March 13, 2025 • 31 mins
Acclaimed actor Teresa Palmer (The Fall Guy, A Discovery of Witches) joins How We Role to share tangible tips for actors. From starting as a background artist to landing the number one spot on the call sheet, Teresa’s journey has been nothing short of remarkable. Yet she remains incredibly generous with her knowledge. In fact, she’s eager to share all of her acting secrets with you—including how she prepares for roles and a hack for crying on cue.
Teresa Palmer is a globally recognized performer who has been nominated for multiple Best Actress awards, including Critics Choice and many others from her home country in Australia. You’ll likely recognize Teresa from her extensive onscreen work alongside some of the most acclaimed talents in the industry. She shared the screen with Cate Blanchett and Christian Bale in Knight of Cups. Appeared alongside Andrew Garfield in Mel Gibson’s Oscar-nominated film Hacksaw Ridge. With Daniel Radcliffe in December Boys and in Bedtime Stories with Adam Sandler.
According to IMDb, some other most popular credits are I Am Number Four,Warm Bodies and one of my favorites Take Me Home Tonight. More recently, Teresa wielded a sword in the SAG Award-winning blockbuster The Fall Guy, starring Ryan Gosling, Emily Blunt, and Hannah Waddingham.
Her TV career, is just as glittering, including leading the cast of the cult hit A Discovery of Witches. Teresa’s TV work continues with The Last Anniversary, an adaptation of Liane Moriarty’s book, and the show that brought us together today: Mix Tape.
This is - How We Role. Get cast today at castingnetworks.com.
Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
When it comes to working in entertainment,
there's a lot of hows, and theyall boil down to how we navigate
this wild industry.
While how we follow our dreamsis uncertain, how we roll along
the way is in our hands.
Welcome to how we Roll, apodcast for actors by Casting
(00:39):
Networks.
Have auditions over here.
I'm trying to self-tape for mylife, but also to have received
so much love for this podcast, Icannot believe the response,
and I know, on behalf of CastingNetworks, we are incredibly
thankful that you're tuning in,so thanks for doing that.
I'm also thrilled to share thatwe want you to be involved.
(01:01):
We would love to hear from youas far as the questions you have
, the big hows that you want tobe involved.
We would love to hear from youas far as the questions you have
, the big hows that you want tobe answered.
So please stay tuned to oursocial media pages, as well as
this podcast, to find outchances for how you can be
featured on the show.
As for today, buckle up,because we are about to gain
(01:27):
some incredible insights from atalent that has maintained an
international acting career forover two decades.
We're lucky enough to havesnagged a brief but inspiring
last-minute interview with theterrific Teresa Palmer.
Teresa Palmer is a globallyrecognized performer who has
been nominated for multiple BestActress Awards, including
(01:48):
Critics' Choice and many othersfrom her home country, australia
.
You'll recognize Teresa fromher extensive on-screen work,
often alongside some of the mostacclaimed talents in the
industry industry.
She shared the screen with CateBlanchett and Christian Bale in
Night of Cups, appearedalongside Andrew Garfield in Mel
(02:08):
Gibson's Oscar-nominated filmHacksaw Ridge, with Daniel
Radcliffe in December Boys, adamSandler and Keri Russell in
Bedtime Stories.
I mean, the list goes on.
According to IMDb, some of herother most popular credits are I
Am Number Four, the ZombieRom-Com, also known as a
Zomcomby okay, sorry Warm Bodiesand one of my favorites, take
(02:34):
Me Home Tonight.
More recently, you may havespotted Teresa wielding a sword
in the SAG Award-winningblockbuster the Fall Guy
starring Ryan Gosling, emilyBlunt and Hannah Waddingham.
And that's not even touching onher TV career, which most
recently includes leading thecast of the cult hit A Discovery
(02:54):
of Witches.
Teresa's TV work continues withthe Last Anniversary, an
adaptation of Leigh-AnneMoriarty's book, and the show
that brought us together heretoday Mixtape.
From starting as a backgroundartist to landing the number one
(03:17):
spot on the call sheet,teresa's journey has been
nothing short of remarkable, yetshe remains incredibly generous
with her knowledge.
In fact, she's eager to shareall of her acting secrets away.
Okay, do you know the filmSorcerer's Apprentice?
She was in that too.
She even shares a reallytangible hack for crying on
(03:39):
command.
This was a double recordingsession, so if you'd like to
hear more from Teresa and I,please check out my other
podcast, the Art of Kindness,for an uplifting listen.
No pressure, of course.
Now let's get rolling withTeresa Palmer.
(04:07):
Friends, today I am sittingwith the most ethereal and
sparkling talent.
Please welcome, teresa Palmer.
Thank you for being here on howwe Roll.
Speaker 2 (04:17):
Oh, thanks for having me.
I'm excited for this chat.
Speaker 1 (04:21):
This is going to be fun.
We are here to help our actingcommunity.
So before we get to yourmagnificent new series Mixtape,
I did kind of go back to thevery beginning.
I followed Julie Andrews allthe way down there and I loved
researching your early careerand I admire just the hustle you
seem to put into it.
You know, from gigs as, I think, santa's elf at the mall to
(04:42):
doing background work in films,and so in looking at advice for
actors starting out, what sortof early paid performing
experiences do you think werethe most formative for you?
Speaker 2 (04:55):
I would also say the unpaid.
Speaker 1 (04:58):
The unpaid.
That's true.
That's a good note I'm takingthat.
Speaker 2 (05:01):
I did a couple of unpaid experiences too.
When I was younger, I startedaround 16 and I was at this
little acting agency in Adelaidecalled Actors Inc.
And there was always a pinboard with like actors wanted
for a short film, actors wantedfor a student film, actors
wanted you know whatever unpaidand I was like, why not?
(05:25):
I want to do a short film.
So I did a couple of shortfilms.
Speaker 1 (05:28):
One was called hot, hot heat and the other one was
it cold?
Speaker 2 (05:32):
no, it was all it was about a heat wave in Australia,
and then another one calledwhen the clock struck 12, and
they were both bum, bum, bum.
Speaker 1 (05:44):
Thank you what happened?
Speaker 2 (05:45):
I mean I don't know.
I'm pretty sure the clockstruck 12 at some point, but I
don't remember what happened Iguess we just all blacked out at
12.
Speaker 1 (05:53):
There we go I'm sure.
Speaker 2 (05:54):
Uh, so I did those two little films and it's funny,
I've actually bumped into thedirector of one of those has now
gone on to become a really bigproducer in the Australian film
industry and that just goes toshow, like the contacts that you
meet with, like studentfilmmakers and producers who are
(06:17):
in the hustle, they've got thepassion they're trying to make
their films going.
It's sometimes worth havingthat on-set experience because
you're making connections butyou're also seeing how a set
works.
So I started there and then Istarted doing a few paid things.
So extra work, background work.
I was an extra on deck dogs.
(06:38):
I was an extra on warm body ohmy God, not warm bodies,
definitely not an extra on warmbodies.
Speaker 1 (06:44):
Were you an extra too .
Speaker 2 (06:45):
Wow, that's impressive yeah, sorry, no, a
massive movie in australia as aone of our most iconic horror
films of all time.
It's called wolf creek andpeople still talk about this
movie.
It's terrifying, but I was anextra in it and it's quite funny
actually, like years later somejournalists when I was kind of
(07:08):
starting out in Hollywood wouldbe like, oh, you're amazing and
Wolf Creek, like it starred, itwas a massive movie.
How did that feel to?
Elle was like well, I'veobviously not seen it because
let me just cross out my nextquestion.
Speaker 1 (07:22):
No, I'm just kidding, that's so funny.
Well, I'm glad you brought thatup, because background work
really is another way.
It sort of combines what youjust talked about.
It's a great way that's lowerstakes, maybe to cut your teeth
but also get paid and then learnhow a set works.
Speaker 2 (07:37):
Right.
And then also this is what Idid.
I was just watching those leadactors and I remember on Wolf
Creek watching this actress hername's Kesti Morasi.
She was the lead of this moviewhich ended up going massive,
and she was so brave and at thetime I was like, oh my God, she
had to act drunk and she was soloud and she was like, oh, she
(08:02):
was just doing.
And I was like, oh my God, I'dbe so embarrassed to do that.
But look at her, she's justgoing for it and she seems drunk
and it's so real.
And I remember that was my firstlesson in like bravery as a
performer and not caring whatother people think of you when
you're up there.
And I saw her and I was like,could I do that?
(08:23):
Like I'm so shy, I would be soshy to do that, but I was
watching her in her element andthen I never forgot that.
I never forgot watching herlike that.
And then I thought you got tojust let go of how other people,
how you think other people arejudging you.
And then I got my very firstopportunity in this Adam Sandler
(08:45):
movie called Bedtime Stories,where I was meant to be crazy
proud.
I love that movie too, thanks,and I'm meant to be on the
pedestal being just this crazywoman.
I remember being like, oh myGod, I'm going to be so
embarrassed in front of allthese extras and these people
watching, and I just went for itand I remembered okay, kesti
(09:06):
Murasi did this on Wolf Creek.
Now it's my shot to show theseback, the background players,
the extras that you got to justjump in and be brave.
Speaker 1 (09:16):
Yes, that was like a full circle moment for me that's
really beautiful and it's funnybecause before we started
recording here you told me youtell your kids, you know, don't
pop someone's spirit, and Ithink that kind of is one in the
same of learning, like whenyou're judged you don't feel
safe to kind of be that wild,crazy person in the scene
because you're automaticallythinking everybody's judging you
.
So what a gift you're giving toyour kids and I encourage
(09:38):
everybody out there, don't poppeople's spirits or balloons
literally, because it'll pop.
Yeah, and I love to you bringup this big Australian film as
we get into mixtape here.
You know this deals with yourcharacter having to go back home
and I'd love to ask you aboutyour home market of Australia,
(10:04):
if you will, because CastingNetworks has a lot of actors
interested in working there andyou've worked all over the world
.
You know what have you seenthat is different about that
Australian market for actorssort of like working in
Australia specifically.
Speaker 2 (10:11):
Well, if you're American and you come to
Australia to work, it's a reallygood time to do that because so
many massive American shows andmovies are being produced and
made and filmed here inAustralia.
So they are always going out tocasting directors looking for
people who can do an authenticAmerican accent.
(10:33):
So my husband, Mark Webber he'sa filmmaker and an actor.
He has an American accent andhe has an agent here and
suddenly he is working so muchbecause he's authentically
American and he's just about togo shoot something where he
plays a Marine and rather than alot of the Australian actors
(10:56):
putting on the American accent,they're oftentimes looking for
actual American performers.
So that's a really good thingfor Americans who want to come
to Australia.
And I will say the pool is justsmaller here.
We have a really big industry,but it's smaller here.
I feel like there's not as muchcompetition in Australia as
(11:18):
there is in America.
I feel every second person whenI'm in Los Angeles is an actor
and going up is just so hard.
You're really in the right racethere.
But I think if you find acountry like Australia, or even
if you go to a place like a citylike London, like really
(11:38):
immersing yourself into theculture, into the art scene.
Screenings, attending premieres,trying to get to industry
events All of that is really,really important and Australia
is making very good quality work.
The crews are incredible, thestories and narratives are
sensational and they travel,like as we see with mixtape we.
(12:03):
This was an international storybecause it's set in sheffield
and also australia, but we shotin australia, a little bit in
ireland and now of course, it'son a stage at south by southwest
um having this americanpremiere.
So it's exciting.
It it's a global industry andjust because you come from the
(12:24):
country you come from doesn'tmean you can't travel and try
and seek opportunities elsewhere.
Speaker 1 (12:29):
That's very inspiring and you know.
Now that we're at Mixtape 2, Iwant to ask you you've played a
range of roles as we touched onin our other recording from.
You know huge productions likeTake Me Home Tonight and Warm
Bodies to Fall Guy.
I know your series Mixtape is.
I believe it's based on a novel.
So when you're taking on a newrole like this specifically, how
(12:50):
do you prepare?
You know, where do you start?
When you're preparing as anactor, is it kind of always the
same process?
Does it depend on the project?
Speaker 2 (12:59):
It just really depends this one.
I took a look at the book but Iknew that they had changed some
aspects of it.
I really listened to a lot ofmusic.
I worked with dialect coachbecause we were actually quite
unsure as to where we were goingto land this accent, because
the younger version of mycharacter has a very thick
(13:21):
Sheffield accent and then theolder version, she's completely
shapeshifted so she's droppedaspects of who she was,
including her accent.
She's just really committed tothe Australian accent.
Now she'd been living inAustralia for, you know, 25
years or whatever it is, um.
So that was hard, um, workingwith a dialect coach to try and
(13:44):
figure out, like, where do weland with this accent?
And then the other prep isreally just about backstory,
knowing, understanding thetrauma that my character has
been through.
The trauma is immense, um, andit's deeply impactful on her.
And how does that manifestitself physically in her
(14:06):
relationships, in her way aboutthe world, the way she walks,
the friendship she has, herrelationship with her children,
and so that was just a lot ofkind of free writing, like
journaling, writing about thatexperience.
And then that's kind of theprep that I do, and then I let
it all go and then I'm justmoment to moment with the actor
(14:28):
and reacting, literally justreacting to what they're giving
me and then being in a flow withmy fellow performer and that's
it.
Speaker 1 (14:38):
I love that.
Thank you for breaking thatdown, because I feel like
sometimes it's hard forperformers to break down their
approach, or sometimes peoplefear that they're going to give
away their secrets.
Throw all my secrets away.
Sorry, I can't stop singingthis song give away all my
secrets.
Speaker 2 (14:52):
I always say, like the more people are doing this
work and living their dreams andbeing passionate about what
they love to do, like the better.
Like I want other people tosucceed.
I want people's dreams to cometrue, that this is such an
amazing industry to be in.
And so often people are like,oh, would you discourage your
(15:13):
children from being in theindustry?
I was like, how would I ever dothat?
I've had the best life.
I'm having the most amazingexperiences.
If my kids are passionate aboutthis, I would say go for it.
And I'm the sort of personthat's like I want everyone to
succeed.
So if I can give anyone adviceand I get to watch them succeed,
(15:34):
like that's so exciting.
Speaker 1 (15:36):
Oh, it radiates and it's contagious.
I love that.
That's so beautiful.
You know you mentioned fleshingout your character of Alison,
and I think what's reallyprobably fun for you in this
show is that you have thatyounger version in Florence Hunt
, who's so brilliantly cast, bythe way, and so good in this
show as well.
I wonder did you haveconversations with her?
Did you get to watch her scenes?
(15:57):
You know what was yourcollaboration like with her,
while the story hinges on youand Jim.
Eventually I've only gotten tosee the first two, but I'm
guessing you know, I'm wonderinghow you two collaborated to
create one character.
Speaker 2 (16:10):
Well, we actually didn't collaborate at all,
because Sometimes that's thecase, okay.
Oh well, it was just likecircumstantial.
So I only had two days left offilming or three days left of
filming when she was cast.
She was cast so late in theprocess that I had already done
all my stuff and I was like, oh,I just hope that we fit.
(16:33):
And then when I met her, itdoes.
Yeah, lucy Gaffey, our director, was like you and Florence have
such a similar energy andessence about you that it's just
going to bleed through oncamera and it's just going to
work.
Speaker 1 (16:50):
Yeah, she's like.
I'm telling you it does, itdefinitely does.
Speaker 2 (16:54):
I've spoken to her to figure out what she was doing.
But when I saw it I was like Icannot believe how well this
fits.
And I will say the pressure wasoff a little bit because
obviously my character leavesbehind the trauma from the past
and completely changes hernarrative and completely like
(17:18):
does a rebirth and all of herlife.
So in some ways the pressurewas off because she could have
reinvented herself.
Yeah, but actually it workedreally well it really did, I'm
not gonna lie.
Speaker 1 (17:32):
When I started it I was like, oh, they're playing
the younger versions ofthemselves too.
And then I looked closer and Iwas like, oh wait, that's not
her.
I had like the take me hometonight, vibe.
I'm like, oh, it's just back in.
I had like the take me hometonight, vibe.
I'm like, oh, it's just back in, kind of in the 80s again.
Yeah, I loved what you sharedtoo about.
I heard you and Jim mademixtapes for each other, which
is kind of a fun acting exercise, you know we did.
Speaker 2 (17:52):
We shared a lot of mixtapes together.
Um, he is really big in themusic scene.
In fact he has his own band,he's king curious, and he
releases albums and it's kind ofa really it's like genre
blending, it's kind of a littlebit of hip-hop, but then it's
like also alternative and it'sso cool.
(18:13):
His music's fantastic, butobviously that's a really big
part of his life.
So he made me a mi mixtape forAlison with all these different
songs.
Peter Gabriel was on it, whichwas so beautiful.
And then we both found out thatwe love 90s rap, hip-hop, like
New York rappers, and so we mademixtapes for each other.
(18:36):
On mine for him I had a lot ofGangsta, krs-one, master, ace
Mobb, deep Big L and he had alot of the similar artists and
he gave me some European UKrappers and we just swapped and
it was really cool.
(18:57):
It set the tone for the wholeshow, really for us.
Speaker 1 (18:59):
I love that.
It's just got to keep it funand creative, and that's a
wonderful way to do that.
I know I have to let you gosoon, so if you would indulge me
, I have a bit of a surprisegame, if you don't mind playing
right, we're gonna make amixtape of casting keywords.
So basically this is kind of aflash round.
We play on how we roll whereI'm gonna throw out like a
(19:20):
keyword or a phrase from theacting world universe and you
just respond with like a concisepiece of advice that pops into
your head.
So it's almost like wordassociation, but hopefully like
maybe a little, a littleinspiring sentence.
Okay, I'll try I think you'll begood at it.
It's all with the goal of ofhaving fun and helping our, our
fellow actors here.
So whenever you're ready, we'llstart.
(19:43):
I don't have a time, okay,three, two, I'll start off.
Speaker 2 (19:48):
Pretty easy, okay, acting acting um, you know uh,
breathing life into charactersin an authentic way.
Speaker 1 (20:02):
That was beautiful.
Speaker 2 (20:07):
Auditions.
I hate them.
An opportunity to showcase whatyou can do, no matter your
flavor.
So don't get caught up on beingthe right fit.
Just showcase your flavor,finding your flavor, so don't
get caught up on being the rightfit just show your flavor.
Speaker 1 (20:25):
Finding your flavor like how someone finding their
flavor.
I just need to.
I need advice on that.
How do we find?
Speaker 2 (20:34):
our flavor tree.
Find your flavor flavor flavor.
Speaker 1 (20:37):
Okay, headshots and resumes.
What's what's the deal on that?
Um, you probably don't have todeal with them as much anymore,
I'm guessing.
Speaker 2 (20:45):
But yeah, well, oh, I will say.
When I was younger, I fleshedout my resume, every short film,
every, even my, um wolf creek,my.
I gave myself a name.
I was like Tina pool partyperson.
Speaker 1 (21:09):
And little did you know you were going to mislead a
journalist way down the line, Iknow, don't be afraid.
Speaker 2 (21:12):
Don't be afraid to really beef that.
Resume up with everythingyou've ever done, make it look
nice and long and juicy.
And then headshots oh oh, Ifind them so hard, I, I find
them so hard.
Find your angle.
And then, um, just get a greatphotographer.
Look, make sure you find theright photographer.
(21:33):
Look through their stuff firstthat's relatable.
Speaker 1 (21:36):
I appreciate that casting breakdowns okay reading
like a casting breakdown.
How do you go about that?
Speaker 2 (21:44):
Well, I would say they're just giving you the show
notes, so take them with agrain of salt and build out your
own version of this person.
So take each little note thatyou get and apply it to the
backstory that you create.
I create a backstory for all mycharacters, including all the
(22:04):
ones I'm auditioning for that'sso fun.
Speaker 1 (22:08):
Okay, networking as an actor, I know that's kind of.
It can be a dirty word.
Speaker 2 (22:12):
I'm terrible at it.
I really am.
Um, and I'm going to give you aquick example, please.
When I was an actor on DeckDogs, I went up to the lead
actor and I spoke to him and Isaid, hey, what agency are you
at?
And I got the name of hisagency and I wrote it down
(22:34):
Shanahan and I ended up signingwith them three years later, wow
, and if I hadn't have got thename of the lead guy's agent, I
wouldn't have known about thisagency, shanahan Management and
I ended up signing with them.
So don't be afraid to putyourself out there and ask
questions and get phone numbersof producers, and don't be
(22:58):
afraid to do that in the earlydays.
I'm terrible at it.
Now.
I don't go to any of the events.
I don't go to any of the events.
I don't go to any of the things.
I don't do any of theschmoozing.
I could be a lot better at that.
I don't do any of it.
Speaker 1 (23:09):
It's a lot.
I mean, you have kids now Ijust have cats and it's a lot
for me In the early days I getthat Okay, breaking down a
script like do you have anyquick tip on that Sort of like
your script analysis secret.
Speaker 2 (23:27):
It's always different , but okay, I'll give you one.
This is actually a tool I useall the time on every job.
It's called I've called it anemotional beat sheet.
So basically you write down adescription of the scene your
character's in and then I usecolored stickers to say where
(23:49):
they're at emotionallyVulnerable, angry, confused,
contented.
And so then the next scene thatyou see them in a little short
description of the scene andthen I put my sticker where
they're emotionally at.
So that way it's a cheat sheet.
So when you're looking throughyour script you can see where
(24:12):
your characters just come from,where they're at in the scene
before emotionally and where youshould be at in the scene.
And that helps with theemotional continuity.
That's brilliant.
Okay, everybody re-listen tothat.
And then I mean, does that helpyou?
Speaker 1 (24:21):
crying on cue and that helps with the emotional
continuity.
That's brilliant.
Okay, everybody re-listen tothat.
And then I mean does that helpyou crying on cue?
Do you have a tip for that?
Because everybody seems to havedifferent answers.
Speaker 2 (24:29):
I have a practical tip.
I have a really practical tip.
So there are some people wholisten to particular music
that's triggering.
I used to do that in the earlydays.
Now it could just be my eyes,but something that I do is after
(24:52):
hair and makeup are touchingyou up and you know you're about
to go on practice some Ujjayiyogic breath where it's a deep,
you know that deep breath thatyou have and keep your eyes open
.
So you're doing the breath andalready you can see my eyes now.
Speaker 1 (25:14):
Oh my gosh yeah.
Speaker 2 (25:16):
So it's like a deep ujjayi breath, but keep your
eyes open, don't blink, and itbrings a heat to behind your
eyes that makes you seem upset.
Let's see, look at my eyes.
I just did it very briefly.
So it makes seem upset andemotional and vulnerable and
that just brings the body tothat place.
(25:38):
Um, and then from there you canaccess those emotions and
sometimes it's about um swappingthe character with someone in
your own life that triggers orsomething sad.
Yeah, yeah, or je.
Breath is like just a physical,a physical thing to do no,
(25:59):
that's brilliant.
Speaker 1 (26:00):
I'm like I'm trying to do it with my eyes.
No, that's amazing because ityou will respond to your body
doing that.
I even noticed it in, I think,one of your first scenes in in
mixtape, on the on the fieldthere.
You had that moment of justlike quickly, like you conjured
up so much emotion.
It was brilliantly done, sothat's incredibly helpful.
Thank you for sharing that.
Speaker 2 (26:17):
A muscle of mine I'm I that is such a muscle of mine
I'm I.
That is such a muscle for me.
Now, like I know, I can alwayscry on cue, but in the early
days I use the menthol sticks.
You know, in my first movie itwas someone blowing menthol into
my eyes to make that happen.
And now, of course, I don'tneed that anymore.
Speaker 1 (26:36):
Wow, that's amazing.
Thank you for sharing that.
Thank you for your openness.
You're going to help so manyactors listening.
I know I have to let you go, soif you could just leave us with
the best piece of advice youhave for actors in general I
know it's a big questionAnything that comes to mind that
you feel like you want thesewonderful, sparkling, magical
humans listening to take withthem Home tonight.
(26:59):
Okay, sorry, I won't do thatagain home tonight.
Speaker 2 (27:08):
Okay, sorry, I won't do that again.
Um so I'm a massive, passionatemanifesting fan.
I believe I manifested my entirecareer in so many ways, but a
huge part of manifesting istaking inspired action.
So all my journals I could readthem right now.
All my journals I could readthem right now.
All my journals from when I was14, 15, 16.
I am an actress, I am workingin Hollywood, I'm working with
(27:28):
the biggest stars, I amrepresented by the William
Morris Agency, I am working backto back on inspiring jobs.
So I wrote this all out and Itruly believed it.
There was no plan B.
This is what it was.
And then the intention you'reputting out into the universe is
like this is what I'm doingwith my life, I'm being paid
(27:51):
this much money for it, I'mtraveling the world, and then
the inspired action will come,which will be what are the small
steps that you take in order toreach that goal?
And for me, those were sayingyes to the short film, saying
and you know what student film.
I said yes to A little filmcalled 237 that an 18-year-old
(28:14):
director did in Adelaide and itpremiered at Cannes Wow, cannes
Film Festival, and itkick-started my career.
And it's because I said yes tothis tiny little student film
that premiered at the CannesFilm Festival and American
agents plucked me from there andso started my career.
Speaker 1 (28:33):
Wow, you never know the power of yes when it feels
right.
Speaker 2 (28:37):
Yes, yes, yes, exactly, exactly.
So that is my advice.
Speaker 1 (28:43):
Thank you so much.
Well, I'm glad you said yes tospending a little time with me
today and to being in Mixtape.
I can't wait to keep watchingit and to see what you do next.
So thank you so much, Teresa.
You're such a delight.
Sorry about that.
It's really fun.
Oh, I'm glad.
When it comes to working in entertainment,
there's a lot of hows, and theyall boil down to how we navigate
this wild industry.
While how we follow our dreamsis uncertain, how we roll along
the way is in our hands.
Welcome to how we Roll, apodcast for actors by Casting
(00:39):
Networks.
Have auditions over here.
I'm trying to self-tape for mylife, but also to have received
so much love for this podcast, Icannot believe the response,
and I know, on behalf of CastingNetworks, we are incredibly
thankful that you're tuning in,so thanks for doing that.
I'm also thrilled to share thatwe want you to be involved.
(01:01):
We would love to hear from youas far as the questions you have
, the big hows that you want tobe involved.
We would love to hear from youas far as the questions you have
, the big hows that you want tobe answered.
So please stay tuned to oursocial media pages, as well as
this podcast, to find outchances for how you can be
featured on the show.
As for today, buckle up,because we are about to gain
(01:27):
some incredible insights from atalent that has maintained an
international acting career forover two decades.
We're lucky enough to havesnagged a brief but inspiring
last-minute interview with theterrific Teresa Palmer.
Teresa Palmer is a globallyrecognized performer who has
been nominated for multiple BestActress Awards, including
(01:48):
Critics' Choice and many othersfrom her home country, australia
.
You'll recognize Teresa fromher extensive on-screen work,
often alongside some of the mostacclaimed talents in the
industry industry.
She shared the screen with CateBlanchett and Christian Bale in
Night of Cups, appearedalongside Andrew Garfield in Mel
(02:08):
Gibson's Oscar-nominated filmHacksaw Ridge, with Daniel
Radcliffe in December Boys, adamSandler and Keri Russell in
Bedtime Stories.
I mean, the list goes on.
According to IMDb, some of herother most popular credits are I
Am Number Four, the ZombieRom-Com, also known as a
Zomcomby okay, sorry Warm Bodiesand one of my favorites, take
(02:34):
Me Home Tonight.
More recently, you may havespotted Teresa wielding a sword
in the SAG Award-winningblockbuster the Fall Guy
starring Ryan Gosling, emilyBlunt and Hannah Waddingham.
And that's not even touching onher TV career, which most
recently includes leading thecast of the cult hit A Discovery
(02:54):
of Witches.
Teresa's TV work continues withthe Last Anniversary, an
adaptation of Leigh-AnneMoriarty's book, and the show
that brought us together heretoday Mixtape.
From starting as a backgroundartist to landing the number one
(03:17):
spot on the call sheet,teresa's journey has been
nothing short of remarkable, yetshe remains incredibly generous
with her knowledge.
In fact, she's eager to shareall of her acting secrets away.
Okay, do you know the filmSorcerer's Apprentice?
She was in that too.
She even shares a reallytangible hack for crying on
(03:39):
command.
This was a double recordingsession, so if you'd like to
hear more from Teresa and I,please check out my other
podcast, the Art of Kindness,for an uplifting listen.
No pressure, of course.
Now let's get rolling withTeresa Palmer.
(04:07):
Friends, today I am sittingwith the most ethereal and
sparkling talent.
Please welcome, teresa Palmer.
Thank you for being here on howwe Roll.
Speaker 2 (04:17):
Oh, thanks for having me.
I'm excited for this chat.
Speaker 1 (04:21):
This is going to be fun.
We are here to help our actingcommunity.
So before we get to yourmagnificent new series Mixtape,
I did kind of go back to thevery beginning.
I followed Julie Andrews allthe way down there and I loved
researching your early careerand I admire just the hustle you
seem to put into it.
You know, from gigs as, I think, santa's elf at the mall to
(04:42):
doing background work in films,and so in looking at advice for
actors starting out, what sortof early paid performing
experiences do you think werethe most formative for you?
Speaker 2 (04:55):
I would also say the unpaid.
Speaker 1 (04:58):
The unpaid.
That's true.
That's a good note I'm takingthat.
Speaker 2 (05:01):
I did a couple of unpaid experiences too.
When I was younger, I startedaround 16 and I was at this
little acting agency in Adelaidecalled Actors Inc.
And there was always a pinboard with like actors wanted
for a short film, actors wantedfor a student film, actors
wanted you know whatever unpaidand I was like, why not?
(05:25):
I want to do a short film.
So I did a couple of shortfilms.
Speaker 1 (05:28):
One was called hot, hot heat and the other one was
it cold?
Speaker 2 (05:32):
no, it was all it was about a heat wave in Australia,
and then another one calledwhen the clock struck 12, and
they were both bum, bum, bum.
Speaker 1 (05:44):
Thank you what happened?
Speaker 2 (05:45):
I mean I don't know.
I'm pretty sure the clockstruck 12 at some point, but I
don't remember what happened Iguess we just all blacked out at
12.
Speaker 1 (05:53):
There we go I'm sure.
Speaker 2 (05:54):
Uh, so I did those two little films and it's funny,
I've actually bumped into thedirector of one of those has now
gone on to become a really bigproducer in the Australian film
industry and that just goes toshow, like the contacts that you
meet with, like studentfilmmakers and producers who are
(06:17):
in the hustle, they've got thepassion they're trying to make
their films going.
It's sometimes worth havingthat on-set experience because
you're making connections butyou're also seeing how a set
works.
So I started there and then Istarted doing a few paid things.
So extra work, background work.
I was an extra on deck dogs.
(06:38):
I was an extra on warm body ohmy God, not warm bodies,
definitely not an extra on warmbodies.
Speaker 1 (06:44):
Were you an extra too .
Speaker 2 (06:45):
Wow, that's impressive yeah, sorry, no, a
massive movie in australia as aone of our most iconic horror
films of all time.
It's called wolf creek andpeople still talk about this
movie.
It's terrifying, but I was anextra in it and it's quite funny
actually, like years later somejournalists when I was kind of
(07:08):
starting out in Hollywood wouldbe like, oh, you're amazing and
Wolf Creek, like it starred, itwas a massive movie.
How did that feel to?
Elle was like well, I'veobviously not seen it because
let me just cross out my nextquestion.
Speaker 1 (07:22):
No, I'm just kidding, that's so funny.
Well, I'm glad you brought thatup, because background work
really is another way.
It sort of combines what youjust talked about.
It's a great way that's lowerstakes, maybe to cut your teeth
but also get paid and then learnhow a set works.
Speaker 2 (07:37):
Right.
And then also this is what Idid.
I was just watching those leadactors and I remember on Wolf
Creek watching this actress hername's Kesti Morasi.
She was the lead of this moviewhich ended up going massive,
and she was so brave and at thetime I was like, oh my God, she
had to act drunk and she was soloud and she was like, oh, she
(08:02):
was just doing.
And I was like, oh my God, I'dbe so embarrassed to do that.
But look at her, she's justgoing for it and she seems drunk
and it's so real.
And I remember that was my firstlesson in like bravery as a
performer and not caring whatother people think of you when
you're up there.
And I saw her and I was like,could I do that?
(08:23):
Like I'm so shy, I would be soshy to do that, but I was
watching her in her element andthen I never forgot that.
I never forgot watching herlike that.
And then I thought you got tojust let go of how other people,
how you think other people arejudging you.
And then I got my very firstopportunity in this Adam Sandler
(08:45):
movie called Bedtime Stories,where I was meant to be crazy
proud.
I love that movie too, thanks,and I'm meant to be on the
pedestal being just this crazywoman.
I remember being like, oh myGod, I'm going to be so
embarrassed in front of allthese extras and these people
watching, and I just went for itand I remembered okay, kesti
(09:06):
Murasi did this on Wolf Creek.
Now it's my shot to show theseback, the background players,
the extras that you got to justjump in and be brave.
Speaker 1 (09:16):
Yes, that was like a full circle moment for me that's
really beautiful and it's funnybecause before we started
recording here you told me youtell your kids, you know, don't
pop someone's spirit, and Ithink that kind of is one in the
same of learning, like whenyou're judged you don't feel
safe to kind of be that wild,crazy person in the scene
because you're automaticallythinking everybody's judging you
.
So what a gift you're giving toyour kids and I encourage
(09:38):
everybody out there, don't poppeople's spirits or balloons
literally, because it'll pop.
Yeah, and I love to you bringup this big Australian film as
we get into mixtape here.
You know this deals with yourcharacter having to go back home
and I'd love to ask you aboutyour home market of Australia,
(10:04):
if you will, because CastingNetworks has a lot of actors
interested in working there andyou've worked all over the world
.
You know what have you seenthat is different about that
Australian market for actorssort of like working in
Australia specifically.
Speaker 2 (10:11):
Well, if you're American and you come to
Australia to work, it's a reallygood time to do that because so
many massive American shows andmovies are being produced and
made and filmed here inAustralia.
So they are always going out tocasting directors looking for
people who can do an authenticAmerican accent.
(10:33):
So my husband, Mark Webber he'sa filmmaker and an actor.
He has an American accent andhe has an agent here and
suddenly he is working so muchbecause he's authentically
American and he's just about togo shoot something where he
plays a Marine and rather than alot of the Australian actors
(10:56):
putting on the American accent,they're oftentimes looking for
actual American performers.
So that's a really good thingfor Americans who want to come
to Australia.
And I will say the pool is justsmaller here.
We have a really big industry,but it's smaller here.
I feel like there's not as muchcompetition in Australia as
(11:18):
there is in America.
I feel every second person whenI'm in Los Angeles is an actor
and going up is just so hard.
You're really in the right racethere.
But I think if you find acountry like Australia, or even
if you go to a place like a citylike London, like really
(11:38):
immersing yourself into theculture, into the art scene.
Screenings, attending premieres,trying to get to industry
events All of that is really,really important and Australia
is making very good quality work.
The crews are incredible, thestories and narratives are
sensational and they travel,like as we see with mixtape we.
(12:03):
This was an international storybecause it's set in sheffield
and also australia, but we shotin australia, a little bit in
ireland and now of course, it'son a stage at south by southwest
um having this americanpremiere.
So it's exciting.
It it's a global industry andjust because you come from the
(12:24):
country you come from doesn'tmean you can't travel and try
and seek opportunities elsewhere.
Speaker 1 (12:29):
That's very inspiring and you know.
Now that we're at Mixtape 2, Iwant to ask you you've played a
range of roles as we touched onin our other recording from.
You know huge productions likeTake Me Home Tonight and Warm
Bodies to Fall Guy.
I know your series Mixtape is.
I believe it's based on a novel.
So when you're taking on a newrole like this specifically, how
(12:50):
do you prepare?
You know, where do you start?
When you're preparing as anactor, is it kind of always the
same process?
Does it depend on the project?
Speaker 2 (12:59):
It just really depends this one.
I took a look at the book but Iknew that they had changed some
aspects of it.
I really listened to a lot ofmusic.
I worked with dialect coachbecause we were actually quite
unsure as to where we were goingto land this accent, because
the younger version of mycharacter has a very thick
(13:21):
Sheffield accent and then theolder version, she's completely
shapeshifted so she's droppedaspects of who she was,
including her accent.
She's just really committed tothe Australian accent.
Now she'd been living inAustralia for, you know, 25
years or whatever it is, um.
So that was hard, um, workingwith a dialect coach to try and
(13:44):
figure out, like, where do weland with this accent?
And then the other prep isreally just about backstory,
knowing, understanding thetrauma that my character has
been through.
The trauma is immense, um, andit's deeply impactful on her.
And how does that manifestitself physically in her
(14:06):
relationships, in her way aboutthe world, the way she walks,
the friendship she has, herrelationship with her children,
and so that was just a lot ofkind of free writing, like
journaling, writing about thatexperience.
And then that's kind of theprep that I do, and then I let
it all go and then I'm justmoment to moment with the actor
(14:28):
and reacting, literally justreacting to what they're giving
me and then being in a flow withmy fellow performer and that's
it.
Speaker 1 (14:38):
I love that.
Thank you for breaking thatdown, because I feel like
sometimes it's hard forperformers to break down their
approach, or sometimes peoplefear that they're going to give
away their secrets.
Throw all my secrets away.
Sorry, I can't stop singingthis song give away all my
secrets.
Speaker 2 (14:52):
I always say, like the more people are doing this
work and living their dreams andbeing passionate about what
they love to do, like the better.
Like I want other people tosucceed.
I want people's dreams to cometrue, that this is such an
amazing industry to be in.
And so often people are like,oh, would you discourage your
(15:13):
children from being in theindustry?
I was like, how would I ever dothat?
I've had the best life.
I'm having the most amazingexperiences.
If my kids are passionate aboutthis, I would say go for it.
And I'm the sort of personthat's like I want everyone to
succeed.
So if I can give anyone adviceand I get to watch them succeed,
(15:34):
like that's so exciting.
Speaker 1 (15:36):
Oh, it radiates and it's contagious.
I love that.
That's so beautiful.
You know you mentioned fleshingout your character of Alison,
and I think what's reallyprobably fun for you in this
show is that you have thatyounger version in Florence Hunt
, who's so brilliantly cast, bythe way, and so good in this
show as well.
I wonder did you haveconversations with her?
Did you get to watch her scenes?
(15:57):
You know what was yourcollaboration like with her,
while the story hinges on youand Jim.
Eventually I've only gotten tosee the first two, but I'm
guessing you know, I'm wonderinghow you two collaborated to
create one character.
Speaker 2 (16:10):
Well, we actually didn't collaborate at all,
because Sometimes that's thecase, okay.
Oh well, it was just likecircumstantial.
So I only had two days left offilming or three days left of
filming when she was cast.
She was cast so late in theprocess that I had already done
all my stuff and I was like, oh,I just hope that we fit.
(16:33):
And then when I met her, itdoes.
Yeah, lucy Gaffey, our director, was like you and Florence have
such a similar energy andessence about you that it's just
going to bleed through oncamera and it's just going to
work.
Speaker 1 (16:50):
Yeah, she's like.
I'm telling you it does, itdefinitely does.
Speaker 2 (16:54):
I've spoken to her to figure out what she was doing.
But when I saw it I was like Icannot believe how well this
fits.
And I will say the pressure wasoff a little bit because
obviously my character leavesbehind the trauma from the past
and completely changes hernarrative and completely like
(17:18):
does a rebirth and all of herlife.
So in some ways the pressurewas off because she could have
reinvented herself.
Yeah, but actually it workedreally well it really did, I'm
not gonna lie.
Speaker 1 (17:32):
When I started it I was like, oh, they're playing
the younger versions ofthemselves too.
And then I looked closer and Iwas like, oh wait, that's not
her.
I had like the take me hometonight, vibe.
I'm like, oh, it's just back in.
I had like the take me hometonight, vibe.
I'm like, oh, it's just back in, kind of in the 80s again.
Yeah, I loved what you sharedtoo about.
I heard you and Jim mademixtapes for each other, which
is kind of a fun acting exercise, you know we did.
Speaker 2 (17:52):
We shared a lot of mixtapes together.
Um, he is really big in themusic scene.
In fact he has his own band,he's king curious, and he
releases albums and it's kind ofa really it's like genre
blending, it's kind of a littlebit of hip-hop, but then it's
like also alternative and it'sso cool.
(18:13):
His music's fantastic, butobviously that's a really big
part of his life.
So he made me a mi mixtape forAlison with all these different
songs.
Peter Gabriel was on it, whichwas so beautiful.
And then we both found out thatwe love 90s rap, hip-hop, like
New York rappers, and so we mademixtapes for each other.
(18:36):
On mine for him I had a lot ofGangsta, krs-one, master, ace
Mobb, deep Big L and he had alot of the similar artists and
he gave me some European UKrappers and we just swapped and
it was really cool.
(18:57):
It set the tone for the wholeshow, really for us.
Speaker 1 (18:59):
I love that.
It's just got to keep it funand creative, and that's a
wonderful way to do that.
I know I have to let you gosoon, so if you would indulge me
, I have a bit of a surprisegame, if you don't mind playing
right, we're gonna make amixtape of casting keywords.
So basically this is kind of aflash round.
We play on how we roll whereI'm gonna throw out like a
(19:20):
keyword or a phrase from theacting world universe and you
just respond with like a concisepiece of advice that pops into
your head.
So it's almost like wordassociation, but hopefully like
maybe a little, a littleinspiring sentence.
Okay, I'll try I think you'll begood at it.
It's all with the goal of ofhaving fun and helping our, our
fellow actors here.
So whenever you're ready, we'llstart.
(19:43):
I don't have a time, okay,three, two, I'll start off.
Speaker 2 (19:48):
Pretty easy, okay, acting acting um, you know uh,
breathing life into charactersin an authentic way.
Speaker 1 (20:02):
That was beautiful.
Speaker 2 (20:07):
Auditions.
I hate them.
An opportunity to showcase whatyou can do, no matter your
flavor.
So don't get caught up on beingthe right fit.
Just showcase your flavor,finding your flavor, so don't
get caught up on being the rightfit just show your flavor.
Speaker 1 (20:25):
Finding your flavor like how someone finding their
flavor.
I just need to.
I need advice on that.
How do we find?
Speaker 2 (20:34):
our flavor tree.
Find your flavor flavor flavor.
Speaker 1 (20:37):
Okay, headshots and resumes.
What's what's the deal on that?
Um, you probably don't have todeal with them as much anymore,
I'm guessing.
Speaker 2 (20:45):
But yeah, well, oh, I will say.
When I was younger, I fleshedout my resume, every short film,
every, even my, um wolf creek,my.
I gave myself a name.
I was like Tina pool partyperson.
Speaker 1 (21:09):
And little did you know you were going to mislead a
journalist way down the line, Iknow, don't be afraid.
Speaker 2 (21:12):
Don't be afraid to really beef that.
Resume up with everythingyou've ever done, make it look
nice and long and juicy.
And then headshots oh oh, Ifind them so hard, I, I find
them so hard.
Find your angle.
And then, um, just get a greatphotographer.
Look, make sure you find theright photographer.
(21:33):
Look through their stuff firstthat's relatable.
Speaker 1 (21:36):
I appreciate that casting breakdowns okay reading
like a casting breakdown.
How do you go about that?
Speaker 2 (21:44):
Well, I would say they're just giving you the show
notes, so take them with agrain of salt and build out your
own version of this person.
So take each little note thatyou get and apply it to the
backstory that you create.
I create a backstory for all mycharacters, including all the
(22:04):
ones I'm auditioning for that'sso fun.
Speaker 1 (22:08):
Okay, networking as an actor, I know that's kind of.
It can be a dirty word.
Speaker 2 (22:12):
I'm terrible at it.
I really am.
Um, and I'm going to give you aquick example, please.
When I was an actor on DeckDogs, I went up to the lead
actor and I spoke to him and Isaid, hey, what agency are you
at?
And I got the name of hisagency and I wrote it down
(22:34):
Shanahan and I ended up signingwith them three years later, wow
, and if I hadn't have got thename of the lead guy's agent, I
wouldn't have known about thisagency, shanahan Management and
I ended up signing with them.
So don't be afraid to putyourself out there and ask
questions and get phone numbersof producers, and don't be
(22:58):
afraid to do that in the earlydays.
I'm terrible at it.
Now.
I don't go to any of the events.
I don't go to any of the events.
I don't go to any of the things.
I don't do any of theschmoozing.
I could be a lot better at that.
I don't do any of it.
Speaker 1 (23:09):
It's a lot.
I mean, you have kids now Ijust have cats and it's a lot
for me In the early days I getthat Okay, breaking down a
script like do you have anyquick tip on that Sort of like
your script analysis secret.
Speaker 2 (23:27):
It's always different , but okay, I'll give you one.
This is actually a tool I useall the time on every job.
It's called I've called it anemotional beat sheet.
So basically you write down adescription of the scene your
character's in and then I usecolored stickers to say where
(23:49):
they're at emotionallyVulnerable, angry, confused,
contented.
And so then the next scene thatyou see them in a little short
description of the scene andthen I put my sticker where
they're emotionally at.
So that way it's a cheat sheet.
So when you're looking throughyour script you can see where
(24:12):
your characters just come from,where they're at in the scene
before emotionally and where youshould be at in the scene.
And that helps with theemotional continuity.
That's brilliant.
Okay, everybody re-listen tothat.
And then I mean, does that helpyou?
Speaker 1 (24:21):
crying on cue and that helps with the emotional
continuity.
That's brilliant.
Okay, everybody re-listen tothat.
And then I mean does that helpyou crying on cue?
Do you have a tip for that?
Because everybody seems to havedifferent answers.
Speaker 2 (24:29):
I have a practical tip.
I have a really practical tip.
So there are some people wholisten to particular music
that's triggering.
I used to do that in the earlydays.
Now it could just be my eyes,but something that I do is after
(24:52):
hair and makeup are touchingyou up and you know you're about
to go on practice some Ujjayiyogic breath where it's a deep,
you know that deep breath thatyou have and keep your eyes open
.
So you're doing the breath andalready you can see my eyes now.
Speaker 1 (25:14):
Oh my gosh yeah.
Speaker 2 (25:16):
So it's like a deep ujjayi breath, but keep your
eyes open, don't blink, and itbrings a heat to behind your
eyes that makes you seem upset.
Let's see, look at my eyes.
I just did it very briefly.
So it makes seem upset andemotional and vulnerable and
that just brings the body tothat place.
(25:38):
Um, and then from there you canaccess those emotions and
sometimes it's about um swappingthe character with someone in
your own life that triggers orsomething sad.
Yeah, yeah, or je.
Breath is like just a physical,a physical thing to do no,
(25:59):
that's brilliant.
Speaker 1 (26:00):
I'm like I'm trying to do it with my eyes.
No, that's amazing because ityou will respond to your body
doing that.
I even noticed it in, I think,one of your first scenes in in
mixtape, on the on the fieldthere.
You had that moment of justlike quickly, like you conjured
up so much emotion.
It was brilliantly done, sothat's incredibly helpful.
Thank you for sharing that.
Speaker 2 (26:17):
A muscle of mine I'm I that is such a muscle of mine
I'm I.
That is such a muscle for me.
Now, like I know, I can alwayscry on cue, but in the early
days I use the menthol sticks.
You know, in my first movie itwas someone blowing menthol into
my eyes to make that happen.
And now, of course, I don'tneed that anymore.
Speaker 1 (26:36):
Wow, that's amazing.
Thank you for sharing that.
Thank you for your openness.
You're going to help so manyactors listening.
I know I have to let you go, soif you could just leave us with
the best piece of advice youhave for actors in general I
know it's a big questionAnything that comes to mind that
you feel like you want thesewonderful, sparkling, magical
humans listening to take withthem Home tonight.
(26:59):
Okay, sorry, I won't do thatagain home tonight.
Speaker 2 (27:08):
Okay, sorry, I won't do that again.
Um so I'm a massive, passionatemanifesting fan.
I believe I manifested my entirecareer in so many ways, but a
huge part of manifesting istaking inspired action.
So all my journals I could readthem right now.
All my journals I could readthem right now.
All my journals from when I was14, 15, 16.
I am an actress, I am workingin Hollywood, I'm working with
(27:28):
the biggest stars, I amrepresented by the William
Morris Agency, I am working backto back on inspiring jobs.
So I wrote this all out and Itruly believed it.
There was no plan B.
This is what it was.
And then the intention you'reputting out into the universe is
like this is what I'm doingwith my life, I'm being paid
(27:51):
this much money for it, I'mtraveling the world, and then
the inspired action will come,which will be what are the small
steps that you take in order toreach that goal?
And for me, those were sayingyes to the short film, saying
and you know what student film.
I said yes to A little filmcalled 237 that an 18-year-old
(28:14):
director did in Adelaide and itpremiered at Cannes Wow, cannes
Film Festival, and itkick-started my career.
And it's because I said yes tothis tiny little student film
that premiered at the CannesFilm Festival and American
agents plucked me from there andso started my career.
Speaker 1 (28:33):
Wow, you never know the power of yes when it feels
right.
Speaker 2 (28:37):
Yes, yes, yes, exactly, exactly.
So that is my advice.
Speaker 1 (28:43):
Thank you so much.
Well, I'm glad you said yes tospending a little time with me
today and to being in Mixtape.
I can't wait to keep watchingit and to see what you do next.
So thank you so much, Teresa.
You're such a delight.
Sorry about that.
It's really fun.
Oh, I'm glad.
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