0:03
It's a daily Talk Show Episode 460 and we're in the depths of channel 10 in Sydney, the dungeon Scott Tweety Welcome to the show.

0:12
Great to be on the show boys. I love keeping up to date I To be honest, I don't listen to your full podcast I do the snippets on Instagram gronk because I'm part of that generation where you're running around always on the fly, but talk about commitment and you guys are killing it. And I love the stats as well. Because the last month Yeah, honestly been on fire. Yeah, all that hard work where you've just been grinding away is now coming to light. A couple of narcissists that realised when you posting your stats of success and people respond is it's a great strategy.

0:43
I'm awesome. Look

0:44
at me, but tell us where where are we right now? What is this room?

0:47
Okay, so I've actually the boys capture reception at channel 10. And our channel Tim building is kind of like your local shopping mall, where right in the middle is our news desk. That's where they film studio 10. The new they also do the loop, which is a huge show. Everyone loves that show. And been around that is like a big hall open space and all the offices around there for like levels 345 and six, but we've gone down to level two, and we've gone about 100 metres west to where all the green rooms are and there's about a block of nine green rooms and this is the biggest one. This is where all like the punters come to the show is like a celebrity name. We

1:29
had a couple of gronk

1:33
there's a makeup mirror WeChat missing it Stephens currently sitting in. He's not he's just had his head down.

1:38
I told him. I love Justin Timberlake.

1:42
Yeah, he's rocking it. I mean, congratulations. 400 episodes. Yeah, you're about to hear it. That's that's this Saturday, which is when we made it to Episode 20. Because in TV, it's, it's a bit of a milestone to make it past 100 than 200.

1:58
Is that because the show could get candle you just need to still have a job or what is all about? Basically, stars have to align for it to get to 400.

2:07
It really does. And it's like we've built an audience now. And it's not a huge audience. But for a Saturday morning slot, we are consistently like number one or two. And that's taking on like seven and nine and 10, the mothership channel. So we'll start with our little audience that we've found. And it took us quite a long time to figure out what was the right sort of formula for that? Will I lean show like we are, there's five of us that make the whole show,

2:31
hey, getting the feedback to work it out. I mean, people, numbers, numbers, things.

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So he's asked what brings revenue so we just have to, although feedback could be different on Facebook or Twitter, we have to listen to the revenue driver, which is writing

2:44
what is something that's actually you've realised that you needed to change

2:49
all of the better the more retro? It is? people I think because our average audience is a 44 year old female. Yeah, so they just love like a blast from the past when there's a set of morning cleaning the house Oh, they're just taking the kids to sport or doesn't matter what they're doing. Flick on the telly I hear a song that reminds them of 20 years ago at a party they're like I love Yeah, why

3:13
every dies RMB Friday Southern girls hysteria doing Friday's you but we love flashbacks. That's the thing. I mean, that hold music was an actual like present day

3:23
like it's gonna be more exciting us looking back and saying How good was it doing the podcast and it is right now.

3:29
You're probably it probably helps because you connect to that because I mean, it's it's like this, you were listening to a new

3:35
it works perfectly for us because that way like but then we become very boss as well with like what we do play. So we have to listen to the audience on Facebook and Twitter and Instagram, like their request but at the same same time, the style we just know, you know, metal to niche which is unfortunate. So where you go main main mainstream rock and pop. And then also we play the new stuff and like the last hour of the show.

3:59
Yeah, well, it I followed your journey for quite some time. I remember looking at your show reels when I was trying to you know, have my crack at being a presenter. And now I'm here guys, I'm in the green room. It is

4:11
a transition.

4:12
But what I've loved about your journey is you actually create as well, you know, there's a bunch of TV personalities for me is the guy that just present. But there's so much more to it. And there's that creation element. Jules Lang kicked me out the ass and said you need to start creating what was it for you to actually start being a creator as well as a presenter.

4:33
I think it was from day one it was to get my first gig was being created because I made a few lies up when I was working at uni and I was on the street team for Nova radio giving out the cans of coke. And it was that whole I realised I could get more hours at a casual right, filming the radio guys, and going also more access to like famous people by filming them as well. So you go to a festival and you're like, yeah, cool, went to be Fatboy Slim. And then, and then that's it. I'm like, what about all the rest of the honestly like, no, and I'm like, what, can I do it now? Yeah. Sweet. So it probably can't copy. Now I just had the worst microphone technique ever, and like making mistakes. So I had all these like years experience doing rookie stuff. And then I was like, to a guy at night was like he was on TV. How can I get on TV? And you guys might if you're good enough, you'll get on TV. He's like making sure real and on my but how do you make a show without being on a show you guys fake it, go out there with a camera, and just film and film and film. And so I had my ex girlfriend at the time blessing, she was my camera woman. And we just attack after attack. And then you go to more and more public spaces where you get more and more nervous. Make all these mistakes, but make a slick show real then it was like bang. So from the word go, I was creating had this dream run ABC where it was like life was on a plateau with these great programming and shows. And then I came to 10. And you just realise you've got a foot if you want to do what you want to do, no one's going to do it for you. So I'm lucky that like I can pay the bills with what I do on TV. But I'm still right now like aggressively behind the scenes, creating format shows working with production companies to sell the channel 10 or whoever will buy it nowadays. And so I think I spent 10 years on camera building up credibility. But at the same time, you just need to like if I want to do like right now, if I set that office with an executive like, what's your channel? 10? Do you want to host and I'm probably like, like, of course any of them. But I'm like really deep down now them. And it's like a show that I want to do with a team I want to do it with so yeah, it's so important nowadays. Yeah. Which is bloody hard. It's just like, I probably spent, if you consolidated the hours, like five to 10,000 hours writing pitches, like pitch decks and delivering the payroll. Cool. That's great. I'll talk to you in a month never. Again, he's gonna like rejection, rejection, rejection, rejection. And I still haven't struggled yet. But getting closer. But we're in agreement.

6:56
The five people on the team, you talk about being late within radio, that a decent sized team, the contrast between producing radio content versus TV content, what do you see is the the main differences, I feel like

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we are we are very much like a radio show in that live in myself, right. And we come up with ideas for segments, then we have one more producer to work with to sort of bounce with, then we have that same producer is an editor and then we have another editor as well as the input. So that's where you get four of us. And then we have an executive producer that goes you can't have money for this, you can have money for this. And when I say that we can never have money. So it's like we as lean as it gets. We use the news crew from Studio 10 that flip around the cameras and replace the set to say the loop. And they all work another two hours overtime to get the loop in the can. So yeah, we are similar to a radio show in that all the ideas come from us. And yeah, basically, we have to keep watching other sources of content to go That's funny. Let's do something similar. Or why aren't we doing this? Can we do this and nine times out of 10 to know because we have money to do that. So you gotta find out a cheap way to do it.

8:09
I heard you mentioned that with prank patrol. It was it grand per episode. Yeah,

8:14
yeah. So money. It's a lot of money for a kid show. Yeah, so that's like that includes three days of production. On the third day, the prank day, we probably had like 20 to 30 people on set, which is huge. It had like an OB track. It was incredible. So that that was for me it was coming from money.

8:31
Yeah, did that. spoil you a little bit or like I guess that's like, you know, big money, like in the grand scheme of

8:38
TV shows are about like, about 200 to $300,000 in episode primetime, you get to the mill 2 million episode.

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Show that's 200

8:48
on a medium sized show, so like any of those ones from pilot week on channel 10 like, have you been paying attention? All those sorts of shows where it's either filmed in one Studio waggon bash it out or it's like a it's you know, Bond I rescue. That'd be like two to $300,000 then you get the honest celebrities all the big shiny floors Dancing with the Stars, we get into the multi millions of dollars. So yeah, it's I've come from what I thought was at the time for private trolls working with freelances that worked on those biggest shows and they like this.

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They have bad that was

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crazy. Like when we work with Sandoz, we're always blown away by when they've come from TV, the expectations of everything from parking to food, like we've had to really about nine when we bring in multiple people.

9:41
Yeah, yeah, it's like that. And so having a sound is electric. Across the studio 10 it's just me and a camera guy. Yeah. And he's doing everything. So you know, I want seeing the pressure on them, as one of the jobs doubled. So they like, Listen, make sure it's not peeking out. And then also make sure that pictures are great. It's a nice white balance. Meanwhile, you got a lunatic in front of the camera is being unpredictable. Hitting a chimpanzee in the head. We're lucky to get that shot, man. So yeah, it's like the pressures going up. But then I also think the looseness is also nice. I think people like it when it's not as polished. Yeah. And then another half of my world is is trying to make cool content just for Instagram too long, stay relevant and just have fun with people.

10:24
It is branding for you, you know your shows for the network. Can you are you actually allowed to rip the content? Somehow if you ask for it? I mean, I went on the project and I asked them Can I have it? And they said no. Well that's the first rule you never are. Yeah, I started

10:43
after

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I thought I was being nice.

10:46
Now I do the whole you just do things and then you know wait for the slap on the wrist. Yeah, yes. I

10:52
sorry about ask for forgiveness.

10:54
Yeah. This haze of syphon to audiences for like there was big popular in it, like early days of social media with radio was radio announcers would just sign off their put their personal account on the stations and we're just like, end up building huge audiences. Yeah. The pilot week I'm curious about that. The the vibe around the studio when pilot weeks on what is that? Why so

11:21
pilot week just Firstly, in America is a this crazy? Tommy do yeah, way people bringing their shows? And what is it they're shown or they just actually, actually they

11:30
film of the first episode. So the pilot episode, and then they air it. And they actually listen to the audience. And they have like, in some instances, they have like, they'll do a viewing at Vegas. And they have like, 1000 people there. And I literally all have these little buttons. And when they like things, they press it like, yes, we like that when they don't like it. We don't like it. So that's how also actors get cast well as well. So like every time you come on a dislike dislike, you're not going to make it in the main series. Geez. So that's that's one. So stall the metric system, how they measure it is going to be a success or not. Then there's a whole other side with the executives and then like, you know how marketable people are, and there's so much to it. And there's a lot of politics stored as well. It's like, if production companies lockable, you've got pool in your powder, as well. So here at 10 it's really exciting because they are giving, you know, a lot of new shows ago, they're still coming from those medium sized production companies they like if you boys put in a cracking idea. I still say the chances are pretty low. Yeah. And myself as well, like anyone, if you're not aligned with one of those medium sized production companies, to large ones where they know with a lot of money, you can execute a show and make it good. They're not going to risk that

12:42
was it? Yeah, who you know, a foot in the door? Was Did you have any of that? Oh, you You came with zero contacts? And when I saw that, yeah. Oh, yeah.

12:51
My, that was called Cole that was like that though advertising a Triple J. They're like, all right, ABC three is launching. We need heaps, the highest rates of shows.

12:59
Remember these? I don't know if I actually went for it. But I knew Kane treadmill Who? Yeah, is now a good friend of mine. So that was a competition. And was it was like everyone was like,

13:09
there was like national cost and Cole across all ABC channels. And but he wasn't around then. And Triple J. And they're like, yeah, casting call. We're looking for these presenters. And at the time, I was at NOVA quite deep into my music interviews, and I was loving it. And I was like, channel v. MTV. They were I want to be that sick. It was like Kids TV. I was like, that's not cool. I was like, high school was like today's colour is red. So yeah, I was kind of really hesitant. Then I had all this footage in the in the bank, and then I can edit as well. And I knew all the other guys from the street team were putting in applications and I was watching their videos. And I was like, yeah, so like, within 24 hours, I quickly feel in just a few more pieces to tie it all together. chopped it up. It had to be two minutes or less. And mine was 159 throw it in, and it's pretty action packed the show real and I put a lot in there. And then yeah, it was like a week went by and it was like cool up. Quick audition at cutting edge and Brisbane on a few from Brisbane. But it's like a, it's a post production house. Shooting myself, like sweating because I was like, What does this mean? What am I gonna do? And so I just sort of like blanked out everything. It was like going there. Be yourself. Be the guy that you are Nova. And if you get a gig from it great if you don't, whatever, I'm not gonna like make myself more kids tv like Hey, guys. Yeah, but I kind of naturally

14:39
I had like, stupid long hair. I used to chemically straighten my hair.

14:46
That could be missing it sevens and eights when

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I'm already dry. Like

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we both

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Josh and I think, and I and I hear you about the audition stuff. And it gives me chills because it's, it's so much out of your control at, you know, to some degree,

15:08
but it's kind of nice, because it's like, here's, I'm going to rock up as myself. I'm going to be myself. And if you don't like that, there's nothing you can do. You really going in there to entertain them with and then that's why we had to like prepare for the audition, we had to learn a two page script. And then you had to go in there and make up a segment. Yeah. And then they're like, all right, do that for us. Do you audition? Well? Yeah. And in those circumstances, yes. I've done a few here at 10, where it's just like, it's just the wrong show. So they've been a few game shows. And I'm like, there's

15:42
no way I want to have a audition for that. Uh, you like holding cards and sort of running out. Hi, everyone. Yeah,

15:48
you kind of start where it's like in a room like this usually at a hotel. And what's the vibe? Are there other people they're saying each other off, but you'll see passing who's going for it.

16:01
I did an audition for couch time up in Brisbane, channel 10 there, and I flew up there. And I was so pumped. I got through, you know, the first stage. And then there was like, 20 people there you met them all. And they they did like some, you know, pairing people together to do some chats on camera. And then they fucking cut half of the people told to go home. Really, that's

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it was brutal. In front of everyone know,

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people just started leaving or it was like what's going on? And I got through the second. And I and then I didn't get it. But I was like, imagine getting caught that first bit.

16:35
So for our for the practice show on the ABC three one they had in the Brisbane 110 of us in a room. So you all do it together, like audition in front of each other, interact with each other, do mock interviews with each other. Then the second stage was down in Sydney, they flew I think like 20 of us in and then at lunchtime they told tend to go home. And it wasn't that whole you haven't got. Okay, we've seen enough for you guys. Yeah, we're going to do more with you guys and roll I just got caught. It's pretty obvious and it was brutal for them. And then all isn't that last 10. And then they actually told myself and it goes, Okay, we've seen enough of you. And then for Cain and Abel, and then another guy and a girl. And I was like, I didn't get the gig. Sydney for the day. So yeah, and then and then from that I actually did get offered prank patrol within a week. They're like, can you fly literally by next Friday down to Melbourne? We're going to start production on the Monday.

17:29
How much are you thinking serendipitously? Like, you know, this has happened because of this, you know, like, everything happens for a reason, because that could be the approach, right? I'm not meant for this show. So I actually don't want the show.

17:43
You know, in the audition process, I guess you're also sizing up whether you want the thing or not.

17:54
But you know, like this is now in the last two years for channel 10. I've done some auditions where it's just like, I think everyone knows it's probably not right. But they'll put you in there to see how you go. So do you

18:05
if you aren't right, you're going to shine though. In those auditions. I do find that the stuff you like is the stuff that you good at. You really need to turn your brain on to go like

18:15
I'm loving this and I'm killing it at this, but it was tricky. One of the audition ones i'd nailed it for the hotel room on. And then in the studio with all the crew that I know from 10. They'd had like the set built, and ours is just not this fringe. So what do you do? Do you just go? Yeah, the show is gonna go on. Yeah, you gotta just keep powering. But true to Vegas. I gotta go. So I must go on.

18:43
What about the I mean, we were talking recently about just feeling a bit tired before you go into the show and working with a co host? You work with leave? And do you tell her if you're not feeling amazing? Or do you just from the fish mask ally?

18:56
I like to keep it if I could say if I'm professional guys, but

19:02
I keep that to myself. Yeah.

19:04
You overcompensate potentially.

19:07
No, I don't think so. I think I'm sometimes better.

19:12
Whatever, more relaxed, but then sometimes I will let live No, but then I won't let any of the other crew know because I think it's just, you know, you're there for a reason. They're all working their butts off. And you don't want to let the team down. So yeah, I prefer to keep it to myself and just go not just do it, get it done. And we've all been at that point, you know, we absolutely stinging. I'm not talking about swing hangover. Just even if you got a vomiting by just get it done. And then as soon as you get back to your dressing room walk into your car, or you know if you guys have a day and you get back to your apartments, you just go oh my god. Now Yeah, so like I think there's a in our bodies, we have like a percentage there, we can take it to the limits. And I think there's beyond that. If you literally are passing out on set,

19:56
have you done it Have you burnt out

20:00
I reckon the closest I came to burning out was for the ARIA awards three years ago, because I just had so many things to do within like 24 hours. And so we were pre shooting the day before then had like a 6am call time, they'd had like a big shoot because it was brand funded for like a car in the morning for like four hours then straight to let the red carpet and you've got to remember information for like, I think it was like 65 to 100 artists. And because we're part of the live broadcast, you don't know who's gonna be thrown at you and you're going to kind of know what they're there for what they're nominated for what they're doing. And then it will cause musicians in Australia they like they're great people but if you stuff something up they just going to take it out he likes to present a guy you know the pressure of that and then we finished the carpet I was also filming was as soon as he finished the carpet an episode for the loop. And then I had to go behind the scenes to do a live stream for Telstra, which is part of the broadcast as well for all the winners when they came offstage to interview them as well and the presented too. So you had like the guys from excess and you had like teen arena and these guys and you're just like my brain so that went from like 6am to I don't think I ate any food as well. Like you lost parties food you like we're on the guy get the job done. You guys do the same setup cameras filming get to Dickies wherever you're gonna go and it's like us feet away. Yeah. So the end of that day. I was just I don't know, I went into this vortex of life.

21:29
With thrive of pressure.

21:31
I do like it. Yeah, well, that's TV, right? I do like being prepared for pressure. So that may one of the smartest calls actually had an intern with me. It was just a young kid from Melbourne that flew himself up. And he just wanted to be a part of the day and I was like, brilliant. Well, can you hold my cue cards? And whenever I met Scott, not as flick me here, the honesty is and I'll quickly read it. And so he was like my right hand man the whole day. And I reckon without him. I'll be screwed What happened to him? I think he's doing like finance or something. Now, my

22:05
guest today, how do you? How do you do a great guest interview? What do you think the the things that you need to take,

22:12
connect with them as humans as fast as you can, you know, like, take them off. If they've been put on a pedestal the harnesses like the big American artists, and they come here and they've got that team of 12 people here like, you know, that you're bringing back down to to the ground where we're all as one as humans, Eric, and that's Did you have a ship this morning?

22:38
each one's different. I don't have a formula. Yeah, we do interviews, and I love to research and just watch their past month of media what they've done. So you don't want to you don't do the same thing over and over again. But you also want to talk about something if it's a big deal.

22:53
lugging this shit, because I think one of the things that Tommy and I have always like, I'm terrible at retaining like, anything like details. So what you were doing at the hour is I would hate Yeah. Are you good at saying okay, I get the plug out straightaway, then you album or whatever. So they relax, or do you feel those types of pressures? Not Not really.

23:16
But that's the other thing. You know, in this day and age, you don't get much guidance as well. I'm what's right and wrong. So I'll try to HX with their editors, just to get to that sock. Like what do you think how can I be better? For me, it's about being a bit more concise, which is questions just going back to Banda Banda bang question, or else he beat around the bush too long. So yeah, it's like, well, it's just learning different techniques. But there's no formula I don't find like, I find if you plug them alien, they're going to go Oh,

23:43
yeah, yeah, we've got such a short time with most of these people. I remember doing some grey carpet stuff. And I was just just trying to come up with some little zing error or some kind of little fun game. I gave Kelly Slater. A Capri cremate once and he loved it. Again, played a bunch of different games. You say this when I say that? shit like that? Is there anything that went pear shaped for you?

24:08
We Ashkelon didn't know I when she was on the loop. We interviewed Jeremy Renner with his director as well. He was doing the Jason Bourne film. Matt Damon didn't do it, I think was the ultimatum. Tell me which one it was. Anyways, he obviously had a bad day with media. So we were rocking there. Were all happy. And I filmed half the film in Milan, Manila in the Philippines. And now she's live there. So she's like, She's like, I'll connect with him on this. Like, brilliant. Anyways, he gave us nothing. Like, no matter what we were saying. It was literally like he wanted to just make this interview a failure for us. And he'd be like, yes, no. And like, just shut everything down. And we're like, Look, we've got to the point where the director we're all connecting eyes with direct to real What is he doing right now? And then the director couldn't even help us. So we kept doing more and ashes like you know, I grew up in Manila has a humidity I mean,

25:08
I used to have straight hair until I live there.

25:12
didn't bother me.

25:15
So I got to the point where the hair at all I

25:18
like stuff this guy

25:20
and did you salvage anything from it? Oh, no, we went to air but it was just crap.

25:23
We're just like, What? You're getting paid millions of dollars to plug your film. And we're there to help you plug your film.

25:32
But you know what? 99% of celebrities epi,

25:35
who's blind your mind?

25:37
The bigger the better. Like even Tom Cruise on a red carpet where you only get like yet 30 seconds with someone a red carpet. He just connected on and just didn't stop by talk.

25:46
He was actually doing mind control at that point. I've heard I've heard. I've heard that. people sitting around this one guy was talking about doing a read with him. And he's just the most engaging man.

25:59
Yeah, was Yeah, he was human like Matt Damon, as well. Like what the sensitive thing. It's like always people were screaming on a red carpet. And he just wouldn't stop chatting to me and I was like, This is incredible. Whereas you get like a slagging off but we will Megan Fox, right? Beautiful lady

26:17
your

26:20
thumbs like me.

26:40
So they also known as clubs.

26:44
Now, but like there's a bit of a community if you go on to Instagram, a lot of people with tau thumps have Instagram accounts. And if you look at the hashtag, Megan Fox

26:54
CT have I mean so do you think Tom Cruise has consciously thought I'm going to lock eyes? I'm going to just be the most engaging because all you think it's natural to him.

27:05
I think the film he was promoting that he was a producer on was so shit.

27:13
smashed his red pocket. I may every person he allowed me to at least give the movie a little bit more love. Yeah. Yeah, that's smart.

27:22
Is there anything you do that you you consciously do it may become a habit now? Remember,

27:32
Jocelyn

27:34
never remembers knows. I feel like he's doing that hypnosis like throughout his life. Joel's just too smooth.

27:41
Yeah, yeah, I know. It's probably being conscious decision at some point. Now.

27:45
Andy lays another great one. He's always remembers everyone's now. Yeah,

27:50
so I do a trick for names. I'm a visual learner. So I have to write down on my iPhone, just in the notes section. So as soon as I made someone if I don't write it down, so I visually remember your text. And you said it's myself, Josh and Mason in that order, and like how it was written. So that's how I remember scripts as well. So I might things on a piece of paper, Rocky, Rocky.

28:15
It was nice.

28:19
Bottom. Anyone else?

28:23
And I said don't mention the

28:26
the oldest is Megan Fox. She was 11 on the red carpet. Yeah. Yeah.

28:30
And lemons on necessarily good bit sour. So

28:35
I know. For me, I was like, come on. Like, I think I go into every red carpet.

28:40
What do you mean, looking at what we should like,

28:43
here? And she's like, I asked her she's like, yeah, so I'm like, it was a great film. And, you know, we had a good time looking for a mate.

28:53
But I also gone to like, every red carpet with a female stop going. This could be the moment that we stopped it.

29:03
If I interview Taylor Swift, I could be the guy.

29:06
Yeah. You never know the pitching thing. Tommy and I are terrible at doing pitches. anytime anyone says Oh, yeah, just pitch us. And we can say what happens. We we tell the storey we tell these we don't do pitches, which is just a way of saying we can't do pitches, we shouldn't take pitches, what are the tips or what have you worked out? That is required for a good pitch.

29:29
Less is more or less is more. That's convenient. That's

29:32
good. So like,

29:34
if you if you sent any executive here, more than one page for a show idea, they're not gonna read it, they literally are not gonna read it. And then fake it till you make it make it look with the graphics. Yeah, but you guys done a great job at branding. And you would have realised I suppose people take you more professionally when you have that, like everything lined up, which is annoying. take a long time.

29:54
So there's certain headline headings. When you say, purpose outline, like do you have if you're creating a pitch, a document that you just go to? Yeah, yeah, I've got like a template now.

30:05
And I've got that through contacts at the bigger production companies. And

30:08
what are some of those key areas? What are the top,

30:11
it's literally just like, it's got to be one sentence that sums up the show. To begin with, like one sentence is like, this is what it is like a log, and then have like, almost giving them ideas on like, because they also want to know, creating a show, how's this going to end up in the paper every night, how's it going to end up radio shows talking about? So then you almost want to the next line is like giving them almost like a hint of what headlines could be for the show. So it's like it you know, backing up your one line statement as to why this has never been done before. What's going to change the game why people are loving it. And you just want a few more sentences like that. And then you can actually break it down into Alright, this is how it's going to work at episodes. And it's going to cost this much. They also want to know how much

30:53
how do you work out what you think it's worth.

30:57
You've got a literally door full budget. So unless you if you go to them and go is gonna cost $300,000 and you had your number and your locks. You need my face.

31:08
I remember we were doing the thing for the selfie late. Yeah,

31:12
well, sorry, out of our debit. I guess it's not standing somewhere I kind of did that pitching thing with

31:20
what was it? ABC said will give you a quarter of a million, but you need another backer to do the same thing like Australia. What do

31:28
you seem to be doing? politics with me? But what

31:31
was Australian grants? epic? Yeah, it takes about a year from applying to then getting it. It's a lot of hard work. Yes, it's too long. What's the dream for you? Scott, what do you what do you looking further to? I think it's still continuing. Like, I want to sort of be involved with one of the bigger networks here. But helping them create like, and helping them move to where everyone's enjoying content, the moment which is online. And making still I love that the networks here can put still big budgets into programming and into content, which is great, because you guys know, when you have a small budget, you can only go so far. And then you're like, well, we want to go and do something, you know, down here and take a crew with us. But it costs so much to do that. And there's only so long you can pull favours. And then you're like, All right, we're gonna take it seriously. So working within a network here, but doing it with my ideas and doing it with a team that I want to work with. And so I don't mind if it's really low budget, if we're making cool stuff that people are watching, and people are like connecting with thing. That's great. And also for me, it's a more at the moment, which I'm working hard is in the content we're making. Having a purpose. Why do we like not just, you know, some of its just to make people laugh and make people feel good after a hard day at work? But other stuff as well as like, What's the reason? Where are we at? We all know that in this day and age, there's a lot of problems in the world in so many sales, like how do we find solutions through content,

32:57
we've got two things there, you've got to do good job at what you're doing now. And there's also thinking about and planning to lots of work that you actually seem to be doing is not enough hours in the day. Yeah.

33:09
And then also I value relationships with people. So having good friends having friends in the industry. And then also I've just started dating a new girl and like, I'm investing.

33:21
Ladies and gentlemen, Katy Perry.

33:26
She's actually an architect.

33:28
Not in that industry at all.

33:31
But I think it Perry was an

33:35
architect

33:38
on the whole network thing with digital, is it siloed within in 10? Or does it? Is it all sort of connected? It is

33:49
it is that's what they're trying to now make it all gel because it's been like this department, this department, this department, and there was a big disconnect there. But now they're realising the value of you know, especially with formats, like the bachelor, how important online, or the engagement actually does result in viewers. So and they're also starting to go well, also for that show. Is there merit for people that are paying for spots in advertising? there's value in those views? If we get 1.2 million people watching three minutes to show on Facebook? What does that mean? We're selling it in, you know, because they usually just charge for TV time. And what does that mean? At the moment? Do you think in the moment, they're packaging it into the deal? But I think soon enough, it'll be standalone like other deals there. Because you know, look at the influences how much money they're earning just up there, influencer content wise, a bachelor showing extra clips, not the same if they're putting that out on Instagram, and getting you know, hundred thousand views on it.

34:51
That's the sense I think the changes healthy in some wise, it's his few jobs that like what you have. And then there's more jobs being created, where people have to get off their ass and start creating themselves. So

35:03
once again, I'm in that world where I get paid through network to do my job, but I'm working equally as hard behind the scenes on module one, I'll be here forever. That's more as any network show. But I just love doing it as well. I don't Monsanto to I am and setting up a clip and trying to find something funny and it'll come out with an idea and pitching it in. So yeah, I did. I did a show with Kane Tamils called the crack of dawn show when periscope just just launched.

35:30
That's right. I do remember that. And

35:32
we gave it a good crack for probably like six weeks. And it was every morning Monday to Friday. We got Sydney Melbourne, Sydney, Melbourne, Sydney, Brian Shelton?

35:42
Yeah, yeah, that was that was it the roofs? I remember the

35:46
product sales of it being like a five to 10 minute live show on Periscope hope, hoping that periscope would take off. But then we're like, no one's on Twitter. Yeah, I think we chose the wrong format. But it was just to be disciplined that every morning we needed a guest. We're trying to go for guess I had 20,000 plus hours. What would have happened if he kept if you were still doing that today? Do you think? Do you think that you would have few hundred pit like, it seems like if you were to show up doing that thing, because I remember enjoying that

36:15
you were on a scooter driving through Bronte.

36:20
We're like what can we do live for like we hit we hit mixing it up. But it was awesome to it was more, the content wasn't that great. But it was the discipline of showing up and showing up for that amount of time. And then we're like, All right, let's put on the rocks for a while just to see you know, where the where the platform is going to go. And then I went on a three days a week channel 10 that then I became five days a week. But I definitely wanna do something like that again. So just for the fact that I think to build an audience takes forever and it's not about building an audience. It's just creatively making things every day. And you also know that come up with new ideas every day, and then you find a little fame. A little a little thing that resonates with that audience. Please keep playing with that. Keep going with it and going with it.

37:01
Well, might you've pumped out nearly 400 episodes on Saturday. You 400 to the loop. Yeah, that's a fair. Fair whack.

37:09
Yeah, there's a lot

37:12
of growing up until I said, I wasn't shaving

37:16
just google Scott Tweedy to see the straightened day. Or just look at the Instagram account because we'll get Mr. 97 done

37:24
what's what style do you regret? So I made the decision of trying this mo on which I've regretted it just for mobile shipping so any any certain looks over the years that you have regretted every every look?

37:44
At the end of every year reflect on my coffee, so and you know, for me, it's the chemically straighten hair. I think it's hilarious like I don't regret it. I just go water loser. And the further you go back, it was like in high school I was rocking like an afro. Yeah.

38:00
Under cats. And now

38:03
on the cut. I did a 97 for a wall. For one summer holiday. I bleached my hair so pale they can even tell.

38:12
I look sick.

38:16
Not Not really,

38:17
mate. Thank you for having us in this green room. It's it's now dubbed the daily talk show Green Room. So whenever you want

38:24
you put a sign out. Really appreciate that handwritten sign if you come in, you're going to destroy the podcast. But yeah, we'll name it. The Daily talk show Green Room. Was my voice. That's a good time.

38:33
Yeah, thanks. Bye. Well, when you're in Melbourne next would love to have you in the studio as well. Where is this studio?

38:38
Yeah, I mean,

38:41
I know it's like we've got an office is Yeah, so we're gonna start a strain.

38:47
ask you a question. You probably said this on your podcast. So like, so how many hours how many hours a day? Do you do the podcast and then pre producing an awesome stuff? Depends on decide if it's a half hour episode. And then there's another hour and a half, three hours? Yeah, reckon it's shooting in chunks are you doing every day?

39:04
No, we do it every day. So this Sydney trip is slightly different because we're bashing but normally it is we rock up in the office and we're like what time we're going to do it today. If there's not a guest we might if we're feeling shit will be like let's do a little bit later in the day or let's get it done early.

39:24
We gotta get one done. Yeah, so we haven't really taken a break

39:27
we haven't we've never missed a day in 460 400

39:33
I guess the thing is we have built a format that plays directly into what we love this literally we're not considering it all really the numbers and stuff like we don't we we speak with other podcasters and they talk about like you sending people stuff so they're doing swaps and shit like we are the the most under leveraged podcast which is what we because we're doing it for 10 years. We are okay with that would much prefer to be sheet and work at it and get better and then just naturally evolve. Yep,

40:06
we will send you a few swap out.

40:08
Can we can you do a swap?

40:14
One Rick?

40:17
Gotcha. We could do that because we don't have this Wipeout function. Lincoln.

40:23
Yeah. The swap

40:26
follows. Says the guy that

40:31
I just thought everyone lived this way.

40:38
Everyone Dr.

40:39
Kessler

40:52
20 Thank you for coming on the

40:53
show. Thank you for coming to the green room

40:55
to daily talk show. If you've enjoyed the show, you can leave us a podcast review. Otherwise, we'll see you tomorrow guys. See you guys