Latest / The Christian Reeve Podcast / Jamie B. Chambers | The Christian Reeve Podcast | #28 |

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Jamie B. Chambers | The Christian Reeve Podcast | #28 | · The Christian Reeve Podcast

• 0:01
  Hello and welcome to another episode of the Christian Reef
• 0:04
  podcast. Today's guest is, I'm very
• 0:07
  excited by this. He is a professional actor, a
• 0:10
  trained, martial artist, a film producer presenter, and public
• 0:16
  speaker. And that's just a few things
• 0:17
  that this guy does he goes by the name.
• 0:20
  Jamie be Chambers or Jamie Chambers.
• 0:23
  Welcome to the show. How you doing?
• 0:24
  Hey, Christian. How you do.
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  Very good, very good. I'm very happy actually, to have
• 0:30
  View on the show for various reasons.
• 0:32
  Like I just said there, when I was doing the research, it was
• 0:34
  kind of one of those things was like, I know this guy's an
• 0:36
  actor, I know I'm going to be talking about this but then it
• 0:39
  was like peeling, an onion, like different layers and like, okay,
• 0:44
  he's doing this and then this thing and then, okay.
• 0:47
  Wow, okay. So awesome.
• 0:53
  It's a pleasure to have you thanks for agreeing to do this.
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  Let's just jump straight into your acting.
• 0:58
  I, when did you first start? Acting.
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  So it's almost 10 years now. So, December 2010 ish.
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  I was in a completely different career.
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  It was it's a lifetime away now but it was a career that I was
• 1:15
  no longer happy with. I was a very low plates and I
• 1:20
  don't deal with regret very well.
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  So I'm very much I need to know. So yeah, 20 22nd 23rd December.
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  I found work. I was like, I'm not feeling
• 1:34
  this. And what had happened was I'd
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  watch transporter that morning, right?
• 1:39
  Yeah. We've checked with Nathan and
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  running around the bus garage, massive fight sequence and it's
• 1:43
  the, it's the iconic moment where he puts the motor oil on
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  the floor and uses the Winner's Circle.
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  Pedals do this like so beautiful fight sequence and she's like,
• 1:55
  equal parts brutal when he will Parts choreography.
• 1:58
  And so, yeah, I think Work and I was like, I'm not coming back
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  this you can take this as my notice and so from there I knew
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  nothing completely untrained no context in the industry, nothing
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  at all. But I made myself free profile
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  on my tits are now thinking about it now maybe profile on
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  the website and then first week in January so barely a couple
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  weeks in with just some um sort of really shoddy like photos
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  that I've taken just as like giving them a heads up that was
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  didn't know what a Show reel was.
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  I got a phone call? Can you come in and doing self?
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  Do an audition for us and it was for this drug awareness video
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  and I mean, it's pretty Testament to how ropey I must
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  have looked. So yeah so went in and I think
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  it really play to my advantage of not knowing what I was
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  getting myself in for that, it was probably most natural
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  casting another done and it was to play this guy, who met the
• 3:11
  guy lovely guy. He was a drug addict alcoholic,
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  all these sort of things here really awful life and he reeled
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  it will off to me. And in comparison, I've been
• 3:22
  completely sheltered the compared to that.
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  So he said to her stuff to me, I completely dumbstruck.
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  Truck and and the director was like right.
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  Everything just heard deliver it to camera and so yeah, that was
• 3:39
  like trial by fire. But it was really cool because
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  the feedback I got from it. People actually were messaging
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  me saying, we need to, we need to have a chat look about what
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  and they were like. We didn't know you had drug
• 3:54
  problems and alcohol problems as I done.
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  So, for me, it was Like that was the perfect feedback and I mean
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  if I've been awful at it, if it was one of those things where
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  like I just couldn't get into it, at least I'd know.
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  And that was the whole regret thing.
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  It was like at least I know and yeah I just ran with it from
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  there. How many acting lessons had you
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  had at that point literally zero?
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  No no Performance training, no, no formal acting development or
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  progression or anything like that.
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  No workshops, it was purely a case of completely green going
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  into a situation, but it was great and chatting.
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  I'm one of those people where I'd rather learn everything and
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  know everything and I'd rather the burden of knowledge than the
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  burden of ignorance and then and it was one of those where like
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  yeah it gave me a taste for it and immediately I was like where
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  I need to know more, I need to understand this and I have done
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  a lot of training since then, but prior to that literally
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  nothing it's interesting. You say that because that's the
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  same experience. I had I started acting last year
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  and it was purely off just someone's suggestion.
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  Like I'd never done acting before the last time I even done
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  anything. Close was like school.
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  And yeah, it's fun but I never really thought anything of it.
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  I was always like music guy and creative guy, you know?
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  I just yeah. And then then I did the raw and
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  I was like, huh? Okay, this this comes quite
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  naturally, this feels good. I might do this more and then I
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  just have been doing it ever since.
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  Was it kind of like that in that first experience?
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  That it kind of just yeah, naturally came.
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  Yeah, I think it's very rare factors to be square.
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  Pegs in round holes. I think if you don't have a
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  taste for it if you and if you don't want it, it's never going
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  to work. And You know as soon as you get
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  on a film set know, as soon as the cameras start rolling and
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  you're either going to be deer in the headlights or you're
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  going to thrive. And I've had it recently where I
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  had five pages of dialogue company, 20 minutes before
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  shooting with an accent with various other things going on
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  with a load of complicated terminology and stuff like that.
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  But for me it was like challenge accepted.
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  Let's do this. And lat and I think you're
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  either one or the other, there's no sort of middle ground with
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  that. It's either you your embrace it
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  and run with it, or your one out straight away.
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  And I'm pretty much the same yourself like it's a case of if
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  you got a taste for it, it was meant.
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  It was the right thing. It was meant to be in it, if it
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  was like, not feeling this. You just go?
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  Yeah. Okay.
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  I couldn't agree more with you at that.
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  I think that kind of applies to everything really in life, like,
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  I think, There is always this like sense of fear as well as
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  you spoke about your previous career in your like one day.
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  It's like, yeah. I just can't hack this anymore
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  and I had a similar realization. I think, either at University or
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  the subsequent years after that, I was kind of thinking, like,
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  you know, this is fine, this pays the bills but it I don't
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  feel like, I don't love this, you know?
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  And I feel like like if you really want to be happy in life,
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  you need to be doing something that's, you know.
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  Yeah. That you're motivated.
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  I'd buy that you wake up in the morning.
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  You're like, let's do this. I want to do this, I want to
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  immerse myself in this, and I certainly a few clichés that
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  work with that because I mean, I'm not 14, like my Instagram
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  will say different but I'm not 14, like just spouting
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  motivational script but it's that whole thing of you've got
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  to have a love for something, otherwise, you will end up
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  resenting and that that's a big. King with the performance arts
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  in the first place. The reason people performing the
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  reason people get into that is purely because of that love for
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  and that willingness to go down different Avenues and take their
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  passion further. And if you love it you don't
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  work. Because it's that enjoyment and
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  is that cliche, if you love what you do, you never work a day in
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  your life and that's the Real Testament to it.
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  I remember the first time I heard that At saying, I was like
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  in a bad place in my life are sort of like, not because when
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  you say this people always assume like God was doing drugs
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  or something. And it's like, not necessarily.
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  I think like for me, I had to beat That - Mine sir.
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  That think a lot of people have where it's like, anytime they
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  even sort of contemplate doing something, taking a risk.
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  It's like everyone about this. I don't think I can do this.
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  Mmm, and if you have people around that reinforcing that
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  it's even It's say, yeah. You've got it.
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  You got it. Like overcome It is the key
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  thing now that mental health is such an important facet of it
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  and the having that sort of positivity about things, it
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  incredibly important. And if you have negative
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  reinforcement, that's always going to stop you in Hindi and
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  it's either, you got to remove yourself from that toxic
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  environment in the first place. I mean, I've never worked in
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  normal driving my life. I mean, I was a barista maybe
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  for like six months. So when I was 17, but that was
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  while I was doing another career in another thing, another thing.
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  So it's very much a case of like, if you find yourself in
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  the environment don't like you either got leave it or you're
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  going to get sucked in and consumed by it and you're
• 9:53
  ruining the whole thing about when you say you are in a bad
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  place, your people do go straight to the back.
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  The very end of what the - could possibly be.
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  But there's this whole gray area in the middle of the what a bad
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  thing. Is and, I mean, I've had my own
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  bouts with depression and comfort eating and things like
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  that, and so we're very, very ugly things.
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  But if you never address them that, that consumes you.
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  Yeah, I couldn't agree more often, fortunately suffer with
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  that, too. And the one thing that I found
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  in terms of like overcoming, it is working burying myself in
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  projects having stuff to work. Ward's because I feel like I
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  don't want to get too far off of the path, but since we're
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  talking about it in the previous positions, I've had over the
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  years, you know, and like customer service and marketing
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  or whatever. It would always get to a point
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  where there were things, I began to hate and, you know, sits on
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  you and it weighs on you and there's always a point where
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  like I think like, people get pushed.
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  You know what I mean? Like, to their limit and it's
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  like, am I going to quit and just work?
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  Somewhere else or am I going to actually do something about it
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  and change and that's not even got a work for your goals or
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  you're going to work for someone else's at the end of the day and
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  that in very black. What you see your passion and
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  drive is elsewhere in which case you're just doing that sustain
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  or you've put your passion and your goals into your work, which
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  in which case you start to enjoy your work.
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  What do you mind? If I could we ask that what were
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  you doing? Just before you made the
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  transition to acting? Well always the yeah well I was
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  working. I was working.
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  Yeah, I was a coach at Branford and working with the Inflating
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  setup and it was being a goalkeeper was something I had I
• 11:58
  did have a passion for I think you have to be a little bit
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  special to want to have footballs kicked it, you
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  perpetually. But yeah, it was one of those
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  where it just wasn't the right environment for me as much as
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  it's quite a positive, my environment, overall, there's a
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  lot of things that go. On behind the scenes but are
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  quite ugly. And for me that was sort of
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  dragging me down and sort of spiraling quite a bit.
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  So yeah. Not the some people thrive when
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  there's a lot of negativity around them.
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  Whereas others for me personally it was a case of diet go from a
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  positive environment for Peyton. Yeah same here.
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  I found a lot of people who I've come across in It can use the
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  YouTube seen acting everything. Like, everyone loves to be that
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  particularly with acting. It's interesting.
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  Like, I found, I had like so much in common with the people,
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  you know, working on the cinematography, or the setup and
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  everything. Like they're just as excited to
• 13:07
  be there as everyone else during I mean, it's like they love what
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  they do and it's very very I think it's one of those things
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  as well. Like you need to enjoy working
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  as well with film and TV. You've gotta want it otherwise
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  you're just not going to ever enjoy it because I mean the
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  tagline for the entire industry is hurry up and wait.
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  So it's exactly that you you will spend times like when
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  you're sat there for 12 hours, doing nothing the entire day and
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  then it's that Rush. Last minute is golden hour and
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  go get everything done. You get one take and that's it.
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  And never it's never. Quite perfect.
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  But if you don't, if you don't love it in the first place then
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  you're never going to enjoy that.
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  I was an extra in Christopher Nolan's tenet movie.
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  Recently, I just happened to be in Estonia where he was filming
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  one particular part and it was exactly like you described.
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  And the frustrating thing for us was that like there was about
• 14:14
  maybe three, four thousand people in this main stadium area
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  who were sitting the whole All time, which sounds great.
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  But actually, that is kind of difficult as well because, you
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  know, they were there for 12 hours past maybe 15 hours a day.
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  I think it was and you know, it's middle of some Arts.
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  These people have never acted before.
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  They're just random people in the street.
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  So it's like trying to explain to them like shut up, be quiet,
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  do it like it's Jana mean, like, you don't have to tell me or the
• 14:45
  other 15 actors that are doing it regularly.
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  We know what to expect, but it's exactly like Like you we'd be
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  waiting there all day because I guess we were like a specialist
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  group or whatever, but we were all dressed up very nicely,
• 14:57
  right? So we're waiting around and then
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  it would be like in the final hour.
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  Like, oh, yeah. Yeah, we want you to get up and
• 15:07
  do this scene now and you're like really like we're all
• 15:09
  exhausted at this bike. But what I would say that on
• 15:15
  that note is imagine you can appreciate this because a lot of
• 15:19
  your roles have been A mixture, like there's been like extras in
• 15:22
  in major movies and then like being the make the lead actor as
• 15:25
  well. I feel, I think being an extra
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  is like Very kind of like, it's good.
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  If you've never had acting experience, then it's pretty
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  cool. Like, just as a first kind of
• 15:38
  initial thing, I think, once you do a couple of them, you kind of
• 15:41
  realize that a huh. You don't really get much like
• 15:46
  young lady gets too much acting to beat to be honest.
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  Like I mean, because when I was looking at some of the rows that
• 15:51
  you were doing, I was thinking that, oh, that's interesting.
• 15:53
  You know, like you were involved with State.
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  Like for instance, you're in a Star Wars movie and I was like,
• 15:57
  that's got to be fun dressing up doing that.
• 16:00
  But the day-to-day is less fun, it's like fun on the first day
• 16:05
  and then, but maybe you're shooting for like two weeks,
• 16:07
  three weeks or longer, then it becomes like almost like a
• 16:12
  nine-to-five in a way that you just get because that was what
• 16:15
  it was like for us. We'd wake up go the to the set,
• 16:19
  really early get dressed. Have our food way.
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  And then yeah, wait, until we get told to do something.
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  Whereas I don't feel the same way.
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  When I do like an actual acting piece where I'm like the lead,
• 16:33
  or like a supporting actor or something, because I feel like
• 16:37
  that's rewarding. Even if you do have to wait
• 16:39
  around, you still get to act at some point, like, for you for
• 16:43
  you. I don't ask which you prefer but
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  like how do they compare generally for you as a
• 16:50
  professional actor? I lucked out because I've got
• 16:54
  quite a varied skill set. So I get I get roped into a lot
• 16:59
  of things. As where a specific thing is
• 17:02
  needed, whether it be combat or any of those sorts of things
• 17:09
  where I've gone away and learn something, or it's a case of
• 17:13
  right place, right time. So star was a perfect example of
• 17:16
  I just finished on Fury and I've been on Fury from day one to be
• 17:20
  very to rap and so going from Fury to Star Wars.
• 17:25
  It was one of those where I was like, right, place, right time,
• 17:27
  right people and Be more appreciative for me.
• 17:33
  Personally, I my first agent said something very important
• 17:37
  and it was This was like here there everywhere, just like all
• 17:43
  the other, this will be all good and he sat me down, he was like,
• 17:47
  you've got a choice to make. You can either be a talent, or
• 17:51
  you can be the talent. And it was that choice of right?
• 17:57
  I have to cherry, pick one doing now and it's a longer process
• 18:02
  and it's a more arduous process. But for me, it was a case of
• 18:05
  tailoring everything down, the very specific Avenue and so
• 18:10
  enjoy, Enjoyment Wise, It's horses for courses, it's
• 18:14
  whatever comes on the day, like you luck out sometimes with some
• 18:19
  very cool stuff, you weren't expected, whether it be combat
• 18:24
  or driving, or anything like that, or you just happen to do
• 18:28
  one called gag on that day. But it's also the days where you
• 18:32
  got 20 pages of dialogue to get through, and you're up against
• 18:35
  it, and you've only got two hours to get it done.
• 18:37
  So, for me personally, is Is all of it there is no.
• 18:42
  There is no level really in that it's if the project is good.
• 18:46
  If the people goodness, that's the main thing for me is working
• 18:48
  with good people. That's the 100% the main thing.
• 18:51
  And I've been quite lucky for the vast majority of say like
• 18:54
  99% of the time, I've worked with good people and that that
• 18:59
  makes everything better even on the worst that they reckoned at
• 19:03
  like, because as you said, your multi-skilled, you can be used
• 19:07
  in different areas like from the directors perspective.
• 19:09
  It's like You're kind of like an ideal candidate, if you know
• 19:12
  what I mean. It's like, okay, this guy he can
• 19:14
  act, I can just have him in the background.
• 19:16
  If need be, I could, you know, he I can use him for the stunt
• 19:20
  scenes. I don't have to employ extra
• 19:21
  like stunts their, you know, it's like almost like a multi
• 19:24
  skilled multi-purpose. One thing I would say is that
• 19:29
  the stunt guy I got a lot of stunts friends and what they do
• 19:33
  is incredible. It's something that for me
• 19:36
  personally love to perform my own stunts but too Be a stuntman
• 19:41
  I think is an incredible talent to have their, then they're
• 19:45
  amazing people, some of my closest friends as well and for
• 19:50
  them I stand in awe and I'll watch a friend for 30 feet off
• 19:56
  something or set himself on fire or whatever the case.
• 20:02
  Yeah. That sort of stuff is just
• 20:03
  incredible. Be a being multi-skilled.
• 20:07
  It can't hurt us. That's the main thing with that.
• 20:11
  The point is that you as a very fine line at the very end of
• 20:15
  that, where if you are, I want the honestly to Skilled but if
• 20:21
  you tell everyone, you can do everything you end up doing
• 20:23
  nothing because you beat your that jack-of-all-trades and you
• 20:28
  do your little bits, but then you'll never seen as a
• 20:30
  specialist in certain areas and so that sort of does play
• 20:34
  against you a little bit. So, there's a balancing act to
• 20:38
  be done. My sauce.
• 20:40
  I'm okay, your CV or you don't put stuff in your showroom and
• 20:45
  then it's a nice surprise. Do it afterwards but given that
• 20:48
  you're doing like a lot of different things.
• 20:50
  I mean where is your head fully at Janet?
• 20:53
  Because like, right now I'd say based on what I've read like the
• 20:56
  two main kinds of things that you're focused on are acting and
• 21:00
  film producing, right? But film producing.
• 21:03
  Yeah. And you're in your career is
• 21:04
  more of a kind of a recent thing.
• 21:06
  That's happened in the last sort of two years from the
• 21:08
  information I have here. So like with that in mind, I
• 21:12
  mean are you kind of saying like to the rest of those things?
• 21:16
  Like okay these are extra things I can do but principally my head
• 21:19
  is in these two areas or you have you have to have one Main
• 21:23
  Avenue. It's kind of very much like a
• 21:26
  tree. You have to have your main
• 21:28
  Health through the middle and then you can Branch out.
• 21:31
  And the using the acting as the main vehicle is 100% because we
• 21:37
  have acting. I can be a public speaker.
• 21:39
  I A presenter. I can be.
• 21:41
  All right, for a mother. I can I can tie all those things
• 21:44
  based on, just making sure my acting is on point and that's
• 21:49
  something where I'm, I'm the weird guy on the train that will
• 21:52
  sit there and practice voices or will be muttering to myself
• 21:56
  about a monologue or wherever it might be as well.
• 22:06
  But yeah. So it's like then I can I've And
• 22:10
  that to learn about every job in film.
• 22:14
  So I know what a gaffer does and I know what the Opie does, I
• 22:17
  know what the first second and third do and with that, it
• 22:22
  helped me move towards being a producer.
• 22:25
  Because it was, if you understand people's jobs, you
• 22:29
  understand how a film set works because a film reeving organism
• 22:36
  in itself. And if one Department doesn't
• 22:38
  work everything else, Extent. So from that, I've been quite
• 22:43
  quite lucky in terms of fantastic business partner who
• 22:47
  has been in the industry for 30 plus years now.
• 22:50
  So there's been a real sort of guiding force with that.
• 22:54
  And he's done some incredible things like he was on Batman
• 22:58
  Pirates of the Caribbean so you don't get much more high
• 23:02
  pressure environments than them. So so yeah, for me it's having
• 23:07
  those two main points and then Then everything else can Branch
• 23:11
  off from that? I'm a keen advocate of like,
• 23:15
  saying mental health and being. I'm starting to think all the
• 23:21
  anyone can do anything, which is proof is is Testament to much
• 23:26
  more like lockdown. I gave myself a massive list of
• 23:30
  things to do in lockdown and it was like start of started.
• 23:33
  March I had like, 50, 60 things, but written down.
• 23:37
  It was getting my voice, real done.
• 23:39
  It was Post-op start, start learning to sing properly and
• 23:44
  all these things to come up. Losers, lose a ton of weight.
• 23:49
  But where was he inspired me? Because I was like, I'm just a
• 23:55
  jack of all I'm, I'm nothing. Oh, nothing special at all and
• 24:00
  it's actually okay, and it's is applying your mind to things.
• 24:06
  And with that, it's a case of Of right?
• 24:12
  I have a one thing I've got to do, and I've got put this much
• 24:15
  effort in, take this this work and now I need the video
• 24:18
  evidence of it as well. If you ain't got a video, it
• 24:23
  didn't happen is there's a thing called the 1397 rule, okay?
• 24:32
  And it one thing, three percent of your time and 97% of your
• 24:37
  effort. So You take something and 3% of
• 24:41
  your time a week is five hour. And if you can, so I'm learning
• 24:46
  languages at the moment. I'm learning sign language,
• 24:48
  French, and Spanish, and it's a case of I'm, I'm putting five
• 24:54
  hours of work into learning languages and then picking up
• 24:57
  weapons for five hours a week. And then I'm in the gym for at
• 25:00
  least five hours. So, it's all the little things.
• 25:02
  And then you get to the end of the week and you've put in like
• 25:06
  40 50 hours of work. So it's just a yeah, it changed
• 25:10
  my mindset a little bit. What's interesting?
• 25:13
  You know I mean because I used to apply that.
• 25:16
  Why still do apply that concept concept.
• 25:18
  Whenever I do Gym training like I quickly realized that it's
• 25:21
  much more effective to do say like 20 minutes, cardio rest, 20
• 25:26
  minutes, weights rest and and that everyone has their own
• 25:28
  style but and I want works for them but the same time like I
• 25:33
  still find that that concept is much better than say.
• 25:37
  I don't know doing weights for two hours straight or an hour
• 25:41
  apart you know me Because those people who, and I just feel like
• 25:44
  he's very impressed with anyone doing that, see them, I've seen
• 25:48
  them, it's crazy. You know, there's been times
• 25:51
  I've been at the gym where yeah I'm doing my set going back and
• 25:55
  forth and I see the same guy on, you know, I don't know, chest
• 26:00
  press for an hour. And I'm like, how and why?
• 26:04
  It's just what's the point? Because I feel that it's
• 26:07
  ineffective in many ways that and So I've got the burden of
• 26:14
  knowledge, with being a PT of what it takes and I couldn't do
• 26:19
  that job and not a massive admiration for anyone who can be
• 26:22
  a personal trainer. But for me you can take a horse
• 26:24
  to water but you just can't make it drink.
• 26:26
  And I love the fact that pts are so motivated and they want to
• 26:32
  help people and that sort of thing.
• 26:34
  But I was struggling enough with my own body shape let alone
• 26:37
  trying to tailor it for other people.
• 26:39
  When I I was always I was of the opinion.
• 26:42
  In that, if I'm not in perfect shape, why the hell is anyone
• 26:45
  going to listen to me? So I wrote that off and it was
• 26:49
  something that know everything about it, but I had to apply it
• 26:53
  to myself first before I could play it to anyone else.
• 26:56
  And now that I mean, you know yourself, it's purely an
• 27:02
  aesthetic industry when you're in film and TV and everyone is
• 27:05
  looking at you for what you look like first, your headshot is
• 27:09
  your calling card your show real.
• 27:11
  So But no one meets you before they already know everything
• 27:15
  they need to know about. So yeah.
• 27:21
  Would you would you say that? There's like a lot of toxicity
• 27:26
  in the film industry because we hear often Outsiders, you know,
• 27:30
  hearing inside that. Like, as you said, there's a lot
• 27:32
  of focus on the Aesthetics and while I understand that, you
• 27:36
  know, that is important for various reasons, you know.
• 27:42
  These stories do kind of still come out of like, I don't know
• 27:44
  certain directors or maybe not so great or there's like a bad
• 27:48
  atmosphere on set where people aren't happy or maybe even just
• 27:51
  other actors, you know, being a bit too egotistical or something
• 27:56
  because like, my mindset is I've never had an ego and ever will
• 27:59
  have one. You know, I did when I was like
• 28:01
  really young and then I grow up but not everyone does Jenna
• 28:05
  know. Me know, I think the the first
• 28:09
  thing with that is film and TV is Second job, everyone has an
• 28:14
  opinion on film and TV because everyone watches film and TV.
• 28:18
  So immediately immediately everyone else can have that
• 28:22
  beer, you know, where is not. Everyone can have an opinion on
• 28:25
  banking or insurance or being a chef because you can't relate,
• 28:31
  whereas watching an actor perform people can relate.
• 28:35
  So from that side of things, I don't think it's any different
• 28:41
  from any other industry in term. You're always going to get bad
• 28:43
  apples, you're always going to get scrambled, you're always
• 28:46
  going to get negativity. The difference is, is that it as
• 28:52
  an industry, brings a lot more positivity on the whole than
• 28:56
  most other Industries. So this in terms of the product
• 29:00
  or what it's because of the fact that people can binge watch a
• 29:04
  show or a series of bills or can re-watch something, Over and
• 29:10
  over. And get that enjoyment is
• 29:12
  already 100%. Something that you don't really
• 29:15
  get from a lot of other Industries because you can do in
• 29:18
  your own home, you can do it on your phone, mean with streaming
• 29:21
  services now. And when I came YouTube
• 29:24
  regularly, and I mean lock down that I've got a multi screen
• 29:29
  setup where I do my work on the main screen but I've got my
• 29:32
  distraction screen and another school, he's lucky the same.
• 29:37
  So for that side of things, There's always going to be
• 29:40
  rumors, there's always going to be that thing where someone has
• 29:43
  heard or said it's on and there's no smoke without fire.
• 29:47
  But in saying that if if you don't witness it, if you don't
• 29:52
  see it, if you can't testify to it, you got to take care of a
• 29:56
  pinch of salt and until you witness it for yourself.
• 30:00
  Then, for me personally, what I do is I operate on the three
• 30:03
  monkeys, I hate no evil. See, no evil speak.
• 30:08
  No evil. Okay, I'll call out wrongdoing
• 30:12
  when it happens. Yeah.
• 30:13
  And I'll pull myself out, if I slipped off.
• 30:16
  If I've been too hard on someone or whatever it might be, it's
• 30:20
  very much a case of trying to be the best.
• 30:23
  You can be in that situation and some people, if there is a
• 30:28
  certain reputation about them, it's because they've been in
• 30:33
  there in somewhere a long enough, If that there is a
• 30:35
  reputation to be had. So for me personally, I think
• 30:40
  it's just a case of horses for courses and what one person's
• 30:44
  personality is against another's.
• 30:46
  There's always going to be a clash at some point and that
• 30:50
  same person that someone's had a negative experience with 15,
• 30:54
  other people might go really well with.
• 30:56
  So, yeah. I mean I've had I've had that
• 30:59
  have witnessed horror stories on sets, but equally that might be
• 31:04
  Bad day. Or that, that might be the
• 31:07
  culmination of a six-month shoot working.
• 31:11
  In the rain. The food was bad that they and
• 31:13
  they haven't had a coffee and it's just a snap, that's all
• 31:17
  there is. So I take, I don't, I take
• 31:20
  everything at face value and then you dig deeper afterwards,
• 31:24
  what's the most unprofessional thing you've ever seen?
• 31:29
  That's a naughty question. You don't have to get things or
• 31:32
  anything. I won't, you know, we're not
• 31:33
  calling me one out. but I saw, Hot pools of mud being thrown at
• 31:42
  extras, on one particular film, my bitch ride, the crew now by
• 31:49
  actors. Oh, wow!
• 31:51
  Many other things for refusing to put makeup on or putting too
• 31:58
  much makeup on or hiding onset sleeping on set.
• 32:01
  I've seen it all, but but in saying that like it like I say
• 32:06
  it's Someone's bad day. Well, they haven't slept or, you
• 32:11
  know. So for me personally, it's a
• 32:14
  smile. I go fair enough.
• 32:17
  Got to say, I do think I do think you make a very good
• 32:20
  point, but like I feel, you know, what you were saying
• 32:24
  before about how everyone can have an opinion.
• 32:27
  I do agree that that's true, but I think the the type of opinion
• 32:31
  you can have is varied. And what I mean by that is when
• 32:34
  you start working in the industry, You begin to
• 32:38
  understand like those horror stories a bit more like, for
• 32:41
  example, this just comes to mind based on what we've been saying.
• 32:44
  But remember a couple about five or ten years ago.
• 32:46
  There was a, some sort of issue with Christian Bale like, just
• 32:50
  shouting at someone and it was something to do with lighting.
• 32:53
  I think he was in the middle of an intense scene and someone's
• 32:56
  fucking around with the pain of my language, but like with the
• 32:58
  lighting and and they shouldn't have been.
• 33:00
  Basically, I actually have an issue with that.
• 33:06
  You wouldn't get the spark or the Gaba having people touch
• 33:11
  their stuff. And we the, so the sparked, the
• 33:16
  gaffer was wrong for doing that in the first place.
• 33:20
  At that moment, not because he was doing his job.
• 33:22
  But just, you know, you got things where you've got to
• 33:25
  respect the eyeline, you've got, you've got, you've got to take
• 33:28
  time. And if you have built yourself
• 33:31
  up and Christian Bale's are perfect, example of someone who
• 33:35
  has to live the character, he method of the Yeah, we've with
• 33:39
  his body shaper and I think he's more stanislavski method.
• 33:43
  But yeah, he with his with his way of doing things, it's he has
• 33:50
  to do it there and then he's built himself up to it.
• 33:53
  He's got himself in a certain light.
• 33:54
  You look at the body shape of got into The Machinist, the
• 33:57
  Batman look when he's playing Dick Cheney, but the huge
• 34:00
  changes he goes through, he's living that character.
• 34:03
  So when someone pulls him out of that, I think It's Justified to
• 34:09
  a greater or lesser extent. Yeah, call someone up for it
• 34:12
  because they were either a less in terms of name before might
• 34:18
  have just bundled through it. My not been a great performance
• 34:21
  but if Baal was worried about because it your your product has
• 34:25
  an actor. Is what is seeing here?
• 34:28
  That's it. Everything else afterwards.
• 34:31
  No one sees the prep and no one sees the post they only see
• 34:36
  here. So for that Mom When the cameras
• 34:38
  are rolling quiet on set, that's got to happen and there's
• 34:43
  nothing he could do your job, by all means.
• 34:45
  This is this when I say, I think it's a justification thing and
• 34:52
  it wasn't just Christian Bale. There was a whole thing Russell
• 34:55
  Crowe. And yeah, so it happens and
• 35:00
  personally I think it's a case of you're being interrupted
• 35:02
  doing your job. So I'm not 100% against what
• 35:06
  they all did. Yeah.
• 35:08
  No, I'm exactly the say of the same opinion.
• 35:12
  I think that my just underlying point with that was that like
• 35:15
  the first time I heard that, you know, I heard you know, I think
• 35:19
  I had a bit of the clip and I was like, oh that's bad.
• 35:21
  He shouldn't talk to people that way and then I listened to the
• 35:23
  whole clip and then I found out about the context of the
• 35:27
  situation and then of course you know I started getting into
• 35:30
  acting and working on sets myself and then I just got it.
• 35:33
  I was like, okay I was like yeah no, he had a right to do that.
• 35:39
  And I think particularly the one thing that people don't realize
• 35:42
  as well is that when you're acting, if you're going through
• 35:46
  like an intense scene and you're having to touch on like certain
• 35:50
  emotions that you don't always, like, touch on.
• 35:54
  If something like that happens. It, froze, you off and, like, I
• 35:58
  know when I do it sometimes, like, Sometimes I'll just you
• 36:04
  know, if something was off mid-scene I'll just say are cut
• 36:08
  and then I'll just stop and compose.
• 36:10
  Like, I won't try and bond or free as you put it.
• 36:12
  Like, it just, it's got to be done properly and done.
• 36:15
  Well. And you need like silence and
• 36:18
  the right atmosphere stuff. Yes, that's interesting for me,
• 36:22
  I'm quite the opposite because a okay.
• 36:25
  I am. I worked with Tom Radcliffe who
• 36:27
  worked with Sanford Meisner. So I basically got Meisner
• 36:32
  technique from Horse's mouth, which was awesome in itself and
• 36:36
  I've gone back and I've watched all the Sanford's, old DVDs and
• 36:39
  things like that. And for me, it's the imaginary
• 36:43
  circumstance that interests me. So I'm never calling on my own
• 36:49
  personal emotions. I'm never calling on anything
• 36:52
  that is intrinsic to me. So with that I using the phrase.
• 36:59
  I can bundle for a scene even if it goes a bit sideways because I
• 37:02
  don't need to reset and I think it's a lot safer Meisner, then
• 37:10
  some of the other techniques because it You can regard your
• 37:14
  emotions much like tools in a toolbox, and if you keep using
• 37:18
  something that's intrinsic to you, that is personal to you and
• 37:21
  you keep using over and over and over, he gets blunt and then
• 37:25
  it's not yours anymore, it's something that was yours.
• 37:28
  Whereas if you with my sandal, for example, if you use the
• 37:32
  imaginary circumstance, immediately, it's something that
• 37:36
  you've created, that is only real for that moment, and then
• 37:39
  you're out and then you come back into it, and That for me is
• 37:44
  it's a lot more versatile. It can be utilized a lot more
• 37:47
  effectively and it also accommodates for a lot of stuff
• 37:51
  that can go sideways on a film set.
• 37:54
  Someone misses their cue, someone Falls over the life of
• 37:57
  the lights, go out and any number of things.
• 37:59
  So yeah, I think with that is a case of your find, what works
• 38:04
  for you. And like, for me, personally,
• 38:07
  I'd rather have a whole bad take than half of one.
• 38:11
  At least I can pull something from it after it's yeah, I mean
• 38:15
  when I said that like I've only done that a few times like if If
• 38:20
  I was just completely thrown did I mean but yeah, no, I think we
• 38:24
  do differ there a little bit. But the difference with me is, I
• 38:26
  don't really touch on specific things.
• 38:30
  I try to think, like, I don't want to call it method acting
• 38:34
  because I'm, it's not, I have huge respect for anyone.
• 38:40
  Who is a method actor for me personally, I it feels a little
• 38:46
  bit borderline selfish. Method acting because it is all
• 38:52
  about you and when you're I mean I couldn't live with Abraham
• 38:58
  Lincoln six months for example, so I dunno.
• 39:00
  Yeah, I know that that stuff is crazy.
• 39:03
  Eyed when I hear stuff about that act as doing that, I get
• 39:08
  the mentality of it but I kind of feel for the crew and
• 39:11
  everyone else that has to put up with that because that's not
• 39:14
  that's not easy to deal with like fit for me.
• 39:16
  What I do is I like focus on that particular moment and
• 39:20
  trying to get into that mindset. So like I don't know if the
• 39:22
  character is like really depressed for argument sake, you
• 39:26
  know? And I'm not in that mood at all.
• 39:28
  I've got to try and get my head into that space But I guess with
• 39:32
  method actors that they're very much I suppose The best scenario
• 39:38
  would be if they've really just cut themselves off and they're
• 39:40
  not associating with other anyone.
• 39:42
  They just kind of coming onto the set and doing their thing
• 39:45
  and then coming off. Whereas, if they're just, you
• 39:47
  know, I don't know seeing a caterer and just like a downer
• 39:53
  for everyone, really? But, yeah, I guess I gave it to
• 39:57
  me and I give it to me. It's interesting.
• 39:59
  You brought up Mason, Mason the technique.
• 40:01
  I wanted to ask you about this. I did Google it and look into
• 40:04
  it. But I just couldn't wrap my head
• 40:06
  around it and I figured well, that's probably Fair because I
• 40:09
  mean these things take time and you have to study them, right?
• 40:13
  The only thing I could really understand was that it was
• 40:16
  somehow similar to method acting, but but not same day,
• 40:22
  it's on the Spectrum. Very far removed from method,
• 40:29
  okay? Right.
• 40:31
  It's the idea is the you don't use anything that's intrinsic to
• 40:38
  yourself. We'll try not to do.
• 40:42
  The idea is that you can use a circumstance that is completely
• 40:46
  imaginary. So for instance, I have to do a
• 40:49
  scene with someone and it's a heated argument to assist with
• 40:54
  that in the emotion of that. That before the scene, you think
• 40:58
  something of that person can possibly be true in any way,
• 41:01
  shape, or form is completely imaginary.
• 41:03
  But for that moment, that is the reality of the situation and
• 41:08
  that affects how you speak to that affects your tone down,
• 41:10
  that affects your intonation, your intention and it's little
• 41:13
  things that pick up in the reality of how you deliver
• 41:18
  dialogue, which is so important. So with my is, no, you're not.
• 41:24
  You go using the reality of the moment but you're not living it
• 41:28
  outside. Those moments, you still got,
• 41:30
  you still got action, you've still got cut for me.
• 41:33
  Personally, I don't want to live a character any other time other
• 41:38
  than from action to cut. I want and I want to go back to
• 41:42
  being stupid and do it doing doing normal things like
• 41:47
  annoying the dop or, you know, try and try and try and win.
• 41:53
  By the Sandman, but you know, all those things.
• 41:56
  So for my is that it was it's it's safe, it's comfortable and
• 42:02
  there's a real sort of visceral reality to it.
• 42:05
  In terms of, I do a lot of rep work where it's just bouncing
• 42:09
  back and forth and you do get some real stuff come out, where
• 42:13
  people will admit things that they wouldn't normally admit,
• 42:16
  like they're scared, or they're tired, or they don't like you,
• 42:19
  whatever it might be. I actually really annoyed.
• 42:23
  Tom because I've got a really long fuse, like a really long
• 42:28
  fuse. I don't get annoyed quick.
• 42:31
  And he had written down what he thought of me.
• 42:36
  On a piece of A3 paper. Oh my God.
• 42:39
  Genuine thoughts about me, I still don't know to this day and
• 42:43
  he ripped it all up and put it on the table in front of me.
• 42:47
  And I've got a scene partner that work and all it is, is rep.
• 42:50
  Well, it is Trucking words back. Each other.
• 42:53
  And when you feel like naturally, you want to change
• 42:56
  that word, you change it. So died off with blue eyes, just
• 43:00
  saying that. And then you have blond hair,
• 43:02
  you're annoyed, you're annoying. And someone someone someone and
• 43:06
  my scene partner had to stop me from putting back together this
• 43:09
  piece of paper. So that and my my task was to
• 43:13
  put the paper back together and she came in, she Ami blew it all
• 43:18
  off the tape. That's funny.
• 43:23
  I like that and immediately got up, started picking them up the
• 43:26
  sword, and she took some of them and threw them away.
• 43:28
  And I'll say, okay, and this one on for about 15 minutes.
• 43:33
  So we should Point Tom when I stop, stop, stop, stop, stop.
• 43:37
  Jamie, why are you annoyed that was high?
• 43:41
  Because I genuinely quite this, I think.
• 43:42
  Yeah. But that was the natural thing
• 43:47
  with that was there was no end goal in terms of if you had to
• 43:50
  be annoyed or you had to be happy or you had to being else
• 43:53
  but it was Finding where it went.
• 43:55
  And so it's a real safe way of doing things, and I recommend it
• 44:00
  to anyone. I think it's an awesome
• 44:02
  technique to use. No, I might try it out myself.
• 44:05
  Actually, that sounds brilliant. And I Understand it so much more
• 44:08
  you took, you know, a couple of minutes there to explain it.
• 44:10
  And I get that whereas, when I read it online I was like what?
• 44:15
  Acting techniques as a whole, they have to be slightly over
• 44:21
  complicated in order to deter and differentiate and but by
• 44:26
  deter what I mean is people that were just sort of feeling their
• 44:30
  way in. Mmm.
• 44:32
  If you want it, you're go for it.
• 44:34
  If you're not quite 100%, you'll probably give it a miss.
• 44:36
  This and then you solve differential can cause a lot of
• 44:39
  them will come from stanislavski and a lot of techniques have
• 44:45
  their Roots based further, back in, once or parent technique,
• 44:48
  and then, they all sort of filtered ounce of method over
• 44:51
  here. And you've got Cunningham and
• 44:54
  various other ones, and then you got Meisner.
• 44:57
  And each one is different. And my Meisner is Tom relative.
• 45:01
  - nowhere is another - than might be act Temple when I
• 45:04
  started. So each one is slightly
• 45:06
  different but it's It's using it as a tool, as opposed to using
• 45:12
  it as a blueprint, right? So what I mean by that is that
• 45:17
  you don't have to do everything with every technique.
• 45:19
  So, for instance, I did a BFI Festival, film, couple years
• 45:24
  back and is about the loss of a child and the some really sort
• 45:28
  of heart-wrenching moment and I admit I cheated a little bit
• 45:32
  with this one. I had watched the day before.
• 45:37
  The Patriots Day we were Wilbur and the film didn't affect me in
• 45:43
  the slightest and until the interviews at the very end with
• 45:47
  the actual people that were in, that were being played in the
• 45:50
  film, and that got me and, you know, teared up and it was, I
• 45:55
  felt that so got on set the next day went on YouTube and got the
• 46:01
  credits really and in between takes was, I looked so rude,
• 46:08
  because I look, that was on my phone.
• 46:09
  In between takes, but what it was is I was getting myself into
• 46:13
  some sort of. So normally I wouldn't do that.
• 46:16
  Normally I find but on that day, that's what worked for me.
• 46:20
  So I stole that but other days you'll be just something that
• 46:27
  intrinsically upsets you or intrinsically gets you a bit.
• 46:30
  Worked up. I find talking about horror
• 46:32
  movies will make my eyes Willa and that works 100% of the time
• 46:37
  and it's just a reaction. I have to something.
• 46:39
  Enjoy and it might as well. So like I'm talking about the
• 46:45
  scene in science with Mel Gibson where there's a lightning strike
• 46:50
  and alien is on the roof, or where's the found footage and
• 46:55
  the alien walks across the alleyway.
• 46:57
  But those scenes, if I talk about it in depth I started
• 47:00
  welling up and I like right let's go and I'm in so yeah
• 47:05
  that's sort of like the the Metaphysical side of it.
• 47:11
  That's that's more like the the psychology of it and how you do
• 47:15
  that socio-culturally, whereas you can just do it physically.
• 47:18
  I mean, I've got a tear sztyc which is basically just fix and
• 47:21
  just like that. You're right.
• 47:22
  And that works, too. I never knew that was like
• 47:26
  actual practical. Things that?
• 47:28
  Yeah, it's legit called theistic.
• 47:32
  Little things like that. I mean, that's more practical.
• 47:35
  And that's, that's like a, like a more of a last resort after
• 47:39
  all. What we got to do, one where
• 47:40
  you're crying but I'm not ready. Okay.
• 47:42
  Quick and just like, okay, cool, cool cool.
• 47:48
  Cool. Well, thanks for sharing that,
• 47:50
  appreciate it. Moving forward.
• 47:53
  What been the sort of biggest challenges that you faced as a
• 47:57
  professional actor. Learning that you've got to have
• 48:03
  the hustle. You've got to be able to go it
• 48:06
  yourself. I think as a society as a
• 48:12
  community we have fallen into waiting for things to happen and
• 48:18
  it's down the road. Good things will come and it's
• 48:23
  unthinking. That I've had a few things
• 48:27
  happened to me recently, that was sort of reset my mindset a
• 48:30
  little bit. For me, it was understanding
• 48:33
  that the hustle is daily, the hustle mentality.
• 48:36
  I mean, before I came on, to this call, I'm editing my motion
• 48:41
  capture and my voiceover reels because it's like a show rules,
• 48:45
  not enough, you've got to have your real, then you got have
• 48:48
  your action real, then you've got to have your motion capture
• 48:51
  real and your present a real and your voiceover real and then
• 48:55
  then you might have enough bits. So I was doing that because
• 49:00
  that's my hustle. Right?
• 49:01
  This second. And so that was the that was the
• 49:06
  hardest part and then it was kind of like a jigsaw, it was
• 49:11
  Finding right? What training do I need and what
• 49:13
  training don't I need because you can get lost and you never
• 49:17
  come out of that hole. Like I've got a going to do
• 49:19
  three years or I've got to go and do 6 months here and Once
• 49:24
  you've committed to that, it's very hard to escape is the wrong
• 49:28
  word, but when you find that you're going down the wrong path
• 49:30
  is very hard to get across again.
• 49:32
  So, finding, what's right? Is a very hard thing to do and
• 49:38
  I'm lucky in terms of the fact that I've got a great experience
• 49:42
  with a poor school and then everything else I did it for
• 49:47
  occasionally like I am working with Tom Radcliffe was
• 49:50
  outstanding. He's one of the one of the best
• 49:53
  acting. Is could recommend it more but
• 49:57
  then also I'm very OCD logical. Lots of, I mean, lots of
• 50:03
  paperwork, it's just everywhere. But my business partner at the
• 50:09
  moment has sort of reminded me that you've got to be a people
• 50:13
  person. Hmm.
• 50:14
  So as much as I have from from my degree and from being a
• 50:20
  logical person that ability to knock out has options and
• 50:24
  understand how film Works logical standpoint.
• 50:28
  The hardest thing. 100% is understanding how people work
• 50:32
  and being a people person, which I hold my hands up as much as I
• 50:38
  am nice to everyone. I don't always understand
• 50:41
  everyone and that's something that is as 100.
• 50:46
  That's 100 for the hardest thing to do as an actor is to be
• 50:49
  personable. I think, if you're not humble,
• 50:52
  you're never going to be her. And it's never going to come
• 50:56
  across, I think humility is ingrained.
• 50:59
  So that ability to put the light on someone else, you people have
• 51:02
  that all done, but that ability to be empathetic is universal
• 51:09
  and liveliness. See little things, you hear rack
• 51:14
  and you see people gunning to get the rigged whereas other
• 51:18
  people are picking up mats and helping Gaffers, move, tripods,
• 51:22
  and what? However, it might be or helping
• 51:26
  people up that have been playing a dead body for four hours, you
• 51:30
  know. So yeah, it's that for me is the
• 51:34
  hardest part is the people side of it and appreciating people
• 51:39
  and being someone who is appreciative of what goes on
• 51:43
  because it's very easy to get lost.
• 51:46
  So yeah, as much as the training is hard training, you have to do
• 51:50
  and Is end as much as building up your skill sets and things
• 51:56
  like that benefits. If you're not a people person or
• 51:59
  you're not able to engage with people, you're going to fall
• 52:02
  down. I do also think, based on what
• 52:05
  you just said that there is a big you give that example of,
• 52:08
  yeah, there are people that are rushing to end and people that
• 52:11
  want it and go home and other people that want to, you know,
• 52:14
  just help. And I think that that also comes
• 52:18
  down to work ethic and stuff like like, I can't count of how
• 52:22
  many different jobs I've had, various industries were I mean,
• 52:28
  for many people was just, it is just a job and I find that kind
• 52:31
  of interesting in the realm of the film industry because of the
• 52:37
  you know, just the nature of how interesting it is.
• 52:39
  Like I get that the days are strenuous and you know, they
• 52:43
  get, they can get tedious but like at the same time you're
• 52:46
  doing what you love, you know what I mean?
• 52:47
  Like, I could think I've had so many jobs where like I've tried
• 52:53
  to love it and yeah, just not just can't, you know, I mean
• 52:56
  like film and TV there is that line as well.
• 53:00
  Where some of it interest is the 9 to 5 that's it.
• 53:04
  And that, if you, if you are in certain departments where you're
• 53:11
  only working because it's job, you're good.
• 53:14
  And it just so happens that it's a job.
• 53:16
  You're good at in film. It's still your 9 to 5.
• 53:19
  My favorite be art Department. Gaffer Sparks props is still
• 53:24
  your 9 to 5 job, it just happens to be in film.
• 53:28
  So there's a there's a there's a gray area with that.
• 53:33
  I don't I don't think everyone can be in the film industry in
• 53:36
  every Department, Just For the Love of it.
• 53:38
  I've been some people have been to art college and are fantastic
• 53:42
  and making props and that marries up well or they're very
• 53:46
  good set design, those sort of things and that just happens to
• 53:50
  be very beneficial in film and TV.
• 53:53
  Say, my makeup you go from working on music videos and
• 53:58
  model shoots, and then suddenly your sack doing Prosthetics on
• 54:01
  an orc. And, you know, so all those sort
• 54:04
  of things, it's it can be someone's 925 and I do
• 54:08
  appreciate that. And it's it's just that passion
• 54:12
  sort of blurs, the lines, someone Yeah, you make a really
• 54:16
  good point though, I'd never considered that.
• 54:18
  So, fair play, let's, let's move a little bit to your studying,
• 54:24
  and your studies like you mentioned.
• 54:25
  You have a degree is that before acting or is that in acting?
• 54:31
  So, my, my degree was a logical end to education.
• 54:36
  Same, yeah, I wanted that BSC but that's as far as it was
• 54:41
  going young. So, I-i've always been
• 54:46
  relatively academic. I old cliche, it's horrible.
• 54:52
  But I've always been in the top form in everything top set in
• 54:55
  everything and, and push myself academically to do that.
• 55:01
  Every time I wasn't a straight A's by any means, got got a lot
• 55:06
  of ways, but so from that, from that perspective, it was a case
• 55:11
  of right. I need to See education out get
• 55:16
  this degree and know what I'm doing elsewhere as well.
• 55:21
  I was coaching at the time and working as much as I could so I
• 55:29
  was doing a bit of everything and yeah.
• 55:34
  It allowed me to draw a line under a part of my life as well
• 55:39
  because education is a wonderful tool and I recommend it to
• 55:43
  everyone. I think everyone should have
• 55:44
  that access to it. It's 100% the right of anyone to
• 55:48
  be educated or to have access to education at any point in their
• 55:52
  life but I think for me it was a case of I knew where I wanted to
• 55:56
  stop with it. Otherwise I would have gone down
• 55:58
  that rabbit hole of Master's doctorate and then I'd never
• 56:02
  have come out again. Whereas It wasn't a case of
• 56:05
  that. I had to jump into work, but I
• 56:08
  knew that I'd done enough with education to now, take that next
• 56:13
  step. What was what was the degree in
• 56:15
  if telling me or asking you know that Brunel and it was through
• 56:18
  science? It's all science and
• 56:21
  biomechanics cool. Cool cool.
• 56:24
  Yeah, there's so many things I could ask you about that but
• 56:28
  okay the first thing I'm going to say it's like I can
• 56:30
  completely get where you're coming from on that because I
• 56:33
  had the same thing when I I did my degree.
• 56:35
  I did it because I was interested in marketing and I
• 56:39
  thought this is logical. It was a management with
• 56:42
  marketing degree from Royal Holloway University.
• 56:45
  And I was like, okay, great, you know, this this will help me get
• 56:48
  a job. That was why I did it, right.
• 56:50
  And then I realized that, you know, as you said there's this
• 56:54
  big kind of academic culture that's so far removed.
• 56:59
  It has like nothing to do with jobs.
• 57:00
  It's just this whole route, you can follow.
• 57:03
  That's purely based. The in ya doing research,
• 57:07
  creating academic papers, trying to get grants.
• 57:12
  Yeah. And that's fair enough for
• 57:15
  people that are into that, but like I had no idea about that
• 57:20
  beforehand going in. And like, I'll be honest like
• 57:23
  nothing against the the, the university mean.
• 57:25
  We're always very research base. So this is why it was like this,
• 57:29
  but my degree. It did not help me at all.
• 57:33
  In terms of Eating a job, it's great to just have the degree,
• 57:37
  but when I started working in marketing, I had to just learn
• 57:41
  from scratch. Basically, and they all agree.
• 57:45
  It's the degree is very much like a driving, a driving test.
• 57:52
  It's here's how you get your BSC.
• 57:55
  You follow these things, you do these papers, you do these tests
• 57:59
  and that's it. I personally have used little
• 58:03
  bits of Physics little bits of biology and little bit spider
• 58:07
  mechanics, but I've never used it as a whole ever.
• 58:11
  Like, for biomechanics, for example, is great for fight
• 58:13
  scenes. So if we're faking like a
• 58:16
  movement or an arm break, whether or, or just how a
• 58:21
  movement across camera works, and how how, that, those sort of
• 58:26
  things. Yeah, love it.
• 58:28
  But other things where it was like studying the coefficient of
• 58:32
  restitution like that. Stuck in my head forever.
• 58:34
  And I know what it is, has zero relevant anything.
• 58:41
  So, I feel about General school, like, I just wonder sometimes,
• 58:45
  like, why did they never just do a lesson on my taxes or money
• 58:51
  management or some nice? Secondary school could do a lot
• 58:57
  more. I went to an all-boys
• 58:59
  comprehensive and it was it was it was targeted at the trades
• 59:04
  and Additional study. So you had bricklaying would
• 59:08
  work, vehicle studies, those sort of things, and those things
• 59:14
  are actually useful though. Yeah, they are.
• 59:18
  But then then it was like, okay, you do that, but where's your
• 59:22
  pathway? Where did you go?
• 59:23
  What you do and it's very much a case of Education, now needs to
• 59:28
  shift, towards not? What was required back in the
• 59:32
  day in terms of, okay, you go to school.
• 59:34
  Cool. But you're getting taught some,
• 59:36
  you're getting taught life skills elsewhere, a lot of life
• 59:39
  skills. Now need to be taught in
• 59:40
  education. I think, I mean, I'm old enough
• 59:44
  to have been and done pH SE and I remember those sort of things.
• 59:49
  And I remember nothing about those classes apart from the
• 59:53
  fact that you had no relevance to life skills at all.
• 59:56
  Yeah. Whereas like you say being
• 59:58
  taught about hmrc tax. What self employment means.
• 1:00:04
  Employment means all those little things, those little
• 1:00:07
  subtle nuances with helped, so many kids coming out at 15, 16
• 1:00:12
  years old. And even if they're not the most
• 1:00:14
  academic, at least they know how the world Works.
• 1:00:16
  Yep. And that far more important here
• 1:00:20
  because everyone's got a different way of learning and
• 1:00:22
  stuff. And like how they approach
• 1:00:24
  things like me, I was all right. Grades wise, you know, I worked
• 1:00:29
  out in the end but there was like particular areas where I
• 1:00:31
  was really good and other areas where I was terrible.
• 1:00:34
  So I I was excellent in English and business, and that creative
• 1:00:38
  Endeavors, which makes sense to me now because it's like, those
• 1:00:40
  are all the things I do, but then I was terrible at Maths,
• 1:00:44
  for example, just useless and you know part of that was you
• 1:00:49
  know, poor teaching and part of that was just down to like how
• 1:00:52
  my mind works and stuff. But I think that the resources
• 1:00:57
  are available to you the way it store.
• 1:00:59
  All of these things are like so important and they're like yeah.
• 1:01:02
  Just like the things in general, though.
• 1:01:04
  Use for an adult life. Like I feel like a lot of that
• 1:01:06
  you just end up learning the hard way.
• 1:01:11
  Unfortunately, after about 16 I think is just one big black and
• 1:01:21
  it's it's an entire population. Everyone pretending they know
• 1:01:26
  what the hell they're doing and no one does.
• 1:01:28
  It's just more people. If you just use the phrase it's
• 1:01:32
  just more people that like they've got their shit together
• 1:01:34
  than other. People, that's all there is, and
• 1:01:36
  everyone goes home and has that same fear anxiety and Loathing
• 1:01:41
  about everything because no one knows doing and just some people
• 1:01:46
  are stumbling slightly faster than other people.
• 1:01:49
  In that the truth. Just a really random left-field
• 1:01:53
  question before we continue with your studies and stuff.
• 1:01:57
  You're from Oxbridge that, right?
• 1:02:00
  Yeah, so I that's my neck of the woods as well.
• 1:02:03
  Funnily enough. Yeah, I was, I was born in
• 1:02:07
  Hillingdon hospital. So was I?
• 1:02:10
  Yeah, and lived all around their socks, period.
• 1:02:13
  Ruislip all of these areas not like a big, interesting thing I
• 1:02:18
  guess for anyone that's listening necessarily, but do
• 1:02:21
  you still live in that area? Because I was thinking about
• 1:02:24
  this. Okay, perfect, it's it's near
• 1:02:27
  enough to Pinewood Shepherd, annealing leaves didn't so it is
• 1:02:32
  perfect. And one top Of that literally
• 1:02:35
  get on the train, rice lip. And, I mean, Soho for castings,
• 1:02:40
  it's and Heathrow as well. I never, I never considered it
• 1:02:44
  because I figured like what I was going to ask.
• 1:02:46
  You was like yeah you know you're around the world all the
• 1:02:48
  time and stuff. So you need to be living
• 1:02:51
  somewhere that's useful to do all of that and I suppose yeah.
• 1:02:55
  Like it living in in the in the hidden is a great area in terms
• 1:02:58
  of that because yeah you got like Pinewood Heathrow as you
• 1:03:01
  said, Soho all these different things so it's fair.
• 1:03:05
  Good on you anyway now know. So I actually live in Manchester
• 1:03:13
  now up, like I'm so sorry. It's okay.
• 1:03:17
  No, I dig it. I dig the music scene here.
• 1:03:20
  Magic is lovely. I've had some great experiences
• 1:03:24
  in Manchester. It's a beautiful place.
• 1:03:26
  It's just different. You know, I spent three years
• 1:03:29
  abroad in Estonia, that's where I was living.
• 1:03:32
  And I came back to England. And in February and I was
• 1:03:38
  talking. Yeah.
• 1:03:38
  I was like, who's Wide Awake? Yeah.
• 1:03:40
  I know, I know, right. Literally like is funny how
• 1:03:42
  things work out because I got I was at home for a week.
• 1:03:45
  I was around family and stuff and I was like, right.
• 1:03:47
  I want to go somewhere different do something different.
• 1:03:50
  So I went up north and went to Manchester and basically had
• 1:03:54
  that kind of one week Panic of like, what do I do?
• 1:03:57
  Where do I go? Like I was living in this awful
• 1:04:00
  hostile and just like I can't find and I find a place Get
• 1:04:04
  settled. And then all of this stuff
• 1:04:06
  happens and it's like, goddamn, like funny how the universe
• 1:04:11
  works this for me, for me, personally on that.
• 1:04:16
  As much as it can, the pandemic came at a perfect time.
• 1:04:20
  For me, not not in terms of what it is, but in terms of what
• 1:04:25
  we've had to go through, I got back in the country started
• 1:04:30
  March, and okay, yeah, same thing.
• 1:04:34
  My timing was very fine and what it was for me is I gave myself
• 1:04:42
  no excuse, not to do things and I mean, I've got massive
• 1:04:49
  whiteboard and I just started writing and it was like
• 1:04:52
  everything I need to do and everything I'm scared.
• 1:04:55
  I'm going to do and like I've got my bucket list and as I walk
• 1:04:58
  in that chick off on this as well, and what it was was if If
• 1:05:03
  I was never going to do it or I had an excuse that I was using
• 1:05:08
  before hand like time. For example, if that was the
• 1:05:12
  case and now I have time. Yeah.
• 1:05:14
  And I still didn't and I still don't do it.
• 1:05:16
  I was never going to do it. So open my eyes a little bit as
• 1:05:20
  well to that, don't be rough. I got a lot like I sort of
• 1:05:28
  freshened up on a lot of skills that I was taking for granted.
• 1:05:32
  Like a lot of my weapons skills on top of that.
• 1:05:35
  I learned to skip because I was 32 years old and can skip so
• 1:05:40
  harder than it looks. I was like anything as well,
• 1:05:46
  which is what I imagine your where you do the.
• 1:05:49
  Well, I like when I was in Mexico, I was taken to MMA gym
• 1:05:55
  And that warm up is half an hour of skipping.
• 1:05:58
  I was like I can't do 30 seconds of skin.
• 1:06:03
  So there was just this typical English guy in the corner of
• 1:06:07
  this hard as Nails. Mexican MMA gym flailing with
• 1:06:13
  this rope. Yeah, they're never again.
• 1:06:18
  So yeah. That that was like top of my
• 1:06:20
  list and then like getting back to using nunchucks, Wow, cool.
• 1:06:26
  All those sort of things and it was yeah, it was perfect for me,
• 1:06:31
  in terms of I've got no excuse not to do this stuff.
• 1:06:33
  I I was I locked myself in the studio and recorded loads and
• 1:06:40
  loads of VoiceOver stuff. I got like 25 of my favorite
• 1:06:44
  adverts, wrote down the scripts from him and then read them and
• 1:06:49
  really good idea. Oh my God.
• 1:06:51
  Yeah, it was nose was like I did the loader.
• 1:06:55
  Well, I'm calling unbranded ones where I made up a fake brands.
• 1:06:59
  Made a fake head butt, but then there was like, can I hit the
• 1:07:05
  same standard as actual adverts? So the one that always stuck
• 1:07:10
  with me and it stuck with me forever is the Guinness Surfer
• 1:07:14
  advert, black and white and it's this Northern guy proper fit,
• 1:07:20
  Yorkshire accident and he's talking over these Hawaiian
• 1:07:23
  Surfers. And then the waves come over and
• 1:07:27
  it's horses coming over and I was like, right?
• 1:07:31
  I'm going, I'm going to do that advert and so did that and then
• 1:07:35
  British Airways stuffs and the Jura, cell bunny, all those sort
• 1:07:39
  of things. And that was the challenge for
• 1:07:42
  me was like this advert is already good.
• 1:07:44
  This orb is a fantastic. A but can I live up to that
• 1:07:48
  standard? So I did that and then I'm
• 1:07:51
  currently working for all my impressions in person Nations
• 1:07:54
  and Long list of that as well as your best one so far at the
• 1:07:59
  moment. My Golem is pretty good but give
• 1:08:04
  us a quick Golem. No, those are our friends to
• 1:08:12
  touch the precious. That was good.
• 1:08:18
  You see? The thing is, my Jack Sparrow is
• 1:08:20
  actually a little little things, but it was one of those roles
• 1:08:26
  like I love Charlie Hopkinson. Who does all the way?
• 1:08:30
  Yeah. He incredible Talent.
• 1:08:34
  So I I'm the guy that would just watch you.
• 1:08:37
  Two would go. Oh Christ, I've got so much to
• 1:08:39
  do, but it's been great because I've had a lot of voiceover work
• 1:08:44
  and stuff. We're even simple things like
• 1:08:47
  doing an American accent. Yeah.
• 1:08:48
  Little and it should be quite easy for an Englishman to do an
• 1:08:52
  American accent. Smallest small know, I've been
• 1:08:57
  working on it myself. And it's like, You could like,
• 1:09:03
  most people go straight for the Southern drawl or like Americans
• 1:09:06
  for or something like that. I actually like trying to, you
• 1:09:09
  know, get like particular morning.
• 1:09:11
  Darling is mine Midwest, cool. I can drop straight into a
• 1:09:16
  Midwest, quite easy to my American accent like drop into
• 1:09:21
  it. Just it's it's there, it's
• 1:09:23
  really nice and but like the California stuff really easy and
• 1:09:28
  the Southern drawl. The Texan and I need to get a
• 1:09:33
  New York accent and I so hard. It's so hard.
• 1:09:37
  Wonderful, the stick, you know, that's the one I'm trying to
• 1:09:40
  work on trying to do that one because it's like so you don't
• 1:09:45
  want to go too cliche with it, but the same time you kind of
• 1:09:47
  need to to get the right. You don't want to be like 1988
• 1:09:53
  that 1960s gangster but you don't want to be like full Bronx
• 1:09:56
  accent either, it's a very fine line to beat red so that that's
• 1:10:01
  that's on the list. The ones that I need to work on.
• 1:10:04
  I did this truly a foreign cell tape with a Birmingham accent
• 1:10:10
  and I was like, I'm going to have to go and apologize to a
• 1:10:15
  city like that. That's how bad this accent was.
• 1:10:19
  So sometimes it works really well.
• 1:10:21
  And other times your eyes are open to like, oh crap.
• 1:10:24
  I've got way more to do. Yeah, I think it really depends.
• 1:10:29
  I mean, I think generally British actors.
• 1:10:31
  We're better at doing. Young American accents that
• 1:10:33
  Americans are doing English. Like I can think of so many
• 1:10:37
  examples of English actors, that nail it, but the reverse not so
• 1:10:40
  much but then it I can also, you know, like I remember we were
• 1:10:44
  talking about Jason Statham Earth earlier.
• 1:10:45
  I remember hearing him do one particular movie, where he does
• 1:10:49
  an American accent and I was so disappointed.
• 1:10:52
  As I hear, this guy who's fantastic, but this particular
• 1:10:56
  accent right now. Well, Jason Jason.
• 1:11:02
  Wasn't him and transporter, I wouldn't be doing what I'm
• 1:11:05
  doing. My my end goal is to as I say
• 1:11:11
  and go like there's an end my there.
• 1:11:14
  My goal is to be the best possible blend of Jason Statham
• 1:11:18
  and Gary Oldman. Hmm.
• 1:11:21
  Whatever that would come out looking like that's where I want
• 1:11:24
  to be. Because with Gary Oldman A lot
• 1:11:28
  of the time you're watching a film and it's not until like, 45
• 1:11:31
  minutes in you go. Oh, fuck.
• 1:11:32
  That's Gary Oldman. And then even stuff where
• 1:11:36
  there's no makeup involved, or anything, like that, watching,
• 1:11:39
  Batman. You go.
• 1:11:41
  That's Gary Oldman and I had to go back and watch all his old
• 1:11:45
  stuff and I'm having a brain fart.
• 1:11:50
  But we plays Drexel Spivey and things where he's got.
• 1:11:54
  This really cool Jamaican American.
• 1:11:57
  Thing going on playing this drug Runner and it's like this is a
• 1:12:01
  very British actor doing. Yeah.
• 1:12:04
  You see, even down to hit, man's body guard, where movie?
• 1:12:09
  By the way that's I love that movie Lariat.
• 1:12:12
  Absolutely love it. So yeah, so from that side of
• 1:12:15
  things, it was a case of I wanted to make sure that when it
• 1:12:20
  comes to a performance and someone changes something on the
• 1:12:22
  spot at least you've got your toolbox, where you can go pull
• 1:12:26
  an accent out and be able to, at least cover it.
• 1:12:29
  And a lot of it comes from The Impressions side of it.
• 1:12:32
  So I'm using my Joker impression to work on my New York factor
• 1:12:38
  for example, because he fled you're used to sort of Manhattan
• 1:12:41
  accent for that sort of Tom Waits sort of voice.
• 1:12:46
  So I'm using that without It sound too Joker.
• 1:12:50
  Some and then there was a more than Insurance advert where they
• 1:12:57
  did fantastic Morgan, Freeman impression.
• 1:13:00
  I remember to do, my Morgan Freeman.
• 1:13:07
  So yeah, like it's finding all those that were tricks that work
• 1:13:12
  for you and if they work, then I'm happy to admit where I got
• 1:13:15
  them from, you know? Yeah is interesting like how the
• 1:13:21
  because I feel like certain actors nail it other ones even
• 1:13:24
  if they're the best. Like I said, like Jason, Statham
• 1:13:26
  is a fantastic actor but I think that like Impressions were all
• 1:13:30
  like accents wise. Maybe it's not his strong suit
• 1:13:33
  Jen. And I mean and I feel like that
• 1:13:36
  accents in general is something that you have to work really,
• 1:13:40
  really harder and like it takes to like we were the American s
• 1:13:43
  it when I look back at like older videos I've done and the
• 1:13:46
  newer ones. Much more comfortable because
• 1:13:49
  I've taken a lot of time to get into it and stuff and I feel
• 1:13:53
  like you were talking about like instances where certain things
• 1:13:57
  help you get into it like a particular character or
• 1:13:59
  something like that. For me, it's like situations,
• 1:14:04
  like I love playing bad guys for some reason and it's really easy
• 1:14:08
  for me to do, intense, scary, like, psychopath American
• 1:14:12
  accent. That's just really easy for some
• 1:14:14
  reason, but just doing a regular everyday.
• 1:14:18
  Accent is really difficult for some reason for me.
• 1:14:21
  So yeah. I guess it's just one of those
• 1:14:23
  things you have with that and like it's finding the little
• 1:14:28
  rules that make things work. And so like I was talking with a
• 1:14:32
  friend of the day about the Afrikaans accent and it we've
• 1:14:37
  Afrikaans is just the case that all the vowels are wrong.
• 1:14:39
  Yep. And also like 0 is 0 is e a d SI
• 1:14:44
  and so on and so on. So when you get those Rules
• 1:14:48
  right? The Accidental comes out on its
• 1:14:50
  own but later the New York accent, it's getting those rules
• 1:14:54
  right in first place because one word rotten it sounds off.
• 1:14:59
  It's even trickier when you speak another language as well.
• 1:15:01
  Like, when I lived in Estonia, I learned Estonian.
• 1:15:04
  And I basically had to forget English if I make sense like
• 1:15:08
  it's just almost like I liken it to like plug in your head out of
• 1:15:12
  the Matrix and then re plugging it back into a different port.
• 1:15:18
  But like the accent came and a lot of the time people had no
• 1:15:21
  idea that I was English and it was at school but that took time
• 1:15:24
  and effort and I had to do a similar thing that you did.
• 1:15:27
  I had to learn their extra letters that you know like for
• 1:15:30
  instance e is like are totally different.
• 1:15:35
  It's like and then I is easy and it's like what?
• 1:15:38
  But yeah, exactly that but you got a dirt go be done.
• 1:15:43
  Anyway yeah let's move it forward.
• 1:15:45
  Just bring it real quick back to Studies that going to ask you
• 1:15:49
  about your degree because I figured it was in something
• 1:15:51
  different. But in terms of you acting
• 1:15:54
  studies you studied at the actors Temple Studio in London
• 1:15:59
  which labels itself as an alternative to drama school.
• 1:16:04
  So why did you decide to study this particular one instead of
• 1:16:08
  drama school at what was the reasoning behind that decision?
• 1:16:11
  That's example. So, active Temple was like,
• 1:16:15
  adopted out of them. because I was following Tom, that's on
• 1:16:20
  record and it was a case of I find what works at the time.
• 1:16:30
  And for me, traditional education being a sat in the
• 1:16:36
  classroom will set in a room and we've got wasn't the most
• 1:16:39
  conducive thing with me. Whereas being set in a workshop
• 1:16:44
  where it's just constant performance.
• 1:16:46
  Perfect. It didn't have to be my
• 1:16:48
  performance but it was able to break down a performance.
• 1:16:51
  So I think it was a case of I don't fit very well with the
• 1:16:57
  traditional education. It's is something that I got
• 1:17:02
  bored of and so I just sawed out places where I didn't have to do
• 1:17:08
  that. And it was important for me to
• 1:17:10
  be in places where there was an emphasis on Meisner.
• 1:17:15
  And that was important because from from that perspective, it
• 1:17:19
  was something that I knew worked.
• 1:17:20
  And that I knew I could study and Even if I wasn't using the
• 1:17:25
  whole thing and I wasn't using the entire spectrum of that
• 1:17:28
  method, I was able to at least pull the bits down that I wanted
• 1:17:33
  and strengthen them. And most of the time it is just
• 1:17:37
  using reppin the imaginary circumstance.
• 1:17:40
  A lot of the time and with those that covers a plethora of sins
• 1:17:46
  and it gets you allows you to help other people as well
• 1:17:50
  because you can pull them out. Out of their head where they've
• 1:17:54
  been trying and trying to make something work.
• 1:17:57
  And it's not, it's not pulling out.
• 1:17:59
  And they just say one thing to him.
• 1:18:00
  Look, all you say, if you were angry or what would you say, if
• 1:18:04
  you're going to make me laugh, and that changes their thought
• 1:18:07
  process, instead of the character saying the words is
• 1:18:09
  just tidying that up. So yeah, for me it was a void in
• 1:18:14
  traditional education, finding something with vocational and
• 1:18:16
  worked. For me, I do agree with that.
• 1:18:20
  I think particularly as well, just on that final point you
• 1:18:22
  were making like Love it. When you have a director that's
• 1:18:25
  like really lenient or not lenient but like that allows you
• 1:18:30
  to ad-lib. I find it really works like
• 1:18:33
  assuming that the character doesn't have like a very
• 1:18:36
  specific way of talking, you know, in terms of words then if
• 1:18:39
  something just naturally feels easier for you to say in a
• 1:18:42
  particular way and the directors called it, it makes the whole
• 1:18:46
  process easier. I don't know.
• 1:18:48
  Yeah, I've always I've only ever had a falling out once.
• 1:18:53
  Because I didn't hit my triggers.
• 1:18:56
  I was working with one one particular actress and this is
• 1:19:02
  seven years ago. I've been doing this for too
• 1:19:04
  long. Yeah, so long.
• 1:19:07
  And I was getting the the essence of the story.
• 1:19:11
  I was I was delivering the lines.
• 1:19:12
  I was delivering the lines, how I thought they would said,
• 1:19:16
  right? But it was throwing her off.
• 1:19:19
  I wasn't in my last word and so she she had learned the The
• 1:19:23
  Batum that was it and that's what she was going to do.
• 1:19:26
  So we, well, she was very angry with me.
• 1:19:29
  She was see, that's the problem as well.
• 1:19:32
  Like, I I'd learned, I learned the scripts as much as I can
• 1:19:36
  verbatim, but like, I do think that you just can't be like
• 1:19:41
  that. Do you know what I mean?
• 1:19:41
  Like, sometimes I feel like without sounding too cliche, but
• 1:19:46
  like magic happens, if you kind of just like, for instance, if
• 1:19:49
  there's a fuckup and you both just roll with it, And ad-lib
• 1:19:54
  like OK, this is a bit different, but like I'm a big
• 1:19:57
  fan of professional wrestling, right?
• 1:19:59
  And in professional wrestling, they often regarding your with
• 1:20:03
  the best. By the way is kind of dead now.
• 1:20:06
  I disagree, but fair play. Fair play, but like know, in
• 1:20:09
  terms of like how it applies to acting and such.
• 1:20:12
  It's interesting because some promotion some errors, you know,
• 1:20:18
  they decide to just have scripting only and other times
• 1:20:21
  no script they just have like bull Points essentially like you
• 1:20:24
  know if the scene is a to z and we've got a hit like you know c
• 1:20:31
  d f and then Z then what happens in between as so long as it's
• 1:20:35
  logical and it gets us to our destination.
• 1:20:38
  It's fine and like so if there is a fuckup you just find a way
• 1:20:42
  to navigate to get to the next Point that's dangerous way of
• 1:20:46
  being. If you look at like when book a
• 1:20:48
  tee he would cut a promo for example.
• 1:20:54
  Look at these Monumental slip up and you see him not just not
• 1:20:59
  just mess up, but he drops, kayfabe straight away and it
• 1:21:05
  pulls you out the entire thing. The same.
• 1:21:07
  If CM Punk, when he did the pipe bomb, cutting a promo like that
• 1:21:15
  which is essentially career suicide.
• 1:21:19
  Other things where Dwayne Johnson and Johnson where they
• 1:21:24
  were cutting promos at each other and they weren't scripted.
• 1:21:28
  And the problem was is that they were cutting promos about what
• 1:21:31
  was going on in their real lives and that got toxic.
• 1:21:36
  So I especially in terms of wrestling in terms of where you
• 1:21:40
  can and can't go if there's a certain prescribed way of doing
• 1:21:46
  things, there's the last safety to that and yeah, the little
• 1:21:51
  Laughter. That is in the little bits of
• 1:21:53
  improper great. But if you go too far, there's
• 1:21:56
  that risk that you, you sort of either disengage the audience,
• 1:22:00
  which is the Triple H, Shawn Michaels.
• 1:22:05
  And Kevin Nash in a TI-89, this is before the screwjob whether
• 1:22:11
  we're all four of them broke kayfabe after a cage match.
• 1:22:14
  90-94 Madison Square Garden. Yeah.
• 1:22:19
  And it's that for Me is in front of 30,000 people, and you're
• 1:22:24
  dropping kayfabe, and you know that when wrestling was super
• 1:22:28
  prescribed, that was incredibly dangerous.
• 1:22:31
  And the Manhattan screwjob with Bret Hart, we're changing the
• 1:22:36
  storyline on the spot and the whole thing with Shawn Michaels,
• 1:22:41
  those sort of things with wrestling and he's a perfect
• 1:22:44
  example because it is borderline improv.
• 1:22:46
  A lot of the time those things really do change a lot of the
• 1:22:50
  perception of the product. And that's why a lot of love was
• 1:22:53
  lost the WWE before. It became just World Wrestling
• 1:22:58
  In fairness like, you know, Vince McMahon, I mean, the
• 1:23:01
  business had already. People knew that it was physics.
• 1:23:05
  Yeah, people knew the fix was in, they always known but he
• 1:23:10
  publicly in order to avoid tax and Rebrand his company as
• 1:23:18
  Sports entertainment and not professional wrestling.
• 1:23:21
  So, we could avoid Various laws and different textures and
• 1:23:23
  different things. He said that publicly that yeah
• 1:23:26
  it's not real and you know regardless of what you think of
• 1:23:31
  that you know ever since then the business has just changed
• 1:23:35
  and developed to the point where.
• 1:23:36
  Yeah. Okay.
• 1:23:37
  You gave those examples of those promos where, you know, maybe
• 1:23:41
  those performers went too far. But like in today's error
• 1:23:45
  everyone like the fans are like, you know, really smart to it,
• 1:23:48
  they know everything bubble is, you've got to have like I
• 1:23:52
  realize for those who don't know about resting, this is probably
• 1:23:56
  gonna go over there and I'm just going to keep rolling with it.
• 1:23:59
  Since, you know about wrestling. I know we can keep going.
• 1:24:03
  You know, they have those work promos or shoot promos.
• 1:24:07
  I just shoot work, but work shoot they call it.
• 1:24:10
  So yeah, you tell them like 60% truth and then 30% lie and you
• 1:24:15
  wave into the lie and then you leave your audience guessing as
• 1:24:19
  to what's real and what isn't. And I think So long as it's
• 1:24:23
  like, strategically done and the story is the main thing.
• 1:24:26
  Like, and this is kind of why I brought this up in the first
• 1:24:29
  place. Like, I think the story has to
• 1:24:31
  always be your focal point if you are someone who's a bit
• 1:24:34
  egotistical and selfish and you're just thinking like oh how
• 1:24:38
  can I pop the audience or something?
• 1:24:40
  Then yeah, you're going to fuck it up and ruin the story.
• 1:24:43
  If you're focused on the story you drop a bit of fun here and
• 1:24:46
  there but ultimately you're focused on getting to that Z
• 1:24:49
  point you know setting the pay-per-view selling the map
• 1:24:51
  Ouch selling the story. It will work every time I think
• 1:24:58
  natural performers that can cut promos will always deliver
• 1:25:04
  something that is crowd-pleasing if not necessarily the best.
• 1:25:07
  So Dwayne Johnson, for example, I he's never cut a bad promo and
• 1:25:12
  it's from above from the start of the Attitude Era where the
• 1:25:18
  rock became like the second baby face off the Steve Austin and
• 1:25:24
  after the whole sort of thing where you had Who Steve Austin.
• 1:25:28
  She'd never been a baby face but it was the fact that they
• 1:25:31
  tailored it that way. He was like the perfect heel
• 1:25:34
  that was made the perfect fate. He was undeniable if you become
• 1:25:40
  popular enough as a heel, people just love you.
• 1:25:44
  And the difference with Austin was that he was just himself.
• 1:25:47
  He was just like a man's man. That was his character and
• 1:25:50
  largely him in real life as well.
• 1:25:52
  So it's like, how can you hate a guy who's just a badass?
• 1:25:56
  And just does whatever the hell, we want that just resonates with
• 1:25:59
  people. I mean, you gave those people
• 1:26:02
  platforms do that The Rock John Cena, Steve Austin, Triple H.
• 1:26:07
  They've Triple H has only ever cut one bad promo ever and that
• 1:26:11
  was really loved by God no, no in terms of like iconic like car
• 1:26:17
  crash, it was him and Shawn Michaels.
• 1:26:19
  During the legion Generation X that promo they cut that was
• 1:26:23
  borderline career suicide. Whether in the back of the The
• 1:26:26
  Jeep and they go to the WC W headquarters.
• 1:26:29
  That was bad. Where is Dwayne Johnson.
• 1:26:34
  You can't name a bad promo every time he returns to that World
• 1:26:38
  Wrestling, it's always award-winning from my even.
• 1:26:43
  He had to like start somewhere, though.
• 1:26:45
  Don't forget that when he started, he was a baby face.
• 1:26:48
  And, yeah, he was being told what to do, but those first
• 1:26:51
  initial my stomach's promos would that cluster the way.
• 1:26:56
  Looking Maivia was put over, is that the the most natural thing
• 1:27:02
  I've ever? He didn't know.
• 1:27:03
  He was winning that fight until literally going up to the the
• 1:27:07
  ring walk. And the fact that he was, he had
• 1:27:11
  no kayfabe the entire time that he was in that fight and that
• 1:27:14
  match the entire even when he was pinning to win, he was
• 1:27:19
  thanking the whole time. He's like, thank you so much.
• 1:27:22
  Thank you. I'm being put over and those
• 1:27:24
  sort of things is semi John Cena.
• 1:27:26
  John Cena has cut completely improvised promo, where it's
• 1:27:30
  just about mental health and pushing forward in dealing with
• 1:27:32
  depression, although sort of stuff.
• 1:27:35
  It's just on brand and it works. Yeah, like let us say, it's it
• 1:27:39
  is the perfect industry for where improv can work without
• 1:27:42
  necessarily worrying about triggers.
• 1:27:46
  It's very, learn a little bit of attention.
• 1:27:48
  There's this is Fun World Wrestling.
• 1:27:53
  What would you say are the key differences?
• 1:27:56
  Is sort of between working on small sets for sale at short
• 1:28:00
  films or just smaller General sets versus working on like
• 1:28:04
  major Hollywood set pressure and not necessarily the way you
• 1:28:11
  think. Every, I mean every project is
• 1:28:13
  different. For the most part the smaller
• 1:28:15
  set is easier to control and the pressure isn't as high.
• 1:28:21
  Although it goes sideways, a lot quicker on a smaller set.
• 1:28:24
  So that would be a Big thing, the obvious stuff that I won't
• 1:28:28
  touch on too much is money, equipment.
• 1:28:32
  Resources, those are obvious, the more subtle things are
• 1:28:38
  access to the professionals. I would say because that's that
• 1:28:43
  can make or break an entire project and that would be the
• 1:28:46
  biggest difference. I would say from being on a
• 1:28:48
  small intimate set like a short film as opposed to a 500 Grand a
• 1:28:55
  day bill, That those sort of things are very different so the
• 1:29:00
  access to who you're working with, you do look out.
• 1:29:04
  And there are a lot of burgeoning young independent
• 1:29:08
  people working in film, that are awesome.
• 1:29:11
  They are fantastic. It's the ones that are cutting
• 1:29:13
  the corners that then, that sort of work.
• 1:29:16
  So, yeah, I would say that's probably the biggest difference.
• 1:29:20
  Awesome, awesome. And what would you consider as
• 1:29:23
  your kind of like greatest triumphs in your acting career
• 1:29:26
  so far. If I had any, I think just the
• 1:29:34
  fact that it's moving in the right direction, is the biggest
• 1:29:38
  Triumph really? Because like I said earlier,
• 1:29:43
  things can go sideways so quickly and it can be nothing to
• 1:29:47
  do with you at all. And you could be doing
• 1:29:51
  everything right? And it still go wrong.
• 1:29:53
  So the fact that I am in 1/2 professions that are very dear
• 1:30:01
  to me. The fact that I get to go to
• 1:30:04
  incredible locations and I count all the Studio's didn't that I
• 1:30:10
  was where was I was I was in stoked approaches.
• 1:30:14
  This week just gone filming on the TV series for Discovery, and
• 1:30:20
  the creativity that goes into film sets is incredible.
• 1:30:23
  So, it reminded me of the Gillette building in chizik
• 1:30:26
  where Sky, do a lot of stuff isn't and the, the 24 series and
• 1:30:30
  stuff like that. I used to work there by the way,
• 1:30:32
  that's why I went and spoke caught in Stoke poachers.
• 1:30:39
  This is an old manor house but they've converted into a working
• 1:30:43
  In films, 30, everyone has a different set and they've got
• 1:30:48
  big rooms where they can put blanks up and make corridors and
• 1:30:51
  all this sort of stuff. And I like eked out a completely
• 1:30:55
  geeked out. And that for me, was part of the
• 1:30:57
  idea that she we finished the scene, we discovered a body and
• 1:31:02
  I was chatting with the director.
• 1:31:04
  I went, what's the rest of this place?
• 1:31:06
  Like and he went, we've got some time and that's the amazing
• 1:31:10
  thing you can be at work and be shown this hole.
• 1:31:13
  Avenue and we went round, there was like a lab like Resident
• 1:31:17
  Evil lab set up like a 19-7 and T's Hunters studio.
• 1:31:25
  With loads of stuffed animals on the walls.
• 1:31:29
  There was this MMA basement area where like they've done fo rust
• 1:31:33
  Gates and like a torture chamber.
• 1:31:37
  And all of them was in this one mansion house.
• 1:31:39
  And so that for me is one of the greatest Things about this
• 1:31:44
  industry. And doing this job is the fact
• 1:31:47
  that you can go to these incredible places and to the
• 1:31:51
  outside, that's just a manor house that we're going to use
• 1:31:53
  much. But to the Insight the the sort
• 1:31:56
  of the creativity that goes on is amazing.
• 1:32:01
  That does sound like an incredible place.
• 1:32:03
  I would geek out in this situation.
• 1:32:05
  Linda wow. Yeah I just want to ask you a
• 1:32:10
  couple of final questions on your acting just before.
• 1:32:13
  Don't move on to your role as a producer to any sort of aspiring
• 1:32:19
  actors. What would you what were the
• 1:32:22
  main tips that you have for them in terms of just pursuing a
• 1:32:27
  career in acting? Okay?
• 1:32:33
  In no particular order. You got to know your stuff.
• 1:32:37
  Yeah yeah yeah youyou can't be half-hearted it's never going to
• 1:32:41
  work. I would be the first thing
• 1:32:44
  embrace. The hustle know that you're
• 1:32:46
  going to have to work longer hours than you ever worked put
• 1:32:51
  in more effort than anyone else is going to put in and know that
• 1:32:56
  it's going to take a long time. It 10 years to be an overnight
• 1:33:01
  success and what else? Find what you love whether that
• 1:33:09
  be short film, whether that be TV, whether that be whatever the
• 1:33:14
  festival pieces, wherever it is voiceover as long as you've got
• 1:33:19
  that passion behind it, you 100% will do it, but don't force it.
• 1:33:25
  Those would be the main things acting.
• 1:33:28
  Like we said at the very start, you can't be a square peg in a
• 1:33:31
  round hole. If it will eat away at you.
• 1:33:37
  So, yeah, embrace the hustle would be the number one.
• 1:33:41
  Thank you for sharing that. All right, so let's, let's see,
• 1:33:44
  let's move on. Let's talk about your career as
• 1:33:48
  a producer. Now you're currently working on
• 1:33:50
  an upcoming documentary movie named the beast when Eddie met
• 1:33:56
  Arnie. And for those who don't know,
• 1:33:58
  this is the famous powerlift. I believe he's the World's
• 1:34:02
  Strongest Man or was this world Strongest Man Eddie Hall?
• 1:34:05
  And on a short snugger, which I mean this just blows your mind
• 1:34:10
  just thinking about these two names in the same place and talk
• 1:34:14
  to me a little bit about how you landed this particular project
• 1:34:17
  and what the experience has been like so far because I
• 1:34:20
  understand, you're still working on it.
• 1:34:22
  I saw that there was a potential release date of October this
• 1:34:26
  year, but then there's other sources that say, it's sometime
• 1:34:29
  in 2021. So it's kind of all a bit
• 1:34:32
  confusing, but I understand that, you know, there's a lot in
• 1:34:35
  terms of like production post-production and so on and so
• 1:34:38
  forth. Us a little bit about this
• 1:34:39
  experience. Yeah, I'm super indebted to my
• 1:34:44
  business partner Winston Ellis. So I started working with
• 1:34:48
  Winston, over two years ago now, and I produced Winter Ridge with
• 1:34:58
  Tomlin while Matt hooking and a couple of our guys stepped away
• 1:35:01
  from that before production because I was moving on to other
• 1:35:04
  stuff. And then I had so many projects
• 1:35:10
  that house like I could really use this like reduce this do
• 1:35:12
  steps and I sat down will be into them and we got on really
• 1:35:17
  well and he sort of has shown me the way that production is done,
• 1:35:22
  right? And for me that was a turning
• 1:35:26
  point. So we're me myself administered
• 1:35:30
  and we've got Razor Edge films and that's a Russian company
• 1:35:34
  that is pushing this forward. Word.
• 1:35:36
  We're working with your reader universe and a couple of other
• 1:35:39
  production companies as well. And it came about from one
• 1:35:47
  meeting to discuss what this project could be.
• 1:35:52
  So wisdom was brought in as executive producer and was gave
• 1:36:00
  it a lot more scope in terms of what it could be as a project
• 1:36:04
  and it started out Lot smaller. It was one man's journey.
• 1:36:09
  And it was, how do you follow in your icon?
• 1:36:14
  Hero mentors, footsteps. It's got a lot bigger since
• 1:36:21
  they're so that. That was like, the burgeoning
• 1:36:26
  point of it, because any absolutely wonderful guy.
• 1:36:30
  Truly sort of the humble, lovely, lovely guy.
• 1:36:36
  Devoted his life to this 500, kilo deadlift.
• 1:36:40
  And to be the World's Strongest Man.
• 1:36:42
  And he promised his Nan on her deathbed, that that's what he
• 1:36:46
  was going to do. And that, that sort of thing is
• 1:36:49
  incredibly powerful, so Winston brought in a fantastic director,
• 1:36:55
  Chris fretwell. And the idea was is how do we
• 1:37:02
  show that there are parallels between whatever Eddie has done.
• 1:37:06
  And we're ready is and what Arnold did.
• 1:37:11
  So, our parallel start straight away with mr.
• 1:37:14
  Olympia and Arnold being at the top of his game and then
• 1:37:20
  deciding to go to New York, And everyone was an ice age of 21.
• 1:37:26
  You're not American, you're a powerlifter, your bodybuilding
• 1:37:31
  and not and that was it. That was where Arnold flipped it
• 1:37:36
  on its head and you've got Hercules in New York where
• 1:37:40
  you've got this, huge Austrian guy playing Hercules and that
• 1:37:47
  that's that's been like a pivotal point for not just Lord,
• 1:37:52
  but if you look at Jason Statham former Olympic diver Dolph
• 1:37:59
  Lundgren, Terry Crews Jet Li, you know that Carl Weathers the
• 1:38:06
  list is endless and oddly enough.
• 1:38:09
  There are a lot of actors that I love their work.
• 1:38:13
  So we draw these parallels and then it was a case of how do we
• 1:38:19
  show the impact that Arnold's had and how that affects someone
• 1:38:24
  who's already at the top of their game.
• 1:38:26
  But what happens when their top of their game is now the
• 1:38:28
  starting book again and that. So that's been incredibly
• 1:38:31
  important because like I said, earlier, everyone's second job
• 1:38:36
  is entertainment. Everyone's second job is 0.
• 1:38:38
  I can present or I can ticked up or I can YouTube or whatever it
• 1:38:42
  might be, and but it's how do you make a success of that?
• 1:38:45
  And so, that's what we're discussing and that's the Crux
• 1:38:50
  of the documentary is. Professional movement and then
• 1:38:54
  the driver side, you can adjust pressure on that real quick.
• 1:38:57
  So if I understood the blurb correctly, because I read this
• 1:39:00
  on idea and be Eddie Hall wants to pursue acting as well.
• 1:39:05
  So he literally wants to fully fully in in the footsteps of
• 1:39:09
  Arnold Schwarzenegger after it. Yeah.
• 1:39:11
  Right. Okay.
• 1:39:12
  Sorry. Sorry to interrupt.
• 1:39:13
  I just wanted to clarify that so because it's a docudrama.
• 1:39:17
  We've got some Recreations and the Turning point for Eddie in
• 1:39:23
  terms of Arnold being that icon, the hero was terminated to and
• 1:39:28
  yes, it is for a lot of its iconic.
• 1:39:33
  So we recreated that with Eddie in the bar in Stoke is
• 1:39:38
  absolutely fantastic. Eddie did an incredible job.
• 1:39:40
  So do the stunt guys. The way Chris broke down the
• 1:39:46
  scene to have Eddie hit those beats as the Terminator and we
• 1:39:52
  We didn't need an Austrian accent or anything like that, it
• 1:39:54
  was Eddie being the Terminator as Eddie Hall and those sort of
• 1:39:59
  things really sort of draw your attention to the fact that
• 1:40:03
  everyone has those Universal experiences.
• 1:40:06
  Those Universal moments that we can all say that was when I
• 1:40:12
  discovered shorts and I got word that was when I discovered
• 1:40:15
  action films, or horror or because I mean Terminator
• 1:40:18
  fundamentally is a horrible the first to its The the oncoming
• 1:40:23
  monster. It's it's the monster in the
• 1:40:25
  dark, especially first Terminator.
• 1:40:27
  Mmm. So yeah.
• 1:40:29
  That Beast as a whole, and where I sort of came in, is The teams
• 1:40:37
  built and the team is ready to go and it was looking at the
• 1:40:42
  creative Direction, it was looking and the team that are
• 1:40:45
  involved in Israel. Incredible, their leaders in
• 1:40:49
  their game. Chris fretwell is awesome
• 1:40:52
  director, we've got a fantastic dop.
• 1:40:54
  We've got some great documentary Shooters as well.
• 1:40:57
  They've all done. Awesome.
• 1:40:59
  Work the documentary shooter that we're working with has
• 1:41:03
  captured some incredible content and It's really sort of touching
• 1:41:07
  heartwarming stuff that he's captured which is can only
• 1:41:10
  benefit. I mean there's a lot more going
• 1:41:13
  on with this project at the moment and covid has kind of
• 1:41:17
  helped in that sense, because we've analyzed where it is, what
• 1:41:21
  it could be and how big it could be.
• 1:41:22
  There's a big thing about mental health, which is incredibly
• 1:41:25
  important with this. Any any struggle with mental
• 1:41:30
  health, as a, fantastic documentary that he is on
• 1:41:33
  YouTube, where he talks about? But Arnold's is a huge advocate
• 1:41:38
  for mental health and what you can do to develop and progress
• 1:41:43
  Dwayne Johnson, John Cena Dolph Lundgren they all talk about it
• 1:41:48
  Terry Crews talks about it. All the all these export stars
• 1:41:52
  that A trying to show that you don't have to be the alpha male,
• 1:41:57
  you don't have to be, you know, you it's okay to not be okay in
• 1:42:02
  that sense. So yeah, where I came in is sort
• 1:42:05
  of to assist with the direction that we were going in and
• 1:42:12
  working closely with all the different departments.
• 1:42:15
  So yeah, it's been an awesome experience for me.
• 1:42:20
  I'm really looking forward to getting to my teeth into fiction
• 1:42:23
  now. Um, that's something where it's
• 1:42:25
  like, okay, I want to create this world now and sort of sit
• 1:42:31
  down with the director and do that.
• 1:42:33
  But yeah, it producing was one of those things where Like I
• 1:42:38
  said earlier, it's knowing other people's jobs, knowing what
• 1:42:42
  other people do, and then appreciating them for it and
• 1:42:46
  letting them do it. That's, that's the job of a
• 1:42:50
  producer is to keep an eye on a numbered, keep an eye on the
• 1:42:53
  people. And if you can do that and you
• 1:42:56
  can follow your gut, then, that's how you develop a project
• 1:43:01
  as a whole. And that's something that's been
• 1:43:04
  drilled Into Me by Winston a lot.
• 1:43:08
  Which is again something that I'm very grateful for, as well.
• 1:43:12
  Yeah. And like, from what I understand
• 1:43:13
  that you mentioned, obviously the movie that you worked on
• 1:43:16
  back in 2018 which was Winter Ridge.
• 1:43:18
  And from what I understand, you worked as a assistant producer
• 1:43:22
  and ever since, then you've been taken on various assistant
• 1:43:25
  producer Rose and then this was like your first one as a just
• 1:43:29
  full-on producer that right? Yeah, I mean the whole thing was
• 1:43:34
  like, producers as a whole and what one person bring this will
• 1:43:39
  make them X producer what My offsprings.
• 1:43:43
  So we've went to Rich. I was operating as like an
• 1:43:46
  associate producer. I was, I was bringing different
• 1:43:49
  people in and lining up stuff like works when something will
• 1:43:54
  put up placement for it and things like that.
• 1:43:57
  Helped, helped develop the script.
• 1:43:59
  So being a producer is what, what elements you might bring
• 1:44:03
  so, like an exact might bring the money on.
• 1:44:05
  Might bring Talent a producer, might be bringing the logistical
• 1:44:10
  side or Go over the budget. So yeah, it's for me.
• 1:44:17
  I had no bones or ego about the fact that as much as I read
• 1:44:21
  about a know the industry. I was happy to relearn and load
• 1:44:25
  of it and to appreciate again, what goes into so many other
• 1:44:30
  departments and the hard work, I mean, the ad Department, I would
• 1:44:35
  go gray very quick working as an ADD and they do a fantastic job
• 1:44:41
  and Lime produces. They've got be borderline
• 1:44:45
  savants to understand what things cost a when they're going
• 1:44:48
  to cost and this is going to happen and I could try and break
• 1:44:52
  down a budget, I really could but then a line producer will
• 1:44:56
  go. But what about this?
• 1:44:57
  This this this in is no help of all these things.
• 1:45:01
  The plethora of things that you don't see being.
• 1:45:06
  Being a producer, you developed a whole new appreciation for the
• 1:45:11
  level of talent skill and professionalism that people in
• 1:45:14
  the industry have and watching the exact.
• 1:45:19
  So I took a step back on one of the shooting days and I watched
• 1:45:25
  the stunt coordinator Ray nickless, absolutely incredible
• 1:45:28
  stunt coordinator Winston who was the exec and the director I
• 1:45:32
  took a step back and I watched them and the way.
• 1:45:36
  Run the set and the way they spoke to people and the way they
• 1:45:40
  brought everything together and like I said, it's like like like
• 1:45:43
  a living breathing being and really high-intensity sequence.
• 1:45:47
  There was a stunt on the day, there was a lot of moving parts.
• 1:45:51
  We had fire thing, lots of stuff, I can't take say, well,
• 1:45:56
  it is because it's going to be a great part of the film ever, but
• 1:45:59
  watching them do that again. You sort of take that step back
• 1:46:03
  and you're like, all right, that's where I gotta be.
• 1:46:06
  That's what I've got to do, and then you go back in and then,
• 1:46:10
  you're back running a film set and you're like, yeah, go
• 1:46:12
  through this will do this. We got to do this.
• 1:46:13
  I've just seen them do that. So I know that we, this simple
• 1:46:18
  things like I'm, I'm a big fan of anyone who's a second unit
• 1:46:23
  director, because I think that's the real nitty-gritty.
• 1:46:27
  Like first unit gets all the fun and glory and then, secondly,
• 1:46:34
  Listen to all of that, you've got three minutes and like, so
• 1:46:38
  those sort of things are looking at the specialist parts of
• 1:46:42
  stuff. So, I've got a huge passion for
• 1:46:46
  Action. I have done since I was about
• 1:46:48
  four years old, so like, oh, my two of my favorite films are
• 1:46:54
  terminated to an alien too and for the action sequences really,
• 1:47:01
  and And that's sort of stuck with me.
• 1:47:03
  And it was only now with, like the Advent of social media and
• 1:47:07
  the Open Access that you get from YouTube.
• 1:47:09
  That you see what went in to getting those iconic things that
• 1:47:14
  you, and I probably growing up would take for granted our, it
• 1:47:17
  was just a film, but the amount of effort that went into making.
• 1:47:20
  Aliens is astonishing. And that's one of my favorite.
• 1:47:24
  Horror /, action films, of all time and the same with
• 1:47:28
  Terminator 2. Little things like using twins
• 1:47:34
  for some of the so that the bit in The Foundry where Sarah Sarah
• 1:47:39
  Connor appears and it's the content and using the puppet of
• 1:47:46
  Arnold's head as Arnold and Arnold plays the mirror like
• 1:47:51
  very incredible stuff. But if it wasn't for Open Access
• 1:47:56
  and YouTube and things like that, you wouldn't you would
• 1:47:58
  never see it and And it's those things that creativity of the
• 1:48:02
  industry that keeps reignite that sound like total geek, but
• 1:48:05
  it reignites my interest each time with that because it's
• 1:48:08
  like, so that's how that gets done.
• 1:48:10
  That's how I can add it to this and that's how we can do this
• 1:48:15
  because I've never understood the issue with when people have
• 1:48:18
  an issue with being a geek or being knowledgeable about
• 1:48:21
  something like because like I have no issue with it.
• 1:48:24
  I have stuff I have to be It's cool.
• 1:48:30
  It's cool to be a geek and but like it's not just about our
• 1:48:34
  interests though. Like I guess that the bigger
• 1:48:36
  thing is being like having like a thirst for knowledge having
• 1:48:39
  like a thirst for learning as much as you can and all areas.
• 1:48:43
  And like you said, kind of understanding all of the
• 1:48:46
  different areas and parts that go into producing a movie or a
• 1:48:51
  TV show or documentary. Because like understanding the
• 1:48:55
  whole helps, you understand the intricate Parts within better as
• 1:48:59
  As well. You know and why wouldn't you
• 1:49:02
  want to know that? I don't know.
• 1:49:05
  I just confuses me when people get to a point where they're
• 1:49:08
  just like yeah, you know, I know everything in this area.
• 1:49:11
  I'm fine. I'm done learning, but what
• 1:49:15
  that's one thing you never be done with exactly.
• 1:49:17
  Yeah. What, what have been?
• 1:49:20
  Some of the biggest challenges with this project so far.
• 1:49:25
  So because it's docudrama some certain points you're beholden
• 1:49:31
  to people in their schedules because that's in the inherent
• 1:49:34
  part of the documentary. Is you catch people when they're
• 1:49:38
  being themselves. So scheduling always a problem,
• 1:49:43
  always 100% a problem. The other things was the reality
• 1:49:50
  of the situation patient's. So as much as we wanted to do
• 1:49:54
  drama, we didn't do drama for the sake of it.
• 1:49:57
  We wanted drama to have wait. So we had a fantastic young
• 1:50:03
  actor. Come in lad called Alex Needham
• 1:50:06
  and he's playing Eddie from the ages of 16 to 19 and more.
• 1:50:11
  I see when you say Doc you just said it used to going to have
• 1:50:14
  some scenes in it that are like pure real.
• 1:50:19
  Some iconic Beats from these Lund and Alex brings that 19
• 1:50:26
  year old Eddie back to life in a way that we weren't expecting.
• 1:50:31
  That sort of level. The drama is next level in terms
• 1:50:37
  of the quality and it's heart-wrenching stuff and it's
• 1:50:41
  the sort of thing where the people on the set were
• 1:50:44
  uncomfortable with how good it was.
• 1:50:46
  And now, that was, you know, So that that was something that was
• 1:50:51
  hard because we like, I say, had to have way it had to have,
• 1:50:55
  meaning they had to have relevance if it didn't, they
• 1:50:58
  then we were wasting our time. So that's been incredibly hard.
• 1:51:01
  I'm actively not going to touch on covid because that's that's
• 1:51:05
  an everyone. Is she, can I ask you one
• 1:51:09
  question with that though? And has that been responsible
• 1:51:12
  for the push? Back of the release date of the
• 1:51:15
  movie? Yeah, we can't we can't get to
• 1:51:17
  certain places we can Calculon at the moment and right on.
• 1:51:21
  Yo and so with that it's a case of when it travel restrictions
• 1:51:27
  ease up we get back on it. So yeah, that's been the key
• 1:51:33
  thing for us is this is a vehicle.
• 1:51:36
  Not just to tell a story about one, man.
• 1:51:39
  This is much bigger than that. It's about the trials and
• 1:51:44
  tribulations, you have to go through to be successful.
• 1:51:46
  It's transition from Um, being the elite of any particular
• 1:51:52
  sport or the elite of any industry.
• 1:51:54
  And what do you do next? Or what happens when you decide
• 1:51:57
  to change that pathway and then the mental health Avenue is
• 1:52:01
  immense because it's something that yes, we are more open to
• 1:52:06
  talking about it, but it's something that until you see
• 1:52:10
  that a list of Star talkin about it until you see someone that
• 1:52:14
  you have seen in every action, film talked about it, it's still
• 1:52:18
  going to Have that stigma that taboo to it.
• 1:52:23
  So this will be a vehicle to have people not use that as an
• 1:52:27
  excuse not to talk about things and everyone's been there to a
• 1:52:31
  greater or lesser extent. And I wouldn't, I wouldn't say I
• 1:52:34
  was a liar that says, they haven't done it but they just
• 1:52:36
  didn't recognize it. I would say, so, yeah.
• 1:52:39
  Without sounding too serious. Did that's that's the real
• 1:52:44
  worthwhile, meaning for the project.
• 1:52:46
  And that's that's the driving S behind it.
• 1:52:49
  Is that this affects everyone. It's and there's much as yet.
• 1:52:53
  It's a story about the world strongest man and the
• 1:52:55
  Terminator. It's not, it's it's far more
• 1:53:00
  socially relevant and culturally relevant.
• 1:53:04
  It sounds incredible. I must say like, I'm obviously
• 1:53:07
  just reading that, I think reading the blur of Hyundai DMV
• 1:53:10
  doesn't really convey exactly. What you're conveying right now.
• 1:53:14
  It definitely seems much deeper. So, you know, it sounds
• 1:53:18
  fascinating and particularly with you explaining, some of the
• 1:53:21
  parallels between Eddie Hall and and shorts.
• 1:53:24
  No, go, it kind of goes together quite nicely.
• 1:53:28
  It's quite logical in terms of Storytelling and makes it more.
• 1:53:33
  And interesting though. So you know it's a pure
• 1:53:34
  documentary as well. It's not, it's not just like a
• 1:53:37
  fiction fiction, but it's like a real thing that people can
• 1:53:40
  relate to and believe in. And, you know, I think that we
• 1:53:44
  always need stuff like that in the world really don't lie to
• 1:53:47
  make Eddie accessible. And because the being the
• 1:53:53
  World's Strongest Man, sometimes that, that that's almost a
• 1:53:57
  deterrent. That's almost like, well, how do
• 1:53:59
  I relate to someone who's Elite and strong and but Eddie Eddie
• 1:54:04
  is quite, he's very personable. He's a fantastic guy.
• 1:54:07
  So it was very much making sure that we could actually show that
• 1:54:12
  and but what we did is we took his past and we recreate it we
• 1:54:16
  show this is what Eddie's gone through.
• 1:54:18
  This is where and people will relate to that, people will
• 1:54:21
  relate to the loss of a loved one that the change of career
• 1:54:25
  all those sort of things difficult childhoods, well
• 1:54:28
  there's different facets of Eddie's life.
• 1:54:30
  So that that was again like Like something that is a different
• 1:54:35
  string to the bow of this film. Well thank you very much for
• 1:54:38
  sharing that I really do appreciate it and I'm sure all
• 1:54:41
  of our listeners are very excited about that and we
• 1:54:44
  appreciate that too. In terms of like the released I
• 1:54:48
  know you it's impossible to say for sure but do you reckon?
• 1:54:51
  We can expect this at the latter end of this year or is it more
• 1:54:55
  likely that 2021 is going to be kind of when it hits?
• 1:55:01
  I mean I'm we're at the best of the exec producers with that one
• 1:55:07
  but it's very much because there they'll know based on talking to
• 1:55:12
  Distributors and though that the the nitty-gritty of that will be
• 1:55:17
  when is the best time to release it more than anything else.
• 1:55:20
  So I would imagine that between 21 and it will.
• 1:55:27
  I mean, how long is a piece of string?
• 1:55:29
  But yeah, I mean, I would imagine April, May, 20 21.
• 1:55:34
  I think this is interesting to me because, you know, like
• 1:55:37
  obviously with with tenet coming out, you know, it was delayed
• 1:55:41
  quite a lot and I found it very interesting that they chose to
• 1:55:44
  push it and release it. Now as opposed to, you know, say
• 1:55:49
  later when restrictions, you know, less that other word would
• 1:55:55
  be strict, shall we say or, you know, It's much easier.
• 1:55:58
  I mean, it's not impossible for people to go to movie theaters
• 1:56:00
  now, but it's not, maybe the best time.
• 1:56:06
  I think, the way I, the way tenant was explained to me is,
• 1:56:11
  it's an art house film with an action film budget.
• 1:56:14
  And with that, in mind, I think they're going on.
• 1:56:19
  The idea that it will spend longer in the cinema, would be
• 1:56:23
  my, my stab in the dark about that because not everyone can do
• 1:56:28
  what bond is doing, just keep moving it and moving it and
• 1:56:32
  moving it, but the bonds gotta make back the best of 200
• 1:56:36
  million. So that's the difference.
• 1:56:39
  Whereas I think tenet is something like 60 or 75 so
• 1:56:42
  Center there because I had the budget was way higher than I
• 1:56:46
  remember. There were Whispers on set when
• 1:56:47
  we but I guess so it's actually lower than that's but I'm happy
• 1:56:54
  to be wrong, you know? I know that because I've had
• 1:57:00
  heat spend. He'd spent this is Christopher
• 1:57:02
  Nolan upwards of about 200 million on the dark night.
• 1:57:06
  I believe, I could be wrong that and I was hearing that the
• 1:57:10
  budget was approaching that kind of region.
• 1:57:14
  It was like I mean under its be something that works both ways.
• 1:57:18
  So the if it is like a 200 million dollar film, then
• 1:57:23
  getting it in the cinema and get it ticking over is It will be
• 1:57:28
  interesting to see tenant and no time to die and seeing what
• 1:57:35
  strategy worked better weather being in the cinema longer, but
• 1:57:39
  with less people or waiting and restrictions being lifted,
• 1:57:44
  whether that's which one will make a difference.
• 1:57:46
  I'm really interested in that too, like, in terms of because
• 1:57:51
  I, I kind of had this feeling that, like then release and
• 1:57:54
  tenant. Now might be detrimental.
• 1:57:56
  I mean, I know there's A massive bars.
• 1:57:58
  People really excited about this movie and stuff.
• 1:58:00
  And, you know, there is that element to it, but given what's
• 1:58:04
  going on in the world, it does kind of make you wonder from the
• 1:58:06
  business standpoint, like is it the best time?
• 1:58:08
  Is it better to wait? What's better for, you know,
• 1:58:12
  because I'd heard Whispers that, like, it wasn't even necessarily
• 1:58:15
  up to Nolan himself. It might have been up to the
• 1:58:20
  donor. Say pedal Paramount Studios,
• 1:58:22
  whoever distributes the movie or something like that, like, maybe
• 1:58:25
  they are behind that decision and Pushing it.
• 1:58:28
  Because I've heard that typically, the director has like
• 1:58:31
  the final say on Mike. This is when it's going to be
• 1:58:33
  released and and so on and so forth.
• 1:58:36
  Yeah, I know nothing about it, just that there are specialists
• 1:58:42
  in marketing departments and no one knows better than the the
• 1:58:48
  studio of when they're going to release something, it very
• 1:58:51
  rarely. Now the you get a film that is
• 1:58:55
  distributed wrong. I think the last one I saw that
• 1:58:59
  was distributed. Wrong was Shia LaBeouf's PTSD
• 1:59:03
  film that made like 15 with on a 60 million budget.
• 1:59:09
  But like, yeah, but that again, that's an exception to the rule.
• 1:59:14
  There are so many people that their entire job is to check.
• 1:59:19
  When to release when's best for an action film release.
• 1:59:22
  When's best for our horror, you know.
• 1:59:23
  So I would be very surprised if there isn't Very strong strategy
• 1:59:29
  behind what why they've released it now as opposed to, let's say
• 1:59:34
  three months, four months, thank you.
• 1:59:37
  Bring it back to you. I'm wondering given that you
• 1:59:40
  know, you've had this like now first outing as a full-on film
• 1:59:45
  produced with this massive project, are you going to be
• 1:59:49
  continuing to pursue acting? Or are you considering maybe
• 1:59:53
  more of a permanent move into, you know, a career as a film
• 1:59:56
  producer? Like where's where's kind of
• 1:59:58
  your head out in regards to these two particular Pathways
• 2:00:01
  because I guess they are still in the same industry but they
• 2:00:04
  can lead you in different directions.
• 2:00:05
  So I like, where does that leave you for me?
• 2:00:11
  I would say they are going to run parallel.
• 2:00:15
  I'm I haven't done enough acting to ever say I'm done.
• 2:00:25
  I'm sure when I'm Old. They'll still need old
• 2:00:30
  characters and old actors. So I'll still be in that.
• 2:00:32
  And I mean Jack Nicholson. Danny DeVito and Morgan Freeman
• 2:00:37
  is still doing it. So there won't be an excuse.
• 2:00:40
  So you know they're going to run parallel and the ideal scenario
• 2:00:44
  obviously is to be producing stuff.
• 2:00:49
  If we raise, oh, in the project as well.
• 2:00:52
  So not that they'll be any sort of nepotism or anything like
• 2:00:56
  that but still the be nice to find those roles that are in a
• 2:01:01
  film that I'm involved in the production of as well.
• 2:01:05
  So no, they're the easy answer is they'll go hand in hand.
• 2:01:09
  Okay, that's that's good to hear as well.
• 2:01:11
  I think it's one of those things that you you got to keep pushing
• 2:01:15
  them and keep going for the like it's the same for me.
• 2:01:17
  I do a lot of different. Things.
• 2:01:20
  And it's more that I just have a lot of goals that I want to
• 2:01:24
  achieve and I can't just pick one.
• 2:01:28
  This is God, like I want to do music, I want to do acting.
• 2:01:31
  I want to do podcast, it's like I want to do all these things
• 2:01:34
  and it's very kind of like, huh, is there a way I could make it
• 2:01:38
  all work? And I don't know.
• 2:01:39
  There are various people I see that can make it work, and do
• 2:01:43
  make it work. And then, there are other
• 2:01:45
  people. That's German.
• 2:01:46
  There's so many people saying different things that some
• 2:01:47
  people say, well, you got stick to your Elaine you can't go
• 2:01:50
  outside of it or, you know, It's Tricky Tricky.
• 2:01:56
  But anyway, yeah, if you pay attention to what other people
• 2:02:02
  do you'll do what other people want to do.
• 2:02:04
  And that I've the the main Crux of it is is finding what you're
• 2:02:08
  comfortable with what your passion is and sticking with
• 2:02:11
  that. I was want to bring it back to
• 2:02:15
  your acting for a second because you know, name-dropping, you
• 2:02:19
  know, people always going to get excited about this.
• 2:02:21
  You've been you've been in various different major
• 2:02:25
  Productions such as, as we mentioned before you were in
• 2:02:28
  Star Wars, the Force awakens as a heavy gonna storm trooper
• 2:02:32
  which I imagine must have just been awesome.
• 2:02:34
  Just a look, I saw some shots of it.
• 2:02:36
  I was just like that just looks so far Yuri in Mission
• 2:02:40
  Impossible, Rogue Nation. Ian as a soldier kingsman, the
• 2:02:44
  Secret Service as an Arctic guard and in King Luther, sorry
• 2:02:49
  King. Arthur my mistake as a legend of
• 2:02:51
  the sword as a night. So yes, similar kind of acting
• 2:02:56
  roles as an extra towards me. A little bit about these
• 2:03:00
  experiences. How they compare to each other
• 2:03:03
  and such while I was working through British action.
• 2:03:09
  So all of them are action-based. I was so it was because I've
• 2:03:14
  worked with firearms, because I've worked with swords because
• 2:03:18
  I can take the bump all those sort of things.
• 2:03:21
  So it was the phrase used to be special action that that phrase
• 2:03:28
  isn't used anymore. It was I think it's now changed
• 2:03:30
  action performer. So it was because With British
• 2:03:36
  action Academy. We had done various stuff with
• 2:03:39
  broadswords battle-axes, Rapier that sort of stuff.
• 2:03:43
  So playing a night with German Hans suit was awesome.
• 2:03:51
  Tending to fight dragons and things like that.
• 2:03:54
  And then anything where it was action related, it was like, so
• 2:03:59
  that logical process of tying in being in the film industry, with
• 2:04:04
  doing stuff, it was action related.
• 2:04:06
  Just keeping myself down that pathway as much as possible.
• 2:04:12
  And yeah, you mentioned British action.
• 2:04:14
  So, the full name of the institution is the British
• 2:04:17
  action Academy where you're a instructor.
• 2:04:20
  So, talk to us a little bit about exactly what it is that
• 2:04:24
  you instruct or teach. And, you know, it's or how you
• 2:04:27
  got into that in general. So, while I was adding string
• 2:04:32
  the bow, this is why the years ago now I found out about the
• 2:04:38
  British action Academy and this is why I was also sort of We'll
• 2:04:42
  push it towards stunts as well and British action Academy.
• 2:04:46
  They offer a very succinct pathway of learning how to
• 2:04:51
  operate on a film set. How to perform action safely how
• 2:04:55
  to portray characters and it's it's very it's a very steep
• 2:05:01
  learning curve with them. There are awesome organization
• 2:05:05
  that's run by Andreas. Petridis is a fantastic, stunt
• 2:05:09
  coordinator and former and it gives you the necessary tools to
• 2:05:17
  work on any number of performances in action capacity.
• 2:05:21
  And also, as an actor, it allows you that understanding of how to
• 2:05:26
  work with weapon systems, how to convincingly Being an action
• 2:05:30
  sequence and also how to add a character to a performance.
• 2:05:35
  There are four levels to it. There's Phase 1 Phase 1 which is
• 2:05:39
  just like, that's your introduction.
• 2:05:41
  That's your learning unarmed, basic weapon system, basic
• 2:05:44
  routines, then your Phase 2, where those routines become far
• 2:05:49
  more intense and we start working with groups of
• 2:05:51
  performance. By the time you get to phase 3,
• 2:05:54
  you start adding characters to those.
• 2:05:57
  So if you're working with a broadsword Good, you've got a
• 2:06:00
  denied to your performance. So you're now a knight of the
• 2:06:04
  realm and you've got a move like you're in a full suit of armor,
• 2:06:10
  the same with pirate you and it's not that hack and slash
• 2:06:15
  Pirates of the Caribbean, its former Buccaneers that were
• 2:06:19
  skilled swordsman. So it's very delicate Rapier
• 2:06:22
  movements. So all these things work you
• 2:06:25
  towards phase for phase 4 is the The final level of the elite
• 2:06:31
  level and that's five weapon systems.
• 2:06:34
  It's a test will fail as possible, failed test and that's
• 2:06:40
  Jason Bourne level alarmed fighting.
• 2:06:44
  There is a dagger involved with that then you've got ninja
• 2:06:47
  performance with katanas wack-ass a she's and nunchucks
• 2:06:50
  Viking with a huge battle axe and then you've got a spear
• 2:06:56
  routine with playing a Reek. So, all these different routines
• 2:07:02
  have to have a character. They have to believability and
• 2:07:05
  like I say it's pass-fail. So there's an incredible level
• 2:07:09
  of dedication that has to go into it in order to get to that
• 2:07:13
  level. Then I was sort of moved on to
• 2:07:17
  instructing and there's three levels of instruction as well.
• 2:07:20
  So I sit around the second level with that.
• 2:07:23
  And that's that's very much I wanted.
• 2:07:27
  I've been through it and I wanted to help other people go
• 2:07:29
  through it as well and also it reinforces your learning.
• 2:07:33
  It reinforces what you do and enforces, keep your skills sharp
• 2:07:36
  as well, if you'll excuse the pun.
• 2:07:39
  And so, from that side of things, it was it was logical to
• 2:07:42
  sort of carry on and instructors.
• 2:07:44
  Well as perform. Thanks for sharing.
• 2:07:47
  I appreciate it. You're also a trained.
• 2:07:50
  Martial artist. You won a, and Sorry if I messed
• 2:07:54
  this up and I am AF black belt in PKA kickboxing.
• 2:07:59
  And you also have experience in Judo and Krav Maga, is that
• 2:08:03
  right? Okay, yeah.
• 2:08:05
  Hello. My, my parents got me into Judo
• 2:08:08
  when my parents. Absolutely awesome.
• 2:08:13
  Gave me a fantastic childhood brought me up the right way.
• 2:08:16
  They're, they're amazing people and they made sure that I was
• 2:08:21
  involved in. Through Sports and Judo was one
• 2:08:26
  of them along with Rugby Football, swimming diving.
• 2:08:30
  You name it. And so, martial arts has for a,
• 2:08:36
  to a greater or lesser extent, that had some sort of
• 2:08:38
  involvement throughout my entire life.
• 2:08:42
  Judo fell away when I was doing more rugby and football, I
• 2:08:46
  picked up Krav Maga as like a self-defense thing because it's
• 2:08:51
  all about defense and deal. I'm with a silenced and then
• 2:08:55
  when I started getting more into film, I Needed something that
• 2:09:00
  translated effectively to screen and that's where kickboxing
• 2:09:04
  comes in. I was very lucky.
• 2:09:05
  I met a guy called Dave Gentry who taught Scott Adkins and from
• 2:09:12
  that it was a case of very fast progress and a lot of hard work,
• 2:09:18
  I got my Peak, a black belt up in Birmingham, that that was
• 2:09:22
  like the first real big part of that.
• 2:09:25
  And that was a lot of knowing your room.
• 2:09:28
  Routines, knowing your quality know, knowing those sort of
• 2:09:31
  things. I mean, I have absolutely no
• 2:09:33
  bloodlust hold my hands up. I won't do a competitive fight.
• 2:09:38
  That's that's it's not in me to do that.
• 2:09:41
  I have a I have a don't do any harm policy when it comes to
• 2:09:46
  things like that different on screen.
• 2:09:49
  But when it's warm and then yeah, Dave awarded mean, my
• 2:09:55
  enough black belt as part of my progression.
• 2:09:58
  Towards from there. My second done, which will be
• 2:10:02
  towards the end of this year started next.
• 2:10:04
  So yeah, martial arts is sort of I regard myself as studying the
• 2:10:10
  martial arts. I know a lot of people who are
• 2:10:13
  fantastic. Martial artists that are
• 2:10:16
  weighing beyond what I can achieve Winston.
• 2:10:21
  For example, my business partner, he's a three times
• 2:10:24
  World kickboxing, black World, kickboxing champion, and he's
• 2:10:28
  won. The American open for example,
• 2:10:31
  lots of friends, in my sort of network, their Taekwondo
• 2:10:35
  Champions BJJ Champions and is It's just amazing to be around
• 2:10:39
  those people that again have reached the Pinnacle of that of
• 2:10:43
  those Sports and what would you say in general, martial arts
• 2:10:48
  kind of means to you. Martial arts to me was testing
• 2:10:52
  my dedication and just testing my focus.
• 2:10:55
  It's always insightful to see what other people put themselves
• 2:11:02
  through and especially when it comes to the martial arts as a
• 2:11:08
  whole is not just the throwing of a punch or a kick with
• 2:11:14
  ability to take a hit, it's so much more than that.
• 2:11:16
  It's that dedication to a Cific way of moving a specific way of
• 2:11:22
  learning and also a specific way of conducting yourself.
• 2:11:27
  And there's an old phrase, the man who raises his fists in
• 2:11:31
  Anger, has already lost. So it's, it's again, it's that
• 2:11:35
  learning that willpower as well. And that, that disciplined to
• 2:11:41
  know that you can do something, that's the reason you don't do
• 2:11:44
  something. So, yeah, for me, I had a very
• 2:11:50
  selfish is the wrong word. I had a very single-minded
• 2:11:53
  mindset terms of I needed kickboxing because I wanted the
• 2:11:57
  martial arts to go into film and would apply my action thing.
• 2:12:02
  It was part of developing a wrestling move in that way.
• 2:12:06
  So that was why it was helpful. And that's why and like so huge
• 2:12:10
  respect to any anyone picks up a martial art, Oh thanks.
• 2:12:15
  Thanks for sharing. Let's move it forward and talk
• 2:12:18
  about your work as a public speaker in a present.
• 2:12:21
  And now I think it's quite a logical move in terms of acting
• 2:12:25
  and Staffing. I've done similar stuff myself.
• 2:12:28
  I will say this though, before I get into the question, I have
• 2:12:31
  for you that the approach is different like you know when
• 2:12:35
  you're doing say like adverts or you're representing a company or
• 2:12:38
  anything, like yes you are acting or you're employing the
• 2:12:43
  SIM. Similar techniques, but the same
• 2:12:45
  time. It's a completely different
• 2:12:48
  ballgame, different approach. Everything.
• 2:12:53
  How come you got in? You chose to get into this?
• 2:12:56
  Is it just like another form of work for you, like another
• 2:12:59
  Avenue, or is there more of a I'd also like a deeper level on
• 2:13:05
  it for you but like a say, a particular interest in, in that
• 2:13:10
  field maybe, yeah presenting is is a different animal and if
• 2:13:20
  you're lucky enough that you're not doing live presenting and
• 2:13:23
  you get some rehearsal time, it's not as dangerous.
• 2:13:26
  I appreciate the pressure because it's a different kind of
• 2:13:29
  pressure. It's different setup.
• 2:13:32
  And again it's using For tools that mean we're presenting.
• 2:13:35
  There's a lot of stuff where it's using Auto.
• 2:13:37
  Q will tell him runs. That's a completely different
• 2:13:40
  skill. You have to learn.
• 2:13:41
  You've also got me switched on the entire time, there is no
• 2:13:45
  turn off when you're a presenter.
• 2:13:47
  I've done some stuff in the fashion industry and I've done
• 2:13:50
  some stuff with a YouTube channel called push the limit
• 2:13:55
  which was all about the various different Sports, and Health and
• 2:14:01
  Fitness classes and stuff that are Available to people in
• 2:14:04
  London. I've got absolutely beast in
• 2:14:07
  green part doing, Commando Fitness and it was the most
• 2:14:11
  upsetting 45 minutes where this former Marine absolutely ruined
• 2:14:15
  me for 45 minutes. And I had to try and present
• 2:14:20
  while not throwing up. Wow.
• 2:14:24
  So yeah, that. So presenting it's a completely
• 2:14:28
  different challenge. It's also case of I lend myself
• 2:14:32
  to doing research. Try and Speedy personable.
• 2:14:35
  As much as you know, I can't. And so with that it's like, can
• 2:14:40
  I use this these skills and put it into this?
• 2:14:45
  And it's also it opens up different Avenues because we're
• 2:14:48
  presenting you be talking about sport, be talking about the news
• 2:14:53
  current affairs music. And like I said, I'm a bit of a
• 2:14:58
  jack-of-all-trades, so my my interests or cover all these
• 2:15:01
  things. So I I have got like opinions
• 2:15:05
  when it comes to football and rugby and formula one the same
• 2:15:09
  with music. My Musical taste is very
• 2:15:12
  different from anyone. I know, I would say.
• 2:15:16
  So yeah, all those sort of things, being a presenter, opens
• 2:15:19
  up those Avenues where you can talk about your other passions
• 2:15:22
  and you can also Hopefully effects change on a personal
• 2:15:26
  level which they been open about mental.
• 2:15:30
  Health is something where like we when you can say openly yep
• 2:15:35
  I've struggled and that gives a platform for other people to
• 2:15:38
  talk about it and presenting public.
• 2:15:41
  Speaking they go hand in hand my last public, speaking engagement
• 2:15:45
  was a couple years ago now because I've been to
• 2:15:48
  concentrating elsewhere and that that was in Dublin Tech.
• 2:15:53
  Conference Tech in film and what was great about that was talking
• 2:15:59
  about where the industry is knowing full.
• 2:16:01
  Well that by the time six months have passed the industry has
• 2:16:05
  moved and shifted and it was like this is pertinent now but
• 2:16:11
  it's not going to be person in a year's time and that's the great
• 2:16:14
  thing about it is that you can you don't go into public
• 2:16:17
  speaking or presenting priora Hurst because you can't because
• 2:16:22
  what you spoke About before has changed, and you've changed.
• 2:16:26
  And that's a thing from Meisner that I took is from one moment
• 2:16:32
  to the next. You're not the same person you
• 2:16:34
  were. So from the muck from the person
• 2:16:38
  that started this conference call, you're a different person
• 2:16:42
  to now. And each time you take a breath
• 2:16:44
  each time, you blink, you're a different person.
• 2:16:46
  Every moment is different. So the same works for when
• 2:16:49
  you're delivering a speech for when you're talking to people,
• 2:16:51
  for when you're presenting something, it's always different
• 2:16:56
  and it's always a different moment in a different different
• 2:17:00
  you doing that. Thanks.
• 2:17:03
  Thanks for sharing that and just just kind of drawing everything
• 2:17:06
  to a close today. Do you have any kind of like
• 2:17:09
  major project other than the ones that we've discussed?
• 2:17:13
  Is there any kind of projects that you'd like to plug right
• 2:17:15
  now that are upcoming that we should look out for or maybe you
• 2:17:18
  just have some like final thoughts you'd like to share
• 2:17:21
  with us or something like that. Remind me of that.
• 2:17:25
  So, in terms of projects that we have coming up the first big,
• 2:17:31
  Ian work that we're doing is the real-life story of Tom.
• 2:17:35
  Molyneux is called let no man, though, and it's about a free
• 2:17:41
  black slave who becomes the Challenger for the British
• 2:17:47
  boxing belt in 1800 British boxing title.
• 2:17:52
  So, it's the real-life story of a slave in Louisiana, whose dad
• 2:17:57
  was a mandingo and what happened was is when his dad got too old,
• 2:18:02
  he replaced him as the Mandingo fighter, then through a series
• 2:18:08
  of events and meeting pugilist that time he becomes his
• 2:18:13
  fantastic Mandingo quite a, he earns his freedom from boxing,
• 2:18:17
  pugilism ends up being incredible motion, Louisiana to
• 2:18:21
  New York has fights around there, goes up some notoriety,
• 2:18:25
  and then he's got enough money together gets on a boat, and
• 2:18:29
  he's waiting for For his trainer to turn up and his trainer is
• 2:18:32
  killed on the streets of New York.
• 2:18:35
  And he ends up traveling to London on his own as a lone
• 2:18:39
  black man in London. He's mugged.
• 2:18:42
  The first night. He's all true.
• 2:18:45
  All happened. The first night in London.
• 2:18:47
  He's mugged left with nothing. So he's now poor black and alone
• 2:18:53
  in London in 1812. He seeks out a guy called Bill
• 2:18:58
  Richmond. Who was known as the black team.
• 2:19:00
  He was the first black boxer in any sort of real notoriety in
• 2:19:05
  England and Tom begs to train with him and Bill is of the
• 2:19:11
  opinion you're an American fighter, you're of no use to me.
• 2:19:15
  He weighs him down and we get to this point where Tom cribb and
• 2:19:21
  there's the Tom cribb Pub in SoHo.
• 2:19:24
  Tom cribb is the the boxer and huge towering white man.
• 2:19:30
  An and they, the British government brought Tom cribb out
• 2:19:34
  of retirement to fight Tom molony to stop a black man from
• 2:19:40
  being the champion of Britain. So this is, this was the first
• 2:19:43
  sort of real, sort of controversy, if you will of that
• 2:19:48
  type. But it's an incredible story.
• 2:19:51
  And the amazing part of it is, is Tom cribb and Bill Richman
• 2:19:55
  were very good friends and tumbling you.
• 2:19:56
  And Tom cribb became good friends as well.
• 2:19:59
  And Doing is we as a production company?
• 2:20:03
  We focus on compelling films for social change.
• 2:20:08
  And the idea is that, yes, this is a film about 1812 and this is
• 2:20:12
  a race film based in 2012, but this is as much about modern
• 2:20:16
  Politics as it is relevant to period.
• 2:20:19
  So, it carries a very modern message, it's very powerful,
• 2:20:23
  modern message. So that's our next big fictional
• 2:20:27
  work, that we're focusing on. We've also got A crime drama
• 2:20:32
  which is based in reading all about reading from it will be
• 2:20:35
  very very similar to gangs of London but all about reading
• 2:20:39
  from like 1983, it's a now then. Yeah we have a fantastic
• 2:20:46
  high-concept piece called Killers romance.
• 2:20:49
  And that is about a man who falls on hard times.
• 2:20:52
  He's a former assassin and he's living life as a homeless man,
• 2:20:57
  near a phone box, every time that phone box, A result.
• 2:21:00
  He has been given a new contract, a new hit.
• 2:21:04
  So he's not and he's dealing with the loss of his wife and
• 2:21:11
  being homeless and things like this.
• 2:21:12
  And it turns out that this hit is by a very wealthy
• 2:21:16
  businessman, who's looking to assassinate the heiress of a
• 2:21:24
  company and then he will inherit the come.
• 2:21:27
  So our hit man is Following this woman around and he started to
• 2:21:33
  realize. This one is a lot like how my
• 2:21:36
  wife was and he starts looking after.
• 2:21:40
  I've been a guardian angel, there's nothing
• 2:21:45
  relationship-wise about, there's nothing no motion to it but he's
• 2:21:47
  looking after. So that at the end of the film,
• 2:21:51
  we have a huge twist where she doesn't ever realize who he was.
• 2:21:55
  And so there's some real sort of emotional drama.
• 2:22:00
  To that. So those are our big ones.
• 2:22:02
  We have a series of other films that we've got under shopping
• 2:22:04
  agreement. At the moment, we've got a high
• 2:22:06
  concept crime horror which is about possession and the what
• 2:22:13
  happens when you sell your soul, which is a awesome concept.
• 2:22:16
  And we've also got one about the last Saxon which is a period
• 2:22:22
  quite a Fantastical period piece again about true.
• 2:22:27
  True. True to life guy.
• 2:22:28
  Guy called hereward the wake Wait who when the chewed when
• 2:22:33
  the shooter King came in in England?
• 2:22:37
  He sent all the sacks and Warriors of runn'st white.
• 2:22:40
  They all got wiped out. Hmm while the Saxon warriors
• 2:22:44
  were away, he destroyed all the sex and villagers wiped out the
• 2:22:49
  sacks and colonies. So when this one Saxon called
• 2:22:54
  hereward, the Wake return to England found all of the Saxons
• 2:22:59
  been wiped out. He goes on this Revenge spree.
• 2:23:02
  It's John Wick meets King Arthur would be the way to put it.
• 2:23:08
  So yeah. That's what we're working them.
• 2:23:09
  Damn. What are you working on?
• 2:23:11
  I'm just I I expected maybe just let one or two bit.
• 2:23:14
  Like you got like a lot of stuff and like I'm not gonna kiss your
• 2:23:18
  ass. Like it sounds like really
• 2:23:19
  interesting stuff like stuff. I would actually go and see like
• 2:23:25
  that's the plan and then you mentioned that you wanted me to
• 2:23:30
  Mention this again to you. So do you have any final
• 2:23:32
  thoughts for us? Yeah, make sure you're doing
• 2:23:37
  what you enjoy. Would be the main thing.
• 2:23:40
  This this year has been an absolute car crash in terms.
• 2:23:44
  And that's for everyone and I'm feeling a lot of people are
• 2:23:50
  taking it to heart and a lot of people are taking it very hard
• 2:23:53
  and that's completely understandable.
• 2:23:54
  But it's important to look for words.
• 2:23:57
  It's important to embrace the fact that you can change where
• 2:24:02
  you are and you can change what is happening at the moment
• 2:24:05
  there. It's not always about the here
• 2:24:08
  and now it's about where you're going to be.
• 2:24:11
  And I think for a lot of people You didn't work this hard and
• 2:24:17
  get to this point, just get to this point.
• 2:24:20
  So, giving up or quitting, or having coronavirus put a stop to
• 2:24:28
  things like that, that that's that can't be the takeaway from
• 2:24:31
  this year. It has to be the fact that the
• 2:24:34
  challenges came. And the fact that now it's a
• 2:24:37
  case of you've had time to build, you've had time to assess
• 2:24:40
  and far from it, being an excuse.
• 2:24:44
  It's actually, a To push on. Couldn't agree more.
• 2:24:49
  Yeah, absolutely. Thank you very much and it's
• 2:24:52
  been an absolute pleasure. Interviewing you and having you
• 2:24:54
  on the show. Thank you so much for agreeing
• 2:24:56
  to do this. Thanks Trish honestly the
• 2:24:59
  pleasures been mine. I really appreciate it.
• 2:25:01
  Thank you. And thank you, everyone
• 2:25:03
  listening to the Christian we've podcast.
• 2:25:05
  Whether you're listening on YouTube Spotify.
• 2:25:07
  Apple podcasts. Google podcasts everywhere else
• 2:25:11
  I can't list them all. Guys, there's just so many now,
• 2:25:14
  but I do know that new one. These are coming pretty much
• 2:25:18
  monthly at this point, so if there is a particular platform
• 2:25:22
  that you want to see the show on, let me know and we'll see if
• 2:25:24
  we can make it happen. But yeah I hope you guys are
• 2:25:28
  enjoying the show. Enjoying all the guests that
• 2:25:30
  we're having on the show we've had quite a few different very
• 2:25:34
  guests. Now it's really starting to
• 2:25:36
  become something and I'm very excited about where the future
• 2:25:39
  is leading for this podcast. So and I'm loving this, I
• 2:25:44
  absolutely love it. It's a lot of hard work.
• 2:25:46
  And it's but you know, I think anything in life that you enjoy
• 2:25:50
  doing ultimately as So. Yeah.
• 2:25:53
  Thank you very much for listening.
• 2:25:54
  And until next time. Peace out.
• 2:25:56
  One love. I'll see you in the next one.