Different Perspectives & Cinematic Brushstrokes with a Feature Film Editor: Debra Neil-Fisher

WEBVTT
00:00:00.000 --> 00:00:02.120
I always say things have to earn their way in.
00:00:02.229 --> 00:00:11.820
If you took everything out and decided only the crucial things could come in or be part of what you're working on, I often start with the scene that way, especially if something's already been cut.
00:00:11.983 --> 00:00:16.713
I start with this idea of what could I just keep the simplest form what has to be there?
00:00:17.036 --> 00:00:17.646
I love that.
00:00:19.001 --> 00:00:22.780
Welcome to Everyday Masters, the show where we seek to understand mastery.
00:00:23.050 --> 00:00:28.510
People who have it, people who try for it, people who struggle with it, and how we all manifest it in our own lives.
00:00:28.931 --> 00:00:30.131
Welcome to Everyday Masters.
00:00:30.791 --> 00:00:31.661
Everyday Masters.
00:00:32.110 --> 00:00:32.651
Everyday Masters.
00:00:33.970 --> 00:00:34.810
Everyday Masters.
00:00:36.210 --> 00:00:40.810
Everyday masters, everyday masters.
00:00:44.438 --> 00:00:47.277
Hey everybody welcome to this episode of Everyday Masters.
00:00:47.857 --> 00:00:48.917
My name is Craig Diamond.
00:00:49.453 --> 00:00:49.883
What's up Craig?
00:00:50.192 --> 00:00:51.093
I'm Maury Sterling.
00:00:51.412 --> 00:00:54.412
And we're really glad you're joining us this week on our show.
00:00:55.063 --> 00:01:10.500
This week we are really excited! She is a big time Hollywood movie editor and we are talking about big feature films all of the Hangover films and all of the 50 Shades films, and a zillion films.
00:01:10.953 --> 00:01:13.763
It's really, really interesting'cause as I approached her, Maury.
00:01:14.013 --> 00:01:15.832
She was pretty reluctant.
00:01:16.132 --> 00:01:19.712
She was like, no, same old thing that we're hearing with so many people.
00:01:19.802 --> 00:01:22.912
She's like, I just don't, I, there's so many people that are better than me.
00:01:23.189 --> 00:01:34.215
And I was just blown away by the fact that at this, resume and the films that this guest has worked on, I was like, wow I cannot believe you could do what you do for that long.
00:01:34.316 --> 00:01:38.980
Get recognized, be a part of such successes and still, I'm not exactly sure.
00:01:39.100 --> 00:01:41.021
I I, I'm the person you need to be talking to.
00:01:41.260 --> 00:01:41.611
Right.
00:01:41.921 --> 00:01:42.210
Yeah.
00:01:42.210 --> 00:01:43.450
Now we've run a lot with people.
00:01:43.450 --> 00:01:45.650
That's sort of the attitude, and I mean, I certainly relate to it.
00:01:45.730 --> 00:01:52.396
I and I, I don't know, maybe It'd be weird to maybe talk to the person who's like, yes, I am the king, but we'll see.
00:01:52.676 --> 00:01:53.075
I don't know.
00:01:53.188 --> 00:01:56.647
Real quick, on a personal level what, what are you working on these days with regard to mastery?
00:01:56.778 --> 00:01:57.611
Where's your head at?
00:01:58.037 --> 00:01:58.885
Where is my head?
00:01:59.212 --> 00:02:05.850
This week was a lot about sort of how I look at my life that, what's the lens I'm using this week, which is a recurring theme all the time thinking about that.
00:02:05.911 --> 00:02:11.897
But this week it felt very clear that if I looked at my life through the lens of what am I doing today?
00:02:11.897 --> 00:02:15.436
You know, the the old adage of if I'm just staying in the process and staying out of results.
00:02:16.350 --> 00:02:16.811
I'm like, wow.
00:02:17.270 --> 00:02:17.570
All right.
00:02:17.570 --> 00:02:17.770
Cool.
00:02:17.931 --> 00:02:28.674
I feel great about what I'm trying to do each day and where I'm applying my energy and how I'm to, how I'm trying to be in my relationships, how I'm trying to be as a dad, how I'm treat, my body and health, how I'm trying to treat work.
00:02:29.057 --> 00:02:37.019
As soon as I started spinning off and do where I am in my own gradation of success versus failure or moving the needle, not moving the needle.
00:02:37.118 --> 00:02:41.299
All the ways I think about things, it started getting kind of crappy pretty quickly.
00:02:41.658 --> 00:02:45.818
And that was an, a really interesting distinction to kind of see the difference between the two.
00:02:46.308 --> 00:02:46.778
What about you?
00:02:47.078 --> 00:02:53.828
Mine was kind of a layup in the sense that know, we're talking to Debra Neil-Fisher, and she's an editor.
00:02:54.497 --> 00:02:56.647
I spent a lot of time editing this podcast.
00:02:57.307 --> 00:03:04.794
And so there was kind of an art imitating life kind of, what is an editor, you know, an editor is, is trying to tell stories.
00:03:05.174 --> 00:03:09.578
You know, An editor trying to get rid of not needed.
00:03:09.828 --> 00:03:21.707
An editor is trying to take an audience on a bit of a journey, interesting to edit the thing that has a master editor in it, I guess is what I would say, which is kind of fun to consider.
00:03:22.164 --> 00:03:27.538
And then kind of feeling like, you know, Maury I, get feedback from the guests on the show that, that they really enjoy it.
00:03:27.838 --> 00:03:34.592
And so, I do think you and I are gaining a bit of mastery in making for a welcoming environment.
00:03:34.652 --> 00:03:41.832
So here we have this person that's a master in editing feature films, working with these A-list directors and producers and stuff.
00:03:42.079 --> 00:03:52.735
And you and I are able to have this like really friendly, nice conversation, which frankly I think she, some people are kind of nervous to do it and I think you and I are good at creating an environment where people wanna be a part of this.
00:03:53.021 --> 00:03:53.698
And I like that too.
00:03:53.897 --> 00:03:56.057
'cause that actually confirms kind of what I was thinking about.
00:03:56.462 --> 00:03:59.265
this week, let's stick with that theme of which story are you telling?
00:03:59.479 --> 00:04:00.848
You know, are you, are you telling the tragedy?
00:04:01.096 --> 00:04:04.627
Are you telling the, not even optimistic, just sort of the practicality one.
00:04:04.627 --> 00:04:06.228
Like, which story are you telling anyways?
00:04:06.473 --> 00:04:09.848
Alright, so without further ado, let's cut right to it.
00:04:09.848 --> 00:04:10.927
You get what I did right there.
00:04:11.348 --> 00:04:15.831
See how I did that Let's cut right to the guest this week.
00:04:16.521 --> 00:04:18.351
Debra Neil-Fisher.
00:04:21.627 --> 00:04:23.076
Hi, nice to see you guys.
00:04:23.076 --> 00:04:23.377
Thanks for
00:04:23.483 --> 00:04:25.223
I'm so happy that you invited me.
00:04:25.346 --> 00:04:29.153
The truth is I really was kind of nervous about being invited onto a podcast.
00:04:29.473 --> 00:04:33.567
I haven't done one before, so I'm a little, uh, a little worried, you know, a little nervous.
00:04:34.154 --> 00:04:35.254
Well, don't, don't worry.
00:04:35.254 --> 00:04:39.154
And that actually segues into a first question we have.
00:04:39.154 --> 00:04:45.100
So when you were asked to be on a podcast called Everyday Masters, was that experience like for you?
00:04:45.319 --> 00:04:46.798
First I said, why me?
00:04:47.218 --> 00:04:50.093
Of course, I was like, I'm not sure what I have mastery in.
00:04:50.153 --> 00:04:55.639
And then um, when I really examined it, I thought well, I do get paid well to do something.
00:04:56.000 --> 00:04:58.620
So there I am, probably a master of something.
00:04:58.983 --> 00:05:04.524
But then I went to the everyday part of it and went well, let's see, what do I do every day that's Mastery?
00:05:04.944 --> 00:05:08.124
Or is it just an everyday average master?
00:05:08.663 --> 00:05:10.363
I'm like, where's the everyday come in?
00:05:10.634 --> 00:05:12.603
Just because that's part of your, your title.
00:05:13.103 --> 00:05:19.408
And then I thought well, I am a master probably almost every day, but then I'm also learning every day.
00:05:19.548 --> 00:05:22.158
So you know, is mastery, continuing to learn.
00:05:22.257 --> 00:05:23.677
Is that part of the mastery?
00:05:23.961 --> 00:05:30.314
Okay so let me kick things off here, because, by the way, you are not alone in that sentiment.
00:05:30.511 --> 00:05:37.617
And, it's one of the things, Maury, I said to Debra when we had a chat before the podcast is, it probably means you're perfect for the podcast.
00:05:37.641 --> 00:05:51.255
What we're starting to realize is that, Mastery is a very complicated word and like Craig looking at Debra and looking at what you've accomplished that I'm about to talk about, it seems obvious from the outside, of course you would be a master.
00:05:51.255 --> 00:06:00.857
You've spent decades being an editor and now a director, but specifically decades editing some blockbuster feature films, right?
00:06:00.947 --> 00:06:01.317
Right.
00:06:01.401 --> 00:06:13.954
To the outside of that world, to a guy like Craig, of course it would seem obvious that this is a person with mastery, and then what is fascinating is your first thought is what could I possibly be a master in?
00:06:14.043 --> 00:06:19.141
That is a common experience that, we are hearing as we do these interviews.
00:06:19.334 --> 00:06:35.880
I guess maybe what I think is, it's something that comes natural to you and you, you think less of that, it's not that big of a deal to you, and that's probably what I think mastery is, is something that comes natural to you that you've, practiced and practiced and gotten better at you spent more, you spent time at doing it.
00:06:36.290 --> 00:06:39.011
It seems like that to me would be what Mastery is.
00:06:39.060 --> 00:06:43.596
That's an interesting point though that, but that it started with something that you are good at.
00:06:43.615 --> 00:06:49.286
And because of that if somebody says, Hey, you're good at, you don't hear the compliment as much because it's like, well, yeah, I just do that thing.
00:06:49.365 --> 00:06:50.446
That's easy me.
00:06:50.446 --> 00:06:53.307
For me, so I don't hear, extra on it.
00:06:53.396 --> 00:06:56.336
You take it for granted that you can do that thing, but not everyone can.
00:06:56.766 --> 00:07:02.803
It's something that not everybody can do, and you have different traits than I do, and, and we each have something we can master.
00:07:03.110 --> 00:07:16.579
Okay, but that's all fine and dandy, folks, and our friend Debra here, you might think that Debra is an accountant, no knock on accountants out there, or that she sells life insurance at a life insurance seminar, but guess what?
00:07:16.790 --> 00:07:17.600
She doesn't.
00:07:17.867 --> 00:07:23.185
Debra Neil-Fisher has been a Hollywood feature film editor for decades.
00:07:23.564 --> 00:07:32.086
And, Maury's, Craig, don't read all of her credits." but I do want to say, Debra, how many features like 35, 40 features?
00:07:32.194 --> 00:07:33.045
Yeah, at least.
00:07:33.295 --> 00:07:35.355
Those are just the ones that show up on IMDB.
00:07:35.375 --> 00:07:37.144
I have lists of others that I've worked on.
00:07:37.305 --> 00:07:37.535
Wow.
00:07:37.605 --> 00:07:49.910
Right, but I need to say movies like Fried Green Tomatoes, all the Austin Powers movies, Saving Silverman, Without a Paddle, the Hangover series, a lot of the comedies, all the Fifty Shades.
00:07:50.009 --> 00:07:53.910
There are women out there shuddering right now because of Debra Neil-Fisher.
00:07:54.410 --> 00:07:56.180
All the Fifty Shades movies, right?
00:07:56.329 --> 00:07:56.720
Yeah.
00:07:56.790 --> 00:08:00.069
And a ton, ton more, and then you've become a director.
00:08:00.170 --> 00:08:01.240
To us, you.
00:08:01.240 --> 00:08:03.660
know, to me, this sounds really, really exciting.
00:08:03.660 --> 00:08:06.339
And I also gotta say, I'm happy to introduce you to my friend Maury.
00:08:06.483 --> 00:08:08.762
Who's been an actor for 30 years, right?
00:08:08.807 --> 00:08:10.507
Who's been in a bunch of movies.
00:08:10.536 --> 00:08:19.487
And it's interesting to sit here like in this like movie sandwich, having no place, me, like two sides of making a movie or two sides of this content.
00:08:19.497 --> 00:08:21.987
So I just want to say we're thrilled that you're here, Debra.
00:08:22.112 --> 00:08:25.540
Could you first talk to us about how you got started?
00:08:25.565 --> 00:08:29.132
How did you get into and create this incredible career?
00:08:29.209 --> 00:08:35.645
Just to begin with, as a kid, I was always a painter and always working in the art, in arts and visual style more than verbal.
00:08:35.745 --> 00:08:39.166
I'm not a that verbal of a person, so I'm not a writer director.
00:08:39.426 --> 00:08:40.905
I'm an, editor, director.
00:08:41.081 --> 00:08:46.950
Which means I take other people's contents, other people's words and, and put them either visually or rearrange them, whatever.
00:08:47.222 --> 00:08:49.543
But I was always visual as a kid.
00:08:49.602 --> 00:08:57.982
And then I started, I took up photography in high school and started shooting photographs and photojournalism and thought that I wanted to do that as my profession.
00:08:58.363 --> 00:09:20.515
But then when I um, applied to schools, I got into USC Cinema School and said, oh if I got into that school, I'm gonna go ahead and try studying cinema and, and really follow through with that, so once I went through cinema school at USC, I got out and I was not sure whether I would be in camera department because I loved camera or whether I would be in editing or where I would end up, but camera, was a bit hard.
00:09:20.515 --> 00:09:27.177
Back then, it was real heavy film cameras with film to load and carry boxes, and I'm not that big of a person.
00:09:27.437 --> 00:09:33.918
So I thought, if you really wanna be in camera, you're gonna have to huff it and push hard to do that'cause it's just a physical job.
00:09:34.301 --> 00:09:41.091
And I decided that I might start an editorial, but also editing is one of the main parts of storytelling and filmmaking.
00:09:41.091 --> 00:09:43.553
You write the story, you shoot the story, and then you edit the story.
00:09:44.061 --> 00:09:47.576
And those are all three really important parts of the storytelling process.
00:09:48.155 --> 00:09:52.696
And so once I got into editorial, I realized that I was a crucial part of the filmmaking.
00:09:52.937 --> 00:09:56.115
And it was really a great place for me specifically to land in.
00:09:56.183 --> 00:10:02.456
And then the talents that were natural to me, which was, I've always been somebody who's been able to rearrange and rethink things.
00:10:02.716 --> 00:10:14.190
And that's the natural sort of talent that sort of lends itself well to editorial and material and that exists and sort of redoing it or figuring another way through it or just reordering it.
00:10:14.289 --> 00:10:17.812
And that out to be the key to my success as an editor.
00:10:18.139 --> 00:10:19.129
How'd you get your start?
00:10:19.153 --> 00:10:20.143
come out of USC.
00:10:20.173 --> 00:10:23.442
I mean, and, you're a woman, does that play in?
00:10:23.442 --> 00:10:25.263
Was that more difficult?
00:10:25.273 --> 00:10:25.562
Yeah.
00:10:25.802 --> 00:10:29.253
Back in the day it was a little bit harder to be a woman in the industry.
00:10:29.572 --> 00:10:32.059
Although, historically there are a lot of female editors.
00:10:32.320 --> 00:10:36.129
Not a lot, in general there were more editors than there were in other departments.
00:10:36.460 --> 00:10:46.673
But um, when I first got started, it's hard to get started in the business, but I'm from LA and my father was a dentist in the Valley and he had a lot of patients that were in the industry.
00:10:46.929 --> 00:10:51.769
I worked for him anyways, during the summer, so when I would go to his office and worked after I got out of college.
00:10:52.243 --> 00:10:53.082
He would say, this is my daughter.
00:10:53.143 --> 00:10:55.243
She, She went to USC, she wants to be a filmmaker.
00:10:55.243 --> 00:10:59.658
And whoever was in and because he's dentist and he is, got them held hostage.
00:11:00.038 --> 00:11:02.259
And so it did meet quite a few people that way.
00:11:02.514 --> 00:11:04.945
Eventually I didn't get my first job that way.
00:11:04.945 --> 00:11:08.945
And the first job was through a friend of mine who said uh, I, I know, a producer coming to town.
00:11:09.125 --> 00:11:11.544
He needs somebody on a set to help out a PA.
00:11:11.644 --> 00:11:12.585
And I said, I'd do it.
00:11:12.682 --> 00:11:20.544
So through that, I got my first job was an assistant at a commercial editing company and I spent a year at that company and learned a lot there.
00:11:20.644 --> 00:11:29.589
But basically when I was meeting people through my dad at the chair, one of his friends and one of his patients was the head of post-production at Fox Studios.
00:11:30.009 --> 00:11:35.469
And so eventually that guy got me into the union and got me started in, in, editing.
00:11:35.599 --> 00:11:37.979
Rather than non-union, which was a big deal.
00:11:38.048 --> 00:11:42.379
It's, it's really hard to get in, not just this business, but in to get into the union and all that.
00:11:42.772 --> 00:11:44.652
back then, it was really hard to get into the union.
00:11:44.938 --> 00:11:48.499
They had seniority lists and roster lists and all that stuff.
00:11:48.769 --> 00:11:50.068
So it was very difficult to get in.
00:11:50.089 --> 00:11:51.532
So it nepotism.
00:11:51.932 --> 00:11:53.235
Basically that's really what it was.
00:11:53.335 --> 00:12:05.668
But that's why when I meet young filmmakers and young people starting out, I'm always like whoever, you know, even if it's just an acquaintance, keep at them and call them you know, your contact with them is what they remember and that's all you really have.
00:12:05.768 --> 00:12:10.128
So keep at it if you're interested in trying to get a job in the business,'cause it's all about people really.
00:12:10.644 --> 00:12:17.927
So, I started at that commercial company And I knew that I wanted to be an editor, but I started out, you started as an assistant, you know, so I was cutting sound effects.
00:12:17.947 --> 00:12:22.087
And I was cutting, helping cut the editor's work on things and cutting commercials and all that.
00:12:22.205 --> 00:12:25.995
Then I started cutting, promo reels and a little bit longer format stuff.
00:12:26.115 --> 00:12:29.644
'cause I knew I really wanted to end up in dramatic format, but I didn't, couldn't start there.
00:12:29.664 --> 00:12:40.514
So I just started working towards that and eventually I got a job cutting a promo for two producers and they said to me um, we're gonna cut our next movie on video instead of film.
00:12:40.857 --> 00:12:43.118
And we, and we see that you can cut on video.
00:12:43.298 --> 00:12:45.827
And I said, yeah, I just learned these quarter inch decks.
00:12:45.827 --> 00:12:46.548
I can control them.
00:12:46.548 --> 00:12:47.628
We figured out how to use'em.
00:12:47.628 --> 00:12:48.628
It was very rudimentary.
00:12:49.128 --> 00:12:53.668
And they said we want somebody to edit our film that way cause we see it's the technology of the future.
00:12:53.727 --> 00:12:55.467
And so I said, okay, I'd love to do that.
00:12:55.467 --> 00:12:57.187
And they go, well you have to get the job first.
00:12:57.447 --> 00:12:58.548
And I said, oh, okay.
00:12:58.807 --> 00:13:00.587
So they introduced me to the director.
00:13:01.067 --> 00:13:05.432
'cause the director hires the editor on the on the pictures, this person they're gonna work closest with.
00:13:05.772 --> 00:13:11.967
So when I was going to meet this gentleman, whose name was Gil Cates, he was head of the DGA at one point.
00:13:12.227 --> 00:13:14.048
And so he knew everyone I knew.
00:13:14.107 --> 00:13:20.087
So I had all these directors and people I knew call him and say that I was worth meeting and that I, he should hire me.
00:13:20.388 --> 00:13:22.648
So the minute I walked in the door, he goes, you got the job.
00:13:22.648 --> 00:13:24.168
If you tell people to quit calling me.
00:13:24.677 --> 00:13:25.258
Nice, good.
00:13:25.258 --> 00:13:27.572
He said, no, seriously, sit down.
00:13:27.631 --> 00:13:29.052
I'm gonna ask you one question.
00:13:29.052 --> 00:13:29.731
Just one question.
00:13:30.216 --> 00:13:32.157
If you can answer it correctly, you have the job.
00:13:32.216 --> 00:13:32.956
And I said, okay.
00:13:32.976 --> 00:13:41.557
He said, while we're shooting, when the producers come to you and say, Hey Deb, can you show us some of the footage that you know cut together that we're working on?
00:13:41.706 --> 00:13:42.756
What are you gonna say to them?
00:13:43.110 --> 00:13:44.669
I'm not showing'em anything until you say it's okay.
00:13:44.730 --> 00:13:53.549
And he goes, okay, you got the job confidence thing that the director really should be and is in charge of his film until he's ready to show the, producers.
00:13:53.889 --> 00:13:56.659
But if you don't know that protocol, It'd be a problem.
00:13:56.679 --> 00:13:59.419
And plus they had introduced me to him, so they were worried about it.
00:13:59.470 --> 00:13:59.980
They were nervous.
00:14:00.279 --> 00:14:02.873
He was nervous that I would be in cahoots with the producers.
00:14:03.293 --> 00:14:08.592
And it's always about those allegiances that happen on the set for the, for the director and for the crew.
00:14:08.932 --> 00:14:10.157
Who Right?
00:14:10.177 --> 00:14:10.393
Yep.
00:14:10.562 --> 00:14:10.883
Yep.
00:14:10.883 --> 00:14:11.212
Yep.
00:14:11.322 --> 00:14:11.993
Absolutely.
00:14:12.043 --> 00:14:27.273
When you look at this, this body of work and, and you're telling this story looking back, was there a moment along the way where, you were pinching yourself, maybe sitting with a director, maybe it was being a part of your first hit.
00:14:27.342 --> 00:14:32.023
I, I, think it's more about like really doing something well, like I was working then.
00:14:32.212 --> 00:14:41.663
Then I went on to work with Jon Avnet and Jordan Kerner for quite a few films, and Jon had directed a film that was about the Watts Riots before the Watts Riots happened again.
00:14:42.043 --> 00:14:53.822
He was doing a historical picture about the Watts Riots and I was cutting this film and Jon said to me, Just take the audio from that and take the picture from that and, and I'll come back in an hour and see what you can do with that just to make that work.
00:14:54.163 --> 00:15:01.062
And I had put them together and with some music, and suddenly it felt like I had elevated the material that he shot to another level.
00:15:01.482 --> 00:15:05.903
And the storytelling just became so much better visually, audio-wise.
00:15:06.163 --> 00:15:11.360
And it was telling the story he had wanted to tell, but in, in a way that I had found on my own.
00:15:11.419 --> 00:15:13.360
And I thought, that's what this is about.
00:15:13.429 --> 00:15:14.360
This is interesting.
00:15:14.360 --> 00:15:22.363
To take something that's just face value and to put putting them together in a way that made things elevate to another level and to tell a story.
00:15:22.363 --> 00:15:23.962
That was a beautiful visual story.
00:15:24.197 --> 00:15:26.918
And so at that point I remember thinking, this is, this is really cool.
00:15:26.918 --> 00:15:27.798
This is what I wanna do.
00:15:28.395 --> 00:15:29.176
That's beautiful.
00:15:29.255 --> 00:15:30.926
Something about it that was so wonderful.
00:15:31.265 --> 00:15:34.969
And then I went on to win an award, a Cable Ace Award, for editing that film.
00:15:34.969 --> 00:15:40.519
And then at the end of that ceremony, Jon came up to me and said, I'm gonna do a feature at Universal, it's called Fried Green Tomatoes.
00:15:40.589 --> 00:15:42.089
And I'd love you to edit that.
00:15:42.708 --> 00:15:47.099
So we went on to begin my career as a feature film editor, which was great.
00:15:47.609 --> 00:15:52.298
How much is your experience or training or practice as a painter?
00:15:52.458 --> 00:15:55.448
Is it a conscious thing sort of as you're putting the editing together?
00:15:55.448 --> 00:16:00.611
Could you feel like you were, how to ask this, like from painting, do those two mix in your mind as you're doing it?
00:16:00.869 --> 00:16:03.318
Kind of, it's an impressionistic um, medium.
00:16:03.599 --> 00:16:07.609
I feel like film is very impressionistic obviously you have audio to work with too.
00:16:07.749 --> 00:16:10.448
You know, not just visuals, but with the visuals.
00:16:10.763 --> 00:16:20.576
You can tell so much of a story just by the order those visuals go in, and so it's very similar and, and composition matters and what's in the frame and the foreground background.
00:16:21.096 --> 00:16:27.936
I think all of that came from me being, being very visual and, and able to speak well visually instead of verbally.
00:16:28.096 --> 00:16:29.336
I was never a verbal kid.
00:16:29.426 --> 00:16:30.625
It's a very interesting thing.
00:16:30.926 --> 00:16:35.625
You meet people who are so good with their words and tell stories well that way, but that's not me.
00:16:35.865 --> 00:16:41.750
I knew always that I could take images and the images together in a certain order would tell the story better.
00:16:41.994 --> 00:16:43.854
Yes, it's related, I think, to the painting.
00:16:44.254 --> 00:16:46.374
'cause I developed that skill early as a kid.
00:16:46.724 --> 00:16:48.134
What about like genre?
00:16:48.224 --> 00:16:50.864
I remember like that first Austin Powers movie.
00:16:50.864 --> 00:16:52.663
I mean, that's one of the funniest movies ever.
00:16:52.764 --> 00:17:01.374
Do you think of yourself in terms of a genre or do you think of yourself in terms of, no, my job is to help a director tell whatever story it is.
00:17:01.443 --> 00:17:05.423
No, I really feel like I can do any genre, but you do get pigeonholed.
00:17:05.423 --> 00:17:08.064
But I don't mind being pigeonholed as a comedy editor.
00:17:08.344 --> 00:17:09.144
I enjoy comedy.
00:17:09.503 --> 00:17:11.624
I was raised in a family that told jokes all the time.
00:17:11.624 --> 00:17:16.273
My dad's a dentist and he had people, in the chair, and he was always just telling them jokes the whole time.
00:17:16.493 --> 00:17:20.834
So I'm used to, in fact, I can't even go to a doctor now unless they're a funny doctor.
00:17:21.423 --> 00:17:22.203
What's wrong with you?
00:17:22.223 --> 00:17:24.284
You don't make jokes about what's going on here.
00:17:24.828 --> 00:17:27.009
And That's just me and what my life is like.
00:17:27.108 --> 00:17:35.455
So I mean, once I got involved in comedy, I mean, I like drama too, and, and Fried Green Tomatoes is a dramatic film also, and I don't mind doing that.
00:17:35.615 --> 00:17:42.415
I just like the everyday living with a comedy is so much fun and to make people laugh, it's great to make people laugh.
00:17:42.415 --> 00:17:49.615
and I found that once we started the process of previewing and seeing people laugh at just the way you've put something together is so great.
00:17:49.836 --> 00:17:52.076
Oh, that must be fantastic.
00:17:52.125 --> 00:17:59.205
That's the way I'm pigeonholed as a director also, but I don't mind it because I like, you know, making people laugh and it's just fun to, to work in comedy.
00:17:59.516 --> 00:18:00.165
It's just great.
00:18:00.236 --> 00:18:01.445
It's a great way to spend your day.
00:18:01.618 --> 00:18:10.798
As long as I've been in the business and it's been a while now, I'm embarrassed to say how long it's taken me to appreciate the value.
00:18:10.798 --> 00:18:15.333
Isn't even a strong enough word of an editor that that piece of, and I loved how you put it.
00:18:15.333 --> 00:18:17.613
There was the writing, the shooting, and then the editing.
00:18:17.702 --> 00:18:31.558
Finally after shadowing some directors and watching directors cut in their heads and seeing the value of that, but the way you can change a story, elevate a story, yeah, I'm embarrassed to admit it took me long to appreciate how amazing it is, what a good editor can do.
00:18:31.753 --> 00:18:35.317
It's sadly such an underappreciated job in the film industry.
00:18:35.548 --> 00:18:43.307
They say, historically that the editors were supposed to line up with the directors and be in the DGA, but they decided to go with IATSE.
00:18:43.718 --> 00:18:52.006
Instead and be with the teamsters, which is a big mistake because editors are storytellers and they do, they are the next phase of writers, directors, and editors make the film.
00:18:52.178 --> 00:18:55.805
You're right, it's a very underappreciated group of storytellers.
00:18:56.045 --> 00:18:56.404
Really.
00:18:56.435 --> 00:19:02.887
You can take bad footage, mediocre to bad footage, and change it into something that's a whole new vision.
00:19:03.101 --> 00:19:06.601
But what's fascinating, I think from the outside is like Maury.
00:19:06.871 --> 00:19:14.111
You show up to shoot a scene, and Debra might not start working on that scene for months and months and months.
00:19:14.111 --> 00:19:18.441
There's a lot of space in between when you work, and then when you work.
00:19:18.461 --> 00:19:19.171
Is that true?
00:19:19.335 --> 00:19:20.825
Sometimes it's the next day.
00:19:21.075 --> 00:19:23.515
They shoot something, the next day, I see it it's called dailies.
00:19:23.734 --> 00:19:25.694
They come to me and I start looking at the footage.
00:19:25.981 --> 00:19:28.622
you're right, it's not refined until months and months down the road.
00:19:28.731 --> 00:19:30.781
It's refined, and refined, and refined, and refined.
00:19:30.781 --> 00:19:36.295
Eventually becomes the scene that it is or is not in the film at all sometimes, that takes a while, that process.
00:19:36.474 --> 00:19:37.375
And it should take a while.
00:19:37.394 --> 00:19:39.055
We should never, hurry the process either.
00:19:39.055 --> 00:19:46.015
That's part of the problem, is that sometimes these schedules are so tight, you don't really have time to really live with the material And make it the best that it can be.
00:19:46.555 --> 00:19:52.855
And that's why, we start adding, getting into the point of first there's the director's cut, and then there's the producers, then there's the studio.
00:19:52.954 --> 00:19:55.612
You have to go through all those levels of people to react to it.
00:19:55.632 --> 00:20:00.634
But maybe when it's a tightened, shortened schedule, it gets hairy and crazy to just finish a film.
00:20:00.748 --> 00:20:01.567
So what about that?
00:20:01.567 --> 00:20:06.847
When you're in the midst of it, In a general sense, do you know when you're working on something good?
00:20:07.067 --> 00:20:09.526
Sometimes you have no idea, and sometimes you think it's amazing.
00:20:09.635 --> 00:20:11.413
Like It's, very difficult to tell.
00:20:11.522 --> 00:20:14.292
It's not some, it's like, it's like Maury for you on set.
00:20:14.292 --> 00:20:19.682
Like sometimes people think this is the best stuff I've ever read or I've worked on, and suddenly it's nothing.
00:20:19.863 --> 00:20:20.843
It becomes nothing.
00:20:21.222 --> 00:20:25.522
And then other stuff that you, you know, work on and you, and you didn't, you thought it was kind of good.
00:20:25.542 --> 00:20:30.964
It When it becomes a whole and becomes finished, it becomes something better than it was on the page.
00:20:31.208 --> 00:20:34.582
And that's really why the industry is so crazy because no one can guess.
00:20:34.758 --> 00:20:36.744
If we all could, we'd be so wealthy, you know?
00:20:36.928 --> 00:20:37.448
Right.
00:20:37.468 --> 00:20:38.748
It's hard to make something good.
00:20:38.884 --> 00:20:48.301
I mean, I just worked on Barbie and we knew that it was an IP, but honestly did not know how many people would come because it's really, is it for little girls?
00:20:48.481 --> 00:20:49.061
No, not really.
00:20:49.061 --> 00:20:50.061
Is it for older women?
00:20:50.281 --> 00:20:51.221
Yes, probably.
00:20:51.321 --> 00:20:53.211
But is it for girl, girls in their twenties.
00:20:53.703 --> 00:20:57.190
turned out there's something for everybody in the film, which, which added to,
00:20:57.271 --> 00:20:59.551
Wait, Wait, wait, wait, wait, hang on, newsflash.
00:20:59.602 --> 00:21:00.692
Did you edit Barbie?
00:21:00.967 --> 00:21:03.366
Yeah, I worked in Barbie for nine weeks at the beginning of this year.
00:21:03.622 --> 00:21:04.582
Are you kidding me?
00:21:04.622 --> 00:21:06.412
That movie is so fantastic.
00:21:06.432 --> 00:21:07.432
It is so great.
00:21:07.432 --> 00:21:08.332
Congratulations!
00:21:08.332 --> 00:21:08.652
Thanks!
00:21:09.047 --> 00:21:10.467
That, is so exciting.
00:21:10.487 --> 00:21:11.186
I didn't even know that.
00:21:11.196 --> 00:21:12.666
that wasn't even on the page.
00:21:12.727 --> 00:21:13.375
No, It's not on the page.
00:21:13.672 --> 00:21:14.781
Oh, you're full of surprises.
00:21:14.781 --> 00:21:17.821
My wife works at Mattel she's going to be very excited.
00:21:17.929 --> 00:21:20.939
That is a film that blows me away, get a little tongue tied.
00:21:21.068 --> 00:21:23.689
You said you were nervous a little bit at the beginning of this podcast.
00:21:23.689 --> 00:21:27.489
I think it took me a little while to realize, Debra, that I'm a little nervous too, actually talking to you.
00:21:27.659 --> 00:21:29.148
Just so you know, just so you know.
00:21:29.179 --> 00:21:30.048
Which is excitement.
00:21:30.378 --> 00:21:32.038
That movie, that movie...
00:21:32.038 --> 00:21:39.919
I never want to spoil a movie for someone, but that was a movie, which I think is a testament to it of really wanting to, let everyone have their own experience with it.
00:21:40.065 --> 00:21:44.996
Yeah, for sure! That's why I say the reason it's so successful, I believe, is'cause there's something there for everybody.
00:21:44.996 --> 00:21:47.395
There's a little something in there that everyone can hook onto.
00:21:47.605 --> 00:21:50.875
It grew into its own thing, it just became what it was.
00:21:51.060 --> 00:21:55.803
And there's a, huge audience for it, which is amazing and in many countries and many languages.
00:21:55.903 --> 00:22:01.512
Wait, so I got distracted when you said the Barbie word, and then I blacked out, and I didn't hear anything you said?
00:22:01.772 --> 00:22:02.712
Because I'm not, I'm
00:22:02.748 --> 00:22:05.478
He does, he does this Debra every once in a while, don't worry about it.
00:22:05.478 --> 00:22:05.934
I do blackout.
00:22:05.934 --> 00:22:09.317
Hang on! What was your point after you said the Barbie word and I blacked out?
00:22:09.357 --> 00:22:13.117
Was it that you were saying you didn't know how big it would be?
00:22:13.258 --> 00:22:14.117
At first surprise.
00:22:14.137 --> 00:22:18.117
And then I went, oh, of course, once I, once I thought about it for a second, I went, yes.
00:22:18.278 --> 00:22:23.798
'cause we, even when we were previewing the film, people would line up for hours ahead to see, cause they wanted to see it.
00:22:23.798 --> 00:22:31.624
So it has a built-in audience, it has a built-in who wanna see, they have it has the wanna see, but if you don't deliver on wanna see, then no one's going to keep coming.
00:22:31.884 --> 00:22:34.503
So it actually delivers on that level too.
00:22:34.723 --> 00:22:35.013
yeah.
00:22:35.085 --> 00:22:35.805
That's exciting.
00:22:35.901 --> 00:22:41.044
I'd like to sidetrack a little bit, cause this is something that I think we're trying to, I always want to remember to do.
00:22:41.075 --> 00:22:59.651
And we've talked a little bit about your painting because we're going to have invite you to be on the podcast because we know you as this, your resumes and editor is incredible, but what I'm really interested to about people are what are the other things that influence them, other hobbies, other things where they've put in time and effort, passions in their lives that, maybe affect their day job.
00:22:59.651 --> 00:23:04.391
So I'm wondering if there's things like that, whether it's the photography or the painting you keep doing.
00:23:04.520 --> 00:23:07.891
I was thinking of that, because I grew as growing up.
00:23:07.971 --> 00:23:13.211
I did painting and I played the piano, did music and all those are really important to an editor.
00:23:13.490 --> 00:23:15.151
'cause you work in sound, you work in pictures.
00:23:15.584 --> 00:23:18.124
As a little kid, used to rearrange the furniture all the time.
00:23:18.384 --> 00:23:20.604
In fact, I wanted to be an interior designer.
00:23:20.804 --> 00:23:25.367
I wanted to be somebody who, redid rooms and, and I love, it's home, it's a hobby too.
00:23:25.367 --> 00:23:26.077
It's, almost a problem.
00:23:26.178 --> 00:23:33.054
I'm constantly redoing some part of our house visually because, and I've known directors and other people in the business who have that same talent.
00:23:33.513 --> 00:23:37.104
It's something about redoing something or looking at something from a different perspective.
00:23:37.163 --> 00:23:40.183
That's really helped my editing career a lot.
00:23:40.423 --> 00:23:42.614
If, you look at, you can do it with any, anything.
00:23:42.614 --> 00:23:43.493
You can do it with your life.
00:23:43.513 --> 00:23:45.054
You can do it with a room of furniture.
00:23:45.074 --> 00:23:51.020
You can do it the pictures on the, the words on the computer, the pictures that you are in your photo album.
00:23:51.371 --> 00:23:52.300
It's the same thing.
00:23:52.330 --> 00:23:56.084
It's looking at something from a different perspective you've been looking at.
00:23:56.144 --> 00:23:58.804
You could just take them out, throw'em on the floor in a different order.
00:23:59.128 --> 00:24:00.949
Put'em together and they would, they would be different.
00:24:01.048 --> 00:24:05.469
And I think that helps you proceed, go forward and find other ways through things.
00:24:05.528 --> 00:24:10.972
And I think that's one of the things you're talking about is what in my life also helped me become a master at this?
00:24:11.237 --> 00:24:11.497
Hmm.
00:24:11.681 --> 00:24:12.631
That's fascinating.
00:24:12.717 --> 00:24:17.784
You know, one thing I wanted to say, Maury, that, and Deb, I'd love to have you riff on this a little bit.
00:24:17.933 --> 00:24:23.324
We had another guest that was similar, Deb, and I mentioned this to you, that you also have a unique job.
00:24:23.520 --> 00:24:29.453
And a unique skill set and unique mastery because it's not telling your story.
00:24:29.586 --> 00:24:37.693
It's like somebody else upstream, whoever has a story that has been hatched, and then they bring it to you.
00:24:37.733 --> 00:24:40.864
And in a way, your job is to help them.
00:24:41.183 --> 00:24:42.614
Tell their story.
00:24:42.643 --> 00:24:45.063
As an editor, I said before you work for the director.
00:24:45.163 --> 00:24:51.583
So in that case, as the, as the editor of the film, you're trying to help that director tell the story that they wanna tell.
00:24:52.383 --> 00:24:59.633
There's the writer who wrote the story, but then the director realizes it visually and then you take it with him and it becomes another entity.
00:24:59.692 --> 00:25:04.512
And so that all the, all the while you're working on a film, you're helping somebody tell the story they wanna tell.
00:25:04.542 --> 00:25:13.455
It's not, it's not the version I want, I mean, I have an opinion about what I think plays, but I always frame it within the, in the idea of this is the story they wanted to tell.
00:25:13.526 --> 00:25:17.586
This is the story they had set out to tell and how to get that across in a more succinct.
00:25:18.236 --> 00:25:18.846
More interesting.
00:25:19.046 --> 00:25:21.526
A better way of doing the same thing they're trying to do.
00:25:22.115 --> 00:25:23.806
And how do you do that in the moment?
00:25:23.873 --> 00:25:36.229
You might be master of rearranging things, but in a moment, how do I stay focused on helping them tell their story and not make this what I think the scene should be, but what I think they think it should be?
00:25:36.337 --> 00:25:39.587
Because what I, what I, often say is, what would we like this to be like?
00:25:39.587 --> 00:25:48.268
Sometimes you have to approach the material as if you're looking at it from their perspective and you say to them, okay, in a perfect world, what were you trying to communicate here?
00:25:48.979 --> 00:25:51.989
Then you go, oh, oh, I see you're trying to tell that story.
00:25:51.989 --> 00:25:53.709
Well, You're not exactly telling that story.
00:25:53.769 --> 00:26:02.576
If we put these in this order, or if I use this voice first, and then we use these images, or we say titles here because we need to know where we are.
00:26:02.645 --> 00:26:05.816
Depends on what part of the story you're telling or where you're working.
00:26:06.086 --> 00:26:09.935
Like for example, when you work on a story, the beginning, the middle, and end.
00:26:10.260 --> 00:26:12.540
Sometimes the setup is not quite clear enough.
00:26:12.540 --> 00:26:15.780
Sometimes it's the middle of the movie that gets a little muddled, and sometimes it's the end.
00:26:15.780 --> 00:26:17.780
You're not sending'em out with the right message.
00:26:18.320 --> 00:26:22.740
So you look at each section of the film and say, okay, how are we gonna be able to tell the story?
00:26:22.800 --> 00:26:26.181
You wanna tell, but in a clear, easier way?
00:26:26.601 --> 00:26:28.580
Or is the complication that.
00:26:28.760 --> 00:26:31.461
you're trying to come across the point of the story?
00:26:31.651 --> 00:26:38.181
Like, Is it complicated because you want it to be that way and that you're trying to get them confused or send them that direction?
00:26:38.611 --> 00:26:43.730
'cause if I take my perspective on it, that's a different perspective and that's where the director role comes in.
00:26:43.790 --> 00:26:51.411
So if I'm gonna direct a film, I'm gonna take somebody's words off a page and decide this is the perspective I want to tell the story from.
00:26:51.790 --> 00:26:54.010
And then I have an editor help me do that.
00:26:54.480 --> 00:27:00.211
Once they see the footage, I'll, I'll say to them, oh, that's an interesting way of saying the same thing that I was gonna say.
00:27:00.431 --> 00:27:02.290
And I've had directors say that to me many times.
00:27:02.911 --> 00:27:04.411
Oh, that's an interesting way.
00:27:04.894 --> 00:27:05.864
Telling that joke.
00:27:06.084 --> 00:27:10.453
I've never thought of telling that joke that way or, or telling that story that way.
00:27:10.788 --> 00:27:12.798
You mentioned, one with Seth MacFarlane.
00:27:12.818 --> 00:27:14.269
Tell us about the joke thing.
00:27:14.567 --> 00:27:19.364
I did, it was just when I first started working for him, it, it often happens with people that I work with.
00:27:19.597 --> 00:27:25.327
They think that I'm coming in as a messenger with the studio notes, so sometimes they think I'm coming in with an agenda.
00:27:25.788 --> 00:27:35.932
But what the studio has figured out, and most of the studio people I work with have figured out is that if they let me go in on my own and just start saying my opinion it's worth showing and the filmmakers are interested in hearing it.
00:27:36.313 --> 00:27:41.843
So when I sat down with Seth McFarlane, he was looking, he goes, I think I just need to look at these jokes a couple times.
00:27:42.083 --> 00:27:43.883
'cause I'm not sure how you came up with these ideas.
00:27:43.992 --> 00:27:47.952
Like he and his way had the only way to tell the joke was one way.
00:27:48.452 --> 00:27:51.752
And once I showed him another way to tell the same joke, he was like, that's amazing.
00:27:52.113 --> 00:27:52.833
I hadn't thought of that.
00:27:53.093 --> 00:28:01.817
So it was very interesting to sit with somebody and I also think it's very interesting to be with comedians because they do have a very strong perspective on the world.
00:28:02.238 --> 00:28:05.978
But then once you show them another way to say the joke, they're like, oh, that's funny too.
00:28:06.077 --> 00:28:09.218
You know, It's, it's interesting because you don't wanna upstage anybody.
00:28:09.317 --> 00:28:11.057
You're not there to upstage anybody either.
00:28:11.057 --> 00:28:14.862
You're just there to show'em an alternate and another way to, to do the same joke.
00:28:15.011 --> 00:28:15.622
It's very fun.
00:28:16.010 --> 00:28:23.701
I, that's sort of, I was thinking about, picking battles, when do you, have you ever put your foot down and said, no, this is really it?
00:28:23.730 --> 00:28:25.580
It's not really my job to do that.
00:28:25.881 --> 00:28:28.780
I'm there to show alternatives and give, give lots of options.
00:28:28.901 --> 00:28:33.881
I call it options and show them options and say well, if that isn't working for you, then let's try another version.
00:28:34.020 --> 00:28:35.560
And sometimes those jokes don't work.
00:28:35.580 --> 00:28:38.000
You go to a preview and you see it and it doesn't quite work.
00:28:38.000 --> 00:28:40.881
You go, let's go back to the drawing board and try it another way.
00:28:41.280 --> 00:28:48.194
What's interesting about working with Sacha Baron Cohen, who I collaborate quite a bit with, is that Sacha loves the comedy, the science of comedy.
00:28:48.335 --> 00:28:59.295
He loves to take all the data that we find out at each of the screenings and put the jokes up against each other and go the time we played it with this crowd in this version, it got the best score.
00:28:59.355 --> 00:29:16.633
So let's take that joke version, put it with the next joke, which was from this other screening, and we start piecing things together from the best versions that he's decided because he's very serious about the comedy and how it played in the room, and he has somebody who sits in the audience and judges the jokes on a scale of one to five.
00:29:16.798 --> 00:29:23.170
She writes a number down to as to how that joke played in that room, then we take the data later and look at it in the editing room and put the film together.
00:29:23.383 --> 00:29:23.663
It's very interesting.
00:29:23.663 --> 00:29:24.742
We call it comedy science.
00:29:24.813 --> 00:29:25.833
It's really fun.
00:29:25.833 --> 00:29:35.028
And that's also really like a beautiful thing because that's saying, you all in the editing room may have your fancy ideas, but it's really how it plays.
00:29:35.038 --> 00:29:39.931
It's, it's what makes people laugh that will reign supreme in your choices.
00:29:39.961 --> 00:29:41.730
Let's not think what we think's funny.
00:29:41.840 --> 00:29:44.580
It's what do they, what will give them the best experience.
00:29:44.790 --> 00:29:46.181
And we're going to put that together.
00:29:46.181 --> 00:29:47.191
And that's, that's, cool.
00:29:47.201 --> 00:29:48.340
I think that's super cool.
00:29:48.454 --> 00:29:49.065
It's really important.
00:29:49.125 --> 00:29:51.865
So previewing process is very important to comedies.
00:29:51.924 --> 00:29:55.494
You can be arrogant about your comedy, but in the end, if nobody's laughing at the joke.
00:29:55.664 --> 00:29:56.434
How funny is it?
00:29:56.678 --> 00:30:09.904
Debra, when you're working on a project, it's getting stressful, the deadline's coming, and you're blocked how do you find your skills in unblocking and navigating a tight situation?
00:30:10.115 --> 00:30:16.055
That's interesting because what I usually do, and it'll come to trust, is to do some, do a version of something.
00:30:16.392 --> 00:30:17.021
Leave it alone.
00:30:17.021 --> 00:30:25.672
Go home, go to bed, and wake up in, I usually wake up in the middle of the night and then I have a, a revelation about how to fix it, write it down, come back to the office, fix it, and then it's fixed.
00:30:26.061 --> 00:30:30.231
It's something that comes to me and I trust that now first you're like, oh, I don't know.
00:30:30.231 --> 00:30:32.912
It makes you so anxious that you're not sure you're gonna be able to solve a problem.
00:30:33.412 --> 00:30:42.751
But honestly, there's always an answer, and often it comes to me at the time when your head, my mind is resting or, or not focused on the problem.
00:30:42.898 --> 00:30:48.669
That hard thing where you're really focused on something and sometimes the answer isn't coming, mostly because you're so focused on it.
00:30:48.669 --> 00:30:55.689
So sometimes just letting it go or going for a walk or even going to bed and waking up will help me solve a problem, especially with something creative like that.
00:30:55.704 --> 00:31:03.508
I was going to say real quick before we move off of this incredible resume here, what are your, what are the top three things you're most proud of when you think that you've worked on?
00:31:03.557 --> 00:31:05.329
Let's see, well definitely Fried Green Tomatoes.
00:31:05.750 --> 00:31:11.926
Probably Heatwave is up there at the top too, but also, but I would say I love the Hangover.
00:31:11.946 --> 00:31:16.606
And the Hangover was such a great film to be part of I mean, it's, it's a classic forever.
00:31:16.973 --> 00:31:20.233
Hey, by the way, Debra, I do have some crossover.
00:31:20.304 --> 00:31:24.247
I was at the actual bachelor party that became the story.
00:31:24.346 --> 00:31:25.906
There's our crossover right there.
00:31:25.946 --> 00:31:27.196
Ture story folks.
00:31:27.217 --> 00:31:34.047
I went on that, bachelor party where we lost the guy who was a movie producer and that is the origin of the movie.
00:31:34.336 --> 00:31:35.819
That Debra edited.
00:31:35.941 --> 00:31:37.320
So I was there at the beginning.
00:31:37.330 --> 00:31:38.131
You were there at the end.
00:31:38.131 --> 00:31:39.815
That's a whole other podcast.
00:31:40.125 --> 00:31:40.434
Yeah.
00:31:40.569 --> 00:31:42.380
Debra, you can interview me for that podcast.
00:31:42.380 --> 00:31:44.984
Yeah, that's going to be, that's next, next week's episode.
00:31:45.307 --> 00:31:45.686
Debra.
00:31:45.777 --> 00:31:46.686
I think it's hard.
00:31:46.784 --> 00:31:49.513
It's hard for us to say, oh, I'm a master, right?
00:31:49.567 --> 00:31:59.207
One, because I think there's an ego thing there, but two, because it also doesn't, maybe there are moments where we feel mastery and we can see that and the value, but then it's always changing and growing and there's more.
00:31:59.507 --> 00:32:03.977
But I, I would think that maybe you'd work with some people that you would deem masters.
00:32:04.088 --> 00:32:08.298
Yeah, there's directors that I've worked with that I, that I think are brilliant directors.
00:32:08.409 --> 00:32:10.608
I've worked with a lot of really amazing people.
00:32:10.808 --> 00:32:13.469
I worked with Jay Roach and, Jon Avnet's amazing.
00:32:13.628 --> 00:32:14.469
I worked with Todd Phillips.
00:32:14.578 --> 00:32:16.068
He's very, very smart director.
00:32:16.068 --> 00:32:24.717
They're just very, very intelligent, sharp, people who are constantly focused and working and you learn so much from working with the people like that.
00:32:24.931 --> 00:32:26.681
What are the characteristics of those people?
00:32:26.681 --> 00:32:29.997
Like what do they possess that makes that word fit for them?
00:32:30.073 --> 00:32:31.343
It's kind of individual, I think.
00:32:31.343 --> 00:32:44.442
They are people who are focused and they're very driven and all of those characteristics, but they're also creative, interesting, people that are some verbal, some visual, some each have all their own different traits.
00:32:44.442 --> 00:32:49.083
And those sort of come out in the films that some are comedians, some aren't, and that comes out in their films.
00:32:49.143 --> 00:32:52.282
You can see the style that they lean towards.
00:32:52.630 --> 00:32:55.420
Jay Roach is funny because he's political and he's a comedian too.
00:32:55.559 --> 00:32:59.019
He is funny and he has, so he is, he's often blending those two things.
00:32:59.613 --> 00:33:01.712
In his films or, or going one direction or the other.
00:33:01.732 --> 00:33:06.383
But you can see each of them have their own styles and that's, what makes them unique.
00:33:06.784 --> 00:33:09.005
Debra, you're starting to, starting to direct.
00:33:09.005 --> 00:33:09.924
Is that new?
00:33:09.984 --> 00:33:18.174
And if you always wanted to do that, and I know sort of in Hollywood, there's often the, I came to do this thing, but I ended up doing this thing and, we follow it as we go.
00:33:18.204 --> 00:33:20.134
And that's why the stories here are amazing.
00:33:20.535 --> 00:33:21.968
Have you always wanted to direct?
00:33:22.208 --> 00:33:26.978
I have, I've always wanted to direct and I always thought I've been so good at helping other people tell their stories.
00:33:27.238 --> 00:33:29.417
Is there a version of me doing that on my own?
00:33:29.762 --> 00:33:34.603
I really just wasn't given the opportunities and thought I have to, now I have to make that opportunity for myself.
00:33:34.823 --> 00:33:37.923
And that is part of what directing is, is making those opportunities happen.
00:33:38.032 --> 00:33:39.083
It's different than editing.
00:33:39.083 --> 00:33:39.482
Editing.
00:33:39.482 --> 00:33:44.202
You're hired to do something, directors have to go out there and get the project, find it and make it happen.
00:33:44.707 --> 00:33:47.772
Find a producer to help you make it happen, to find the money to get it done.
00:33:47.833 --> 00:33:52.380
And so it's a different kind of skillset that I hadn't really worked in.
00:33:52.440 --> 00:33:54.819
But then in the last 10 years, I learned it.
00:33:55.123 --> 00:34:01.103
And have done it and then actually got a chance to direct a film in 2020 in the middle of the pandemic, which is even crazier.
00:34:01.227 --> 00:34:03.707
We went to Oklahoma, which is even weirder.
00:34:03.707 --> 00:34:09.827
It was the election year and we went to Oklahoma and shot a film in 20 days with Eva Longoria and Matt Walsh.
00:34:09.827 --> 00:34:12.266
It's called Unplugging, if you wanna see it on Hulu.
00:34:12.266 --> 00:34:12.867
It's very funny.
00:34:13.182 --> 00:34:17.382
a couple that go away for the weekend without their phones and try to unplug and get back to each other.
00:34:17.382 --> 00:34:19.016
Hahaha, I love it.
00:34:19.159 --> 00:34:24.380
And so I got the opportunity to direct that film and it was so fun and so great, so I really wanna do it again.
00:34:24.400 --> 00:34:29.206
But it is like a very special opportunity to get, to be able to do that in this town especially.
00:34:29.237 --> 00:34:34.166
It's just, it's a hard thing because there's a lot of directors And there are a lot of storytellers out there who wanna tell stories.
00:34:34.722 --> 00:34:41.123
In a different way, it's hard to get those jobs, it's a difficult thing to do, but I'm trying, I'm working on it.
00:34:41.123 --> 00:34:43.802
And plus for women, they're giving us opportunities now, which is great.
00:34:44.170 --> 00:34:46.769
I have a lot more opportunities to be did before, so that's helpful.
00:34:46.927 --> 00:34:53.893
Alright, so in your opinion, so now if we move away from, from you as the master, which we think you are, which I think you are.
00:34:54.413 --> 00:34:57.512
We like to ask, do you think anybody can achieve mastery?
00:34:57.532 --> 00:35:02.262
Is it mastery something that people have in them innately?
00:35:02.532 --> 00:35:05.373
Or is mastery something that can be acquired?
00:35:05.650 --> 00:35:17.260
My opinion is that you start with something that you're talented at, but I think it requires hard work, which I always say work begets more work so just keep working, and more work will come your way.
00:35:17.400 --> 00:35:22.670
And the more you work, the more hours you put in, the better you'll get at whatever it is you're trying to do.
00:35:23.054 --> 00:35:46.626
And then I think it is true that based on the talent that you're born with, but I also think that you're constantly learning from others if you're not willing to learn and keep learning and being aware of what's going on around you and seeing the, the advances of your job and your technique, your style, whatever's happening in the world that you're in, then you're gonna be stuck and you're not gonna continue to be a master at what you I don't, I don't believe that's possible.
00:35:46.922 --> 00:35:52.485
Do you have a film or something that you look towards to be your muse or your inspiration or?
00:35:52.534 --> 00:35:53.914
It depends on what I'm working on.
00:35:53.914 --> 00:35:56.474
Like right now I'm trying to direct five different projects.
00:35:56.594 --> 00:36:04.458
I have five different scripts that I'm juggling to get actors on and financing for, and you know, it's all that tough game of, you have to be a producer also.
00:36:04.478 --> 00:36:06.177
But I work with producers for sure.
00:36:06.608 --> 00:36:10.728
But each film then has its own style and that I think it can lean towards.
00:36:10.788 --> 00:36:14.005
So I, I have specific stuff and each project is that way too.
00:36:14.005 --> 00:36:22.711
If I'm editing, then you are working towards whatever that director's thought that film is supposed to be like, or, they're trying to make it similar to.
00:36:23.237 --> 00:36:24.038
just hard to be general.
00:36:24.355 --> 00:36:24.532
Yeah.
00:36:24.532 --> 00:36:25.052
that makes sense.
00:36:25.052 --> 00:36:27.233
What you're doing will be a certain inspiration.
00:36:27.362 --> 00:36:27.753
Of course.
00:36:27.945 --> 00:36:28.755
Yeah, exactly.
00:36:29.186 --> 00:36:39.936
I could say I love the Martin Scorsese films and I always wanna make a film like that, so that could be something, or, you know, filmmakers that I like, but it's always, you know, or, or various filmmakers that I like.
00:36:39.936 --> 00:36:40.476
But yeah.
00:36:40.885 --> 00:36:41.096
Yeah.
00:36:41.210 --> 00:36:47.478
What we've learned from people listening to the podcast is they love something they can take away from it.
00:36:47.818 --> 00:36:49.197
Into their own life.
00:36:49.494 --> 00:36:55.911
And you've mentioned a couple things here, but I'm wondering do you see an application for all of us?
00:36:56.240 --> 00:36:57.240
I absolutely do.
00:36:57.440 --> 00:37:07.490
I absolutely think that if you're, let's say you're helping a friend through a problem or a situation, coming at it from a different perspective because you're not in, it always helps solve the problem.
00:37:08.030 --> 00:37:14.400
and I think that if everyone has the ability and it's not easy to do, to step back and say in a perfect world, what would I want this to be?
00:37:14.460 --> 00:37:16.081
Or what, what I, what would I really?
00:37:16.081 --> 00:37:17.041
hope this to be like?
00:37:17.181 --> 00:37:21.795
Or to say if this was a different situation, what could I, what could it be?
00:37:21.815 --> 00:37:24.155
Or if I was to attack it from a different angle.
00:37:24.534 --> 00:37:39.795
So it's always constantly looking at things from a different perspective, and that helps to reach out to other people that helps you communicate with other people and say, hey, maybe you'll look at my thing for me and help me get through this problem or in life, in or in work, or whatever you're jammed up in.
00:37:39.947 --> 00:37:50.987
And that is, the way that I bring something to, each situation is that not just look at it from where you are, from maybe from where you're sitting or from where you're sitting, it really helps you get through things.
00:37:51.641 --> 00:37:53.260
And also, I mean, it's interesting.
00:37:53.530 --> 00:37:54.630
I've done some editing.
00:37:54.780 --> 00:37:58.507
I understand the basics of editing is, they're different components.
00:37:58.507 --> 00:38:09.554
Like you said, there's different shots and there's audio one and two and three, and there's, this and that and to deconstruct something into its elements, look at it a different way, and rebuild it.
00:38:09.563 --> 00:38:24.932
Like, you're saying, can produce a different result, like when we all feel stuck in our lives, or stuck in a relationship, or stuck in a career, if you distill out the elements, look at them, and rebuild them a different way, you're telling the joke, in a way that the comedian never thought of.
00:38:24.981 --> 00:38:25.271
Yeah.
00:38:25.391 --> 00:38:27.510
I always say things have to earn their way in.
00:38:27.621 --> 00:38:37.181
If you took everything out and decided only the crucial things could come in or be part of what you're working on, I often start with the scene that way, especially if something's already been cut.
00:38:37.344 --> 00:38:44.170
I start with this idea idea idea of like, what could I just keep the simplest form of it in what, what has to be there?
00:38:44.490 --> 00:38:47.240
And then the added stuff, you start to go maybe I like this.
00:38:47.492 --> 00:38:49.557
You start to decipher why stuff is in.
00:38:49.617 --> 00:38:56.894
So it really helps to take, to say to something, just to keep the, the most important thing in, not the junk, not the extra stuff, you know?
00:38:57.375 --> 00:38:57.985
I love that.
00:38:58.088 --> 00:39:01.947
That does feel like a universal life strategy right there.
00:39:02.025 --> 00:39:06.574
What must be in, we can complicate everything by putting too much in, can't we?
00:39:06.742 --> 00:39:09.623
You have the instinct sometimes that you need to blow everything up too.
00:39:09.623 --> 00:39:15.043
And there's a shakeup that's valuable, but no, there's still going to be some essential pieces on which you hang.
00:39:15.072 --> 00:39:20.762
Go into your closet and just take out all the stuff doesn't really matter and just pick a few things and start with those.
00:39:20.867 --> 00:39:23.244
You can do it with anything, any room, any place,
00:39:23.485 --> 00:39:23.824
Right?
00:39:23.824 --> 00:39:24.545
your own life.
00:39:24.574 --> 00:39:26.275
You can just do it with that start over.
00:39:26.326 --> 00:39:26.806
That's great.
00:39:26.846 --> 00:39:28.695
George Carlin had that bit about stuff.
00:39:28.695 --> 00:39:33.563
I always think about your stuff, our stuff, your stuff, my stuff, all the stuff in the garage.
00:39:33.655 --> 00:39:34.880
You can't let go of your stuff.
00:39:35.047 --> 00:39:36.427
That's what drives my family crazy.
00:39:36.628 --> 00:39:38.467
'cause when I'm not editing, I'm doing it around the house.
00:39:38.728 --> 00:39:42.784
I'm always like editing this drawer, that closet, this piece of this person's room, that room.
00:39:43.099 --> 00:39:44.630
What can we redo in the house?
00:39:44.969 --> 00:39:46.150
My husband drives him crazy.
00:39:46.355 --> 00:39:52.960
That's the way your brain works is to see something and then see it a different way and break it down and build it back up.
00:39:53.007 --> 00:39:54.858
Now knowing you, that makes sense to me.
00:39:55.079 --> 00:39:55.900
It never hurts.
00:39:56.222 --> 00:39:57.077
It's the same elements.
00:39:57.077 --> 00:39:57.757
They're still there.
00:39:58.253 --> 00:40:04.132
That's what's hard to understand sometimes for the directors that you work with, because when I work with the director, they think once it's out, it's out.
00:40:04.353 --> 00:40:05.512
No, that's not true at all.
00:40:05.512 --> 00:40:06.293
It can come right back!
00:40:06.496 --> 00:40:06.748
Okay.
00:40:06.768 --> 00:40:08.027
Last big question.
00:40:08.246 --> 00:40:11.916
In your opinion, what are the three keys to mastery?
00:40:12.347 --> 00:40:19.679
Okay, so the three keys to mastery are: work hard, use what you know and love, and keep learning others.
00:40:20.244 --> 00:40:20.704
Debra.
00:40:20.860 --> 00:40:21.981
I think you're a master.
00:40:22.010 --> 00:40:24.610
I think you didn't know it, but I think you are.
00:40:24.677 --> 00:40:26.226
I applaud you for coming on.
00:40:26.407 --> 00:40:40.570
I know you were somebody who's like your work is about helping somebody else, but you have such a great smile and you, you clearly have a great joy and happiness about who you are, the work you do, how you get to spend your time.
00:40:40.601 --> 00:40:41.447
And It's.
00:40:41.447 --> 00:40:45.027
just awesome to be a part of, you know, it's, you've made me laugh.
00:40:45.068 --> 00:40:47.927
I've laughed my ass off some of these movies.
00:40:47.987 --> 00:40:50.318
Thank you the jokes.
00:40:50.637 --> 00:41:00.543
On behalf of millions of people laughing their ass off because of you, we appreciate it because I love a good comedy and you are great at this.
00:41:00.543 --> 00:41:03.893
And I'm so happy to see you smile when you talk about it because you should.
00:41:04.161 --> 00:41:05.690
I don't work in Hollywood anymore.
00:41:05.701 --> 00:41:14.221
I left a long time ago, but, I'm putting all of my positive mojo right now that Maury Sterling and Debra Neil-Fisher work together.
00:41:14.260 --> 00:41:16.650
I'm putting this together in my head right now.
00:41:16.931 --> 00:41:18.280
I'm making a project.
00:41:18.414 --> 00:41:24.585
My powers of magic are fairly low, but I do want you to know if you feel something, that's what I'm doing right now.
00:41:24.585 --> 00:41:25.217
I'm, putting it
00:41:25.291 --> 00:41:25.771
I don't know.
00:41:25.902 --> 00:41:26.661
I, Debra, I don't
00:41:26.681 --> 00:41:27.351
Look, at these fingers.
00:41:27.452 --> 00:41:27.693
strange.
00:41:27.733 --> 00:41:28.344
I don't know if I actually
00:41:28.393 --> 00:41:28.813
I'm buying.
00:41:28.833 --> 00:41:29.054
It.
00:41:29.153 --> 00:41:29.574
I'm buying.
00:41:29.574 --> 00:41:29.773
It.
00:41:29.773 --> 00:41:30.333
Feels good.
00:41:30.420 --> 00:41:31.099
I'll buy in too.
00:41:31.597 --> 00:41:32.297
Sounds great.
00:41:32.659 --> 00:41:32.940
Good.
00:41:32.940 --> 00:41:37.130
Debra, thank you so much for taking the time to be on Everyday Masters.
00:41:37.179 --> 00:41:38.349
We adore you.
00:41:38.349 --> 00:41:40.800
Thank you for all the laughs, all the wonderful work.
00:41:40.820 --> 00:41:41.340
How was it?
00:41:41.416 --> 00:41:43.429
Was it like being in your dad's dentist chair?
00:41:43.559 --> 00:41:44.418
No, not at all.
00:41:44.559 --> 00:41:45.219
No, not at all.
00:41:45.248 --> 00:41:45.699
It's great.
00:41:45.849 --> 00:41:46.778
It's very enjoyable.
00:41:46.778 --> 00:41:48.059
You got me relaxed really fast.
00:41:48.108 --> 00:41:48.539
Thank you.
00:41:48.630 --> 00:41:51.630
And I hope to see you again, in person sometime soon.
00:41:51.773 --> 00:41:52.992
Thanks for making the time.
00:41:52.992 --> 00:41:53.922
it was fantastic!
00:41:53.922 --> 00:41:54.675
Thank you so much.
00:41:54.706 --> 00:41:55.675
Yeah, it's really fun.
00:41:55.835 --> 00:41:56.635
I enjoy it a lot.
00:41:56.963 --> 00:41:58.003
for having me on you guys!
00:42:02.873 --> 00:42:03.163
Okay.
00:42:03.612 --> 00:42:03.963
Maury.
00:42:04.063 --> 00:42:09.865
Debra Neil-Fisher my mind, clear master of editing feature films.
00:42:09.936 --> 00:42:24.143
When I think about those films, I think about like the hangover films and the Austin Power films, I think about all the laughs that she has delivered and now really understanding how she contributes and participates all that kind of stuff, What a cool thing.
00:42:24.322 --> 00:42:26.983
And then, oh, by the way, she drops.
00:42:27.043 --> 00:42:27.463
Oh yeah.
00:42:27.463 --> 00:42:32.222
And I, And I worked on Barbie, like wasn't even in the list of things I was looking at.
00:42:32.547 --> 00:42:38.327
Yeah, no, I know and not to be argumentative, but to argue with you uh, not even really argue with you.
00:42:38.327 --> 00:42:40.592
How not be me and against me?
00:42:40.728 --> 00:42:42.208
Are you arguing against me or with me?
00:42:42.646 --> 00:42:45.815
If you're arguing with me, doesn't that mean you're not arguing?
00:42:45.840 --> 00:42:46.840
I'm arguing against you.
00:42:47.010 --> 00:43:00.610
Well, No, this thing of like,'cause'cause I think you have a tendency to, to want to say yes master and I'm finding I have a tendency to go well, but if they don't say it, then, this concept of what is, how can she not be?
00:43:00.831 --> 00:43:02.851
But she also doesn't feel like she's there yet?
00:43:03.034 --> 00:43:09.724
know, One of the last components of her three things about mastery is it's that piece of you still stay curious and open to learning.
00:43:10.289 --> 00:43:11.626
Like you, you never arrive.
00:43:11.766 --> 00:43:16.878
And I think we've talked about that many, many times now of, so from the outside we can go, yeah, come on.
00:43:16.878 --> 00:43:17.478
Are you kidding me?
00:43:17.478 --> 00:43:18.719
You're, this is, incredible.
00:43:19.378 --> 00:43:25.199
But that internal thing of her even being a little, like why, why am I gonna do this podcast with these two weird people?
00:43:25.199 --> 00:43:25.949
I don't know.
00:43:26.059 --> 00:43:26.759
Speak for yourself.
00:43:26.842 --> 00:43:27.994
No, I, I was speaking for both of us.
00:43:28.679 --> 00:43:28.969
Okay.
00:43:29.068 --> 00:43:31.780
My Wrapper-Upper, kind of like the Eric Bailey interview.
00:43:32.019 --> 00:43:36.233
I am realizing there are people that have mastery.
00:43:36.605 --> 00:43:49.117
In helping other people express themselves, like we met Eric Bailey and he really sees his role as being somebody to remove obstacles and free up an artist, a musician in that case to be as creative as possible.
00:43:49.257 --> 00:43:50.876
And then we meet Debra.
00:43:52.262 --> 00:43:54.003
She is very much the same thing.
00:43:54.163 --> 00:44:07.016
She is very much in service to, for the most part, she now has been a director, but a lot of her career has been helping somebody else tell their story, that's a really neat thing to think about.
00:44:07.233 --> 00:44:11.322
She doesn't sit there saying, Hey, what do I think I want to do in this moment?
00:44:11.822 --> 00:44:16.043
She sits with the director and these other folks and says, what is your vision?
00:44:16.233 --> 00:44:18.603
Tell me what you are trying to communicate.
00:44:18.851 --> 00:44:21.811
She could sometimes say, Hey, I tried this a few different ways.
00:44:22.222 --> 00:44:25.146
Which one helps you tell what you're trying to say?
00:44:25.606 --> 00:44:27.666
But it's really in service to somebody else.
00:44:28.403 --> 00:44:41.208
And, I am struck by that there's a huge humility and there's a huge sense in knowing your spot in the bigger machine, if you will, or the bigger production, which is like, my role here is to help you do that.
00:44:41.309 --> 00:44:46.918
So that, that's really my takeaway and I'm, I find it exciting that we've, it's come up more than once in these interviews.
00:44:46.949 --> 00:44:47.478
What about you?
00:44:47.706 --> 00:44:54.943
I'm gonna go spiritual on it in the sense of, she talked about editing her own, like recreating and, redoing her closets, her home.
00:44:54.994 --> 00:44:58.103
She's in a kind of, in a constant state of rearrangement.
00:44:58.442 --> 00:45:05.442
And how that creates a life creates a different story and how you can be, it was, there was something to that, that that's not what I do.
00:45:05.561 --> 00:45:08.001
I sort of like to get everything set and then leave it there.
00:45:08.298 --> 00:45:17.505
I guess that really makes me think I'm, I'm thinking about in sort of spiritual terms and meaning like Who's my inner editor, you know, that people talk about and who's editing my life?
00:45:17.699 --> 00:45:21.065
Do I have an editor who's trying to really tell a great story?
00:45:21.085 --> 00:45:24.594
Or do I have an editor who's trying to tell sort of an awful story?
00:45:24.617 --> 00:45:33.271
Taking that, viewpoint on and it also just from, I felt naive in a way of re-app appreciating the nature of filmmaking and just how important the editor is.
00:45:33.668 --> 00:45:41.342
Assembling this massive amount of information into the story that really works and, and sort of the science of filmmaking.
00:45:41.722 --> 00:45:42.431
She was wonderful.
00:45:42.601 --> 00:45:49.295
And just to come back to her, three components of mastery: work hard, use what you know and love and, keep learning from others.
00:45:49.704 --> 00:45:56.358
Just really simple and really clear, especially use what you know and love, like start there and then grow from that.
00:45:57.101 --> 00:46:00.141
I need to circle back and amplify that one idea.
00:46:00.501 --> 00:46:04.568
'cause I think we did ask about something people could into their own lives.
00:46:04.668 --> 00:46:12.893
And I have thought about it since meeting Debra and talking to her is, when one is stuck, break the situation down to its essential components.
00:46:13.746 --> 00:46:15.916
Then add the things back in.
00:46:16.295 --> 00:46:19.315
Add back in what must be back in.
00:46:19.376 --> 00:46:35.688
And so, you know, you and I like to talk spiritual life, parenting career, whatever that approach when one is stuck does feel like a high level way to have a different perspective, look it a different way, but just add back the essential elements first.
00:46:36.291 --> 00:46:41.112
That is a, pretty cool life hack in a way from a, from a Hollywood movie editor.
00:46:41.481 --> 00:46:41.681
Yup.
00:46:41.916 --> 00:46:42.655
All right, my brother.
00:46:42.952 --> 00:46:44.009
Wonderful episode.
00:46:44.311 --> 00:46:50.672
You're a wonderful human and your hair is just, a phenomenon of follicle ness.
00:46:51.811 --> 00:46:52.211
I like that.
00:46:52.231 --> 00:46:53.851
That's like your album cover right there.
00:46:54.012 --> 00:47:01.474
Listeners, you can't see it, but it's just Maury's spiky hair with a light that looks like a sun, and I call it Hair Sun".
00:47:02.228 --> 00:47:06.588
.All right, everybody, we will see you next time on Everyday...
00:47:06.873 --> 00:47:07.362
Masters.
00:47:10.248 --> 00:47:10.639
Okay.
00:47:11.498 --> 00:47:13.298
Uh, My stop.
00:47:13.298 --> 00:47:16.898
Please stop coughing when No, you catching, you're ruining my take.
00:47:16.898 --> 00:47:21.398
But are you catching that on the, are you catching that, is that, I mean, is that, are you catching that on the mic when I cough?
00:47:21.458 --> 00:47:21.518
Yeah.
00:47:21.548 --> 00:47:25.329
When you make noise outta your body and there's a microphone, it catches it.
00:47:25.539 --> 00:47:25.869
Yeah.
00:47:26.409 --> 00:47:26.679
Okay.
00:47:26.679 --> 00:47:26.918
You go.
00:47:26.918 --> 00:47:29.289
Any, any noises coming outta your face hole?
00:47:29.349 --> 00:47:30.219
Are you gonna get caught?
00:47:30.518 --> 00:47:30.998
Oh
00:47:31.291 --> 00:47:31.621
Yeah.
00:47:31.652 --> 00:47:34.411
So if you think thoughts, they won't get caught unless you.
00:47:35.105 --> 00:47:37.675
Unless you put wind behind your vocal cords.
00:47:37.775 --> 00:47:38.144
Okay.
00:47:38.829 --> 00:47:39.210
Cool?
00:47:39.563 --> 00:47:40.244
We clear on that?
00:47:40.364 --> 00:47:40.844
Copy.
00:48:08.063 --> 00:48:09.503
Wait, I wanna show you something real quick.
00:48:09.864 --> 00:48:11.054
You're gonna find this fun.
00:48:11.554 --> 00:48:13.173
What happens if I just take this off?
00:48:13.224 --> 00:48:16.994
What Fan, fan, Fan, fan, fan, fan.
00:48:18.003 --> 00:48:23.099
Feeling the doo, doo, doo, doo, doo, doo, doo, doo, doo, doo.
00:48:23.373 --> 00:48:24.253
Okay, check it out.