Tips from a Casting Director and Two Unemployed Actors - Episode 85

Max Belmonte 00:12
Welcome back to to unemployed actors I'm Max

Sam Folden 00:15
I'm Sam.

Max Belmonte 00:16
Today we are very lucky to have Australian Casting Director, Anousha Zarkesh who has been in
the business casting across film and television for over 25 years. So Anousha, welcome to the
show!

Anousha Zarkesh 00:29
Thank you. Thanks. Thanks, Max.

Max Belmonte 00:31
We really appreciate you making the time for us. As an up and coming actor I'm really
interested to understand how the casting process works from your perspective, because all we
obviously see is a snapshot in time, for example, how early in a project does the Casting
Director get involved?

Anousha Zarkesh 00:47
Pretty much at the beginning, we are employed like a head of department, I'm aware of
freelance, you know, head of head of department like anybody else. So we normally come on
fairly quickly with a director or producer or both, to obviously facilitate the director's vision or
the producers vision. So each producer, each director, each project is very different. So we
usually come on board, when there's maybe the first draft or second draft, sometimes an actor
is attached, you know, if they're financed based on that actor, or pitch, or, you know, the
material, or I'm brought on right up from the from the beginning from development stage,
where it may take two or three years before the project even gets financed.

Max Belmonte 01:30
That's quite ah, that's quite a journey. I'm sure you you've been on many projects where it's
sort of gone all over the world all over the place.

Anousha Zarkesh 01:37
Yep, certainly have, you know, I've seen films come and go TV series come and go never get
financed. You know, usually one or two projects out of 10 may get project, you know, get work.
So we all work on those projects for free for nothing, you know, because we're committed to
doing that. And, you know, a lot of the producers and directors have been working on those
projects. For years before I even come on. Sometimes a project comes on board really quickly.
And within three months, it's financed, and we're up and running. I mean, those are the
miracles.

Max Belmonte 02:07
Miracles can happen, but they're rare. That's interesting, those odds though, like, you know,
20%, they actually make it through the gate, because I've mentioned it, they're somewhat
advanced as like they've been pitched in their sort of, you know, in some sort of form or format,
by the time you get involved.

Anousha Zarkesh 02:22
Yeah, sometimes you've got a synopsis in a Bible. And sometimes, you know, six EPS might be
nutted out, but you only get the pilot scripts, and it's very early days, and you read them and
you get the tone of the picture or the tone of the series that's pitched around to certain
streamers or networks, and someone will buy it. But usually, because I come on board early, it's
usually to attach Actors to the project to then get Financed because they you know, everyone's
looking for an 'in', and an actor to attach themselves, because that's usually when they get
financed, and the investors or distributors will buy into that.

Max Belmonte 02:59
So less risk, because the bigger name brings more eyeballs,

Anousha Zarkesh 03:02
Distribution and streamers will come on board because they've got a couple of names
attached. Yep.

Max Belmonte 03:08
And so I guess at that stage, if you understand, say it's a television series, you understand the
tone they're trying to set and the type of lead characters, how many actors would you put in
front of the director for the for those parts for leads?

Anousha Zarkesh 03:25
Ah, well, so if it's... if it's a lead actor, who we have to finance the film, there's very few actors
that would do that. And he was different. So depending on the type of role, what character is,
you know, we might throw and bandy a few names around, and we talk around it, and then we
have to attach them. Of course, these are high profiled, either Australian actors in particular,
you know, they're being sent scripts all the time, and they're not available. They're not
interested, they can pick and choose ultimately. So that process may take... that's the process
that takes the longest really, is the high profile, whether it's, you know, I don't know Nicole
Kidman, Naomi Watts, you know, Hugh Jackman, you know, Joel Edgerton, those actors will take
a long time to attach, sometimes it happens straightaway, or they have a relationship with
those actors already and comes on board pretty quickly. And then the process starts, then we
can start to relax a bit of finance. And we're up and running in greenlights.

Sam Folden 04:19
Yeah, right. And if you dont get those big names on board, within a time period that you're
happy with, you generally, then go and cast maybe less than known actors to get the project
up and running, or you just have to kind of hold off because of financials?

Anousha Zarkesh 04:34
Each project is different because if they can't attach someone, then they lose interest or there's
no... I mean, there's a lot of politics around that. And there's a lot of, you know, a lot of stuff
that I don't hear, but each project is different each producers, you know, the script sometimes
stands alone and there is no one... it might be a kids show and the leads. So there is no one to
to put a star in that film, but there might be a little cameo that we can attach to a name to so it
might get financed purely on the basis of the story, or who's attached or what they're wanting
to do. So yeah, it's really hard to kind of go generically each project. Yeah. Just like each actor
for each, role. It's very subjective.

Sam Folden 05:16
You picked up an actor last year for your work on a feature film High Ground, which for those
who haven't seen, it's, it's a First Nation story. What was that process like for that film?

Anousha Zarkesh 05:27
Ah, look, it was one of the best experiences I've ever had. I mean, it was hard work. And it was
it was wonderfully challenging. But it took me a couple of months, which was just incredible. So
the Director and I, and one of the Producers, Wityana Marika, whose country we were on, took
us on this wild trip around various, you know, communities. So we again, we, you know, we had
Simon Baker attached to it. And you know, a lot of the other, you know, Caucasian roles were
sort of cast and then we went on the big search for all the warriors and all the other roles. So
that was, that was the fun part. Because we were free to do whatever we wanted. We had no
pressures from the investors. We just had to find the right people for the right roles. And we
just had a ball just dropping flying into various communities driving all over the place. We went
from RAM and getting Maningrida to Gove to you, Carla to Jabel Elko islands are incredible, you
know...

Sam Folden 06:26
Sounds like a dream.

Anousha Zarkesh 06:29
We were trying to be cast the most authentically we, you know, authentically, we could and
that was all driven by Wityana Marika. And Steven Johnson, the Director who was really wanting
to find, you know, very authentic performance. And you know, it was it was struggle, because
people had never acted before. They didn't understand the process. They were quite shy. And
there was a lot of embarrassment about that. And we kind of blew into community went "Hi"!
English was their sort of fourth language ... "Hi we're here to make a film want to be in it". And
most people looked at us and rolled their eyes and went nuts. You know, and the people that
did were incredible, and and that that whole experience was very emotional and challenging
and exciting. Yeah. So those, those are great to be involved in.

Max Belmonte 07:20
That's fantastic. And do you cast for television commercials as well? Do you do TVC briefs?

Anousha Zarkesh 07:26
I do. I do. You know, sometimes, a lot of people think that if I do film and television that you
don't cross over to do commercial? I'll do I've just done a Youi commercial. I've done a
Woolworths Ad, I've done when I'm starting to finish a finished. Yes. So I do. I've got a few
clients that I... that are regulars.

Max Belmonte 07:45
Because the reason I ask is because as an up and coming actor, I'd probably find the ratio is
more in any given year, I'd have more auditions for a television commercial and get in the room
that way than for like a 50 worder or supporting, do you often see people who, you know, aren't
right for that particular role say, for example, the Youi commercial, but but then you've got
them at the back of your mind because of something they did and that you think that they're
great for this other part I've got, you know, in a television series or something?

Anousha Zarkesh 08:13
Absolutely. And I think that's, I mean, sometimes I might be juggling four or five jobs, you
know, over a period of time. And of course, I do a commercial I come in, I go, Oh, my God, that
person's not going to get my Youi ad, but they're perfect for that, you know, role in a television
show that I'm doing. So yes. And it's all in our head. I mean, it's all you know, it's all going on,
we remember things. That's our job. I mean, our expertise is to kind of keep on, on with
understanding and knowing every actor we can possibly do and following their work and
watching the short films and watching Australian television and film. It's stuff that we don't do,
keeping up with who's here coming old graduates. So yes, it's constant. I'm constantly thinking
I wake up in the middle of the night. Oh, my God, that guy that did that, you know, Westpac Ad,
is perfect for my Oh, like film, say, yes, yes, it happens all the time. So I keep saying to actors
coming out of schools and drama schools and whenever to speak to people. Remember that
when you're going for that, you know, shitty KFC ad that you don't want to do that, that casting
director or those producers or those people are always looking and keeping the mind out. So
try and nail it. And it's really difficult to nail commercials regularly. You know, there is a real art
to it. And I think people sort of take it for granted. But it's not easy to. And they're very
different and how they're different processes in many ways.

Sam Folden 09:34
So when you get someone in for an audition, what are the three main things that you look for in
performance?

Anousha Zarkesh 09:43
Again, it's really each job. Each job is different. I mean, ultimately, nailing the script. If I'm
talking about film and television, you know, not back to front being really prepared, and
perhaps understanding the tone of the show that you're doing and you will be background
check. It's quite amazing how many actors don't actually watch the show that they're
auditioning for is that if there's a precedent for it, so if you're doing right for instance, I don't
know how to what grammar is, you know what a full stop is was semicolon is have a breath,
and what a beat is, how to say the word is a word they don't understand. They just guess they
don't even find out though, if that's the correct way to say it, get the pronunciation, right.
Simple things like that gives you a way, like in two seconds flat. Like I just got lazy and, you
haven't even worked out how to say the word.

Sam Folden 10:34
And that's preparation, just preparation.

Anousha Zarkesh 10:36
That's your job. But the amount of actors that dont get that right is phenomenal. And that's just
lazyness to me. And I don't know why they don't do it.

Max Belmonte 10:45
So that gives you the impression then then if you did hire them, or put them in front of the
client, you know, and that is a callback with the client of the room or something like that. That's
what they'll be like onset, underprepared?

Anousha Zarkesh 10:56
Well, yeah, you know, I mean, they can get they can know the same. But if you don't, if you're
not smart enough to pick up a book, or even Googled, or what the right pronunciation, instead
of go, Well, how much preparation did you do on this? And if you didn't really understand what
the word meant, then why did you say it? So I do, you know, that happens. And I get a bit
annoyed about that, because that's something that, you know, you can work out. The other
things, though, the X Factor things, you know, do, how did how far do you pitch it? How far do
you push it, how brave you're going to make choices, those things are exciting for me, when
actors really commit to making a decision about how, what the how they want to play that role,
a lot of actors play it safe. And they, you know, there's a lot of safe, you know, good tests, you
know, some really competent, good auditions. When people feel they are brave enough, and to
take those risks and to push and commit to it emotionally, or making a choice about that
character, and invent a backstory that only they will know. I think that's exciting to watch,
because that's, you know, what I might see, but I might think, get one that blows me out of the
water, because they're emotionally connected to it, they've gone there emotionally, I'm clicked
with the amount of motion, but it might be funny, they're just really funny. And they're really
great at ad libbing the character. And then they can add live in character. I mean, I'm just doing
a comedy series back to back at the moment. And the amount of comedy actors, I mean,
they're great. They can find the beats, they can do all the comedy, but when they can invent
and, and be brave and make choices, when they're added living means that they've really got
the grasp of the character. And so that's exciting to watch. There's no set, what I want in the
audition is, but I think that's exciting to see talent and pure joy and playfulness. And audition is
not the final result. For me when we when an audition, actors auditioning. It's how much they
take direction, how much they want to play in the room and to relax. And to try and just go this
is I'm just here for the audition, and not worry about the end result, which is where nerves
come in. And I know that's a question that you want to ask about how to deal with nerves. And
I, again, I can't give you tips on that. But to say, when I'm in that room, and I want it badly,
every actor wants it badly. Of course, every actor wants a burger. We know that. And how to
stop that nurses to kind of go, I'm just gonna enjoy this process. And it is all for auditions. I
know. But I think if you can sort of go okay, I'm gonna put it out of my mind. I'm just gonna do
it. I'm gonna play and then leave and not think about it. And then you.

Sam Folden 13:38
Yeah, you almost have to forget. You want it so badly. Because that's the part that makes you
for use of a better word a bit shit. Because if you want it too much, you look a bit desperate or
the character just, you know, yeah, 100%

Anousha Zarkesh 13:53
Aspiration is okay, as long as it doesn't interfere with your audition. And I think somehow
you've got to be kind of Zen about it. And like kids are really great at auditions, because they
just like coming in and playing in the room, and other fun. So they don't care what happens at
the end, they're just there to do that. Because actors can embrace that. And you know, own the
room come in and say, Oh, call, I'm just gonna give you your, you know, 20 minutes in the room
and give you about my best thing and not be distracted and waste time making excuses talking
a lot. Just get in the zone. Here we are playing, we will give me some invention. Listen, you
know, listen and react. I mean, acting is listening and reacting. So the other actor or the other
reader, and then and then react accordingly. I think that's half the trick. And then you can sort
of add to that, and then if you can take direction and you can listen to that direction, even
better. But a lot of actors just go and zone out. And then other actors are really great at taking
direction and just incrementally. So I might say incrementally just just pick up the pace a bit.
That which doesn't mean rush through it just a little bit. And then Know what that means, you
know, in terms of just, you know, not laboring every line, that sort of stuff anyway, I'm talking
too much.

Max Belmonte 15:06
No, no, it's great. We're avid listeners! This is this is gold, this is gold. And I guess, all that's
landing, and it just sort of makes so much sense now, as to why you'd want to be as prepared
as possible with all the stuff you know, you know, the script, the character, the breakdown of
the scene, have, practice a few different options, that sort of stuff. Because I guess you can
always sort of pull someone back.

Anousha Zarkesh 15:29
Pulling backs easier than trying to push a performance and ramp it up a bit. And I think if you
can like, then I can say, great, and that's fine, we've got a really good big performance, let's
just throw those lines away. You know, just, I don't know, just speak to a friend, now we're
being intimate, you're not talking to a huge talking to me, and I'm three seconds away, was just
a whole dynamic straightaway. But those things we can start, then we can start to play. But if
you haven't even got there, there's nowhere to go. And then you sort of go okay, I'm just gonna
give you an acting lesson pretty much for a second.

Sam Folden 16:01
I think that it's one thing, one reason, main reason that I prefer to do auditions in the room than
self tapes, although we are living in that self tape, well, just because you can then react with

with you and the casting director and get that direction and play a bit more self tapes feel
almost like a black hole like you can, you're your worst critic, and sometimes you just gotta be
like, Yes, I, you know, you don't want to be a perfectionist when it comes to that. So I think it's
fun. Being in the room, it's a bit more of a performance.

Anousha Zarkesh 16:30
Well, definitely. And I can, I can see it, because I'm watching on the screen in the monitor. And I
can sort of then make my I mean, it's very again, it's very subjective. Some, in a lot of cases,
because we're, I'm on early, and the director doesn't really know what they want from that
performance or that role. You know, we might talk about the character, and we kind of totally
know what we want. But sometimes we're all in the dark, including myself. So when an actor
comes in, or testing for a role, I don't really know what that director wants, because we haven't
really knotted out that character. And sometimes an actor will just come in and have made a
decision and made a choice. And we thought, we go Oh, wow, I've never seen I've never
thought of the character playing it like that, or, wow, that's just a really interesting choice. And
we then it changes the whole dynamic of the story. And we add some more nuance to it. And,
you know, so enacted, completely changed the nature of how, you know, we maybe be obvious
about the choices we make or the obvious character. So I think, you know, you can certainly,
and I think we're Self Test true, sometimes a lot of self tests come in, and I know you're in a
black hole. And we're basically saying, it's all up to you now. Good on you, all the testing, who
might watch 50 tests, and there might be, you know, 40 of them, pretty much the same, and
everyone's got the same notes or feels the same way. And then two people might go blow us
completely away and go, Wow, where did they get that from? But they've made choices. And I
think, again, it's been brave. And I know that words being bandied around a lot, but it's about
just not being competent, and really think it's using your imagination, and having an
contextually, if you've got the material there to go. Well, I think I've made that choice about
that character. And that's why I'm making those choices in those sayings.

Max Belmonte 18:18
Well, I know, in my past corporate life, you know, negotiating with bullies, and that, that that at
the start that used to make me nervous, after a while it was kind of okay, so walk into an
audition. I feel I feel alright, I feel calm, I feel good. And mainly because I'm all over the
material, and I've got my options, all the rest of it, but what advice would you give to actors
who do you know, they walk into the room and they're nervous, like, you can see this sort of
struggling a bit even before you get a word out of them?

Anousha Zarkesh 18:50
Well, there's many, many times that's happened. Ah, look, I you know, we can we can feel it
pretty much and I hope that we're generous and be kind to people to sort of make them feel
comfortable. I think it's about sort of overcoming and being comfortable and trying to make the
actors feel comfortable when they walk in and explain what we want. And for them to kind of
breathe I mean, breathing techniques or is good. Changing the tune and just going doesn't
matter. Let's just have it let's get in there and play. And yeah, it's I had something that I can't
do. I mean, really, the actor has to sometimes use the energy to look usually the first takes that
sometimes I usually record on the first tape because sometimes even though actors are
nervous, it can be really great because it's their first choice. And we can always delete it. You
know, the days of digital now we you know, the old pneumatic tapes, we didn't, but the digital
now we can delete that and once we get once it's all out and everyone's had a bit of a run.
Everyone starts to relax a bit, and then you go, okay, great. We've got that nailed that let's let's
try it this way.

Max Belmonte 19:55
And are you comfortable if an actor walks in the room and says, Look, can I just have a moment

Anousha Zarkesh 20:00
Yeah, of course, depends on how you know whether they're going to meditate in the back
corner for three minutes.

Max Belmonte 20:08
Chanting for 10 minutes?

Anousha Zarkesh 20:10
No, I should have happened before you come in, but yes, of course, if they go, oh, you know,
I've got dry mouth, have a glass of water, go to the toilet come in relax, or why don't you just
sit it out for 10 minutes and I'll take the other actor in, you come back in 10 minutes and to
know, yeah, we're pretty cool. And we've seen it all. It's just trying to, you know, I want the I,
you know, there's, there's this idea that casting directors are the enemy of the actor, we, you
know, we want actors to do well, it's about us looking good. So you guys make us look good.
I've got 10 Federal greats, you know. So we work with actors, and we love what you guys do. So
I don't want any comfortable. So there's, you know, I think if they believe that we, we've only
chosen the men because we want you to do well, once you've got that in your head. And then
we're on your side, because it doesn't do anyone a service for us to be you know, having a
terrified actor or a disgruntled actor or an angry actor wasn't war. So we also a dozen people,
and, you know, casting directors and we're all we're all got demands. And you know, I might my
phone call, I might have had three or four phone calls, you know, during that casting, so I might
be distracted, or we're busy, or we're running late. And there's a lot of other things that we go,
you know, we have going on, that we may be distracted at times, too.

Sam Folden 21:33
Yeah, I think being a theater nerd and to being in theater my whole life as well. I think it's really
cool how nerves can be nervous, right for curtain opens up, and then that just turns into
adrenaline. And it just helps so much. I think if you're not nervous, it's a bit of a low
performance. And I think it works for film and TV as well. Same idea. Even in an audition sense,
as scary as that can be.

Anousha Zarkesh 22:01
Once you start to become a bit dry mouthed and breathless, that can be a problem because
you'd sort of race through, you're not listening and you'd racing through your audition just to
get it over and done with but that's could be most audition, and you go okay, you've said it,
you've got the lines out, you know it, you know, blah, and, like everyone breathe, you know,
run up and down. And, and now we can all relax. We're well aware of that. And, and so I
couldn't do it. Again, every act is different. Every situation is different. And we try and Just
Judge I mean, part psychologist to try and go okay, it's okay. You know, current partners left
moving house. Sorry, I'm late, you know, all that stuff. We go, yeah, we've got shit going on in
our lives, too. So it's all okay,

Sam Folden 22:49
So what advice can you give us on how to get, I guess, on the radar of casting directors and
people like you? Because I mean, for example, Max and I both have agents, obviously, that's
probably one of the first steps. But just on top of that, like, are you happy if people cold send
you stuff? Obviously, you're super busy. So could that be annoying? You pretty much pretty
much how do you get on your radar, I guess

Anousha Zarkesh 23:13
Sending, when you're doing your work, to get your agent to send it to us because I think you're
having unsolicited emails or text messages or phone calls from us. We just can't keep up
because otherwise, you know, 500 people would call us a day. Why do all these actors do do
email me, you know, I might have, it might sit there for a couple of days before I respond. And
if they've got a great new podcast, or they've got a new, short film, they're watching if it's
relevant to particularly if it's relevant to the work that I'm doing, I might be doing two jobs at
the same time. So if I look at the photograph, and I go, Oh, that person might be I don't know
that person very well, I'll look at their new show, you know, whatever short film or whatever
they've done, or new reel. Sometimes that can be handy to jog my memory at the time. If it's
not relevant to the work that I'm doing. It goes into the, you know, the file where I look at it
later. And you know, when I've got time, but I do look at everything. I tried to watch everything.
And I'm always excited about new people or if people have got new work, I will look at us. It's
just that I may not respond. And I know the casting directors are just as busy and they you
know, it's hard to respond. Invite us to the theater because they're doing a show or comedy
gig. You know, invite us to the show, if we can get there we will

Max Belmonte 24:30
Great advice. Absolutely amazing. I think in a way it kind of cements what we've been saying,
in our podcasts of, you know, do as much as you can to be prepared to be able to do your best
have a few different options. And it's a chance to sort of, you know, show off your skills in
person really

Anousha Zarkesh 24:51
Well exactly. And I think what like what you're doing and then a lot of actors that join up with
groups people, if you can write and you can produce you guys As can get a group of people
together, and you practice your craft, I mean, unfortunately, it's not like being a painter or a
musician where you could do it alone. You need to find a group. You know, do you short, your
self test with, you know, you need to critique your own work. As actors. I think actors are
waiting to be told how to act, or how to present in this new COVID. World, self tests are key to
stay. Obviously, we all want to get in the studio and do that, that I think actors have lost the art
of actually critiquing other people's work, and critiquing your own work. So if you've got a
group of friends that are that you trust, and that you do a self audition, you know, you do an
audition, get them to read, to be really, really strong about the critiquing, not negative
critiquing. But to say, maybe you could do it this way, you could try it that way. Why don't we
do take splits play with that? Exactly what we're doing in the room, you should be able to look
at other people's work. And then just as when you watch a show, and you know, some people
can say, I love that performance. But why do you like that performance? What is it about that
performance of working? How do they transcend? What's the emotion going on? And what are
the what are the tricks that actors do? Are they covering up their emotions? How are they
expressing it? How could you improve on, you know, they are too obvious, is it too obvious to
cry openly, they'd better be covering it up. I mean, there's all sorts of things that you should be
able to critique your own work with. And then that makes a self test, and you've got a group of
friends that you trust to do that with is really important, because your agents can, now the
agents are finding it overwhelming that when they get their self tests, and you know, 40
people, if they're getting 40, self tests, the agents are now having to watch that and critique it
and then send them on. And they they missed that whole process, those agencies to send the
actors in, and they never got to see what what happens in our room, or than what their actors
are doing. And now they're looking at their actors. And they're watching the auditions, and
they're having to kind of critique, and I think they're finding it probably overwhelming, and
don't know how to advise on that. And they wanting a lot more feedback. And the feedback
normally happens in the room. Essentially, they don't you don't get the feedback, why you
didn't get the job, that we're giving you feedback. And you can usually tell what you're doing
each audition, you do, what you're lacking, or what you need to do to get better each time.

Max Belmonte 27:15
That's great. That's really interesting about the the agent piece, because I never thought of it
that way, how they're suddenly exposed to exactly what the hell happens.

Anousha Zarkesh 27:23
And they're exposed to what their clients are doing all the time. So now they can say, well, do I
have a great actor here? Or don't I? You know, because they miss that whole bit? Unless your
actor gets the job? Yeah. Well, something, that actor does something weird with their mouth,
every time they do an audition they're doing, they give they've got, they've got a tick, you
know, that you can you now can look at your friends and look at yourself and go, I don't believe
you, I don't buy that. I don't buy the emotion. You know, drop the pretense. You know, if you if
you turned around and looked up, or you didn't do the whole test directly to camera or to that
person. You know, it's amazing what the power of not looking at someone does when you do an
audition or the power of your body, you know, standing with two legs as opposed to sitting on
one leg and how you give your power away and how you say your line. And what eyeline you
get all of that stuff. Which is, you know, when you're looking at body language, and when
you're looking at how people react in certain situations, how truthful it is, and why isn't it
truthful? Why, why don't I buy it, and you should be able to say why you don't. And again, it's
all subjective, and people are all different. And every choice you make. But, you know, for us in
the room, something will move us. And we'll go, Oh, my God, I just, that was just like, wow,
because it's so truthful. Or it's so moving, or it's so funny. And why is it funny? Because it's so
quirky, or it's so truthful, or it's you know, I don't know, all of those things. I'm sort of talking
around around around but it's actors can do that yourself as well. You know, it's a good practice
for actors to watch a television show, and Australian television show your competitors, the
people you're about to work for, you know, what, who was the cinematographer? Were the
directors were the, you know, the director, producers. What have they done in the previous
time? I mean, this is your homework, and how to pitch it and what do they like, what actors do
they choose? And then watch the actors and then say, well, what is it about their performance
that I love? And really, really nutted out, you know, and be able to have have that conversation
with your friends, but not critical? Not like I just think it's shared.

Max Belmonte 29:34
Yeah, constructively. That's great. Look, thank you Anousha so much for a whole lot of great
insights to be perfectly honest, and congratulations again on the AACTA Award. Well done.
You've got it, flaunt it. That's it. That's it. Thank you very much. We do appreciate your time
and wherever you're listening to your podcasts, make sure you subscribe so you don't miss
more tips and tricks for actors I'm MAX

Sam Folden 30:03
I'm SAM

Max Belmonte 30:04
And you'll hear us next week!