Max Price & Jack Post - 24 Hour Live Stream

Max: The Daily Talk Show.

George: It's The Daily Talk Show, episode 718. Georgie Boy here going through all of the interviews from the 24-hour livestream, and this is a really good episode. Two very funny people on the show, Max Price and Jack Post. Jack comes in at the start, we pitch some ideas to him for a song he's going to go and write. He then goes away and comes back at the end of the episode and performs his song. Uh, in the meantime, we have some great chats with Max about Kinney and all things comedy. So I hope you enjoy this one. This is episode 718 with Max Price and Jack Post.

Josh: We have Jack Post and Max Price, and we've got Georgie Boy, uh, joining us as well. Uh, Max Price, first of all, uh, how you going, mate? How's things, Max?

Max: Going really good, guys. I am so excited that you guys are doing this because I, I'm all about the 6 AM till 7 AM tomorrow morning. That's when I'll get you guys wrecked. Um, we're going well.

Tommy: It's a weird time, and I hope one of us ends up with a mullet like you, Max. Where'd you get that mullet from? Who did it?

Josh: It's not a mullet.

Max: I know I got told that I, um, we just finished filming the Kinny Show and that Channel 10 made me trim it back. Um, it started off as, um, just I one Friday night I shaved it off with some Aldi dog clippers and I thought it was, and I was like, I'll just have a mullet for the weekend and I put it on, um, Instagram and then, uh, a few people were like, that's not as cute as you think it is. And then it's been 4 or 5 months now.

Josh: I think, yeah, I think it looks good. Jack Post, there's already comments about your, your beard, mate. Glyn's saying nice beard work, Jack.

Jack: Yeah, I'm going for just no grooming whatsoever during isolation, so I'm growing out the hair, I'm growing out the beard, and everywhere else.

Josh: Where do you see it? Okay, all right, where do you see it first? Where do you see the most amount of growth?

Jack: The beard is slow. Like, this is honestly—

Max: this is—

Jack: I already started with it, with it like what Tommy's got, and this is a month and a half.

Josh: So don't ever compare my beard to Tommy's beard. Was it ever like Tommy's beard? How did it start full and then work its way to what you've got? How does that happen?

Jack: Well, actually, from where I'm sitting, this looks like a full beard. You know, because you know me, that it's a bit patchy in areas, but If I strategically put my head like this, you would never know this is a touchy beard.

Josh: We had Pete Murray on the show who performed live, and so he was sort of the support act for what's to come now. You have offered— what have you offered? Can you sell it in?

Jack: I said that if you guys come up with a theme for a song amongst the, uh, the, the 5 of you here joining me now, I'll go away for half hour, 45 minutes, write the song, come back and perform it live.

Josh: Okay, great.

Jack: Before your very eyes.

Josh: Uh, beautiful. Um, okay, so I mean, Max, you're, you're the guest. Have you got any, any thoughts on what you think?

Max: I'd love the part of it to be about sleep deprivation, as it will, you know, this is what you guys will be going through in, you know, throughout the next, well, I've only got left 17 hours or 15 hours, whatever it is. But yeah, it's something, I don't know, that would be my little like half a theme if anyone else wants to add anything.

Jack: Yeah, so it can have a lack of sleep theme.

Josh: Yeah, so lack of sleep. George, Georgie boy, you're a creative guy. What have you got?

George: Um, sorry, I just dropped out then. So we're talking about Jack's song?

Max: Yeah, dropped out mentally or your internet?

Jack: Which one?

George: A bit of both. The internet. Great. Um, sleep is good. Um, what about—

Jack: are you picking up the conversation like you never left? What?

Josh: You're actually just repeating what Max says. It's pretty annoying.

George: What about drinks we should be having throughout the night to stay energized?

Jack: Oh yeah, like Vs and Red Bulls and that sort of thing.

George: Or ways to stay awake.

Jack: Ways to stay awake? Okay.

Max: Yep.

Josh: And I would like a line in there where you say, "I may not be Pete Murray," and then you've got to sort of finish that.

Jack: Oh, I love that.

Max: That's great.

Tommy: I love that.

Max: What about stuff around smut. Just late night smut.

Josh: We're trying to work out whether— I mean, you're the famous— you've got this famous song in your com— in the comedy festival show from 2013 where you, um, you had a no more smut, no more smut. Do you remember that?

Jack: Yes. Yeah, I wouldn't, I wouldn't use the descriptive word famous to describe the 2013 comedy festival performance, but that is true. All right, lack of sleep.

Tommy: Yeah, I've got a couple.

Jack: Yeah, go ahead, Tommy.

Tommy: Uh, I want, um, something— some reference to that we were hacked in the comments by bots.

Josh: I don't like the use of the word hacked. Like, we weren't hacked, just a bunch of people commented, flooded by comments.

Max: Is that—

Jack: that's the type of hacking, a DDoS attack?

Max: Yeah, right.

Tommy: You don't have to actually be— you don't have to have a password. Somehow there was a— they They were rocking 2020. Yeah, they were saying Trump 2020. They were saying—

Jack: so they weren't your audience, they were strangers?

Josh: No, they were our audience.

Max: Um, 40, 40, 40 dislikes.

Jack: So you guys became a right-wing culture?

Josh: Yeah, so we had a bunch of dislikes. They've gone away. They've obviously— they picked up on the bots because we now only have 9 dislikes. So there, those 9 dislikes are authentic if you're wondering. Um, all right, so, oh yeah, merch. So, um, what attack?

Max: Yeah, great merch.

Josh: Um, merch. Yes, Grace got her merch, uh, in WA. Something around it arriving, and she was meant to get it on Thursday. She was meant to get on Thursday, but it came on Friday. Something about WA.

Jack: Oh, I had—

Tommy: make that—

Jack: I was supposed to give me a pick up your parcel from the from the post office today and I've been home for weeks. You didn't come and try and deliver it. There's no way you tried to deliver that. And I'm in the front room. I look out this window here, I can see from there and you're not there.

Josh: Yeah.

Tommy: And you're bored and alert. So absolutely no chance. Yes.

Josh: What were you waiting? Do you know what it is, Jack? What's the package?

Jack: Yeah, it's from Chemist Warehouse. So I could have literally a trip to the post office is a trip to Chemist Warehouse.

Josh: Yeah.

Jack: It's one and the same. So you didn't save me any time.

Josh: That's the Chemist Warehouse or AusPost.

Tommy: Can you mention Morning Shannon?

Josh: Oh yeah, Morning Shannon. Morning Shannon.

George: Morning Shannon.

Jack: What's that? Is that a euphemism?

Josh: No. So, the morning Shannon is when you— No, that Morning Shannon is what we say every time we go on the chat because a gronk in Queensland named Shannon would always be in the chat and people would say Morning Shannon, even if it's afternoon.

Jack: All right. So, tell me a bit about the merch because the merch From what I saw is exactly the same hoodies except now they just don't have a hood.

Josh: Well, it's a crew neck. It's very fashionable and all sorts of—

George: the logo is slightly different.

Max: Yeah, the logo is a rectangle logo instead of the square version.

Josh: And we've got Grog t-shirts as well.

Tommy: And the obvious is getting a mention of Cotton On who have kindly dressed us outside of our own merch.

Josh: So something about the great beanies and the comfy pants.

Jack: Okay, so Cotton On hoodies, everything. Contractual mention for Cotton On.

Tommy: Yeah, yeah, yeah, yeah. Love it.

Jack: Crew necks. And then I used Mr. 97's— this is going to be a hit line— rectangular, not square. That can go somewhere as well.

Josh: Max Price's hair. No, I mean, that rhymes. Rectangular, not square. And we can't forget Max's hair, which I actually like. I don't think there's anything wrong. Max, if it makes you feel any better, I just panic shaved my head. That's how bad my hair I just pointed out I made a mullet.

Tommy: No one, no one said it was bad, Josh.

Josh: It's not a mullet, that's the thing. That's what's hard about what you said.

Tommy: What, how, what's not a mullet about it?

Max: Well, there is— it's just not that luscious at the back. It'll get there.

Josh: Yeah, so you, you weren't planning on it?

Tommy: It's a mullet, Josh.

Josh: Okay, all right. It seems it's a low-end mullet. It's a low-end—

Jack: there's something, Max, about your, um, that backdrop that you got there, Priceless Productions, where you're trying to put in your own Advertising.

Max: Someone's gotta.

Josh: Yeah, I think it's great. Definitely.

Max: I wanted to, because this is the first time me and Jack are meeting, but I remember you commented on Instagram. Yeah, you commented on a post of me directing Sam Pang and it was just a clusterfuck of just like me stuttering and umming and ahhing.

Josh: Yeah, that's a great video.

Max: Champagne, and he's clearly just trying to be polite and not say, I don't know what you're saying there. And you wrote, is this something from Martin Scorsese's masterclass? And I thought, and for about a week I tried to think of something to write back and it never came.

Jack: We had one more interaction. We— I feel like we had one more interaction with— before that, 3 or 4 years ago, I was in Hong Kong And you grew up there, obviously, and you said you gave me some places to cheque out.

Max: Ah, yes. Yeah, that's right. Yeah. And then you just went to none of them and just went blank like on me.

Jack: So we know each other well, guys.

Josh: Jack is very good at the stinging comment. He will— like the fact that he remembers the hoodies and the— like you keep tabs.

Jack: You can say that again, red beanie.

Josh: No, it's not red, it's dark tan. But anyway.

Jack: All right, he said I'm colorblind. That's the only place where I'll let Oh yeah, you are.

Max: Oh, me too, me too.

Josh: Remember, I think I said you should get into colour correction, and that was before I knew, like, yeah, like colour grading and stuff. I thought because you got into the whole, um, the Wacom tablet thing. Anyway, okay, Jack, so, um, you'll go off. Uh, Georgie boy, what time should I meet you back? Uh, okay, uh, in— you've got 20 minutes.

Jack: Great, I'll see you back here.

Josh: Okay, perfect. All right, bye-bye.

Max: This is great.

Josh: And so, Georgie Boy, you can go and chill now as well. You can go back to editing. Um, just, just feel free to mute yourself.

Tommy: Chill out. Here he is. Here he is.

Josh: Oh, here we go. Sports.

Tommy: Is there, is there any pushback from you on Tiger King? Because if you are, get out.

Max: What do you mean?

George: I love it.

Tommy: I'm just—

George: yeah, great.

Tommy: Yeah, you stay, stay, stay. There's just a bunch of— there's a movement, movement around people pushing back on that thing.. And, um, and yeah, they're in the bin.

Max: I was— I got around, um, Joe Exotic from the Louis Theroux days.

Josh: Yeah.

Max: So when I saw the thumbnail come up on, on, um, Netflix, I was like, I remember that guy. And then— but it was nowhere near as crazy as Tiger King. Fucking hell.

Josh: Have you seen, um, Louis Theroux's new podcast that he's got?

Max: No.

Josh: Oh, he's got it. He's got a podcast, and his first guest is Jon Ronson, who did the, um, book So You've Been Publicly Shamed.

Max: It's fucking wow.

Josh: Yeah, it's really, really good.

Max: Yeah, it's kind of— he's one of those, um, people who are through that. It's— there's just not enough of his stuff out there. There's not enough content. Um, definitely. I'm like that a little bit with like Ricky Gervais as well. It's anything that comes out with him, I'm like, I just want to consume it.

Tommy: Um, but yeah, Louis Theroux's new podcast, Josh, did you notice that it's in left and right in my car. I'm listening to it and it was coming through my left and right speaker. So John's coming through the left and Louis through the right.

Josh: It's like a conversation.

Tommy: Maybe they went for it. Maybe, I don't know, maybe it's some kind of artistic flair that they're adding back into it. It's, um, how— we haven't caught up, Max, since, um, you've shot the latest season of Kinney. How did it all go? It was an epic couple of weeks, right?

Max: Yeah, so we shot, we started the shoot coming to set. So it was a 14-day location sketch shoot, and then we had to do some live stuff later. But on day 1, we were all hugging each other. And by day 11, we weren't allowed to be in the same room as people. And lunch had to be, like, day 1 lunch was a buffet with, you know, tongs and just grab what you want. Day 11 was, um, it has to be pre-packaged and has your name on it, and the runner had to hand it to you with gloves, and you had to— so we went just through like one, one shoot, saw the start and end of it, and we got— and we kind of got shut down filming, um, day 11 out of 14 days. So we didn't even get it all done, which was Uh, Arush, yeah, it was a— it was just such a bizarre time, to be honest.

Josh: You do all the punchlines at the end, so you're going to end up with just like great storeys but no, no punchline. Is that, is that how you shoot them?

Max: Yeah, we saved punchline day for, uh, nothing's funny for the first 11 days.

Josh: So it's a drama.

Max: That's all right, it's re-edited into a drama now. Um, But now that we got like— it's weird. So a lot of the sketches survived, but there was a couple, obviously a couple that we just haven't done. And then there's a couple where we, if we film one more scene, like a pickup scene in a house or something, then that links the whole sketch together. And we were, and we've kind of, we've been able to kind of either work around it or you know, we kind of didn't have to shut ourselves down, but it just felt at the time, um, you know, cases were doubling every day and it was starting to get a bit crazy and there was a bit of angst on set. And so it was kind of a— we did it on our own accord, shut the shoot down. But, um, in hindsight, I wish we finished it. But, you know, um, it was, it was such a— there was a couple days there where it's like, okay, and this is, this is genuinely the end of the world. And then now it's We find out that was true.

Tommy: And so what's happening? Are you releasing it this year, Kinney?

Max: Yeah, yeah, so everything's on track. In fact, the networks, I know that Network 10 are like, "Please, are we able to get the stuff, are we able to get episode 1 earlier? Because we really want, you know, we don't know what's later on is going to be like in terms of what we can put on air." I know that they annoyingly stopped that, like, 55% Australian content. You know, they have that certain amount of the law and has to be Australian, and they've dropped that because I think there's nothing to really put on, which is really sad. But I kind of almost understand that there's no productions happening at the moment, so they just really want us on. And I think we're looking at late, um, what are we going into, later, even like could be the start of June or the end of this month, F1 might be on. Um, and yeah, we just spent the weekend at the Channel 10 studios, um, on Chapel Street where they filmed The Project and stuff, doing the, doing like the in-studio live-ish feel bit to it, um, which was even harder because we usually have like 60 or 70 people in the audience and we had to do it in front of crew and then be like, hey, you know, everyone's doing their job. And then you go, crew, hey, you know, you're all doing things, can you laugh as well please for the third time? So that was tough, but everyone was really, everyone really like, yeah, did what they needed to do and hopefully it sounds all right. But you know, we haven't watched any of it back yet, we just finished on Sunday.

Josh: What about content-wise? Is there any sort of, uh, sketches that actually just don't go in sort of co— you know, COVID-19 times where you're like, actually, this is less funny now, let's cut the bat, the bat, uh, you know, sketch or something?

Max: There's a— we, we've actually had a lot of chats about the, um, you know, a couple weeks ago when we were going into studio and we were, uh, we're actually meant to film it next Saturday, but we've we brought it all forward. Um, and Troy and myself and, um, the production company execs and all that, we were discussing like, let's, let's not even bring it up. Let's not even talk about it. And let's not make excuses for it either, uh, because I really would hate to— episode 1, you know, we come into the opening titles and then it goes, Troy's on stage going, guys, we had this other show ready, but 'You know, coronavirus, so here's our excuse for it to not be as good.' And we kind of thought, let's just not even give ourselves that chance. And if it sucks, it's because it just sucks that we didn't think of anything better to do. So yeah, it's a bit of a roll of the dice. And you know, you see a lot of shows at the moment now, like Front Bar with Andy Lee's kind of chatted to us a little bit about their chats that they've had about no audiences in there and crew laughing. And it's kind of quickly become the new normal. So I don't think people are gonna— it's not gonna stick out like we maybe think it will. But, you know, it's still gonna be— I am nervous to see the first cut of episode 1 unmixed, you know, if it's gonna sound really flat and empty, or is it gonna be Funny and good.

Tommy: Last time we spoke, you were talking to us about— because you own a video production company, um, like us, and you were talking about the opportunity with Kenny.

Josh: Yeah, yeah, you got the banner representing.

Tommy: But is it Priceless Productions? Is that the— yeah, I think it is.

Josh: Uh, anyway, um, when you were talking about the opportunity, are you at an expo right now? You're at a booth? You can just put in your details into the iPad and you could win a free t-shirt.

Jack: Great.

Max: Yeah, I'll analyse any videos that you have.

Tommy: And you were talking about, uh, Kinney being one of those opportunities that comes up, uh, where you need to put a lot of work into it, but it's a— not a distraction, but definitely a focus of energy that you can't then put onto your business. Um, which you were growing. And, and from, you know, the outside, you look like you're killing it. What's, what's happened in your world when it comes to client work and working with brands directly?

Max: Yeah, say, I think, you know, it's— I'm no different than, um, probably everyone out there where it's— there was a lot of scope, a lot of opportunities presenting themselves, um, pre-COVID, and then it's kind of You know, now, like I did a lot of work with, we talked about this last time, KO and Sportsbet, and you know, their whole thing is sport, and there's no sport at the moment. So I'm really thankful to be distracted with the Kinney stuff. And you know, I still got a couple of months on that, watching, giving notes and talking how we, you know, episode 1 to 6, and we might have some stuff left over, I don't know. That'll keep me busy. But I don't know whether it's a blessing. I'm just going to maybe say it is. I haven't given it too much thought. That because of trying to do a bigger project and being taken away from your business doing other video production and social content, going and doing a big project like this is harsh for clients. Because you're almost like, you do a lot of— you talk to them that— doing social content is a great idea, and let's try and do 6 or 12 months of it, and then kind of go, oh, by the way, I'm not going to be here for 3. Um, it's a bit, it's a bit hard, it's a bit harsh. Like, and I don't have the measures in place to, to kind of hire someone like full-time, and, you know, that option now, but it's— sorry, option, uh, in January, but it's a little bit more scary now. To, you know, if you can, if you can put measures in place to make it all run, then you can maybe shoot for the larger projects. Um, and that's still, that's still the plan, but I'm not sure if we, you know, it might have just been set back a little bit. Um, but there is, it is a bit of a blessing in a weird way that I didn't, I didn't really set up too much for the second half of the year. So mentally I'm not like, oh, I've lost all this work. It's kind of like, well, I'm in the same place I I was going to be with or without it. It just seems like the opportunities are a little bit, you know, they're not as many around.

Tommy: But, you know, they'll come.

Max: It'll all be fine. It'll come back.

Josh: What about creativity? Do you find that you're more or less creative in a time like now?

Max: Awfully, awfully a lot worse off. Like, I find I'm one of those cafe wanker writers. And it's something about the acoustics or something about where you sit in the cafe and the people there and a laptop. I'm just, that's where I go to write things. And I really, I'm shameless about that. I know I look like a dickhead. I know that I have to order roughly one coffee every 45 minutes, otherwise get out. You play that fine line of you're not spending enough in here right now and I don't want to spend anything in here right now.

Josh: Do you use the power as well? Are you plugged in?

Max: No, I've always been pretty good with power. I try and I think—

Josh: You bring a big power brick that takes up the whole table? Is that what you do?

Max: Generator? Petrol? Yeah, just a big kickstart thing. If my laptop runs out while I'm there, I think I've been there too long.

Tommy: I guess, Max, it's better to be a cafe wanker writer than just a cafe wanker, because I think that's what I am. What are you missing? What are you actually missing most about, you know, the previous existence that we had that a lot of us did take for granted?

Max: Pub. I'm a big pub guy.

Josh: Which pub do you go to? What's— what's it— because I'm not— I haven't been—

Tommy: give it a plug, they're doing bad.

Josh: Yeah, what— what?

Max: Yeah, yeah. I'm actually doing a— I'm actually going and helping a friend, like two friends out who own The Palace in South Melbourne and The Retreat in Abbotsford. And they're doing like, so they're doing veggie and fruit boxes. And the reason they're doing that is because their suppliers of food for the restaurant have like, that chain has stopped with them. So, their suppliers of, you know, all your fruit and veg are like, "Guys, we have an abundance of it and we don't know what to do with it." So, they're selling, they're on selling that now, which is nice. And they're starting to do these things called growlers. And anyone that's like a Peaky Blinders fan or anything like that, that's like these massive prohibition type, like brown bottles. And you can go in there and pour a pour a beer out of a keg, because that's mainly the— that taste is what I miss. And then you can bottle it and then take it home and drink it like that night or over 2 days or whatever.

Josh: Yeah, what is the time? So it's around 2 days you have to finish the keg? Is that the rule?

Max: Yeah, it's not a pressurized— I mean, yeah, I haven't gone past 2 hours, so I don't know what the thing is. It has to be drunk a lot quicker than a keg because there's no pressure. I don't know how the logistics work on it, but that's what they're doing. And I'm going and shooting a bit of a— just helping them with a bit of a promo video tomorrow because, yeah, it's just— that is like, you look at people like that and then you kind of realise that we're fine. Well, I'm fine compared to a lot of people and businesses out there who I really feel sorry for.

Josh: I've definitely opened that seal, TJ. You talked about— I'm gonna have to go just a little—

Tommy: oh yeah, and second coffee, second coffee.

Josh: And the fizzy water does it to me as well, I reckon. It just pushes it faster.

Tommy: What was the— what was the longest day that you put into the, um, Kinney production, uh, legally speaking? Because, uh, you know, you probably get shut down by Channel 10 if they, uh, work out that you did a 20-hour day.

Max: No, it's all pretty by the books because we hire so many freelancers and there's, um, there's a lot of rules on overtime and stuff like that. And we kind of set in place— like, it was— we did enough pre-production to, um, to kind of, uh, allow enough for certain days. In saying that, we did, we did miss a couple of call sheets that day on, on the shoot where we ran a little behind, but, um, we were able to pick them up over the next couple of days and That just unfortunately added a little bit of stress, but I think the content's still really good and I'm excited for the season. We kind of— Kinney and I, who are I guess like the head writers, are always nervous because it's like the fourth season of Sketch Show now that we're done for content, we can't think of anything else. And then we'll literally have a phone call and one idea will be like, "Oh, that's not bad." And then, you know, we'll write it down and it just kind of happens. It's been able to happen, but I say this, if we were to go another one, I'm even more nervous. Like, we couldn't do another one, surely. But it might happen again. I don't know. I have no idea.

Jack: But yeah.

Tommy: Do you know what's his name? Max, Max Neve's best mate that has— Max Joseph. Max Joseph. He's a filmmaker out of New York, but he has this movie, like a, you know, short little doc about—

Josh: He did Catfish.

Tommy: Do you need to be a dick to be a director? And I mean, you're on set.

Max: No, I do not. I do not think that's the case. Yeah, yeah. No, no, you— I, I am— I, I actually think that that's personally— and, and it's funny because through it, like, kind of directing the show is, um, and being a, I guess, a director, you're not often on set with other directors because he's not, you know, you don't have 3 or 4 on a shoot. So I don't really get to see what other people do that often. But no, I think putting a vibe like that on set for comedy, like being a dickhead and being like kind of aggressive and calling people out is a really ugly way to go about it. I think it's all about— I think I might have mentioned this last time— if you see anything you don't like or this person doesn't like that person starting to brew, it's like, it's kind of It's kind of nipping it in the bud early, making sure that they flesh things out. And yeah, and if people aren't— if people are not performing as well as you'd like them to, it's pretty much using your words well enough to get your message into their heads. And also, you know, really seeing not just how the performance is going, but seeing how the actor's going. Mentally, because like there'll be times where someone will be, you know, like, I don't know how much kind of acting you guys have done, but when you've asked to do like the third or fourth take and you're getting it wrong and you keep stuffing up the same bit and you can cut, you can see them start to beat themselves up in their head and you— It'd be so hard. It's so hard. And then there's 20 people around And then there's like an AD standing next to you going, we need to move on to the next thing. And we haven't got that take yet. You have to almost just make it, you know, just stop everyone, pull them aside and chat to them, let them breathe, just calm them down. It's, you know, remind them we're just making dumb videos, like we're just having fun. So I'm more about making everyone have fun on set because I think it reflects on screen. And being a dickhead is not a good call in my book.

Josh: Catering. What was the catering like? I know you were saying like it was a bit of a process to sort of get it to everyone. What were you rocking?

Max: What's that called? Fox's Den. I don't know if you know that one.

Jack: Oh, Fox's Den is great.

Tommy: Yeah, yeah, yeah, it's great.

Josh: Love Fox's Den.

Max: Chicken rolls and all that. Like it was catered really well. But yeah, the weirdest part was we One of the early days we had like this amazing set, like 4 or 5 curries and then, and then yeah, that we could just pick at and grab things with our hands. And then at the end it was like almost hazmat suits and you guys sit in that corner, you sit in that corner and no one spoke to each other during lunch. That's how crazy, that's how scary it got with the coronavirus thing.

Josh: Who's your favourite comedian or actor that you've directed?

Max: Um, I mean, whoa, uh, we got to work with Ryan Shelton on this, on this shoot. Um, and I just have, you know what, it was, it was really, um, day 2, day 1 or 2, I had like a bit of a sinus infection. I think you get like, get clogged in these, you know, these parts of your face. And then I, on day 2, I had it really bad and I, um, So when I would laugh or whatnot, it would just be a bit of pressure above the eye. And it was the day we had Ryan Shelton on and we were working on a script before we had to go in and shoot it. And I had to just like, I looked rude because I had to walk away and not be involved in it because he was making me laugh so much. It's just these little things that I just can't get enough of. And if you've seen his ryan.com. Uh, Ryan, Ryan, I love to spook that because he's there. It's so, it's so good.

Josh: Yeah, so he was like crafts person create. Like, what I love about what Ryan does is that you can tell how much he loves the craft and how he plays with it.

Max: Yeah, exactly. Like, even, um, on his— that's on that site when he interviewed himself I don't know if you've seen that.

Josh: The bloopers.

Max: And then that's exactly the bit I'm talking about. Like, that takes someone who cares for the craft to not only finish that script and then record each bit, you know, and then cut it together, but then that's the extra length you'll go to, which is like, puts him in the genius category, I reckon.

Josh: Yeah. Just a bit of an update.

Tommy: That takes itself so long and it's like doing that back and forth.

Josh: Yeah.

Tommy: It looks seamless, but you'd never know it. I mean, we should ask him how long it took him. Yeah, yeah, yeah. What's the update, JoJo?

Josh: Uh, so, uh, I messaged Jack and I'm like, hey mate, just jump back in. He said, uh, shit, 20 minutes goes fast, give me a couple of mins. So he started off very strong, he came up with the idea of the song. Um, so I'm hoping in the next, uh, the next 5 minutes we can get him to jump on and hear his, um his song that he's created.

Max: I wouldn't be surprised if he goes out of contact from about now on.

Josh: Yeah, he's definitely a ghoster. He loves a good ghost. He'll, um, he's actually someone who I call and it never actually rings. It always goes to like, um, not even voicemail. I'm like, maybe the number, like, I don't know if this is his number, but he, um, engaged. Yeah, he then calls back or whatever.

Tommy: Yeah.

Max: So, um, how are morals and vibes for you guys at the moment? Not only for this 24-hour stream, but, um, how everything's gone down. I love the— you guys have ramped up your content, which is just perfect time to do it. I think you'll be so, um, you'll benefit so much from it. I, I just think I'm jealous of how you guys get together and do so much stuff. It's very good.

Josh: Thanks, mate. Yeah, it's been, um Yeah, it's like, I think if you look at the grand scheme of things, talking personally, I've like, I'm thriving at just the creative process and just learning new things. I think that that's where I get a lot of my energy from. And so, I think the other thing too is it's, you have to play with the imperfect. So, it's like, you know, doing this and doing the stream, we could have spent another like 3 weeks or, you know, a month or, you know, 6 weeks or whatever it is, planning guests and doing all that sort of thing. But it's like, I, I love that we can say on Sunday, hey, this is something we're going to do, like with our merch and all that sort of thing, and then just get it done.

Max: So, you know, that's awesome.

Tommy: Yeah, because I don't know what the other— I don't know the other approach works all too well. I mean, it can, I guess.

Josh: It's different. I think that we would just argue too much about it. I think that like part of it is just like having, having it be so quick, like, because it's fast, all of a sudden there's no issue in regards to delegation. There's no issue with all this shit because just like you're just fucking grabbing stuff and everyone's having a crack. And we're very lucky that we have such an amazing community in the Gronk Squad that we've got people like Charles in Bathurst who can be in the green room chatting to people. And then we've got the committee crew, we've got, um, you know, 5 or 6 of the Gronks sitting in watching on Zoom, which will bring them back in soon.

Max: But, um, yeah, so it is, um, it is a lot of fun, I guess. Yeah, so I've got a, uh, I've got an— I, I, uh, would you like me to do a little product review on a light I got today? Oh yeah, definitely, a little film light. And I am fascinated by it. And this is only if I've got time.

Josh: Okay, yeah, as long as you mention Cotton On being the main sponsor.

Tommy: Uh, oh, Jack's back in.

Josh: Jack is back in. Do we want to just— we'll do the song and then we'll do the, the lighting review.

Jack: The quick—

Josh: is that okay?

Max: Yeah, yeah, yeah, yeah, yeah.

Josh: No, no, no, no, no, we're doing it. Hang on. So I'll—

Tommy: now we should bring in Claire Smith in on the lighting review.

Josh: Okay, so we'll bring in— so don't start talking yet, Jack. Okay, Jack, hello. Hang on, I can't hear you. Jack, are you there? Hang on.

Jack: Can you hear me now?

Josh: Yeah, we can hear you.

George: There we go.

Tommy: Yeah, Jack's back.

Jack: I'm practising my song.

Josh: Can you, can you hear us, Jack?

Jack: I can hear you guys.

Josh: Okay, perfect. All right, so, uh, do you want to give it a little intro before you sort of start?

Jack: Now, can I just preface, I pitched you this idea. I said I'll go away, have an hour to write a song, and then I'll come back and play it.

Josh: And so, and then what, and then what did happen, I then said, hey, how's, um 6 PM and then you can come back at 9 PM and you're like, mate, the fun is in the speed. And so I can't win.

Jack: But yeah, no, it's the fun is in the, in 1-hour speed, not 3-hour speed. But I've got something. Okay, this is— now can you hear me all right? I hope for my song.

Josh: Yeah, if it's good enough for Pete Murray, it's good enough for you. We won't sing over the top.

Jack: Now, did Pete Murray have professional microphones, or did he just go—

Josh: no, no, he was just using his laptop. It sounded great. He said he sounded good to me.

Max: Yeah.

Jack: Okay. All right, well, this is— I guess I wrote this on the, um, assumption that Mr. 97, are you the one who handles like technical problems like the bots getting into the comments section?

Max: Yeah, to an extent.

Jack: Yeah, yeah, good.

Josh: Yeah, everything's—

Jack: that's all I need to say.

Josh: All right, as long as everything's going right, he'll take credit, but as soon as it— yeah, yeah, yeah, poor Charles. Here we go.

Jack: All right, I've given this one practice, so bear with me. Okay, this is the Daily Talk Show song written by you guys and me in the last 20 minutes. The Daily Talk Show isn't safe anymore, the bots are knocking at their door. Yeah, the bots are infiltrating the comment section. Oh, save us, Mr. 97. We thought the worst thing we would face—

Josh: we— take it again.

Jack: We thought the worst thing that we would face would be sleep depravity, trying to stay Stay awake all night drinking Monster Energy, but the bots have become the real enemy. Oh, save us, Mr. 97! He's our hero, he will not be forgotten. And a special thanks to our sponsors at Cotton On. His name is Mr. 97. Oh please, save us from the bots.

Max: Ah, love it.

Jack: Round of applause, it's nice.

Josh: That was great, Jack. I won't go nitpicky, but there was a few bits missing, obviously, but you can't get everything on the song. Could you do an hour?

Jack: This goes fast. 20 minutes went really fast.

Josh: Oh, that was great, Jack.

Tommy: Yeah, it was so good, mate.

Max: Thank you.

Jack: All right, guys, well, good fun being part of it.

Josh: Okay, all right. That is a Jack post-move if I've ever seen one. He's back.

Tommy: Can I hear his voice still? No, he's done. He's actually gone.

Max: No, he sounds like a Duke Costanza when he, you know, I'm out. But, uh, on a high though, that's the difference between George Costanza and you.

Josh: That was, um, he's back. I heard that, Mac. And he's going with the tech. He's, he's a risky, risky business over here going in and out like this.

Max: Um, all right, let's do it. I feel like now that there's a, you know, there's a crocodile in the water and we're just, we're just by very close to it. You can just come in and Say what he wants.

Josh: Definitely. Um, actually, we need to— so we've got, uh, Laura Henshaw and, uh, Steph Claire Smith— now Steph Miller, uh, coming on the show in, uh, a few minutes. I am concerned you have to—

Max: must have to wait for another time.

Josh: Yeah, I know. Oh yeah, I know. Come on, give us— give us your lighting. Just a quick, quick little run.

Max: Yeah, I'm using it at the moment.

Josh: Okay.

Max: We did it, um, lightsaber panel light, right? Oh wow, it's called the Yongnuo YN360, but it comes with a little remote and it's awesome. And you can, you can go and, um, change it to like LED colors. Oh great, so it's like mood lighting stuff. You can, you can put it behind something and like, um, and then it has some, has settings where you can go like this one, cop, police.

Josh: Oh, this is great. Where did you get this?

Jack: So good.

Max: Amazon, and it came today, so I'm all about it at the moment. And, um, it takes those tiny battery things, but it's perfect for like if you wanted to light like just the background of a shot and just throw it somewhere. And it, um, anyway, that's what I— that's my light review. Oh, that's right.

Josh: Yeah, yeah. What'd you pay?

Max: Uh, anyway, the police, the police.

Josh: Yeah, so, uh, did you— I mean, TJ loves to know what everything costs. What did the light cost?

Max: $170.

Josh: That's good.

Max: Oh, that's all right. Yeah, there's no cheap—

Josh: there's a, um, there was a big— there's a premium company. I've just gone blank on the big, um, light panels, I think, is the, the big sort of broadcaster light company that does like— they started doing the LED stuff and it was, um, uh, yeah, I remember.

Max: What are the cops doing?

Josh: Yeah, no, this is great. I mean, the thing is that you're going to start doing so many sketches that involve cops.

Max: Yeah, I don't know, I don't know what the weather like at yours, but I'm getting a bit of lightning.

Josh: You should actually do some DJing, like, um, I've I'm DJ Precious sort of on Friday nights normally, and like the light that I had to use was a bike light which would just flash red. So I feel like that would be, it'd be extremely handy.

Max: This is the red one. This is called fire truck setting. And the last one I'll show you is ambulance setting, which is just that one.

Josh: Wait, so the, I mean, I think that's wrong, isn't it? Like I'm pretty sure the ambulance sort of will go both colors, no?

Tommy: I don't know, we'll try later, Josh.

Josh: We'll call one.

Tommy: Yeah, we got a bit of time.

Josh: When I'm struggling— we don't encourage people using triple zero unless they need emergency support. Just without lights.

Max: What's the one without lights, Josh?

Josh: Oh, because I've called triple zero a lot. Call 131 444 if you need emergency services but you don't need the sirens. So say if you get broken into or things like that. Anyway, great. Uh, thanks, Max.

Tommy: Thanks for coming on, buddy.

Max: It's good, it's like a party. I'm gonna start drinking, mate. Get on. Um, good luck, gents. Thank you so much for having me on. I'm very impressed with what you guys are doing.

Josh: Uh, thanks so much, Max.

Max: And, uh, do heaps more of these if your body allows.

Josh: I feel like, um, what's, what's that called? The— I feel like I've got, um, you know, like when you've got too much of it, like cortisol? Like, I feel like I'm sort of My heart rate's gone, definitely jumped up. Yeah, yeah, it's all good. All right, go. I'm gonna go to, uh, we'll leave it there, Max. I'm gonna go to the two-shot of you guys, and I'm gonna go in the green room.