FINDING THE PERFORMANCE – Directing First-Timers and Non-Actors

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You are listening to the IFH podcast Network. For more
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amazing filmmaking and screenwriting podcasts, just go to ifhpodcastnetwork dot com.
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There are some questions I'd like to ask.
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You Low Budget Rebels Godcast.
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I don't tell me you're taking all this seriously.
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Hello, and welcome to another episode of Low Budget Rebels Podcast.
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I'm your host, Josh Stifter, and this is a show
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where I sit down with independent filmmakers to talk about
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specific subjects of making low budget films, the challenges, the
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issues we all run into, and the things that come
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up consistently that can hinder your movie make them better.
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And these filmmakers give me tips and tricks and inspiration
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on how to get things done. In this episode, I'm
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talking to filmmakers about one of those keys of filmmaking,
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and that is working with actors. Early on, I found
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it to be one of the most intimidating but also
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one of the most rewarding parts of filmmaking. And when
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you're making these movies with tiny budgets, tiny schedules, often
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with these first time performers, directing a good performance becomes
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less about perfecting it and more about trust, communicating, and
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making sure that the environment is right so people feel
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safe to try things. And I'm super excited about today's guests.
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I've got Dan Lottz back, I've got Nick Sanakis back,
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Joe Sherlock and Rs. trAshley Akashawn Ashley, all fantastic filmmakers.
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You've seen Dan Lotts's movies Chlorine, The Long Con, Sheep Theater.
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He's a very improvy director who does a lot for
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YouTube and creates movies that he kind of just puts
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out there in a way that he wants people to view,
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and he makes a lot. An incredibly inspiring dude. Nick
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Sanakis is the co director of Cheat and Valley View Motel,
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and he is an incredible He has an incredible insight
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into the process because he acts and he studied acting.
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He understands it and he works with someone else on set,
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so he has a very unique perspective on getting performances
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and how to find the right type of performance in
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each moment. Joe Sherlock has made some weird movies like
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Trailer Park, Double Wide, Trilogy of Terror I don't know
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if I got that right, The Haunting of Heather Black,
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and the Weird House films. He's a strange dude with
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a strange approach to filmmaking that I absolutely love. He's
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the kind of dude who makes movies for trauma, b movies,
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weird shit, and so he's got to pull people in
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and have them understand the kind of projects they're going
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to be working on. So he has a very different
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insight than a lot of low budget filmmakers. I know
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a lot of you are doing the fun, schlocky stuff,
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and he's the kind of person who's insight into how
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to make that work. And then Sean Ashley, dude behind Homicide, McLoud,
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Old Man Slaughter, and he's my producer and actor on
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one of the one you know, acting in one of
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his first roles that he didn't direct in Get That Dick.
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And he comes on to talk about how he found
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talent for movies, how he goes to film festivals, sees movies,
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and where he builds that trust with actors to come
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on to his set and engage with them in a
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way that he knows that he can create something that
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he wants to create. He's got a lot of interesting
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ideas too on how to get the talent to perform
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what he needs. All Right, patroon dot com slash Flush Studios.
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That's where these episodes are first posted. They're ad free.
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You can hear them without all of the crazy ads
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on Spotify, and you also help support Flush Studios by
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subscribing to the Patreon. It is literally like eleven dollars
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for a year. It is incredibly inexpensive, and you get
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a ton of content. And I'm on there right now
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making the behind the scenes Forget that Dick. You can
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see like the first chunk behind the scenes, and there
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are going to be more coming soon. On top of that,
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there are short films, there's behind the scenes of making
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those short films. There are years and years behind the scenes,
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hundreds of podcasts, tons of comic book art, and there's
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a brand. There's a comic book I did called Steven
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the Maggots that'll be bringing back hopefully in the next
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couple weeks, and it'll be running weekly. A page a
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week will be coming out. And I really liked that
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process of building the comic as I go, So I'm
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gonna try to do that again because I've been sort
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of struggling to get that podcast back up and going.
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But the Stephen the Maggots podcast will be up so
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Patreon dot com, fest Studios, Jesus Patreon dot com slash
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Flush Studios. Most importantly, subscribing to that help support Flush
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Studios so I can more short films, finish the features
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I'm working on all of that. Any any income I
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mate goes back into Flush Studios, And right now I'm
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struggling to keep Flush Studios afloat with what I'm bringing
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in from the Patreon. So if you want to see
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more projects from Flush Studios, please head over Patreon dot
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com slash flush Studios. All right, without further ado, I'm
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done schilling Low Budget Rebels podcast. We're talking about acting
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in films and working with first time actors and working
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with actors on sets where you don't have a lot
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of time, you don't have a lot of budget, and
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you're just going out there and making it. I'm talking
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first with the incredible Dan Lotts. What was your first
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experience working with non actors and how did it go?
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Yeah, So if we if we're being honest, like I
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would get start as holdest like when I was like
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a kid, you know, working with non actors, but like
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if we're talking about a non actor in a more
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like professional sense.
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Well, I think there's something to talk about here with
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the talk. I like that you start with that, because
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that was exactly what Robert Rodriguez said to me on
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the show when I was making The Good Exercist was
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I was like, Man, I don't know how to get
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my buddy Daniel, who have worked with throughout the years,
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to give a performance that is up to snuff, like
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this guy has to carry the whole movie. And Robert
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was like, you got you fucking got it right there.
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You're not working with an actor. You're working with someone
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you can meld. They don't have any predispositions about what
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they're going to be doing, what their character does. Your
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buddy hasn't thought it through that much. You can make
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him the performance. So I think that's I think a
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lot of people misrepresent those early moments when we're kids
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and we're learning how to get our friends and our
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parents and other people to act. And it's something that
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I continue to do now, like my son is in
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my new movie, and it was one of the greatest
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things in the world because I'm working with guys and
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girls who have actually acted in movies like I'm working
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with real act now and then I have my son
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on set, and it's a completely different beast because he's
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not only not acted in a lot, he's with his dad.
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There's a totally different persona that I'm getting out of him.
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So I think that's a really interesting point of the
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people we start with.
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Yeah. Yeah, And when I started, I worked on a
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YouTube channel called Leather Jacket Studios, and it was like
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this action scenes, Like we would shoot action scenes and
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different like little things. And I think my first real
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performance that I got from people would be like my
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friend Joel Dick, you know, me and him would always
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work on those those little short films when we were kids,
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or me and my brother, or me and my other
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friends that sort of dropped off from filmmaking at the time.
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You just sort of start with the most basic thing,
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which is like, Okay, you're looking badass on camera. That's
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all we need. You need to be in a suit,
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you have to have a gun, and you're gonna shoot
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some people. And you started like the most basic level,
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and then I think at some point you peel back
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and as you get older, you start to realize, Okay,
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there needs to be a story, there needs to be
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a reason they get here there needs to be like
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all this other stuff, and then that's when that performance
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starts to come in. I think like the first time
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I really worked with like a non actor to great
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effect would either be Joel or myself. I guess, like
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on The Long Con, I worked with Joel. He plays
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a smaller character in the movie, and he had to
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do a very unique performance. I call it the best,
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one of the best performances since Charlie Chaplin. It's a
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very nonverbal, very like specific in the background kind of
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acting that I think is hilarious and like you wouldn't
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really know unless you were paying attention in the background.
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But he just does a lot of funny scenes that
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like really contrasts with how dark the environment is, and
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I think it was important for that movie and then
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for myself. When I made Chlorine, I had never really
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acted in a more than like a one to two
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minute short film. And then I'm being I have to
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be like the main guy. I have to be the
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main character that carries a ninety minute long film, and
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that's terrifying. Like I really did not think I had
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the juice at the time, and then to know that
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that film was gonna get a lot of viewership I
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would have been. I don't think I would have ever
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made that movie if I had known that, like sixty
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thousand people were going to like watch me do my
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very first performance, you know, coming back to it with
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chlorine kills, I feel like a totally different man now.
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I feel like I could. I could do that in
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my sleep. But it's so funny to look at that
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first movie and be like, damn, I kind of had
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a lot of like hootspud to do that.
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You know, Yeah, how do you feel looking back at
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that performance of yourself? Because this is a very unique
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opportunity to talk about this because I've done it as well.
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Where I acted in Greywood's plot and sort of it
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was my it was my chance to try to learn.
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And now I've acted in a few things little Lucha
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and a bunch of other stuff of my own projects,
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and seeing now it's much easier. I have learned where
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I suck mostly, Like the biggest thing I can say
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is that I can tell, you know, a director or
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no myself, like this is what I don't want to
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do because I can't do this. I am not that
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kind of an actor. Versus Greywood's plot, where I can
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look at it and be like, wow, man, I can't
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believe I pulled that off. That's pretty crazy. How do
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you feel looking back at your performance in Chlorine and
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do you use that when you're directing? Do you use
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the things you learned during that when you're working with
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first time actors or even non first time actors. Do
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you did you learn something that has helped you throughout
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the years.
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Yeah, I think looking back on Chlorine, I there is
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one scene in particular that it was my I believe
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it was the first scene that I acted in, and
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I look at it and I cannot not cringe every
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time I watch it. It's not even like it's not
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even a bad scene. Like generally speaking, I don't think
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the average person would pull that out as the one
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that's like, oh wow, he's really bad. I just watch
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it and I'm like, I'm so unconfident that I'm like
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just trying to be quiet in the scene and like
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not I'm trying to be mysterious and quiet, and I
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don't know if it really comes off as mysterious and
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quiet in the moment. And I think for myself, I
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always like to try to build up anyone who's working
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on my sets non actor actor to being like you
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can do this, Like I believe in you. You can
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do this. All you need to do is have the
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confidence in yourself. I think confidence is the number one
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key thing to a good performance is do I have
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the confidence to believe in myself to portray this character?
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And it's like, Okay, what things do you have confidence in?
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Do you have confidence in the directtion to care about
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the vision and care about the character that if anything
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is wrong that he'll stop the take, you know. And
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I like to try to make it clear, like if
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somebody's not working, I will tell you, but I will
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bring you off to the side. We're not gonna do
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this thing where I'm gonna embarrass you in front of
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the whole crew. We're gonna talk about it. We're gonna
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work out a plan, and then we're gonna try to
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like do another take and see what happens. I like
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to have a very personal, one on one on one
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relationship with every actor I work with, and if there's
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anything that's not working, allowing myself the ability to just
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talk to that person and be like, Okay, what's going on,
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Like why, like if this isn't working? Maybe we can
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hit at this angle, or maybe you're not hitting the
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line I want you to hit. Because with improv, I'm
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feeding them lines as they're acting, so they have to
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sometimes hit stuff that they don't even know that they
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have to hit. So sometimes I'll go through a scene
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and be like, that was amazing, but I need you
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to say this line about this bag that we need
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because it's it relates to another scene crucial to the story. Yeah, yeah,
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and it's sometimes it's funny. I was doing some improv
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acting yesterday and there was like a moment where we
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needed to show that this wallet had fallen out of
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this character's pocket, and the scene was amazing. We filmed it.
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We did this like this wonder that was like pushing
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in and I'm like, that's amazing, guys, but we didn't
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get the wallet, and everyone's like what, And I was like, no, Like,
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we don't have to refilm it. We'll film a different angle,
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but we need to get that little wallet because like,
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if we don't, then it doesn't connect to the later
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part of the movie, and then it doesn't really make
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sense that we even filmed this. So I think just
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being cognizant of that and like knowing, like what expectations
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you need to give to the actors for an improv
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movie is important, like giving them everything that you need
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so that they know, oh, I need to have this
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mark of this, mark of this Marcus is important.
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Is there a technique you have this is This is
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kind of a tricky question because it it does dive
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deep into trying to think about, like what do I
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do when I'm on set? And It's something I've thought
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a lot about since finishing my most recent movie, because
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I did learn a lot from the different styles of acting,
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from my son who's not an actor, to like professionals
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who are really fantastic and all this stuff. But is
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there something that you do when someone is struggling? Techniques
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you give to actors, especially people who you know it
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may be their first time on set. Maybe they feel
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a little bit self conscious because of the fact that
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you know they're on a Dan Lott's movie is a
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completely different experience than going to work in their day
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to day or you know, even when you were working
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with your dad on a project or working with uh,
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you know Joel in the early days, these sort of things.
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Is there techniques you use to try to inspire them.
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Yeah, I think I like to start from the most
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basic stuff that I think like goes to like the
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beginning of film history, which is open your eyes. Just
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keep your eyes open. That's the start of the starting point.
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Like if if you just do that one thing, if
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you just keep your eyes open the whole time, and
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you blink as minimal as you if it's like you know,
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let's say you have to blink once every if you
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go four minute scene, if you can go sixty thirty
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seconds without blinking, keep the blinks to a minimum. That's
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one thing I like to tell people, and I swear
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that has a huge impact on how you're perceived.
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Dude, It's crazy. It not only has a impact on
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how you're perceived. I believe that when people don't blink,
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it causes their brain to focus energy and it brings
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the words to them so much more naturally.
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That that's one thing I've noticed. Another thing I've noticed
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is I tell people listen with intention. Listen with intention,
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Like when you're in a scene, don't just wait for
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the lines to come, like listen as if it was
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the first time you were hearing them, and like perceive them.
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Take time to respond to them, like, you don't need
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to immediately fire back your lines because they said their lines,
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Like do what a real person would do. Like if
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someone says something like that and it was like this
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really painful thing that he told you, you might pause
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and you might think for a second and then fire
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back another statement. So just listening with the intention is
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important to me as well. I think it goes along with,
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like with the the eye point. It is like, if
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you're listening and you're also seeing with intention, then then
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you're already halfway there. I think those are two key
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points that I think a lot of a lot of
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newer actors need help with, and then once they do that,
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it just kind of comes alive.
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I think there's also for me this element of allowing
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people don't necessarily allow themselves to understand what the crucial
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element of what's happening is now, especially you working with
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complete improv. I work with a script every time so
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far Greywoods plot is iffy, but generally I work with
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a script. But I also do allow improv on my sets,
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and I'm very open to like, let's try things. And
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it's funny that a lot of actors hone in on
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the wrong thing. They'll like, you were talking about this
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dropping the wallet. Obviously that's an important moment in this
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that went over people's heads in the moment. I find
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that a lot of times I'm like, hey, man, don't
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do the script, especially like working with Max or working
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with my buddy Sean who is the lead in this
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recent movie, being like, don't worry about saying the words.
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The only sentence I need is this one. That's it.
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We've got this whole paragraph of stuff. I need this
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one say a bunch of shit, but just say these
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two words and we're okay. So just go try things,
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and I find they get really close on their first try,
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second try, they're even closer by third time. They're just
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doing the script and they don't even know they're doing it.
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Yeah. I think that's one thing I've found with improv too,
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is just if you can hone in on what you
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need them to say, people will generally. I was working
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with this new actor justin on this out of character
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movie that I'm working on. Literally never never spoke to
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the guy until two weeks ago. Bring him out. He's
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he's done improv before, but he's never done really a
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ton of improv recently. I mean I literally just gave
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him simple scene prompts like Okay, you need to come here,
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and you need to say this line to me, and
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then there's a couple of things I need to say
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before and I give him like a little little points.
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We nail it in the first take, and I'm like, Okay,
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let's move on. Let's move on to the next thing,
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like and I think that's that's kind of amazing when
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when you can hit that synthesis of like giving someone
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the point of a scene and then they can just
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kind of figure it out because naturally the brain knows
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how to tell stories too. And I think that's the
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thing that people don't realize about improv is like we
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are naturally designed as as as humans to like we
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tell stories. We do it around the fireplace, we do
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it from the beginning of time. We paint on you know,
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on caves, and you know, like we've always told stories.
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So I think people know what an inherently good story
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looks like. They might not always be able to articulate it,
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but I think in their mind they know what a
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good story is. And so I think, like when you're
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doing work with an improv actor or with a regular actor,
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their intuition sometimes is naturally good, you know, like you'd
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be surprised at seeing like where an actor takes it.
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I mean, I had a scene where the actor came
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up to me and pitched me another idea, was like, oh,
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what if this happened in this scenes that it ties
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back to later And I was like, huh, I never
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thought of that, And I thought that was a really
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genius moment. And then I was like, yeah, let's incorporate
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that we incorporated in the film. And it makes it
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so much better because then it's like, Okay, it ties
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back to this previous scene, but also ties forward to
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this other scene, and I'm like, that's improv. That's being
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willing to go with the processes, knowing sometimes I'm not
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always the smartest person in the room. I just happened
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to bring smart people along with.
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One of the greatest feelings in the world is having
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a cast and crew that is dedicated and ready to
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kick ass and they sorry, I'm moving my microphone and
381
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it's kind of squeaky. But having a cast a performer
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who you can trust and who comes on to set
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and is ready to get into character figure it out.
384
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Throws and outs at you, and like Dan Launce was
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talking about, it's one of those things where you do
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your best to make it a safe space so that
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people bring their game and not being the smartest person
388
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in the room is sometimes a good thing. Turning to
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people and knowing that you can trust them to give
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out advice. I remember I was on set for Get
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That Dick, my new movie, and I was talking with
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We were stressed. It was one of those weekend shoots.
393
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We had been going for like eleven hours. We were
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late to the night. It had been going pretty much
395
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all day. Everyone was fried. It was like one in
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the morning. Some people had left, some people had you know,
397
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had had to go because it was getting so late.
398
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Their stuff was done. We had done a ton of
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visual effects or special effects on set, like some really
400
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crazy bloody stuff, some super gory stuff, and we're getting
401
00:21:09.319 --> 00:21:11.960
to the very end and my buddy Aaron Hale, who's
402
00:21:11.960 --> 00:21:14.559
playing a character called the axe Man in the script,
403
00:21:14.680 --> 00:21:18.079
the Axe Man was standing there and he saw something
404
00:21:18.160 --> 00:21:22.400
that was potentially missing and went above and beyond to
405
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make it known to me. And in my head, I'm like,
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I'm I don't need that. Let's just keep going. Let's
407
00:21:30.039 --> 00:21:33.000
get tonight done. It's almost two in the morning. We're
408
00:21:33.039 --> 00:21:37.000
all flustered, frustrated, fried, ready to go home and go
409
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to bed.
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And I thought about it.
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I'm like, this dude is smarter than me right now
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because he's thinking about what I'm not seeing. He's seeing
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something that I'm potentially gonna miss and I ended up
414
00:21:46.400 --> 00:21:48.720
getting the thing that I needed and it was so
415
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massively helpful in the edit. So Aaron Hale, thank you
416
00:21:52.559 --> 00:21:55.000
so much for going above and beyond. But on top
417
00:21:55.039 --> 00:21:57.640
of that, watching the movie and seeing some of these performances,
418
00:21:57.720 --> 00:21:59.559
like Aaron Hale is not a first time actor, he
419
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has been doing it for a long time. Great dude,
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great director, great writer. I love Aaron to death. And
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having someone like that on set who got the character,
422
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who's going forward and was willing to go above and beyond.
423
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There are things about that character that are so beyond
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what I wrote when I was making the movie, and
425
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that goes a long ways. Trusting your cast, and that's
426
00:22:20.680 --> 00:22:24.119
one of the things Nick Sanakis, my next guest, talks about,
427
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is bringing people onto set who have a technique and
428
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can be organic, bringing natural performance to set, and even
429
00:22:31.720 --> 00:22:33.400
though you trust that they're going to do it. When
430
00:22:33.440 --> 00:22:37.400
you see it happen, it can be so inspiring and
431
00:22:38.440 --> 00:22:40.960
it could just make you realize, like, oh, this is
432
00:22:41.000 --> 00:22:47.720
why they're here. What was your first experience, like, what
433
00:22:47.759 --> 00:22:51.440
were the early experiences of working with actors or I
434
00:22:51.480 --> 00:22:54.880
know you act as well, like being on set and acting.
435
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What were some of your early experiences of learning that process.
436
00:22:59.519 --> 00:23:02.160
So I think I think we're lucky. Kevin and I
437
00:23:02.200 --> 00:23:04.000
both studied acting first.
438
00:23:04.559 --> 00:23:05.039
Okay, so.
439
00:23:06.839 --> 00:23:08.960
I was in we actually met in New York. I'm
440
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from New York originally, but I always when I knew
441
00:23:11.680 --> 00:23:14.200
I wanted to get into filmmaking and acting and directing
442
00:23:14.200 --> 00:23:16.279
and all that stuff, I really wanted to study in
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00:23:16.279 --> 00:23:18.559
New York because I did feel like, you know, the
444
00:23:18.599 --> 00:23:21.039
best actors and directors kind of came out in New
445
00:23:21.119 --> 00:23:23.240
York theater, at least in the old days. It's a
446
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little different now, but I really wanted to study that.
447
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I really wanted to like learn that way. So I
448
00:23:28.599 --> 00:23:32.039
think from that it kind of helped me know how
449
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to talk to actors, you know, and also you know,
450
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I know you mentioned like non actors right as well.
451
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So I think the biggest thing for us is just
452
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it's just like kind of the communication and trying to
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just at least because I know me personally, if you
454
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can make them feel comfortable, I think the more comfortable,
455
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the more the better performances you're going to get out
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of them. So you know, again like going back to
457
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you know, Kevin and I talked and then one of
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us going to talk to the actor or somebody, you know,
459
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not screaming cut and action as if you know we're
460
00:24:06.960 --> 00:24:09.759
on a bullhorn on like a lot somewhere. That kind
461
00:24:09.759 --> 00:24:11.480
of goes back to the Clint Eastwood thing, right, like
462
00:24:11.759 --> 00:24:15.000
isn't he famously for like not screaming because the horses
463
00:24:15.039 --> 00:24:18.960
and the Westerns would go galloping off. So just anything
464
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to make them feel like more comfortable and you know,
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not as rigid of like quiet, background camera set, you know,
466
00:24:29.200 --> 00:24:31.319
like all those things that can make you tense up.
467
00:24:31.720 --> 00:24:34.319
We try to just very like easily like talk to everybody,
468
00:24:34.359 --> 00:24:36.680
have them in the space, have the cameras near their face,
469
00:24:36.720 --> 00:24:38.319
have the lights near their face. Try to make it
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00:24:38.359 --> 00:24:43.640
feel as a very uncomfortable situation as comfortable as possible.
471
00:24:43.759 --> 00:24:45.400
And that's what that's what we try to do. I
472
00:24:45.839 --> 00:24:47.720
hope we're able to do it. You don't have to
473
00:24:47.720 --> 00:24:50.839
talk to the actors tell tell you if we're any good. Yeah.
474
00:24:50.839 --> 00:24:53.079
But that's the funny thing though, is like I love
475
00:24:53.119 --> 00:24:54.680
this because I don't think this has ever come up
476
00:24:54.720 --> 00:24:58.400
on this podcast, But this concept of like screaming lights
477
00:24:58.480 --> 00:25:02.160
camera action in an intense way, pushing things, that all
478
00:25:02.279 --> 00:25:05.200
was based on budgetary reasons. Like the whole thing was
479
00:25:05.240 --> 00:25:07.359
based on like we only got so much film to burn,
480
00:25:08.039 --> 00:25:12.200
and we and you know, everyone has to sink everything properly.
481
00:25:12.240 --> 00:25:14.480
Everything has to be done in a very technical way.
482
00:25:14.920 --> 00:25:17.200
We don't live in that era anymore. Like now we
483
00:25:17.240 --> 00:25:20.839
can run digital for far longer than you know, film
484
00:25:20.839 --> 00:25:23.200
could run in the past. So I have found some
485
00:25:23.279 --> 00:25:25.599
of the best performances I personally or I've got out
486
00:25:25.640 --> 00:25:28.240
of especially non actors, is when I just let the
487
00:25:28.279 --> 00:25:30.440
camera kind of roll and I'm like, let's let's work
488
00:25:30.480 --> 00:25:33.359
this out, Like let's just pretend for a second. And
489
00:25:33.519 --> 00:25:36.000
when someone can kind of pretend and fall into the role,
490
00:25:36.039 --> 00:25:38.359
it's like, oh wow, that's they just became that person.
491
00:25:39.480 --> 00:25:39.839
Yeah.
492
00:25:40.640 --> 00:25:43.279
I mean, we'll even you know, not that I like
493
00:25:43.319 --> 00:25:45.440
to ever like trick people, but there's times where like
494
00:25:45.480 --> 00:25:48.480
we'll look over and be like, you know, just just
495
00:25:48.599 --> 00:25:50.720
roll here, you know, real quick. We're not even gonna
496
00:25:51.039 --> 00:25:52.839
you know, slate it, or or we'll just say we're
497
00:25:52.920 --> 00:25:55.880
rolling on a rehearsal and not do the whole you know,
498
00:25:55.880 --> 00:25:58.039
we'll just let sound know and like camera know, like
499
00:25:58.119 --> 00:26:00.640
just roll. We won't even slate it, just to get
500
00:26:00.920 --> 00:26:04.079
to try to get you know, something organic and natural
501
00:26:04.119 --> 00:26:06.400
because you know, again just being on the other side
502
00:26:06.400 --> 00:26:09.799
of it, I think that helped us, so hopefully it
503
00:26:10.079 --> 00:26:11.519
helps them. And like you said, yeah, that was it
504
00:26:11.720 --> 00:26:14.079
was a different time also, like I think that was
505
00:26:14.119 --> 00:26:17.559
like for like huge sets with big crews that you're
506
00:26:17.559 --> 00:26:20.160
trying to communicate to a lot of people in a
507
00:26:20.240 --> 00:26:23.519
short amount of time and obviously, like you said, film
508
00:26:23.599 --> 00:26:26.400
and money and all that stuff. So you know, and
509
00:26:26.480 --> 00:26:29.079
I get it like the early like younger version of
510
00:26:29.079 --> 00:26:30.920
yourself maybe saw it on TV and you're like, I
511
00:26:30.920 --> 00:26:32.920
want to yell action and cut you know one day.
512
00:26:33.160 --> 00:26:34.680
But I think as you do it and your mature
513
00:26:34.720 --> 00:26:38.640
you realize, like that's not maybe useful or or super
514
00:26:38.680 --> 00:26:41.640
help helpful, and it's there for a reason. It was
515
00:26:41.680 --> 00:26:44.079
there for a reason, and you know, if if you
516
00:26:44.079 --> 00:26:47.599
don't need to do it, maybe it's not as productive
517
00:26:47.640 --> 00:26:47.960
that way.
518
00:26:48.519 --> 00:26:50.799
I like that you use the term tricking because it
519
00:26:50.839 --> 00:26:54.279
is very much like I have. My style of directing
520
00:26:54.319 --> 00:26:57.960
has very much become realizing we're all coaxing something out
521
00:26:57.960 --> 00:27:00.240
of ourselves. Shit, I'm coaxing shit out of myself as
522
00:27:00.279 --> 00:27:01.960
a director a lot of the time, you know what
523
00:27:02.039 --> 00:27:04.440
I mean. Yeah, it is all just a trick and
524
00:27:04.480 --> 00:27:06.640
a gimmick to put something on screen that is a
525
00:27:07.400 --> 00:27:09.960
It's a trick in and of itself. It's not real life.
526
00:27:10.000 --> 00:27:12.720
We're we're tricking an audience into believing something is happening,
527
00:27:12.759 --> 00:27:14.640
and hopefully they get so lost in it that they're like,
528
00:27:15.160 --> 00:27:19.039
they fall for the trick. And so I tell my
529
00:27:19.200 --> 00:27:21.079
cast and crew straight up, I'm like, hey man, we
530
00:27:21.160 --> 00:27:22.920
might be we're going to be rolling a lot. We're
531
00:27:22.920 --> 00:27:25.799
going to be trying things like if you're not down,
532
00:27:25.839 --> 00:27:28.720
if you're not comfortable, always talk to me, because I
533
00:27:28.839 --> 00:27:31.240
just want it. Let's just have an open and honest communication.
534
00:27:31.359 --> 00:27:33.920
I think that that is one of those things that
535
00:27:34.039 --> 00:27:36.079
on bigger sets, when I'm working on the you know,
536
00:27:36.160 --> 00:27:40.759
like bigger movies shooting c unit and behind the scenes
537
00:27:40.839 --> 00:27:44.480
and whatever, I often see this like lack of sincere
538
00:27:44.559 --> 00:27:47.279
communication that, I'm like, well, that's the benefit we have
539
00:27:47.359 --> 00:27:49.240
of working so closely with these people.
540
00:27:50.400 --> 00:27:52.480
No, definitely, dude, I think you hit it like right
541
00:27:52.519 --> 00:27:54.680
on the head. It's I and I've seen it too.
542
00:27:54.680 --> 00:27:57.799
And I think most people, like most actors, like, it's
543
00:27:57.839 --> 00:28:00.440
all about trust and communication, you know. And I think
544
00:28:00.480 --> 00:28:04.119
if they really trust you and know that your intentions
545
00:28:04.160 --> 00:28:05.519
are good and you're trying to get the best out
546
00:28:05.559 --> 00:28:07.319
of them, and also that they have studied in some
547
00:28:07.359 --> 00:28:10.440
capacity where they understand what you're trying to do, you know,
548
00:28:10.599 --> 00:28:13.400
like they'll go there with you, you know. I think
549
00:28:13.480 --> 00:28:17.319
when that line gets blurry or they don't you know,
550
00:28:17.440 --> 00:28:19.799
trust you or don't think you have their best intentions,
551
00:28:19.799 --> 00:28:21.640
I think that's when you get into trouble. You know.
552
00:28:21.720 --> 00:28:24.680
So like we're a big believer in open communication, you know,
553
00:28:24.799 --> 00:28:27.599
like talking to them, you know, seeing what they're comfortable with,
554
00:28:27.920 --> 00:28:31.319
suggesting trickery and some you know, if they would be
555
00:28:31.440 --> 00:28:33.880
comfortable with that, and nine times out of ten, they
556
00:28:33.920 --> 00:28:35.880
just want to give a good performance. And like I said,
557
00:28:35.920 --> 00:28:39.079
if they've studied acting in any capacity, like they know
558
00:28:39.200 --> 00:28:41.680
what you're what you're trying to do, and they'll you know,
559
00:28:41.759 --> 00:28:43.440
had an acting teacher that was like, you got to
560
00:28:43.519 --> 00:28:45.960
love to like get your heart broken. You gotta love
561
00:28:46.039 --> 00:28:49.359
to be tortured. You gotta love vengeance and excitement like
562
00:28:49.400 --> 00:28:51.920
you gotta. So if they know it, they'll they'll and
563
00:28:51.960 --> 00:28:54.079
they trust you, they'll they'll go there with you. So
564
00:28:54.119 --> 00:28:57.319
I think it's just it's just all about having that conversation.
565
00:28:57.400 --> 00:28:59.000
And I think you're right. So a lot of times,
566
00:28:59.000 --> 00:29:02.039
on the bigger stuff, which you would think they would
567
00:29:02.039 --> 00:29:04.559
have so much more time to have those, they often,
568
00:29:04.880 --> 00:29:06.759
you know, sometimes they just often don't have them. It
569
00:29:06.799 --> 00:29:08.279
seems well.
570
00:29:08.319 --> 00:29:10.319
And I think there's an element of like people being
571
00:29:10.400 --> 00:29:14.960
paid far more than people get paid on projects like ours.
572
00:29:15.200 --> 00:29:17.640
I mean, you know, we pay what we can, we
573
00:29:17.720 --> 00:29:19.640
do what we can. But I mean when I first
574
00:29:19.640 --> 00:29:22.279
started in low budget filmmaking, I wasn't paying people much
575
00:29:22.319 --> 00:29:25.440
at all, if anything, on the really early projects, and
576
00:29:26.240 --> 00:29:29.279
there was an element of then the payment becomes like,
577
00:29:30.920 --> 00:29:33.400
this is your project too, Like I want you to
578
00:29:33.480 --> 00:29:36.079
love your character. I want you to be invested as
579
00:29:36.119 --> 00:29:39.039
far as you want to be invested, and that.
580
00:29:38.920 --> 00:29:39.880
Goes a long way.
581
00:29:40.039 --> 00:29:42.240
And in the low budget day, in the early days
582
00:29:42.279 --> 00:29:44.839
and as you're getting first time actors, I mean that's
583
00:29:45.039 --> 00:29:47.160
I remember I had my mom on set. My mom's
584
00:29:47.160 --> 00:29:50.480
in my second movie, and I wrote the part for
585
00:29:50.519 --> 00:29:52.240
her because I just wanted her to cuss and swear
586
00:29:52.279 --> 00:29:54.599
at me and call me like an accident. Basically, I
587
00:29:54.640 --> 00:29:57.119
just thought that'd before and as I had her on
588
00:29:57.200 --> 00:30:01.480
set and yeah, it's hilarious say terrible things and like,
589
00:30:01.640 --> 00:30:03.920
but the one time she got uncomfortable wasn't when I
590
00:30:03.920 --> 00:30:06.000
wanted her to say God damn it. She's like, I won't.
591
00:30:06.079 --> 00:30:08.279
I can't say God, damn it. And there was a
592
00:30:08.319 --> 00:30:11.880
moment where I had to like disconnect from the mom
593
00:30:12.000 --> 00:30:14.240
that I was trying to push to do things that
594
00:30:14.279 --> 00:30:17.079
she didn't want to do, and the human being who
595
00:30:17.160 --> 00:30:19.839
was on the other side of the set acting and going,
596
00:30:19.880 --> 00:30:21.519
I don't want to be portrayed in this way. And
597
00:30:21.559 --> 00:30:23.519
I was like, you know what, I'm not going to
598
00:30:23.559 --> 00:30:26.079
push her in this way because it it's not a
599
00:30:26.119 --> 00:30:28.000
positive thing. It's not going to help her get into
600
00:30:28.000 --> 00:30:28.640
that character.
601
00:30:29.839 --> 00:30:33.000
Yeah, that's funny you said that. Because Kevin's dad. We
602
00:30:33.000 --> 00:30:36.519
we've had in almost all of our movies, how many
603
00:30:36.640 --> 00:30:39.640
three we've had in three and he's he's a he's
604
00:30:39.680 --> 00:30:44.160
a retired doctor and knee surgeon. But like very you know,
605
00:30:44.359 --> 00:30:46.839
artistic guy, and like I think, you know, he always says,
606
00:30:46.880 --> 00:30:48.640
this is like my you know, my second life. I
607
00:30:48.640 --> 00:30:50.720
wanted to be an actor, and like it is so
608
00:30:51.000 --> 00:30:53.599
natural and good and takes it so seriously and love
609
00:30:53.720 --> 00:30:57.799
like doing the work and like, so yeah, it's it's
610
00:30:57.839 --> 00:31:01.839
fun to to bring them into it. We haven't had that,
611
00:31:01.920 --> 00:31:03.920
but I could see that happening with my mom, because
612
00:31:04.000 --> 00:31:06.000
my mom. I always say my mom, we could we
613
00:31:06.000 --> 00:31:07.519
could win an oscar, and she'd be like, I didn't
614
00:31:07.599 --> 00:31:10.880
like it, Like it was very violent, but you cursed
615
00:31:10.920 --> 00:31:14.039
way too much. Can't you make something happy now?
616
00:31:14.160 --> 00:31:14.640
And like it?
617
00:31:14.920 --> 00:31:18.240
So I love that brutal honesty that only uh, only
618
00:31:18.400 --> 00:31:19.640
parents could give you, right.
619
00:31:20.039 --> 00:31:20.680
I love it.
620
00:31:20.720 --> 00:31:23.880
Is there an actor that shocked you with how good
621
00:31:23.960 --> 00:31:27.359
they were or a performance that surprised you, or a
622
00:31:27.440 --> 00:31:31.119
moment that just made you go, like thinking of Cheat specifically,
623
00:31:31.200 --> 00:31:33.799
because that's the most recent one, is there something that
624
00:31:33.839 --> 00:31:36.839
made you just go, wow, this was I did not
625
00:31:36.920 --> 00:31:37.680
see this coming.
626
00:31:38.839 --> 00:31:42.559
Yeah, I mean I think now that you said that,
627
00:31:43.079 --> 00:31:46.200
I would say probably our last movie, not Cheat, just
628
00:31:46.359 --> 00:31:49.440
because so the movie that we're in post production on
629
00:31:49.559 --> 00:31:54.680
is called Valley Vue Motel and we oddly there was
630
00:31:54.720 --> 00:31:58.400
an actor who's from Kevin's hometown which is called Warren, Pennsylvania,
631
00:31:58.400 --> 00:32:01.960
which is a small town in northwest Pennsylvania, like five
632
00:32:02.240 --> 00:32:04.799
nine thousand people, five to nine thousand people, something like that,
633
00:32:05.400 --> 00:32:08.079
and it was a friend of his that he grew
634
00:32:08.160 --> 00:32:10.400
up with that had sent been to LA that was like,
635
00:32:10.559 --> 00:32:14.640
you know, lifetime actor, great actor, great guy. He was like,
636
00:32:14.680 --> 00:32:16.599
I don't know, I just I feel like this guy
637
00:32:16.680 --> 00:32:19.200
is right for this character. He's good. I known him
638
00:32:19.200 --> 00:32:20.759
a long time. I know he's in LA. No, he's
639
00:32:20.759 --> 00:32:23.480
still acting. I've seen him in some stuff like whatever.
640
00:32:23.559 --> 00:32:27.400
And he came on and he was awesome. He was
641
00:32:27.559 --> 00:32:29.680
so so good. And that's just one of those things
642
00:32:29.680 --> 00:32:34.160
where you know, maybe it's right time, right place, right script,
643
00:32:34.240 --> 00:32:36.839
write everything. But you know, we had seen him in
644
00:32:36.920 --> 00:32:38.960
different things. You know, you see reels and you see
645
00:32:39.000 --> 00:32:42.440
audition tapes. You could only get so much from that.
646
00:32:42.559 --> 00:32:45.960
But yeah, he just came on set and just like
647
00:32:46.039 --> 00:32:48.920
he just it just sometimes it just works, you know,
648
00:32:49.960 --> 00:32:51.960
it just he just got it. And it's just like
649
00:32:52.000 --> 00:32:54.119
that's the magic like you were talking about, you know,
650
00:32:54.640 --> 00:32:57.119
where it just works, like he just he got what
651
00:32:57.119 --> 00:32:59.200
we were going for. We didn't have to overexplain it
652
00:32:59.240 --> 00:33:02.599
to him. It just yeah. So that's that's one example.
653
00:33:02.599 --> 00:33:03.960
I don't know if that's a good one.
654
00:33:04.240 --> 00:33:06.440
No, that's great. I feel like that there's an element
655
00:33:06.519 --> 00:33:10.160
of casting in this way where it's I love to
656
00:33:10.279 --> 00:33:14.440
cast someone. I know I've written a script and maybe
657
00:33:14.480 --> 00:33:16.480
I wrote it for them. Maybe I wrote it, you know,
658
00:33:17.000 --> 00:33:19.960
not with them necessarily in mind, but I kind of
659
00:33:20.519 --> 00:33:22.599
had an inkling that maybe they'd be good as I
660
00:33:22.640 --> 00:33:24.279
got through it, and then I see them in the
661
00:33:24.319 --> 00:33:27.000
role and I'm like, Bam, that was it the whole time.
662
00:33:27.000 --> 00:33:29.480
And I feel like you and Kevin have this communication
663
00:33:29.960 --> 00:33:33.200
where you're able to understand who you want, what you
664
00:33:33.240 --> 00:33:34.599
want to work with, who you want to work with,
665
00:33:34.640 --> 00:33:38.319
and that is that's paramount. The acting is so important
666
00:33:38.319 --> 00:33:43.400
to low budget film, not feeling low budget and having.
667
00:33:43.359 --> 00:33:46.799
Someone like that, yeah, it is. And you know, we
668
00:33:46.839 --> 00:33:49.440
really try, like we cast our own movies again just
669
00:33:49.480 --> 00:33:53.279
out of necessity. So what we usually do is, you know,
670
00:33:53.319 --> 00:33:56.279
we'll put like a general casting out on you know
671
00:33:56.319 --> 00:33:59.759
whatever backstage or actors access or breakdown services or something,
672
00:33:59.799 --> 00:34:03.640
and we'll look at headshots with a demo tape and
673
00:34:03.680 --> 00:34:05.960
then from there try to pull people to actually have
674
00:34:06.039 --> 00:34:09.880
themself tape an audition for us, and then we you know,
675
00:34:09.920 --> 00:34:12.320
we just talk back and forth, and you know, a
676
00:34:12.320 --> 00:34:14.119
lot of it is like kind of instinct and like
677
00:34:14.920 --> 00:34:17.400
kind of gut, you know, it's it's weird, you know,
678
00:34:17.440 --> 00:34:19.039
and sometimes we'll get on a zoom with them and
679
00:34:19.079 --> 00:34:21.199
that could you know, just talking to somebody could kind
680
00:34:21.239 --> 00:34:23.480
of give you a vibe and tell you a lot too.
681
00:34:23.559 --> 00:34:27.760
So that's how that's how we do it. And and
682
00:34:27.800 --> 00:34:29.840
it's you know, it's worked. I think it's worked out
683
00:34:29.880 --> 00:34:31.679
for us. You know, it is always tricky. We try
684
00:34:31.719 --> 00:34:35.320
to if we're if we're doing a non union project,
685
00:34:35.360 --> 00:34:37.440
we try to pay sagult your little budget rates for
686
00:34:37.480 --> 00:34:41.599
everybody and hopefully, you know, it helps, you know, the
687
00:34:41.639 --> 00:34:43.559
actors as well, like have a chance to like really
688
00:34:43.599 --> 00:34:46.760
sink their teeth into something where it's a more major
689
00:34:47.159 --> 00:34:49.159
or not you know, a larger role than just like
690
00:34:49.199 --> 00:34:51.119
a supporting thing that they might normally get.
691
00:34:52.920 --> 00:34:56.480
I have found it incredibly invigorating to bring on people
692
00:34:56.559 --> 00:34:59.480
in a way that they don't expect, bringing on cast
693
00:34:59.519 --> 00:35:03.599
and crew, you know, even casting Max my son Sean
694
00:35:03.679 --> 00:35:06.920
Ashley as the detective Dick in my new movie, Get
695
00:35:06.920 --> 00:35:10.559
That Dick, or casting my buddy Keith Radical in Greywood's plot.
696
00:35:10.639 --> 00:35:15.199
The simple choice to cast Daniel Dagnan in Greywood's plot
697
00:35:15.320 --> 00:35:19.440
and The Good Exorcist was purely based on proximity. Daniel
698
00:35:19.519 --> 00:35:21.920
was my friend, he was around, I could cast him.
699
00:35:21.960 --> 00:35:23.599
I knew I'd want him to come out to Revel
700
00:35:23.599 --> 00:35:25.199
without a crew and be a part of the process.
701
00:35:25.599 --> 00:35:27.559
I just love being around the dude, so it was
702
00:35:27.719 --> 00:35:31.559
hugely important to me to get him in my projects.
703
00:35:31.760 --> 00:35:36.280
But watching him pull off performances that I sincerely love.
704
00:35:36.360 --> 00:35:38.199
Whether you like him or not, I don't give a shit,
705
00:35:38.280 --> 00:35:41.440
because the realities is when I make these movies, I'm
706
00:35:41.480 --> 00:35:43.159
just doing what I can do best, and that's what
707
00:35:43.159 --> 00:35:45.280
you should be doing as a low budget filmmaker, taking
708
00:35:45.360 --> 00:35:48.000
things that you can find around you and trying to
709
00:35:48.039 --> 00:35:50.800
surprise yourself. And Daniel Dagnan has some performances in my
710
00:35:50.920 --> 00:35:55.159
movies that truly and utterly shock me. They're so out
711
00:35:55.159 --> 00:36:00.840
of character for him as a human being that it
712
00:36:00.119 --> 00:36:02.360
it makes me see how good he has. Same with
713
00:36:02.440 --> 00:36:05.719
Keith Radical. He has a performance in Greywood's plot that
714
00:36:05.760 --> 00:36:07.960
I believe is one of the greatest performances I've ever seen,
715
00:36:08.000 --> 00:36:10.719
But that's because I know the dude, so watching him
716
00:36:10.800 --> 00:36:15.320
act and show up is so unique for me to see.
717
00:36:15.559 --> 00:36:16.920
And I know a lot of people have liked his
718
00:36:16.960 --> 00:36:19.239
performance because I've been told by a lot of people
719
00:36:19.280 --> 00:36:21.840
and I've seen it in reviews and people dig Keith,
720
00:36:21.960 --> 00:36:24.800
So that is incredibly exciting to see someone who had
721
00:36:24.840 --> 00:36:27.760
no interest in ever acting come out and do something
722
00:36:27.880 --> 00:36:31.000
so great. And when I talk to my next guest,
723
00:36:31.079 --> 00:36:33.960
Joe Sherlock, one of the things I really was curious
724
00:36:33.960 --> 00:36:36.920
about is how he finds people, because he finds such
725
00:36:37.000 --> 00:36:39.920
unique people for such weird movies. And that's the kind
726
00:36:39.920 --> 00:36:41.920
of stuff I want to do, is find weirdos for
727
00:36:42.000 --> 00:36:45.639
my weird shit and get the weird in the projects.
728
00:36:46.119 --> 00:36:49.320
So that's sort of what I initially brought Joe on
729
00:36:49.440 --> 00:36:51.199
to talk about, and he ended up talking about a
730
00:36:51.239 --> 00:36:54.119
lot of great things. So this is sort of some
731
00:36:54.199 --> 00:36:58.000
techniques when you're trying to make b movies, Troma style stuff.
732
00:36:58.440 --> 00:37:01.119
Joe Sherlock has the information and the knowledge of how
733
00:37:01.119 --> 00:37:02.760
to bring people in and how to set them up
734
00:37:02.840 --> 00:37:07.400
for success when they're coming out of your movies. What
735
00:37:07.760 --> 00:37:13.280
is your first experience working with a non actor and
736
00:37:13.679 --> 00:37:16.119
what was that process, Like, I.
737
00:37:16.079 --> 00:37:18.719
Mean, pretty much the first real movie I put together,
738
00:37:18.760 --> 00:37:21.880
which was called Dimension of Blood, which I started back
739
00:37:21.920 --> 00:37:25.280
in nineteen ninety five, it was all non actors because
740
00:37:25.280 --> 00:37:28.639
it was all just me and my friends, and so
741
00:37:29.000 --> 00:37:31.119
it's a mixed bag. There's some people that are pretty
742
00:37:31.119 --> 00:37:33.559
good and there's some people that the performances are pretty
743
00:37:33.800 --> 00:37:36.119
awkward and stiff. But like we were just learning and
744
00:37:36.199 --> 00:37:39.840
just getting started, and like I said, really just the
745
00:37:39.840 --> 00:37:41.360
first thing where I was like I got to make
746
00:37:41.400 --> 00:37:43.800
a real thing, not just like screwing around on the
747
00:37:43.800 --> 00:37:48.639
weekends and making some fun little goofball thing in the backyard.
748
00:37:49.760 --> 00:37:53.440
So I've kind of worked with non actors my whole career.
749
00:37:54.039 --> 00:37:57.760
I continue to, I mean, I still the people I
750
00:37:57.800 --> 00:38:01.679
work with today are ill a circle of friends, a
751
00:38:01.679 --> 00:38:04.039
circle of friends of friends and acquaintances and people that
752
00:38:04.079 --> 00:38:09.199
I've met from conventions, screenings or like I do have
753
00:38:09.239 --> 00:38:11.519
a on my website there's a spot that says want
754
00:38:11.519 --> 00:38:12.880
to be in a movie, and so you go to
755
00:38:12.880 --> 00:38:14.840
that there's a little questionnaire to fill out. That's great.
756
00:38:15.920 --> 00:38:19.039
I've had there's been people that have like seen one
757
00:38:19.079 --> 00:38:24.320
of my movies on Tube they recognize one one woman
758
00:38:24.519 --> 00:38:28.280
recognized the area code on an old rotary phone that
759
00:38:28.360 --> 00:38:30.920
I used as a prop. She recognized the area code
760
00:38:31.159 --> 00:38:35.639
was Oregon, where I'm at, and was like, wow, that's
761
00:38:35.719 --> 00:38:38.440
like what what does that mean? So she looked it
762
00:38:38.519 --> 00:38:42.079
up and oh, there's a filmmaker in Oregon and looked
763
00:38:42.079 --> 00:38:44.360
me up, and eventually I worked with her on some movies.
764
00:38:44.679 --> 00:38:46.840
And then now there's another couple that saw movie mine
765
00:38:46.840 --> 00:38:49.480
on Tube and realized, I don't know if where it
766
00:38:49.519 --> 00:38:50.760
was in the end credit. I don't know how they
767
00:38:50.840 --> 00:38:52.519
figured it out, but they looked me up and then realized,
768
00:38:52.559 --> 00:38:54.360
oh my god, this guy is like local to us
769
00:38:55.079 --> 00:38:59.199
and reached out and and I've worked with them on
770
00:38:59.320 --> 00:39:02.840
tons of projects. So most of the people I'm working
771
00:39:02.880 --> 00:39:05.719
with I would call non actors. They are people that
772
00:39:05.920 --> 00:39:08.480
are are I think good actors, but they don't really
773
00:39:08.559 --> 00:39:11.639
aspire to do that as a career. There's a lot
774
00:39:11.639 --> 00:39:13.800
of people, I would say ninety percent ninety probably more
775
00:39:13.800 --> 00:39:15.280
than that ninety five percent of the people that I've
776
00:39:15.280 --> 00:39:17.960
worked with, they don't really do anybody else's projects, you know,
777
00:39:18.039 --> 00:39:19.840
they kind of work on my stuff and that's their
778
00:39:19.920 --> 00:39:24.039
fun thing that they do. So I'm very used to
779
00:39:24.519 --> 00:39:27.639
working with what you might call non actors. And there
780
00:39:27.639 --> 00:39:29.519
are people that I've worked with that have been on
781
00:39:30.000 --> 00:39:33.079
Grim and Portlandia and you know, and movies and all
782
00:39:33.159 --> 00:39:36.760
kinds of other stuff. So I've worked with some people
783
00:39:36.760 --> 00:39:38.760
that that do aspire to be actors and our actors,
784
00:39:38.800 --> 00:39:41.880
you know, in terms of a professional profession. But yeah,
785
00:39:42.199 --> 00:39:44.199
lots of non actors. And that's and like I said,
786
00:39:44.239 --> 00:39:47.480
it's because of how I started, how I continued, where
787
00:39:47.480 --> 00:39:50.519
I live, all that stuff that it's just sort of built.
788
00:39:50.559 --> 00:39:53.559
I've built this stable, as it were, of people that
789
00:39:53.960 --> 00:39:56.960
love doing this thing and that I can plug into
790
00:39:57.000 --> 00:39:59.079
parts that I know they're good for.
791
00:40:00.599 --> 00:40:01.079
That's great.
792
00:40:01.079 --> 00:40:02.800
That's what I was going to ask next is what
793
00:40:02.840 --> 00:40:05.440
does that process look like? Then when someone reaches out,
794
00:40:05.480 --> 00:40:07.559
they go to your website or they go wherever they
795
00:40:07.599 --> 00:40:10.280
find you, and they're they're reaching out, Hey, I want
796
00:40:10.280 --> 00:40:12.280
to be in a movie. Are you then taking that
797
00:40:12.360 --> 00:40:15.000
and going like, you know where they'd fit well? Or
798
00:40:15.199 --> 00:40:17.760
does it sometimes even maybe foster an idea where you're like,
799
00:40:17.800 --> 00:40:19.559
you want to one I had this idea that you
800
00:40:19.639 --> 00:40:21.360
might have been great in and then kind of build
801
00:40:21.440 --> 00:40:21.920
off of that.
802
00:40:24.039 --> 00:40:27.760
It depends there was someone I did a I don't
803
00:40:27.800 --> 00:40:29.840
do a lot of like vending events, like I every
804
00:40:29.880 --> 00:40:31.480
once in a while and I'll do there's a horror
805
00:40:31.480 --> 00:40:33.400
convention in Seattle that I go to every year. I've
806
00:40:33.480 --> 00:40:35.679
I've vended there a few times, and I've gone to
807
00:40:35.760 --> 00:40:38.559
some comic conventions and stuff like that. There was one
808
00:40:38.559 --> 00:40:41.599
of these night markets that they they had locally that's
809
00:40:41.599 --> 00:40:43.119
just sort of like a I don't know how to
810
00:40:43.119 --> 00:40:43.559
describe it.
811
00:40:43.559 --> 00:40:43.960
It's like a.
812
00:40:43.920 --> 00:40:47.760
Spooky vending event that's all sort of not necessarily horror theme,
813
00:40:47.800 --> 00:40:51.119
but like kind of spooky themed or whatever. And so
814
00:40:51.159 --> 00:40:52.719
I decided to try that out. So I've done a
815
00:40:52.760 --> 00:40:56.760
couple of them, and yeah, this woman came up who
816
00:40:57.159 --> 00:41:00.679
you know, saw the table full of weird ask blu
817
00:41:00.800 --> 00:41:03.960
rays and and uh, I was like, wow, what is this?
818
00:41:04.159 --> 00:41:09.000
You know, and literally at the convention, it you know,
819
00:41:09.000 --> 00:41:10.480
it was kind of slow in the afternoon, I'm like
820
00:41:10.519 --> 00:41:14.519
looking at Instagram and she had posted on one of
821
00:41:14.519 --> 00:41:16.599
my pictures and said, I want to do that, and
822
00:41:16.639 --> 00:41:18.039
it was like, you know, I don't know. Some pictures,
823
00:41:18.039 --> 00:41:20.559
some you know, I don't know, it was like a
824
00:41:20.559 --> 00:41:22.400
shower scene or a monster scene. I can't remember, but
825
00:41:22.679 --> 00:41:24.880
some you know, definitely like B movie scene, She's like,
826
00:41:24.880 --> 00:41:28.400
I want to do that, and so I commented, I said, well,
827
00:41:28.400 --> 00:41:30.199
if you really do want to do that, here's a
828
00:41:30.199 --> 00:41:33.480
link to this form, you know, and she filled it out.
829
00:41:33.519 --> 00:41:39.119
And so I was working on this movie, this sort
830
00:41:39.119 --> 00:41:42.440
of killer clown slasher movie at the time, and I
831
00:41:42.559 --> 00:41:44.320
had a sequence that was like a kind of a
832
00:41:44.360 --> 00:41:47.559
filler killer sequence. I have, like this main storyline going along,
833
00:41:47.599 --> 00:41:49.559
and then it's like, meanwhile, over here the clown is
834
00:41:49.639 --> 00:41:51.559
killing these people in this neighborhood, and back to the
835
00:41:51.599 --> 00:41:54.599
mean story, meanwhile, the clowns found somebody else. So it
836
00:41:54.719 --> 00:41:56.960
sort of chunked up that way with the kill scenes.
837
00:41:57.400 --> 00:41:59.079
And so I had one that I hadn't shot yet,
838
00:41:59.800 --> 00:42:01.719
and I thought, you know, this is a small scene,
839
00:42:02.280 --> 00:42:05.199
there's not too much to it. This might be good
840
00:42:05.239 --> 00:42:08.280
to try her out with. And so that's basically what
841
00:42:08.320 --> 00:42:11.079
I did. And in the back of my mind, I thought, Okay,
842
00:42:11.079 --> 00:42:14.400
if this is just terrible, I'll do it with somebody else, right,
843
00:42:14.519 --> 00:42:16.880
because this is the only time you basically you're introduced
844
00:42:16.920 --> 00:42:19.239
to this character. She does a couple of things and
845
00:42:19.280 --> 00:42:21.760
then she gets killed. So it was like, okay, well,
846
00:42:21.800 --> 00:42:23.800
if for some reason she's horrible to work with, or
847
00:42:23.880 --> 00:42:27.400
she's terrible, you know, worst case, I'll just say, you
848
00:42:27.440 --> 00:42:30.199
know what, I had to work with someone else. So
849
00:42:30.800 --> 00:42:33.039
it was like I like, I usually don't do auditions
850
00:42:33.039 --> 00:42:34.960
in the traditional sense, but it was kind of the audition.
851
00:42:35.440 --> 00:42:36.920
But if it worked, then I have a piece of
852
00:42:36.960 --> 00:42:39.639
the movie done. And luckily it was fantastic. She was great,
853
00:42:39.760 --> 00:42:43.000
and she's like a big star in my latest movie
854
00:42:43.000 --> 00:42:46.000
that I'm just finishing. So so that that's how that
855
00:42:46.039 --> 00:42:51.559
worked out. There was a similar thing with that. There
856
00:42:51.559 --> 00:42:53.559
was a couple that, like I said, saw my movie
857
00:42:53.559 --> 00:42:56.599
in two being reached out and and I It was
858
00:42:56.639 --> 00:43:00.400
actually the the girl Kate, who was the other one
859
00:43:00.400 --> 00:43:02.840
that we reached out and then brought her boyfriend along.
860
00:43:03.199 --> 00:43:06.039
But it was a similar thing. Well, I had a
861
00:43:06.079 --> 00:43:09.360
part for a movie that I was doing, and I said,
862
00:43:09.400 --> 00:43:11.280
you know, if you want to come down, you know,
863
00:43:11.360 --> 00:43:14.199
we could do a little you know, meet and greet,
864
00:43:14.239 --> 00:43:16.079
and I could. I actually did have a thing that
865
00:43:16.119 --> 00:43:18.679
she could read as kind of an audition, but I
866
00:43:18.760 --> 00:43:20.199
even told her, I said, you know, if that, if
867
00:43:20.199 --> 00:43:21.960
it kind of goes well, I have this whole scene
868
00:43:21.960 --> 00:43:24.519
if you wanna, we could probably do that if you
869
00:43:24.559 --> 00:43:28.320
feel like it's you know, the vibe is good. So yeah,
870
00:43:28.320 --> 00:43:30.360
so she came down, did a little reading.
871
00:43:30.440 --> 00:43:30.960
She was great.
872
00:43:31.000 --> 00:43:33.039
I could tell right away like, oh yeah, she's got it.
873
00:43:33.360 --> 00:43:35.360
And then we ended up shooting a bunch of scenes
874
00:43:35.400 --> 00:43:38.639
with her and she was hilarious and great, and I've
875
00:43:38.639 --> 00:43:42.719
actually worked with her on every project since. Oh that's awesome.
876
00:43:43.400 --> 00:43:46.440
With the type of movies you're making, how do you
877
00:43:46.679 --> 00:43:51.280
form a relationship or start the conversation, especially with some
878
00:43:51.360 --> 00:43:54.960
of the more like you know, gory or vulgar or
879
00:43:55.000 --> 00:43:58.400
whatever sequences. Is there like a specific way you communicate
880
00:43:58.440 --> 00:44:00.920
these things, because a lot of us, myself included, we
881
00:44:00.960 --> 00:44:02.840
want to do you know, we're making b movies, We're
882
00:44:02.880 --> 00:44:05.440
making crazy stuff. There's moments where you know, it's not
883
00:44:05.480 --> 00:44:08.960
always just nudity, but there's nudity stuff, or it's not
884
00:44:09.400 --> 00:44:12.920
just over the top stuff, but like, you know, I
885
00:44:12.960 --> 00:44:16.679
have to explain to a you know, seventy year old
886
00:44:16.679 --> 00:44:18.480
man that we're going to be running a hose up
887
00:44:18.519 --> 00:44:21.880
his neck that's going to spray gallons of blood out
888
00:44:21.920 --> 00:44:23.920
of it. Because we're doing this over the top crazy scene,
889
00:44:23.920 --> 00:44:25.920
it could be challenging to explain these kind of things.
890
00:44:26.000 --> 00:44:28.159
Do you have a process that you have for these
891
00:44:28.239 --> 00:44:28.920
kind of moments.
892
00:44:29.079 --> 00:44:32.840
I am very lucky because I have surrounded myself with
893
00:44:32.920 --> 00:44:37.719
people that don't blink twice when I tell them this
894
00:44:37.760 --> 00:44:41.559
stuffy it is like part of it is just I've
895
00:44:41.559 --> 00:44:45.519
always made stuff that has some, if not a bunch,
896
00:44:45.599 --> 00:44:47.679
or at least one ridiculous, you know, over the top
897
00:44:47.719 --> 00:44:51.559
scene in it. And so the people that I've worked
898
00:44:51.559 --> 00:44:53.320
with a lot, you know, they're just used to it,
899
00:44:53.400 --> 00:44:55.360
that this is going to be some wacky, crazy thing
900
00:44:55.400 --> 00:44:57.320
and they're here for it, and that's why I continue
901
00:44:57.360 --> 00:44:59.719
to work with them. But even the new people, I
902
00:44:59.760 --> 00:45:02.119
think they know what they're getting into because they're at
903
00:45:02.199 --> 00:45:04.880
least a little familiar with what I do because they
904
00:45:04.920 --> 00:45:07.719
either were at a screening or they're a friend of
905
00:45:07.760 --> 00:45:09.519
a friend who's like, oh, yeah, she showed me all
906
00:45:09.559 --> 00:45:11.000
these movies and I thought it'd be so much fun
907
00:45:11.039 --> 00:45:14.039
to get involved. I mean, this last I had this
908
00:45:14.719 --> 00:45:16.440
sex comedy that I just made. I mean, there's a
909
00:45:16.440 --> 00:45:20.280
scene where these two girls get it on with a gorilla,
910
00:45:20.400 --> 00:45:23.639
and you know, it's all crazy fun, right, But the
911
00:45:23.679 --> 00:45:25.880
fact of the matter is there's these two girls in
912
00:45:25.960 --> 00:45:27.920
lingerie in a bed with a guy in a gorilla
913
00:45:27.960 --> 00:45:31.639
suit and they're in crazy positions. And part of the
914
00:45:31.719 --> 00:45:37.679
joke is someone comes in to the doorway like walks
915
00:45:37.760 --> 00:45:39.960
up saying, hey, did you guys see and then stop
916
00:45:40.039 --> 00:45:42.559
short and is shocked at what they're seeing, but then
917
00:45:42.639 --> 00:45:44.440
pulls out their phone the recorded a little bit because
918
00:45:44.440 --> 00:45:47.599
it's ridiculous, and then leaves. Right, So it's all for
919
00:45:47.679 --> 00:45:51.960
the joke, right, But but yeah, explaining that to someone like, oh, yeah, okay,
920
00:45:52.000 --> 00:45:53.840
so you two are going to be together, then you kiss,
921
00:45:53.840 --> 00:45:56.360
and then this gorilla comes in and then they get involved.
922
00:45:57.519 --> 00:46:00.440
That's a little weird. But I just I just showed
923
00:46:00.440 --> 00:46:03.280
it recently to some of the cast, and you know,
924
00:46:03.440 --> 00:46:06.320
got a great reactions, as it should because it's just ridiculous.
925
00:46:06.320 --> 00:46:08.519
That's the whole point is it's the ridiculousness of it.
926
00:46:08.760 --> 00:46:12.679
But yeah, I've had people who get covered in putting,
927
00:46:13.079 --> 00:46:14.880
you know, putting with food coloring in it, and they
928
00:46:15.000 --> 00:46:19.079
just get completely slimed with it. We've done tons of
929
00:46:19.079 --> 00:46:21.639
blood effects, you know stuff where people covered in gore
930
00:46:21.719 --> 00:46:25.000
and everything, and usually they're totally down for it.
931
00:46:25.000 --> 00:46:26.880
They're like, yeah, I love this stuff.
932
00:46:26.920 --> 00:46:28.679
So I mean that I'm very lucky, Like I said,
933
00:46:28.719 --> 00:46:32.000
I'm always saying I am very lucky because I've managed
934
00:46:32.039 --> 00:46:34.159
to hook up with this tribe of weirdos that dig
935
00:46:34.199 --> 00:46:36.480
this stuff and like, oh yeah, you know, we we
936
00:46:36.519 --> 00:46:39.239
got dressed up in weird costumes and ran around, you know,
937
00:46:39.280 --> 00:46:42.679
in the woods, and it's like that was their weekend,
938
00:46:42.760 --> 00:46:44.800
they and they dug it. So so I'm very lucky.
939
00:46:44.840 --> 00:46:47.119
I don't I don't ever want to have to be
940
00:46:47.159 --> 00:46:49.559
in a position where I have to talk someone into something.
941
00:46:49.719 --> 00:46:53.400
That is for sure the bottom line, but even just
942
00:46:53.400 --> 00:46:56.239
in terms of explaining something to someone, there have been
943
00:46:56.280 --> 00:47:00.320
times when I've explaining something and they're sort of rolling
944
00:47:00.360 --> 00:47:04.679
the rise, but then they go okay, and then they
945
00:47:04.719 --> 00:47:05.000
do it.
946
00:47:06.760 --> 00:47:07.519
So here's the thing.
947
00:47:07.559 --> 00:47:11.159
I think that you say you're lucky, but I think it's, Uh,
948
00:47:11.360 --> 00:47:16.960
there's an underappreciated element of expectation equaling honesty and like
949
00:47:17.159 --> 00:47:20.920
how you're honest and open about what you do that
950
00:47:20.960 --> 00:47:23.480
then forms an expectation. And I think that's hard for
951
00:47:23.519 --> 00:47:29.440
low budget filmmakers sometimes because our expectation of what we're
952
00:47:29.480 --> 00:47:34.880
pushed towards is consistent growth, being better being, don't I
953
00:47:34.880 --> 00:47:36.920
don't even know. Honestly, I don't even know what that
954
00:47:37.199 --> 00:47:39.960
concept is, but I know I've felt it before, and
955
00:47:40.000 --> 00:47:42.079
I know that I've been on sets before where the
956
00:47:42.159 --> 00:47:45.519
expectation of what's happening. I mean, here's a perfect example
957
00:47:45.519 --> 00:47:47.840
of the opposite happening. And I'm sure she'd be fine
958
00:47:47.880 --> 00:47:49.639
with me telling the story. But I worked with Jesse
959
00:47:49.800 --> 00:47:50.960
flox In.
960
00:47:51.119 --> 00:47:53.280
Actually that's great.
961
00:47:53.360 --> 00:47:55.639
Yeah, she does a lot of and but I purposely
962
00:47:55.719 --> 00:47:58.079
hired her for the movie going. I don't want you
963
00:47:58.119 --> 00:48:00.199
to be naked in this movie. I want you to
964
00:48:00.239 --> 00:48:02.840
do like a kind of a really crazy performance that's
965
00:48:02.840 --> 00:48:06.440
gonna throw the audience for a loop as to she is.
966
00:48:07.880 --> 00:48:11.000
I specifically want people to have this expectation of what
967
00:48:11.239 --> 00:48:13.880
she is and be curious to see her come back
968
00:48:14.079 --> 00:48:17.199
throughout the film. And it's it's awesome to be able
969
00:48:17.199 --> 00:48:19.400
to work with someone in that way, But it was
970
00:48:19.639 --> 00:48:21.880
there was an honesty I had to have about what
971
00:48:21.920 --> 00:48:25.440
we were doing when it was like, you know, what
972
00:48:25.599 --> 00:48:28.440
is she wearing, how what's the what's the wardrobe? How
973
00:48:28.559 --> 00:48:31.199
much tit is being shown? Where is this bullet hole
974
00:48:31.239 --> 00:48:33.559
and how close is it to the chest? Where are
975
00:48:33.599 --> 00:48:36.039
we putting it? And I was very specific about it.
976
00:48:36.199 --> 00:48:41.239
I think that honesty that you have builds an expectation
977
00:48:41.320 --> 00:48:43.039
of what's going to happen on set, and no one
978
00:48:43.079 --> 00:48:46.920
needs to have that conversation of you know, the struggle,
979
00:48:47.039 --> 00:48:48.880
it's not luck, it's it's a skill you.
980
00:48:48.880 --> 00:48:57.239
Have, Well it's a I think, yeah, honesty is absolutely
981
00:48:56.960 --> 00:48:59.599
the best way to go because, as I said, I
982
00:48:59.679 --> 00:49:02.400
never want to have to talk anybody into somebody. I
983
00:49:02.440 --> 00:49:04.239
never want to have to talk to anybody into anything,
984
00:49:04.280 --> 00:49:06.280
and I certainly am never going to like trick anybody
985
00:49:06.320 --> 00:49:08.320
for anything. And that's just not the way to go
986
00:49:09.400 --> 00:49:11.760
because I want usually, I want to work with everybody again,
987
00:49:11.880 --> 00:49:13.280
so you know, I want him to have a good time,
988
00:49:13.280 --> 00:49:16.280
to be comfortable and go away having a good time,
989
00:49:16.320 --> 00:49:17.679
so that the next time I say, oh, I'm going
990
00:49:17.760 --> 00:49:20.199
to make a movie about a you know, crazy jello monster,
991
00:49:20.239 --> 00:49:24.559
They're like, yeah, I'm available Saturday. Someone. Just the other
992
00:49:24.639 --> 00:49:26.320
day I was talking about how crazy it was. I
993
00:49:26.360 --> 00:49:29.480
wrote a scene this is gonna it was gonna pay
994
00:49:29.519 --> 00:49:31.840
me as a as a weirdo. But I am a weirdo.
995
00:49:31.920 --> 00:49:33.840
But like I have this sex comedy I had. In
996
00:49:33.880 --> 00:49:36.239
the sex comedy, there's a guy who's a filmmaker who
997
00:49:36.280 --> 00:49:38.800
makes crazy movies. I mean, that's it's sort of an
998
00:49:38.840 --> 00:49:41.599
extreme version of me and I had a scene where
999
00:49:41.679 --> 00:49:44.079
characters are referencing him and they say, oh, yeah, he's
1000
00:49:44.119 --> 00:49:46.920
probably he's like, too bad, he isn't here to shoot this.
1001
00:49:47.480 --> 00:49:49.599
And then someone says, oh, yeah, he's probably off shooting
1002
00:49:49.639 --> 00:49:52.159
something weird right now. Well I wanted to cut to
1003
00:49:52.280 --> 00:49:55.199
something weird right now. The guy that plays the filmmaker
1004
00:49:55.559 --> 00:49:57.239
is a friend of mine who's a filmmaker up in
1005
00:49:57.360 --> 00:50:00.800
Washington and so like a eight hours away from me,
1006
00:50:00.880 --> 00:50:03.239
so like a ways away, and so I asked him,
1007
00:50:03.280 --> 00:50:05.360
I said, I have a crazy scene I want you
1008
00:50:05.400 --> 00:50:07.199
to shoot if you could shoot it and just send
1009
00:50:07.239 --> 00:50:09.199
me the footage and I'll drop it in. When they say, oh,
1010
00:50:09.199 --> 00:50:12.480
he's probably shooting something weird, and it's literally like a
1011
00:50:12.519 --> 00:50:15.519
woman's naked chest and a bunch of mustard gets squeezed
1012
00:50:15.559 --> 00:50:17.559
onto it. Right, So the joke is they're like, oh,
1013
00:50:17.559 --> 00:50:19.760
he's probably shooting something weird, and then boom, you see
1014
00:50:19.760 --> 00:50:22.400
that visual. That's the joke, and then it turns into
1015
00:50:22.719 --> 00:50:25.000
the rest of the scene is him explaining to these
1016
00:50:25.000 --> 00:50:28.000
two girls it's the movie he's making inside. My movie
1017
00:50:28.079 --> 00:50:32.079
is called Milf Weekend two, Return of the Cyber Werewolf. Right,
1018
00:50:32.159 --> 00:50:34.960
So it's all ridiculous and so he's explaining to her,
1019
00:50:35.079 --> 00:50:38.000
you have to like draw the pentagram in the mustard now,
1020
00:50:38.199 --> 00:50:41.159
and it's just like ridiculous. But I was saying that
1021
00:50:42.039 --> 00:50:43.280
at dinner or the other night. I was like, just
1022
00:50:43.320 --> 00:50:45.840
so wild that I can come up with a weird
1023
00:50:45.880 --> 00:50:49.360
idea like that and tell my friend, Hey, I'd like
1024
00:50:49.400 --> 00:50:52.599
you to do this, and he's like sure, and then
1025
00:50:52.840 --> 00:50:54.960
finds a couple of his crazy friends because he's in
1026
00:50:54.960 --> 00:50:56.920
the same boat as I am. He's like surrounding himself
1027
00:50:56.920 --> 00:50:59.599
with the circle of weirdos who are like up for anything.
1028
00:51:00.400 --> 00:51:02.320
So of course he's got a friend who's like, oh, yeah,
1029
00:51:02.360 --> 00:51:04.760
you can squirt mustar all all over my naked chest. Sure,
1030
00:51:05.360 --> 00:51:06.960
And they shot them until the and it's like and
1031
00:51:07.000 --> 00:51:08.400
he sent me the footage and I dropped it in
1032
00:51:08.440 --> 00:51:10.320
I'm like, oh, that is perfect. That's going to get
1033
00:51:10.360 --> 00:51:14.239
a huge laugh. But it is a wild situation. But
1034
00:51:14.280 --> 00:51:17.519
that's because, like you said, I'm honest and upfront with people,
1035
00:51:17.880 --> 00:51:20.880
and if they haven't experience that, they kind of know
1036
00:51:20.960 --> 00:51:24.360
what they're getting into. And we're all along for the ride.
1037
00:51:24.719 --> 00:51:29.559
So yeah, it's a combination. I mean, the reason I
1038
00:51:29.639 --> 00:51:32.360
have this circle of weirdos that continue to like doing
1039
00:51:32.400 --> 00:51:35.119
the movies is because we've had a good time making.
1040
00:51:34.880 --> 00:51:35.599
All these moms.
1041
00:51:37.400 --> 00:51:41.840
Branching out to different locales, talking to people, making sure
1042
00:51:41.880 --> 00:51:47.400
that you are showing your face at events, at screenings,
1043
00:51:47.519 --> 00:51:49.679
at other things in your local community. To bring in
1044
00:51:49.760 --> 00:51:52.920
actors is one of the greatest ways to meet new people.
1045
00:51:53.039 --> 00:51:57.039
Most of the folks that are in my films recently
1046
00:51:57.159 --> 00:51:59.400
have been people I've either met through low budget rebels,
1047
00:52:00.159 --> 00:52:03.719
people I've met through friends and family. They are literally
1048
00:52:03.760 --> 00:52:06.360
friends or family, or they are actors that I met
1049
00:52:06.400 --> 00:52:10.880
at film festivals. Film festivals have been so great for
1050
00:52:11.159 --> 00:52:13.519
meeting people who want to do the kind of stuff
1051
00:52:13.559 --> 00:52:16.199
you're doing and have that passion and drive, and for
1052
00:52:16.280 --> 00:52:18.840
a lot of them, they're they're wearing multiple hats too.
1053
00:52:19.360 --> 00:52:21.840
And the idea of getting on someone set to just
1054
00:52:21.960 --> 00:52:25.320
kind of pimp on set for a day, maybe make
1055
00:52:25.360 --> 00:52:27.679
a couple bucks, but get to act, get to see
1056
00:52:27.679 --> 00:52:30.519
someone else's style of directing, get to work in a
1057
00:52:30.559 --> 00:52:33.920
different environment that I mean, that's helpful for all of us.
1058
00:52:34.039 --> 00:52:36.840
Most of the stuff I've learned over the years hasn't
1059
00:52:36.880 --> 00:52:40.760
come from making movies. It's come from being on sets
1060
00:52:40.800 --> 00:52:43.559
that I wasn't being that I wasn't having to direct
1061
00:52:43.559 --> 00:52:45.519
and wasn't having to wear every hat, and suddenly I
1062
00:52:45.599 --> 00:52:48.199
was like, holy shit, man, that's how I would do something,
1063
00:52:48.639 --> 00:52:51.159
or that's most of the time. It's honestly literally, that's
1064
00:52:51.159 --> 00:52:53.440
how I would do it. Different I see something go wrong.
1065
00:52:53.760 --> 00:52:55.440
The stuff that goes right, you're like, this is dope,
1066
00:52:55.519 --> 00:52:57.280
this is super fun. And then you see something go
1067
00:52:57.360 --> 00:52:59.719
wrong and it makes you go, oh, man, when I'm
1068
00:52:59.760 --> 00:53:02.039
on that next time, I ain't doing it that way.
1069
00:53:02.119 --> 00:53:07.719
That is incredibly enticing to continue on to make another project,
1070
00:53:07.960 --> 00:53:11.280
and then you can join camaraderie with people who you
1071
00:53:11.280 --> 00:53:13.239
suddenly are like, let's work together on something in the
1072
00:53:13.239 --> 00:53:15.440
future because we got to try this and not do
1073
00:53:15.519 --> 00:53:18.519
it that way. But I mean, you also learn a
1074
00:53:18.559 --> 00:53:20.639
lot being on sets where you agree with people and
1075
00:53:20.679 --> 00:53:22.159
you find people that you want to be a part of,
1076
00:53:22.239 --> 00:53:24.480
and just watching other people's movies, and that's one of
1077
00:53:24.559 --> 00:53:28.159
the things. My next guest, Sean Ashley, talks about how
1078
00:53:28.199 --> 00:53:30.360
we go to film festivals, how we see stuff, and
1079
00:53:30.400 --> 00:53:34.920
how we find our cast and crew from attending events.
1080
00:53:39.519 --> 00:53:40.400
What has your.
1081
00:53:40.320 --> 00:53:44.599
Experience been like working with non actors, specifically, because you
1082
00:53:44.599 --> 00:53:46.480
have a lot of cats that show up. Who are
1083
00:53:46.840 --> 00:53:50.280
people who you work with professionally but don't necessarily act.
1084
00:53:50.320 --> 00:53:52.800
You've got a lot of people who are like comedians
1085
00:53:52.800 --> 00:53:54.840
you've never worked with before, and they you know they've
1086
00:53:54.840 --> 00:53:56.639
done some stuff, but you haven't seen a ton and
1087
00:53:56.679 --> 00:53:58.679
you're just like, hey, man, would you be interested in
1088
00:53:58.760 --> 00:54:01.599
being this thing? And they show up and you got
1089
00:54:01.639 --> 00:54:04.000
to kind of coax out what you need from them,
1090
00:54:04.039 --> 00:54:05.960
and you got to kind of learn their vibe.
1091
00:54:06.039 --> 00:54:07.280
What has that been like for you?
1092
00:54:09.039 --> 00:54:14.440
Mostly successful? So I feel like I am always out
1093
00:54:14.679 --> 00:54:18.320
in the world with my director, producer brain on and
1094
00:54:18.400 --> 00:54:23.440
so yeah, if I meet you, if the thing happens
1095
00:54:23.519 --> 00:54:26.559
that I'm like, oh, this motherfucker could be good on
1096
00:54:26.639 --> 00:54:29.239
camera or what does this person do, it's like that
1097
00:54:29.320 --> 00:54:33.880
conversation is going to happen, Like that's immediately where I'll
1098
00:54:33.960 --> 00:54:36.079
just be like, come on, we're gunning it. Let's let's
1099
00:54:36.079 --> 00:54:37.920
talk about movies. I think that you would be awesome.
1100
00:54:37.960 --> 00:54:40.800
I did that with so many people. But the only
1101
00:54:40.920 --> 00:54:45.360
times that I've ever had like the moment where I'm
1102
00:54:45.400 --> 00:54:48.360
just looking at it going fuck fucked up, which is rare,
1103
00:54:48.480 --> 00:54:53.360
but it has happened is people who I didn't meet beforehand,
1104
00:54:53.599 --> 00:54:58.079
and yeah, like the casting digitally or just had somebody
1105
00:54:58.119 --> 00:55:00.639
reach out and say like, hey, man, I could be
1106
00:55:00.679 --> 00:55:02.599
in this project if I put out like an open
1107
00:55:02.679 --> 00:55:06.320
casting call. And there's been a handful of times where
1108
00:55:06.320 --> 00:55:11.679
I've just been like, oh, man, no, And it's strictly
1109
00:55:11.960 --> 00:55:15.639
it's not even about the talent. It's strictly about the energy.
1110
00:55:15.800 --> 00:55:19.320
So like you know, you hear about people like I
1111
00:55:19.320 --> 00:55:22.119
always think about curb your enthusiasm and how many lunches
1112
00:55:22.599 --> 00:55:25.440
Dave and like Larry David's at and it's like that
1113
00:55:25.880 --> 00:55:30.360
is the business though, man, Cuz like I always want
1114
00:55:30.360 --> 00:55:31.840
to go and have lunch with people or have a
1115
00:55:31.840 --> 00:55:33.599
beer with somebody before I work with them, so that
1116
00:55:33.639 --> 00:55:36.159
I can make sure that they know who I am
1117
00:55:36.639 --> 00:55:40.760
before I'm asking them to do the creative stuff. And
1118
00:55:41.119 --> 00:55:46.199
really like working with actors, which we've been fortunate enough
1119
00:55:46.320 --> 00:55:48.280
on get that Dick. I felt like we worked with
1120
00:55:48.360 --> 00:55:52.280
some really good talent on that. And that's from going
1121
00:55:52.320 --> 00:55:55.480
to the local film festivals and kind of not just
1122
00:55:55.559 --> 00:55:57.960
being there to watch our shit, being there to like
1123
00:55:59.400 --> 00:56:01.639
see who be down to come and be on camera,
1124
00:56:01.679 --> 00:56:04.559
who I like in their films. And that's even how
1125
00:56:04.559 --> 00:56:08.039
I know Devlin was he was a villain in a
1126
00:56:08.239 --> 00:56:11.599
local movie called Joe Striker, and I just remember watching
1127
00:56:11.639 --> 00:56:13.800
that movie and thinking like, oh, this is similar to
1128
00:56:13.840 --> 00:56:16.519
some of the shit I did. But this guy, this
1129
00:56:16.559 --> 00:56:21.360
guy specifically, I want to work with. So yeah, like,
1130
00:56:21.920 --> 00:56:26.679
even if they're not trained, as long as the energy's right,
1131
00:56:26.760 --> 00:56:28.760
I feel like I have a good gauge for being
1132
00:56:28.800 --> 00:56:32.199
like I can get them comfortable enough on camera that
1133
00:56:32.280 --> 00:56:35.119
it'll read right, and most of the time they're just
1134
00:56:35.239 --> 00:56:38.199
kick ass. But yeah, the handful of times that it's
1135
00:56:38.239 --> 00:56:41.280
been bad is just because the energy's off on that
1136
00:56:41.400 --> 00:56:43.559
human level. It really doesn't have anything to do with
1137
00:56:43.599 --> 00:56:46.639
talent or anything like that. It just and then I
1138
00:56:46.719 --> 00:56:50.400
watched the project and I'm like, fuck, man, that guy
1139
00:56:50.559 --> 00:56:51.199
wasn't cooler.
1140
00:56:52.079 --> 00:56:55.920
Yeah. Yeah, I've had a few of those. That's funny.
1141
00:56:55.920 --> 00:56:57.840
I wasn't even thinking about that part of it because
1142
00:56:57.840 --> 00:57:00.320
I've had people and you're right, man, it's always the
1143
00:57:00.320 --> 00:57:03.239
people I don't know, and it's always the people who
1144
00:57:03.280 --> 00:57:06.800
come out. And I remember there was one person I'm
1145
00:57:06.840 --> 00:57:09.000
not gonna name names on a project I did a
1146
00:57:09.000 --> 00:57:12.480
long time ago where I wasn't I wasn't there for
1147
00:57:12.519 --> 00:57:16.440
the first meetup, and and other people met with this person.
1148
00:57:16.639 --> 00:57:20.840
My producer has met with this person, and and I'm
1149
00:57:20.920 --> 00:57:23.840
always positive. I'm always going like, nah, man, I can
1150
00:57:23.880 --> 00:57:26.519
figure this guy out, like I know you guys don't
1151
00:57:26.519 --> 00:57:29.679
go And but they were telling me before the performance,
1152
00:57:29.679 --> 00:57:36.000
they're like they're weird, like this person is. They'll they'll work.
1153
00:57:36.119 --> 00:57:39.079
I think we'll make it work, but they're weird. And
1154
00:57:39.119 --> 00:57:43.440
then I got to directing them and I was just like, dude,
1155
00:57:43.480 --> 00:57:44.440
what the fuck is.
1156
00:57:44.400 --> 00:57:45.000
Wrong with you?
1157
00:57:45.079 --> 00:57:48.039
And but but it was like a weird realization that
1158
00:57:48.199 --> 00:57:52.360
like I'm not copasetic with everyone, right, this guy and
1159
00:57:52.400 --> 00:57:55.280
I are not vibing and I'm not digging what he's
1160
00:57:55.280 --> 00:57:57.480
putting down, and I will not work with him again.
1161
00:57:57.760 --> 00:58:01.000
And I got to get through this and and luckily
1162
00:58:01.679 --> 00:58:03.800
it was kind of a villain character, so I was
1163
00:58:03.840 --> 00:58:06.280
able to figure it out and make it work. But
1164
00:58:06.360 --> 00:58:09.360
it was just like I was shocked. It was the
1165
00:58:09.400 --> 00:58:11.559
first time, and it's made me realize over time not
1166
00:58:11.719 --> 00:58:16.199
to have a predisposition to what a performance is going
1167
00:58:16.239 --> 00:58:18.199
to be. Like I had that with Jessa, Like I'll
1168
00:58:18.199 --> 00:58:20.679
straight up say it. I didn't know Jessa. I had
1169
00:58:20.719 --> 00:58:22.679
no idea what she was going to bring. I had
1170
00:58:22.719 --> 00:58:24.920
no and we were gonna do a dinner beforehand, and
1171
00:58:24.960 --> 00:58:26.480
I was like very excited about that because I'm like,
1172
00:58:26.480 --> 00:58:30.079
I'm gonna learn how I vibe with her, because this
1173
00:58:30.199 --> 00:58:32.400
is going to be a very unique experience because she
1174
00:58:32.440 --> 00:58:34.719
could have came on and I've known her for long
1175
00:58:34.840 --> 00:58:37.760
enough through social media. I've seen her in stuff to
1176
00:58:37.840 --> 00:58:39.679
be like, I have a feeling I know what she's
1177
00:58:39.679 --> 00:58:41.800
going to be like. But who fucking knows. She could
1178
00:58:41.880 --> 00:58:44.239
show up and be like, look me, a short, little motherfucker,
1179
00:58:44.239 --> 00:58:46.599
I don't like this guy. He's a creet and does
1180
00:58:46.679 --> 00:58:48.840
not vibe with me and we have a bad time.
1181
00:58:49.079 --> 00:58:49.880
Luckily that didn't.
1182
00:58:49.679 --> 00:58:51.119
Happen at all. I love Jessa.
1183
00:58:51.199 --> 00:58:55.159
She was fucking fantastic yes, and totally got the project,
1184
00:58:55.199 --> 00:58:56.480
totally got what we were going for.
1185
00:58:57.639 --> 00:58:58.559
It was super funny.
1186
00:58:58.559 --> 00:59:01.239
There's in the in the get that credits, there's a
1187
00:59:01.400 --> 00:59:05.239
moment where she's like answering a phone and she goes like,
1188
00:59:05.719 --> 00:59:09.039
I'm so glad we got connected. That's not the right word,
1189
00:59:09.119 --> 00:59:12.159
And it makes me laugh every time because it's so like,
1190
00:59:12.320 --> 00:59:16.159
perfectly I don't know, just her personality in a really
1191
00:59:16.159 --> 00:59:20.719
funny way, her fucking great, Yeah that happens. It's all
1192
00:59:20.760 --> 00:59:23.840
about energy. You're right when you're an indie filmmaker, figuring
1193
00:59:23.840 --> 00:59:27.000
out what you're doing, find the energy, find those people
1194
00:59:27.039 --> 00:59:29.199
who you who you flow with.
1195
00:59:29.639 --> 00:59:33.239
Yeah, And I mean that's why, like Devlin is always
1196
00:59:34.519 --> 00:59:37.159
I just like having that dude around. I love seeing
1197
00:59:37.239 --> 00:59:40.280
him on fucking camera. But like you know, just even
1198
00:59:40.320 --> 00:59:42.320
if we're on set, if I look over my shoulder
1199
00:59:42.320 --> 00:59:44.960
I see Devlin, there's just this way that I'm like,
1200
00:59:45.440 --> 00:59:48.039
oh man, we're doing this again. This just feels good.
1201
00:59:49.039 --> 00:59:51.320
I feel like a professional when Devlin's on set. I
1202
00:59:51.320 --> 00:59:53.239
don't know what it is about him, but the second
1203
00:59:53.280 --> 00:59:55.280
he's there, I'm like, I'm a real director with a
1204
00:59:55.320 --> 00:59:56.280
real fucking actor.
1205
00:59:57.920 --> 01:00:00.119
He brings in. Six is the same way, like and
1206
01:00:00.159 --> 01:00:02.159
I look up, Like, especially with this music video we
1207
01:00:02.239 --> 01:00:04.280
just did, there were just times where you know, I'm
1208
01:00:04.360 --> 01:00:07.000
running the camera, which was fun, and I'm just looking
1209
01:00:07.000 --> 01:00:10.000
at him. I'm like, dude, the light this this fucking
1210
01:00:10.079 --> 01:00:12.199
kicks ass, Like this is just so much fun.
1211
01:00:12.519 --> 01:00:12.719
Yeah.
1212
01:00:12.800 --> 01:00:16.039
Ben six is a lighting extraordinary, like a savant when
1213
01:00:16.039 --> 01:00:18.239
it comes to just like figuring stuff out. And there
1214
01:00:18.239 --> 01:00:20.280
are moments where I would see him setting up lights
1215
01:00:20.320 --> 01:00:22.679
and I'd be like, that's not what I would do.
1216
01:00:22.880 --> 01:00:24.960
That's weird, man, And then I see it in the movie,
1217
01:00:24.960 --> 01:00:27.000
I'm like, oh, yeah, shit, that is exactly what I
1218
01:00:27.000 --> 01:00:27.800
should have been doing.
1219
01:00:27.880 --> 01:00:28.920
Like six knows it.
1220
01:00:29.480 --> 01:00:32.440
Yeah, Six is fucking killer for that. Because the big
1221
01:00:32.480 --> 01:00:35.320
thing that just happened on the music video set that
1222
01:00:35.440 --> 01:00:38.400
was like a small accident, was we were there and
1223
01:00:38.440 --> 01:00:41.599
we had we used my porch because I had the
1224
01:00:41.719 --> 01:00:43.639
archways and we just turned the camera so you couldn't
1225
01:00:43.639 --> 01:00:45.679
tell it was my house. But we had these three
1226
01:00:45.760 --> 01:00:49.119
fixtures and Six was gonna put some wireless DMX bulbs
1227
01:00:49.119 --> 01:00:51.559
in there and we were gonna do like creepy horror
1228
01:00:51.599 --> 01:00:53.880
flashy lighting. And we were good on to the point
1229
01:00:53.920 --> 01:00:56.079
we're like, well, let's see what he could do. As
1230
01:00:56.159 --> 01:00:58.960
soon as my dude touched the bulb and the fixture
1231
01:00:59.039 --> 01:01:03.840
started moving, I was like, bro, save your energy. All
1232
01:01:03.880 --> 01:01:06.920
we're gonna do is moving fixtures. So in the video
1233
01:01:07.280 --> 01:01:10.519
when I would do rolling, Six would just swing them
1234
01:01:11.079 --> 01:01:14.440
before I started. And now we've got these spooky lights.
1235
01:01:14.440 --> 01:01:17.800
It's like it's little things like that, man, it doesn't
1236
01:01:18.039 --> 01:01:20.480
And even going back to the analog shit, it's like, dude,
1237
01:01:21.360 --> 01:01:25.280
small things like that they read, man, even if the
1238
01:01:25.360 --> 01:01:29.760
shot is super quick. It's like you're That was creepier
1239
01:01:29.840 --> 01:01:32.199
because the fixtures are moving around like they would be
1240
01:01:32.239 --> 01:01:35.000
in a haunted house. And it was just again the
1241
01:01:35.039 --> 01:01:38.400
beautiful accidents, because the other big beautiful accident in the
1242
01:01:38.400 --> 01:01:42.199
effects world that just happened was I wanted that silhouette
1243
01:01:42.199 --> 01:01:46.320
and spraying the blood on the wall. Renee wanted a
1244
01:01:46.599 --> 01:01:50.679
ring around dude's neck filled with blood that's just gonna
1245
01:01:50.679 --> 01:01:53.199
be flowing before the head rip, and I was like,
1246
01:01:53.960 --> 01:01:57.199
that's cool, man, but like, I don't know, that sounds
1247
01:01:57.199 --> 01:01:59.039
like a lot of work, you know, Like, but I'm
1248
01:01:59.079 --> 01:02:02.000
just looking at him and he's just giving me that look.
1249
01:02:01.840 --> 01:02:03.360
Like we're doing it, dude.
1250
01:02:03.400 --> 01:02:06.360
And so in the video, the thing that I wasn't
1251
01:02:06.400 --> 01:02:10.280
necessarily looking for wound up making the video because that
1252
01:02:10.519 --> 01:02:15.159
blood flowing out at Drew's neck just fucking rips. It
1253
01:02:15.239 --> 01:02:20.519
looks so cool, and again wasn't gonna happen, but it did.
1254
01:02:20.599 --> 01:02:23.800
Because you're around badass people that are like pushing you
1255
01:02:24.000 --> 01:02:24.840
to do things.
1256
01:02:25.679 --> 01:02:27.840
Yeah, I find that with the like talking about the
1257
01:02:27.840 --> 01:02:30.239
little things that go a long way. I find that
1258
01:02:30.280 --> 01:02:33.880
with working with the people who I haven't worked with,
1259
01:02:34.440 --> 01:02:40.079
specifically actors. It's fun to see in the moment where
1260
01:02:40.119 --> 01:02:42.400
their energy is and what we can get from them.
1261
01:02:42.440 --> 01:02:44.639
I know, is that a lot with get that dick in,
1262
01:02:45.360 --> 01:02:47.480
you know, those little things that people would bring that other,
1263
01:02:47.679 --> 01:02:50.880
Like speaking of Renee, Renee would be like, you know,
1264
01:02:50.960 --> 01:02:53.480
not throwing out like a director's note, but being like, yeah,
1265
01:02:53.840 --> 01:02:56.039
she's got this happening, and I kind of dig that.
1266
01:02:56.760 --> 01:02:58.400
Can we build off of that with you know, when
1267
01:02:58.440 --> 01:03:01.159
she gets shot or whatever. These little things that kind
1268
01:03:01.159 --> 01:03:04.199
of like elevate a performance, even from people who are
1269
01:03:05.440 --> 01:03:08.119
you know, not used to being on camera or haven't
1270
01:03:08.159 --> 01:03:11.119
done it a lot, or maybe something is. It was
1271
01:03:11.159 --> 01:03:13.440
so fucking hot when we were filming in the backyard
1272
01:03:13.440 --> 01:03:16.119
at your in law's place, and everyone's energy was just
1273
01:03:16.239 --> 01:03:18.559
like all over the place.
1274
01:03:18.639 --> 01:03:19.480
That heat just.
1275
01:03:19.400 --> 01:03:23.559
Brings out weird vibes in people. And now I watch
1276
01:03:23.639 --> 01:03:25.719
the movie and I'm like, there's a scene where there
1277
01:03:25.719 --> 01:03:29.679
are three cult members, you know, having like a kind
1278
01:03:29.679 --> 01:03:33.840
of frantic conversation. That frantic conversation would not have happened
1279
01:03:33.880 --> 01:03:38.000
without that heat, without that rain coming in, that weird energy,
1280
01:03:38.039 --> 01:03:41.400
and you just feel it because they as and it
1281
01:03:41.440 --> 01:03:44.679
was three very different styles of acting too, happening at
1282
01:03:44.679 --> 01:03:49.280
the same time between like Devlin Aaron Hale the comedy
1283
01:03:49.440 --> 01:03:54.440
Crystal having her like very different choice in character, and
1284
01:03:54.480 --> 01:03:57.199
we just had it all coming together and I love
1285
01:03:57.320 --> 01:03:58.440
that moment because of it.
1286
01:03:58.800 --> 01:04:03.079
Yeah, that's a that's a very strong scene. That that
1287
01:04:03.079 --> 01:04:08.000
that that part fucking rips because then you get no spoilers.
1288
01:04:08.199 --> 01:04:08.880
It's just good.
1289
01:04:09.079 --> 01:04:10.039
Yeah, it's just good. Yeah.
1290
01:04:10.119 --> 01:04:12.239
Yeah, it's just you get this incredible action and this
1291
01:04:12.320 --> 01:04:18.119
incredible like intensity out of everyone.
1292
01:04:16.480 --> 01:04:17.360
You've worked with.
1293
01:04:17.840 --> 01:04:20.360
Let's okay, so let's talk about acting in this way
1294
01:04:20.440 --> 01:04:23.119
really quick, because I think you have very you have
1295
01:04:23.159 --> 01:04:27.960
a different perspective because you've worked with a massive variety
1296
01:04:28.000 --> 01:04:31.440
of people when you're working on not even just people
1297
01:04:32.000 --> 01:04:37.360
fucking blow up dolls. What are some of your like, uh,
1298
01:04:38.320 --> 01:04:40.880
techniques for directing actors. What are some of the things
1299
01:04:40.880 --> 01:04:42.719
you do when you get on set and you're just going, like,
1300
01:04:43.280 --> 01:04:45.599
I got to try to figure this out, uh and
1301
01:04:46.000 --> 01:04:47.199
get the lines I need.
1302
01:04:48.679 --> 01:04:53.840
So my normal method, if I'm looking back on it,
1303
01:04:53.880 --> 01:04:59.239
is I always have a very hands on approach to
1304
01:04:59.280 --> 01:05:02.199
the actors, Like I will I'm the kind of guy
1305
01:05:02.239 --> 01:05:04.719
who will stand where you're gonna do where you're gonna
1306
01:05:04.800 --> 01:05:07.480
do it, and I'll say, okay, let me figure out
1307
01:05:07.480 --> 01:05:10.840
the blocking for you. Okay, looks like you're three steps away. Okay,
1308
01:05:10.880 --> 01:05:12.519
I want you to do this and this and this
1309
01:05:12.679 --> 01:05:17.800
kind of energy, and I think and we'll see what
1310
01:05:17.840 --> 01:05:20.719
happens with the next project. Because it was very and
1311
01:05:20.719 --> 01:05:23.599
that's me. I'm very hands on, like I'll do it
1312
01:05:23.719 --> 01:05:26.199
the way that I think I want it done and
1313
01:05:26.280 --> 01:05:29.280
present it to you like this is this type of character,
1314
01:05:29.679 --> 01:05:32.199
and I'll let you do your thing with it, but
1315
01:05:32.360 --> 01:05:35.119
if it's not what I want, I'll steer you back.
1316
01:05:35.199 --> 01:05:39.159
It's like, hey man, I want that like real aggressive,
1317
01:05:39.239 --> 01:05:41.519
you know, if you're not. If I want something animalistic
1318
01:05:41.559 --> 01:05:44.400
and you're not fucking tigering it up for me, like
1319
01:05:44.480 --> 01:05:47.920
I'll let you know, you know. But what was really
1320
01:05:47.920 --> 01:05:50.599
cool was making get that dick and watching your approach
1321
01:05:50.639 --> 01:05:54.239
because that is not how you roll. Like your approach
1322
01:05:54.320 --> 01:05:59.159
is way more let them do their thing, let me
1323
01:05:59.239 --> 01:06:02.400
see how this works, and then I can direct it
1324
01:06:02.480 --> 01:06:07.719
because now I'm ready for it and I dug that,
1325
01:06:08.000 --> 01:06:09.920
and so I think I want to kind of like
1326
01:06:10.280 --> 01:06:15.519
take a little bit of that for myself and in
1327
01:06:15.599 --> 01:06:19.360
my approach be a little bit less like aggressive. Not
1328
01:06:19.480 --> 01:06:22.039
that I think anybody's been scared of what I've been doing.
1329
01:06:22.079 --> 01:06:25.880
But I think there's like a good balance between the two.
1330
01:06:26.079 --> 01:06:29.360
Like maybe I might get a different performance out of
1331
01:06:29.360 --> 01:06:32.519
somebody if they didn't watch me do it right away,
1332
01:06:32.639 --> 01:06:35.159
you know, and I can if I feel like they're
1333
01:06:35.280 --> 01:06:38.360
not getting there, then maybe then that's when I do it.
1334
01:06:39.239 --> 01:06:42.119
But I mean, up until this point, I am a
1335
01:06:42.480 --> 01:06:48.599
very aggressive, intense kind of director, Like I like I
1336
01:06:48.719 --> 01:06:51.679
like Putting because it's a character that if you didn't
1337
01:06:51.719 --> 01:06:54.400
show up that day, Hell, I'll put the mustache on,
1338
01:06:54.480 --> 01:06:56.719
I'll put I'll put tits on, like I don't give
1339
01:06:56.719 --> 01:06:59.840
a shit man, Like I'm I'm ready to rock. So
1340
01:07:00.519 --> 01:07:03.840
like in that moment, I'm like, at no point did
1341
01:07:03.880 --> 01:07:08.079
I write something that I wouldn't be comfortable doing or whatever.
1342
01:07:08.320 --> 01:07:12.440
I'm just limited in you know. If I'm writing a
1343
01:07:12.559 --> 01:07:15.239
fem fatale character, it's like I'm not gonna be believable,
1344
01:07:15.360 --> 01:07:17.480
but I'll put a blonde wig on, and now she
1345
01:07:17.519 --> 01:07:21.719
has a bad mustache, you know, like whatever. But that's
1346
01:07:21.760 --> 01:07:25.599
always been my approach, is very very hands on. And
1347
01:07:25.639 --> 01:07:28.360
I'm a big Tarantino fan, and so like when you
1348
01:07:28.440 --> 01:07:32.400
watch those things and he's standing next to the camera,
1349
01:07:32.960 --> 01:07:35.320
and his whole thing is like they're acting for you
1350
01:07:35.360 --> 01:07:38.639
and all of that. It's like I did enough stage
1351
01:07:38.679 --> 01:07:43.159
productions as a kid and all that that I really
1352
01:07:43.599 --> 01:07:47.519
love being in there and putting the costumes on, and
1353
01:07:47.599 --> 01:07:51.280
like I get excited when other people put costumes on,
1354
01:07:51.440 --> 01:07:54.079
and like the character comes to life and I'm just
1355
01:07:54.199 --> 01:07:56.400
looking at it. I get so stoked, and then I
1356
01:07:56.480 --> 01:07:59.079
just I become the joker everybody.
1357
01:07:59.119 --> 01:07:59.519
I just I.
1358
01:08:00.039 --> 01:08:01.440
You were on set, like I do it to Drew
1359
01:08:01.480 --> 01:08:04.199
all the time. Just grab his shoulders. You I'm a
1360
01:08:04.320 --> 01:08:09.000
number one. It's like in that moment, as soon as
1361
01:08:09.039 --> 01:08:12.119
you're in costume, I'm like, we are now playing pretend
1362
01:08:12.360 --> 01:08:15.239
to the max, and this is just it's so much fun.
1363
01:08:15.320 --> 01:08:16.800
So I'm I'm hands on.
1364
01:08:16.960 --> 01:08:17.760
That's my approach.
1365
01:08:19.800 --> 01:08:22.680
I love the way Sean talks about Drew Bean, our dude.
1366
01:08:22.720 --> 01:08:24.880
He's been in like a bunch of our projects recently.
1367
01:08:24.880 --> 01:08:27.600
He's such a great guy and I love playing pretend
1368
01:08:27.600 --> 01:08:31.640
with him. That's the beautiful thing about being low budget
1369
01:08:31.680 --> 01:08:35.560
filmmakers and being able to hire folks who are just
1370
01:08:35.640 --> 01:08:38.479
coming out and playing in your world. There isn't the
1371
01:08:38.600 --> 01:08:41.840
pressure and anxiety that comes with working on bigger projects
1372
01:08:41.880 --> 01:08:44.880
where you're under type. You know, we're okay, take that back,
1373
01:08:44.960 --> 01:08:47.760
we're under type budgets. Obviously, we're under tight schedules. A
1374
01:08:47.800 --> 01:08:49.760
lot of times. We have to work fast and furious.
1375
01:08:49.760 --> 01:08:53.880
But we're all playing in this world, these worlds together,
1376
01:08:54.239 --> 01:08:56.560
and we're all coming together hopefully when we're working on
1377
01:08:56.560 --> 01:08:59.640
projects like this to try to make something interesting, because
1378
01:08:59.680 --> 01:09:01.840
lord fucking knows, we ain't doing it for the cash
1379
01:09:01.880 --> 01:09:04.640
in our pockets. We're doing it because we love it.
1380
01:09:04.760 --> 01:09:08.319
We want to make something fascinating, something interesting, and hopefully
1381
01:09:08.399 --> 01:09:13.279
show people a story that is unique, something different, and
1382
01:09:13.319 --> 01:09:17.640
something fun. So I love that Sean talks about plan
1383
01:09:17.680 --> 01:09:20.920
and pretend, having your guy on set, having your friends there,
1384
01:09:20.960 --> 01:09:22.760
having the people who mean a lot to you, working
1385
01:09:22.760 --> 01:09:25.760
with people like I worked with my mom, I worked
1386
01:09:25.800 --> 01:09:28.960
with you know, my sister in law is and get
1387
01:09:28.960 --> 01:09:31.159
that dick for just a minute. But those kind of
1388
01:09:31.159 --> 01:09:33.399
moments where you get to have someone come on set,
1389
01:09:33.840 --> 01:09:36.520
see the kind of stuff you're doing, play in your world,
1390
01:09:36.920 --> 01:09:39.520
it doesn't get better than that. It's so fucking fun.
1391
01:09:40.520 --> 01:09:43.039
All right. That's I'm gonna wrap up this episode because
1392
01:09:43.359 --> 01:09:45.279
I gotta move on and edit the next episode.
1393
01:09:45.279 --> 01:09:46.000
I'm so excited.
1394
01:09:46.000 --> 01:09:48.479
I got one more episodes with one more episode with
1395
01:09:48.560 --> 01:09:52.479
these guys, and I have them on to kind of
1396
01:09:52.520 --> 01:09:55.319
give their tips and tricks and interesting theories behind low
1397
01:09:55.359 --> 01:09:58.960
budget filmmaking, sort of a survival guide in the next episode.
1398
01:09:59.640 --> 01:10:02.600
All I'm most wrapped up with season six and this
1399
01:10:02.640 --> 01:10:05.560
has been such an incredible adventure. I've had so much fun.
1400
01:10:05.600 --> 01:10:07.920
Thank you to everyone who subscribed with the Patreon because
1401
01:10:07.960 --> 01:10:10.920
I've got a few new subscribers from this season. People
1402
01:10:10.920 --> 01:10:13.000
are jumping on board and it means a lot. I
1403
01:10:13.079 --> 01:10:17.079
need subscribers to keep this podcast going, to be able
1404
01:10:17.159 --> 01:10:20.159
to afford paying for the software, paying for the stuff
1405
01:10:20.199 --> 01:10:22.359
I need to make these episodes happen, to keep them
1406
01:10:22.399 --> 01:10:26.199
in the quality that they're in. So with that being said,
1407
01:10:26.359 --> 01:10:29.920
Patreon dot com slash Flush Studios, that's where you can
1408
01:10:29.960 --> 01:10:33.079
go to subscribe help us out. And I'm thinking for
1409
01:10:33.159 --> 01:10:35.800
season seven, I'm gonna make some small changes and I'm
1410
01:10:35.800 --> 01:10:39.680
pretty excited about it. I have high hopes about this
1411
01:10:39.800 --> 01:10:43.359
podcast after the past year. Twenty twenty five was a
1412
01:10:43.399 --> 01:10:46.239
great year for this show, and twenty twenty six is
1413
01:10:46.239 --> 01:10:49.800
looking to be just as good. So if you're as
1414
01:10:49.800 --> 01:10:51.560
excited about it as I am, please head over to
1415
01:10:51.600 --> 01:10:54.479
patreon dot com slash Flush Studio. Subscribe eleven dollars a year.
1416
01:10:54.720 --> 01:10:59.079
Subscribe for five dollars you get bonus stuff. There are
1417
01:10:59.119 --> 01:11:02.359
a producer credits so that you can actually be a
1418
01:11:02.399 --> 01:11:05.960
part of Flush Studios. You could be a producer on
1419
01:11:06.039 --> 01:11:09.000
projects as I work on them. And with the new
1420
01:11:09.039 --> 01:11:11.159
stuff coming out, I'm hoping that next year we get
1421
01:11:11.159 --> 01:11:15.479
some really cool, you know, productions happening that involve the patrons,
1422
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including Keith is Fucking Nuts, a new short film that
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I'm doing, the Steven the Maggott's comics are going to
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be coming out soon. I'm incredibly excited about all of it.
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But patrion dot com slash Flush Studios, I'm fucking done
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saying it. That's where you find it, all right, until
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next time, everybody, I have had a great time.
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Make sure to.
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Go tell your friends about the podcast. That's spread the word,
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and you know, keep making the stuff you're making, keep
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doing your thing, keep kicking ass, and as always, stay rebellious.
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Low Budget Rebels is brought to you by the indie
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film Hustle Network, recorded at Flush Studios headquarters in tropical Atlanta,
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produced by the film Daddy Josh Stifter balla baboo,