Writing for Specific Actors & 7500 Breakdown | Ep 42

MAX: 00:12
Welcome back to Two Unemployed Actors. I'm Max. I'm Sam. And we've got a great show today. Uh so much to talk about. Information from a QA I did I finished it just two hours ago with director David Mishod. 7500 or 757500. 750, the new film with Joe. Yes. Joseph Google Mevott. Yeah. Nice little review. Oh my god, that was amazing. He reviewed it. And you reviewed it. Have you seen it? Yes, yes, yes.

SAM: 00:41
It's on Amazon now.

MAX: 00:42
It is, it is. I just Amazoned it. Uh hello to listeners in Encinitas, California. That was a bit of a pause, wasn't it? I can pronounce it. From where? From California. And uh Brisbane in Queensland. Don't forget to subscribe. All the way from Brisbane. All the way from Brisbane. Everybody's listening to us all over the world. Well, when I say everybody, I mean you know I do a round up. He means everybody.

SAM: 01:05
Osman in me. So what I said real quick was we could make a montage of you saying, This is we've got a great episode for that. We've got a great episode for that. I should just have a button where I could just push it.

MAX: 01:15
Great episode, great episode. So two hours ago, I just finished a QA with two directors, or three if you count the person asking questions. It was through afters on Facebook Live, so free for all and sundry with David Mishhod and Mira Fawkes.

SAM: 01:30
I actually saw that come up this morning. I was a bit late to the party.

MAX: 01:33
And the afters head of directing, Rowan Woods, was uh was asking the questions and facilitating. Very good. Uh yes, I managed to slip a question in and get it answered, which is uh very exciting. And it was a good question. Go on. We'll get to it. But uh basically for those of you, for those of you that don't know, David Michaud, uh fantastic Aussie director. In in 10 years, okay, he's written and directed four feature films, which I think is I think that's quite a lot when you consider the time it takes to you know take it from an idea, writing it to pre-production to getting everyone on board and actually getting it developed. I mean, that's that's pretty cool. And one of them being, of course, Animal Kingdom, with a lot of uh great Australian talent that we've known for a long time, but really launched them into Hollywood. Uh Jackie Weaver moved uh to LA, she's still there after that. Joel Edgerton, Ben Mendelssohn. So some great names that that came out of of um that came out of that production and launched their careers into the US, which is nice. Uh Mira Fox, uh Judy and Punch, which I'm gonna see soon. Uh she directed that and is also a prolific writer. Now, they're uh apart from being partners, uh a part of Blue Tongue Productions, which is the Edgertons uh look, primarily Nash Edgerton kind of look, it's in okay, how to explain it. It's like an informal arrangement between a handful of filmmakers.

SAM: 03:04
Okay.

MAX: 03:05
Uh, if you look at their website, it's got a great, you know, uh detail on who's who's who in the zoo. But Nash is kind of like the chief cat herder and has been for 10 odd years or so. Okay. So there's sort of, you know, they're informally all together, they're all uh including Joel, uh his brother, and um, and of course, uh David and Mira. And they all look at each other's work, look at each other's casting tapes, all that sort of stuff, and um uh work together on various things at various stages of various things, things being filmed. So, yeah, so it was a great opportunity to hear a bit more about what's happening from their perspective and how they approach their work. I really enjoyed it. I think probably the I mean look, the question I asked, because Animal Kingdom is just an amazing movie. I know it's inspired so many, apart from launching careers, like like Ozark, you know, the color grading was modelled on um Animal Kingdom. There's just so many great moments that I find out, oh yeah, that came from I Animal Kingdom. You brought up the series I hadn't seen before, which which was filmed in I have seen it, uh filmed in uh LA and and and basically an adaptation of that now exactly, yeah. I mean, like there's just so much coming, it was alright. It's hard though because I was just into I watched three episodes.

SAM: 04:20
Okay, well you have to get into it more. I try very cool. But uh But you can see the relation between them and especially the the character of Pope and stuff.

MAX: 04:29
Indeed. And look, it was it was really good, and that and the cast it was great, and it's always hard when you've got you know cast A and cast B to sort of compare to. Um it's like playing a character based on a real person. I mean, yeah, you have to get it right, don't you? You do, and but then still play it in your in your way. That was just like a a a really amazing movie for me. Uh 10 years ago, this year yeah, this year, 10 year anniversary. I've out of this Q ⁇ A, I also got a link to where they talk about, and I'll share it on social today when this comes out, where uh the cast reunites, including David, the director, um, and Joel and Ben and Co. and Jackie's there as well to talk about the movie um now that 10 years have been, and I guess it'll be interesting to hear from them exactly how their world's changed.

SAM: 05:18
Yeah, wow.

MAX: 05:19
As much as to talk about bits and pieces from the movie. So I've got that on the books, it'll be an hour and a half of watching.

SAM: 05:25
When's that? When's that?

MAX: 05:26
Uh it's it's happened. I've got a YouTube link and I'll put it out with the social.

SAM: 05:30
That's very cool.

MAX: 05:30
I'll flicker too it's really it's really interesting. So yeah, so I absolutely love the movie. So my my question was uh particularly from a writer director, are you writing with certain actors in mind? And if so, were they the actors that that were actually cast at the end? It's interesting because Mira mirror not so much. When she writes, it's kind of like I don't want to feel like I'm locked in, then I'm also sudden disappointed when I can't get that person, the whole world sort of you know, it's like uh but then I really like it when in the casting room I see all these great actors just giving me such different performances. Yeah, right. Things like even for Judy and Punch, she had Damon Harriman uh Merriman come back uh three times to audition. She's like, I'm so sorry, mate, but I've just I've really got to, you know, blah blah to get him over the line with Vice and and whoever else was producing, but also it's just great to see lots of different actors taking the characters in such different directions, and that for her helps to sort of fill in the canvas of where she thinks it's gonna land. Yeah, right. As opposed to um David, who actually does write with actors in mind. I suspect that he did, but it was great to know. And also he wrote with Joel Edgin in mind, Ben Mendelssohn in mind, and Jackie Weaver in mind, who signed those characters. Uh and and isn't that amazing that those three characters are the ones that I think, well, I think it's amazing because I identified those three as the strongest performances. Yes, yes. So it's like, how cool is that to be to be writing?

SAM: 07:05
Were there others he was writing for that that he didn't get? Don't know, he didn't mention it. Very diplomatic.

MAX: 07:10
But uh anyway, so it's look it's really interesting how they approach it because he's like, look, I don't I don't sort of I don't sort of mind like I write with that character in mind, but then like my world doesn't fall apart if I can't get the person. It just helped me to shape that character. And even then the words on the page can be taken in different directions by different talent as well.

SAM: 07:29
Well, on the topic of of Animal Kingdom and David Misha, I was reading Cursing McGregor in uh uh article and interview. Okay. I was reading about that because she cast Animal Kingdom.

MAX: 07:39
Yes indeed.

SAM: 07:40
And um how they were down to two kids for the kid role. Right. Two very different ones though. So one um like kind of uh bigger kind of guy, tougher looking guy, um, who would uh who actually fit into David Misho's uh original script. Like he thought he suited him most, but he just felt that something was a bit off. Right. And then you got the other kid who was a bit scrawnier and a bit skinnier and a bit more shy and all this stuff, and Kirsty McGregor told him to go back, read the script again with both characters in mind, so do it twice with both in mind, both actors in mind, and then call me. And he called up and he said it's the the little kid, and then that was the one. So he wasn't the guy wasn't the original choice and the original vision that David Mishaw had, but ended up being the correct one. So it's interesting, isn't it? And that that I guess talks to his point of look, I write with a character in mind, but it helps me shape the character, but it's not like you know, and I wonder, I wonder why the the the guy that suited the script most still felt odd to David Mishaw.

MAX: 08:53
Yeah, it's interesting, isn't it? I g I guess when he had a particular vision that was consistent perhaps throughout the whole thing to really change because one of the elements that didn't really have to change, it's hard for people to suddenly at the end go, well, actually it could be different. Yeah, and it could still work and actually different suits it.

SAM: 09:07
Yeah, yeah, he need he needed some change. Yeah, cool. Yeah, so that was cool.

MAX: 09:11
Um other movies, I mean War Machine with Brad Pitt, Ben Kingsley. That was a I love I love that movie, that was great on uh Netflix, The King.

SAM: 09:18
The King, I watched it.

MAX: 09:19
Chimele, Chimali, Geologist, and blah blah blah. So again from Blue Tongue and The Rover, which had Guy Pierce and Robert Pattinson, that was back in 14, 2014. Like a Western dystopian type deal. So we're talking some decent budgets um and decent talent, so not bad. I I was yeah, it was really interesting to to get two directors for the price of one. Yeah, yeah, and and with their different approaches, and and like and mirror going, look, you know, I'm dyslexic. I I I struggle to spell right, let alone like I'm not your and she writes, she writes. Yeah, she's yeah. So I I as a professional actor, I found it hard to get lots of work, and sometimes you get work that you don't connect with as much, and you know, it's a bit more than a lot of things. So she was an actor first. She still is, she's a professional actor. She can be both, you can be a slash. No, she can be both. She can be both. So she's a professional actor, a writer, and a director. Very cool. And I think what was interesting was just wanting to be able to get more work and to be connected and engaged in the industry so much, yeah, that meant doing more than just acting. And and that was the writing and the directing. And for her, you she doesn't consider herself a writer. That's the hardest part for her, but also somewhat rewarding, I guess, when you finish something that you're really happy with. Yeah. Um, no matter what your limitations might have been or you thought they were. So that was really interesting. When when David was writing Animal Kingdom, he he wrote it like he was writing for someone else to direct. Oh. He didn't even think he'd end up. How did he end up they wanted him to direct it, did they? There we go. Which is which is another little juicy tidbit. I didn't really know. Did he say who he wanted to direct or he didn't know? No, no, he just meant that he was writing for someone, he just knew he was writing for someone else. And then all of a sudden, there he is. There we go. Um and then after Animal Kingdom, like he realized he sort of hadn't been on set for three years. He just wanted to get something done, walk on to someone else's project. Sure. Just to get on set, just to like it's not just I've got to write my baby and direct my baby, and that's all I want to do, my baby. Yeah. I love my analgies. Yeah. But he's he he also you know, to get that experience and and to just feel like you're at home on set, you know, when things are actually getting done, it's getting done. Um that's when he went and directed uh Enlightened with Laura Dern. Okay, yeah. And you know, again, like walking onto something that that had been running, it was set up, but the actors went through the blocking on the first day he was there, and he's kind of like, okay, that's great, but can we do it this way? And they're like, Yeah, sure. Like he just I guess it was he was surprised to sort of see that reminded, I guess, that actors are willing to change, they're not locked on, like that were willing to experiment and go with the floor, even if they've been doing certain scenes certain ways, which is really nice because he can sort of put his own sort of stamp on it.

Speaker 2: 12:07
Very cool.

MAX: 12:14
Tell me your story.

SAM: 12:15
So, um quick little thing. Uh, there was an afters film, uh short film uh that I did with Ramon, who who's a director that I've done multiple short films with. It's called A Film Buy. I spoke about it a bit a couple of podcasts back. A film, a film by. After uh short film, and it was the one where I did the 50s musical theatre kind of dancing scene. Um so we were planning to do ADR, uh kind of recording actually for a song that was in that um before coronavirus shut down. Yeah, that was last year. Yeah, over a year ago. So shut down afters. So then now we've moved it to uh later on in a couple of weeks' time, jumping back into that. So excited. Are they up and running again?

MAX: 12:57
I mean, I know I just did a virtual QA with them, so I think I think they're up and running or getting back into it.

SAM: 13:01
Okay. Um so yeah, we're getting into the recording room again. I'm like, I can't wait to be back on that. Um he's the guy who's got short film ideas for me, which is really cool. I'm excited about that. Yeah, yeah, yeah.

MAX: 13:12
And um it's such a good way to stay work fit, stay sharp, build up a network of people who we're all sort of up and coming, we're all you know, trying and experimenting. And when you sort of gel with people, uh the way they work, their ideas, it's it's just great. You just gotta Well that's how Blue Tongue started, the the the company from Nashijt, and you know, these guys just working together and getting on with each other.

SAM: 13:34
Yeah. Also, exciting news. Not today, the big short film I did is now finally in uh audio. It's ready to it's done their their audio is now onto it.

MAX: 13:46
Oh, you mean it's that I thought I thought it's going to some festival called audio. No, no, no, no. Audio only at a festival. That'd be interesting.

SAM: 13:54
So sound is fine. Everybody close your eyes and listen to this. Yes. Finally, our yeah, that would be a very odd. It would. And think about it. No, so our sound guy, Ahmed, is now on it, editing the in the sound, the visual effects is well done. Everything's a go, Ahmed. Get it, dump it. So excited. Um, so hopefully that is done soon. I cannot wait to see it.

MAX: 14:15
Um that's good because I remember you worked on that for a while up in the Blue Mountains and down in Morgong, and it was an intensely emotional journey.

SAM: 14:22
Thank you. Quote listening to stories. Yeah, thanks. Thanks, Max. Thanks for actually listening. That makes one of us. I listened and I understood. Oh good.

MAX: 14:32
Wow.

SAM: 14:32
Jesus.

MAX: 14:33
And I remembered.

SAM: 14:34
My God. Who is this? Patrick. What have you done with Max? And um, so we also there was a McGregor casting for a uh TV series in Byron Bay. Um pretty sure I know the name. Don't know if I'm allowed to like say it. I don't because I'm not meant to be. That's mine. Um yeah, exactly. But uh so Jess and I were gonna audition that with uh audition for that with Grant, and we arrived at Grant's last week and I rechecked the website and they are no longer casting it for whatever reason, whether it's been passed on to another casting agent or they've cancelled the show. Um delayed or something.

MAX: 15:11
I mean, it's a strange environment we're in at the moment with Corona World. Um maybe there's a delay as a result of that, who knows?

SAM: 15:17
Exactly. But we did it anyway. We did our self tapes, they were pretty good uh good, and um sent them off because they they said even if you've done your self tape, send it to us for future projects. So we did that, and that's good. Um it is good because I mean it because now they can see us.

MAX: 15:31
Rainhale shine. You've got yourself again in front of our casting director.

SAM: 15:35
And my YouTube has three views, that YouTube video. So one of them is probably three of them, sorry, me. No, no, no. You, your mum, Jess. Yeah, okay. Yeah, exactly. Um yeah. So getting back into it very, very slowly, but but but getting there.

MAX: 15:56
You look like you had something really important to say as well. Did you just have a brain fart and forget or something?

SAM: 16:01
I was watching I was watching TV shows, it's called the Originals, and I uh got to season four finale. I've heard that. Yeah, I got to season four finale and like balled my eyes out.

MAX: 16:10
Oh my goodness.

SAM: 16:12
Um well like Jess was asleep. Like, oh my god. Oh yes. Oh, also, yes, so I'm learning a monologue for Grants to m on Thursday. He's given me this monologue, it's about a father who has accidentally, however long ago, that's my choice, but has accidentally reversed into his two-year-old daughter. Oh dear. Um and I I suppose killed her accidentally. And it's such an emotional monologue, and I'm like, it's I it's gonna be a challenge, and it has been a challenge, but I'm trying to dial not trying, you know, I'm just trying to be in the moment and be present and dialing up those emotions where I don't actually have a daughter and I don't know that relationship, but I can pull from others at the same time here.

MAX: 17:04
Substitute your dog, Bella.

SAM: 17:06
But here's the problem, right? If it uh for me, like I do my best, it's so hard to I I guess that's acting for you, but it's really hard to I can get upset by thinking about that stuff. I can I can even get teary, but to bring a tear to like fall out of my eye, yeah, that is so hard. And I can't. No, I'm I'm in the same boat. Yeah, and and it's you gotta have it's real crying. You gotta have the heaviness in your throat, and it's weird. Like I can think of Bella or or even my my younger cousin who's who's amazing, and it's an awful it would be an awful thought to substitute her and and would work to upset me, but for some reason I'm like, but I know she's safe. I know, and it's hard to bring all that out.

MAX: 17:49
It's just and sometimes what works today doesn't work the next the next day or the next take. I know Jeffrey Rush did um for King Lear, he was visualising his daughter hit by a bus. Oh, brilliant to bring that emotion.

SAM: 18:02
See, there we go. I think having a kid is something, a relationship and some sort of love that is unknown to people without. Possibly. That's what people are doing.

MAX: 18:11
Frederick feels like a child. He certainly acts like one, but then so do I. So it's hard to sort of tell us. But no barking today because Frederick I almost said he's no longer with us, but he's not with us today. That's that was a bit heavy. Dougie Daycare, everyone, don't panic, don't panic. Uh, you pulled up on the vest, but right out front. I was arrived in style.

SAM: 18:28
I was confused when I walked in, walked in. There was no barking, I thought I was in the wrong place. I saw Max. I still thought I was. It's weird, it's it feels like part of us is missing. He's not here.

MAX: 18:40
I know, it's a bit strange, isn't it? It I do miss the little guy. After a couple of hours, I'm like, oh Fred's one. When are you picking him up? Uh as soon as I finished talking. So never Vespering around the podcast episode. There we go. That's a bit more specific. Getting around on the Vespa and picking up good old Freddy up to almost right into the actual daycare center. No, he doesn't use the doggles yet. We're getting there. He wears them to the Vespa, but won't wear them on the Vesper at the moment. We're getting closer. That's freaking pointing. First step. Well, it's it's a process. Sorry. I've got to work with his attitude and his fashion sense. So you know, it takes a while.

SAM: 19:15
Very nice.

MAX: 19:15
We needed some more concentration time for that. Is that why is it Dougie Daycare? Yeah. Yeah, he's he he misses his friends. It's been a while. We've been together, two two guys in each other's pockets throughout the pando. Like the full pandemic, it's a lot we need a day apart. We do. It's time before we start barking at each other just for no reason. Yeah, you know, it's it's yeah. But speaking of being available, uh, not just for Fred's emotions, but my own. I because 20 years of corporate, I'm hiding every emotion I've got. And I think you know, it was really hard. Like the I think when it was really apparent to me that it was going to be quite difficult in an Anthony Bradebong workshop and just trying to grow and but it's not always, you know, the the water works, it's also that transition to that state. True.

SAM: 20:05
Uh which is which can be quite an intense and gripping as much as the Yeah, not not getting them out is is a way to get you could you can make audiences cry without you crying because they can see it building up and the release is are the tears. And if you don't release, they're gonna release for you. I've heard that before. Um and and then they'll start crying. And also, yeah, I have heard before, you know, you can't just make tears come out and you seem sad. There's emotions to those tears as well, and that's why I guess you can do it.

MAX: 20:36
It's like the fake smiling, you know, and you it's not you don't see it in the eyes, it's just oh that's creepy. Don't don't do that. Don't don't do that. If the wind changed and it stayed that way, but uh I think I you know, because you can you can you can sense it so just you know squirting a bit of onion in your eye and uh water coming down doesn't really it's no, you've got to be in the right emotional area. Mindset. That's my technical mindset. Mindset, even that's a good area to be in, uh, especially when you're acting. So the right mindset, yeah, and different things to drag you into that mindset. That's why I'd like it's full respect in the theater world where you're doing like eight shows a day and you've got to have a have an emotional moment, you've got to cry, or whatever, you know, whatever it might be, where you you find a bit more challenging to get into that mindset than other areas.

SAM: 21:24
But I mean the front two rows are the only ones that see your tears anyway. So yeah, well, well done.

MAX: 21:32
The sweat zone. Well, actually, I remember waiting for Gotto with uh Hugo Weaving and Richard Roxborough. You waited for I was in row two and they're sitting there on the edge of the stage, their legs hanging over, there was no one in in the first row. And it's like they're just there and oh my god, they're just going for it. And it was just amazing. Like I'm I'm I'm sitting there just looking up at them, going, This is so cool, until I realise, you know, there are just lots of lots of spray. It's like a sprinkler. Hugo Weaving is like a sprinkler. Really no spitting. It didn't really make it to the second row, but you know, the with the lighting and everything, it was quite powerful. But uh, but geez, it was a fantastic play. That was amazing. That's one of my one of my highlights up there with Hamlet. Um one of my highlights. So from the future. There are many. There are many. So to make it to the uh A to the top of the podium, it's quite special. Very nice. I'm sure Hugo is thanking thanking me for that right now. 7500 7500. It is 7500. And what is it code for everyone is gonna read it? The emergency code for a plane hijacking now with terrorists. No. Because the idea is they they being pilots, uh, we can strike me. And now everyone is just the film articulating them. Yeah. Which is a problem when you're articulating things. So uh oh my god. What? I know that made sense to only me. And even then, I'm kind of like action. Pilots, pilots, if they want to communicate surreptitiously on the sly, on the down low, if they want to say we're being hijacked without actually saying those words, they can just put in a code, you know, 7500, and everyone will know, everyone being there, traffic control will know they're being hijacked. Except for those terrorists who've watched the movie now or listen to this podcast.

SAM: 23:34
It's uh shorter to say there's a hijacking than 7500. Yeah, but that's not the point. The point is you don't want the hijacks to know you're telling everything. What if it's like a rush?

MAX: 23:43
Oh my god, it's gonna take a lot of review.

SAM: 23:45
There are more syllables in 7500. So it was filmed in December in Germany. Yeah. Oh my god. Joseph Gordon Levitz in it. I saw the trailer. His acting even in the trailer is freaking amazing. The relationship between him and I I'm guessing it's his wife or girlfriend or partner. Wife. Did I sure I brought this up last podcast? 750. I'm sure I forgot. No, maybe. I don't know.

MAX: 24:10
I did. Did you? Yeah. I was listening to you? Yeah. Did I was I'm making eye contact? Were you listening to the podcast? Was I making eye contact? Was I like responding or was I just sort of was I drooling?

SAM: 24:19
I think I said I saw the trailer. Yeah, were you drooling?

MAX: 24:22
Uh written and directed by Patrick Volrath. Now I I of course. Sorry. Why, of course. No, I was kidding. I don't know who it is. So what what I found really interesting was in research, um, Patrick would would go back and make amendments to the script and use different elements, like discovering that there's a monitor behind the pilots that can see what's going on just outside the cockpit.

SAM: 24:47
And that's that's in every passenger plane, isn't it? No.

MAX: 24:50
I have no idea, but um I I I it is in the Airbus because I actually bought one, they bought a decommissioned one very cool and used the cockpit of the plane and the first eight rows. Oh yeah. Interestingly, like I mean, that's not a lot of space. So but it all happens on the plane, right? This film is all on the plane, isn't it? And interestingly, which makes it feel really claustrophobic. And because you're so drawn in and so and it's the tension is is is there, uh, it and it is such a confined space, it's really interesting. But technically, it is a confined space, so there's no boom operator. That does what they did was they put lots of mics everywhere.

SAM: 25:29
Oh well, it would have been easier. If they don't change location, that's perfect.

MAX: 25:33
Well, yeah, and then that but then they just had to sort of make it flexible somewhat so they can fit. And they used one of the smallest, I can't remember what the camera's called. I'm not much of a tech guy, but but they used one of the smallest cinema cinema cameras available in order to help uh deal with the space. Yeah. Uh but obviously with some flexibility to move things around to get in and and and out sort of thing, because it's just it was it's fascinating the way you feel like you are in that cabin. Yeah, right. Locked in there, wondering what the hell's going on. And that's where that monitor is great because some of the most tense moments where you're on the edge of your seat is when you're looking at what's happening, like you're the pilot. So it's always from Joseph Gordon Levitt's perspective. No, it's not, no, but it's from the cabin perspective. Okay. So there's not a lot of moments where you're outside the cabin.

SAM: 26:17
As in the cockpit or the cabin? The cabin. Well, that's the same thing. That's the same thing. Sorry, I don't freaking know plane bingo. I don't fly, and I'm it's really simple.

MAX: 26:28
I don't want to make complicated. And I know I got it, I got it.

SAM: 26:31
I've got it out.

MAX: 26:31
Uh what what what's really interesting too is the is the routineness, the the calm routineness of just the pilots going through their checklists and and and going through the motions. I look, I'm kind of interested in flying, so it's kind of interesting to me, but but it just all of a sudden to be thrown into an extraordinarily tense situation, yeah, just makes it even more uh intense of a moment. Yeah, right. And that doesn't let up, like it's just consistent, tense from then on. I don't want to watch it tonight. It's fantastic. Oh, it's so worth it. Fantastic ride. Um intended. Yeah, fantastic flight. Yeah. What what's interesting too is a fairly loose script. Yeah. So what do you what Patrick said is don't feel like you have to say every single word on the and how often do you hear a white writer say that not often? Uh don't feel like you're tied into every single word. Like if you're feeling the emotion, you feel like you should say something, you say it. You're right. And then there was a sequence of probably 45 minutes where they would just start and go all the way through. And just do that again and again to capture the different angles and different ways to capture the scene. Exactly. And just to make it a bit more authentic. And the research both Joseph and Patrick did into this is just it's amazing. Like you can see when they're going through the checklist, like how routine it is, and everything, it's like any other, any other flight. You could absolutely see it happening. Oh, that's right. And feedback already from people who do know how to fly, it is really um authentic. I guess it helps when they film it in an actual plane. It's not like on a sound stage, it's a real plane.

SAM: 28:03
Yeah.

MAX: 28:04
But so yeah, snakes on a plane. Great thriller to no, it's not it's a it's a great thriller to the end. And I always love those stories where you've got some, you know, ordinary people in really extraordinary situations. Yeah. And you just you can feel that. And Joseph Gonlev is awesome. He's awesome. What an amazing actor, like, and so versatile. Like one minute, it's uh third rock. Then it's Ten Things I Hate About You was another one of what he's I mean, just like now he's a um American in Germany flying planes with uh with a German wife. It's really interesting.

SAM: 28:38
I watched a TED talk from him actually recently, and it was quite good. He he was talking about um I forgot, but uh good stuff. So good you've blocked it from the traumatic. Yeah, he was talking about acting and the and the work and and also trying to I I guess stay stay uh you and true to yourself as well, even when the fame comes and all that stuff. And he's so he's he was chat chatting about that. Um it was weird seeing him speaking to an audience as himself, because you don't see that often with no um besides accepting awards.

MAX: 29:14
Not many actors do TED talks, they'll probably turn up and ask for a check.

SAM: 29:17
Yeah. Ask for a chair. A check oh check.

MAX: 29:20
They get paid to talk as actors.

SAM: 29:22
Yeah, yeah. Well Adam Driver did one. It's uh there's quite a few actually, I think.

MAX: 29:26
But no. I don't know. Before Ted Ted was a thing, before Teddy came around, it was just people making speeches, really.

SAM: 29:32
Yeah, Ted's great.

MAX: 29:35
The corporates love it because they can sound like they're the next uh you know, Steve Jobs or something walking around on stage with a little microphone and people have to listen to them. Okay, but you can say you're a part of it, you know. You've been listening to Max on two unemployed actors. Make sure you like and subscribe, and we'll see you next week. See you guys. Bye.