard, it's a hardsort of threshold to go over.

Speaker 1 (01:05:34):
Yeah.

Speaker 2 (01:05:34):
That cringe threshold yeah.
Like come on, we're all a bitcringe, yeah once you just get
over the fact we're actors.

Speaker 1 (01:05:43):
Man like yeah, we're wearing wigs.

Speaker 2 (01:05:45):
Yeah, you wait till you see my salami ad man it's so
funny I'm so sad, yeah, and butit's honestly for me since I
just like I said, fuck it man,I'm gonna start posting because
I'm not wasting theseopportunities, these moments
when you know you get a decentfilm and you're like like no
one's going to do that for you.

(01:06:06):
You're not going to get some PRteam emailing you being like
right, let's go, and if you missthat boat it'll sail away.

Speaker 1 (01:06:15):
Yeah.

Speaker 2 (01:06:16):
And so I say make the most of any opportunity that
you get and make a big deal outof it, and people's perception
of you will whatever happens toit, something's happening to it.
They're thinking of you, yeah,even just it's nice being in the
forefront of people's minds,yeah, whether that's other
filmmakers or just people thatare interested in yeah this

(01:06:38):
world that aren't part of it.
I really like people.
It's really helpful.

Speaker 1 (01:06:41):
Like they say I've seen your stuff and how do I go
about being an actor?
I'm sure you get that heapsLike this is what I did.
Do whatever, Just do somethingabout it.
If you want to be an actor, dosomething about it.

Speaker 2 (01:06:57):
So what would you tell those people?

Speaker 1 (01:06:59):
Sign up to a class or just pick something and do that
, and then it's a thing.
Go to amateur theatre.

Speaker 2 (01:07:05):
Yeah.

Speaker 1 (01:07:06):
Oh my god.

Speaker 2 (01:07:07):
Go to a workshop or an adult beginner's drama class
or something Literally anything.
Or go make a shitty film withyour friends.
Yeah, do the 48 hour filmchallenge yeah, come on, you
guys had some serious success inthat.
You that just took you toridiculous.
Tell us what the film wascalled.

Speaker 1 (01:07:26):
The film is called.
This is fine.
It's about three housemates, sogood it's.
It's ridiculous, but we got thegenre climate change which is a
genre now apparently Fuckingwhat?

Speaker 2 (01:07:39):
All right.

Speaker 1 (01:07:40):
The moment I saw it, I was like it was climate change
or superhero, Okay, and I waslike can I opt?

Speaker 2 (01:07:46):
out.

Speaker 1 (01:07:47):
I was like oh, whatever you know I'll hang out,
and so we went for climatechange.
It's about three housematesthat are denying climate change
and the world is on fire aroundthem, but they're they're just
so stuck in their own toxicoptimism.
Yeah, totally.
They're just like oblivious,obnoxious, etc.

(01:08:08):
And it's like a.
It's a, it's a comedy, but it'spretty uh, satirical, it's
satirical, okay, yeah and Iactually only did 12 hours work,
like because I was thereprobably from eight till eight,
yeah, on the filming day, and soI'm like, hey, that's me done.
That was so fun, love that.
Good luck to the edit, see ya.

(01:08:30):
And then suddenly we won.
And then you go to see the film, went to seattle and then it
went to France and you're likeyou won last year, we did yeah,
so, come on, this is a victory,this is amazing.

Speaker 2 (01:08:43):
Yeah, look at us.

Speaker 1 (01:08:45):
Come on, but it's crazy the reach that those films
can have.

Speaker 2 (01:08:50):
I cannot understand how you guys made that in 48
hours.
It's very ambitious, reallytalented people.

Speaker 1 (01:08:55):
Yeah, rainn Williams.
Yeah, queen director I can listoff everybody.
Charlie Alderson wrote it.
He keeps winning script awards.
Nice, yeah, makes sense.
Who shot that?
Jack Morton, oh, that's right,jack, he's such a sweet guy.
Yeah, he's so cute.
But no one goes into itthinking that let's make a 48

(01:09:17):
hour film and go to France withit.
No, because what the fuck?
It's just a shock, right?
I think yours went to Portugal,I think so Like.
I didn't really I didn't reallyhear what happened to it after
that Because I looked up.

Speaker 2 (01:09:30):
But then of course we're like is anyone going to
fly themselves to Portugal?
It was like nah.

Speaker 1 (01:09:34):
Yeah, I didn't have the time to go to Seattle, but
Zoe, who was in the film, shedid go to Seattle and she made
friends with all the 48-hourpeople.
What a moment though the worldbecomes smaller.

Speaker 2 (01:09:45):
Yeah.

Speaker 1 (01:09:46):
And it's because you just say yes, You're like yeah,
what's one weekend I'll do ityeah.
Why not?
And then I got a two-weekEurope trip out of it.
This, yeah, yeah, why not?
Yeah, why not?

Speaker 2 (01:09:57):
I always come across like misconceptions with acting
People have this idea of what itis and how to do it and so much
of teaching.
It is just like undoing allthose misconceptions, myths and
stuff Like what?
Well, one is like character andlike people think that
character is solely physicaltraits or something.

Speaker 1 (01:10:17):
Oh, do you know what I mean?
Like it's the language they useit's the attitude to the world.
You know it's funny enough.
The physical does help you know, for fact stack.
I was pulled down to the earth abit because my character, he
wasn't confident.
He's not the type of guy towalk around with his chest out,
and then it's the language theyuse.
The writers done that for areason.
Yeah, play up bits of youryourself and let that inform

(01:10:42):
some of the character.
I love that, especially in film.
I find that because you can'tfight what you look like.

Speaker 2 (01:10:47):
Are you conscious of like how your character is
presenting in the world?

Speaker 1 (01:10:52):
you're not.
You're not like part of the,unless the character is really
self-conscious, in which case,yeah, unless, yeah, unless it's
true to the character, yeah thenyou're like, yeah, you don't
want to be thinking about howyou look, I don't.
No, I'll crash the fuck out.

Speaker 2 (01:11:05):
We have no choice in that.
Yeah, it's good.
I just ask that because, to anylike newer actors out there
that might be listening to theone actor out there that's
listening- hey, Thanks forwatching.

Speaker 1 (01:11:16):
Mum, Thanks for listening guys.

Speaker 2 (01:11:19):
That's something I see a lot with, like new actors.
When we're developing acharacter, then all they're
thinking about is like theirphysical traits and that's it,
and it's like this very shallowapproach, you know.

Speaker 1 (01:11:32):
Which it certainly is a great starting point Can be.

Speaker 2 (01:11:41):
Can be.

Speaker 1 (01:11:41):
I think a character can just be a guy that's lost
his bus ticket totally and hemight stand the same way you do
yeah but like it's being awareof how you stand normally and
let it be an informed choice.

Speaker 2 (01:11:52):
Yeah don't just like oh, do you make those choices
early on, or do you let themcome to you?

Speaker 1 (01:11:59):
I start.
My general thing is that Istart big and then strip, so
like in rehearsals.
If I don't start bigger or likemore broader choices, then I
can't find the specific stuff.
If I'm already starting withspecific stuff, there's kind of
like it's harder to recalculate.

Speaker 2 (01:12:19):
Yeah, cause you lock yourself into something.

Speaker 1 (01:12:21):
Yeah, but if you're like I'm just going to be like
really open and responsive toanything and then we can find
what actually works, yeah, causeyou're you're in a playful sort
of yeah, it's all play, it'sall play, yeah.

Speaker 2 (01:12:35):
You're trying lots of different things.
You, it's all play.
It's all play.
Yeah, you're trying lots ofdifferent things.
You're open to lots ofdifferent things, and how are
you supposed to know what fitsif you haven't tried it on?
Yeah, yeah.

Speaker 1 (01:12:43):
You can't play the final performance in rehearsal
one.

Speaker 2 (01:12:46):
No.

Speaker 1 (01:12:47):
But some people like you've got to go through that
discovery.
Yeah, Relax, Relax it down andjust like be more fluid with it
all and you'll find good thingsyeah, I like it.

Speaker 2 (01:12:59):
Yeah, and where can we find you on socials?

Speaker 1 (01:13:02):
yes, my instagram is connor pullinger, which is just
my name, and then I do have atiktok.
It's connor pulley uh,pullinger, just cut it at the
eye um, where I do a little bitof dancing and I earn a bit of
money, do you?

Speaker 2 (01:13:18):
you Because of that, yeah.

Speaker 1 (01:13:19):
That's so good, silly .

Speaker 2 (01:13:20):
So fun For some reason.

Speaker 1 (01:13:21):
I just get emails and I'm like, yeah, I'll make a
TikTok about it Really.
Oh, I was wondering what thestory was there.
Guys, I'm not a sellout, allright, come on, you're just a
hustler.
I'm a hustler there you goCatch me on those socials.
Let's connect.
I love it.

Speaker 2 (01:13:38):
Thanks so much, man Thanks for having me Dude.

Speaker 1 (01:13:39):
this is awesome.
Yeah, this is so fun.
It's great to just talk.

Speaker 2 (01:13:43):
Yeah, isn't it good?
Yeah, I love theseconversations, man.
Yeah, come back anytime, though.
Thanks so much.
Thanks for listening guys.
Thanks, man.
See you soon man wasn't thatsweet.
I absolutely loved having thatconversation.
So many pearls of wisdom.
Thank you so much for listening.
I really hope you got a lot outof that conversation and hey

(01:14:04):
guys, if you really like whatI'm doing here and you want to
help support the show and keepthis thing going, you can do so
by signing up to the patreon atpatreoncom slash, go, pluck
yourself, pod and contributingas little as five dollars a
month towards the show.
Now here's the thing.
I'm not interested in doing anysort of tiered payment system
with Patreon.
If you can't afford tocontribute to the show, that's
totally fine.
You'll still be able to listenfor free.

(01:14:26):
You'll get the exact same show.
All contributions arecompletely voluntary.
Think about it like when yousee a busker and you can either
drop in a fiver or you can justgive him a smile and enjoy the
music.
You know, either way, I'm stillgoing to sing to you.
Okay, two things to rememberwith Patreon.
One, if you're using an iPhone,don't use the Patreon app,
because Apple will take 30% ofyour contribution just for using
this stupid app.

(01:14:46):
But you can avoid the 30% feeby using a browser like Safari
or Chrome.
It's an easy fix.
Two, when you go into Patreon,make sure you click See
Membership Options.
Don't press join for free.
Joining for free doesabsolutely nothing.
It's just a way for Patreon totake your data.
It doesn't mean you'recontributing anything towards
the show at all.
So press, see membershipoptions.
When you go to patreoncom,slash gopluckyourselfpod Guys.

(01:15:08):
Thank you so much for listening.
Please join me next week.
I have another really greatfriend on the show actor,
producer, assistant directorJazzy, aka JJ Leach.
It's a really lovely chat.
She's got some amazing insights.
She's the first filmmaker I'vehad on the show, but not the
last.
If you want a perspective fromsomeone that works behind the
camera, it's definitely one thatyou don't want to miss.

(01:15:30):
So please subscribe and followso you don't miss that episode
with JJ Leach.
All right, guys, my name isChris Gunn and hey, go pluck
yourself.

All Episodes

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

The Herd with Colin Cowherd

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Ep 2: Drama School, Delusion & Death of Ego with Connor Pullinger

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

Dateline NBC

The Herd with Colin Cowherd

All Episodes

Ep 2: Drama School, Delusion & Death of Ego with Connor Pullinger

Stuff You Should Know