End Of Season Special 2022 with Eva Grzelak, Stephen Walker & Tony Knight

Episode 12 - End Of Season Special for 2022. In this episode I bring back 3 guests form the year to discuss some of the pertinent topics raised by guests throughout the year.

 From my very first episode in January, the wonderful actress and great friend, Eva Grzelak.

 Followed by, from Episode 3, Brisbane based actor and voice over artist (and spider whisperer), Stephen Walker.

And last, but certainly not least, from Episode 9, fellow Adelaidaidean, acting teacher and ( I know he doesn’t like this word, but I’ll say it….. mentor) Tony Knight. 

In this episode the 'forum' discuss education for late bloomers. This was pretty much the number 1 topic during the year.  It seems that late bloomers pretty much rely on the short course and workshop approach to increasing their acting acumen.  

We also dive into the well-being of all actors around the world, regardless of their age, specifically the ups & downs of an actors journey, the moments where actors start to doubt themselves. I ask each of my guests how they are fairing coming out of the Covid mayhem, and what are their thoughts on how actors can stay positive on this journey?

Another big issue raised for actors, is “Creating Your Own Work”. This is discussed  a lot in relation to actors getting themselves out there, and also to make something for their show-reels. We have a great chat around the areas of ‘asking’ for volunteers to help with such content creation.  Is creating your own work completely necessary, a must have, or is it a sometimes things, a once off maybe?

 And finally, we discuss each of the guests views on something Tony said in his discussion, and that was "the actor finding permission to play." We talk about what each of us  do to bring characters to life, to make them real, on stage or on screen. And what barriers make this difficult.

Castability 
Castability is a new game changing app that is a must have for every actor.

Transcript

David John Clark: 1:46

Good morning everyone. Well, it's morning for me. It's about 2 15 am In the morning. I'm preparing for a night shift, so I'm staying up a bit late and, being the Christmas period, it's very, very busy And I'm on my last legs to get the episode out for you all. I Had a desire to finish the season with a special end of year season episode where I brought guests back and And that's what I've done this time to have a forum with some of my guests to discuss some of the greatest topics of the year, and so I'd like to thank Eva, steven and Tony for being involved. The the episode is truly awesome And, in my humble opinion, it's a great lesson. So, but firstly, i'd like to reflect a personal outcome for my own acting journey this year. In the latter part of this year, i was given some advice about my acting and and lack of traction in the industry. That was a real downer on my self-esteem acting wise. It led me to question my ability as an actor, the strength of my acting delivery, so to speak and whether it was worth continuing on this journey at all. I reached out to some of my mentors for their own take on the information I'd received and I'd like to share a Quick summary with you all before diving into this episode. But First I'd like to thank Eva, who's on this episode, andrew hell for my online drama training stagecom Casting director, greg apps, who was on an earlier episode as well from the audition technique. Tony night, who's also returning in this episode, and finally, jeff Seymour okay, the real-life actor who will be my first kiss for season two in 2023. I said the advice, support and positive reinforcement They all gave me was was truly appreciated and you know It lifted my spirit back to the motivational level that I needed to be at to continue on this journey. So I thank you all For your advice was truly well received and I know that you delivered it honestly and openly, and I certainly appreciate that. To that end, i have learned that my a Magnum delivery doesn't suck. I have a skill set that certainly delivers and is certainly capable being attributed to many characters available in Australian productions and overseas productions. I must note that it was mentioned that The advice that I initially heard may not have been meant in the way that I took it, or it was delivered in the wrong manner and being more of advice maybe that I needed to hear, but It was a clear point that I had to put my position in the acting game into perspective, that I am a 40 to 50 year old Caucasian male, of which I'm a new player Essentially a recently experienced in comparison to the large cohort of actors with years and years of professional experience behind them And, post-covid, they're all vying for for any work. Really, these days, even the 20 word is making my goal of a professional credit even harder to attain in the short term. And finally, i Was given the advice for two of my mentors to find some scenes that truly resonate with me and my character strengths and put them on camera for Delivery for casting directors. This is purely to showcase that I can deliver beyond the everyday scenes, so to speak, that I do in normal self tapes or auditions. Just showcase that I can attain new levels and and Bring out new characters. So that's what I'd like to do. So 2023 brings to me some well-needed changes. I feel I'm now assessing where I'm at and and I'm really looking forward to that and Certainly looking forward to sharing that journey with you as we go into season two. So I hope you stay for the journey. I'm confident some, some great guests and some great discussions next year. So thank you again for being active listeners on my podcast. I love that. You all get something positive from each episode each month. So please reach out, let me know what you think, how you feel, and let me know what you'd like to hear on future episodes, or just let me know how your journey is going. So, cheers, merry Christmas and I wish you all the very best in 2023 every one of you that's listening, and future Guests, if you're listening, in 2023, so I hope your journey is going really well and thank you for joining the podcast. May you all attain what you desire and strive for in your own journey. Now Let's head into this end of season special for 2022 and I hope you like it. Cheers everyone Well. Good morning guys. Good morning. We are coming live for episode 12 and someone's beeping in the background. So if you've got your social media open or something you could close, that I remember telling Tony and now in the view, make sure everything's closed. And then I left my Facebook open because I was waiting the message him in case he couldn't get on, and it was me beeping in the background. So We're on episode 12 today. It's a, i know, on my last episode I said it was the last one for the year, but I lied a little bit. I'm calling this the end of season special or the Christmas special, and I've tried to bring back some guests from the year so we can just Do something a little bit different get some guests to meet each other and discuss the highlights of what we Determined over the years through for the late bloomer act us. So I'd like to introduce everyone First. For the people listening the podcast, obviously you can't see faces, so I'll get. I'm going to ask a question for each guest to answer when I introduced them, so people know their voice. So, as I go through you guys, i just want you to quickly say, in about one sentence or so, your favorite moment in 2022 or something you took away from the episode that we did together. So First I'd like to introduce from my very first episode in January, where she recorded out of New York, but she's now coming to you live from Malaysia, wonderful actress and great friend, eva Gillack, and I pronounce your name probably this time. Thank you so much.

Eva Grzelak: 7:34

I'm gonna say is an absolute honor to be here with Steven and Tony. I can't like. I'm kind of a little chilly about it. That was lame, that's sweet.

Tony Knight: 7:49

We're about to Malaysia, right. I'm kind of halfway through work mode and high mode.

Eva Grzelak: 7:53

I'm in a spelling score or what paddling guy. After I got to the What paddling guy, so working on it, we just finished working on a Halloween attraction in some way Lagoon theme park. It's the second, it's the biggest, one of the biggest Halloween events in Southeast Asia, second on to Universal Studios. And now we're we're just packing up and finishing things up. Sorry, that's a bit convoluted, so that's where I am.

David John Clark: 8:19

Awesome, eva. And what did you take away from 2022, either personally or from our episode.

Eva Grzelak: 8:28

Well, from our episode I Learned I'm very good at running off one now, but I think my highlights the 2022 was was getting back on the acting course after having a like a miserable experience. So it was good. Vincent put me in a short film and I'm I performed in front of 3000 people in March 16 nights here at the Halloween event, so that was another good highlight for me to like boost my confidence and go yes, like I'm ready to get back into it.

David John Clark: 9:04

Awesome, awesome, and we may discuss some of that in the next half hour or so. Thank you, eva. And next up from episode 3, brisbane based actor and voiceover artists and spider whisperer, if you've listened to the episode or watch tick tock, mr Stephen Walker, welcome, that would be me.

Stephen Walker: 9:25

How are we all great to be here? thank you for coming, steven. I hope you're nice and dry, and Adelaide.

David John Clark: 9:31

The rain's just coming back at the moment, so we've had some good downfalls here, but not as much as Victoria. I don't think so. and what you do, take away from 2022, steven, either personally or From our episode.

Stephen Walker: 9:44

I guess the thing that I'm I'm excited by is a short film that I'm, that I'm a player supporting role in, is just Just sweeping awards everywhere and it's one of the one of the actor short film finalists and so Any time now the voting is closed last week and so we'll see whether it actually picks up an actor or so It's excited by that an actor is in a double a CTA award. Yes, Yeah, not, not actor, i know. So that's that's that's been. A highlight is just seeing that film in its progression.

David John Clark: 10:24

Awesome, awesome and last but certainly not least, from episode number nine, fellow Adelaidean Acting teacher and I know he doesn't like this word, but I'll say it anyway Tony, a mentor, mr Tony Knight, welcome. I'm gonna kill you.

Tony Knight: 10:45

Obviously thinking you know What I think, and I would say it's the same with it, steven and Eva and yourself is 2022 has been a year of resilience. But by being resilient, good things have happened and I have done more work this year Then I have done in ages. I've done five shows, five theater shots back, virtually all back to back, all successful. And I look at the shows that I've done, which is put includes constellations and Whatever happened to Mary Jane and, just recently, reasonable doubt and I am they're all What I would call worthy plays. I'm not really into worthy theater at the moment I'm a bit over worthy theater but I've my myself have done three bits of worthy theater and I think, of all the ones that I've done, the one that had the biggest impact on me was This play by Wendy Harmer and Sansa Robinson. Could whatever happened to Mary Jane, which dealt with anorexia and a vocer in a teenage girl, and that one has had that's still staying with me, even though it was month that was finished months ago. It's, um, it had a profound effect, partly because, a little bit like constellations the audiences were, we had people really really quite affected by it Mothers bringing teenage girls to talk about anorexia and a vocer. It was quite a confronting thing and, david, where that came from is also After our about our talk. I did do a sort of restocking. You know, it's been a pretty bleak couple of years for all of us and you kind of go, you do a reassessment whenever you do one of these sort of podcast things and you go it and they're good to do a reach, a retake on all the everything and I realized that at 65 I Don't really have very much to complain about. I thought I'd be retired and sort of like not doing anything and as you know, david, i've tried many times to stop and I just don't stop and I kind of think I Find I'm, i've thought I am, i feel like I'm heading into into a senior statesman period, you know, because I get that at the schools. I go and I look around and I look at all the young teachers and all the young people and I realize very quickly I'm the oldest person in the room and I kind of feel like I'm turning into this sort of like strange old Grandpa.

David John Clark: 13:03

You're gonna have to choose, and do you want to go with the word mentor or senior statesman? I think my Senior statesman.

Tony Knight: 13:08

That's a lot better. That's better.

David John Clark: 13:11

Well, that sort of leads into a public question I had later on. But, steven Eva, how has coming out of the, the COVID two years, affected you guys? I know, eva, you were stuck between two Countries essentially, weren't? you couldn't get back to the states to see your better half and and Malaysia was on hold And I think you managed to get back to Australia for a little while. So you're happy that we're out of that now and you've got a bit of freedom to get back to where you need to be.

Eva Grzelak: 13:41

It's. It's that's the on my brain's conflicted. Already thinking about it, I thought I'm kind of a little disgusted in myself for not taking the opportunity. I think that, however horrible COVID was, I think that was a great opportunity for us as humans to just reset, reset, rethink priorities and what we want to do with our lives and how we treat each other and things like that, And I don't think I took advantage of that. I had that good gap to fight the travel and getting to see family and all of that. I had an opportunity to turn things around and do things that I really want to do And I don't think I did, because now I'm back to the kind of daily grind with my job and I'm not really like doing what I want to do So, but it hasn't. but yeah, but it hasn't stopped me.

David John Clark: 14:38

I don't know where I'm going with that. That way And Stephen Stephen, you had a bit different. You didn't need to travel, but Gold Coast, Queensland and stuff like that You still had a lot of work on really during COVID, though There are a lot of the feature films and TV shows that were made. They came up with ways of working around COVID and I think a lot of American productions came over, So that was probably a positive for you.

Stephen Walker: 15:04

It was a boon for Queensland and the Gold Coast and actors who are based here, because a lot of productions, particularly NBC, netflix and the Streamers they set up shop and they won two series whatever it might have been seasons, i mean And it really showed that we, that Queensland system, could actually step up and deliver something that the producers couldn't get in the States And all sorts of bizarre ways of doing things. I was doing COVID training courses online and attending COVID briefings and doing all sorts of stuff just to make sure that everyone was compliant and whether it be working in bubbles and different, different pods that didn't connect with each other and so on Lots of different ways to get around doing it, to get around potential infection, and it really helped. And so it was an extraordinary period. Not all of it, not the totality of 2020, but certainly big chunks of 2020 were an advantage, and I think it just it really highlighted that if you had your self tape game working, it helped you, because those people who were new to self tape I think there is a disadvantage when that was everything switched off and all selections and all casting was done that way, and now I think we were in that stage of. If you know, if you do not have your self tape game up, just forget it. The world's moved on, don't even bother trying.

David John Clark: 16:54

Yeah, because self tapes are now even post COVID are going to be the thing I think. I think the casting directors have seen the positive of it that they can see a lot more people in one hit. So whether that's a pro or con for actors I'm not sure. I've done. I listened to probably a good 20 different acting podcasts, which keeps me busy. A lot of them, when they talk about their self tapes, is it's all that discussion about not having that one on one with the casting director. You've lost that now because you're not in the room. They still do callbacks either via zoom or actually in the room now, but that initial self tape that you put in not only now didn't just not hear about it. You actually not even getting a feedback in the room when you first do your first audition. So it's making a lot of things for actors even more difficult because they're just not hearing anything A bit different in the States they're doing. You know actors can do 20 self tapes a week. So we're lucky if we do that a year. I'm lucky if I do 20, 10 years. But it's an interesting thing, isn't it So sort of discussing with the COVID? It's most people, when I ask that question. Try to look at the positives that we've got from coming out of COVID, not the negatives. Me working at airport, i see a lot of negatives, how it's changed people, but from an acting perspective it's great that you guys have seen the positives of it.

Stephen Walker: 18:18

Tony, sorry, go on, just to sort of close that being able to be. I think there's at least four or maybe five, i don't think now over the last 18 months 18 months stretching into two years, probably about certainly 18 months where I've been cast in in costar roles or TVC's off the single self tape, nice, you know so. Not even not even callbacks, just bang, done, thanks, got, got what we want, he's the, he's the gig, so that I don't think we've seen that before pre COVID Cool, and just quickly, tony, before I go on to another question.

David John Clark: 19:02

post COVID now for theater. you said you've done five this year. Has it changed the way audiences come into things, over the audience's back.

Tony Knight: 19:11

No, no, the audiences are not back. It depends on what it is Like. We did really good houses for reasonable doubt, but that's, and we did good houses for constellations. I think everywhere in the theater it still is this battle, and this is internationally as well. It's trying to get people back in and look, we're about to hit another wave. You know, hopefully, and the unfortunate, the city that seems to be most impacted by these waves is is Melbourne, but then again it has more live theater on it than anywhere else really. So I think everywhere is finding it. I mean, there are close shows that are closing because of COVID or have closed, I find, with the mouse trap on at the moment, i find it fascinating that the mouse trap in London was forced to close, so that put an end to that 70 over 70 year run of the longest play that's ever been running, and yeah, so that's the end of that tradition. But I think look, i'm always going to be positive Like I hated all that stuff and COVID, that the theater was dead, and that's when I did Shakespeare in the bar just found somewhere. I kind of went no, look, it's only dead if we allow it to be dead. And I agree with Eva. I thought COVID gave us an opportunity to reset, rethink and actually do new things. And I where I've been a little bit disappointed is I watched how companies in the United States and in Europe and in and the UK adapted to the COVID situation. I mean, for example, the Royal Shakespeare Company never closed, they just went out into parks And this whole and the whole thing about doing plays and theater or anything in different venues. I thought we had an opportunity to do something different, but we didn't. And the and you know this is back to the old normal. We've gone back to the old normal. It's comfortable, it's assured, but we're inside, we're back inside the festival center, temples, and this is where people go and it's it's so expensive And I don't know how people can afford to go to the theater. I really don't, because it's so expensive. So I think there's a lot of problems associated. But they'll always be audiences always Good.

David John Clark: 21:24

That's good. I've just noticed this. I don't know if you guys are aware of the Stephen Stephen the. It's a new company called out, but I've forgotten the actor's name is from from a country practice. They've just started recording live theater and you can stream it on the internet now. So live theater Australia or something like that. So I think that might be a good thing for actors and for for people to get to theater, especially when we're talking going back to post pre COVID and the cost is still up there, so so that's a good thing.

Tony Knight: 21:55

I certainly streamlined all the national stuff. I'm I I subscribed to national live and I recommended it to everybody because it's actually terrific And you do see some extraordinary things with great actors. but it's not the live experience.

David John Clark: 22:08

Not for seven 99 a month. It's a good way for people to get in there. I guess I want to have a quick chat for one of the biggest things that are brought up in our interviews with the two actors we have in the room and Tony being a long time nighter and teacher and boss Education was a big thing that we've discussed, especially in relation to late bloomers. You know our soldiers, it seems it takes the late bloomers. We pretty much have to rely on the short courses and the workshop approach to increase our acting, acting acumen. I know we've discussed it one on ones and before, but Steven, eva, what's your thoughts on on that as a, as a collective here and with an acting teacher in the room?

Tony Knight: 22:56

I'm one, I'm listening.

Stephen Walker: 22:58

Acting teacher and mentor. I believe When I was, when I was sort of coming back to to, to acting, it was I used to say I need to now play catch up, i need to play catch up, i need to play catch up. It didn't, in one sense, and while I still look to the right course and the right acting teacher, not so much you know, not talking about casting director courses but learning a discipline, learning an approach, learning a philosophy, i I did realise relatively early on that, okay, while while, from a technical perspective, maybe missing out on a three year um, nida or WAPA course put me behind in some degree, the fact that I was coming at this as a, as a 50 year old, i bought something else. I bought something else that could not be taught. I bought something that that comes with experience and knowledge, and whether it just be raising kids or just, you know, living through grief, or experiencing, moving around, travelling the world or doing any number of things that I can bring to um, i can bring to an ensemble, to that, call it, i don't know a sense of maturity or something or other. I don't know cohesiveness, i can bring something to characters that I'm not going to be able to pick up in a course. Yes, i'm not going to be able to play the 16 year old cheerleader, but I don't want to try. I've got to try. I can try, but it's the hairline, um I, and so I. I soon realized that I wasn't playing catch up at all. I was actually just looking for the things that suited me and where I was at with my life that could tap into what the, the, the real life um experiences that I had, and apply that to this new craft, and so I'm very, very comfortable in that space now.

David John Clark: 24:58

I love that answer. That is just fantastic, and I think that's pretty much what we got out of our discussion together as well. I think you're pretty much on the same ballpark there, are you?

Eva Grzelak: 25:09

Yeah, absolutely, and also, i think, a work ethic as well, because we've had those daytime jobs and we've had those, like you said, the life experiences, We, we, we bring a certain work ethic to the stage, to the set uh as uh as well, which I think is um, i think it would be interesting if I haven't come across it, but I think it would be another aspect to teach would be work ethic and just education on what happens on set and who's on set, and because it gets lightly brushed over. But I think, like everybody on stage and everyone on set is a team and there's a certain amount of respect and knowledge that should be shared there and a work ethic, conscious of time, conscious of what people do. It's not all about the act. I mean, my saying is it's all about me, because it is. But I think when you're in that working environment it's important to be aware that you're part of a team and kind of not crush, but not bring down that's not quite the word but just kind of lighten that under star on the actor, kind of thing.

David John Clark: 26:17

Where's my trailer?

Eva Grzelak: 26:17

sort of ego, yeah, that's because I don't know about you, David. I mean, David and I are probably on a lower level than you because we're still doing the independent theaters and the student theaters and helping out with that. But I'm still surprised about how many actors come into those spaces with an ego And if it's a little disappointing and you don't want to be that old fart, that kind of person there, you go calm down a little bit. But you know where I'm coming from.

Stephen Walker: 26:59

Hey, but don't get me wrong, i do love a trailer.

Eva Grzelak: 27:02

Absolutely Full of coffee.

David John Clark: 27:09

I haven't had my own trailer yet. Who's had their own trailer? David, you have had my own trailer, oh, my God, what's it like.

Eva Grzelak: 27:16

What's it like, what's it like having a trailer Steven.

Stephen Walker: 27:21

You know what? It's lonely And because the first trailer I ever got was during COVID And so there was like there's no one to talk to. You know, and I guess that's being so. Used to being a part of a team, i like to engage and connect and talk to people and find out what's what is doing what, but it was isolating. Bang, here's your wardrobe. We'll call you when we go to set.

David John Clark: 27:49

It's like, oh, And I love what you've both just said there for late bloomers and having life experience. My episode dropped today for my November episode with Andrea Osvart out of Hungary, international actress. She's been in the States and stuff like that And she talks, she loves to work with late bloomers herself She considered herself late bloomers. She said that the older actor, whether they're coming from a train background as a youngster or late to the game, brings character to their character was a good way to put it. So, tony, if I can dive to you a little bit, we discussed this a lot about that very thing, about older actors bringing character to character. But we also discussed the switching between going from stage to film and film the stage and that all ties into the both. So could you just elaborate a little bit on that discussion and be interested to see what Steve and Eva have to say about trying to do the stage work without having that background from Woppa or Nida?

Tony Knight: 28:56

Well, look, i certainly agree with how it's trended over the last, say, 10, maybe longer years. I don't think it's necessary to do a three year BA course anymore, but there are advantages of doing that And one of them is actually is supposed to be associated with skills, particularly the voice and how the body moves on in the theater, as opposed to working on camera. You do need to have a confidence in working on that stage And of course, i hate actors being mic'd. I just hate it, and I do notice it's. Look, i am sounding like an old fart, eva, i really am. It's the issue of the voice and the voice and the body on the live stage. You just see sloppiness, basically, and you don't necessarily hear good voices, and I think that's that part, if that, in the sense of the training, especially for late bloomers, you usually do have quite good voices, i have to admit, or these mature voices. I think with any of these courses that voice and movement needs to be added, and I haven't really seen that in a lot of places. I try to incorporate voice and movement into what I do in my classes because I just think it's actually an essential skill And it is that old adage if you haven't got a voice, then don't do it. But I don't think it is important for working in film and television. I might be correct me. I mean, good voices are good voice. Basically, where are the Alan Rickmans of this world? It makes a huge difference And I just hate hearing bad voices. I would not train voices or voices. That worries me, but I think there's also in regarding working in the theatre. There's a thing about you could do endless courses And there are all good courses, you know, in casting, especially for film and television, which is the dominant employer in Australia. But I think what gets also missed out a little bit and this is a strange old Stanislawski term called the arc of the role, and so what I've started to do in some of my classes here is actually do more play readings And simply to give the actor a chance to take on the responsibility of doing a whole role over a whole play and work out what that progression is, which, of course, can relate to I should try it with a screenplay as well. Actually, when I think about it is to look at this issue of this arc of a role, and I don't I'm not sure if the short courses are offering this type of thing. I might be wrong. I might be wrong, but I've decided that's what I've done, that this year. I've done it twice now And with the most in my classes, the more advanced students who have already done one year with me and now we're looking at different things, such as taking the responsibility of learning the whole role And one of the biggest things I'm going to say this now the biggest gripes that I've got about everybody here, and especially in that little item hopefully be different elsewhere learn your bloody lines. Oh my God. You know I just want to shake people regarding not how they think they can be an actor. And one other thing. This is something that a lot of us old acting teachers have been talking about recently, like Keith Davis has mentioned it and other people, and ask the question to you, to anybody what was the last Australian film you saw? And it's really interesting what the response is. It's. You'll always have some people who'll respond like I asked this last night to a group of students and got walks out of work, part three. I went I'm buying that one, good on you for seeing it. And but even if you ask about, have you seen The Stranger? or I know Sissy's just been released, but I went to see it the other night And what is coming back about what is an Australian film is Elvis, which is a bit problematic, but then so is up, for the actor would. So is 3000 years of longing, which I thought was terrific. Elvis was bad. You know certain past, but it's that issue of I firmly believe you are what you eat and trying to get this, i guess the other advantage of A three year training, because you do get the history of theater and you get the history of film and all that sort of stuff happens, whereas otherwise you've got to have be self, you've got to do it yourself. And I do think that's problematic, that there is this great amnesia of people don't know about the past at all. Like you can, i can go, i swear to you, i can go into a class with 16 year olds and they have never, they don't even know who K Blanchett is. Wow.

David John Clark: 33:45

Wow, and that in our discussion to Tony, didn't we with history? Stephen, i just want me and you've followed a lot with the audition technique and now we're doing stage milk, which is a lot of training and a lot of self tapes, which is great, post COVID having that ability to do self tape. There's Tony sort of alluded to there about getting back to working character and working story. I've been thinking lately that I've maybe taking the self type too far, that I do myself tape and I get my review back from Greg or I get my review back from the stage milk team, but I'm not when I when I'm on set. I just did some student films and that I've got. Oh my God, i haven't acted for a little while. I'm starting to think that I need to find a way to get in and start doing some scripts, start doing some live work. What do you think, stephen and Eva, i'll ask you the next as well.

Stephen Walker: 34:37

Yeah, Well, i think, certainly for me, as I was saying earlier, covid, both 2020 and 2021, seemed to be a big, big boom in Queensland, but then things have moved back into a sense of normal again And some of those overseas productions still here in the feature film, but less in the series, and so they just felt like coming into the bulk of 2022, there's been a lot less not less that I've been auditioning for, or certainly a lot fewer that I've been casting this year. And so the other great love of mine that I that I had started back when I was 11 or 12 years of age on a manual remix and typewriter was script writing And they were basically really awful back then and hopefully that's improved. But I've really gone in headfirst into script writing, be it series, feature, short film, as a way of looking to get some of that funded, produced properly, and so as a way to try and get myself or force myself into a project, i'm trying to take ownership of the project to make it happen, so to to to really cover off every aspect of creativity that I possibly can writing the thing and producing the thing and being in the thing to the point where I can try it until it kills me, and then I can just say, now forget it, i did it. Now the creativity is now gone. I just don't want to write anymore. Just put me somewhere and a director tell me what you want me to do. But so that's my. That's what I've been doing this year, to relative success in the script writing competition field. So I'm enjoying it at the moment.

David John Clark: 36:42

Do it and do it.

Stephen Walker: 36:43

And it's one of those things I said earlier Yeah, that's so, it's been, it's been good, but it's Tony said earlier That point said no, I think. I think now I'm just going to sit back and just I'm going to, i'm going to go to step back from things, and then suddenly, a few months later you look back and go oh my God, there's not enough hours of the day now, because I'm now doing writing and I've got attending this, this producers workshop, and I'm editing this and I'm doing it. So I'm looking forward to relaxing, relaxing somewhere sometime, but anyway, what's your thoughts there about?

David John Clark: 37:16

you know, probably making your own content and getting out of the circle of life in just doing self tapes and training.

Eva Grzelak: 37:29

Get out of the circle. Well, I don't want to get out of the circle of self tapes and training.

Tony Knight: 37:33

I want to keep doing that.

Eva Grzelak: 37:34

I want to keep that up, but if it's some. But I do highly recommend making your own content. Like everybody says, write something, write something for yourself, write something that you want to do, and I can't do that. I can't. I'm biasly separate myself to write a role for myself. I'd rather someone give me something and I'll run with it. So when I did sit down to write a script, although I was writing from my experiences, i wasn't writing a role for me. It was a story I had to get out and I knew exactly who I wanted to work with. And luckily in Adelaide we do have a good community of filmmakers that we can draw on for experiences and to help us out and that type of thing, and so I grabbed some people that I worked with, that I knew, and said look up right for the script, and they pointed me in the right direction. A few of them jumped on board wholeheartedly, gave their time Thank you very much and we managed to produce that little film and it was so creatively satisfying. I don't have kids This is the year I desire to procreate But just giving birth to this little creation was so satisfying And I think it comes back to an adage my father taught me once You need to go there to come back. So I went there and I could keep going, but, like I said before, i keep going on tangent stuff. To get that acting is what I'm going to do, so I've got to come back. Sorry, tangent again. I'm really like make something, make it. You're writing these beautiful pieces. I highly recommend making it, getting people around you, funding whatever you need to just make that one thing, because I think everyone in this sector as an actor is a writer, it's a producer, it's got to do it. I think it's great to actors to do it as well, because they'll get that experience of what actually goes into it and what that can do with it.

David John Clark: 39:40

I love that, because that was actually a question a bit further on that, we're now talking about content creation And one of the points that I put down was I've got a lot of ideas that I would love to make. I think that I lack a bit of a creative ability to write a story, to get the story arc and the character development and everything like that. But my biggest bugbear I don't know if that's the right word, but it's about trying to get a team on board to make my own work and putting that request out for wanted cameraman, cinematographers, sound people, volunteers The old volunteer work is so much out there.

Eva Grzelak: 40:19

Sorry interrupting you, but you know everyone that could work on that film From all the workshops that we've done, all the independent films we've done, all the student films we've done. We've met people We've done. Oh, i really like what they did. I might see if they're interested in helping me out here or this person here. I was lucky to have Milt Daly help me out. She asked me to be in her short web series Inc. So I kind of milked her for ideas until she turned around and went. You know what I might give you a hand And that kind of work And other people that are writing. You know Rebecca Duncan. We know the people. We know the people that are willing to help. We perform for them for free.

David John Clark: 40:58

Turn the favor And I mean that sounds a bit That's a tough thing for. Yeah, no, I get that The hardest thing is asking.

Eva Grzelak: 41:07

But you've got the relationships with these people, so at least be comfortable talking to them about it. You know what?

David John Clark: 41:15

So what's everyone's thoughts on the? Yeah, no, definitely So. Tony, as a bit of an outsider from acting, so to speak, what do you see in content creation? I know you're involved with a great group of actors and stuff that make it their shows Stephanie and Mark making their theatre shows all the time and bringing in some money from that, but still a lot of There's no funding involved, is there?

Tony Knight: 41:43

Not yet, although that's partly our fault because we just haven't necessarily pursued it. We've got sponsors, but going down the Looking for the grants situation is, i'm going to say, something awful. I'm not sure they're really good, but there's a part of me that just goes let's not bother them, let's just try and get a private sponsor, rather than doing all the government grant stuff, because it's so bureaucratic and in-house and it goes on. You know, you're bringing up a really interesting point and I don't necessarily have an answer for it. Have I done work for free? Yes, i have. Do I like it? Yes, i do. But would I rather be paid? Yes, i would. And so you've got it, and I'm very selective about what I do for free anyway, but I do think it's a problem. I mean, you know that's that whole thing about. I worry for actors because I mean you do, a working actor is a working actor, so you've got to do the free gigs And I think it's awful. Actually, you should be paid. You should be paid something like, even if it's a petrol money, no matter what it is, there should be some form of payment. And I find that there's a level of abuse towards actors, the assumption that they'll do something for free, and I think that what we've seen over the COVID era is the And I'm going to be ruthless here There's a contempt, basically, and assumption that all actors will do it for free, and so you end up actually thinking of acting as a hobby rather than as an art form or as a career. I hate that. I think I hate that. So what I then retreat to, which is the thing for myself, is, i think about, just concentrate on the art, don't think about anything else, because if you think about the money, it's going to just get depressing And the lack of money. So that's why I try and encourage anybody. I always say to people look to any actor going. They've offered you a role, we'll find out who the producer is, find out the content, da, da, da, da da. Then it's your choice If you're going to do it for free, but I don't think you should do it for free. It's that terrible promise. Oh, it'll be good for your biog, it'll be good for your show reel, it'll be good for all that. Oh, that's rubbish, you know, basically. But if it? But once again, things have changed. You know, the things have changed. There's all these short film festivals that go around the world now And I'm looking at all young filmmakers and they're getting their work seen on different medians rather than just the cinema. So it's such a complex question. Basically, i don't want actors to do things for free. That's my. I don't think they should, and you're right.

David John Clark: 44:26

You're right about the mediums changing. I just listened to podcasts last night from Cinema Australia for online funding and they they're funding projects right down to the level of TikTok now and individual apps. So I think, if, if you can find a way, like you said, if, if, even if it's just petrol money or finding a way to to support the people involved and through my Facebook page I get a lot of work come up saying wanted actors for a commercial car company or for a commercial cleaning agent And it's $100 for a day's work And you go no, no this is what we need to make sure is that actors are paid when it's a commercial arrangement, if it's a, if it's a volunteer arrangement with independent filmmakers, exactly. And we need to stay on top of that because, tony, you're a photography yourself. Photography was a big one, because now it's very hard for professional photographers to get paid their work because there's so many photographers who are great at taking photos Who will do it for free. I think it was a couple of years ago who came out in the media that tennis Australia wanted volunteer photographers to take photos of the of one of the grand slams, and it was all put down as oh this will be great exposure for your work, so awesome, i want to move on a little bit. I'm mindful of the time And I wanted to ask the next question so that I can end on a an uplifting question, but I just want to talk about. One of the biggest things that came out in most of the episodes during the year was mental health of of actors That, the wellbeing of actors. We discussed a lot And I always put it as the ups and downs of the acting journey, where the moments where actors start to doubt themselves. We've already discussed how we're all fed coming out of COVID, but what's your thoughts on how actors can stay positive on this journey and those moments where you start to doubt yourself? Stephen, that this mean you have had this discussion a lot as well. What's your thoughts there?

Stephen Walker: 46:31

Look it's. The trouble is it's a savage industry, particularly, particularly for actors, but not just actors, it's. It's savage for writers, it's savage for directors, it's savage for casting directors, producers. We often see just the the actor end of the straw, as we're talking about with with funding, with funding actors, sorry. And I remember seeing that the you know the median, the median age for actors salaries in Australia last financial year by the ATO was just over 28,000. Wow So, and that's that's the median salary. So it's in that environment where where you're spending and I look at I've just done my, submitted my stuff for my account, and I look at how much I've spent to keep this acting afloat over this last year and think, jesus Christ, that's a lot of money. Thankfully, i made more money than I spent from acting, so that helps, that's always cool. But in that environment, when you look at the fact that it's an environment that is predicated on rejection and on failure and that you are more likely to fail in this on any given day than you are to succeed, that's really really tough, it's extremely tough. And on on, wellbeing is for actors. You know I've, because of previous work that I was doing in the space, the wellbeing space. You know I've developed an actor's guide to wellbeing and resilience, but it's no different than a lot of sectors. It's just that we we are combating it on a day to day basis, and it's about recognizing what your own measure of success is. Now, if your measure of success is that you are going to get that Oscar, then be prepared for some rocky, rocky times. But if your measure of success is, this week, i'm going to put something down on tape and practice my acting chops, well, you can achieve that. It's. It's. It's something that's tangible, it's something that's measurable and that you're learning and you can feel good about coming out the other end saying, yeah, i did that, that's fantastic. No, i may have seen it, but it's about trying to look at what your goals are and what do you need to do to actually get to those goals. It's it's also really important to think and to plan at whether it's the start of every year or however long you you it takes you to do it. I'm a big believer in in writing down on a vision board or something, things, that things that you'd aspire to, things that you'd really like to have happen, and to tell people about it, because these things have a way of happening. You know, back in the day, when I was career coaching people in the corporate sector, actually understanding where you want to be, and then telling people about it to miraculously resulted in lots of people ending up following their dreams or getting that gig or so on. You know, and and they can be unrealistic, but they're not really unrealistic. I had vision boards a couple of years ago where I was putting NBC and Netflix and so on and I was telling people about it and telling my agent about it and telling anyone that would listen, and within 12 months, i had an NBC speaking role and had a Netflix speaking role. Well, there you go, they, they happened. Did it cause it? No, but you know, if there's enough juju out there to make things and I am I am not a tree hug and kind of airy fairy kind of guy, just not that guy But it's about actually being able to legitimately manifest stuff by telling people around it, around you, telling your family, telling your friends, telling your co-workers, telling your other actors, telling your coaches and people that you meet that this is where I want to be. Stuff happened, opportunity happened. So I think, i think you can try this. You can't. You can't stop the rejection, but you can recognise what's important and what's valuable to you and stay one step ahead.

David John Clark: 51:10

Yeah, and that's interesting because I had a big chat with Eva and Tony knows about this as well. Stephen, i don't think I brought it to you, but I was recently told by someone influential in my acting circle of that I'm not standing out, i'm not standing out in acting and I'm not standing out as as an actor, and this information was apparently from casting directors for my submissions And that sent me into a spiral, a big dive, and I Eva you probably have a chat about that says how I had to deal with that and how I had to find a way to come out of it, and I think a lot of the stuff that both you yourself and Tony sort of mentioned to me was exactly what you've just talked about. Tony's, steven. So it's about recognising what you're doing and what you're enjoying from the world and then moving on that, eva, what's your thoughts?

Eva Grzelak: 52:10

We had kind of a similar well, not a similar experience, but we both went to a spiral. We were doing different circumstances and it is exactly what we talked about. We do it because we love it, not for any other reason. We love it, we love acting, we love performing, we love going into the history, we love going into the character, we love going into the story And, like you, just got to pull yourself back and go why am I doing this? Because I fucking love it. So I'm going to find something to do. I'm going to read a book, i'm going to read a script, i'm going to do a self-tape on my own. I'm going to reach out to a friend and Vincent was very keen in helping me come out of that. We would send each other self-tape and give each other positive critique, but just to help get back into that. So it's just, and, like you say, steven, rejection starts, everybody gets it. It's just how you come out of it. Well, okay, I didn't get that part Or this thing happened. It's in the past. Now It's not going to stop me doing what I want to do, because I really want to do it. Let's just keep doing it. Let's just find these little things that I started making bloody technical videos And I know there's stupid, and I'm not doing it to be famous, but I'm creating something and I'm performing, which is what I love to do, and writing as well, and it's just just find that one little thing that, like, since it's just that one little thing that you love doing about acting, anything to do with it, and I think that's key.

Stephen Walker: 53:50

And what you touch on is, i think, acting. Unlike any other career in any other profession that I've ever done, acting is the only one where I have zero control over any outcome. Anything else I've ever done. In a whole range of different careers I've had control, and so it goes to the heart of what is in my sphere of control as an actor. What can I control? Because there's a whole lot of stuff I can't control and I can worry about and I can fret about and I can lose sleep about that. I can't influence, i can't do anything, and so I try to focus on what are the things that I can control, and that is I'm going to do some acting today, or I'm going to read a play, i'm going to go and see a play. I'm going to do this, i'm going to reach out, i'm going to spruce up my CV, i'm going to get some headshots, i'm going to do this, i'm going to do that. I'm going to network with actors. These are all things you can control, and when we start to control and influence something, that sphere of influence starts to grow and expand.

David John Clark: 55:06

I love it. I love it. I love how we've pulled some information and some pointers for people to put a positive spin on what we all go through as actors, which is exactly what I got from you guys, tony. What's your thoughts there? You work with actors all the time, so just even when actors have those moments on stage when they're slogging out the lines and trying to get through and the show is starting tomorrow night and they have those moments how do you work with the actors on the ground, so to speak, to get through those moments when they have that doubt about themselves?

Tony Knight: 55:41

Oh, look on one issue of stage fright. There's a couple of things I do use and actors do good stage fright can stop whole careers, actually, if they're working in the live theatre again. But what everyone's been talking about, which has been marvellous, is the thing is, how do you deal with the issue of depression and self-doubt and unemployment or rejection? is you've got to stay active. You've actually simply just got to stay active, but that's not always easy, and I think I mean I've got my garden, which is behind me, and that's what I get a lot of satisfaction at. If I'm feeling a bit down off, i'll go into the garden and I'll leave near a beach, so off I go into the water, that's all. I'm an old surfer from Bondi, for God's sake. So you know I use those things that I've always used, which is if I can get to the water and then I'm going to be fine. Look, the other thing about all of us whether we act as, no matter what we are, we are always going to live with self-doubt. And it's actually how you manage self-doubt. And I'm even just on this, getting back to what you asked me, david, about, i remember I was standing in the wings with somebody I'm not going to say it was a famous actor and they were freaked out And they had a little bit of time. So I took them aside and it was just a very quick chat and breathing and things like that. And I said you know, the thing is about leaving performance, whether it be live or in front of a camera, it has a live experience that it's always going to have this sense of you're going to leap, you're about to dive into the swimming pool and you don't know what's going to happen. Right, and there's a good side of it. Kate Blanchett's been talking about this recently regarding Tark and the messiness of it. And you know, you do all your preparation, you get all well prepared, but there is that moment where you've just actually got a leap And you don't know how it's going to end up. But I think that's what we live with all the time And I don't think and I'm sorry to say it's 65, if we haven't just gone through an opening night, it never goes away. And then there's that issue of why the hell am I doing this for God's sake? And I think there's a very perverse side to us, that we actually enjoy the thrill. We enjoy the thrill of self-doubt. There's a side to it that actually is a very important part of being in the performing arts. No matter what you're doing, there is that element of self-doubt that you've got to manage, i agree, but it's never going to go away.

David John Clark: 58:10

Athletes. you know, every time someone jumps out of a plane for parachuting or they go to Absoll down that cliff, they no matter how many times they've jumped out of that plane or how many times they've jumped off that cliff, they have that moment of oh, this could be the time that I do it wrong or something. So it's just a matter of knowing that you've built yourself up to do it and you know you can do it and just do it and leap And also just don't listen to outside sources.

Tony Knight: 58:36

When you're involved in a creative process of something and you're collaborating with others, don't listen to anybody else, you know. That's why I always say don't read the critics, don't have anything to do with it until it's all over. I think it's only those involved in the creative process can actually inform the creative process, and I think that's really good. And also where I go back to and I've talked about this before, david, this is just for me and why I go on and on about the history of theatre and history of film. I retreat to the arts because that's where I started that first thrill of going to the theatre and seeing magnificent things and so on. I can always learn more because it's so huge, it's so massive. Regarding the performing arts, especially theatre or film, and I mean I've talked about, i love South Korean films, i'm so into them And so I can't wait to see the next series, or yeah, and trying to encourage others, i go in all my classes. I begin with this thing. A lot of us do this. Now is at least a half an hour talking about well, what have you seen and what have you done? And we are what we eat, in a way, and so hence I will always talk about you know. So, okay, we're going to talk Alfred Hitchcock, and you know, and so go away and watch something by Alfred Hitchcock and come back in next week to discuss it, and so I always retreat to the art. With this issue of going, we've got to fire our imaginations, we've got to feed our imaginations in order to create better work, and I know that sounds all very, very altruistic and a bit wanky, but that's how I deal with it. So if I actually am feeling elements of self-doubt it is like what the others are saying I get active, i go into the garden or I'll find something that I don't know or play, or a film that I'd like to rewatch. Like, i just rewatched Citizen Kane again, partly because, you know, i had to, and I don't know how many times I've seen Citizen Kane I don't know how many times it's like not as many as Gone With The Wind, but I've seen Citizen Kane, probably equally amount And I always find something different, and I think that's a mark of greatness, and that's what I think is also important is for all of us to aspire to greatness, and I'm also just on another level, i'm just on that greatness level. But we all never know what greatness is unless you have that resources to watch a Citizen Kane or to know what greatness is to measure yourself against it, and that's what you aspire to. So hence I always go back to the art. The other thing that I've sort of knowing my very infamous Facebook rants I've got a. I've got a. Something that Catherine Hepburn said has struck with me just recently, and a little bit what Stephen referred to earlier, is I've stopped complaining. I've stopped complaining because I don't think I think it's counterproductive actually And it's easy to go into. We live in a culture of complaint And I think it's actually very easy to indulge in it and things could always be better, but I've actually making a really strong effort not to complain. And it's something that Kierkegaard said that, david, that Stephen mentioned, that struck, which just sounded a resonance. Kierkegaard said that when you make a decision, it's amazing how the universe then conspires to assist you, and that's that struck a resonance with me too, in the sense of not complaining and also just being positive when you make a decision. I'm going to put on a show, or I'm going to do a, i'm going to go out and do a photographic essay or something. It's amazing. It is amazing how things start suddenly to come together And, as long as you actually make that decision, that step forward being active again.

David John Clark: 1:02:20

I love it. Awesome. Oh, thanks guys for that. That was. That was awesome. To get the positiveness out of what was a really a negative question. And something that actors go through every day is that to self doubt. And when, when getting a role can just ball down to a producer saying I don't like his or her nose or their eye colour, you've got to realise that you didn't not get the role because you can't act. You just didn't get the role because your eyes are brown as opposed to blue. I'm mindful we're coming up to an hour, guys. I'd like to ask just one more question before we switch to have a quick goodbye from each year. Tony said in his discussion with me that actors need to find their permission to play. Tony, if you can just quickly explain that, so the other guys have got something to work on. What do you do to bring your characters to life, to make them real on stage or screen? Tony, just explain quickly how you meant the actor needs to find their permission to play.

Tony Knight: 1:03:28

Well, it's very much in the rehearsal room and the relationship with the fellow actor and the collaboration and that particular rehearsal moment is, i think, it's responsibility of a director to set it up or set that rehearsal room up with the other actors, that they have permission to play, and you've sometimes got to say that and allow okay, make a mistake, let's, let's throw this out. Not let's go in and improvise, but let's, let's try things a different way. Let's try, let's just let's be a bit more creative and inventive rather than thinking of end result. This is me being very much a theatre director. I know you don't have film and television, you don't necessarily have that time. But look to be honest, david, every time I've worked on the small bits of film thing that I've done in Adelaide, you know, especially with Aaron, it's always been playful And I think that's actually extremely important. You know, and Aaron as a film director is very, very encouraging of at least he has been to me of allowing me to relax on camera and and muck around and make mistakes. I think that's, i just think that's a really important thing a director's got to do is to make sure that the actor feels because unless there's play, there's no creativity, because the imagination is going to be stilted and it's going to be awful of. I've got to get this right and I've got to get this corrected and all that sort of stuff, and I walk around. Well, let's not get it right, let's get it massively wrong and see what happens.

David John Clark: 1:04:45

And that's why Aaron was in his interview. He said exactly that. As a director, He says the biggest thing he wants to tell actors is know your bloody lines, which is going back to the study interview, Tony. You said that. Stephen, how do you like to find ways to play as an actor?

Stephen Walker: 1:05:00

Yeah, look, i think it might not be on set because that just comes down to what set it is, whether it's a. You know, if you're on an Aaron Sorkin set, i mean, wouldn't we love to, but you're not going to be free to play with the text, so it depends where you're at, whereas if you're on a student film you might be. Hey guys, i think this cop might say things this way, not this way, but I've given myself permission a while back now to play in the audition process, partly pinch some of those ideas of Greggs around the creating what I see could be a really interesting character for this particular portrayal, and to just play with it, to potentially be a little bit freer with the text because it's just an audition to be freer with costuming and even these days, location and of where I'm shooting it. The most recent thing I was cast in was a farmer for a TV commercial, so I shot it out the front of a farm, you know. And so I've learned to just relaxing, relaxing into it, to recognize that I'm having fun, i'm playing the character and I may never get another opportunity to play the character. So we're here for shits and giggles. Let's just have fun and enjoy it And it's working. You know creative creative in my, in the audition, creative in the slate, and yeah it's. I have fun, it's easier, it's not a job, it's just fun playing and being creative as well, and they generally work.

David John Clark: 1:06:42

Because so we were there for a point there where your self-tape had to be in front of your great background, had to be strictly this and that, But COVID brought out so many self-tapes that I think the casting directors are just getting sick of the great background and the standard self-tape. So I think it boils down to as long as they can see you're acting. That's correct, isn't it? So, Eva, what's your thoughts there? How do you find a way to play?

Eva Grzelak: 1:07:10

I look at that, i do something different. If you're given a role, that's a couple of lines that not given a role, but if you've given an audition piece, that is, a doctor, a lot of people are just going to go in and say, well, what if you're like the quirky doctor or the neurodiverse doctor, i can say that Or you're the you know the doctor and that thing, that bad day kind of thing, bringing in more of those kind of elements that you know. Because people are different and personalities are different. I think just do it like a doctor or do it like a farmer, just do it, try something different. And I enjoy that process And I did that once in a workshop. I did the whole you know cookie doctor thing And I went a bit overboard And the tutor says this is a great idea, it's not working, let's try this way. And I liked being molded in that way And it worked in the end. My idea worked, but not the way I was executing it. They've given the right guidance, it worked. So I like I like to probably just go to the extreme and think of something, the most different thing that I can do, as long as there's a story behind it, as long as there's a reason for it. But I'll take it as far as I can and cast in the director with a tutor to bring me back. I don't know, i love it Awesome. Good, but yeah.

David John Clark: 1:08:27

No, that's good, Awesome. Well, thank you very much, guys. I'm mindful we've just gone over the hour. I just want to wrap this up quickly with a moment from each of you. If you wish to say, we'll go from left to right on my screen. Tony, in a minute or two, you just want to have something to say to the listeners of the podcast. I'm happy for you to be whatever you want, whether it's towards late blooms or acting just round out 2022, and for something for actors to take away.

Tony Knight: 1:08:58

Never stop believing, Quite simply never stop believing And always be open to new adventures.

David John Clark: 1:09:07

Awesome, thank you. I keep saying beautiful. I had to put a thing on Twitter the other day. What's something you do in your podcast that you hate doing? I keep saying beautiful, beautiful, beautiful. Thank you, tony. Hi, steven, you can call me beautiful dark, but it's all right.

Stephen Walker: 1:09:23

For me, I think the most important thing is to actually find your tribe. Surround yourself with the people who are going to be supporting you and not bringing you down.

David John Clark: 1:09:31

That's the stop, true, awesome. And they can be online as we know, of course, awesome, and I think in stage milk, steven and I have grown to be great mates. Through our stage milk. I think we're considered the senior members almost now, so it's fantastic the journey that we've had, and we've said this both online and in our podcast. We haven't met yet, have we Steven? You haven't met, but it's like we're great mates. So I love it.

Stephen Walker: 1:10:00

I've seen you a few times at Adelaide Airport. I've run the other direction. Oh, a lot of people do.

David John Clark: 1:10:08

Eva doesn't run from me when she sees me at the airport. What's your thought to round this up?

Eva Grzelak: 1:10:14

No, you run from me at the airport. I look at the boys thumb to that perfectly, just do it. Just do it because you love it, and if you don't love it, find something you do love. I don't know, hang in there. It's all about me. I've got to know. Just, the boys have said it all. I've got nothing to add.

David John Clark: 1:10:36

Awesome, i suck at this I can't say. I'm going to talk to the boys. No, no, that's good. I reckon I'll finish it off quickly. You know that as soon as we end this, you go. I should have said this No, that's fantastic. I think one of the biggest things I took out of this was when I reached out for people in relation to what we discussed before, andrew Hurl, who unfortunately couldn't be here today. He said look, your acting is great. There's no problems with the acting. I see all your work. You're fantastic. You've really got something to bring to characters, and I think we all do. He says you need to put it into perspective. There are actors out there that have been doing this since over teenagers, especially for me. I'm a 50-year-old Caucasian male. We're a dime, a dozen, so I'm up against the best of the best there are when these auditions are coming in. So it doesn't mean I'm a bad actor. It means that you're fighting with a lot of other actors And it can boil down to just the color of your eyes or something like that. So I'm going to keep on going on because I love what I'm doing. I love the people that I meet, i love doing the podcasts and everything that's involved. So that's what I've taken away from this. So, tony, steven, eva, thank you very much for coming on board. I haven't seen this done with other podcasts before, where they brought guests back from the years, so I'm thinking that this is wonderful. I'm really appreciative that you guys came on board, so thank you. I think we're going to say goodbye, if you guys want to say goodbye to each other and then Right, steven and Eva, bye, love you guys. Thank you very much and everyone listening. Thank you for being on board for 2022. This has been 12 wonderful episodes of the podcast. I really supportive. Thank you for coming on board and listening to all these great people that you see in front of you now or that you've just listened to, if you're listening to the podcast.

Eva Grzelak: 1:12:39

So all the best to everyone for 2023.

David John Clark: 1:12:43

Thank you, congratulations, dave. This is wonderful.

Tony Knight: 1:12:45

Thank you, goodbye, thank you.