Bulletproof Screenwriting™ Podcast
Bulletproof Screenwriting™ Podcast
✓

BPS 302: Writing the INSANE World of Machette with Alvaro Rodriguez

· نص المقطع الصوتي
01:26:13
Podcasts
RSS
Link

معلومات عن هذه الحلقة

Alvaro Rodriguez has been writing since childhood and, in fact, did his best work when he was 11. Without a movie camera in sight, Rodriguez relied on the written word and a Polaroid Button to storyboard the films in his head. A crash course in entertainment writing and editing at the University of Texas student newspaper and seminars in creative writing supplied more tools for the toolbox. When he riffed on a Spanish guitar figure as the hero's musical theme in cousin Robert Rodriguez's debut film, El Mariachi (1992) (Columbia Pictures, 1993), he began a collaboration that has lasted more than two decades.

Rodriguez sold his first pitch to Dimension Films, a spaghetti-western prequel to the genre-bending vampire flick From Dusk Till Dawn (1996) called From Dusk Till Dawn 3: The Hangman's Daughter (1999) (Miramax/Dimension, 2000), which starred Marco Leonardi, Michael Parks, Sonia Braga, Rebecca Gayheart and Danny Trejo, with Robert Rodriguez and Quentin Tarantino producing.

Rodriguez co-wrote the wishing-rock children's movie Shorts (2009) (Warner Brothers, 2009), starring James Spader, Jon Cryer, Leslie Mann, and William H. Macy, and followed that confection with the bloodier Machete (2010) (Fox, 2010) starring Danny Trejo, Jessica Alba, Michelle Rodriguez, Lindsay Lohan, Jeff Fahey, Don Johnson, and Robert De Niro. Both were directed by Robert Rodriguez.

]As of 2014, he is writing on the television series From Dusk Till Dawn: The Series (2014) for the El Rey Network, now in its second season, and is developing feature and television projects in the United States and Italy.A frequent panelist and presenter at the Austin Film Festival, he has also curated an "Epoca de Oro" Mexican film series at the Museum of South Texas History and has been a speaker at colleges and universities throughout the United States. His border-influenced short fiction has appeared in multiple publications, both physical and digital, including Mulholland Books/Popcorn Fiction, "Along the River" (2011), and the Bram Stoker Award-winning "After Death" (2013).

Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.
المسلسلات التلفزيونية والأفلام
الفنون
الفنون البصرية
التعليم
الإنجليزية
الولايات المتحدة
محتوى صريح
استخدمAPIلجلب هذه الحلقة فيJSON

في هذه الحلقة

تعديل هذه العلامات

النص 🔗

WEBVTT
1
00:00:03.879 --> 00:00:08.800
You are listening to the IFH podcast
Network. For more amazing filmmaking and screenwriting
2
00:00:08.800 --> 00:00:13.919
podcasts, just go to IFAH podcast
network dot com. Welcome to the Bulletproof
3
00:00:13.919 --> 00:00:18.640
Screenwriting Podcast, Episode number three.
Huoh two do or do not? There
4
00:00:18.839 --> 00:00:24.800
is no try Yoda broadcasting from a
dark, windowless room in Hollywood when we
5
00:00:24.839 --> 00:00:29.320
really should be working on that next
draft. It's the Bulletproof Screenwriting Podcast,
6
00:00:29.719 --> 00:00:33.439
showing you the craft and business of
screenwriting while teaching you how to make your
7
00:00:33.439 --> 00:00:40.439
screenplay bulletproof. And here's your host, Alex Ferrari. Welcome, Welcome to
8
00:00:40.479 --> 00:00:44.560
another episode of the Bulletproof Screenwriting Podcast. I am your humble host Alex Ferrari.
9
00:00:44.799 --> 00:00:49.840
Now, today's show is sponsored by
Bulletproof Script Coverage. Now, unlike
10
00:00:49.920 --> 00:00:56.320
other script coverage services, Bulletproof Script
Coverage actually focuses on the kind of project
11
00:00:56.399 --> 00:00:59.719
you are in the goals of the
project you are, so we actually break
12
00:00:59.719 --> 00:01:03.920
it down by three categories micro budget, indie film, market, and studio
13
00:01:03.960 --> 00:01:07.200
film. There's no reason to get
coverage from a reader that used to reading
14
00:01:07.239 --> 00:01:10.959
temp bowl movies when your movie is
going to be done for one hundred thousand
15
00:01:10.959 --> 00:01:14.480
dollars. And we wanted to focus
on that. At Bulletproof Script Coverage,
16
00:01:14.519 --> 00:01:19.400
our readers have worked with Marvel Studios, CIA, WME, NBC, HBO,
17
00:01:19.560 --> 00:01:23.560
Disney, Scott Free, Warner Brothers, The Blacklist, and many many
18
00:01:23.599 --> 00:01:29.200
more. So if you need your
screenplay or TV script covered by professional readers,
19
00:01:29.680 --> 00:01:34.640
head on over to cover my screenplay
dot com. Enjoy today's episode with
20
00:01:34.760 --> 00:01:41.680
guest host Dave Bullis joining me tonight
is Albro Rodriguez. Alvreau was a screenwriter
21
00:01:41.760 --> 00:01:45.680
who is currently working on season two
of From Dusk Till Dawn, the series.
22
00:01:46.319 --> 00:01:49.239
His career in film actually began when
he began rifting on a Spanish guitar
23
00:01:49.719 --> 00:01:55.239
for the hero's musical theme and his
cousin Robert Driguez's debut film, Rameliacci,
24
00:01:55.640 --> 00:02:00.599
which began a collaboration that has lasted
over two decades. Alroll, how are
25
00:02:00.599 --> 00:02:04.920
you, sir? I'm doing great? How are you pretty good? It's
26
00:02:05.040 --> 00:02:07.520
the weather MPa has gotten a lot
better over the past few days. That's
27
00:02:07.560 --> 00:02:13.000
good. Same here in Austin.
Oh nice. Um, you know,
28
00:02:13.039 --> 00:02:15.479
I actually want to talk to you
about Austin before I get to that.
29
00:02:15.639 --> 00:02:19.120
Um, so, could you give
us a little more detail about your background?
30
00:02:19.240 --> 00:02:21.840
You know? And how you know
every you got started in the film
31
00:02:21.879 --> 00:02:24.800
business. Sure, well, you
know, I grew up with a love
32
00:02:24.840 --> 00:02:28.639
for movies, and I grew up
with a love for reading and writing and
33
00:02:28.879 --> 00:02:31.159
always wanted to be a novelist.
And would you know say, well,
34
00:02:31.159 --> 00:02:37.800
I know it's a hard road to
try to do, and uh, you
35
00:02:37.840 --> 00:02:39.400
know, I'll probably end up being
a teacher, which I was for a
36
00:02:39.479 --> 00:02:45.960
time, but I want to keep
writing. But I had this cousin,
37
00:02:46.039 --> 00:02:50.319
Robert, who you know, when
I first remember spending any time with him,
38
00:02:50.759 --> 00:02:53.680
we were kids at my grandmother's house
and in South Texas, sitting in
39
00:02:53.719 --> 00:02:57.879
the back of the truck, and
he was talking about this new movie that
40
00:02:57.919 --> 00:03:00.800
had just came out, which she
hadn't seen yet. Seemed to know everything
41
00:03:00.840 --> 00:03:04.360
about how the director had done this
shot and how this was done and all
42
00:03:04.360 --> 00:03:06.919
this stuff. And my jaw was
just on the floor of that at the
43
00:03:06.919 --> 00:03:10.360
truck because I realized I finally found
someone who loved movies baby more in my
44
00:03:10.479 --> 00:03:15.080
day. And that movie was called
The Ska from New York, John Carpenter's
45
00:03:15.159 --> 00:03:20.319
movie the early eighties, and and
it was just like, you know,
46
00:03:20.439 --> 00:03:23.280
I lighted off on my head.
I was probably in the fifth grade or
47
00:03:23.280 --> 00:03:25.919
so, and I started to write
my first little scripts. Had written a
48
00:03:25.960 --> 00:03:30.719
parody of the TV show Dallas and
and just thought, you know, this
49
00:03:30.800 --> 00:03:32.400
is great. I'm going to write
the scripts for Robert will direct them,
50
00:03:32.400 --> 00:03:37.400
and his sister Angela or his older
sister, and my older cousin she starred
51
00:03:37.439 --> 00:03:39.479
them. She wanted to be an
actress, and it actually did happen.
52
00:03:39.520 --> 00:03:45.879
I mean she she became an actress. She was in several movies and including
53
00:03:45.879 --> 00:03:50.439
the movie that I wrote without called
Shorts. So you know, it was
54
00:03:50.759 --> 00:03:54.039
amazing. It was amazing to see
that all finally kind of come come true.
55
00:03:55.639 --> 00:04:00.439
But and then you know, later
on I did music for his first
56
00:04:00.439 --> 00:04:03.879
show and Mary actual like you mentioned, And right after that we started collaborating
57
00:04:03.879 --> 00:04:08.680
on a script together which never got
made, called to Death to His Part,
58
00:04:08.800 --> 00:04:12.520
which we wrote for an actress that
Robert had met and thought it was
59
00:04:12.520 --> 00:04:15.800
going to be the next big thing
and she was on the high. Um
60
00:04:15.879 --> 00:04:19.759
and uh and ever since then,
I just you know, was writing on
61
00:04:20.000 --> 00:04:26.680
different projects with him, um,
you know, contrebating scenes or dialogue or
62
00:04:27.000 --> 00:04:31.519
ideas, doing movies like four Rooms
and road Racers and later plants hear her
63
00:04:32.160 --> 00:04:39.759
and then the rough shorts and Machetti
together, so you know, and then
64
00:04:39.839 --> 00:04:42.480
you know where did you know?
And actually you know, I'll get to
65
00:04:42.519 --> 00:04:44.959
that later from gust hol Dawn.
Um, I don't want to get you
66
00:04:44.959 --> 00:04:46.439
know, two far ahead, but
I mean that's actually amazing, you know.
67
00:04:46.639 --> 00:04:50.000
Um No, you know that,
you know, you're able to collaborate
68
00:04:50.040 --> 00:04:54.040
with a family member and it was
so amazing He's able to open all these
69
00:04:54.079 --> 00:04:56.160
doors for you and you know that. I mean, you know, and
70
00:04:56.160 --> 00:04:58.959
that's you know, a couple of
things I want to touch on. Um,
71
00:04:59.040 --> 00:05:01.920
So really quickly, are you at
the Southwest Southwest Festival right now?
72
00:05:02.720 --> 00:05:06.680
I am? Indeed, Yeah,
we're shooting. We're shooting my episode Destill
73
00:05:06.759 --> 00:05:13.160
done, second season, second episode
right now and this happens to coincide with
74
00:05:13.959 --> 00:05:18.519
Wet Festival. So been able to
go and uh, you know, do
75
00:05:18.639 --> 00:05:23.439
some screenings and and uh, you
know, the networking and stuff like that.
76
00:05:23.560 --> 00:05:27.720
It's been fantastic. So are you
filming this series in Austin In?
77
00:05:28.519 --> 00:05:31.959
Yeah, the entire show shoots in
and around Austin. So lob Wood has
78
00:05:31.959 --> 00:05:35.639
his own studio, travel making studios
where he shot many of the films,
79
00:05:36.759 --> 00:05:42.560
and here in Austin, which is
right next to Austin studios where we're also
80
00:05:42.600 --> 00:05:47.800
have sets and we're shooting in and
around town different locations. Machete was shot
81
00:05:47.920 --> 00:05:54.040
entirely here in Austin's too, on
those sets and on those stages and in
82
00:05:54.120 --> 00:05:58.439
and around town. So it's it's
amazing. It's amazing to be able to
83
00:05:58.439 --> 00:06:02.519
have that kind of those kind of
facilities and just a great crew. Uh,
84
00:06:03.040 --> 00:06:10.120
great people that that uh you know, Robert uses uh began again on
85
00:06:10.160 --> 00:06:13.959
all these different projects. So make
sure you know, a little TV show
86
00:06:14.040 --> 00:06:18.040
looks like a like a you know, big feature project. I mean,
87
00:06:18.120 --> 00:06:20.279
yeah, I mean that's amazing be
able to work with the same crew and
88
00:06:20.319 --> 00:06:24.800
everything over and over. Um,
you know that that is a great benefit.
89
00:06:24.839 --> 00:06:27.399
And also it's great that you know, he has his own studio right
90
00:06:27.439 --> 00:06:30.079
there in Austin. Um. You
know the reason I asked where your student
91
00:06:30.120 --> 00:06:32.199
it was because you know, with
all these film tax credits and that there's
92
00:06:32.199 --> 00:06:34.879
a you know, the debate about
you know, do they work do they
93
00:06:34.920 --> 00:06:38.279
not work? You know, I
know, sometimes you get thrown through a
94
00:06:38.279 --> 00:06:41.360
loop, you know. You know, Um, like season one of Banshee
95
00:06:41.399 --> 00:06:45.240
was filmed in South or North Carolina, and season two was actually filming here
96
00:06:45.279 --> 00:06:48.800
in Pennsylvania. Yeah, well,
I mean Austin is Austin has really become
97
00:06:48.959 --> 00:06:54.639
over the last couple of decades,
you know, quite a film intelligion production
98
00:06:54.720 --> 00:06:58.959
hub. You know, this new
series on ABC, American Crime takes place
99
00:06:58.959 --> 00:07:02.079
in the best of telephone if it
was shot entirely in Austin. Hopefully they'll
100
00:07:02.120 --> 00:07:06.160
be back for season two. Uh
and uh, you know it's it's it's
101
00:07:06.279 --> 00:07:12.120
really amazing. There's that uh good
Austin. You know, it just has
102
00:07:12.199 --> 00:07:15.399
developed a really strong reputation for a
film and television. A lot of people
103
00:07:15.439 --> 00:07:19.439
want to be here. Um.
You know, we had guys in honor
104
00:07:19.800 --> 00:07:24.160
uh in our cast that I've you
know, bought places here and you know,
105
00:07:24.240 --> 00:07:29.360
our and I've heard the same stories
from other other crew members on other
106
00:07:29.439 --> 00:07:31.839
projects that they worked on and from
other people that you know, awesome is
107
00:07:31.839 --> 00:07:35.319
a place where you know, actors
want to come and they want to work
108
00:07:35.399 --> 00:07:40.240
here and because they have such a
good time in the city, and the
109
00:07:40.519 --> 00:07:44.319
city is very open too to all
those kinds of things. So it's a
110
00:07:44.399 --> 00:07:49.319
great creative, creative mixus here in
Austin. Yeah. I've always heard that
111
00:07:49.399 --> 00:07:56.079
and I've always heard that slogan keep
Austin weird. Yeah, so yeah,
112
00:07:56.079 --> 00:08:01.560
we're doing that part. We're doing
that probably to keep it weird. Uh.
113
00:08:01.600 --> 00:08:03.839
You know. So you know,
what's one of the coolest things that
114
00:08:03.879 --> 00:08:07.480
you have seen thus far at the
south By Southwest Festival. Well, last
115
00:08:07.920 --> 00:08:13.319
I went to a screening that was
touted as the thirty I think the thirtieth
116
00:08:13.399 --> 00:08:18.680
first anniversary screening of The Road Warrior. Was George Miller, director in attendance,
117
00:08:20.360 --> 00:08:24.279
and we got to see kind of
a sneak after the film of the
118
00:08:24.439 --> 00:08:30.600
new um Fury Road the name Max
Film H. We got to see about
119
00:08:30.680 --> 00:08:33.360
seven or eight minutes of that and
then a special trailer that was just cut
120
00:08:33.440 --> 00:08:39.399
for stut By Southwes and Warner Brothers. H had struck a brand new print
121
00:08:39.480 --> 00:08:43.600
of the Zone. So it just
it was absolutely amazing. And course,
122
00:08:43.720 --> 00:08:48.399
Road Warriors such a huge influence on
both Robert and myself and H. Robert
123
00:08:48.399 --> 00:08:54.639
actually got to uh to do an
episode of his series and already called the
124
00:08:54.679 --> 00:08:56.759
Director's Chair, so he, you
know, interviews different directors. He just
125
00:08:56.879 --> 00:09:03.039
aired the latest one a week or
so ago with Francis wort Coppola that he
126
00:09:03.120 --> 00:09:07.080
got to film an episode with George
Miller and uh, you know, it's
127
00:09:07.120 --> 00:09:11.960
just it's just amazing to see to
see something like that in thirty five millimeter.
128
00:09:13.000 --> 00:09:15.879
I think they said it is the
only film itself by Southwest that was
129
00:09:15.919 --> 00:09:20.639
screening a thirty five millimeter on the
big screen in uh, in a beautiful
130
00:09:20.679 --> 00:09:24.759
theater downtown, Awesome, the Paramount. It's just celebrating its under anniversary this
131
00:09:24.840 --> 00:09:31.559
year. So it's just like,
you know, that's that's a really amazing
132
00:09:31.559 --> 00:09:37.279
and account of priceless experience. Uh, to see something like that, Yeah,
133
00:09:37.279 --> 00:09:39.840
I mean, I know you can't
go into detail, but you know,
134
00:09:41.120 --> 00:09:43.799
um, you know, what did
you think of a couple of minutes
135
00:09:43.799 --> 00:09:46.840
of the new of the New Man
match? Allowed to say, Yeah,
136
00:09:46.960 --> 00:09:50.200
it was amazing, It was really
amazing. I mean, it was such
137
00:09:50.320 --> 00:09:54.840
a it was it was such a
teenage it was. It was it was
138
00:09:54.919 --> 00:10:00.320
like, please give us more,
Please give us more. We'll be right
139
00:10:00.360 --> 00:10:07.120
back after a word from our sponsor. And now back to the show,
140
00:10:09.120 --> 00:10:15.320
you know, because it just it
looks beautiful and and I'm Hardy, Tom
141
00:10:15.399 --> 00:10:18.720
Hardy who plays Man Max the Fantastic
Show, at least the wrong the entire
142
00:10:18.799 --> 00:10:24.240
cast it just has uh, it
looks like a Road Warrior, you know,
143
00:10:24.399 --> 00:10:28.559
turn it up to eleven and you
know, Thunderdome everything, and plus
144
00:10:28.799 --> 00:10:31.799
it's just it's I can't wait to
see if some things makes this thing.
145
00:10:31.919 --> 00:10:35.639
And it just looks absolutely amazing for
you know, fans of that that kind
146
00:10:35.679 --> 00:10:41.399
of film. I can't imagine that
anybody's really going to be disappointed. Uh,
147
00:10:41.559 --> 00:10:45.519
it just looks, it looks stellar. I couldn't wait to see it
148
00:10:45.600 --> 00:10:50.279
after that taste of it last night. And that's good to hear coming from
149
00:10:50.279 --> 00:10:52.360
an actual fan of the original as
well. Um, you know, because
150
00:10:54.159 --> 00:10:56.000
you know with the you know,
the the sort of the the trends you
151
00:10:56.039 --> 00:10:58.759
see now in film is you know, there's a lot of remakes. There's
152
00:10:58.759 --> 00:11:03.039
a lot of you know old you
know properties, established properties that are getting
153
00:11:03.080 --> 00:11:05.639
you know made updated like uh,
you know a minute, we're even TV
154
00:11:05.759 --> 00:11:09.879
shows. But you know it's good
that there are you know, um personally
155
00:11:09.879 --> 00:11:13.320
like um, twenty one Jump Street. I thought that was absolute hilarious,
156
00:11:13.360 --> 00:11:16.679
Like you know what I mean,
I went in there with there was no
157
00:11:16.759 --> 00:11:20.159
expectations that I came out and I
said, Wow, that was actually pretty
158
00:11:20.240 --> 00:11:22.559
damn good. Yeah, absolutely,
I mean I think that's the thing,
159
00:11:22.679 --> 00:11:26.720
you know, the remakes and reboots
and reimagining. You often get you know,
160
00:11:26.799 --> 00:11:30.480
short rifts, and people say,
you know, there's no more reason
161
00:11:30.600 --> 00:11:35.399
like, well, you know,
um, just because the Coin Brothers made
162
00:11:35.399 --> 00:11:37.759
True Grit doesn't erase the first film, you know, doesn't erase the original.
163
00:11:39.279 --> 00:11:43.919
And a lot of things, you
know, writing and entertainments and stories
164
00:11:43.960 --> 00:11:50.919
are it's such a it's already inherently
a system of rescifling, you know,
165
00:11:50.159 --> 00:11:54.840
that this system of taking something old
and getting it a new spin in some
166
00:11:56.080 --> 00:11:58.960
way. And obviously you can fall
on there as a touch, but I
167
00:11:58.000 --> 00:12:03.240
think when you have talent, uh
and uh, and this will to sort
168
00:12:03.279 --> 00:12:11.919
of like make something better or or
make something with your own touch. And
169
00:12:11.000 --> 00:12:15.360
you have someone like George Miller who
you know at the helm of of of
170
00:12:15.759 --> 00:12:18.840
taking Mad Max and doing the remagining
or reboot or whatever you want to call
171
00:12:18.879 --> 00:12:24.279
it, um that you know you're
in the hands of a master. And
172
00:12:24.399 --> 00:12:28.159
uh. And there are so many
you know, it's a whole new generation
173
00:12:28.279 --> 00:12:33.279
who weren't able to experience the root
Larder the first time it came out in
174
00:12:33.320 --> 00:12:35.279
the context in which it came out, you know, in the context in
175
00:12:35.320 --> 00:12:37.960
which it came out, it was
like this, uh, you know,
176
00:12:39.120 --> 00:12:41.960
the supposed apocalyptic feature that we seem
to be so close to now. And
177
00:12:43.000 --> 00:12:46.919
that's one of the things that that
makes I think the movie resident and uh
178
00:12:48.159 --> 00:12:54.000
doing the original again and and giving
giving a new ideas for for what this
179
00:12:54.320 --> 00:12:58.080
reboot is going to be. You
know. Uh, so I you know,
180
00:12:58.559 --> 00:13:05.000
I don't and have the same sort
of negative outlook on those kinds of
181
00:13:05.039 --> 00:13:09.639
things. I guess. You know, some some people call things from cliche,
182
00:13:09.720 --> 00:13:11.559
and I say, now, it's
kind of cliche, it's the universal
183
00:13:11.600 --> 00:13:16.399
truth. Just go with that,
yeah, you know, and I agree
184
00:13:16.399 --> 00:13:20.480
with you, albro. You know, sometimes what I seem to see from
185
00:13:20.480 --> 00:13:24.080
even my friends is there's two kinds
of attitudes they have. Either they go
186
00:13:24.279 --> 00:13:28.320
like, uh, they either say
like, we see something like, you
187
00:13:28.320 --> 00:13:31.039
know, like a big budget blockbuster, whether you're it's a superhero movie or
188
00:13:31.080 --> 00:13:33.639
you know, Transformers, what have
you. They'll say like, you know,
189
00:13:33.679 --> 00:13:35.200
if they didn't like it, they'll
say, oh, well, you
190
00:13:35.240 --> 00:13:37.399
know, what, what did you
expect? They know, bla blah blah
191
00:13:37.440 --> 00:13:41.480
blah, you know, or the
other one is it's overrated or you know
192
00:13:41.679 --> 00:13:43.559
it's this or that. I mean, it just seems to be like if
193
00:13:43.559 --> 00:13:48.080
they like when someone does try something
new, they're sort of like, you
194
00:13:48.120 --> 00:13:52.000
know, you do see something new. It's almost like there's a trend you
195
00:13:52.000 --> 00:13:56.600
know in movie reviewers of like,
oh my god, why were they doing
196
00:13:56.600 --> 00:13:58.759
this? And then you know that's
where Specus can say like, hey,
197
00:13:58.919 --> 00:14:01.480
we try to do something now when
nobody wants to go see it. Yeah,
198
00:14:01.519 --> 00:14:05.879
that's true. And there's this thing, you know, and dessel Gone
199
00:14:05.919 --> 00:14:09.879
is a reimagining as a television series, to reimagining of the movie and taking
200
00:14:09.919 --> 00:14:13.559
that world further. You know,
so in so many ways, you know,
201
00:14:13.600 --> 00:14:16.080
we're joking of it too, but
we're trying to do something else with
202
00:14:16.200 --> 00:14:20.639
it, you know, we're trying
to take it further and uh and you
203
00:14:20.679 --> 00:14:24.480
know, develop characters, bringing new
characters that just utilize that world and and
204
00:14:24.759 --> 00:14:28.240
we have to you have. The
other thing to remember is exactly what you
205
00:14:28.320 --> 00:14:31.200
said. This is a This is
in so many ways of business. And
206
00:14:31.240 --> 00:14:35.559
sometimes it's easier, it's a different
it's an easier spell to sell someone something
207
00:14:35.600 --> 00:14:39.759
that they think they already know.
Um, and but it's just but now
208
00:14:39.759 --> 00:14:45.480
it's it's it's the same, but
it's different, and it's it's that kind
209
00:14:45.480 --> 00:14:50.200
of ability to take take something that
that people already are familiar with and give
210
00:14:50.240 --> 00:14:52.679
it back to them in a new
way. And I think that when when
211
00:14:52.679 --> 00:14:56.759
you do that well, people respond
to it well. And that was one
212
00:14:56.759 --> 00:15:00.519
of the great things about working on
the show is that, you know,
213
00:15:01.399 --> 00:15:07.960
it was very it was a parent
very early on that everybody involved in the
214
00:15:07.080 --> 00:15:11.720
cast and the writers and the directors
that were brought on board direct episode,
215
00:15:13.159 --> 00:15:16.200
they were all coming to this as
a as as a bit of a passion
216
00:15:16.240 --> 00:15:20.159
project. Nobody was really there,
in my opinion, just kind of picking
217
00:15:20.200 --> 00:15:24.120
up the check and you know,
walking away from it. Everybody was really
218
00:15:24.120 --> 00:15:28.679
invested in in in the project.
I think you just you get it.
219
00:15:28.679 --> 00:15:33.159
You get a sense of that when
you watch the stuff, and uh so,
220
00:15:33.480 --> 00:15:35.399
you know, I think that's that's
the best you can to help for
221
00:15:35.639 --> 00:15:39.600
m's can ask for. Oh yeah, absolutely. And you know, I've
222
00:15:39.639 --> 00:15:43.320
watched the whole the whole first season, and you know, I can definitely
223
00:15:43.360 --> 00:15:46.519
tell you know, you have both
of the me of the Gecko brothers.
224
00:15:46.559 --> 00:15:50.039
They both you know, one looks
like Clooney, one looks like Tarantino.
225
00:15:50.639 --> 00:15:52.080
Um. I thought, I mean
that was excellent casting, by the way.
226
00:15:52.120 --> 00:15:54.279
I was like, well, I
mean I could you know, the
227
00:15:54.440 --> 00:15:58.679
the you know, find someone looks
like Tarantino. He has a unique look.
228
00:15:58.720 --> 00:16:00.879
So I was like, man,
that what it must have been either
229
00:16:00.000 --> 00:16:04.639
the easiest casting session ever or the
hardest casting session effort, because you know,
230
00:16:04.799 --> 00:16:07.240
I mean either you have to look
through a ton of headshots or like,
231
00:16:07.240 --> 00:16:11.559
you know, only two got you
know, two even closely resemble.
232
00:16:11.120 --> 00:16:14.840
Uh, you know actors who were
submitted, and you know, and when
233
00:16:14.879 --> 00:16:17.320
I watched this and when I watched
it, you know, especially the first
234
00:16:17.360 --> 00:16:19.399
couple episodes, it takes place,
you know, in that same little convenience
235
00:16:19.440 --> 00:16:22.960
store with the sheriff, and and
you know, and um, you know,
236
00:16:23.080 --> 00:16:26.600
it was you know, very well
done. And and then there's also
237
00:16:26.759 --> 00:16:29.840
um, you know, you know, for those who haven't seen it,
238
00:16:29.879 --> 00:16:33.200
there's also a whole layer that you've
added to the TV show as well.
239
00:16:33.919 --> 00:16:36.799
Yeah. Absolutely, I mean in
that opening, in that opening episode,
240
00:16:36.840 --> 00:16:38.960
which is very based on the first
five or ten minutes of the film.
241
00:16:40.120 --> 00:16:44.159
You know, in the film of
character for the Texas Ranger Ol McGaw it's
242
00:16:44.159 --> 00:16:47.919
played by Michael Parks, and he
gets killed off in that first ten minutes
243
00:16:47.960 --> 00:16:52.279
of the film, and we had
you know, Don Johnson finding the character
244
00:16:52.960 --> 00:16:56.480
on our show. You know,
he's a tremendous actor in a the beginning
245
00:16:56.480 --> 00:17:00.240
there, but we were going to
extend his role so that even though his
246
00:17:00.360 --> 00:17:03.039
character died in the first episode,
he was in flashbacks for the next few
247
00:17:03.039 --> 00:17:07.880
episodes and uh, so you've got
to see more of that character. Uh.
248
00:17:07.920 --> 00:17:11.559
And that's a lot of the fun
of the project, like this too,
249
00:17:11.640 --> 00:17:17.240
is that it exists in this special
you know, uh world called the
250
00:17:17.279 --> 00:17:21.759
Tarantino Universe, you know, the
Tarantino Verse. You know, Earl McGraw
251
00:17:21.839 --> 00:17:26.960
shows up in Planet Terror, Earl
McGraw shows up in uh in other other
252
00:17:26.000 --> 00:17:33.079
Tarantino things. So you've got this
kind of continuity of story and and things
253
00:17:33.119 --> 00:17:37.160
like to have these characters that kind
of show up in these different Tarantino kind
254
00:17:37.200 --> 00:17:41.000
of related things. And so it's
it's amazing to you know, to have
255
00:17:41.039 --> 00:17:47.200
a small part in that in that
world. Yeah, and I think you've
256
00:17:47.240 --> 00:17:51.519
done a phenomenal job, you know. I you know, I when I
257
00:17:51.559 --> 00:17:53.559
first heard about you know, the
dustledone series, you know, I was
258
00:17:53.640 --> 00:17:56.839
like, you know, it was
just going to be a continuation, you
259
00:17:56.880 --> 00:17:59.519
know, it's just gonna be a
prequel. And then I watched I was
260
00:17:59.519 --> 00:18:02.799
like, oh, well, it's
really interesting what they've done here. And
261
00:18:03.640 --> 00:18:07.039
you know, I was just gonna
say back in the day, you know,
262
00:18:07.119 --> 00:18:11.839
back in the late nineties, I
actually had Robert was out in Japan
263
00:18:11.920 --> 00:18:15.599
promoting a film he did, called
the Faculty, and we were messaging each
264
00:18:15.599 --> 00:18:18.799
other online, and he said,
you know, Dimension and their Max were
265
00:18:18.839 --> 00:18:23.880
interested in doing a couple of sequels
dust Holdon probably would be straight to video
266
00:18:23.960 --> 00:18:27.079
and shot back to back, and
asked me if I had any ideas,
267
00:18:27.119 --> 00:18:30.839
And so I pitched an idea for
basically a sort of spaghetti western prequel to
268
00:18:32.279 --> 00:18:36.440
dust hold On, which we ended
up making as Dustldon three, The Hangman's
269
00:18:36.519 --> 00:18:41.799
Daughter, with Michael Parks playing a
real real life character named Ambrose Beers who
270
00:18:41.839 --> 00:18:48.240
disappeared in Mexico around the time of
the Mexican Revolution, And so it was
271
00:18:48.319 --> 00:18:52.799
great to have already kind of had
the background of doing research the story also
272
00:18:52.880 --> 00:18:57.400
sort of the genesis of Stony Santanico
Pandemonium Jerk had played by Salahiak and the
273
00:18:57.400 --> 00:19:03.839
original film and kind of came up
with this different backstory for her and researching
274
00:19:03.880 --> 00:19:10.279
all the sort of meso American mythologies
of aspec and minding things and our own
275
00:19:10.319 --> 00:19:15.640
special ideas about what these these creatures
were that that inhabit this uh, this
276
00:19:17.079 --> 00:19:22.000
Bordellos south of the Border, and
so coming to the show again it was
277
00:19:22.079 --> 00:19:26.160
like thinking some of some of those
same ideas a bit, but going so
278
00:19:26.240 --> 00:19:29.480
much further with them and and creating
you know, more of back story and
279
00:19:29.559 --> 00:19:36.440
more more sort of lines of of
a story and plot and character arts and
280
00:19:36.599 --> 00:19:41.680
all of that kind of stuff.
That really was fun to work with and
281
00:19:41.759 --> 00:19:45.920
coming up with ideas for for uh
for the season, especially since you know,
282
00:19:45.960 --> 00:19:49.240
after the first season the movie is
over. We kind of took that
283
00:19:49.519 --> 00:19:52.559
movie and turned it into tenets of
the television, obviously with a lot of
284
00:19:52.799 --> 00:19:56.200
new material, a lot of new
characters added. The character that will more
285
00:19:56.240 --> 00:20:00.680
of all the arom the place will
be right back after a word from our
286
00:20:00.720 --> 00:20:10.319
sponsor, and now back to the
show. It's one of three characters that
287
00:20:10.440 --> 00:20:15.000
Cheech Marine plays in the film,
Carlos, and then the movies movie there's
288
00:20:15.000 --> 00:20:17.720
not that much of a character,
and then our show, Carlos has become
289
00:20:17.759 --> 00:20:22.279
a main you know, a huge
part of the show, a big anchor
290
00:20:22.279 --> 00:20:26.480
for the show. And now season
two, like you know, the world
291
00:20:26.559 --> 00:20:33.039
is open again. And so being
able to create the season arc that you
292
00:20:33.119 --> 00:20:38.519
know that takes us completely out of
the movie now, but following these characters
293
00:20:38.519 --> 00:20:44.599
and allowing the stories and storylines and
arcs to grow from characters instead of,
294
00:20:44.960 --> 00:20:48.359
you know, just following what we
had already seen. You know. It
295
00:20:48.440 --> 00:20:52.960
was a great challenge and also just
a great opportunity to try to do something
296
00:20:52.000 --> 00:20:56.599
interesting in New So so Olvera.
When you when you're you know, working
297
00:20:56.640 --> 00:21:00.200
together, imagine, you know,
before each season, you know, you
298
00:21:00.279 --> 00:21:02.839
and all the other writers are in
the room together, you know, how
299
00:21:02.880 --> 00:21:06.799
much how much outlined do you do
before you actually all get started writing your
300
00:21:06.799 --> 00:21:10.559
own episodes. But it was it
was a really kind of an amazing process
301
00:21:10.599 --> 00:21:15.680
we had. They had kind of
an eight week stretch last summer to to
302
00:21:15.880 --> 00:21:18.839
just talk out where we were going. And one of the one of the
303
00:21:18.920 --> 00:21:22.880
think really invaluable things that we did
was we brought in each of the main
304
00:21:22.960 --> 00:21:26.759
characters, each of the main actors, you know, one at a time,
305
00:21:26.799 --> 00:21:29.599
to come into the room and talk
about their character. You know,
306
00:21:29.960 --> 00:21:32.359
tell you know, tell me what
you thought about season one. How do
307
00:21:32.359 --> 00:21:36.319
you feel your character, you know, feels at the end of season one,
308
00:21:36.759 --> 00:21:38.599
How does your character feel about other
characters and on the show. But
309
00:21:38.759 --> 00:21:41.720
what did you like about season one? What did you not like about season
310
00:21:41.759 --> 00:21:45.640
one? What would what would you
differently? What kinds of things you know,
311
00:21:45.640 --> 00:21:48.920
would you like to see your character
doing, and stuff like that,
312
00:21:48.319 --> 00:21:52.000
And that really kind of gave us
a lot of ideas. And we started
313
00:21:52.039 --> 00:21:55.599
out with with with some ideas about
where we thought we would go in the
314
00:21:55.599 --> 00:22:00.599
season. But you know, it
was a it was a really evolutionary process
315
00:22:00.640 --> 00:22:04.359
and a really collaborative process. I
think that was that was amazing and uh.
316
00:22:04.400 --> 00:22:08.759
And then as far as outlining,
now there's there's so much of of
317
00:22:10.359 --> 00:22:12.359
you know, like they say,
so much of writing is rewriting so much
318
00:22:12.359 --> 00:22:17.160
you're writing. It's also a prewriting
process before the scripts of of you know,
319
00:22:17.200 --> 00:22:19.720
writing outlines, having them you know, brought to the table, having
320
00:22:19.720 --> 00:22:25.319
them torn apart and rebuilt. Um, you know, ideas that that you
321
00:22:25.359 --> 00:22:30.640
know we had for you know,
a big finale that that might get just
322
00:22:30.279 --> 00:22:36.200
push you know further uh or closer
to you know, before the end of
323
00:22:36.200 --> 00:22:38.400
the season, so we can even
go further from the big idea that we
324
00:22:38.480 --> 00:22:42.759
had and all those types of things. You know, it's it's a it
325
00:22:42.880 --> 00:22:48.279
really is sort of a you know, and nothing is written in stone sort
326
00:22:48.279 --> 00:22:52.599
of things as we're in that process
and things are very fluid and flexible with
327
00:22:52.640 --> 00:22:59.640
the with the idea of being open
to open to trying to collaboratively, uh
328
00:23:00.039 --> 00:23:04.079
and individually, you know, bring
bring your a game and keep constantly trying
329
00:23:04.119 --> 00:23:08.079
to challenge ourselves to make things better. When one of the things our showrunner
330
00:23:08.119 --> 00:23:12.319
has kind of instilled in all of
us, there's this idea of you know,
331
00:23:12.640 --> 00:23:18.079
our show runners, a guy named
Carlos Potosk on Salo Shows and you
332
00:23:18.119 --> 00:23:22.000
know, a great record and intellivision, and one of the things you know,
333
00:23:22.039 --> 00:23:25.759
he would say is if someone brought
an idea that everybody thought, Hey,
334
00:23:25.799 --> 00:23:27.319
that's a really good that's a really
good idea of characters, you know,
335
00:23:27.559 --> 00:23:30.960
we do that, Let's see we
can earn it. You know,
336
00:23:30.119 --> 00:23:33.519
let's just not try to put a
pin over here and say, by this
337
00:23:33.599 --> 00:23:37.000
time this has to happen. So
let's really see we can get our characters
338
00:23:37.000 --> 00:23:42.400
to that point organically and through the
characters themselves getting to that to that good
339
00:23:42.440 --> 00:23:48.279
idea. You know. Um,
so it's a it's a it's a it's
340
00:23:48.279 --> 00:23:52.880
a real challenge and uh, but
you know it's gos like you know,
341
00:23:52.880 --> 00:23:57.200
we're all working together to do to
try to do that. And you know,
342
00:23:57.279 --> 00:24:00.240
it's really great to have a showrunner, you know, with a lot
343
00:24:00.279 --> 00:24:03.279
of experience, you know, to
actually sort of guide it along. I
344
00:24:03.279 --> 00:24:07.680
mean, uh, you know,
I've actually tooked other writers or other shows
345
00:24:07.720 --> 00:24:11.279
and they've mentioned how important that person
can be because you know, like you
346
00:24:11.359 --> 00:24:15.119
just said, you know, people
have to earn it and you can't sort
347
00:24:15.160 --> 00:24:18.960
of force it just because hey it's
a cool idea, right yeah, no,
348
00:24:19.079 --> 00:24:23.279
absolutely, and that and that's I
think that spirit really continues on even
349
00:24:23.359 --> 00:24:26.519
as we're shooting an episode, you
know, to come up with an idea,
350
00:24:26.640 --> 00:24:30.920
even as we're shooting and say,
you know, maybe this needs to
351
00:24:30.920 --> 00:24:33.960
happen. Well it's you know,
let's let's not try to force it.
352
00:24:33.039 --> 00:24:36.680
Let's let's really try to find a
way to make it, to make it
353
00:24:36.720 --> 00:24:41.200
seem like a natural, organic part
of the story. Um. And so
354
00:24:41.599 --> 00:24:48.720
you know there's uh uh and we're
just really really uh fortunate and uh you
355
00:24:48.759 --> 00:24:53.440
know to created these constellations of great
great crew, great actors, um,
356
00:24:53.480 --> 00:24:59.440
you know, great director's photography and
great directors on our episodes to really kind
357
00:24:59.440 --> 00:25:03.079
of try to you know, to
do the best that we can with with
358
00:25:03.880 --> 00:25:07.359
with ideas and with the scripts and
uh and you know, try to put
359
00:25:07.359 --> 00:25:11.440
out something that people will will be
intrigued by and want to keep watching it.
360
00:25:14.119 --> 00:25:15.839
So you know, uh, Albroad, now that you have you know,
361
00:25:15.920 --> 00:25:19.960
you you have you know, uh, the episode and everything from the
362
00:25:19.960 --> 00:25:25.400
writer's meeting. You know, how
do you personally sit down to write?
363
00:25:25.400 --> 00:25:27.119
I mean do you so? I
mean, I know you probably have a
364
00:25:27.160 --> 00:25:30.839
couple of points and a couple of
things that you have to incorporate in the
365
00:25:30.839 --> 00:25:33.039
episode. But do you sort of
do you sort of break it out into
366
00:25:33.079 --> 00:25:37.599
the eight parts, like you know, the eighth structure theory or do you
367
00:25:37.599 --> 00:25:40.000
know, do you just do the
traditional free act or do you not do
368
00:25:40.000 --> 00:25:44.079
any of that and just go go
full forward in Oh? You know,
369
00:25:44.200 --> 00:25:47.519
we we definitely stick to a structure, you know, on our show week
370
00:25:47.559 --> 00:25:49.839
we kind of go with what we
you know, present as a five act
371
00:25:49.880 --> 00:25:56.839
structure, you know. Um and
and the outlining you know will reflect the
372
00:25:56.839 --> 00:25:59.960
act breaks and you know, so
I say, sometimes there's a fluid and
373
00:26:00.039 --> 00:26:03.079
those change. We'll always try to
have a really good, strong, you
374
00:26:03.160 --> 00:26:07.000
know, act out and then a
strong act in um, you know,
375
00:26:07.079 --> 00:26:10.880
in between the breaks and stuff like
that. UM. So you know,
376
00:26:10.920 --> 00:26:15.000
the outline process is fairly rigorous and
and uh and it's really as detail as
377
00:26:15.039 --> 00:26:18.319
we can possibly make it. And
then other things there's left us, you
378
00:26:18.359 --> 00:26:22.799
know, with our arm and called
in a writer's opportunity to you know kind
379
00:26:22.799 --> 00:26:26.759
of you know, when you're writing
the script, actually find something that you
380
00:26:26.799 --> 00:26:32.000
know will will not have maybe not
have been in the outline or not.
381
00:26:32.039 --> 00:26:34.480
It's clear in the outline that's suddenly
in the writing of the of the script
382
00:26:34.519 --> 00:26:40.880
itself. You know, methods,
um. But as far as the writing
383
00:26:40.920 --> 00:26:44.119
process, you know, it's it's
a lot of crying, a lot of
384
00:26:44.160 --> 00:26:47.960
pro fascination, a lot of you
know, um plicidal thoughts, and then
385
00:26:48.039 --> 00:26:55.079
somehow putting together something that that you
know it's going to be um challenged again,
386
00:26:55.240 --> 00:26:56.480
you know. And I think that's
that in a lot of ways,
387
00:26:56.559 --> 00:27:03.359
that's a that's a liberating part of
the thing to you know, realizing that,
388
00:27:02.559 --> 00:27:07.880
uh that you know, it's it's
our duty to try to give the
389
00:27:07.880 --> 00:27:11.720
best that we can, but realize
that you know, it's always going to
390
00:27:11.759 --> 00:27:17.519
be improved upon. If we're always
going to it's still a malleable thing in
391
00:27:17.519 --> 00:27:22.799
a moment that you shooting, because
there are things that happen, our new
392
00:27:22.839 --> 00:27:26.279
ideas that come in. Um.
One of the one of the great things
393
00:27:26.279 --> 00:27:30.519
about this particular season is that we
were able to have, you know,
394
00:27:30.000 --> 00:27:34.920
all of our scripts written before we
actually started shooting, and so that allowed,
395
00:27:36.440 --> 00:27:41.039
um, you know, for a
certain amount of uh um, you
396
00:27:41.119 --> 00:27:45.200
know, being able to go over
the entirety of the of the season,
397
00:27:45.079 --> 00:27:49.000
of the scripts and really try to
you know, make sure all the setups
398
00:27:49.000 --> 00:27:52.759
were set up and all the payoffs
were paid off, you know, and
399
00:27:52.759 --> 00:28:00.920
and everything got hit. So I
mean it uh uh you it sets the
400
00:28:00.960 --> 00:28:03.920
ball pretty high, so hopefully we
can we can we can make that jump.
401
00:28:07.039 --> 00:28:11.119
So, you know, has your
writing style sort of changed over the
402
00:28:11.200 --> 00:28:12.640
years, you know from you know, um obviously I was looking at your
403
00:28:12.680 --> 00:28:18.119
IMDb and you know, your first
actual UM writing credit is you know,
404
00:28:18.279 --> 00:28:22.000
from Gustown three, Hangman's Daughter.
So when you prote that to you where
405
00:28:22.039 --> 00:28:26.440
you are now, has your writing
sort of a process changed a lot?
406
00:28:27.400 --> 00:28:30.680
I think the process has probably changed
a bit, um, and I think
407
00:28:30.680 --> 00:28:34.279
that the style has probably changed a
bit. I mean, I remember back
408
00:28:34.319 --> 00:28:37.759
at that time, you know,
one of the executives who was at the
409
00:28:37.839 --> 00:28:40.799
mansion at the time said, you
know, your script is great. It
410
00:28:40.880 --> 00:28:44.200
reads almost like a novel. And
I realized that I was you know,
411
00:28:44.519 --> 00:28:47.480
I really wasn't training as a screenwriter. A lot of this was, you
412
00:28:47.519 --> 00:28:51.000
know, kind of learning by doing. I didn't. I never had taken
413
00:28:51.039 --> 00:28:53.160
any kind of screenwriting classes or anything
like that, and didn't go to school
414
00:28:53.240 --> 00:28:57.839
screen writing. Probably an English major, but I had a lot of background
415
00:28:57.960 --> 00:29:03.519
in both. I had three semesters
of creative writing as an undergraduate in poetry,
416
00:29:03.519 --> 00:29:06.839
of all things, and then I
was also an entertainment journalist for the
417
00:29:06.880 --> 00:29:11.480
student newspaper. I was just an
entertainment editor, and you know, and
418
00:29:11.799 --> 00:29:15.160
I had done some news stuff too. I was working in a newspaper when
419
00:29:15.160 --> 00:29:18.640
I was writing Dusseldon three, and
it felt like, you know, those
420
00:29:18.680 --> 00:29:26.640
things which I sort of discounted,
uh, were actually strong primers for screenwriting,
421
00:29:26.720 --> 00:29:30.920
because in screenwriting it's so much about
the essence of things and such a
422
00:29:30.000 --> 00:29:36.799
skeletal structure that the poetry led itself
to that because in poetry, so many
423
00:29:36.799 --> 00:29:40.799
times you're trying to create, you
know, sensations and images and emotions.
424
00:29:40.799 --> 00:29:45.079
In a reader in the sea,
words as possible creating these images in sea
425
00:29:45.119 --> 00:29:48.920
words as possible. And in journalism, you know, it's kind of this
426
00:29:48.920 --> 00:29:52.680
this just the fact man kind of
reporting, you know, which also lends
427
00:29:52.720 --> 00:29:56.920
itself to screenwriting. So those were
those were those were actually powerful, you
428
00:29:56.960 --> 00:30:00.279
know, sort of set up tools
for me. We'll be right back after
429
00:30:00.319 --> 00:30:10.559
a word from our sponsor and now
back to the show. But you know,
430
00:30:10.640 --> 00:30:14.480
even then, I feel like,
uh, like I learned to kind
431
00:30:14.519 --> 00:30:18.359
of, um find my voice.
I think my voice was there in that
432
00:30:18.519 --> 00:30:22.319
in the first script, uh,
in Paying the Star. It wasn't the
433
00:30:22.319 --> 00:30:25.960
first script that lived in the first
script that you know got made. And
434
00:30:26.000 --> 00:30:32.720
then um to uh to kind of
hone that down and keep trying to um,
435
00:30:32.920 --> 00:30:37.720
you know, to to convey as
much information as possible and it must
436
00:30:37.720 --> 00:30:45.200
becomicly possible. Um and and try
to really find the power of the language
437
00:30:45.720 --> 00:30:48.000
in order to you know, to
convey in the reader's minds who you know
438
00:30:48.079 --> 00:30:52.119
that might be a reader is picking
up the script and is the one who's
439
00:30:52.119 --> 00:30:56.279
going to pass it on to the
next guy or not or to you know,
440
00:30:56.319 --> 00:31:00.160
actually have a shooting script and have
you know, um do if you
441
00:31:00.279 --> 00:31:02.519
read this and say, you know, this is how we're going to do
442
00:31:02.519 --> 00:31:04.039
this, or the director photography read
this and things, how that's going to
443
00:31:04.119 --> 00:31:08.920
be shot without using you know,
without telling them exactly what they're going to
444
00:31:10.000 --> 00:31:12.559
do, but just to be able
to sort of fuss that out for themselves
445
00:31:14.319 --> 00:31:18.039
in the script that you've written.
So yeah, I think it's definitely evolved.
446
00:31:18.359 --> 00:31:22.960
I use that word again, um
as part of the process. And
447
00:31:22.319 --> 00:31:26.160
you know, I hope that I
can keep you know, keep evolving and
448
00:31:26.240 --> 00:31:30.920
keep getting better at what I'm doing. And you know, um, I
449
00:31:30.920 --> 00:31:33.279
mean it's it's you know, it's
amazing that you know, you always you
450
00:31:33.319 --> 00:31:37.160
know, finding new ways to improve. Um. You know, I've noticed
451
00:31:37.200 --> 00:31:38.440
that too. You know, you
touched on something about you know, you
452
00:31:38.440 --> 00:31:41.440
said the script read like a novel. Um. You know, as I
453
00:31:41.559 --> 00:31:45.200
as I do more screen running as
well, uh and even read scripts,
454
00:31:45.160 --> 00:31:49.559
I've realized I've finally realized now that
actually reading screenplays that have either been produced
455
00:31:49.640 --> 00:31:55.480
or not produced, but have been
like either either bought or optioned, really
456
00:31:55.480 --> 00:32:00.680
gives you a give gives you a
view, uh into that world that you
457
00:32:00.720 --> 00:32:04.920
know, any screenwriting guru or whatever
can't give you, if you know what
458
00:32:05.000 --> 00:32:07.599
I mean. Absolutely, I mean
I think that's the thing too. I
459
00:32:07.640 --> 00:32:13.200
mean I spent I spent a long
time once I started really writing, and
460
00:32:13.319 --> 00:32:17.519
you know, hanging as daughter and
after that of imagining a library of of
461
00:32:17.519 --> 00:32:22.119
of anything I thought was useful.
But among those, you know, practically
462
00:32:22.160 --> 00:32:28.640
every book on screenwriting ever written.
And I was always trying to find you
463
00:32:28.640 --> 00:32:31.279
know, I was always trying to
find shortcuts. Maybe is not the right
464
00:32:31.359 --> 00:32:35.519
would but but sort of techniques or
ideas of things that could help me,
465
00:32:35.680 --> 00:32:39.799
you know, in the process.
And the problem with that sometimes, and
466
00:32:39.880 --> 00:32:43.680
it was for me, was that, you know, it could become a
467
00:32:43.680 --> 00:32:47.240
crutch because if you can actually become
kind of a stifling had a stifling effect.
468
00:32:47.599 --> 00:32:51.440
And when I was writing and I
would be like, you know,
469
00:32:51.519 --> 00:32:53.039
I don't know what I'm going to
do next, but I know the answer
470
00:32:53.119 --> 00:32:57.720
is probably on this shelf over here
somewhere, or these shelves or this whole
471
00:32:57.799 --> 00:33:01.119
you know, this room of books
and um. And I think that the
472
00:33:01.519 --> 00:33:05.480
more that the more the more that
you actually did the process, the more
473
00:33:05.480 --> 00:33:08.799
that you're actually involved in the writing
process, the less that you feel like
474
00:33:08.880 --> 00:33:14.359
you need those kinds of things because
you've already sort of um, you've you've
475
00:33:14.400 --> 00:33:17.240
made them a part of yourself.
They're inherent in your own sensibility because you
476
00:33:17.279 --> 00:33:21.480
know, you've been a reader your
whole life. You've read, you've read
477
00:33:21.519 --> 00:33:24.599
scripts, so you've read novels,
you've seen movies. You understand the language
478
00:33:24.599 --> 00:33:29.920
of film, you understand the language
of screenwriting, and and I think,
479
00:33:29.920 --> 00:33:32.559
if you know, sort of getting
to that point where, um, you
480
00:33:32.599 --> 00:33:37.839
know. I always kind of used
the example of when I was an undergraduate.
481
00:33:37.839 --> 00:33:40.079
When I first got to the University
of Texas, I tested out of
482
00:33:40.119 --> 00:33:45.680
sixteen hours of Spanish, you know, and I never had to take my
483
00:33:45.079 --> 00:33:49.160
I never had to take Spanish at
the college level, and I felt like
484
00:33:49.200 --> 00:33:53.559
I never really got as intensive training
in Spanish as I could have. And
485
00:33:53.599 --> 00:33:58.480
it wasn't until years and years later
I was finally like reading books in Spanish
486
00:33:58.519 --> 00:34:00.960
and realizing I wasn't translate and the
English in my head I was reading,
487
00:34:00.960 --> 00:34:06.079
I was just understanding it. And
I think it's the same thing with with
488
00:34:06.160 --> 00:34:09.000
the writing. It's like I had
I already had the language of screenwriting and
489
00:34:09.039 --> 00:34:13.119
the language of cinnama in my brain, and I just needed to kind of
490
00:34:13.159 --> 00:34:16.920
tap into it and realize that all
of these things are many of them we're
491
00:34:16.920 --> 00:34:23.519
already inherently a part of my h
my own sensibilities. Yeah, yeah,
492
00:34:23.639 --> 00:34:28.719
And you know, I've realized it
too. Is that when you you know,
493
00:34:29.079 --> 00:34:30.239
sort of and when you start doing
it, and you know, doing
494
00:34:30.239 --> 00:34:34.039
it is the most important part.
When you start getting in there and actually
495
00:34:34.039 --> 00:34:37.280
writing and you know, being resistance
and and and you know, you start
496
00:34:37.280 --> 00:34:40.639
to realize you don't need those signposts
as much, you know what I mean.
497
00:34:40.920 --> 00:34:43.800
So you know, I mean you
I'm sure you've heard of like you
498
00:34:43.840 --> 00:34:46.000
know, there's certain rules like oh, by page seventeen, this has to
499
00:34:46.039 --> 00:34:50.880
happen, and you know, and
you realize that, you know, those
500
00:34:50.880 --> 00:34:55.960
guide posts aren't like definitive rules,
they're just you know, either I guess
501
00:34:55.960 --> 00:34:59.920
you could say principles or you know, someone was just like, hey,
502
00:35:00.000 --> 00:35:01.800
hey, look I noticed that on
pay seventeen of these scripts this happened.
503
00:35:01.800 --> 00:35:05.920
So therefore here's a rule, right, Well, I mean that's the thing
504
00:35:05.920 --> 00:35:08.159
I mean I did. I did
take workshops later on, especially like I
505
00:35:08.159 --> 00:35:12.840
didn't save the cat workshop here in
Austin with Blake Snyder when he was when
506
00:35:12.840 --> 00:35:15.960
he was still alive, and and
it was it was it was the first
507
00:35:15.000 --> 00:35:19.480
screenwriting workshop I've ever done, and
it was so amazing to me because what
508
00:35:19.519 --> 00:35:22.960
Blakes had done in his Broken and
the Workshop was to take you know,
509
00:35:22.000 --> 00:35:27.280
the sort of the sort of fifteen
beats and how to show you how,
510
00:35:27.760 --> 00:35:30.320
you know, if you could look
at Jaws and you could look at you
511
00:35:30.360 --> 00:35:32.199
know, a comedy, and you
could look at a horror film, you
512
00:35:32.199 --> 00:35:36.400
could look at it whatever gal or
was, you would always sort of find
513
00:35:36.440 --> 00:35:38.639
these sort of fifteen things in it. And the way that he described them
514
00:35:38.639 --> 00:35:42.719
this is you know, it's like
the casual Friday's version of the you know
515
00:35:42.920 --> 00:35:50.360
story or Blue Hunter or whatever that
that it was. It was so accessible,
516
00:35:50.599 --> 00:35:53.039
you know. And but I think
you thinking about those things to too,
517
00:35:53.199 --> 00:35:57.039
is that you really kind of have
to take them as um as a
518
00:35:57.400 --> 00:36:01.039
descriptive and not not prescriptive. You
know, it's describing a thing that already
519
00:36:01.039 --> 00:36:06.639
exists. And when you you know, you can you can definitely apply them
520
00:36:06.639 --> 00:36:09.800
and they will help you and structure. But but don't be so confined to
521
00:36:09.800 --> 00:36:14.880
to a page number or anything like
that. Just like just know that that
522
00:36:14.880 --> 00:36:17.599
that that this is sort of for
the way stories has been told throughout time.
523
00:36:17.639 --> 00:36:20.840
And that's why I feel like so
much of it is inherent it's not
524
00:36:21.000 --> 00:36:22.880
telling you stuff that you already know, that putting it in the language that
525
00:36:22.960 --> 00:36:27.679
makes it sort of accessible and easy
to understand, you know. So I
526
00:36:27.719 --> 00:36:30.880
think I think all those things are
valuable. I don't discount them in any
527
00:36:30.920 --> 00:36:35.199
way, shape or form. But
I think that you realize that you know
528
00:36:35.320 --> 00:36:38.519
that that uh, it's kind of
telling you things that you sort of already
529
00:36:39.119 --> 00:36:45.440
intrinsically know, uh and maybe have
just not thought of in those terms before
530
00:36:45.800 --> 00:36:47.480
gives you, gives you a terminology, gives you a way to name the
531
00:36:47.559 --> 00:36:53.119
parts you know of the body of
your story and uh and realize, hey,
532
00:36:53.199 --> 00:36:57.920
you know the knee bones connected to
the shin bone, and that that's
533
00:36:58.119 --> 00:37:00.039
that's that's the way that the body
works, that's the way story word.
534
00:37:00.719 --> 00:37:06.280
Um. And if you you know, if you put these pieces together and
535
00:37:06.440 --> 00:37:09.000
realize that that there's a framework,
then you can kind of you know,
536
00:37:09.079 --> 00:37:15.039
mess around with that and push things
around and and surprise yourself even uh,
537
00:37:15.320 --> 00:37:17.519
with hopes that that's going to surprise
the reader, and that's going to surprise
538
00:37:17.559 --> 00:37:22.719
your audience. And I think the
other thing is this is to not discount
539
00:37:22.760 --> 00:37:29.599
at all the value of actually working
with actors and actually being involved in the
540
00:37:29.679 --> 00:37:32.320
process so that you know, only
for me, I was always kind of
541
00:37:32.320 --> 00:37:37.000
described myself as a guy chained to
the laptop in the dungeon and that these
542
00:37:37.000 --> 00:37:38.960
are all just the voices in my
head I was writing out. And when
543
00:37:39.000 --> 00:37:45.840
you actually, you know, on
set where actors like Don Johnson or Robert
544
00:37:45.880 --> 00:37:50.039
de Niro in the shedding, you
know, is you know, doing a
545
00:37:50.079 --> 00:37:52.840
lines you wrote and bringing his own
sensibilities to them and stuff like that,
546
00:37:52.880 --> 00:37:58.559
It's like it opens up. You
know, It's like if we were on
547
00:37:58.599 --> 00:38:00.800
a chakra level. It's just why
you know, your mind explodes if you
548
00:38:00.920 --> 00:38:06.079
reach the crown and you reach Nirvano
and you know someone like Robert de Niro
549
00:38:06.280 --> 00:38:09.000
is doing your dialogue and bringing this
whole other sensibility to it, but you
550
00:38:09.039 --> 00:38:14.159
didn't see even as you were writing
it. Um, that that can influence
551
00:38:14.239 --> 00:38:19.119
the way that you approach writing h
approach writing dialog, or approach writing scene
552
00:38:19.239 --> 00:38:22.800
or whatever it happens to be.
You know what I mean. Oh yeah,
553
00:38:22.800 --> 00:38:27.199
that's a very good point. Um. You know, sometimes I'll sit
554
00:38:27.280 --> 00:38:30.840
in with script readings, so you
know, I I actually, um,
555
00:38:30.880 --> 00:38:32.320
I co found that a writer's group
two years ago and we still meet.
556
00:38:32.360 --> 00:38:36.119
You know, we meet twice a
month, and you know, when everyone's
557
00:38:36.159 --> 00:38:39.519
done, we actually stage readings,
We actually get actors and have I just
558
00:38:39.559 --> 00:38:45.280
have a you know reading in a
conference from altogether and um, you know,
559
00:38:45.360 --> 00:38:47.880
and it's you know, the writers
who actually who wrote that particular script.
560
00:38:49.079 --> 00:38:52.400
You know, they're always fransically taking
notes because you're actually hearing now you
561
00:38:52.440 --> 00:38:54.920
know, different voice added to that. You know, because again, like
562
00:38:54.920 --> 00:38:59.800
you said, they come to you
know, putting their inflection on the character
563
00:39:00.320 --> 00:39:04.679
right, absolutely, absolutely, and
just you know, even things that you
564
00:39:04.800 --> 00:39:07.519
thought work on the page that don't
work you know, in the reality and
565
00:39:07.639 --> 00:39:14.239
situation or or And that's it's another
thing too. It's like just an example
566
00:39:14.239 --> 00:39:19.360
of last season of uh uh Sporting
in an episode that I'd written with Robert
567
00:39:19.360 --> 00:39:22.440
Patrick, and we were rehearsing the
scene sitting around the table with Robert Patrick
568
00:39:22.639 --> 00:39:29.719
and Madison Davenport Brandon sou who would
play Kate and Scott Fuller, his children
569
00:39:29.840 --> 00:39:32.639
on show, and there in a
moment, I was just kind of kind
570
00:39:32.639 --> 00:39:37.039
of glanced over at Robert and he
just had this look on his face and
571
00:39:37.119 --> 00:39:39.360
I just told him, I said, you know, I can't even look
572
00:39:39.360 --> 00:39:44.000
at you because you're so you're so
intense right now. I mean, you
573
00:39:44.000 --> 00:39:46.800
can do more with one look that
than than if I gave you a page
574
00:39:46.800 --> 00:39:52.280
of dialogue and realized that the physicality
or the actor is something that never could
575
00:39:52.320 --> 00:40:00.679
sort of under underestimate in the in
the writing process. Well be right back
576
00:40:00.840 --> 00:40:08.480
after a word from our sponsor and
now back to the show, and realized
577
00:40:08.519 --> 00:40:13.400
that you have to you have to
leave something for the actor, be something
578
00:40:13.400 --> 00:40:15.760
for the actor to do. Recently
in Los Angeles, I went to some
579
00:40:15.800 --> 00:40:22.719
screenings of films that John Boorman made
staring Lee Marvin in a particularly Point Blank
580
00:40:22.039 --> 00:40:27.199
in a movie called Tell Him the
Pacific, and joyne Epstein I think his
581
00:40:27.280 --> 00:40:30.199
name has had written a biography of
Lee Marvin. You know, told a
582
00:40:30.280 --> 00:40:36.320
story about a scene in Point Blank
in which Marvin's character sees comes back to
583
00:40:36.519 --> 00:40:42.119
see his wife who basically set him
up or watched it as he was allegedly
584
00:40:42.239 --> 00:40:45.119
killed and left for dead, and
he comes back just to see her and
585
00:40:45.880 --> 00:40:51.559
realizing or thinking that he's going to
kill the guy who tried to kill him
586
00:40:51.599 --> 00:40:54.599
if he's been now checked up to
his wife and had this scene where Lee
587
00:40:54.599 --> 00:40:58.360
had all this dialogue. Lee Marvin
had all this dialogue with his wife,
588
00:40:58.360 --> 00:41:01.360
and he just asked if he could
not saying any of it and just have
589
00:41:01.480 --> 00:41:07.320
the conversation to beyond from the life
side and you and so assists his wife
590
00:41:07.400 --> 00:41:10.880
kind of out talking to him as
if they're having a conversation, but it's
591
00:41:10.880 --> 00:41:15.400
only her lines, and he's just
giving her look. He's a he'sus looking,
592
00:41:15.679 --> 00:41:19.679
and he's just he's just acting without
dialogue. And you see how much
593
00:41:20.119 --> 00:41:22.480
how smart that is, first of
all, and how brave it is for
594
00:41:22.559 --> 00:41:25.280
an acting to say, I can
do this without words. You know,
595
00:41:25.679 --> 00:41:30.760
I can do this with my own
physicality, with my own presence, without
596
00:41:30.800 --> 00:41:34.559
you know, without having to just
say everything that I feel I can show
597
00:41:34.599 --> 00:41:37.639
you that. And to think about
that as a writer is you know,
598
00:41:37.400 --> 00:41:43.239
it's you know, it's it's it's
an amazing sort of lesson in realizing that
599
00:41:44.039 --> 00:41:47.000
that this this really is a skeleton, and it's the actors and it's the
600
00:41:47.039 --> 00:41:52.880
directors and photography and directors and the
lighting turns everybody else that puts the plush
601
00:41:52.119 --> 00:41:59.440
on those bones, and and you
know, that's it's something I think about,
602
00:42:00.119 --> 00:42:02.559
you know, in the process of
writing and trying to uh kind of
603
00:42:04.119 --> 00:42:07.960
lead that leave that space. You
know, That's what the white space is.
604
00:42:07.000 --> 00:42:09.760
I think, you know, on
the page, the white space is
605
00:42:10.199 --> 00:42:15.239
a place where the actor shines.
The white space is where it's not you
606
00:42:15.239 --> 00:42:17.400
know, sort of snapping it to
the dialogue or how well you wrote those
607
00:42:17.440 --> 00:42:22.519
action lines. It's it's the actress
themselves, the characters that are that are
608
00:42:22.639 --> 00:42:30.039
breathing between those in between those months
um and uh. You know. I
609
00:42:30.519 --> 00:42:37.519
I talked about Jonathan Richmond song about
Developed Underground. He had the line and
610
00:42:37.599 --> 00:42:40.360
where he says they played less notes
and less more space, And that's sort
611
00:42:40.400 --> 00:42:44.440
of thing I tried to do in
the screenwriting, kind of play less notes
612
00:42:44.480 --> 00:42:47.599
and leave more space, leave that
space there for for the actors to inhabit.
613
00:42:49.519 --> 00:42:52.599
And I think when you really have
a strong scene, like the scene
614
00:42:52.639 --> 00:42:59.599
I think is my favorite scene in
that episode where these these characters are sitting
615
00:42:59.639 --> 00:43:04.440
together realizing that they're they're kind of
stuck in this place and and stef Gecko
616
00:43:04.599 --> 00:43:08.639
is kind of fortunately to confront their
own um demons in the number one when
617
00:43:08.639 --> 00:43:15.039
we've seen that. But the ballot
is good. That it's it's it's it's
618
00:43:15.039 --> 00:43:17.480
really what the actors bring to it. It's really so much of what they're
619
00:43:17.639 --> 00:43:24.559
what they're showcasing their own panels and
their own capabilities. Um that that you
620
00:43:24.599 --> 00:43:30.159
know, it provides a lesson to
me as a writer. Yeah, it's
621
00:43:30.159 --> 00:43:32.960
sort of you know, uh,
adding that layer of subtext, you know,
622
00:43:34.000 --> 00:43:36.880
and it's sort of yeah, you
know, finding a way to actually
623
00:43:36.880 --> 00:43:38.880
say things that actually coming out and
saying them and all the things below the
624
00:43:38.920 --> 00:43:43.079
surface. And you know, um, I've never actually seen that movie,
625
00:43:43.440 --> 00:43:45.199
but I will make sure to actually
check that out because that would that you
626
00:43:45.199 --> 00:43:47.239
know, that's a no'm in a
way to you know, to tell a
627
00:43:47.280 --> 00:43:52.639
story. Yeah, play let me
and uh I think he also gave another
628
00:43:52.639 --> 00:43:57.639
example another movie that Lee Marmon did
with director Richard Brooks called The Professionals,
629
00:43:57.360 --> 00:44:00.639
which the Western it's also you know, I'm sure it's biggest tons on Platin,
630
00:44:00.679 --> 00:44:05.440
Tarantino and things like that too.
Um, but point blank and The
631
00:44:05.480 --> 00:44:08.039
Professionals and telling the specific which is
basically in a lot of ways, a
632
00:44:08.199 --> 00:44:14.519
silent film to Lushlee Marvin and to
share Mafoon and the Japanese actor are stranded
633
00:44:14.760 --> 00:44:19.239
on an island in World War two
and you know, one of those speaking
634
00:44:19.320 --> 00:44:22.840
with one of those speaks Japanese who
was remade in a way as Energy Mind.
635
00:44:22.880 --> 00:44:27.920
In the eighties, Bible from Peterson
with Dennis played in New Aspen as
636
00:44:27.960 --> 00:44:31.079
a sci fi movie where you know, a human and an alien or crash
637
00:44:31.199 --> 00:44:37.920
landed on this planet, and uh, you know, you just they're just
638
00:44:37.039 --> 00:44:43.159
such strong legends for writers. I
think to look at structure, to look
639
00:44:43.159 --> 00:44:47.559
at how stories told, and to
look at the you know, to be
640
00:44:47.679 --> 00:44:52.639
reminded of how much can be done
with silence, or how much can be
641
00:44:52.679 --> 00:44:59.239
done with with look with with with
the telling the story Robert told told the
642
00:44:59.239 --> 00:45:00.920
story. I'm not s sure it's
actually in the directive care or not,
643
00:45:01.360 --> 00:45:05.400
but something in the Francis Stoboy had
told him when he was hearing the interview
644
00:45:05.440 --> 00:45:07.840
about you know, something that you
like to do with the actors as shooting
645
00:45:07.840 --> 00:45:12.599
an entire scene without dialogue, just
as a just as a rehearsal, as
646
00:45:12.599 --> 00:45:15.320
a practice. Yeah, and lobatiy, youve never he'd never actually done that
647
00:45:15.360 --> 00:45:19.800
before, but he was really intrigued
to try it, you know. Um,
648
00:45:19.920 --> 00:45:23.320
and and I think that those you
know, there's something, there's something
649
00:45:23.320 --> 00:45:28.760
that can be gained by that.
Um, there's there's definitely a lesson to
650
00:45:28.760 --> 00:45:34.800
be learned from the lighting standpoint and
from the director standpoint too, you know,
651
00:45:34.840 --> 00:45:37.199
because you're not dependent on what's what's
coming out of the actors now as
652
00:45:37.280 --> 00:45:42.119
much as you are, um,
you know, remembering that this is cinema,
653
00:45:42.760 --> 00:45:46.000
you know, this is a visual
meeting. People remember shots, people
654
00:45:46.079 --> 00:45:50.719
remember quotes from movies all the time. But you know, when you have
655
00:45:50.840 --> 00:45:53.000
a scene and you left the actors
and have sort of really inhabit bad then
656
00:45:53.639 --> 00:45:58.360
and you don't not in a hurry
y'all gout, uh, you know,
657
00:45:58.400 --> 00:46:05.039
you can find some from the impressive
moments and hopefully you know, remember them
658
00:46:05.280 --> 00:46:08.639
in a way that that will illuminate
your own writing, at least I do.
659
00:46:10.159 --> 00:46:13.679
And yet that is a very interesting
technique as well. You know what
660
00:46:13.800 --> 00:46:16.719
I uh, in one of these
you know film books I have, Um,
661
00:46:16.760 --> 00:46:19.639
I know you can't see it right
now, there's a whole shelf of
662
00:46:19.760 --> 00:46:22.559
screaming books behind me, of films
and everything else. One sechure have one.
663
00:46:22.960 --> 00:46:25.119
Yeah, I'm sure, I'm sure
we probably have them with the entire
664
00:46:25.119 --> 00:46:30.199
same library. Yeah, but but
you know, there was a technique where
665
00:46:30.199 --> 00:46:35.679
the guy actually says, uh,
wat's your favorite film without sound? And
666
00:46:35.800 --> 00:46:37.239
you know, and he is.
Just see how every scene plays out.
667
00:46:38.360 --> 00:46:44.239
Absolutely absolutely. You know, one
piece of advice that I've often given people
668
00:46:44.280 --> 00:46:47.639
who you know, either in a
workshop that I taught or or lad or
669
00:46:47.800 --> 00:46:52.920
you know, people asked me about, um, you know, writing something,
670
00:46:52.159 --> 00:46:54.079
and I said, well, you
know, like you're seeing about the
671
00:46:54.119 --> 00:46:58.719
movies, So what's your you know, thinking of a movie that that has
672
00:46:58.719 --> 00:47:00.880
a great scene in it that you
really love them and then try to find
673
00:47:00.880 --> 00:47:05.599
the screenplay for that movie and read
the scene. Read read what does that
674
00:47:05.639 --> 00:47:08.239
look like on paper? You know, if you have this favorite scene from
675
00:47:08.320 --> 00:47:10.760
you know, I don't know the
Exercist or to Live and Die in La
676
00:47:12.039 --> 00:47:16.960
or I'm really freaking examples, but
you know what does that look like on
677
00:47:16.960 --> 00:47:21.000
paper? Well, it was as
an action scene, what do the action
678
00:47:21.039 --> 00:47:22.880
lines read like? You know,
how does what does that look like?
679
00:47:23.639 --> 00:47:29.400
Um? And just to see the
thing that you've always seen completely visual visually
680
00:47:29.639 --> 00:47:31.079
and what does that look like when
it's words on paper? You know,
681
00:47:31.639 --> 00:47:37.280
and uh and you know, to
see how that was translated to become the
682
00:47:37.280 --> 00:47:39.960
scene that you loved in the movie. Um. I think that's a that's
683
00:47:39.639 --> 00:47:45.440
a really strong lesson. Um Uh
to kind of just just to just to
684
00:47:45.519 --> 00:47:52.920
experience that in a different way and
match them up. Yeah, and I
685
00:47:52.960 --> 00:47:54.400
agree. That's something I've done too, is actually go out and find the
686
00:47:54.400 --> 00:47:59.199
screenplays of things. Um like I
speaking of which you know, uh,
687
00:47:59.239 --> 00:48:01.000
you know the Oscars weren't you know, too long ago. Um. As
688
00:48:01.000 --> 00:48:05.159
soon as I watched Birdman and the
ram Budapest Hotel, I was like,
689
00:48:05.239 --> 00:48:09.679
I gotta see these screenplays, right. I think those two and Whiplash are
690
00:48:09.760 --> 00:48:15.039
definitely the best written movies. Um
in the Oscar Race, um, and
691
00:48:15.079 --> 00:48:17.360
those are three screenplays. I was
like, I just want to see how
692
00:48:17.360 --> 00:48:21.679
they did this. Uh, and
you know it's phenomenal. Actually, I
693
00:48:21.719 --> 00:48:24.679
had one of the writers of Birdman, alex Dan Hilaris on here, uh
694
00:48:24.719 --> 00:48:28.199
you know, about fifteen episodes ago, and he was, you know,
695
00:48:28.880 --> 00:48:30.880
us as awesome to be able to
pick his brain, but um as it
696
00:48:31.039 --> 00:48:35.039
is yours because you know you're the
guy who actually wrote you know, uh,
697
00:48:35.039 --> 00:48:37.360
you know you know these films that
you know we're talking about, so
698
00:48:37.400 --> 00:48:38.119
you can actually tell us, no, this is what I did, you
699
00:48:38.159 --> 00:48:42.519
know. And you know, speaking
of which you know, uh, I
700
00:48:42.559 --> 00:48:45.559
want to ask you, you know
about Michette and you know, I wanted
701
00:48:45.559 --> 00:48:49.840
to ask you you know, did
you come up with this, you know,
702
00:48:49.880 --> 00:48:52.679
the inception of this idea or was
it or was it Robert or was
703
00:48:52.719 --> 00:48:55.280
you know, was it your brainstorming? It was always Robert. It was
704
00:48:55.320 --> 00:48:59.800
always Robert and Danny. I mean, I think, um, you know,
705
00:49:00.079 --> 00:49:04.079
when Robert first met Danny Ferrehoe when
he came into audition for Desperado,
706
00:49:04.639 --> 00:49:07.079
and you know the story Colles with
Robert took one look at Danny's if you're
707
00:49:07.079 --> 00:49:10.400
the guy, Robert, Danny was
auditioning for a character called Navajas, which
708
00:49:10.440 --> 00:49:15.639
means knives and he's a nice shower
in Desperado and then Tingman Derris it's a
709
00:49:15.840 --> 00:49:20.800
hyen. And you know, Danny
had been asking for many years already,
710
00:49:21.559 --> 00:49:23.559
usually playing you know, Doug number
three or you know, the bad guy
711
00:49:24.400 --> 00:49:29.000
it's fall apart. And you know, Robert, just like he said,
712
00:49:29.400 --> 00:49:31.039
became fast friends with Danny and said, you know, it would be great
713
00:49:31.039 --> 00:49:35.000
to make a movie in which you're
the you're the hero, you know,
714
00:49:35.119 --> 00:49:37.599
you're the guy. And I think
that was sort of the inception of Machete.
715
00:49:37.599 --> 00:49:43.360
And Robert had written kind of a
long treatment scriptment kind of thing for
716
00:49:43.360 --> 00:49:49.960
for a Machete character and then when
it came time to make Grindhouse, you
717
00:49:50.000 --> 00:49:53.119
know which Robert made Planet Terror,
Quon Tarantino made Death Proofs and his released
718
00:49:53.119 --> 00:49:58.920
a double feature. We'll be right
back after a word from our sponsor,
719
00:50:01.519 --> 00:50:06.960
and now back to the show.
It came up with this idea of really
720
00:50:07.039 --> 00:50:10.440
kind of going with the whole double
feature drive in concept and doing stake trailer
721
00:50:10.519 --> 00:50:15.760
from movies that didn't exist, and
so Machete became one of those things,
722
00:50:15.960 --> 00:50:17.400
and it was like, well,
great, we can just make the take
723
00:50:17.400 --> 00:50:21.840
trailer. We never have to make
the movie. But then, you know,
724
00:50:21.840 --> 00:50:24.159
even though Brian House, uh,
you know, sort of underperformed at
725
00:50:24.199 --> 00:50:30.480
the box office, the trailer for
Machety sort of took on a life of
726
00:50:30.480 --> 00:50:35.119
its own on YouTube and things like
that, and people really responded to him.
727
00:50:35.519 --> 00:50:38.199
So it became a thing where,
you know, that row we're actually
728
00:50:38.239 --> 00:50:44.000
going to do and uh and I, you know, I started writing around
729
00:50:44.039 --> 00:50:46.760
the time of Grian House. I
was there and wrote a little bit of
730
00:50:46.800 --> 00:50:52.400
dialogue that's actually even the trailer with
Cheech as the priest. And then you
731
00:50:52.440 --> 00:50:55.360
know, later on just started you
know, working from the trailer basically and
732
00:50:55.480 --> 00:50:59.760
creating a new story, you know, a solar story out of it and
733
00:51:00.039 --> 00:51:05.159
having uh uh you know, creating
more characters. Uh, just all the
734
00:51:05.239 --> 00:51:09.320
character though you know, the short
Us character event, Don Johnson character,
735
00:51:09.800 --> 00:51:15.840
all those kinds of things. Um
that just it just really evolved over over
736
00:51:15.880 --> 00:51:20.719
time until you know, we actually
made the film and uh and you see,
737
00:51:20.760 --> 00:51:24.320
you know, you see how how
it turned out. Yeah, and
738
00:51:24.360 --> 00:51:28.400
I thought it was phenomenal. And
you know, I mean, you know,
739
00:51:28.599 --> 00:51:30.039
you know, it was that grindhouse
theme. You have to cuts of
740
00:51:30.119 --> 00:51:35.280
scratches and you know, and you
know, uh and it's just you know,
741
00:51:35.320 --> 00:51:37.719
and Danny is the perfect guy to
play a guy. I mean,
742
00:51:37.719 --> 00:51:40.679
he looks like a guy named Machete. Yeah. Oh absolutely. I just
743
00:51:40.719 --> 00:51:45.400
did a panel with him a comic
con and uh Fort Lauderdale few weeks ago.
744
00:51:45.960 --> 00:51:47.960
You know, someone from the audience
ask, you know, what was
745
00:51:47.960 --> 00:51:52.599
your favorite character, and he said, you know, Machette and much of
746
00:51:52.639 --> 00:52:00.320
Brady. Yeah, I'm asking how
that happened and he said, yeah.
747
00:52:00.400 --> 00:52:01.960
You know, my my manager said, you know, I think we got
748
00:52:01.960 --> 00:52:06.000
a Super Bowl commercial. And he
was like, you're kidding, you know,
749
00:52:06.639 --> 00:52:09.280
or what do I have to do? Well, you have to be
750
00:52:09.360 --> 00:52:15.960
Marsha Brady, you know. I
gotta do it. So that was that
751
00:52:15.119 --> 00:52:21.320
was that you know, even that
it's just like, uh so amazing,
752
00:52:21.480 --> 00:52:25.159
it was so amazing, say it's
just it's it's it's just like I'm I'm
753
00:52:25.199 --> 00:52:30.840
I'm glad to should be a small
part of uh of you know, uh
754
00:52:32.360 --> 00:52:37.360
the sort of uh for Shona.
Danny has you know, has been able
755
00:52:37.400 --> 00:52:43.079
to inhabit as that character. So
when you know, when they were filling
756
00:52:43.119 --> 00:52:45.199
with chet day, we were you
on set every day? Or were you
757
00:52:45.239 --> 00:52:49.199
not? Or do you just a
few days or yeah, I was on
758
00:52:49.239 --> 00:52:51.639
a few days, I was on
off and on. Um it was you
759
00:52:51.679 --> 00:52:53.039
know, it was amazing, It
was amazing. I got to you know,
760
00:52:53.599 --> 00:52:58.480
um beancet when Robert de Niro was
there and you have to talk to
761
00:52:58.599 --> 00:53:00.480
him a bit, and you know, he was so he was so generous
762
00:53:00.519 --> 00:53:06.320
and so so kind and and I
think the thing about you know, the
763
00:53:06.400 --> 00:53:13.519
thing about him too was that you
know, he was he had he had
764
00:53:13.519 --> 00:53:17.800
expressed interest in becoming involved in the
project early on to play to play this
765
00:53:19.440 --> 00:53:22.400
senator. And in the original draft
of the script, the senator was just
766
00:53:22.480 --> 00:53:25.519
the guy that gets shot. He
was not really a character in the script.
767
00:53:27.039 --> 00:53:29.679
So it really started having to try
to build a character out of this
768
00:53:29.760 --> 00:53:32.920
guy. And so you know,
but the thing that you know, we
769
00:53:34.000 --> 00:53:37.480
understood from from Robert de Niro was
that he wasn't interested in, you know,
770
00:53:38.079 --> 00:53:44.800
doing it unless there was really something
there to do, and um it
771
00:53:44.880 --> 00:53:46.360
didn't want people to feel he was
just you know, picking up a check.
772
00:53:47.000 --> 00:53:51.840
And so, uh, you know, started coming up with ideas and
773
00:53:51.880 --> 00:53:57.079
starting in dialogue and concepts and stuff
like that, and would get responses like
774
00:53:57.119 --> 00:53:59.719
that, it's good, that's good, keep coming, keep coming, and
775
00:54:00.039 --> 00:54:02.760
and uh, you know, finally
hit on sort of the finale of his
776
00:54:02.920 --> 00:54:07.000
character, and you know, these
speeches that I'd written for his character,
777
00:54:07.599 --> 00:54:13.079
you know, when he's signed on. And one of the funny things is
778
00:54:13.519 --> 00:54:16.519
in in the finality of the film, after he's been shot and he's dying
779
00:54:16.559 --> 00:54:21.880
on the floor, on the ground, you know, with Lindsay Lohan dressed
780
00:54:21.880 --> 00:54:25.639
as a non hovering over him with
a gun. He's sort of kind of
781
00:54:25.639 --> 00:54:30.280
blanking out. He starts in my
script, at least one draft of it,
782
00:54:30.719 --> 00:54:34.320
he starts reciting the Act of Contrition
and the Catholic Act of Contrition,
783
00:54:34.960 --> 00:54:38.920
uh in Latin, like he's reverting
back to his actual you know, he's
784
00:54:38.920 --> 00:54:43.800
not really a Texan and all this
stuff. And Robert read that thing and
785
00:54:43.800 --> 00:54:45.519
he's like, well, what the
hell is this? And he was like,
786
00:54:45.559 --> 00:54:47.159
you know, he's not really a
texting. He's reverting back to this
787
00:54:47.320 --> 00:54:50.639
you know, New York childhood or
whatever. And he's an altar boy.
788
00:54:50.719 --> 00:54:54.679
He's resigning the active contrition good forgiveness
before he dies. And he's like that,
789
00:54:55.239 --> 00:54:59.679
you know, he's never going to
do that. And then they were
790
00:54:59.719 --> 00:55:02.239
on that one day and I got
a call from Elisabeth Amigan, those producer
791
00:55:02.360 --> 00:55:05.519
on the film. It's just like, oh, we need to we need
792
00:55:05.559 --> 00:55:07.000
the Latin. It's like, what
are you talking about? It's like the
793
00:55:07.079 --> 00:55:09.760
Latin thing. But Denios is he's
working with a priest. He wants to
794
00:55:09.800 --> 00:55:15.599
get it right. Oh joh.
But that was the same man he was,
795
00:55:15.639 --> 00:55:22.800
so he became just that completely prepared. He knew every line of dialogue
796
00:55:22.920 --> 00:55:25.719
and he did. You know,
he was never a thing where you know,
797
00:55:25.760 --> 00:55:29.159
I don't on my line or whatever
like that. Please you know,
798
00:55:30.199 --> 00:55:32.920
he was. She was totally into
it, and I think he had a
799
00:55:32.960 --> 00:55:37.559
really good time doing it and certainly
had a you know, it was definitely
800
00:55:37.639 --> 00:55:43.599
a highlight of my professional career as
a writer to say, well, you
801
00:55:43.639 --> 00:55:49.039
know, I didn't movie with Robert
the Neerland and Lohan and then he Traho
802
00:55:49.079 --> 00:55:52.320
and everybody else, but you know, you know, he was definitely an
803
00:55:52.320 --> 00:55:57.960
actor who I'd grown up, you
know, just loving every drone that he
804
00:55:57.960 --> 00:56:02.239
had done. And it was so
pressed with him and his presence. I
805
00:56:02.480 --> 00:56:07.159
had spent stories mycast for a lot
of the actors they've never worked. They've
806
00:56:07.159 --> 00:56:12.079
just been really fortunate for him,
people that just always seem to bring their
807
00:56:12.119 --> 00:56:15.960
a game, you know, and
a little a little movies and asked me
808
00:56:16.000 --> 00:56:19.559
such a high as a writer of
two to say, you know, uh
809
00:56:19.599 --> 00:56:21.800
hey, Alvrod, who's you know, you know a movie. Oh we
810
00:56:21.840 --> 00:56:25.760
had you know, Robert de Niro
and uh so, no, absolutely,
811
00:56:27.000 --> 00:56:30.480
and you know you also you know
you touched on your your Lindsay lohand and
812
00:56:30.559 --> 00:56:34.519
also at Steven Seagal in the movie
as well. Steven Seagal. It was
813
00:56:34.559 --> 00:56:38.719
great. We had you know,
Don Johnson, you know, um written
814
00:56:38.760 --> 00:56:42.280
some things. You know, Robert
has spent a lot of time with Don
815
00:56:42.360 --> 00:56:45.760
Johnson's before and uh and so you
know we used something like the little phrase
816
00:56:45.800 --> 00:56:50.599
and said Don Johnson said in the
script and I was sitting with him one
817
00:56:50.679 --> 00:56:52.280
day on set and he was like, oh, I love this is great.
818
00:56:52.360 --> 00:56:54.880
You know. It's like I say
stuff like this, like how does
819
00:56:54.920 --> 00:56:57.840
that blow you stirred up? And
I said, I know, it's well,
820
00:56:57.880 --> 00:57:00.239
we put it into strip. We
wanted to be very natural for you.
821
00:57:01.000 --> 00:57:07.000
Um it was. It was,
you know, just amazing, really
822
00:57:07.000 --> 00:57:10.880
amazing. Even during the editing process, I was sitting with which my cousin
823
00:57:10.920 --> 00:57:15.079
Rebecca and who Robert you your sister
who had done I was working on the
824
00:57:15.079 --> 00:57:19.239
film as well. We were watching
the Gnio scene to night that can just
825
00:57:19.239 --> 00:57:21.880
stop it for a minute, So, well, what's the matter. I
826
00:57:21.920 --> 00:57:25.519
just need to anute you know,
that's Robert DeNiro. Are you saying lines
827
00:57:25.559 --> 00:57:30.480
I wrote, you know, in
my room? And now it's just you
828
00:57:30.519 --> 00:57:34.159
know, it's just like I just
made a minute. Uh. But you
829
00:57:34.199 --> 00:57:37.480
know it's great. And whenever stuff
like that happened, it's just like it's
830
00:57:38.199 --> 00:57:42.079
it's important to just say thank you. It would be amazed by it all,
831
00:57:43.920 --> 00:57:47.559
and you know, and that is
that is actually amazing and um and
832
00:57:47.719 --> 00:57:51.239
you know, like you said,
it's also as I've been finding it too
833
00:57:51.320 --> 00:57:53.119
to have gratitude as well and always
based and live in the moment and not
834
00:57:53.280 --> 00:57:57.480
you know just sort of when you
saw see Robert de Niro and just want
835
00:57:57.480 --> 00:58:00.320
to stop it there that that that's
you know, that's amazing alva. Uh.
836
00:58:01.000 --> 00:58:06.119
I was just yeah, I still
get getting goostons right now just thinking
837
00:58:06.119 --> 00:58:07.880
about it, you know. Uh. And it was, it was,
838
00:58:08.079 --> 00:58:12.119
you know, it's a great experiencing. You know, the movie did well.
839
00:58:12.679 --> 00:58:16.239
Um and uh, you know I
was just really proud of you know,
840
00:58:16.320 --> 00:58:20.079
the way it turned out and realized
that you know, the flash draft
841
00:58:20.199 --> 00:58:22.400
is the final edit of the movie. You know, Um, there's so
842
00:58:22.480 --> 00:58:27.800
much of that movie that that that
so so many ways that movie was improved
843
00:58:27.800 --> 00:58:32.039
by idea edit and really making me
some together. Um and uh, you
844
00:58:32.079 --> 00:58:38.039
know it's far from a perfect movie, but definitely something I'm I'm proud of.
845
00:58:38.159 --> 00:58:42.920
And uh and you know, it
was it was a great experience to
846
00:58:43.000 --> 00:58:49.519
camel And you know, I particularly
like the final battle between Seagal and Treho
847
00:58:50.199 --> 00:58:52.840
because if you asked me, you
know, in a million years, I
848
00:58:52.880 --> 00:58:55.760
never would have guessed that, you
know, those two ever would have crossed
849
00:58:55.760 --> 00:58:59.719
paths and you know in any movie
because they sort of do different movies,
850
00:58:59.760 --> 00:59:01.679
you know. Um, And but
they were able to come together for for
851
00:59:01.800 --> 00:59:05.960
Machete Machett Day, and it's just
you know, I mean, I thought
852
00:59:06.000 --> 00:59:08.519
it was very well done too.
In Segal is still doing his akido and
853
00:59:08.599 --> 00:59:13.039
you know tree Hoo still swinging the
machine and machette days. He's so kind
854
00:59:13.079 --> 00:59:15.079
of street ballsty I thought it was
very well choreographed as well. I thought
855
00:59:15.079 --> 00:59:19.920
it was phenomenal. Yeah, well
thanks, I mean, you know that's
856
00:59:20.000 --> 00:59:23.280
again, it's it's just like,
you know, part of that part of
857
00:59:23.280 --> 00:59:28.519
the whole process of Machete Too is
realizing fairly early on that this is going
858
00:59:28.559 --> 00:59:31.360
to be in so many ways to
kind of kitchen scene three writing. It's
859
00:59:31.400 --> 00:59:35.239
like nothing is off bar, nothing
is you know, out of bounds,
860
00:59:35.239 --> 00:59:37.519
everything is, everything is possible.
You know, you could have a scene
861
00:59:37.559 --> 00:59:40.920
where a guy would call down and
building with you know, someone's in testing
862
00:59:43.159 --> 00:59:45.800
or you know, Michelle, U
stab us those cops, you know,
863
00:59:45.880 --> 00:59:50.280
or the fake cop through through the
back of his of the seed and it's
864
00:59:50.320 --> 00:59:52.320
from the back seat of the car
and then steers the car by turning his
865
00:59:52.400 --> 00:59:55.599
machete through the guy you know,
had stuff like that, and it's and
866
00:59:55.960 --> 01:00:05.920
uh, we'll be right back after
a word from our sponsor and now back
867
01:00:05.920 --> 01:00:10.000
to the show, you know.
So it was it was it was pretty
868
01:00:10.519 --> 01:00:14.840
liberating. And in that way too, I'm realizing that you're going to have
869
01:00:14.920 --> 01:00:20.920
this this crazy final showdown where will
you know, Uh, there was anything
870
01:00:21.039 --> 01:00:23.719
was possible and you could have you
know, a sword fight with machete and
871
01:00:24.000 --> 01:00:30.519
you know, and and Segal and
his sort just you know, it's it
872
01:00:30.639 --> 01:00:34.679
was just turning everything up to a
lot of my hope. So you know,
873
01:00:34.920 --> 01:00:37.199
uh, when when you were actually
writing it, did you actually know
874
01:00:37.239 --> 01:00:39.840
Seagal was in the cast in that
part or did you actually you know sort
875
01:00:39.840 --> 01:00:44.800
of you know, evolved that part
later on when Skal was cast. A
876
01:00:44.840 --> 01:00:46.519
little bit of both, a little
bit of both. I mean the character
877
01:00:46.639 --> 01:00:50.760
was starting to be there before it
was Sigal, and then knowing it was
878
01:00:50.760 --> 01:00:53.360
Segal, things were you know,
were enhanced and attitude. It was.
879
01:00:53.800 --> 01:00:58.960
It was really that was part of
the process with with the movie itself.
880
01:00:59.239 --> 01:01:04.559
I mean even from Lindsay Lohan's character
too. I mean Robert you know told
881
01:01:04.599 --> 01:01:06.840
me, if I you can get
Lindsay lohand to play the part, so
882
01:01:06.960 --> 01:01:09.159
it's not even a part, you
know, we've gotta we gotta try to
883
01:01:09.280 --> 01:01:12.920
you know, give her some stuff
and and just sort of you know,
884
01:01:13.000 --> 01:01:15.719
hit all these different little ideas that
this kind of you know, gave her,
885
01:01:16.000 --> 01:01:21.280
gave her her own heart and uh
and uh and and told a little
886
01:01:21.280 --> 01:01:24.239
story. You know. Um,
So it was great. It was,
887
01:01:24.280 --> 01:01:28.239
it was it was. It was
so much fun to be a part of
888
01:01:28.239 --> 01:01:34.639
that. That's that's part. And
you know that's great that everything was able
889
01:01:34.679 --> 01:01:36.960
to come together. Um, you
know, very very you know, and
890
01:01:37.079 --> 01:01:38.400
something I mean, you know,
you've been involved in movie making for you
891
01:01:38.480 --> 01:01:42.280
know, uh doing with two decades
now, and you know, you know,
892
01:01:42.480 --> 01:01:45.119
whatever can go wrong, we'll go
wrong in a film set. And
893
01:01:45.320 --> 01:01:47.039
you know, or even even beyond
that, you know, even when things
894
01:01:47.079 --> 01:01:50.559
are in development and so good,
you've were you know, able to put
895
01:01:50.599 --> 01:01:52.000
it together. But I mean again, if you have any listener out there
896
01:01:52.000 --> 01:01:54.039
has not seen a CHET day,
I urge you to go out there and
897
01:01:54.119 --> 01:02:00.599
check it out. Um, it's
phenomenal. I'll brow we've been talking for
898
01:02:00.639 --> 01:02:02.199
about an hour now, Um,
would you mind just taking a few quick
899
01:02:02.239 --> 01:02:09.280
questions I've got sent in? Sure? Okay, I'm sorry that was an
900
01:02:09.320 --> 01:02:13.480
hour flew by. Yeah, it
always seems to work out that way.
901
01:02:13.760 --> 01:02:16.719
Um, Which which I don't know
if I just asked the right question or
902
01:02:16.920 --> 01:02:20.079
you know, I just sort of
I don't know, so um, but
903
01:02:20.320 --> 01:02:23.559
you know, I'm glad it flew
by, um because I mean, yeah,
904
01:02:23.559 --> 01:02:27.199
because I mean it's a conversation.
Yeah, it's a conversation. You
905
01:02:27.280 --> 01:02:30.119
know, when when you're talking,
you're you're having your conversation. You're not
906
01:02:30.239 --> 01:02:36.000
looking at your watch. So that's
the way. It's good. So our
907
01:02:36.079 --> 01:02:39.519
first question is, Alvrow, would
you ever consider directing your own film?
908
01:02:40.559 --> 01:02:46.199
Absolutely? Absolutely, I definitely am
interested in doing that. Um. Years
909
01:02:46.239 --> 01:02:51.559
and years and years ago, Uh, I had written, uh it was
910
01:02:51.599 --> 01:02:54.840
actually my first screenplay, and um, I was you know, uh,
911
01:02:55.719 --> 01:02:59.920
hoping to directly. It was going
to be very low budget, very independ
912
01:03:00.000 --> 01:03:02.440
in New Texas space project. It
never really got off the ground, but
913
01:03:02.920 --> 01:03:07.079
sort of as a as a training
for that, I went and made a
914
01:03:07.119 --> 01:03:12.320
short film on video and that you
know, no one has ever seen,
915
01:03:12.440 --> 01:03:16.079
no one will ever see, but
you know, and it happened so quickly.
916
01:03:16.400 --> 01:03:21.039
It was not much of a lesson
to me, except to realize that
917
01:03:21.440 --> 01:03:24.920
I needed a lot more experience.
It's good, um, you know,
918
01:03:25.119 --> 01:03:28.800
and then for a long time,
I just you know, whenever I would
919
01:03:28.800 --> 01:03:30.679
ask that question, I would say, you know, you know, I
920
01:03:30.840 --> 01:03:32.440
just right now, I'm just really
trying to focus on being a better writer.
921
01:03:32.880 --> 01:03:36.280
That's still my answer. I'm still
trying to focus on being a better
922
01:03:36.360 --> 01:03:42.519
writer, but I'm definitely interested in
doing that. That the role behind the
923
01:03:42.599 --> 01:03:45.119
camera, and uh, you know, I think that's part of the to
924
01:03:45.280 --> 01:03:51.920
be part of the great opportunity of
working on Dustel Dawn is that it's as
925
01:03:51.960 --> 01:03:54.480
a writer of the episode, you
sort of writer producer. You're there,
926
01:03:54.599 --> 01:03:59.000
upset, You're you're working with the
actors as much as you want to be.
927
01:03:59.519 --> 01:04:03.199
And so I've had you know,
pretty hands on experience in terms of,
928
01:04:03.679 --> 01:04:06.800
you know, working with the actors, rehearsing with the actors, you
929
01:04:06.880 --> 01:04:12.559
know, even helping block scenes,
um and things like that. That uh,
930
01:04:13.039 --> 01:04:15.239
you know that to me, it's
like again sort of more fuel for
931
01:04:15.320 --> 01:04:21.440
the fire really wanting to take the
opportunity to try to to you know,
932
01:04:21.599 --> 01:04:26.239
to direct as well. I mean, I guess it's it's the thing too
933
01:04:26.519 --> 01:04:29.880
of that lesson. Uh. And
I feel like I've I've learned or I
934
01:04:29.920 --> 01:04:31.679
am learning about, you know,
these sort of these sort of things that
935
01:04:31.920 --> 01:04:39.079
are sort of that I have the
language or cinema in some way already in
936
01:04:39.199 --> 01:04:43.079
my brain and that I can you
know, I can approach these things,
937
01:04:43.760 --> 01:04:47.679
uh in that way. Uh,
you know, we're still with a with
938
01:04:47.800 --> 01:04:51.280
a very open, very open heart
and minded thing. You know, I'm
939
01:04:51.320 --> 01:04:57.519
always going to try to be learning. I'm I'm the director and training or
940
01:04:57.639 --> 01:05:01.039
writer in training or whatever, you
know, but you know, learning by
941
01:05:01.159 --> 01:05:06.320
doing and trying to be as involved
in the process as possible. I mean,
942
01:05:06.800 --> 01:05:11.079
and that's also you're gonna actually you're
actually gonna you know, writing or
943
01:05:11.480 --> 01:05:15.599
directing your own film. Um so
yeah, because honestly, because then you
944
01:05:15.639 --> 01:05:17.639
could you know, be like you
know, your your cousin or Tarantino was,
945
01:05:17.840 --> 01:05:20.559
you know, right and direct and
you know, really put your stamp
946
01:05:20.599 --> 01:05:24.519
on the film kind of like you
know, your tour theory of filmmaking.
947
01:05:24.639 --> 01:05:27.679
But this time, you know,
you know you can say that because you
948
01:05:27.760 --> 01:05:30.199
know you have you're the writer director, you know, and you you know
949
01:05:30.480 --> 01:05:33.280
tell you yeah, well, you
know, I think the theory is a
950
01:05:33.400 --> 01:05:38.119
wonderful is a wonderful concept, and
I certain really think that it holds true.
951
01:05:38.360 --> 01:05:41.760
You know in a lot of ways. Directors, especially other directors,
952
01:05:41.840 --> 01:05:45.239
you know, they definitely have the
stamp. But I think there's the thing
953
01:05:45.360 --> 01:05:50.400
that maybe I realized coming from the
from the perspective of the writer and just
954
01:05:50.480 --> 01:05:56.679
sort of being why I'm a wall
sometimes in in in onset or whatever in
955
01:05:57.039 --> 01:06:00.519
any kind of environment when you see
the process that you know, it's so
956
01:06:01.000 --> 01:06:08.480
filmmaking and television is the most collaborative
creative form there is. In my mind,
957
01:06:08.880 --> 01:06:13.719
it is it is completely a collaboration. Uh, nothing is possible without
958
01:06:14.280 --> 01:06:18.679
you know, everybody's input and everybody's
efforts to make this thing happen. You
959
01:06:18.760 --> 01:06:21.679
know that if you really want to
be enought for, you know, write
960
01:06:21.719 --> 01:06:25.920
poetry, there's no one that's ever
going to say, you know, I'd
961
01:06:25.960 --> 01:06:30.199
really love to write a poem with
you, you know. Uh. And
962
01:06:31.039 --> 01:06:35.559
and I think that's I mean to
me that that's uh, that's that's I
963
01:06:35.679 --> 01:06:41.280
think that's in a lot of ways
why you know, Robert has has really
964
01:06:41.360 --> 01:06:45.800
dependent on and and creative relationships with
people with whom you can work again and
965
01:06:45.880 --> 01:06:50.320
again, actors and and people behind
camera. Because there's a there's a sort
966
01:06:50.320 --> 01:06:55.920
of shorthand uh language that it becomes
developed, you know, and there's uh,
967
01:06:56.360 --> 01:07:00.480
there's uh sort of unwritten expectations of
let people are bringing to the table.
968
01:07:01.079 --> 01:07:04.599
And and it doesn't mean that he
doesn't direct, the obviously does,
969
01:07:05.360 --> 01:07:14.280
but he's able to um to to
get what he wants by by virtue of
970
01:07:14.639 --> 01:07:19.320
having a really strong task improof and
uh and and I think he would be
971
01:07:19.360 --> 01:07:24.679
the first person to acknowledge that,
um. You know, it may not
972
01:07:24.800 --> 01:07:28.079
have been that way in the early
days because he was so he was so
973
01:07:28.320 --> 01:07:31.159
hands on. He was so you
know with El Mariachi and the short films
974
01:07:31.159 --> 01:07:34.760
that he made before them. Um, you know, it was always a
975
01:07:34.880 --> 01:07:39.639
thing of he was really trying to
become a master of all trades, not
976
01:07:39.880 --> 01:07:42.000
just a jack of all trades,
but a master of all of them,
977
01:07:42.400 --> 01:07:45.039
because he never knew what was going
to be the thing that was going to
978
01:07:45.119 --> 01:07:49.440
get him a job. You know, maybe people will hate my movie,
979
01:07:49.599 --> 01:07:53.239
but they'll love the way he was
shot, and I'll get a job as
980
01:07:53.320 --> 01:07:58.519
a pp And maybe they'll hate you
know, they'll hate the the way it
981
01:07:58.599 --> 01:08:00.400
looks, but they loved this,
they love the dialogue, and I'll get
982
01:08:00.440 --> 01:08:03.039
hired as a writer. And so
he was always, you know, really
983
01:08:03.079 --> 01:08:08.599
trying to find the best uh in
himself to fill all those roles, to
984
01:08:08.719 --> 01:08:12.119
see which one you know is going
to be the one thing that people respond
985
01:08:12.199 --> 01:08:14.760
with them and they have to respond
to all of it, you know in
986
01:08:14.880 --> 01:08:19.720
so many ways. Um and uh
uh but you know now in the you
987
01:08:19.840 --> 01:08:24.760
know, on the big scale,
it's really impossible to do that so much
988
01:08:24.840 --> 01:08:28.640
anymore. Um. And you know, and I think that you know,
989
01:08:28.680 --> 01:08:31.640
whenever you see these speeches, uh, you people accept awards and they you
990
01:08:31.680 --> 01:08:36.000
know, they thank you know,
the writers, so they thank the producers
991
01:08:36.039 --> 01:08:40.119
and they you know, they thank
the people who put this in again and
992
01:08:40.800 --> 01:08:45.840
it's it's there's so much a community
experience, you know. I think working
993
01:08:45.880 --> 01:08:48.239
wealth at every movie in the miracle
and the miracle is that you could get
994
01:08:48.239 --> 01:08:51.880
all these different people who may have
all kinds of different opinions to work together
995
01:08:53.039 --> 01:08:56.520
quote the common part. And that's
really I think, what what what a
996
01:08:56.800 --> 01:08:59.359
song do? Act? You dog
and sort of united? You know,
997
01:08:59.399 --> 01:09:04.000
I've seen and and get everybody you
know working for the good of the of
998
01:09:04.119 --> 01:09:08.840
the project and doing their best.
Yeah. And uh, you're just to
999
01:09:08.880 --> 01:09:11.079
add on, you know, you
said, you know the director is a
1000
01:09:11.079 --> 01:09:13.560
guy that sort of leads a team
and builds a team. That's so true.
1001
01:09:13.600 --> 01:09:16.600
And uh, you know, uh, one thing that you know I've
1002
01:09:16.640 --> 01:09:23.119
always heard is the idea of genius
around which means you know, always hire
1003
01:09:23.199 --> 01:09:26.800
people that are smarter than you are. Yeah, and you know that and
1004
01:09:26.960 --> 01:09:29.439
that way, you know, uh, you know, and they said,
1005
01:09:29.479 --> 01:09:31.920
you know, we're part of the
director. Director's job. It can be
1006
01:09:32.119 --> 01:09:34.840
you know, taken care of just
by hiring a good you know, having
1007
01:09:35.159 --> 01:09:39.640
a great script, having a great
cinematographer, and then having great actors and
1008
01:09:39.680 --> 01:09:43.399
then you know, you pretty much
you know, it's only yours to mess
1009
01:09:43.479 --> 01:09:46.239
up from there, right right.
I mean, if I were to go
1010
01:09:46.359 --> 01:09:48.720
direct the song right now, I
would have no idea, you know,
1011
01:09:48.920 --> 01:09:51.119
well, what kind of lightning am
I going to use? Or what's the
1012
01:09:51.279 --> 01:09:56.720
right terminology for this piece of lighting
of that piece of lighting or this this
1013
01:09:57.119 --> 01:10:00.159
lens of that lens. I would
have no idea at all. We'll be
1014
01:10:00.319 --> 01:10:08.279
right back after a word from our
sponsor and now back to the show.
1015
01:10:10.800 --> 01:10:14.680
You know, I might have,
you know, a very very very basic
1016
01:10:14.840 --> 01:10:18.880
idea, but I mean again that's
the thing I um uh, you know,
1017
01:10:19.000 --> 01:10:23.479
it would be a matter of really
kind of surrounding yourself with people who
1018
01:10:23.840 --> 01:10:28.560
know what the what their tasks are, that's they know their strengths. So
1019
01:10:28.680 --> 01:10:30.680
you're you're trying to put together a
team. Well, not everybody has the
1020
01:10:30.760 --> 01:10:34.520
same strengths. But because you put
together a team, now you're you're a
1021
01:10:34.560 --> 01:10:39.520
pretty bast team. And uh,
and it's just your your job to make
1022
01:10:39.560 --> 01:10:43.239
sure that that it all kids comes
together in the way that you want it.
1023
01:10:43.439 --> 01:10:45.600
And you keep pushing into you know, you get you get what you
1024
01:10:45.680 --> 01:10:55.239
want. Yeah, we're very well
said. And and our next question is,
1025
01:10:55.560 --> 01:10:59.319
uh, Albrow, what advice could
you give for someone trying to break
1026
01:10:59.359 --> 01:11:03.039
into Hollywood? Uh. You know, I always feel guilty about that question
1027
01:11:03.119 --> 01:11:06.159
because you know I didn't. Um. You know, in a lot of
1028
01:11:06.199 --> 01:11:10.920
ways, I am working into Hollywood. UM. And what I had done
1029
01:11:11.199 --> 01:11:15.600
is you know, being able to
do UM to work with with Robert,
1030
01:11:15.640 --> 01:11:18.600
I'm many many projects come out.
I'm working with other with other people on
1031
01:11:18.760 --> 01:11:23.960
their projects, and I'm getting other
things off the ground, features and stuff
1032
01:11:24.039 --> 01:11:29.119
like that. But you know,
obviously, if I feel like I had
1033
01:11:29.199 --> 01:11:33.319
a you know, a huge door
opened up for me that I scrambled to
1034
01:11:33.439 --> 01:11:40.119
it to see the possible. Um. But I at the same time,
1035
01:11:40.760 --> 01:11:44.159
Uh, you know you mentioned that, you know, twenty years of filmmaking
1036
01:11:44.159 --> 01:11:46.039
experience, but a lot of those
years I wasn't making talk. A lot
1037
01:11:46.079 --> 01:11:49.319
of those years are I was not
I was not as involved as I as
1038
01:11:49.359 --> 01:11:54.279
I could have been. I never
really kind of took the bull by the
1039
01:11:54.359 --> 01:11:56.439
horns and said, you know,
I'm going to go to LA and I'm
1040
01:11:56.479 --> 01:11:59.880
going to try to you know,
uh to work my way into the system
1041
01:12:00.479 --> 01:12:03.760
and uh, you know, everything
as high in place. But I would
1042
01:12:03.800 --> 01:12:08.920
say that, you know, uh, to kind of follow up with continuous
1043
01:12:09.039 --> 01:12:12.840
rounds like this is to try,
you know, is there's so much in
1044
01:12:12.960 --> 01:12:15.399
this in my experience at least,
I don't know if I can speak to
1045
01:12:15.520 --> 01:12:20.199
the business, but I was definitely
saying my experience, but you cannot undervalue
1046
01:12:20.359 --> 01:12:30.880
the power of relationships. Um and
every every time that that I have have
1047
01:12:31.079 --> 01:12:35.720
had any kind of of success,
any kind of forward movement, it's always
1048
01:12:35.760 --> 01:12:42.319
been build upon the relationship and meeting
looking yourself in this space where you can
1049
01:12:42.359 --> 01:12:46.720
meet people and and and and find
common interests and things that you can do.
1050
01:12:47.119 --> 01:12:50.760
I mean, one of the huge
things for me was when Machete came
1051
01:12:50.800 --> 01:12:56.199
out in twenty and ten, I
was invited to be a panelist at the
1052
01:12:56.239 --> 01:13:00.720
Austin Trump Festival, and I really
literally was that guy changed to a laptop
1053
01:13:00.760 --> 01:13:02.800
in the basement for such a long
time, even though I've already done just
1054
01:13:03.000 --> 01:13:06.640
for around three and a years earlier. Um, I was suddenly, you
1055
01:13:06.680 --> 01:13:11.920
know, up on stage, you
know, doing panels with real working,
1056
01:13:12.039 --> 01:13:15.520
professional screenwriters that I had somehow primed
into thinking I was one of them.
1057
01:13:15.359 --> 01:13:19.800
And uh, you know, it
really opened a lot of door for me
1058
01:13:19.960 --> 01:13:24.640
because I became instant friends with a
lot of people I'm still of friends with
1059
01:13:24.720 --> 01:13:28.119
today that have helped me in so
many ways. Um. In the times
1060
01:13:28.359 --> 01:13:31.039
you know that I would go to
California and you know and try to set
1061
01:13:31.119 --> 01:13:34.960
up you know, meetings, you
know, from the point of plane landed
1062
01:13:35.199 --> 01:13:38.680
and I have coffee with one guy
that so you need to go talk to
1063
01:13:38.720 --> 01:13:42.359
this guy, so you should meet
this person and then coffee and breakfast and
1064
01:13:42.520 --> 01:13:45.439
lunch and drinks and dinners and you
know, after things and just like really
1065
01:13:45.680 --> 01:13:50.600
networking, putting your best foot forward, you know, and being a being
1066
01:13:50.720 --> 01:13:57.840
a bridge builder and and trying to
you know, to find those things,
1067
01:13:58.159 --> 01:14:02.439
you know, find the ways that
that that that will help you get where
1068
01:14:02.479 --> 01:14:04.520
you want to be, you know. And I found that, you know,
1069
01:14:04.600 --> 01:14:10.119
having goods on brand in California and
Los Angeles especially there's always has been
1070
01:14:10.560 --> 01:14:13.720
over the last couple of years,
but actually just being a huge, huge
1071
01:14:13.760 --> 01:14:17.640
from it. It's almost like uncanny
just to sort of change change the things
1072
01:14:17.720 --> 01:14:23.520
that you know, someone I didn't
know, you know, last week two
1073
01:14:23.560 --> 01:14:28.760
weeks later was saying, you know, um, I would like to you
1074
01:14:28.840 --> 01:14:30.159
know, work on a project this
year, or would you like to be
1075
01:14:30.319 --> 01:14:34.079
involved in this or would you know
what would you get some ideas about this?
1076
01:14:34.279 --> 01:14:40.039
And then something happened. You know, Um, It's just it's pretty
1077
01:14:40.039 --> 01:14:42.880
amazing. But I think that's the
thing is you've got to put yourself in
1078
01:14:43.000 --> 01:14:47.319
the position to create that kind of
environment, you know. So you know
1079
01:14:47.680 --> 01:14:51.439
it means starting starting small and your
means starting in a local writers gip and
1080
01:14:51.600 --> 01:14:56.000
do that and find the find the
people in the writers grup that you really
1081
01:14:56.640 --> 01:15:00.479
um compliment um with it being that
and I but you know that that that
1082
01:15:01.079 --> 01:15:04.640
are you know that brings something to
the table you don't maybe you can work
1083
01:15:04.680 --> 01:15:09.399
with them or maybe they're going to
work with you. Um and uh,
1084
01:15:10.159 --> 01:15:14.920
and just start, you know,
really start building building your relationships as you're
1085
01:15:14.960 --> 01:15:19.479
building your own talent and building your
own skills. Um. And then you
1086
01:15:19.560 --> 01:15:24.800
know, it's just push and that's
I think that's the thing that's pushed as
1087
01:15:24.920 --> 01:15:29.359
much as you as much as you
can. UM. I don't know,
1088
01:15:29.399 --> 01:15:30.880
I don't know what I have to
say about it. Um. And they're
1089
01:15:30.880 --> 01:15:33.560
just sure, you know, I
wish everybody good, lucked up and you
1090
01:15:33.640 --> 01:15:38.479
know, we're we're living in an
age right now where the demand for content.
1091
01:15:38.520 --> 01:15:42.000
I don't think there's ever been as
high as it's. The opportunities have
1092
01:15:42.159 --> 01:15:46.039
never been as plent before as they
are right I mean in in a lot
1093
01:15:46.079 --> 01:15:53.079
of ways. And I think that
that just sort of the willingness to to
1094
01:15:53.239 --> 01:15:57.680
say I'm ready, I'm ready for
work, I'm ready for for you know,
1095
01:15:58.039 --> 01:16:01.159
I'm ready to take this to the
next step. UM. And and
1096
01:16:01.479 --> 01:16:08.359
joining yourself in the next is good
advices as I think I can care.
1097
01:16:10.720 --> 01:16:14.119
And you know, again, you
know, just on networking meetings and you
1098
01:16:14.159 --> 01:16:15.439
know, just finding out what you
can do for people and being a bridge
1099
01:16:15.479 --> 01:16:19.359
builder. And you know, again, I think that's key, UM,
1100
01:16:19.479 --> 01:16:23.439
not sort of so much asking why
people can do for you what you can
1101
01:16:23.479 --> 01:16:26.600
do for other people, uh,
because you know people don't want to,
1102
01:16:26.880 --> 01:16:29.560
you know, be sold too constantly. It's like, you know, like
1103
01:16:29.720 --> 01:16:33.479
when I talk to peop about social
media, to albrez Um, they I
1104
01:16:33.680 --> 01:16:36.319
always tell people, do you know, don't constantly promote yourself, you know,
1105
01:16:36.359 --> 01:16:40.039
don't constantly talk about this, you
know. Um, but because that's
1106
01:16:40.039 --> 01:16:42.640
just a turn off. No one's
gonna follow you just to hear all about
1107
01:16:42.720 --> 01:16:46.880
you constantly, right right, that's
true. I mean I think that's the
1108
01:16:46.960 --> 01:16:49.960
thing that you know, social media
is still in its infancy in a lot
1109
01:16:50.000 --> 01:16:54.600
of way. And uh, and
that's that is a lesson that people will
1110
01:16:54.640 --> 01:16:59.800
put through learning. I'm learning it
through. Uh. You know. I
1111
01:17:00.039 --> 01:17:03.319
think that there's this the thing about
social media, it's a really kind of
1112
01:17:04.239 --> 01:17:09.439
I think you can try to use
it in you know, you in your
1113
01:17:09.479 --> 01:17:12.800
best interests. It's not always just
to be self promoted, but to be
1114
01:17:12.920 --> 01:17:16.199
sharing, you know, to share
other people's processors, you know, um,
1115
01:17:16.720 --> 01:17:21.199
and and promoting other people's other people's
projects and stuff like that. So
1116
01:17:21.359 --> 01:17:24.960
when someone you know, a friend
of mine post, you know, my
1117
01:17:25.079 --> 01:17:27.720
friends are trying, you know,
I have a Kickstarter. You're really trying
1118
01:17:27.720 --> 01:17:29.800
to get this project up the ground. You know, if I have twenty
1119
01:17:29.840 --> 01:17:32.640
bucks, I'll throote into the ill. I've never met these other guys or
1120
01:17:32.680 --> 01:17:35.760
their friends or my friends. You
know, I'll throwing the money and I'll
1121
01:17:35.800 --> 01:17:40.359
putmother on my Facebook page or whatever
if I you know, if if I
1122
01:17:40.439 --> 01:17:44.920
can do that. Um, you
know, I just you know, you
1123
01:17:45.399 --> 01:17:47.159
I want to share, you know, whenever I do social media stuff,
1124
01:17:47.159 --> 01:17:51.119
whether it's like Facebook, Twitter or
Instagram or whatever. You know, um
1125
01:17:51.880 --> 01:17:55.399
there, you know, you could
be a naval dazer and you can just
1126
01:17:55.479 --> 01:17:58.279
be all about me and you me
And I definitely do some of that and
1127
01:17:58.399 --> 01:18:00.279
say, oh look, you know
here I am writing room and I'm you
1128
01:18:00.359 --> 01:18:05.760
know, some semi exotic location and
you know, angelists or whatever, um
1129
01:18:06.279 --> 01:18:12.880
and or or I'm saying, you
know, you need to be watching this
1130
01:18:13.000 --> 01:18:15.520
show American Crime. It's the greatest
show on television right now. And people
1131
01:18:15.520 --> 01:18:19.560
are really going to dig it because
I have friends that are active on the
1132
01:18:19.560 --> 01:18:24.640
show. Purchase guys made show,
and it's just like, you know,
1133
01:18:24.920 --> 01:18:28.680
that's the kind of thing that I'd
like to do and just try to,
1134
01:18:29.239 --> 01:18:33.000
you know, try to you know, they're they're kind of spread the good
1135
01:18:33.119 --> 01:18:38.520
role. Yeah, um and and
uh and you know, you just like
1136
01:18:38.680 --> 01:18:41.479
there's so many people that in so
many connections that you can make. I
1137
01:18:41.560 --> 01:18:45.039
mean, I've never made you in
person. I only know you from from
1138
01:18:45.039 --> 01:18:47.800
Twitter and things like that, and
you I wouldn't be doing this podcast if
1139
01:18:47.840 --> 01:18:55.319
you you know otherwise you know.
Um, so I'm and and and uh,
1140
01:18:55.520 --> 01:18:58.640
you know, it's it's an amazing
tool and you can if you,
1141
01:18:59.039 --> 01:19:03.039
if you build relationship, connect people
together in ways if they you know,
1142
01:19:03.119 --> 01:19:09.680
would have would have been impossible ten
years ago. So I think it's great.
1143
01:19:10.960 --> 01:19:13.600
Yeah, and I find a lot
of guests through Twitter too, because
1144
01:19:13.600 --> 01:19:16.359
that's how I think we initially met. And then um, and then now
1145
01:19:16.520 --> 01:19:19.720
yeah, you're right, it's you
know, and using Twitter as a networking
1146
01:19:19.760 --> 01:19:24.600
tool has been awesome for me.
Um, just meeting people and just seeing
1147
01:19:24.640 --> 01:19:28.479
what they're working on and stuff like
that. Um. I've actually tinkeered around
1148
01:19:28.479 --> 01:19:30.880
about actually writing a book about how
how I use Twitter as a networking tool.
1149
01:19:31.479 --> 01:19:38.119
Um, great idea. Oh,
thank definitely true about it. Well,
1150
01:19:38.199 --> 01:19:41.880
thank you. Uh it's it's it's
all my pile alv row of like
1151
01:19:41.960 --> 01:19:44.119
you know, the eight million pigs, don't I want to write It's like,
1152
01:19:44.439 --> 01:19:46.039
Okay, that's a good idea.
Maybe I should do that. Um,
1153
01:19:46.239 --> 01:19:49.960
you know, it's it's one of
those things you know, I'm might
1154
01:19:50.079 --> 01:19:53.880
get around to someday right now,
you know, I'm just focusing on some
1155
01:19:53.960 --> 01:19:58.319
other actual writing things. Um.
But um, you know we've been talking
1156
01:19:58.359 --> 01:20:01.920
for about you know, an hour
and eighteen minutes or so. We'll be
1157
01:20:02.079 --> 01:20:10.039
right back after a word from our
sponsor and now back to the show.
1158
01:20:11.680 --> 01:20:14.359
So you know, you know,
and I know you know you're busy,
1159
01:20:14.399 --> 01:20:15.319
and you you know, I don't
want to keep you too much longer.
1160
01:20:15.560 --> 01:20:18.920
So you know, in closing,
is there anything that we didn't discuss that
1161
01:20:19.039 --> 01:20:24.239
you know you wanted to mention or
talk about? Uh, I think we
1162
01:20:24.319 --> 01:20:27.239
covered it. I just you know, I would just say that, uh,
1163
01:20:27.560 --> 01:20:30.800
you know, it's it's uh,
like I said, I'm I feel
1164
01:20:30.840 --> 01:20:38.279
like I'm uh I'm not maybe not
I'm the last person to give advice,
1165
01:20:38.920 --> 01:20:43.039
but uh but you know, because
I still feel like i'm I mean,
1166
01:20:43.119 --> 01:20:46.760
I'm trying to be learning every day. I'm trying to keep that that perspective
1167
01:20:46.800 --> 01:20:50.239
on everything. But I know that
there's things that I picked up that if
1168
01:20:50.319 --> 01:20:54.840
I can impart to someone else,
uh and they can get something out of
1169
01:20:54.880 --> 01:20:57.359
it, you know, I think
that's great. I mean it's like,
1170
01:20:57.600 --> 01:21:00.720
uh, um, you know,
use what you can he has in you
1171
01:21:00.840 --> 01:21:03.359
know, which can't use to throw
it away, you know. Um.
1172
01:21:03.560 --> 01:21:06.399
And I think that's the same thing
that so many of the so many of
1173
01:21:06.399 --> 01:21:11.079
the things that are out there for
a fire and writers or you know,
1174
01:21:11.199 --> 01:21:14.920
writers that are trying to break into
the business. Um, you know.
1175
01:21:15.319 --> 01:21:18.840
Uh, but you know, just
because you know you've read it in the
1176
01:21:18.920 --> 01:21:24.840
book or it's you know, you've
got to make the experience valuable to yourself.
1177
01:21:25.399 --> 01:21:28.079
You know. I did teach for
a short while. I taught a
1178
01:21:28.199 --> 01:21:32.880
clurse Texas a and all in Dallaston, a study skills course of all things.
1179
01:21:33.039 --> 01:21:36.079
And I had the students who read
this and this from a Herman Melville
1180
01:21:36.119 --> 01:21:41.279
novel that nobody reads anymore, Paul
Redburn, about a boy's first journey to
1181
01:21:41.359 --> 01:21:46.279
see and he's taking he's going to
Liverpool, and he's taking his father's guidebook
1182
01:21:46.319 --> 01:21:49.359
to Liverpool. And when he gets
to the city and he opens up the
1183
01:21:49.399 --> 01:21:54.399
guidebook to realize that the city has
changed, and you know, his father's
1184
01:21:54.439 --> 01:21:57.880
guidebook really wasn't much helpful to him
anymore, and he had to sort of
1185
01:21:57.960 --> 01:22:00.560
find his own way in the city. There were some things that were saying
1186
01:22:00.840 --> 01:22:04.359
there's some sort of landlord, but
the city had changed and I think that,
1187
01:22:04.600 --> 01:22:09.439
you know, the lesson I was
trying to impart that time. It's
1188
01:22:09.520 --> 01:22:12.279
like, you know, I'm giving
you a lot of ideas about how to
1189
01:22:12.399 --> 01:22:15.279
kind of manage your time, how
to study, how to how to working
1190
01:22:15.359 --> 01:22:16.800
groups, how to do all these
things. You know, you might find
1191
01:22:16.880 --> 01:22:19.640
it some of the most of it
is useful to you. You've got to
1192
01:22:19.680 --> 01:22:24.560
find what works and not be afraid
of trying new things, and uh of
1193
01:22:25.119 --> 01:22:30.359
of being open to experiences and really
trying to build on, uh, build
1194
01:22:30.399 --> 01:22:34.840
on on your base and and never
sit back on and say, you know,
1195
01:22:34.960 --> 01:22:40.199
I'm know it all and our friends
and um and people would just have
1196
01:22:40.319 --> 01:22:44.439
to work at my genius. You
know. Uh, it's a it's a
1197
01:22:44.560 --> 01:22:49.960
constant it's a constant learning process,
and I'm still doing it. So I
1198
01:22:50.079 --> 01:22:56.279
wish everybody listening and trying to do
those things the best of the best of
1199
01:22:56.359 --> 01:23:00.439
luck in doing them. Yeah.
Very cool. And you know, that's
1200
01:23:00.479 --> 01:23:04.359
a very very awesome positive message outbro. Um. Thanks very small about the
1201
01:23:04.399 --> 01:23:09.039
positive. That's that's good. It's
good be about the positive, um,
1202
01:23:09.159 --> 01:23:12.159
because you know, there's farts mainly
negative people in this world. UM,
1203
01:23:12.720 --> 01:23:15.119
so you know, you know,
you know, I want to say thank
1204
01:23:15.159 --> 01:23:18.439
you, Thank you very much again
for coming on. Thank you. I
1205
01:23:18.560 --> 01:23:21.960
really appreciate it. Oh, you
know pushes all mine. Uh so you
1206
01:23:23.000 --> 01:23:28.239
know, where can people find you
out online? I'm on Twitter a lot
1207
01:23:28.279 --> 01:23:32.279
o d Z, I'm on Facebook. I think of the same thing at
1208
01:23:32.359 --> 01:23:39.359
our loads. Um uh oh,
we'll find me around. I don't have
1209
01:23:39.439 --> 01:23:43.239
a sight or anything like that.
Uh, but uh, you know,
1210
01:23:43.359 --> 01:23:48.319
I'm uh often doing you know,
different events. I'm not really doing anything
1211
01:23:48.359 --> 01:23:53.000
in south By, but every year
on um pretty active with the awesome Phone
1212
01:23:53.039 --> 01:23:58.319
Festival doing panels and round tables and
and you know every October. You can
1213
01:23:58.319 --> 01:24:02.760
definitely find me around there. Um, but you know, um, you
1214
01:24:02.840 --> 01:24:08.760
know, look look me up and
pep and eye on LA Network for Dustil
1215
01:24:08.800 --> 01:24:13.279
Dawn seasons two later this year hopefully. Uh we've got to get stuff in
1216
01:24:13.359 --> 01:24:15.960
store for fans of the show.
And uh, you know, the original
1217
01:24:16.159 --> 01:24:21.560
the first season is he's already on
Netflix in its entirety or if you're like,
1218
01:24:21.960 --> 01:24:25.800
you know, really into it,
you can you can get the Blue
1219
01:24:25.800 --> 01:24:30.680
Way or DVD set with all the
extras and commentaries and fun stuff like that,
1220
01:24:32.560 --> 01:24:34.960
and you know, and also I'll
make sure to link to everything and
1221
01:24:35.079 --> 01:24:38.840
the show notes as well, So
uh, you know everyone, if you
1222
01:24:38.960 --> 01:24:43.439
you know, if you don't everyone
in the l Ray network or you've never
1223
01:24:43.479 --> 01:24:46.520
actually you have seen a uh alvarads
Twitter, just look click on the show
1224
01:24:46.640 --> 01:24:49.279
just click on the links in the
show notes and you'll be taken right there.
1225
01:24:49.840 --> 01:24:54.239
And also I'm also a link to
Dustled on season one, so okay,
1226
01:24:54.239 --> 01:24:57.479
if you haven't checked that out yet, uh, please do because it's
1227
01:24:57.560 --> 01:25:01.000
very cool, especially if you have
enjoyed the movie it's based off of and
1228
01:25:01.239 --> 01:25:04.720
again, like you know, Alvar
and I've said, it's just expands upon
1229
01:25:04.840 --> 01:25:09.600
that. So uh, you know. In closing, everyone, thanks you
1230
01:25:09.760 --> 01:25:12.840
for listening. You can find me
at Dave Bullis dot com and Twitter.
1231
01:25:12.960 --> 01:25:16.039
It's at Dave Bullish, should be
at Dave Underscore Bulls and you know,
1232
01:25:16.359 --> 01:25:19.680
um there's you know, tons of
the show note links that if you want
1233
01:25:19.680 --> 01:25:23.720
to you know, Stockman any other
social media sites, they're there as well,
1234
01:25:24.600 --> 01:25:29.600
and uh so cool, Albroad Thanks
again, buddy, and you know,
1235
01:25:29.680 --> 01:25:30.720
I wish you the best of luck
with you know, season two of
1236
01:25:30.800 --> 01:25:33.520
dust hold On, and you know, if you ever want to come back,
1237
01:25:33.560 --> 01:25:35.399
man, please let me know.
The draw is always wide open.
1238
01:25:36.159 --> 01:25:40.199
Thanks. I really appreciate it.
You're talking to you. No good talking
1239
01:25:40.239 --> 01:25:43.000
you too, Bun. All right, thank sure, have a good night,
1240
01:25:43.000 --> 01:25:45.640
buddy. Thank you, go back. I want to thank Dave so
1241
01:25:45.840 --> 01:25:48.039
much for doing such a great job
on this episode. If you want to
1242
01:25:48.079 --> 01:25:50.640
get links to anything we spoke about
in this episode, head over to the
1243
01:25:50.680 --> 01:25:56.439
show notes at Bulletproof Screenwriting dot tv. Forward slash three, Quoa two.
1244
01:25:56.560 --> 01:25:59.640
Thank you so much for listening to
guys as always, keep on writing no
1245
01:25:59.840 --> 01:26:02.399
matter what. I'll talk to you
soon. Thanks for listening to the Bulletproof
1246
01:26:02.479 --> 01:26:06.119
Screenwriting podcasts at Bulletproof Screenwriting dot tv.

البحث في الحلقات الماضية

البحث في الحلقات السابقة من Bulletproof Screenwriting™ Podcast.
تضمين شريط البحث هذا في موقع الويب الخاص بك
إخلاء المسؤولية: البودكاست والأعمال الفنية المضمنة في هذه الصفحة مأخوذة من Bulletproof Screenwriting، وهي مملوكة لمالكها وليست تابعة لشركة Listen Notes, Inc أو معتمدة منها.
PROMOTED
The best Podcast API to search all podcasts and episodes. Trusted by 15,200+ companies and developers.
The best Podcast API to search all podcasts and episodes. Trusted by 15,200+ companies and developers.
PodcastAPI.com

التوصيات
استخدم واجهة API لتنفيذ هذه الحلقة