Inside George Miller's Storytelling Secrets & The Perfect Vocal Warmup | Ep 73

MAX: 00:12
Welcome back to Two Unemployed Actors. I'm Max. I'm Sam. We have a huge show today because we had a slight break of a couple of weeks. Um my father had a heart attack, so he's he's doing alright, but it meant down tools immediately and race up to the Gold Coast, which isn't round the corner for those of you that know Australia well. Fortunately, borders are open, so managed to make it. But um anyway, lots to talk about though because we've it's been a busy period. I mean, aside from earning my medical degree, uh I've been uh I've been busy both working and studying, could say. Okay. Remember I talked about um seeing George Mina George George Miller and Tim Minchin at the Sydney Ryder Festival? Yes, yes. And uh uh screenwriting course and warm-ups. There's been a lot uh knowledge being transferred into my poor little brain cell. And it looks very much like an actor's house. I still didn't have furniture in the dining room, and literally the lights were set up before Sam walked in, like just before, um, because I had a self-tape audition yesterday that I had to do urgent voiceover job the day before, uh over the weekend. Um, it's just it's been busy, it's been busy, but and a corporate shoot this morning, actually. Um so uh turned up and got the suit on, clean cleanly sort of shaven-ish, like trimmed a bit. Yep. And um use the old teleprompter to make it look like I knew what I was talking about and really conveyed that authority, but in a relaxed and relatable style. Good stuff. There you go. Uh so fun stuff. So it's been it's been really busy. I guess first of all, um warm-ups. I I remember because we talked about how, because you you're a singer, obviously, you know, you have to warm up your voice. Um even things like I remember we talked about different ways to to warm up, and and even there was a moment where we used an example of a Cape Lunchette, how she had to do this opening for some fashion thing in uh at a store in the city uh back in the day, and um she only had like a line, but she was over in the corner just before, you know, warming up the voice and doing all the exercises, and and to the uninitiated, it just looks like you're weirdly talking in some eldish language or something. Yeah, you gotta be confident. Um because yeah, and to to to you know, the vo the the voice is an instrument and uh warm one up and let it rip. And I guess for those that have acted on on the stage in theatre where and you know, if you're independent theatre, you're probably not gonna have a microphone. Um certainly if like me you can't sing, it's not gonna be a musical. Uh then it's kind of you you know, you really have to you you're really aware of how much it can take out of you.

SAM: 03:03
Yeah.

MAX: 03:03
Just having the same sort of conversations even without even yelling on stage, but having to have that presence in your voice. 100%. You need to warm that up, yeah. Yeah, week after week, you know, performance after performance. Yeah, if you're not warming it up properly, if you're not warming it up properly, then you can absolutely damage it and lose your voice and all sorts of things. It's certainly not going to help the performance.

SAM: 03:24
No, especially if you've got weeks and weeks.

MAX: 03:26
Yeah, and and performances. Funnily enough, the hour that I was on this Zoom course, um the beforehand, I'd I'd found out about my dad, so I'm talking to my mum in the morning. Then I had this hour session uh where we're going through different warm-ups. Yeah. And then I had to ring my mum to tell her what was going on. Yeah. And she's like, Oh Max, you've you've got a different voice. Your voice has changed. And I'm laughing because, like, well, A, I needed a moment of levity, and B it just shows how much just even like an hour of doing bits and pieces of all the different types of work of warm-ups you can do. Yeah. Um, just what a difference it makes. It opens up your voice. Yeah, yeah. So we got a few cheat sheets. Uh I'm talking like I've got 12 pages printed out. And some are just like in the car on the way to them all today. Some are like, you know, do just before you walk in the room. Yeah. Some um, if you if you in the theatre, you know, different different ways of warming up depending on what you need to do. And others, you know, in the car on the way to a audition or something. Yeah. Um, and for me, it's great to have a few key ones that I like that I keep sort of cycling through. Even for do for doing voiceovers, like say, um, I haven't got time, I've just got a note from someone on a job I did they want to pick up, so I've got to do a revision.

Speaker: 04:47
Yep.

MAX: 04:48
I just want to fire up the computer, record it, uh, quick edit, and send it away and and done. Um while I've got a few, you know, really sort of quick warm-ups to do to sort of get me there. Because A, you want it to sound like the longer version that you've done, yeah. So that when they drop it in, it doesn't sound it doesn't sound like someone else. Yeah. Yeah, yeah, yeah. Uh so there's that. And and B, you don't want to spend forever trying to um warm up, you don't have the time. Um, so I f I'm always open to different types of warm-ups. Yeah. So that, you know, like e even at the tall pages, like so much of that was new, and I'd never thought of warming up in this sort of way. Um, and it was really great to to to experience it and to practice it a little bit in that hour because it was wasn't a long time. Um, to then sort of add to my list of go-to warm-ups. Cool. Do you do you have like a sort of go-to repertoire of warm-ups? Yeah. Is there a Sammy album of warm-ups?

SAM: 05:48
There are, there are. I have to think of think of what they are because I don't I don't sort of test.

MAX: 05:52
You have to like demonstrate them.

SAM: 05:53
No, I know. But yeah, do you do you keep nourishing them and sort of bringing new ones in and yeah, I mean there's there's heaps that I learned in high school because I started in theatre and at school. Okay. Um so yeah, I I mean for the for vocals, for like singing, and I guess hence for musical theatre and stuff, um, a lot of warm-ups that I learnt that uh for different vowel sounds and for opening up the the voice and for stretching the voice. So so the main thing that, for example, my singing teacher taught me was a few hours before, even in the morning, yeah, before an audition um or performance. S like start as low as you can and sing as high as you can, like kind of on different vowel sounds. Yeah, but stretch it out heaps, then rest and do not sing. And if you can help it, don't talk. Yeah, don't talk up until up until like 15 minutes before, and then just do a quick little relaxed, not not stressing out the voice kind of warm-up, and you're good to go. So and and it's good, you know, if you have an audition in the afternoon, not in the morning, you've been talking all day. So talking helps as well. Okay. Uh whispering is damaging as hell. Right. Because you use more force, less of your vocal cords, and it can actually be quite damaging. But um, so that's why I actually didn't know that. You didn't know that? No, yeah. So behind behind stage when when you're in a musical, you're not meant to talk loud, but if you can help it, don't whisper either.

Speaker 3: 07:24
Right, that's fascinating.

SAM: 07:25
Because it can damage it. Yeah. So that was cool. And and and also a lot of articulation um exercises as well, uh, all that stuff so important so you don't trip off because you know, that plus nerves, yeah, plus possibly speaking quickly, depending on what scene you're doing, you know. Yeah. You want it to sound good and people understand what you're saying.

MAX: 07:45
It's funny, isn't it? Because the and again it's another thing where the more work you do, yeah, the less it looks like you're doing anything when you're performing.

SAM: 07:52
Yeah, but I also think that a lot of people uh di like especially for musical theatre, disregard the articulation one.

MAX: 08:01
Oh um That's funny because I know for me, I'm always dialing that up because with voiceovers, like I'm getting like okay, let's face it, with my 20 years corporate experience, I'm falling into more of that corporate area. Like even this morning, um, digital was the word today. Um, it was twice in the same sentence digital, digital, digital, digital. I'm like, you know, and then you don't want to do digital. Um I mean, so it's like oh uh so it's it's so important. That's been super important for me. Yeah, just normally like doing reads. Yeah, yeah, digital, isn't it? Digital, digital. There's always one word that gets me, you know. And then of course you focus on it, and then you know that's your anchor in the in the sentence.

SAM: 08:43
Yeah, and then when you do years of that, you know, it becomes almost muscle memory, and you kind of the warm-ups just get you there. You don't have to think about it too much. Yeah, it's less of a stress. Yeah, so 100%. Like warm-ups are I think for a lot of people who are starting out, even people still still in, but I think a lot of people starting out, warm-ups are quite underrated and they sorry, quite um oh well yeah, they're underrated. I don't think they're gonna be able to do that. It's hard though, because like yes, you have to tune and warm up your instrument, but it's hard to consider something that you use every day and is actually a part of your body, an instrument.

MAX: 09:18
Yeah, which it is, whether you're singing or talking. Well, for singing, especially like longevity, you know, you're gonna end up not being able to sing past your forties if you keep it warm. Marketing up in your twenties.

SAM: 09:27
Yeah, 100%. Yeah, keep it warm. Hydration helps a lot, all that stuff. Yeah, yeah, yeah.

MAX: 09:33
I know we had a special on like musical theatre in that couple of singers in uh that we know really well.

SAM: 09:41
Oh my god.

MAX: 09:42
And uh things like yeah, try you trying to make sure that you not only warm up right this you're approaching the song the right way, otherwise, yeah, you wreck your voice.

SAM: 09:49
Yeah, yeah, and yeah, exactly.

Speaker 3: 09:51
You generally have multiple performances as well.

MAX: 09:55
Um so from warming up to storytelling, it was a really interesting couple of weeks because literally on a Sunday, yeah, I'm having having I'm listening to Tim Minchin and George Miller having a one hour unscripted conversation about storytelling from like this high level of like, you know, what is a story.

Speaker: 10:17
Yep.

MAX: 10:17
Uh and then the next day, literally on the Monday, yeah, I'm there starting my five-week online course of screenwriting. You know, here is how you write.

SAM: 10:26
Yeah, how's that going?

MAX: 10:28
So it was really it was really funny, but it was really good. It was like a good warm-up act of Tim Mitchell and Tim and George to help me ease into that's good, that's well placed my screenwriting. It was hilarious because I think interestingly, um from the chat, um it really was an hour of unscripted discussion, and um there was a few moments there where it sort of went, um well, it it was interesting when they when they started to get into detail of certain projects and how um they both approach different projects. Yeah, right. Interestingly, George, because uh the big news in Australia anyway is the the the green light on the next Mad Max movie. Yeah, so it's the prequel, which is got a $350 million budget, and I think it ended up with something like $30 million worth of subsidies because I was having dinner with someone who is on one of the boards with Create New South Wales for theatre, but knows that it was something like 30 million, something of incentives, you know, tax breaks, credits, producer offsets, all that sort of uh legally stuff that helps um bankroll, you know, $350 million worth of investment over uh oh god knows how long it's gonna be gonna be filming for. That's it. It's a mammoth. It's moving a city to the outback, basically. Yeah. Um, but he wrote that before he wrote Furyosa, the last one that went, the Char Charlie's Thrawn one.

SAM: 11:48
Before he wrote Mammoth, uh Fury Road. The last one.

MAX: 11:51
Fury Road, yes. So he wrote the prequel before he wrote Which kind of makes sense, I guess, when you Google. So he fleshed out this and then the last one, and then just thought because he's a s it's only interesting because he because he's he's established the universe.

SAM: 12:04
Yeah, he's established the world. So he wanted to make a remake before he made the prequel instead of a pretty much.

MAX: 12:11
It's kind of like let's you you already know the world, the world's been introduced to you. Here's my let's bring it to life, yeah, and then we can then go and find out why.

SAM: 12:23
Yeah, because I was like, what's happening?

MAX: 12:25
Because there's a lot more meat onto the bones as to why. Yeah, yeah. Um, so so it's yeah, it was interesting that he's done it it in that way. Um it was part of the Sydney Writers Festival, which which was really interesting, like you know, literally surrounded by stories and inspiration. Um, and and the reason George Miller was available is um Tim mentioned lives in Sydney, but uh George Miller filming um 3,000 Years of Longing. Yes, and uh Idris Elba and Tilda Swinton, I think uh they rapped a couple months ago, but I think it was still in post when we're talking about it a couple weeks ago. Yeah. Um anyway, Tim's like Tim is just like, oh, so I saw that you know Idris Elba's here and Tilda Swinton, and you guys are filming down in Tasmania, and oh, it must be this nice little George Miller arthouse kind of movie project. And then he's like, and then but the budget's 80 million dollars. I'm like, what the hell are you doing down there? You know, like that's not a small arthouse movie by any means. So it's I know in comparison to everything they usually make. I know, you know, the three million indies that we normally see. Yeah, yeah. Um, so I can't wait to find out more about that. But um but uh yeah, it's certainly a hub, Sydney, at the moment, for lots of talent. Oh yeah, and and the Gold Coast and Queensland for a lot. There's so many projects happening.

SAM: 13:45
There is, yeah. I actually I recently auditioned for a professional musical theatre show. It's called Jagged Little Pill. I'd never heard of it until now, but apparently it's it um it was it been on Broadway when it was, yeah, yeah, yeah. So apparently it's been on Broadway one some Tonies or Grammys, I mean I forget which one. But uh yeah, audition for that sent through an audition, haven't heard back yet. Um but that's exciting, and I have an audition on Thursday for a play at ATYP called Follow Me Home.

MAX: 14:15
And talk to people about what ATYP is because even though ATYP everyone is.

SAM: 14:19
I'm too old to know is an Australia theatre Australian theatre for young people. People younger than me. People yeah Well, I thought even younger than me, but then I found out I could audition for this thing. Um yeah, yeah. Get it in quick. So it's right near the Rosalind Packer Theatre, which is which is near these the piers here in Sydney.

MAX: 14:37
And another great opportunity for actors.

SAM: 14:40
Yeah, so and and it happens to be paid, which is a bonus. Even better. Which is awesome, yeah.

MAX: 14:44
Because remember I went for that audition at the new theatre, didn't get it. But anyway, uh they even were up front going, well, it's voluntary. Yeah, it's gonna be voluntary. They well when you say independent theatre, I mean they they operate very independent because they don't have any grants, they're not government funded in any way, shape, or form, and they take sort of pride in that and sort of say this is our you know, no interference, no one we don't owe anyone money, we don't have to say or not say certain things, we can just be truly independent. But I mean and they'll be mind you, they've been going for like 30 years.

SAM: 15:12
Yeah, right. Yeah, yeah, yeah. Not bad. New theatres, yeah.

MAX: 15:15
Uh so uh uh it's just great to see a lot of theatre around. Um you know, when when you consider the state of the world, yeah. Uh we're quite lucky. Um, but uh and and it's great to see so many people out and about and enjoying the theatre even more to the point. I had a friend um talk about how they went to see another show at Bake House. I know I went to see Dead Skin, that was like sold out nearly every night. Um Yellow Fever, I think it was, was the next one, and that's the one he went to see, and so it was a fantastic performance. Again, a sold-out crowd. Like it's just great to see everyone out and about supporting the arts. You spent so many m weeks, you know, locked down savouring the arts, keeping you going. You might as well go and show your support.

SAM: 15:55
Well, actually, I we we went to see a uh musical at the Roslyn Packer Theatre the other day. Did you? Um, yes, called it obviously left an impression.

MAX: 16:06
Yeah. Do you know any of the songs in it? Were you actually there?

SAM: 16:11
So yeah, it's uh so I went to see a musical at Roslyn Packer Theatre the other week called Fun Home. Um also never heard of it until a friend of uh Jess and mine asked us to come along. Okay. Um, but it it it was really cool music and it won won Grammys for the music. Um and the on on the topic that we were talking about, so we got $25 tickets. Okay. Right, but they're usually $89. So it was $25 for under $25 year olds.

MAX: 16:42
Were you standing up in the back?

SAM: 16:43
No, good seats. Good seats because so what they were doing was there were there was $25 tickets for under $25 year olds and $30 tickets for under 30 year olds. So they're incentivising more young people to get out there. 100%. And the perks are for all the young people who already love theatre, yeah, yeah, you get some good discounts on the tickets. That's actually a pretty good idea. It was great. Um and I think Was it was it full house?

MAX: 17:04
Was it busy?

SAM: 17:05
Yeah, yeah, it was pretty full. Okay. Um the night we went. The funny thing was is like, yes, it I think it's good to get young people more into theatre, but there were these two guys that happened to sit next to us, didn't look like theatre people at all. But I'm a judge, I'm a judge. They were sitting there, they were kind of like moving a lot, and then they walked out before it ended. I was like, Why are you here? Is it because it was cheap tickets? But were you gonna buy one anyway? Or maybe it was a gift, maybe someone Yeah, no, they they they look like they just came from a sporting match. Uh okay. Maybe we shouldn't leave that in.

MAX: 17:35
Wait a minute, this is in the footy. Yeah. Hold on. Why are they singing? Oh god, the lights got a tackle.

SAM: 17:40
I can't see.

MAX: 17:41
The lights are that's dancing. That's not how you tackle. Oh no. Yeah, that could be.

SAM: 17:45
No judging. Anyone can look like anything and enjoy theatre.

MAX: 17:48
Go to the football and to the theatre even on the same day. Yeah. Just don't go to one and think it's the other.

Speaker 3: 17:52
Yeah.

MAX: 17:53
Uh more on writing. So I've been doing this writing course because I've been inspired. I've got a couple of stories, itching to get out. One, a television series with this whole little world developed and little characters, and another one a film. Yeah. Um, and Chris Corbett's doing this this course through the through the union via Zoom and really interesting like how to how to frame a story. Well, first of all, there's no right way to do it. Otherwise, like we'd all be doing it right, you know. Yeah. Uh, there's so many different ways to do it, but I guess what he is enjoying sharing, and what we're really loving, is that he has a whole lot of sort of tips and tricks and things, like 18 questions to ask um of the story um to really pressure test it. Yeah, okay, to flesh it out a bit. Cool. Um, and it's not geez, I'm I'm a screenwriter, I sit down, I write, you know, uh all the all the lingo interior uh scene night, um blah blah, you know, because he's picked up a you know an 80-page script, it looks like a screen uh screen print, uh it looks like a a script, it looks like a screenplay, but um when he's read it, it there's no story.

SAM: 19:03
Yeah, the story's the most important thing, yeah.

MAX: 19:05
Sort of things happening, but no real relevance.

SAM: 19:08
That's the hard part. Everyone can come up with an amazing I mean not everyone with an amazing story, but then producing it in the form of a script is quite.

MAX: 19:15
And if you pressure test with the questions, you're gonna get like you know, one survive out of a hundred. Yeah, right. Um that's just the nature of it. You can't be precious and hang on to something. Yeah. And then it comes to control. There's there's a couple of shows he named Umspring and Wakefield being a couple where the writers really have a fair amount of control. Okay. And I know, you know, with Wakefield, they really have to fight to have that. Yep. So whereas others, it's like, you know, three weeks before shooting starts, oh does does he have to be selling crack? Can he just be, you know, you know, can we just have Walter White um because crack's really, you know, that's really negative. Can we can have him do something positive to try and save his wife? You know, just change the whole tone and everything, you know. It's really hilarious. Well, that was actually it was originally written to be because you talked about that as an example of how let's break down something that I hope everyone's seen, um, so that you can sort of relate to how that you apply these sort of 18 questions. So break down, break it back. Who where you can he dropped the he he read a first draft script where it's originally set in California, but obviously Albuquerque came through with uh you know New Mexico producer offsets and everything, so they decided let's save some money and just set it there. Yeah, okay. Which is which works. Um, and I mean it's a different sort of world that's established, but uh you know, I I I think it's it it shows it could work anywhere, really, if you've got really good story, really good characters. Yeah, um, but it was really interesting, like how you don't always have that control. You're you're in a room and you've got a couple days to come up with, you know, a couple episodes, and you're just working around throwing these ideas around, and then they come in and go, actually, you know, we the people who agree with you on this story have now suddenly gone, we don't understand this character. Do they need to be in it? Yeah, or can you make them change the job to such and such, you know, all this sort of stuff that happens? Yeah, right. You start to get all these notes, um, and all the notes are from the people who are paying for the production, so you need to pay attention, and it's how you sort of work that in. So there's so much that can change, and he kind of said be prepared on this on the list of everyone's perceived importance, the writers just above catering. It's like that's kind of you know, in Australia, just just put my hand up and say that in Australia on set, that's kind of what it's like, but in other countries above catering.

Speaker 3: 21:41
Yeah, but in catering's in the top isn't it?

MAX: 21:45
Well, you don't tell me that. I don't need to know what you think they should say. This is how it you know, go, go, get back in your office, write something. Um whereas in America there's a lot more control, there's a lot more influence.

SAM: 21:57
Um I just gotta say catering's at the top on my list. The food is bright bloody brilliant. The food is good, I know, right? I know.

MAX: 22:06
When I told my mum that I'm going back into acting a few years ago, I said, look, you know, because we did a bit on the Gold Coast, she's like, Oh, that's right, yeah, you really did love the food. Yep.

unknown: 22:18
Yep.

Speaker 3: 22:18
Is she subtly calling you fat? Why I'm doing it.

MAX: 22:21
I did, I did like, because I didn't know, like you know, all the different jobs I had, and certainly coming out of community radio, producing my own show, and that you were lucky to have a dollar between us. Um, so then I'm turning up to this one and a half million dollar per episode television series, and that's mid-90s money. And and of course the food's amazing. It's like there's hot food, there's cold. This is I went back three times. Oh my god. Lovely, and every this is every day?

Speaker 3: 22:52
Yeah. I thought this was a special occasion, or someone's birthday or something. That was on the same star.

SAM: 22:57
That was for the same as on set of making it the recent reality TV show I did an artist job on. Same thing. The catering's amazing.

MAX: 23:06
It's so funny. Um guess what brilliant. I got called a hero the other day. We talked about the film I Am Mother. Yes. Um directed by Grant Spit Spitore. I keep I think it's Grant Spitore. His name's filmed an essay. Great movie. I loved it on Netflix. Anyway, they they read he's uh uh uh a place in California though. Speaking of warm is warming two brain cells trying to talk at the same time. Yeah, yeah. Um in America though, this this outfit who do a lot of movie posters have done this limited edition I am mother movie poster. There's like 65 prints signed and I'm like, oh my god, that looks awesome. At a store or and online and I've just gone bang, I bought it. And I've written ordered uh bought it, and I'm like, this is brilliant. Yeah. And the director grants con um, what do you got? You're uh you're a hero, hero of the day. I've got, oh fuck, that's brilliant. Okay. He said it to you. Yeah, I'll take that. I'll take that. Email. Uh my Instagram. Because I've put underneath, I've just bought it, love it. On the director. And he's responded going, You're the hero of the day. First of all, I thought, well, because I bought it, it's great. There's only 65. I I'm like, fuck, they're gonna sell out quick. So I'm straight onto it. Bought it. I'm like, yes, brilliant, I got it. I think it worked out to like 94 Australian dollars, including postage. Um, but uh I I it's it's I love the movie. So for me now sitting down and spending some time writing and that, like I it's great to have that for some inspo, you know, some real inspiration around it. I've got the Breaking Bad poster, I've got the Big Lebowski, and I've got um what else have I got up there? I saw that.

SAM: 24:60
I saw the breaking bad, I saw Big Lebowski, and there was another one on the left and I didn't read it.

MAX: 25:03
A James Bond one. There we go. Uh as well. So yeah, so I Mother will be added to the collection. Oh, yeah, I got so excited. And a 65, I'm like, yep, ordered great. And he's responded, replied underneath and said, uh, you're the hero of the day. I've got oh, it's brilliant. I'll take that. Well, it's a good day. It was a good day, even though I was a hero of that day. Tag him in it or something. No, I didn't. I just got super excited because it was. How did you see your Instagram? It was like, well, I don't fucking know. Do I I follow him and I've commented on his post before. Maybe that's how. I don't know how the algorithms work.

SAM: 25:34
Yeah, wow.

MAX: 25:36
Also, you know how you you're following lots of Facebook groups and you're on e on email lists for all these sort of random things as an up-and-coming actor, right? Because you gotta you're out there.

SAM: 25:47
You gotta put yourself out.

MAX: 25:48
You're out there. Get out of there. Um I I I I entered a competition, I've even forgotten I entered it. With Roadshow for something. I won. I've got a Penguin Bloom DVD of the movie with what what movie? Penguin Bloom, the movie with um the Australian actor. What's in oh my god, Naomi What? Yes, and a book and some postcards, some lovely printed postcards, a little tote bag, my little penguin bloom tote bag. This is a nice little surprise. Oh, a package of Roach. Have you ever seen it? No, I haven't actually, so which is great, and I also want to read the book. Okay. Um, because a friend of mine, okay, a bit heavy, but hey, she when she was on holiday in uh Spain, yeah, she got hit by a police car.

Speaker 3: 26:36
Oh my god.

MAX: 26:37
Who was which were travelling at great speed, lights on, no siren. She woke up a long time later and uh had brain injury, had to learn how to walk, talk, the whole thing. So similar to um similar to um the the the the person who wrote the story, Penguin Bloom. Similar to her experience. Oh, it's based on having to learn, yeah. So to to to learn um how to cope with um a huge injury, a life-changing injury. Yeah, right. So, and she'd actually met her and and and they they get on quite well, they catch up quite often quite often. So um I and I from that conversation she's like, you really need to max, you really need to read the book, it's really good. So I'm like brilliant. And what do you know? Two weeks later, you won that I've got the Penguin Bloom production that so sign up to their email uh uh subscriber list. You never know what you might get.

Speaker: 27:33
I'll do it.

MAX: 27:34
Oh that we covered a fair bit today in 30 minutes. I think we should be proud of that.

Speaker: 27:38
Very proud.

MAX: 27:39
Don't forget to like, subscribe, follow us on social media, do the whole thing and on a YouTube channel. Yeah, we'll have lot there's lots more coming up.

Speaker 3: 27:48
It's getting busier, so stay tuned for uh another episode next week. Of two unemployed actors. Bye.

Speaker: 27:56
Two unemployed actors.

Speaker 3: 28:00
You're listening to Max. And Sam. Welcome back. Let's go again. How many times have we done this? Uh seventy-two times. Welcome back to two unemployment. Sorry, I was gonna bump in there that you stopped.