"Stop Acting!" The Brutal Feedback Every Stage Actor Needs to Hear| Ep. 28

MAX: 00:14
I'm Max. I'm Sam. And we've got a great show for you today. I know I say that all the time, actually. It just flows. It just flows.

SAM: 00:19
I know, it's it's great.

MAX: 00:20
We went to see a play on Saturday.

SAM: 00:22
Okay.

MAX: 00:22
Called Angry Fags at the New Theatre, which I've seen some great productions at the New Theatre. Yeah, it's it's it's I didn't like it. Oh I mean it was like it started off, it was really good, and and I just feel like it it should have been a bit faster, you know, like some of those Aaron Sorkin scripts where there's lots of dialogue, and it's just better if it goes bang, bang, bang, bang, bang, and they just keep going. Oh, it was slow, was it? It was sort of and then wait, and then and then wait for the and then what is it about? Um it's set in Atlanta, Georgia. Okay. It's it deals with sexuality and the tensions with um the wider community. You know, there's there's newscasters in it, there's average, but there's violence as well. The angry in angry fags, absolutely, in the second, in the second half, absolutely. When is it set? Did you say when it was set? Uh Atlanta, Georgia, I think like the early early naughts or the 90s, something like that. Okay. Um, but look, you know, it was three hours with an intermission, and just it crazy is the word because the way it sort of ended. I'm sort of walking out, going, I was talking to a friend, and like just we were trying to make sense of the last bit. But you know, look, you know, someone else would have saw it and probably got something amazingly different from it, perhaps. But um that's just me. It did happen to be Mardi Gras Day, so in Sydney. There was a few people uh absolutely dressed up in the audience who were uh 100% going straight to Mardi Gras afterwards. Uh bless them. And uh it's a great party, so why not? Um but yeah, no, I just uh I don't know, I didn't quite get it. It's probably says more about me than the play. Maybe maybe I was I was due to go to a premiere too on Sunday night. I I'd got up real early, like 7am, did a swim, and uh got up with some friends at breakfast and then you know, had a nice long, slow day. I did no voiceovers, I did no scripts, nothing. And nine o'clock on a Sunday night is when it starts, and I'm kind of like I'd bought a ticket. Yeah, no special VIP, like I paid for ticket. It was called St. Maud. Um part of a festival, and it was on at the Ritz Cinema here in Randwick. Um, or look, even up to midday, I was set to go. And then as it sort of got closer, I'm kind of like, oh, just so comfortable.

SAM: 02:35
Yeah.

MAX: 02:35
So tired. I had my old man moment with Fred.

SAM: 02:38
Fair enough.

MAX: 02:40
So there goes my review on St. Maud. But uh, you know, I do that a lot. A couple of glasses of red were nice. I can I can review the pen folds, it was nice. No, it wasn't pen folds. Actor's budget, but uh I'm going ahead with the mockumentary. Remember, remember I talked briefly about this mockumentary idea. Look, it's a great idea, it's really funny. I love the character, and I'm adding layers. It's just it's so much fun. I'm just gonna do it from a crew and a distribution point of view, and like it's non-pay, it's it's him. He's done lots of work before. Um you have to check out his YouTube channel, but I will. So he's experienced small, tiny crew, like like three of us. Look, I I just love the concept. You don't need a huge to really capture it as long as we're getting sound right. But um I'm I'm looking forward to it. Yeah. Uh the life of Fred, keep it down, mate. I'm I'm actually on air. From this the you know, the life of this guy living in an alleyway um in mock true mockumentary style. Like a homeless man. Yeah, yeah. Obviously by by his choice. It's by his choice, okay. So sorry. It's a lifestyle. You just don't get it.

SAM: 03:51
I don't get it. You get it, Max.

MAX: 03:54
The character gets it. So that's gonna be fun. I mean, look, it's half a day commitment uh for something that's gonna be a lot of fun, and I think it'll be great to to have a bit of a mockumentary reel up the sleeve.

SAM: 04:05
Yeah, yeah, yeah.

MAX: 04:06
Planning on capturing about 45 minutes of it, and then he's got a YouTube channel where he's gonna promote it. So it's very cool. More Max out there anyway. Very cool.

SAM: 04:13
I got a message the other day uh for a I did for a uh a TVC that I applied for through Star Now. And uh for uh non-paid, it's like a student TV C, but apparently for like a clothing brand, like a new local.

MAX: 04:28
How does this work? This is a new area for me. Uh unpaid television commercial.

SAM: 04:33
Yeah.

MAX: 04:33
So they're putting a television commercial together to promote Oh, where's it gonna be like on television? Social media, apparently. Oh, so social online, so online only. Yeah, yeah, yeah, yeah, yeah.

SAM: 04:42
No, I don't think it's gonna be on TV. Because it's for apparently a local clothing brand.

MAX: 04:46
And for a period of time, like they've determined it's uh saying it's full buyout and you're gonna be able to do it. I'll be asking them before I say anything, yeah. Make sure it's full buying day zero dollars. Yeah, I know, right? Yeah. Um you'd be surprised on Star House, some of the things, it's just like, mate, you are taking the piss. Even on voiceovers, we'll give you fifty dollars and you give us, you know, it's 500 words of stuff for some sort of internal video somewhere, um, and they can use it forever. Yeah, it's 50 bucks. So it doesn't even cover the mics and everything. Studio time.

SAM: 05:16
I don't like that buyout stuff.

MAX: 05:18
It's some of it's a bit too crazy creepy, you know what I mean? Like, I mean, you know what you're doing, like the mockumentary, I'm getting nothing from it, but still, I'm getting value in another way than dollars. Yeah, yeah. Um, and and but but some of the stuff, like you've really got to filter quite comprehensively on those platforms.

SAM: 05:35
Definitely. Um, but yeah, so this TV C clothing brand, they want me to be the musician. Okay. So a musician role. So I wonder how much. I think that's why they chose me. So that's cool. So I'm doing that on the 10th of March, and then I've got on the 21st of March, I've got that bartender role. That's right. Short film. And then I recently when was it? I did it on when did I audition Monday?

MAX: 06:00
What day is it today?

SAM: 06:01
Did I auditioned? Today's Thursday, obviously, because we I auditioned yeah, today's Thursday. Um no, on the 29th, sorry, on Saturday. Right. I auditioned for a new the new Aussie musical, Captain Moonlight, that I was talking about. Okay. And I was there and I I the whole situation was gone on.

MAX: 06:24
Whether you've got an expensive professional studio or not, Fred will still chase light and shadow and you will still cough and sneeze. That is like only when I'm like, just make sure you wash your hands because it's coronavirus alert time.

unknown: 06:36
Yeah.

MAX: 06:37
Just saying. If you sneeze now, that's the best way to get a seat in the bus. I shouldn't. It's too soon. People have died. I apologize. Um we're editing that out big time. You don't even have to say we're editing it. Oh my god, stop talking, Max. Where's the fill? I'm gonna have a drink. Keep talking.

SAM: 06:48
And I realized that the guy who's music directing it was the lead in Three Weeks in Spring with me. Oh, wow. So that was cool. And then the guy was he the one with the Geordie accent? No, that's one of the leads. The other lead, the narrator, CW Bean. So yes, yes, yes, yes. Yeah, so he's directing Matthew Hearn is pay attention. You could be just saying yes, yes. Yes, yes, yes, yes. Yes, yes, yes, yes. Uh, small town Sydney. Exactly. And the accompaniment that I had for the audition was Matthew Reed, who was also doing three weeks and spring piano. Um and also had done dogfight auditions with me before. So that was I mean, acting in Sydney is small enough, but acting in music theatre is every time you go in a bit further, like film or TV or music theatre, it's just even smaller. That's crazy. So that was really cool. Umly five male roles. They auditioned one page of people one day. I made sure, like I booked my audition to be the last person. Okay. So remember we we had we spoke about this a couple of podcasts ago. We spoke about coming after lunch. Be first after lunch or last, everything in between. Don't even go.

MAX: 07:57
So strategic.

SAM: 07:58
It's true because so so I did actually say, Oh, yeah, this time would be good. I thought in my head, oh, this time would be good. I won't I won't have to get up too early, blah, blah, blah. And then I'm like, oh wait, no, I'm gonna change it. And I type back and I say, No, can I have the 245 slot? They're like, Yeah, that's fine. Okay, whew, got it. Winning. So, yeah, so I didn't want to be first up just because it was early and singing, so you've got to think about that. So singing's better, right? Not as early in the morning.

unknown: 08:17
Right.

SAM: 08:18
Um, lunch, I wasn't sure when they were gonna have lunch. It didn't say, so it would have been a guess. Yep. It would have been a risk. Classic. Which I was willing to take, but but played it safe and did last up. So then they actually got through it pretty quickly. Like apparently they were ahead of schedule. I went in 15 minutes before my actual edition. And okay.

MAX: 08:37
Jeez, that really happens, doesn't it? You normally waiting in the halls for it.

SAM: 08:39
Yeah, exactly. But they're the reason and I figured out why, because I went in, I gave them my resume, yep. I gave Matthew Reed my um sheet music. Yep. And then they're just like, go, yep. So I sung, and then they're like, yeah, do the monologue, do the scene, that's it. No questions, no nothing. And that was it. Out like that.

MAX: 08:58
Brilliant. That's cool. Yeah. Well, it's cool. Well, I mean, it's gone off so professional because you you you you know your stuff. Turn up and go. Yeah. No matter what it is, whether it's musical, whether it's monologue, it's good. But yeah, they didn't give you any direction like to change things. That was it.

SAM: 09:11
So so I said I was like, as you can see on my resume, I've crossed off uh auditioning for George.

MAX: 09:16
Was that the Irish accent?

SAM: 09:18
Yeah, yeah, yeah. I said so I was like, as you can see, crossed off George and I will be only auditioning for James.

MAX: 09:28
If you don't know why we're laughing, listen to the last episode.

SAM: 09:30
Yeah, yeah, yeah.

MAX: 09:31
Oh, that's okay. I'm glad I'm glad you said that. I was a little worried for you, but slowly, sort of silently rooting for you at the same time.

SAM: 09:37
I know, I know, but I was like, I wasn't so prepared at the Irish accent, and I would have embarrassed myself.

MAX: 09:41
But that's awesome.

SAM: 09:42
But I said, so I'm not doing George. And they're like, okay, that's all good. Like most people um, you know, can't aren't doing the Irish accent yet.

MAX: 09:50
Would you like to like you to still do the monologue? Would you have to sing in the Irish accent?

SAM: 09:53
Yeah, probably.

MAX: 09:54
Oh. I guess they're saying if they get someone who's really good, they'll help coach them with an exactly.

SAM: 09:59
Well, they said we'd still like you to do the monologue, which I hadn't fully learnt because I wasn't gonna audition for George. I'd learnt James, so I did that off script, but I did the monologue uh with it in hand, and they said, Yeah, most most people haven't learnt it all anyway. And I was like, okay, cool. So I did that uh and I did like a very cool question. I was like, and I saw the writer kind of look over at the director and kind of do like a that's a good question. That's a question. I was like, so it's set in eight I did my research, I did so much research. I was like, so it's set in 1880, so you don't it's not you do you want an Aussie accent or it's kind of like posh, kind of still a bit English, isn't it? And they were they kind of looked at each other like, yeah, he knows what he's talking about. Yeah, yes, we'd like uh yeah, yeah, it's a bit more posh. I was like, okay. Great way to slip that research in there. It's good, and of course, a writer who spent years probably writing this would love that. Yeah, exactly.

MAX: 10:46
Uh someone not only read it, they understood it.

SAM: 10:48
Yeah, oh yeah. So and and that wasn't even in. And they're gonna be authentic to it. That wasn't anywhere. That was just me knowing, like, obviously, in the 1800s, our Aussie accent didn't exist yet.

MAX: 10:58
The benefit of being prepared though, you you were able to cross something off without worrying about it, and you were able to to ask the right questions, have the right information ahead. Exactly. So that's that's the benefit of it.

SAM: 11:08
So I did them both in that posh sort of old-fashioned English Aussie whatever. Not so ocker. Exactly. And did it best I could. The scene was great, the monologue was good, and um that was it. Then they just was like, see you later. See you later. I have no idea when I'm gonna be not let told uh I have no idea when I'm gonna be told if um I'm in or not.

MAX: 11:30
They didn't say when they give you feedback. They never tell you.

SAM: 11:32
And I couldn't remove it. But then they were ready to go. They were like, let's go now, get food or whatever. I heard them like over here. Oh, okay. So now I'm last. They'll talk about me more. Hopefully. More so thanks.

MAX: 11:42
With the good with the good question.

SAM: 11:43
You know what I mean? Yeah, so that was why it's good to be last as well, because they're then you're in their minds. Interesting. Interesting. Unless you're really sh or it's or it's a television commercial.

MAX: 11:53
They see so many people in a day. Like they were they were casting two days at a.m to eight p.m. Yeah with lunch break.

SAM: 11:59
Well, unfortunately, with ads, you can't, if it's through your aging, you can't really set your own time.

MAX: 12:03
I I was able to You were lucky with I was. Well, I mean, well, because they accidentally booked 8 a.m. to 8 p.m. Yeah, yeah, all the way with no lunch break. It was pretty funny when I turned up and talked to the assistant. It's like, yeah, that was me. Oh no. Lunch is important. Uh and then I got that's right, then I got called back for a second casting there, and it was kind of the same similar brief. Sort of saying if only we could have done this, done them both at the same time. But you can't really do that. Yeah, yeah, it's long hours. That's before they even make a decision.

SAM: 12:33
I got an email today as well. Uh I did a short film called A Film Buy when I did the 50s dancing scene, if you remember doing that right. So they need Jess and I to come back and do some recording in the recording studio for the music, for the singing. Good. So that's cool. So it's not about it. That's great. Yeah, and I've spoken to that director, so Ramon Samson, who I I've done a couple of projects with. Is he which where is he? He was it after he's graduated now, or almost graduated.

MAX: 13:02
Anyway.

SAM: 13:02
Yeah, probably because I've remembered before. But I've done a couple of pro like a few now projects with him, and I I've got back in touch with him recently and said blah blah blah blah blah blah blah blah. Hopefully it made sense. Yep. That's great. I kind of said uh looking forward to seeing a film by any other projects, all this stuff. And he's like, I've actually, yeah, we've got to get you back in a lead role. Like I I actually have a few ideas for you and all this stuff.

MAX: 13:25
So I think that's so cool when that happens, isn't it? That's so good when it happens. Because works but gets more work. You get out there, you push yourself, yeah. Um, and you and you create these opportunities.

SAM: 13:33
Yeah, exactly.

MAX: 13:34
And you can't wait for the agent to call.

SAM: 13:37
No, you can't. Nope. Sometimes I haven't heard from in so for the day. But yeah, uh, and Finch Company contacted me, so I'm gonna be a runner for this week on Friday. Great. Uh for they're getting everyone in the office in this Friday because they're gonna watch what they've done in the past couple months, like they all the projects that they've done. So hopefully I can like kind of watch while I'm clicking on something. Currently, my acting is shit.

MAX: 14:05
Who said that?

SAM: 14:06
Alright, end of podcast. Thanks for that. What? And finish.

MAX: 14:09
One and a half unemployed actors. What happened? Tell me the story.

SAM: 14:14
So no, so you know I've been doing these, uh, I'm kind of like over-exaggerating, but you know how I've been doing these workshops with Grant Thompson. Oh no, no, no. It's like What did he say?

MAX: 14:23
Did you say hi from me?

SAM: 14:25
I forgot, but I will this week. One job. I know, I will do it this week. I I actually had in my mind, oh sh, I forgot to say hi for Max.

MAX: 14:33
One job to do.

SAM: 14:34
But I was I I sent him myself tapes and he's pretty much like, yeah, I watched it with my mate who's a director at the moment as well. And we both just didn't feel anything. Like you are you're acting for the audience, you're trying to push emotions onto the audience, yeah. Which is not what you should do. You should be not thinking about the audience at all and thinking about how this character is reacting in this moment. And it doesn't matter. Whatever happens, whatever the audience feels is whatever the audience feels, but your goal is not to put emotions onto them. And I'm aware of that rule, like I know that it's just I mustn't have been aware enough. And I think at this and I know what he's talking about. Like I he's like, You've got the talent, you've got the skill, and you've got real potential. Yep. It's now because you've started in theatre, we really need to pull this back and stop all the out here and bring it all internal. Absolutely. And I thought I had we I I definitely 100% had pulled it back over the past couple of years. Yeah, but it's even more than it's like.

MAX: 15:31
Yeah, you could absolutely even more than you think. Because you've got theatre and it's bigger. Yeah. And you've got musical theatre. Yeah. And that's bigger still, you know. It's like comedy fast stuff. I'm doing it. Let's say it's oh it's huge. Yeah. And it's all about doing so little. Yeah. There was one scene I did with Victor, and it was just my eyes that moved just slightly, you know, and with that intensity. Good, yeah. And and and I was actually doing a serial killer scene. Oh, brilliant. Yeah, and like, and like you think, because I started big when I was developing the character, and he had all these ticks and things, and I then I started to sort of bring it down a bit and remove things and keep removing things and thinking, is that going to destroy what I'm trying to convey? And I'd sort of remove something else or something until I got to that point where I I've got it now, it's sort of bare bones, it's raw, it's yeah. But it wasn't overnight. I was time. And how much time did you spend on these scenes? Did you like live with the script for a week or two?

SAM: 16:25
Or this so the ones I look at the self-tapes I sent to him, yeah, one of them was the one that got me my role in Not Today. Okay. So that's the hard part, right? So he's saying that a lot of amateur filmmakers, right? Who no one knows what good acting is, really. Like for casting directors, it's very different. Like in those big industries, big Hollywood films, you know, you need you you need they're seeing a lot of people. Yeah, and they know like it's different with amateur filmmaking. So it and that's the hard part. I felt like it was good because I succeeded, you know, and that's the drive.

MAX: 16:56
Well, it's like me with a bloody finder ad. Yeah. Well, I got an ad. Look, I'll pop it up the front. And it was a casting director that said, no, no, bury it.

SAM: 17:02
Exactly, exactly. And it's different. I mean, it's different for every role. Like Jess was actually saying the other day, like Neil Patrick Harris, like he was starting in theatre and he's still quite big on screen.

MAX: 17:11
Indeed.

SAM: 17:12
But that's just different roles. Comedy's gonna be a bit bigger, blah, blah, blah. I did a serial killer with scene with him and pulled it. Like the first time I saw it, he's like, stop acting. Like, pretty much just stop acting. Words work for themselves, let the words work. Like that's the words will speak for themselves. Like you just say it. Because and I was actually thinking about this the other day. Like, when you're talking to someone in real life, you're not consciously thinking about what facial expressions you're doing, depending on what you're saying. That's right. Whatever you say is gonna affect what you look like without you consciously, and that's what you gotta just say the words. Yep. So I just pulled it right back and just sat quietly and just did this scene, and it was terrifying, apparently. It's creepy, so it's good. Creepy is good, right? He said much better. Yeah, and and it was good to hear. He he was he was he was trying to help other people. He's he's a no bullshit guy.

MAX: 18:00
And he's a no bullshit guy. And you need that. Those are the best teachers. Exactly. When you start to get comfortable, you need that kick up the butt to go just to shake things up and go, you know what, maybe have a reel for theatre applications or for or for or for some of the amateur stuff. Yeah. And then, you know, focus more on the hundred percent needed minimal.

SAM: 18:18
It was very nice. You said you've got the look and you've got the energy, you've got the talent and you've got the skill. Just now we have to apply it to this. So that was really nice to hear. And I'm gonna just continue. It's much better than doing like a thive hundred dollar workshop for a week. I know, choose wisely on workshops.

MAX: 18:34
There's plenty of people that will take money out of Nact's hand. Yeah, yeah.

SAM: 18:36
I mean, this guy you pay for it for grant, but but you get value for money for sure. It's like three of us for three hours.

MAX: 18:42
There you reminded me of the first time he saw me on on video. Yeah. Uh where on the on the monitor. He he he we were as a group, and this is back when I first started uh a couple of years ago, right? And I first started again. This is kind of yeah, first started again. And this is kind of the to be honest, it was the first time I saw myself. Um because I hadn't, you know, uh straight out of corporate out well, a couple months off, but then then straight into it, it I was just doing too much. Like it was a it was a funny scene, yeah. Um, but I was too big. I was doing too much. It looked like I think I coined it when I said it looks like I'm doing a pantomime. Like it was just so and wow, and you know, just over-expressive and all the rest of it to the point where it didn't compliment what I was doing, it distracted from what I was doing, and everyone's laughing at it, and even me, because it was just it was ridiculous. It's like I'm talking to kids doing a huge pantomime. Yeah, well, there's not much more he could say when I called it. It was it looks like I'm doing a bloody pantomime, which wasn't the point. He couldn't disagree with it. Let's just put it that way.

SAM: 19:42
Oh my god.

MAX: 19:42
So you did a workshop with them or like so when when I first started with icepry, yeah, uh what they did was use Grant to help people as they came in the door to vet them. So once they were sort of on the books, so to speak, um he would then get a group together and talk about the industry and how it's working at the moment. Because some people, that's their first experience with industry is walking into the agent and and and going, Look, I'd like to, but I don't know what I don't know. So he was there to help them and make them feel a bit more comfortable in front of the camera, in view of them doing you know extra work and and all sorts of stuff, and probably in a way, you know, vetting who might be on the actor books down the track or you know, who needs what sort of guidance and so on. So a bit of a a bit of an objective uh vetting for for archer management and icepry.

Speaker 2: 20:25
Okay.

MAX: 20:25
And then from that, I I ended up doing a few more workshops, uh, one with Anthony Brandon Wong and a few other bits and pieces, a bit more coaching as well. Through ice spry, isn't it? No, independently. And then um You just found them yourself. Gave them the real and showed them where I was, and that's when I moved from uh iSpry to Archer Management, where it's about you know management. But they were like you're ready for Archer. Yeah.

SAM: 20:48
So did you find these workshops by yourself, like on like online?

MAX: 20:52
Well, what I did was this is really interesting. So I I I mean I knew nothing about the industry two years ago. Where do I go? Who do I trust? Because when I was in the industry on the Gold Coast, there's so many charlatans, like it was just hilarious. Yeah, we had an episode on that, guys. Wow. I went to the union, the MEAA here in Sydney in the red phone office, and they had um an info night. And Pip Edwards, who's acted, I've seen her act on stage, I've seen her in camera uh on on film and television. Uh, she was in home and away and all sorts of bits and pieces. And I think, you know, listening to her, it's like this is okay, great. And again, like Grant in you know, just calls it how it is, because let's just save, because let's just save time. Um, this is you know, calls it straight, and and I appreciated that. Yeah. Uh so I ended up doing some coaching with her each week and we'd we'd work on a channel. You introduced yourself after at the end of the day. Yeah, yeah, and and and we organized because she does some private tuition. So I did some coaching uh with her and you know, like I'd live with a script for a few weeks and then come in with what I've got and she'd shake the tree a little and push me a bit further until I was ready to to do it to camera. And that's when, you know, she provided some more guidance. I even did a self tape uh Uh for a film uh with her and her support and her guidance, and you know, really make like I I turn up and I think I've got this nailed, no, I can do this, I can do this, and then she'd be like, nah, just turn it upside down. And you know, I'd be doing it 50%. She'd push me to 100, and just it's amazing what you can do with some feedback in the moment. Yeah. Um, that's why I sort of like getting a mono and and and uh for self-tap and just living with it for a while and trying it different ways and really shaking it up. Definitely.

SAM: 22:24
Well, with with grants workshops, he he like we film it there and then uh at the end of the session, just to see it on camera and then. And it's a level playing field for everyone, they all do the same. Exactly. And and it was interesting because because it was a serial killer scene, I was trying to play it quite creepy. Yep. He's like, he's like, stop, stop acting. You like you're saying this line, you're trying to be creepy. Stop trying to be creepy, just say it, just pull it back, do nothing, and it will be creepy.

MAX: 22:52
People want to see the character, they want to see you acting.

SAM: 22:54
Yeah, yeah, yeah. I know.

MAX: 22:56
So and it's and it's tough. And and and yes, there is different styles of acting for a different type of television show. Yeah, you know, from a comedy to to um you know, being a day player on like days of our lives or something, different to to uh a film, to theatre, yeah, to musical theatre. Yeah, you know, it's just it's so different. That's why it's great to have a few key bits and pieces to show your range on a show reel. Yeah, for your agent to see what you're capable of, um, and then tailor your approach to to casting records. Fred, mate, him together. He's looking his shadow. I don't know what's going on. I'm excited to see The Invisible Man. It's this it's this Thursday, and I talked about it last week, but uh, it's it's getting closer, and I'm really looking forward to seeing it because I just I really want to enjoy this. Yeah, love a good thriller. Oh, yeah. Suspense and all that. And still haven't seen Parasite in my world. Have you seen Parasite yet? For God's sake, we oh, come on.

SAM: 24:00
I know, I know, I know.

MAX: 24:02
We called you on it last week.

SAM: 24:04
I know, I said I'd do it tonight. You did. So yes, I'm sorry to all our viewers. Forgive me.

MAX: 24:13
So that's happened. And guess what I'm doing Friday night? I'm going to see Shakespeare.

SAM: 24:19
Shakespeare.

MAX: 24:20
But it's in a pub. So it's Shakespeare. Stop it. How good's that? I'm leaving. So I'm it's look, it's a nice so it's a nice, it's a nice sort of informal way to bring Shakespeare alive in a different setting. It's obviously gonna be a bit more relaxed. Um good question. Let me check my diary because I accepted the invite and didn't quite at the Forester Hotel in Surrey Hills. So Shakespeare sessions. It'll be interesting to see who are the actors too that are uh bringing Shakespeare to life in that setting. That's kind of what Shakespeare intended. It was all interactive and everyone well no, all interactive, everyone, you know, throwing food at the artists and yeah, definitely. You know, getting getting getting in amongst it, more interactive than not.

SAM: 25:04
Sure. I'm sure, sure, sure.

MAX: 25:07
Back in the day, you know.

SAM: 25:09
William. Good old William.

MAX: 25:11
Good old Bill. He would have loved having a pint at the Forester, listening to his work. Good old Billy Come Alive. Billy would have a beer if he was in Australia right now at the Forester on, you know, enjoying his Shakespeare.

SAM: 25:22
No, we should do a segment. Two unemployed actors go to the movies.

MAX: 25:25
Two unemployed actors go to the movies. Two unemployed actors.

SAM: 25:27
Doing a podcast in the film. Shh, stop it. So, guys, this is what's happening. Oh, look what happened. That's right. I remember what happens next. No, no, no. I still haven't seen Parasite. I'm yet to see that. I need to watch it. I'm actually. Put your finger out, mate.

MAX: 25:40
No. Get out and see the film. It's in cinemas still. It's on. It's on. You can buy it online. I mean, heavens above.

SAM: 25:50
To unemployed actors. Is my mic going in and out, or is that just me?

MAX: 25:56
No, it's just your imagination.

SAM: 25:57
It's just my imagination. It's the voice in your head going, it's my turn to talk. Okay. Hello, hello, hello, hello, hello, hello. Yeah, yeah, yeah. Do you want to turn it up? No, no, no. I don't think even though it's the sound. I don't know. Maybe just going in and out and in and out and in and out and in