From Auditions to Screenwriting: Why Actors Should Create Their Own Content | Ep 74

MAX: 00:13
Welcome back to Two Unemployed Actors. I'm Max. I'm Sam. Huge show today. Literally, I've got lots of notes that I've actually planned. You know, the printed the printed out stuff. And then my it's evolved with all the blue ink all over it. Um first of all, I woke up today, huge problem. Oh no. Pimples. Seriously, I'm 45 years old. Like, fucking hell. I'm so immature.

SAM: 00:35
I struggle with that too, but I'm like 20 years younger than you.

MAX: 00:39
I was so immature. I was on set the other day, one of the hair and makeup. Um uh she said she said to me, she said, What are you what are you doing? Like, what are you what's your routine? You got a routine, you got a rate? I said, Well, I buy whatever's on special, and that's what I use with my face. She's like, it's soap, isn't it? I'm like, Yeah, because I'm like super dry in the middle, but then I'm I'm I'm a teenager ever else. Not she's like, she's like, first of all, don't don't use soap on your face.

SAM: 01:06
My dad washes with soap on his face.

MAX: 01:07
Well, I'm so I know it's the what it's what I've always done. She's like, you stop it. Don't do that. Um, because that's what dries you out and then you're up all flaking, and then and then uh make sure when you've got makeup on and everything after set you just wash off as quickly as possible. Yeah, yeah. And stop you know putting oil on your face. So I'm so I'm uh I I'm progressing. I've changed my regime for the first time in like 20-something years. Brilliant. Hopefully that'll result in fewer pimples anyway. Because I've got it will be a shock to your skin at first, though. My skin's already shocking. It's like what the fuck? So um, because I've got to film uh an audition piece today for um the agent.

SAM: 01:48
Yep.

MAX: 01:48
Uh beyond productions for some American content, actually. So I've got to do US accent. I've got to dust off my uh American accent and vocal warm-ups.

SAM: 01:59
Oh yeah.

MAX: 01:59
To help loosen up the different muscles. Or using the same muscles in a different way. Uh there's some technical term that makes it sound much more, but I know what I'm doing anyway. It works for me. Um something interesting that's happened. Yes. I've spoken before about LinkedIn. And Fred, really, I can see you. Just calm down, mate. It's I'm still here. It hurts every time he's fawns all over Sam. And I and I mean clearly. It's like I'm not even here. It's like I'm anyway. Uh LinkedIn, yeah, because I I remember when I put up my presenting to camera show reel, I had something like 430 views. It's been watched a total of 234 minutes.

SAM: 02:40
Wow.

MAX: 02:40
It's a long time if you sat there and just watched Star War Never again. But uh and it's resulted in it already. Uh uh, someone I work with actually uh as a great startup, um, huge business now, um, asked me to come on board as like you know the voice of the the phone system and also presenting a few pieces to camera and that to just sort of refresh their brand. Cool. Um, as they sort of bump out of startup mode, and that's all you know them filming themselves in the office to a more professional and consistent sort of face. Uh so that that's great because that pays the bills. Um and also something happened with LinkedIn on the first of April, uh, creator mode. So already I'm saying, and I have for some time, we've been saying don't forget about LinkedIn when it comes to maintaining your professional profile as an artist.

SAM: 03:30
Yep, right.

MAX: 03:31
But now they've got creator mode, which they've launched, and that's about um showcasing content over work experience.

SAM: 03:40
Okay.

MAX: 03:40
And it also like 50%. So it's more for creative kind of yeah, yeah. So if you're creating original content, if you're whether it's a post, whether it's showcasing a video or whatever it might be, if it's original content, yeah, it helps to get people to follow you and engage with you as a creator. Cool. It kind of is like a like why do you haven't done that at the start? Like it's one of those ideas that's like, well, duh, you know, yeah, totally. That makes sense. Yeah, right. Um, 50% of new followers come from people looking at your profile, so it changes the connect button to follow. So it's a bit more look, I don't want to formally connect with this person, but uh interesting as a creating uh as somebody creates uh content that relates to me, so I'll click on follow. Yeah, right. Um they can still connect, but the the first port of call is just the the follow button, which works. So what do you get as a creator? You get your stuff being uh sort of landing with people who are more likely to engage with it more often. So it kind of bumps you up in that respect. You can select up to five hashtags that sort of reserve resonate with you or who you'd imagine your audience to be. Yep. Um and it gives you exclusive access to content content tips and tailored best practice stuff. So which is kind of relates to anything over the whole social media environment, let alone just LinkedIn. So they're great tips to know. So I'm like, well, it's just made me a bunch of money already, just from my last video I put up. It's getting me out there. Um when when you consider my my aside from voiceovers, bread and butter is presenting to camera. Yeah. Um and like that result, you know, corporate stuff a lot. So um it make kind of makes sense. It's kind of a natural. But you know, when you consider casting directors, directors, um, all sorts of filmmakers um in the creative industries, you know, they're all there on LinkedIn. Um, the studios, all that, I follow all the production companies, you know, they're all on LinkedIn.

SAM: 05:40
Yeah, I gotta get on that.

MAX: 05:42
Um, so yeah, be a part of it. So it kind of it's like it's a I was ready to say how exciting, you know, it's it's landed me opportunity after opportunity. But um with creator mode, I'm keen to see what happens to me, and I'll keep you guys updated because I just clicked on that button today and became a LinkedIn creator. So we'll see if that actually does anything. But uh so far, yeah, it's worked. So when you're there with your online platforms, as you normally would in Australia, for example, your star now and all that sort of stuff, and making it keeping your agent happy and your website or whatever. Um, don't forget LinkedIn um actually works. There we go. Uh speaking of presenting to camera, I've got I had a uh someone contact my agent uh for a presenting to camera gig. Um it's kind well presenting to camera, but it's kind of it's more talking to camera. So I'm acting a role present to camera for RSVP. Okay, right, yeah, yeah, yeah. Um so that was a nice little that was a nice little gig. So yeah, I'm getting stuff direct, but also through the agent still. Yeah, beautiful. And then I got an audition this afternoon for another bit where I'm playing a role presenting to camera, but in American accent. So wow, it's all about loving the camera. Um, but um in terms of roles like character roles that I love, um, Ask any Actor, you know, um playing a role. Uh I've decided against actually auditioning for the new theatre. There's another, there's another I didn't get the role I auditioned for previously. Oh, there's another one. There's another one coming up. It's for The Lovely Bones, great book, great movie. Yeah, yeah, right. I haven't seen a movie yet, but the dad, the detective, the killer. Three really cool roles that are very different that I'd go for.

SAM: 07:23
The detective, dad, killer. It could be all three. It's all three.

MAX: 07:26
A detective, a killer, and a father. Probably. But uh no, very different roles and uh great play, but no, I've decided to pull back because I'm just like there's so much coming up. Yeah, sure. That's really busy. Yeah. So what was I gonna say? Something amazing. Uh Zach. As always. Oh yeah. So um I had someone reach out to me the other day on Star Now saying, loved your profile. I've written a screenplay, and I think you'd be great as this character. And every now and then I get that, and it's generally, you know, 80% sort of student films.

SAM: 08:02
Yep.

MAX: 08:03
10% mmm, I don't know what that is, no. And 10% let me have a look at it. And of the let me have a look at it, there are a few times when I look at it and go, Yeah, that's really that's really cool.

SAM: 08:14
Okay.

MAX: 08:14
This is one of those times. Hey, good. Turns out not just a filmmaker, but someone who's been creating content for a long time, who lectures, has a PhD, doctor, uh at Newcastle Uni uh School of Creativity. And uh it's actually really interesting, an interesting character. It's very much a supporting role, you know. Is it a feature film though? Uh yeah, micro budget. Okay. So very much an independent, yep. Um, and uh small role, but very much supporting as the father. The protagonist is the daughter. So I'm just you know coming into a wonderful. It is a daughter, yeah. Another father role. Yeah, uh, not so much dark this time, but uh but really interesting. So I'll be looking forward to getting back to him and saying, yeah, mate, thumbs up. Very good. Awesome. What have you been up to?

SAM: 09:03
I have been after 10 minutes of Max.

MAX: 09:08
I yeah, yeah, yeah, yeah.

SAM: 09:09
Fred, stop the cushion, stop it. Oh, I think I spoke a bit about on last podcast that I had an audition for a play coming up for ATYP, Australian Theatre for Young People. Yes. Um, so audition for that. Um I hear back on Friday.

MAX: 09:22
How was the audition? Like before we skip over it, so is that is that like, did you do you get to go there in person?

SAM: 09:27
Yeah, so got to go there in person, which I prefer over self-tapes. Because so I was actually talking about this the other day. So you you have self-tapes where if you don't like your take, do it again, do it as many times as you want, and then send it off. But at the end, end of the day, it it kind of you get to the same point in both situations, self-tape or going in person. And one of them you're stressing over trying to get it right, the other one you go in, do it once, both times they only see one performance. Yep, yep. And so I prefer I it actually it feels more like a performance in a sense when I go in person, and I actually feel less stressed. Um, and it was quite funny. So I I was I um got to the well, it it was in Surrey Hills, okay, and I was like, I'll be able to park. And so I just I drove there and I uh No, you don't have a Vespa. I booked the 7 45 p.m. audition, which was the last one. Wow. Um tactic doing the last one could go either way, but yeah, so I was like, I'm gonna be late.

MAX: 10:24
Like it was because that's in between people leaving work and people going for dinner and stuff. Surrey Hills.

SAM: 10:31
So I was like, oh my god, okay. So I parked in a no stopping. Um but it didn't look like a no stopping, so it could have been okay. And then um I ran I ran into the audition. Um they were running late, so I actually could have that was actually okay. Brilliant.

MAX: 10:44
And I was because that's what happens is that the one time you actually turn up late, they'll be on time.

SAM: 10:49
You know, yeah, exactly. And I'll be skitsing, I'll be skit uh skitzing about the car. Yeah, and then okay, look, calm down. Yep. If you got a ticket, you'll have it already, doesn't matter. Can't try to now breathe. And so when I got in, I actually I w I felt quite confident. Okay. I hope it came off as that. Um and it no, it was great. How were they? How many people in the room? Like there were two of them. Okay. So big I think because I think there were more throughout the day, but uh because of the time there was the director and reader. Yep. Um so that was really cool. And so that he said that there's about oh, there's over 60 people auditioning for this one role. Wow. Yeah, so it's four so they've already got the other three roles who were they did this performance, I think, in twenty nineteen. Okay. Um and they had an original cast. Yep. Um, and this particular the original cast member of this role that I auditioned for can't do this one week startup season or whatever.

MAX: 11:41
I mean, you slight interrupted by the pandemic.

SAM: 11:43
So they're auditioning for this one role, and they're doing an eight-week 15 venue season tour that they want the original cast for. So we don't get that. They want the original cast of 2019. So unfortunately, we don't get that eight-week one. What? Yeah, hang on, how's that work? So So the original guy who played this role can't do this start-up season moment, but he can do the eight weeks. So they needed to recast just for like a fill-in.

MAX: 12:12
So the it's almost like you're auditioning for an understudy for a few performances.

SAM: 12:16
Yeah, well, I the role for yeah, the role yeah, exactly. Yeah, exactly. Kind of kind of realistically. Yeah, but it but it's great, and he said, you know, it we now have your file at HTYP, and we get screen test auditions coming through, and wasn't it? So it was great, and it was a it was a great one. So we find out either way on Friday, so we hear from them either way. So that's exciting. Okay. Um and I think I spoke a bit about uh auditioning for professional musical called Jagged Little Pill. Yes. Still haven't heard anything, but how is that the self-tape? Refresh my memory. Yeah, self-tape of pretty much just singing. Yeah. Um so that was cool. Okay. Uh I also applied for so I did a short film, I spoke a probably a little bit about it ages ago. Um, it was called uh like I'm not gay. Right. It's like a almost a series of short films amongst like a documentary. Okay. And that it's actually being screened at Hoyt's um like a premiere coming up soon. But he needs a guy, a vocalist for the soundtrack. Right. So I applied for that and also texted uh Nathan. Yep. Um and so I auditioned for that, and I'm in the running, so that could be exciting as well. It'll be paid as well.

MAX: 13:22
Yeah, I think that helps. So it'd be great. So yeah, exposure, exposure doesn't pay rent. Exactly.

SAM: 13:27
Been doing a little bit of that, still waiting to hear back from the feature film that I also auditioned for, the feature film Concept trailer. Um she said, yeah, we haven't cast yet, but you know, she's like a mother of three, single mum doing a four other productions at the same time, all that stuff. So it's completely understandable. But I'm super excited.

MAX: 13:47
That's good, yeah. Um just pretty much. Do you remember me mentioning Flood and Fire?

SAM: 13:55
Flood and Fire.

MAX: 13:56
I know, right? It was it's a production that the the bo the boys, the guys um who uh brought to you interrogation, and um we interviewed long ago. We interviewed them. Well, the Flood and Fire has been up there. It's kind of like an oh Max, you know, we love what you do, but can you just another father role? Um supporting on this short film called Flood and Fire. Uh, we're filming it in a farm out and blah blah blah, and it's it's a great opportunity, blah blah blah. And uh looked at script, yep, perfect. Let's lock it in. Happy to work with you guys because even though it's supporting, I know what they're doing, you know. But um, and then there was an actual fire. Yeah, that's right. Major bushfires across Australia, and it literally was pre-COVID. Yeah, it was pre-COVID, so it should have been called flood fire and pandemic because I'll tell you what, it would never get there. And and and literally the it wasn't burning, but it was in between two major fires. So if something happened, no one could come and help you because they're all busy fighting major fires. Yeah, uh, so we decided it's the sensible thing to do not to go through the fires to film it in this location. Yeah, uh, so yeah, pandemic, a few other bits and pieces, just minor hiccups, you know. Uh we're back, we're back, and the cast is ready. So we do rehearsals on Saturday. So I've got to I've got to actually pick up the script and refresh my memory and get into it a bit and get some character notes happening and have a chat to the guys because um it's been a while. Yeah, sure. Um and I want to hit it fresh and and and be organized. I think we're looking to film next month, so mid to late next month. Um at this rural property. So Saturday is all about there's like two groups of us to go in and and they've also wanna get family photos for a few of them that they're gonna use as props. So um, yes, so some more work on Saturday, um, which will be fine. So, yeah, so it's funny because I just like oh maybe it's been a while since I've done you know these short films, and then I get this tap on the shoulder from uh Dr. Feature film up in Newcastle and uh and the boys don't forget Flood and Fire. The universe can hear you. Flood and fire is back. So yeah, so it's great because presenting to camera is awesome, it keeps your work fit, and there's nothing like bringing dry copy to life, takes every ounce of your acting talent, yep. Um, especially if they're changing the script up until when you do it, but uh but uh it pays the bills but um and a great experience, but no, it's great to get into characters again.

SAM: 16:20
Yeah, awesome, it's always good.

MAX: 16:21
So I can't wait to to um bring them to life, have a good play, be the actor that I am. Um and voiceovers, it's sort of it's funny because as it got busier with all the presenting to presenting each camera, the voiceovers sort of dropped off a little bit. Yeah, it's like everything sort of can't it sort of works each other out somehow in the universe of Max. Yeah, between voiceovers and presenting, um, it all kind of works itself out. But yeah, there was a bit well, there was a crossover across the streams, uh, as Harold Ramus would say. Ghostbusters reference for those of you uh those of you who know where presenting to camera met voiceovers because as I left the job we did last week, just before we we recorded last week's podcast, yeah, um I had a presenting to camera thing in the morning, and um and it was just a by the way comment. Oh, well, you do have your own studio. Well, if we need to do pickups, you know, we can let you know. So yeah, they did. So either I was recording a few um and it's really strange because I got them to send me the clip that was recorded um so I could hear and remember what you know presenting to camera corporate max was so that I could do that again, yeah. And wasn't just picking up the word that they wanted, I I I did the whole sentence, like I let into it, because it was easier for me then to have something that they could easily drop in rather than you've got Max putting to camera, and then there's a word that chumps out of nowhere with it's voice over Max, you know, it's like what? So um it was by listening to how I sounded like, which is different to how I thought I sounded like, of course. Yeah, um, presenting to camera in that environment, I could replicate that sentence, get the word they wanted, give them a couple of versions, yeah, okay, and make it easier for them to drop in without throwing people off. Yeah, nice. Um, so yeah, across the streams, presenting to camera and voiceover will collided. Beautiful. Um, but it it was uh marriage made in heaven, worked well, what can I say? Another paid gig under the belt. Nice. Um, so yeah, so lots of lots coming up. Uh you know what I'm busy with as well. As well, yeah, yeah. Blah blah blah. Uh writing. So that's right. Because I've still yesterday was I think the second last of the five weeks of Chris Corbett through the union here in Australia, um, talking about tips for actors who want to write and bring stories to life. Certainly touched on the fact that you know there's so many, it's difficult, even like what can I say? It's hard enough to be for an actor. So a lot of people, not a lot of people, some people have found it beneficial to create their own content. Oh, yeah. Yeah. Um so you know, you look at Ricky Gervais with The Office as a standout.

SAM: 19:03
Yeah, he makes like a lot of his shows.

MAX: 19:04
There's so many that are Seinfeld with Seinfeld. Uh, you know, you want to bring you wanna because I'm in that league. Um I still remember them him talking about how he's got like a room full of like 30 writers and they're just absolutely going at it with with um uh script to rip it to shreds and build it up and then rip it to shreds and build it up before they get an episode.

SAM: 19:28
Yeah, nice.

MAX: 19:28
So I'm kind of I'm kind of at the stage where I've got some central characters kind of fleshed out and some moments, like I keep thinking of these funny moments that had work well because it is a comedy, so it kind of fits, um, but aren't sort of loosely related to a narrative. Like so I haven't I've got some also some ideas for some episodes. Okay. So I kind of vomit all these ideas onto the page.

SAM: 19:53
Yeah, word vomit.

MAX: 19:54
I I I then kind of go, that's a cool moment, or actually that could be a cool story or not quite, you know, it's bigger than just a moment.

SAM: 20:02
Yeah, God takes time.

MAX: 20:04
So moments and story ideas, and I'm far from going, okay, I've got a few episodes here, let's start to flesh it out. And that's kind of okay, I'm learning from the process that that Chris is. I mean, look, he one thing he said was don't go online and go, here's a template for screenwriting, you know. Yeah copy that because I mean if there was a template that worked, everyone would be doing it, right? And it'd be easy to write something and have it translate from the screen to a great feature film. True. But but you know, the best way to do it is to get all your ideas onto the page, um, flesh them out, don't be precious with them, get ready to bump them. And uh before you start approaching production companies, before you start ringing doorbells and going, Oh my god, I've got it, um hear it first. So um get a table read together. Don't even though you've written a character for yourself, don't read the character, like get um actors to bring all of that all those characters to life for an episode, for example, for my case is a TV show, yeah, so for an episode, um, and hear it and flesh it out because then you you'll as you hear it brought to life, you'll again be able to finesse it even more. Yeah, right. Um, so that was and because I've been a part of a table read with someone who's who had some success um writing for camera, and it was to do with hospitality, that's right. And I was even sharing some of my old stories from hospo days. Oh yeah, my hospital scars. Oh, yeah. But yeah, it wasn't all there. Oh yeah. Uh we'll call them character building. Um, but uh yeah, actors around a table, the writer sitting back and listening to it and going, Oh, that's interesting about how this and writing some notes about how a character reading an actor reading this character in a certain way brought to life completely different. Yeah. And oh yeah, it resonated with everything. Everyone has their own interpretation, isn't it? And sometimes it can really add a whole different lens onto a character that the writer had never thought of.

SAM: 21:58
It also, yeah, like you're saying, help hearing it and being Like, oh, that actually doesn't work when it's said out loud.

MAX: 22:03
I have to get my cousin on for an interview because he taught creative writing at Australian Uni.

SAM: 22:09
Oh, yeah.

MAX: 22:10
And the last conversation I had to him, he actually propelled me into this whole writing bit. He sent me a book on for just from a conversation, totally un unsought after. He just sent me this book to read about writing. So anyway, he's he's written a few screenplays, plays, um, loves to write poetry, but obviously there's no money in that. Uh so keep that as a as a passion. But uh he said um what was interesting is that there's there's one play that he did where he literally just gave up the the the play and said go for it, and then came back at the end to see it uh at one of the preview screenings when it was brought to life. And that was the first time he'd done that. Normally he's there for the journey, and having a writer in the room, you know, you can make a few, yeah, we could change that to this, or that doesn't work, yeah. We can finesse, you know, a little bit. It's kind of almost like workshopping to a point. Yeah, um, so he said it was really interesting, like just everything was completely different to what he'd imagined in his mind, this whole world of it taking place, but it all worked so well and added so much to it.

SAM: 23:14
Yeah, yeah, yeah. Like this is one of the things I love about it.

MAX: 23:19
Yeah, it was just yeah, so suddenly it was just completely different and through him for six, but but like in a good way, um, just sort of bumped it up as opposed to obviously similar journey when you're there for the journey, yeah. But you're obviously seeing it progress and change over time.

SAM: 23:36
Definitely.

MAX: 23:37
So it was really interesting. So um, totally motivated to keep going with the whole writing thing. Who knows if it works, if it doesn't, but already I know it's helping me when I'm looking at scripts. Yeah, cool. In my script analysis, and also like you know, uh, I've got to learn this guy's name before I keep saying Dr. Creative Writing, but uh when he sent me his latest script, it helped too to go over it and go. Dr. Creative Writing. Dr. Creative Writing. I he uh he does have a name, and I will be professional and learn it um before I talk to him. But uh anyway, so yeah, who knows? He's got um he's got look, he has got some great he's he's already filmed a couple of features he's written, Dr. Creative Writing. And uh I just wanted to say an idea. I know, I know Dr. Creative Writing, uh but um yeah, so it's so funny. Anyway, um it's just great to to know that um there was something amazing that I was gonna say, but I can't. Oh no. That's not great to know. I think I'm done. I think I'm spent. My brain cell's just going around circles now. Oh, that's good. We're just circling each other. It's like circling the drain. It's like, what?

SAM: 24:42
No, look, Freddy's restless as well. Look at him. He's ready to be over. Yeah, you're happy with the time. It's good. Is that all right, Fred?

MAX: 24:48
Time's up, Fred. We'll get about 20 minutes out of that. Do you reckon? Yeah, yeah, you happy? Good boy? Okay, cool. All right, good boy. Well done, Fred. Friggers us up.

SAM: 24:58
Yeah, that means yeah, get out of here.

MAX: 25:00
Don't forget to like and subscribe, follow us on social media and engage. Ask us questions, tell us what you think. Thanks, Fred. You tell us too. And uh, we'll be back next week for another episode of Two Unemployed Actors. I'm Max. I'm Sam. Bye.