Ozark Acting Secrets with Julia Garner & Staying Audition-Ready | Ep. 33

MAX: 00:11
Hello and welcome to another episode of Two Unemployed Actors. I'm Max.

SAM: 00:15
I'm Sam.

MAX: 00:16
And we are coming to you to each other via remote, but well, excuse me, remotely, but uh we are broadcasting through Corona World as us actors are very resilient. It's a difficult time, but we're here to motivate you as an actor or even just distract you from the world for a bit. What do you reckon, Sam? Yes. It's a plan.

SAM: 00:36
Yes, I agree. I think it's a good plan, Max.

MAX: 00:39
Keeps us busy anyway. It did actually. I wrote it down. I thought it was really cool.

SAM: 00:46
Yeah. Anyway. Can't work without script.

MAX: 00:48
Moving on. Um yeah, I've got lots to lots has happened. Lots is happening. I uh uh it's all about the pivot, you know, be being able to change and lots of voiceover stuff, lots of QA's, lots of industry stuff, lots of opportunities as well. So it's been a busy and a productive week, which really happens. Normally it's just busy and stressful or briefly productive, but anyway. So, you know, as usual, it's yeah, well, as usual, it's it's like, you know, we always talk about getting off the couch and and getting getting stuff done as actors, and I think it's kind of the same now. It's like I mean, certainly a lot of talent in the industry, whether in front of or behind the camera, are available. I'll take you through in this episode a few QA's I was a part of that were very exciting and very informative as well. Um, and free, which is you know, even better. So even better. First of all, I was very excited to um hear from Julia Garner, who plays Ruth in Ozark. I just binged, well, just a few about three days after it was dropped, I binged the entire season three of Ozark. Amazing.

Speaker 2: 01:54
Oh, nice.

MAX: 01:55
I love that show. Love it, love it, love it, love it. And Ruth is one of my favourite characters. Basically, Variety organized a QA. So you could send some questions in advance. Uh, and they run it over Instagram. There she was for an hour and that went over time. And uh really who ran it? Uh Variety, Variety magazine, Hollywood. Really informative, and I guess you know, when you don't have journos asking the questions and it's an Instagram thing, it's not like you know being recorded for all posterity, um, you're probably gonna get a bit more candid. And I think look, she was really she was really interesting in relation to um the Ozark journey for her, for her character. Um yeah, really informative. What did you ask? Um for me it was around acting tips, particularly with the accent, and um, you know, because she's very heavy accent uh for her in the sh in the production, and it was kind of like you know, she'd worked with there's a dialect coach um attached to the production, and working with that dialect coach uh really helped to unlock you know 90% of it. Then there's a tempest.

SAM: 03:01
What accent was she doing?

MAX: 03:02
Pardon?

SAM: 03:03
What accent was she doing?

MAX: 03:04
You haven't seen Ozark?

SAM: 03:06
I started watching it and I a long time ago.

MAX: 03:10
Damn, it's like a really heavy sort of south southern accent. I'm not gonna get it wrong in my description because there's more to America than just North American accent, standard American, and you know, South America.

SAM: 03:20
No, my my family's getting into it now, but I tried it ages ago. I just I didn't keep going.

MAX: 03:24
It's amazing. It's a great, yeah, absolutely worth it. Absolutely worth it. It's a fantastic uh story. It gets heavy real quick, and uh oh, the finale's amazing. There's a there's a really powerful scene in season three as well where Julia has um a huge confront. I'm not gonna give away too much spoilers, but she has a huge um confrontation with um Helen, so that the Janet McTear is the actress, and who's really formidable, lovely in in real life, apparently, but but absolutely formidable in her role as Helen and they have this huge showdown, and it's like you'll call it I I I call it the scene of the season, but certainly the scene of the season for for for um Julia. And uh anyway, so she wins the Emmy for best supporting the next day, the next day they're filming that huge scene. So it's kind of like celebrate for 45 minutes, and then she's like, Oh god, now I'm nervous about the the next day's scene. And she's a sort of actor that really gets nervous quite a lot. And not just not just when the project ends and oh my god, what's happening next, or you know, will I muck up this scene and will it be the last scene I ever do? And oh my god, I'm gonna be horrible on it. So which pushes her to work even harder. Um so it works for her, and uh look, it was an amazing scene, but uh she said basically they did a lot of blocking and rehearsals, so she knew when she walked in the door what line um when she leant over the desk, what line um as Helen Helen stands up, what line so she was answering these questions live, like on Instagram and video. Yeah, yeah. So it was a great uh I mean they were channelled through uh the journalist at Variety uh to make it easier, and she, you know, monitored the the chat. Uh, but it was really open and and and easy to get insights. Um and in particular in this scene, you know, how it came about, like with the rehearsals that allowed her and and and uh Janet to both uh you know be able to be comfortable to to take it up a notch, um, trying to surprise each other. Like there's a she leans over the desk, she slaps it with her hand, like that wasn't a part of the blocking or anything, that was just her in the moment, and she could be free in the moment and do stuff to sort of surprise Helen, and then Helen would react by doing stuff to surprise her, and take after take, they were sort of pushing it that way, comfortably because they've got the bedrock of the scene, you know, all the basic blocking and the script and everything down. So, you know, you're not gonna step out of frame or something ridiculous, but but um it's it's really uh a scene that you don't want to, you can't sort of muck it up. Like you muck that scene up, there's no sort of getting around it. So and and that's it, that was her words. She was really, really concerned. And the accent, yeah, she um worked with a dialect coach and uh was really um happy with where she was at, and there's a few sort of key phrases and things sort of help her drop in. But after three seasons, like she can sort of drop in and out of Ruth. Like she gave us a few uh tidbits as Ruth on on over Instagram, which was fantastic, especially some of the catchphrases from the huge scene.

SAM: 06:27
Like in a in her accent as well, yeah, as as Ruth, as a character, Ruth. Oh, as Ruth, yeah, yeah.

MAX: 06:32
And uh it was really exciting. So and then um uh and then uh that that happened, and I got straight on to another one. This was Australian. The um Screen Producers Australia have uh a QA uh every now and then, almost every day recently. Um the the one I tuned into, uh, the CEO of Screen Producers Australia, uh Matthew Dina, was having a chat to the CEO of Screen Queensland, um, Kylie Munich, about the state of the industry at the moment, uh, the impact of the coronavirus, of COVID-19 crisis, and uh really, you know, the priorities are forming a team of key stakeholders. So, you know, someone from Gorka City Council who liaises with the movie world studios and the film industry on locations and that sort of stuff, and uh her and a couple of other key people, just about we've got to, as soon as that we're ready to go and the world comes back, um, even in part to somewhat normal, they're ready to go with, you know, what can we pull forward, what can we make right away? Um, in the meantime, you know, mentorships, online learning, um, growing network, networks and events. Uh, and this is even before, you know, things get back to normal. So um, it was really interesting to know that behind the scenes there's lots of bodies that are um some government owned and run, some of them um government funded, and some of them private that are all about you know, let's let's prioritize so we can get up to up and running as quickly as possible.

SAM: 08:03
Yeah, I've heard like they want to like obviously all the production companies want to get straight back into it when they can.

MAX: 08:09
So just repairing, yeah. Yeah, and I mean that the quicker I have a feeling the quicker you can tool up as a production company and be ready to go, um, the better.

SAM: 08:18
Um yeah, and that includes casting because we've got these self-taped.

MAX: 08:22
Yeah, yeah, and there's casting still happening. I know I'm helping out um the agency reached out to me. Uh young young guys got an audition with Mullins for uh movie role. Um yeah, same as me.

SAM: 08:35
I told you about that last week, probably.

MAX: 08:37
Okay, I'm not sure. I don't know if this is the same one, but anyway, the Mullins is probably only doing one though. Uh they've got a few projects that are happening. They said there's some there's some happening um that are casting like for for as soon as possible, but TBC when the world gets back to normal. There's some for casting for productions that are later on in the year that are sort of you know green lit but subject to is it is it the 18 to 22 year old male lead role in a feature film, Aussie one?

SAM: 09:06
I don't know. I haven't looked at the script.

MAX: 09:10
But uh on Thursday, uh, because the agent uh put put him in touch on thir because I've got a bit of a studio setup, blah blah blah. So on Thursday, he's gonna drop by and we'll do that, we'll do that scene um and help him capture that for the audition. So and your your agency wanted you to help help yeah, because the poor guy's got nothing, like he's got a mobile phone, and it's kind of like I I was talking to the agent uh just the day before about how I've got the home studio set up and ready for voiceovers, the podcast is still going, and I've even done a few uh corporate jobs where it's presented to camera, so from here. So you know the more the the more flexible you are, the easier you are to sort of unlock unlock opportunities at the moment. That was the conversation. And she basically said from that the next day, oh hang on a minute, you don't have any. Well, wait, let me put you in touch with Max. Maybe he can help you out because he's sort of ready to go.

SAM: 10:00
Oh, very nice. Yeah, well, I spoke to Grant Grant, who I guess I'm calling uh my acting mentor coach or whatever. Your guru. So I spoke to Grant Thompson. Yeah, guru. Exactly. I spoke to him, so this Friday he's he's helping me do the self-tapes for uh that that I I'm I I have a feeling it's the same audition for Mullness. Okay for that. Uh so he's gonna help me self-tape that so he's a good camera and knows his stuff, so I don't have to worry about any of that and just constantly acting, which is really exactly yeah, and years and years of acting experience to help you.

MAX: 10:35
And I'm not I'm not just calling him old.

SAM: 10:37
Yeah, don't tell him what's that. Like he still does castings and he's still like you know, he's still got all those connections and he knows what what what the right thing to do is and he and he's told me to, you know, think outside the box, try and do something different that everyone else would do. Like don't look at the script and just do what it put the yeah do the context that it that it that it says. So I've come up with these ideas, so hopefully they're cool. Yeah, I have a feeling it's for the same role that you're helping this kid.

MAX: 11:01
It could be. I haven't even looked at the script yet. I know I will. I will before.

SAM: 11:07
Have you got been sent a script?

MAX: 11:09
Uh yes. And um how to record and all the usual stuff they send out when it comes to the code.

SAM: 11:16
Okay, so I think so. What it says is that it's not a script, it's not a script from the actual film because it's still in early days of development.

MAX: 11:25
Okay.

SAM: 11:26
Um and Grant seems to think that uh well apparently Mulners and other casting agents seem to sometimes do stuff like that when it's just a go see, but they don't tell you that it's a go see.

MAX: 11:37
Okay.

SAM: 11:38
Um so it could be for an actual role or it could be just to see where you're at. Um because we have no information about the film and we have no information about the role except for that they want an 18 to 22 year old lead male. Yeah. So and this script is just a general edition script, it's not from the film.

MAX: 11:55
Okay. That's interesting. Either way, you're getting yourself in front of the right people for um when industry's back up and running.

SAM: 12:05
You know, Mullinus is going to be looking at hundreds.

MAX: 12:08
God, I mean, anytime you anytime you get in front of a casting director, you really and that that's what I mean when when when you're not, you you work on your monologues, you work on your craft, you stay work fit so that when the opportunity does fall in your lap, and it could be last minute as it often is, where where you go to do a ghostie or a real part, but you're in front of a casting director, like a casting agency like Mulliners in Australia. Well, you want to have your stuff together so that you can focus on on owning that scene.

SAM: 12:34
Yeah, yeah. And that's so that's what I've been doing over the past week or so, and so concentrating on that stuff. And you know, I think we spoke about it in a couple of other podcasts where kind of Grant stripped me down and started me from basics sort of thing. Yeah, which I did need. Um, so that's good. I'm very excited. There's you know, it's I can see the improvement already, so hopefully.

MAX: 12:55
It's great. It's great. And I mean places. You know, we're not we're not standing still, we're not idle in this uh time. It's not about you know uh downtime, so to speak. It's it it you know, there's there's other that we can still push forward and work on opportunities and stay work fit, which is great.

SAM: 13:10
Fit exercises are you still going to the gym or are you doing stuff?

MAX: 13:15
No, gym's closed, gym's closed, and and and because I'm in rehab with my shoulder, uh still the physio, I've got to go to the physio twice a week where they beat the crap out of me and and use their torture equipment, and now they've introduced an electronic shock thing.

SAM: 13:30
Do they just show you a Subaru? Like a photo of a Subaru?

MAX: 13:34
No, it doesn't unfortunately it doesn't plug into like the mains power, it's like batteries, thank God. Because uh basically you put two little pads on my shoulder where the muscle is that's sort of coming back to life so slowly, and it literally sends an electrical pulse for 10 seconds while I'm sort of holding a uh lifting whatever it is I'm doing, doing my exercise thing, and then uh it just keeps doing that for a while, and you can only do it like every couple days because it's it's full on. And uh um, so yeah, I've got that, and then I can't go to the gym, so I've got like exercises from the exercise physiologist, which is like some personal trainer with four years of medical experience, to help do training in the park or you know, training at home, and then once a week he he zooms me over Zoom and we and he and he makes sure I'm doing it properly and introduces new torture treatment.

SAM: 14:25
I haven't on top of the zoom trend. No, I don't even have to.

MAX: 14:27
Get on board, get on board. Although it can be dangerous, it can be dangerous. Let me give you an example comedian in Australia, Hamish Blake, decided to do a volunteer. You know, if you've got a zoom meeting coming up and you want me just to sort of ghost in, send me the details. So there he was just appearing in people's meetings and going and doing his thing, you know, being funny and all that. Except one one of them was run by the Australian Defence Force. It was an instructor briefing for flying uh for pilots, flying people, yeah, pilots. And um apparently uh it's probably not a good idea to just randomly invite someone who's not in the ADF into one of the confidential. So the Defence Force sent around the edict today going, we are no longer using Zoom.

SAM: 15:15
Oh my god. Wait, who's so who invited him into this?

MAX: 15:18
I'm sure, I'm sure that person I'm sure they've worked out who that is. But uh yeah, there was a couple of high-ranking people, and in fact, if you can track down, Hamishes, I'll put a link, I'll put a link on the social because if you can track it down, it's so funny. He's there going, and by the looks of some people's faces, I probably shouldn't be in this meeting, so I'm just gonna get out now. No, had his best-looking flight jacket on and everything. Anyway, wasn't to be. Oh my god. So Zoom can be dangerous. Last thing wants to piss off the government right now when they've got all these uh huge powers, right? To stop you walking in groups of three or something.

SAM: 15:54
So yeah, yeah. Oh god. That's awesome. I watched the Invisible Man, by the way.

MAX: 15:59
No, did you? Finally, yeah. That's finally. I mean, it's not on the cinema. I mean, just that's right. That was fast-tracked to video on demand. Did you like it?

SAM: 16:11
I did. It was good.

MAX: 16:14
It's a lot of silence. I'm like, okay, this is gonna be interesting.

SAM: 16:17
No, um, it was good, it was really good. It was terrifying. Um but it was so like uh it it had Lee Wynell's fingerprint on it. Like if you've seen upgrade and all the other stuff he's done, it's got that. Yeah, and it and is uh it's just like terri it's such a terrifying thought. The end was very cool. I was like, yes, it's awesome, isn't it?

MAX: 16:41
It won't spoil other people, but it's all I like I and how good are those master shots where everything's still and there and is something moving in the background or not? Like is he there or isn't he?

SAM: 16:53
It's like what I think those shots, which Lee Wynnel I I really loved from upgrade, like all this cinematography, but those shots were so cool. Like that the just staying instead of following the actor, just like staying in the world.

MAX: 17:05
Yeah, building up the suspense, the hitchcock. Yeah, he's put the idea of how it will look if it puts the idea in your head of how it'll look to the audience of of when the invisible man's there and what what what what him moving through a scene would look like. So then you're forever watching that on those long master shots, going, Oh my god, is he there or isn't he? Did something just move?

SAM: 17:26
I didn't realise that the Invisible Man was part of like I I I did know, but it didn't really connect that this movie was part of the like the dark universe, so like the mummy and all that stuff. Apparently, it's all like the the Invisible Man has been a concept for a long time and they've made movies before.

MAX: 17:43
Yes, and TV series.

SAM: 17:44
Yeah, and apparently Lee Wynn Ells was like fixing the problem which everyone kept coming up with over the years about well, if the invisible man's eyes are invisible, he shouldn't actually be able to see. Because if his eyes are invisible, then he can't how can he see? Um so he fixed that problem by I don't want to spoil anything, but you know how he fixed that problem.

MAX: 18:08
And that's what the producer said um making um a more contemporary interpretation using a bit of current science and near future sort of black mirror type invisionary to come up with a a practical logical way for the audience to believe of the invisibility. Because originally, you know, drink a drink a magic potion and poof, you know, you come out of and and and and that sort of happens really quickly, so it's less about how does it happen, it's more about the suspense between the relationship of these two individuals, which is great.

SAM: 18:41
And the house, the house that they you know, that that was their house, um, the really nice one, the huge one, yes, south of the yeah. Yeah, I looked up yeah, it's in what is it, Jerigong?

MAX: 18:52
Yes, down on the south coast. It was um actually one of the people who work for Create New South Wales who um recommended it because they were having so much trouble finding this luxury mansion on a clifftop. Um and because you know, if you've got money in Sydney, you're living by the harbour with a view of the bridge, so and the opera house. Yeah, so that was quite a long time uh before they found that property, and it was someone who worked to create New South Wales who helped with the funding.

SAM: 19:17
Oh wow.

MAX: 19:18
Who recommended it?

SAM: 19:19
It's an Airbnb, and I looked it up, and it's $400 per night.

MAX: 19:25
That's Australian dollars, so that's still a lot.

SAM: 19:27
Yeah, it's a lot of dollars.

MAX: 19:29
Although we're not we're not allowed to go on holidays, but not even allowed to go regional holidays. I can't we're not even allowed to travel out of the city, Sydney to go on holidays at the moment, so anyway, bring that up again. I've got another event coming up. This is a part of AFI Actor industry event where it's kind of like a Zoom thing. We we're basically what it's in two parts. We're given access to a new season uh of Mystery Road. Uh there was a movie, then there was a season, now there's another season, uh a movie and a series is what I'm trying to say. And now there's another season that's about to launch. I think it's uh 13th of April in Australia. So we're able to watch the first couple of episodes over Easter weekend, and then Monday night uh we have a QA with Warwick Thornton, who's the actor director, uh Wright, I should say, and Wayne Blair, and producers Greer Simkin and David Jossi. So two directors, and Warwick's obviously an actor as well, and two of the producers. So it'll be really interesting because I I know I loved the movie. Uh, we're talking, you know, Hugo Weaving and uh like a raft of classic Australian actors who were just uh so well cast, you'd you'd feel like you you're walking out into the desert and about to run into them. But Warwick Thornton's a great talent, so that was awesome. Uh yeah, it opened the Sydney Film Festival years ago, the movie, and was so well received. So hence why it's been able to go into another series. Also, this week I've been invited back to the world of Storyville. If we remember Max's uh volunteer role before he got hit by a car to go to Plunkett Street primary and read to children. Because I'm gonna scare the children, you can't go in with like a No, and plus if they'd have touched my sore shoulder, I mean, you know, I can't be held responsible for what I might have said. That probably not PJ. But anyway, I have to turn my PG Max voice on Thursday afternoon, 3 p.m. I'm sure you're all gonna tune in. Uh slightly different audience, but you know. But basically it's a it's a live stream for children to uh join in and watch. Which I when school was on too, I sometimes went and not only read to the children at Plunkett Street and got them excited about stories, but also did a live stream to regional schools. Schools in remote Australia, so there was a few on. One I remember went out and bought a microphone and a camera just so they could do because it was happening.

SAM: 22:09
And uh look at you being all charitable.

MAX: 22:12
It was so cute, all the little kids there waving. It was some town, oh god, I can't remember where it was, somewhere remote Australia. But uh fantastic. So anyway, so this is about me broadcasting from hopefully there's nothing offensive behind me in the you know, it all looks good, so that uh I can just read here and go straight to children wherever they are joining into live stream 3 pm Thursday Australian time. So, yeah, different audience to the podcast, that's for sure. Also had an offer to do a film, horror thriller.

SAM: 22:46
Oh yes, I saw you put that up on something.

MAX: 22:49
Yeah, yeah, and which is exciting. Uh I I I went I applied, I didn't get to audition for a role in a film last year. And the directors come back. I don't know yet. Like, I haven't even looked at the details yet, but basically he said, look, you know, based on your application last time, just weren't suitable for the role, but we've got a role for you that we think you'd be perfect for, and it's a detective, so it's another detective. I think I've just played like three different things.

SAM: 23:17
I know this student though, you don't know.

MAX: 23:19
No, no, no, it's an indie production. So you're being paid for it. No, no, it's an indie production. So what I'm about to say is the reason why I haven't dived haven't dived straight into all of the details is because I've been busy doing paid stuff, and because it is an indie production where the crew and cast aren't paid, and it is also another role where Max is playing detective. So I'm gonna sit down and cozy up to some of the script and have a little look at it later on in the week. I said no, no, I'll get back to you later on in the week. So but look, you know, it's good to start, and I've lined up other stuff for when the world comes back to normal. Like I've still got the play, which has been restricted.

SAM: 23:58
Oh, yeah, when would this film?

MAX: 23:59
When would you uh no idea? Basically, it was when the world starts to go back to normal. I know, I know in Australia at the moment it's uh April the 7th and the curve is well and truly flattened, and you know, we were all saying good things, but I think minimum was 90-day lockdown. That started a couple of weeks ago, so we're in it for three months at least. Hopefully, that means after that three-month period, we can start to gradually get back to somewhat normal. But at the end of the day, I think September is the rough penciled-in date for the second try of the no intermission season where lipstick the play will be on. So I've got a rough idea of when that's going, so I've scheduled that in. This film just depends. Like there's no they haven't even looked at it yet. Uh, in terms of dates, the pre-production's almost 70% finished. I mean, so much else to do. Um, and and I've just got to have a look at it. If I really like the script, and I kind of like the way they work, I kind of like you know what they've said so far. So it just comes down to the character and the script, and you know, which is kind of a lot, really, uh, for an actor.

SAM: 25:03
But you know, I guess it comes down to the character and the script and the role.

MAX: 25:07
Just the character and the script, you know, other than that. Everything the actor should be. Everything else is great on. Yeah, yeah, yeah. So if I what would make me say, oh my god, yes, is if the script is you know, it's really interesting, whether it be a short film or feature film, if the script is really interesting and if this detective is just a bit different, because I've been playing detectives somewhat straight of late, you know, like a dirty detective or something. A bit, you know, interesting.

SAM: 25:32
Yeah, well, make him interesting. Just be like, I'm going against everything the director says anyway. Exactly.

MAX: 25:37
Well, it'll be kind of sort of thinking about an interesting character, and I'd talk to the I'd talk to the director first to sort of say, look, you know, if I did like the script, okay, here's a short film that just dropped, the the the interrogation. Um here's me playing a detective, so I could I can play detective, okay. Tick.

SAM: 25:54
Has it has it is it out? The interrogation?

MAX: 25:56
It is. Um where is it? Um I put it on I put links on my social, it's on my YouTube channel as well. I think I think I put it on my YouTube channel. Um, but I'll I'll link it into um the podcast uh social this week as well. But uh and it's gonna do the festival circuitlight sort of stuff if festivals ever start up again. Do it if the script's interesting, and if I have a chat to the director and and say, you know, like I can play the detective, but but um I want to make the character a bit more interesting in this way or that way, or can I go back to you sort of thing and have a bit more time to sort of let that sit with me to play a character that's kind of interesting but just happens to be a detective, you know, rather than playing your stock sort of detective versus killer type scene.

SAM: 26:38
What's that film? Is it Dexter or something where the detective kills serial killers or something in his free time?

MAX: 26:45
That'd kind of change the plot a bit as well as the script, but I don't I don't I don't want to have to change the script. I just want to have to look at it and go, okay, I can I this guy could have a few quirks or it could be or maybe it's it's more funnier and that you can dial up the humour in the in the in the in the character or you know, just something to make it a bit more if you removed the job of being a detective, would you want to talk to this guy sort of thing? Make it a bit more interesting in that respect.

Speaker 2: 27:12
Mmm.

MAX: 27:12
Mmm. Food for thought. So that one's hanging in the air as an opportunity, potentially.

SAM: 27:17
You could do that pretty easily.

MAX: 27:18
I could do lots of things pretty easily.

SAM: 27:20
Like if you didn't offer me a podcast, I wouldn't want to bump in you in the street. What? What? What? You look terrifying.

MAX: 27:28
Cutting that bit out. I had a meeting with people at Facebook early in the week and talking about how best to promote the podcast because more listeners is better. And I mean, yes, they took me through a program, a program, uh well, yeah, kind of like a campaign of how to advertise successfully and grow awareness and reach. So I filmed like a 15-second, well, it was actually 13-second introductory sort of video thing and made it, you know, dubbed it a bit so it was really easy to hear and made it really easy to see from like a mobile device that kind of helped to lead people through to the podcast. So if you click the link, then it'll take you the landing page will be well the landing page will be the podcast all episodes page, so it'll take you to the last latest episode. Yeah, or through Facebook and Instagram, so they're business.

SAM: 28:34
When when when this whole thing blows over as well, we should redo our intro video.

MAX: 28:38
Intro video, yeah. I know when we can get back together again.

SAM: 28:40
Yes, yeah, exactly. We'll we'll redo it.

MAX: 28:43
When we could be in the same room, it'd be kind of strange.

SAM: 28:46
I know, I know, no pressure.

MAX: 28:50
And that was, well, 33 episodes ago.

SAM: 28:53
Wow.

MAX: 28:53
Who'd have thought 33? I remember at the time going, the average podcast doesn't make it past seven episodes, and I was all big about this seventh episode. Like we're just gonna fall over and die before the eighth episode. Now we're up to 33. It's pretty cool. Movies. So you saw the Invisible Man and we talked about Broadchurch. You're into that series last week.

SAM: 29:23
Have you have you seen it yet?

MAX: 29:24
No. But I you know what I did because I was just the world is I had this really I had two voiceover jobs uh in in one day. One was about uh personal protective equipment, and the other one was some deep, you know, we're we're a business and we're changing and it's all about the culture and the people and you know, we're amazing, come work for us. Roughly, just to save you five minutes. And uh I thought I just want to forget about all that sort of stuff, forget about the the corona world and everything. I thought, what's on that I can just tune out to totally park all of my brain cells and just laugh away. I I I I hit upon completely by accident Coffee and Kareem. Have you heard about that movie?

SAM: 30:06
No, exactly.

MAX: 30:07
No, my what is it? I didn't know it existed. I didn't know it existed until I found it. I think it was Netflix. Ed Helms, who I loved in The Office and the Hangover, and he's a funny guy, just about whatever he does. Is that the nerdy dude from The Hangover? He yeah, yeah, yeah. Uh I know him. He really funny guy, really talented comic. And uh I thought, okay, this is gonna be, you know, maybe I'll get halfway. It was I mean, look, it scored 5.1 or something on IMDb. I'm like, I just want to tune out, but it was it was actually really funnier than I thought. I was found myself laughing out loud a few more times than I've got to admit, you know?

SAM: 30:43
It was really interesting. It was funny.

MAX: 30:46
Coffee and Kareem.

SAM: 30:48
Kareem. It's just as in like a dude named Kareem.

MAX: 30:51
As in dude's names, yes. And it is it was actually there's some really good lines in it.

SAM: 30:57
Yeah.

MAX: 30:58
So I'll put a link in our social again for that. You know what's been really interesting for me to see on social media how other actors are dealing with uh dealing with these creative juices that don't stop flowing while they're isolated. I watched a great little movie between starring, I should say, Sam Neil and Hugo Weaving. Oh, two Aussies, two two of them in the bath together. It's hilarious.

SAM: 31:32
It's just is it a film?

MAX: 31:34
It's oh come on, it was like a one-minute thing on Instagram, and they both filmed it independently in their own respective baths, but it's basically the two of them Sam's in a bath having a great time, and then Hugo Weavings just turns up. What are you doing, mate? Pass the sort, let's go. And it's just it was really funny. I'll share it in our social because it's just so funny.

SAM: 31:53
There are a lot of like isolation ones like um um Simon Pegg. Simon Simon Peg, yeah, Simon Pegg, and I forgot the other guy's name from like Sean of the Dead, you know, that comment those comments and hot fuzz and all that stuff. They did like a recreation of Shauna the Dead, but like coronavirus kind of style. It was it was pretty good. Like all these people, like you're saying, are just the you can't like creatives that are this creative just can't stop.

MAX: 32:20
I know start writing, start creating, start filming. It's it's like it's a great and you've got a dedicated audience, so there's nothing else to do. As we all finish our lists on Netflix, you know, we're all we're all waiting for something else, and there's only so much YouTube you can do. But uh also an Instagram from Taika Waititi, the New Zealand director actor, about him quitting filmmaking and taking up sewing. And he posts a couple of things that look kind of interesting and not really lifelike at all that he sewed. That was quite entertaining, particularly dramatic when you know you start the post with I'm quitting filmmaking to take up sewing because I'm so good. And you look at these things and go, Yeah, yeah, you're not.

SAM: 33:00
But also, you know, if you're at home, like obviously you know, if you're a creative, if you're an actor, just keep practicing and keep finding there are heaps of thousands of scripts out there on the internet. And you know, even if i i during your downtime you watch Netflix stuff. I mean, technically it's you're educating yourself if it's the field you want to go into, just watch and analyze the acting. I've been doing a lot of that, you know.

MAX: 33:20
You've got industry publications like Variety, who there I was with uh participating in a QA with an actress uh on Instagram, um, and then you know you've got industry events that are still going on, certainly in Australia, and there's no reason why you can't hook in. Well, unless it's an AFI actor, you've got to be a member, but hey, there's also other like I did one with um the the union uh M EAA here in Australia, which you could apply for, and I I got accepted with Deanna Cooney, who's a voiceover actor, actress, uh, and actor and also a uh uh voiceover coach. Get get get into it. I I know it inspired me because I one of my I mean it's got a basic setup, how do you start doing voiceovers and how do you get an agent and that sort of stuff, which is kind which I kind of know, although I haven't got an agent yet, um, how to set up a home studio and she said, Oh, my question was with because I saw a lot of agents, voiceover agents.

SAM: 34:13
Can you not get RMK voices or RMK for you? Like, can they are they not gonna be able to do it?

MAX: 34:18
No, I've applied. Yeah, no.

SAM: 34:19
Not how? Well, if you can't get it, how is it like you know, how does it be starting out voiceover artists have hopes with that?

MAX: 34:26
I know it could be that could it could just be that there's a lot of guys on there that sound like me that can do lots of corporate work and stuff, so do they need another one? Just make it simple.

SAM: 34:38
I don't know.

MAX: 34:39
Yeah, no, no, my dad. My question to her was at the moment, with everyone having to set up all these home studios all of a sudden, all these voiceover artists, you know, hiding in the cupboard with blankets and stuff, trying to recreate a studio sound. Here I am with a professional setup, a page of clients, you know. Is now a good time to to call uh agents and say, Hey, I'm here if we need uh someone who sounds like me with a studio. And she's like, Absolutely, yes, because even for her with her agents, they they said to clients, here's a list of our talent that has voiceover setup. We're still working, they're they're still ready to go. So the ones that are ready to adapt real quick and can you know literally like plug into a studio, perfect, perfect. So uh that's inspired me to make some calls this week and see if if that can uh see if I can unlock opportunities that way as well. So, you know, so you're absolutely right, mate. You know, go online, be a part of stuff, be a part of conversations, Facebook groups, you know, conversations on social media, industry events, non-industry events, uh, you know, just there's so much out there to be able to educate yourself. I mean, look, even if you're not sure where to go, have a look through our um episode descriptions. We've got 33 of them now, and you need lots of interesting tips that you might want, and then just tune in. You've been listening to Max.

SAM: 35:58
And Sam.

MAX: 35:59
On two unemployed actors, just a new one every week. It's been great uh having you in our players. Let's do that again. Let's do that again. So it was random. You've been listening to two unemployed actors. I'm Max.

SAM: 36:13
I'm Sam.

MAX: 36:14
And we will be back next week with more behind the scenes information, more acting tips, more of just more. Just more.

Speaker 2: 36:21
Two unemployed actors.

MAX: 36:25
Lovely. Alright. You're you look retarded.

SAM: 36:29
Do you don't mean to?

MAX: 36:30
No, no, you do whatever you want. It's cool.

SAM: 36:32
It's cool. Hold on, hold on, hold on. So I'm holding the world in my hand. Oh shit, did I just break it? No, I didn't.

MAX: 36:37
Don't break the the world's already broken, mate. You're late.

SAM: 36:40
Yeah, no, true.